From: les@jmdl.com (onlyJMDL Digest) To: onlyjoni-digest@smoe.org Subject: onlyJMDL Digest V2004 #247 Reply-To: joni@smoe.org Sender: les@jmdl.com Errors-To: les@jmdl.com Precedence: bulk Archives: http://www.smoe.org/lists/onlyjoni Websites: http://www.jmdl.com http://www.jonimitchell.com Unsubscribe: mailto:onlyjoni-digest-request@smoe.org?body=unsubscribe onlyJMDL Digest Sunday, August 29 2004 Volume 2004 : Number 247 ========== TOPICS and authors in this Digest: -------- TBOS [BRYAN8847@aol.com] Re: k. d.'s Joni covers ["Kate Bennett" ] "ACOY" Joni/k.d.lang Pronoun Debate... [Harry83house@aol.com] Who else plays a mountain dulcimer? Tangential JC ["Kate Bennett" ] Re: k. d.'s Joni covers [SCJoniGuy@aol.com] Re: "ACOY" Joni/k.d.lang Pronoun Debate... [SCJoniGuy@aol.com] Re: 'ACOY' Joni/k.d.lang Pronoun Debate... ["Gerald A. Notaro" ] 41 Years Ago Today - "I HAVE A DREAM" (Dream Deferred) [simon@icu.com] Dr. King, Not! a dreamer [simon@icu.com] Yet Do I Marvel [simon@icu.com] Re: k. d.'s Joni covers ["Mark or Travis" ] RE: k. d.'s Joni covers ["hell" ] RE: k. d.'s Joni covers ["Kate Bennett" ] RE: k. d.'s Joni covers ["Kate Bennett" ] KPFK Interview Transcription ["Kate Bennett" ] Today's Library Links: August 29 [ljirvin@jmdl.com] ---------------------------------------------------------------------- Date: Sat, 28 Aug 2004 03:57:48 EDT From: BRYAN8847@aol.com Subject: TBOS So-- here is how my day went with my new goodies. I put on TBOS first and I just couldn't f**in' tolerate it. I had to quit listening. Well, I was one of the folks who was distressed to know that TBOS was planned for release. But, now that I have it, I have to say that I'm really enjoying it and find, somehow, most of the songs to be fresh. It works well as a collection. Yes, it would be better with previously unreleased material. Bryan ------------------------------ Date: Sat, 28 Aug 2004 11:36:59 -0700 From: "Kate Bennett" Subject: Re: k. d.'s Joni covers Bob>for her to sing "go with him, stay with him if you can" because then it takes on a whole 'nuther level...she's singing to her female lover who is returning to a male relationship for whatever reason (safety, convention, etc.) instead of following her heart.< I haven't heard the song but just on the lyric discussion level I so agree... it works so perfectly & would have supported the fact that joni is an incredible songwriter when you leave her songs as is... by nature of the fact that once again her lyrics can take you in so many directions... the change is a lyrical crime imo especially for someone who admires joni so much >The ONLY "cop-out" choice was the one she made..."go with it, stay with it", which really means NOTHING and dilutes the power of the lyric on any level as it has only a vague non-comitting interpretation. Again I so agree... a stoooopid line, using it is not only vague its lazy writing... & why mess with the master? Imo Kate www.katebennett.com ------------------------------ Date: Sat, 28 Aug 2004 14:38:01 EDT From: Harry83house@aol.com Subject: "ACOY" Joni/k.d.lang Pronoun Debate... I couldn't help chiming in on the whole "go to him/her/it, stay with him/her/it" debate. In December 2002, I sang "A Case of You" at a holiday cabaret benefiting a Repertory Theatre. It wasn't my idea, but because my buddy had bothered to learn it on guitar, he wanted to play it while I handled the vocals. I find it interesting that we never even discussed changing the lyric's pronouns. With a guy singing it, obviously this was about two males, though. I was a little nervous. That night, however, you could have heard a pin drop during the performance and we received great, enthusiastic and sustained applause when we finished. After the performance, a beautiful lady in her early 60's came up to us and thanked us for the song. She had tears in her eyes, and she told us that BLUE had been her late son's favorite album growing up. She said she must've heard "A Case of You" a thousand times, but had never listened to the lyrics. (!!!) She then said, "You are in my blood like holy wine. You taste so bitter. You taste so sweet...If that ain't the truth, I don't know what is." Then she kissed us both and said she was going to go home, turn off "White Christmas" and put on her son's favorite record. I feel ACOY is Joni at her most personal and yet, universal, too. The song is an incredible achievement, musically and lyrically. Gender issues really seem irrelevant. It's about love, man. Hope all is well at Jonifest and elsewhere. Bob Muller, I was just down in Savannah. Beautiful. HOT, though, in the low country. Harry ------------------------------ Date: Sat, 28 Aug 2004 11:45:23 -0700 From: "Kate Bennett" Subject: Who else plays a mountain dulcimer? Tangential JC Tim in Del >Who knew that Cyndi Lauper plays mountain dulcimer, as does the fiddler in her backing band? Tuesday, I heard and saw live, for my first time, Cyndi Lauper at The Grand Opera House, Wilmington, Del. The opening act was Jennifer Marks with backing band, and late in the show, Jennifer and band joined Cyndi and band to perform "Girls Just Want to Have Fun." Cyndi played an electrified mountain dulcimer for several songs -- "Time After Time" began with only dulcimer accompaniment, and the bass guitar and fiddle were gradually added - - -- and the fiddler played the dulcimer on one number where Cyndi didn't. I rate that concert one of the best pop concerts I have attended, and I've been to more than my share.< thanks steve for your tour of the r&rhof! I too felt as if I were there... tim, speaking of tangents & in a world of not too many degrees of separation- jennifer marks is on a cd compilation which I am also on... check it out here (all proceeds go to a great cause, all artists donated their songs): check it out & if you buy it tell them I sent you! http://www.homecd.net/ it doesn't surprise me that you loved this concert, although I have never seen Cyndi live to me she is one of the greatest musicians... she truly is connected with her muse & as an example her version of carey at the tnt tribute to joni (of carey) was absolutely stunning & gave that song a whole new interpretation & life imo kate www.katebennett.com ------------------------------ Date: Sat, 28 Aug 2004 15:29:23 -0400 From: "Justin Russ" Subject: Unreleased/Demo tracks Does anyone own or know of any place to find any unreleased Joni tracks or studio demos (aside from the ones on the Geffen sessions box)? I'm not sure if any have ever surfaced or not, but I would image that with the length of her recording career there must be some things floating around. If anyone has any information that would be great! "We're living in an instant culture. Things are instantly huge, instantly big, explosively popular for like 10 minutes and then you never hear it or see it again. It's got nothing to do with nurturing the artist or the big picture or the body of work. It's like fast food culture. You eat a Big Mac and fries and it tastes really good and then you feel sick after." - - Madonna, 2003. _________________________________________________________________ Scan and help eliminate destructive viruses from your inbound and outbound e-mail and attachments. http://join.msn.com/?pgmarket=en-ca&page=byoa/prem&xAPID=1994&DI=1034&SU=http://hotmail.com/enca&HL=Market_MSNIS_Taglines Start enjoying all the benefits of MSN. Premium right now and get the first two months FREE*. ------------------------------ Date: Sat, 28 Aug 2004 15:46:10 EDT From: SCJoniGuy@aol.com Subject: Re: k. d.'s Joni covers **Again I so agree... a stoooopid line, using it is not only vague its lazy writing... & why mess with the master? Imo But it suddenly occurred to me...what if she was talking about "Cousin It" from The Addams Family? Then it all makes sense - LOL! Bob ------------------------------ Date: Sat, 28 Aug 2004 15:50:21 EDT From: SCJoniGuy@aol.com Subject: Re: "ACOY" Joni/k.d.lang Pronoun Debate... **Gender issues really seem irrelevant. It's about love, man. I very much agree with you, Harry...when I sang "Amelia" at Jonifest 1999, it didn't really cross my mind to change the lyric "it's so hard to obey his sad request of me to kindly stay away" "I rushed into his arms" etc. etc. Even though I was a guy singing in reference to another guy, it didn't matter - that's the way she wrote it, that's the way I sang it, no big deal. Bob ------------------------------ Date: Sat, 28 Aug 2004 16:00:14 -0400 (EDT) From: "Gerald A. Notaro" Subject: Re: 'ACOY' Joni/k.d.lang Pronoun Debate... SCJoniGuy@aol.com said: > > I very much agree with you, Harry...when I sang "Amelia" at Jonifest > 1999, > it didn't really cross my mind to change the lyric > > "it's so hard to obey his sad request of me to kindly stay away" > "I rushed into his arms" > > etc. etc. > > Even though I was a guy singing in reference to another guy, it didn't > matter - that's the way she wrote it, that's the way I sang it, no big > deal. > > Bob > Well everyone knew you were singing it to me, Bob :) Actually, you are in good company. I remember very early on that Joan Baez refused to change the gender of the words as written in order to keep the ingrety of the lyrics. I always respected her for that. Jerry ------------------------------ Date: Sat, 28 Aug 2004 21:56:40 +0100 From: colin Subject: joni pic In todays Daily Telegraph there is a front cover pic of KD Lang and inside i the article a pic of KD with Madonna and Joni.Joni's hand is resti ng on Mad's arm. I owe people like Lieve and MC emails. Sorry for the delay and the delay will continue. I have become crippled, hobbling about on two sticks. The pain that ahs been around for the last 18mths or so has got worse-disappered fo5rm my neck but now in my lower back and hips. Rhuematoid artjhritis maybe-waiting for results. Sitting is painful as is standing and walking but I| have to do all of thsoe anyway! Had 2 litters of pups born-the girl i took to Sweden a nd bred to a Finnish boy has delivered 4 girls and 3 boys 2 weeks ago. The French bitch delivered 3 girls and 3 boys 5 days ago. long ahrd labour and not much milk so am bottle feeding every 2 hours 24/7. lost one boy. the others seem to be doing okay. This mother is getting speyed. I feel old! - -- bw colin http://www.btinternet.com/~tantraapso/ ------------------------------ Date: Sat, 28 Aug 2004 17:16:27 -0400 From: simon@icu.com Subject: 41 Years Ago Today - "I HAVE A DREAM" (Dream Deferred) JONI MITCHELL: "They kill people who give hope in this culture." "I HAVE A DREAM" by The Rev. Dr. Martin Luther King, Jr. Delivered on the steps at the Lincoln Memorial, Washington D.C. August 28, 1963 Five score years ago, a great American, in whose symbolic shadow we stand signed the Emancipation Proclamation. This momentous decree came as a great beacon light of hope to millions of Negro slaves who had been seared in the flames of withering injustice. It came as a joyous daybreak to end the long night of captivity. But one hundred years later, we must face the tragic fact that the Negro is still not free. One hundred years later, the life of the Negro is still sadly crippled by the manacles of segregation and the chains of discrimination. One hundred years later, the Negro lives on a lonely island of poverty in the midst of a vast ocean of material prosperity. One hundred years later, the Negro is still languishing in the corners of American society and finds himself an exile in his own land. So we have come here today to dramatize an appalling condition. In a sense we have come to our nation's capital to cash a check. When the architects of our republic wrote the magnificent words of the Constitution and the declaration of Independence, they were signing a promissory note to which every American was to fall heir. This note was a promise that all men would be guaranteed the inalienable rights of life, liberty, and the pursuit of happiness. It is obvious today that America has defaulted on this promissory note insofar as her citizens of color are concerned. Instead of honoring this sacred obligation, America has given the Negro people a bad check which has come back marked "insufficient funds." But we refuse to believe that the bank of justice is bankrupt. We refuse to believe that there are insufficient funds in the great vaults of opportunity of this nation. So we have come to cash this check -- a check that will give us upon demand the riches of freedom and the security of justice. We have also come to this hallowed spot to remind America of the fierce urgency of now. This is no time to engage in the luxury of cooling off or to take the tranquilizing drug of gradualism. Now is the time to rise from the dark and desolate valley of segregation to the sunlit path of racial justice. Now is the time to open the doors of opportunity to all of God's children. Now is the time to lift our nation from the quicksands of racial injustice to the solid rock of brotherhood. It would be fatal for the nation to overlook the urgency of the moment and to underestimate the determination of the Negro. This sweltering summer of the Negro's legitimate discontent will not pass until there is an invigorating autumn of freedom and equality. Nineteen sixty-three is not an end, but a beginning. Those who hope that the Negro needed to blow off steam and will now be content will have a rude awakening if the nation returns to business as usual. There will be neither rest nor tranquility in America until the Negro is granted his citizenship rights. The whirlwinds of revolt will continue to shake the foundations of our nation until the bright day of justice emerges. But there is something that I must say to my people who stand on the warm threshold which leads into the palace of justice. In the process of gaining our rightful place we must not be guilty of wrongful deeds. Let us not seek to satisfy our thirst for freedom by drinking from the cup of bitterness and hatred. We must forever conduct our struggle on the high plane of dignity and discipline. We must not allow our creative protest to degenerate into physical violence. Again and again we must rise to the majestic heights of meeting physical force with soul force. The marvelous new militancy which has engulfed the Negro community must not lead us to distrust of all white people, for many of our white brothers, as evidenced by their presence here today, have come to realize that their destiny is tied up with our destiny and their freedom is inextricably bound to our freedom. We cannot walk alone. And as we walk, we must make the pledge that we shall march ahead. We cannot turn back. There are those who are asking the devotees of civil rights, "When will you be satisfied?" We can never be satisfied as long as our bodies, heavy with the fatigue of travel, cannot gain lodging in the motels of the highways and the hotels of the cities. We cannot be satisfied as long as the Negro's basic mobility is from a smaller ghetto to a larger one. We can never be satisfied as long as a Negro in Mississippi cannot vote and a Negro in New York believes he has nothing for which to vote. No, no, we are not satisfied, and we will not be satisfied until justice rolls down like waters and righteousness like a mighty stream. I am not unmindful that some of you have come here out of great trials and tribulations. Some of you have come fresh from narrow cells. Some of you have come from areas where your quest for freedom left you battered by the storms of persecution and staggered by the winds of police brutality. You have been the veterans of creative suffering. Continue to work with the faith that unearned suffering is redemptive. Go back to Mississippi, go back to Alabama, go back to Georgia, go back to Louisiana, go back to the slums and ghettos of our northern cities, knowing that somehow this situation can and will be changed. Let us not wallow in the valley of despair. I say to you today, my friends, that in spite of the difficulties and frustrations of the moment, I still have a dream. It is a dream deeply rooted in the American dream. I have a dream that one day this nation will rise up and live out the true meaning of its creed: "We hold these truths to be self-evident: that all men are created equal." I have a dream that one day on the red hills of Georgia the sons of former slaves and the sons of former slaveowners will be able to sit down together at a table of brotherhood. I have a dream that one day even the state of Mississippi, a desert state, sweltering with the heat of injustice and oppression, will be transformed into an oasis of freedom and justice. I have a dream that my four children will one day live in a nation where they will not be judged by the color of their skin but by the content of their character. I have a dream today. I have a dream that one day the state of Alabama, whose governor's lips are presently dripping with the words of interposition and nullification, will be transformed into a situation where little black boys and black girls will be able to join hands with little white boys and white girls and walk together as sisters and brothers. I have a dream today. I have a dream that one day every valley shall be exalted, every hill and mountain shall be made low, the rough places will be made plain, and the crooked places will be made straight, and the glory of the Lord shall be revealed, and all flesh shall see it together. This is our hope. This is the faith with which I return to the South. With this faith we will be able to hew out of the mountain of despair a stone of hope. With this faith we will be able to transform the jangling discords of our nation into a beautiful symphony of brotherhood. With this faith we will be able to work together, to pray together, to struggle together, to go to jail together, to stand up for freedom together, knowing that we will be free one day. This will be the day when all of God's children will be able to sing with a new meaning, "My country, 'tis of thee, sweet land of liberty, of thee I sing. Land where my fathers died, land of the pilgrim's pride, from every mountainside, let freedom ring." And if America is to be a great nation this must become true. So let freedom ring from the prodigious hilltops of New Hampshire. Let freedom ring from the mighty mountains of New York. Let freedom ring from the heightening Alleghenies of Pennsylvania! Let freedom ring from the snowcapped Rockies of Colorado! Let freedom ring from the curvaceous peaks of California! But not only that; let freedom ring from Stone Mountain of Georgia! Let freedom ring from Lookout Mountain of Tennessee! Let freedom ring from every hill and every molehill of Mississippi. From every mountainside, let freedom ring. When we let freedom ring, when we let it ring from every village and every hamlet, from every state and every city, we will be able to speed up that day when all of God's children, Black men and white men, Jews and Gentiles, Protestants and Catholics, will be able to join hands and sing in the words of the old Negro spiritual, "Free at last! free at last! thank God Almighty, we are free at last!" DREAM DEFERRED by Langston Hughes What happens to a dream deferred? Does it dry up Like a raisin in the sun? Or fester like a sore-- And then run? Does it stink like rotten meat? Or crust and sugar over-- like a syrupy sweet? Maybe it andmoreagain, - ------------------ simon and time has told me not to ask for more someday our ocean will find its shore ------------------------------ Date: Sat, 28 Aug 2004 17:16:31 -0400 From: simon@icu.com Subject: Dr. King, Not! a dreamer JONI MITCHELL: "They kill people who give hope in this culture." DUBBED PLACID, KING's MILITANT VOICE IS REVEALED By Maynard Eaton All too often the media, political leaders and too many historians miscast and misrepresent Dr. Martin Luther King, Jr. as merely a placid, non-confrontational civil rights advocate who was content to focus on integration. The world has been duped into believing that the essence of Dr. King's message and mission is embodied in his "I Have A Dream" speech. While that marketing ploy and characterization of Dr. King's work and wizardry has made him a palatable folk hero, it has also skewed the substance of the King saga. That personification fails to recognize how this charismatic leader emerged as such a threat to America's economic interests he had to be eliminated. Those who worked with and marched with Dr. King say image-makers are attempting to sanitize this African-American icon. "Dr. King was a radical revolutionary," opines Georgia State Representative Tyrone Brooks, formerly the national field director for the Southern Christian Leadership Conference. "White America is trying to change the image of King so that our children and unborn generations will not view the real King that we knew. Dr. King was not someone who walked around dreaming all the time. Dr. King was an activist and a true revolutionary." "He was always militant," says former SCLC President Dr. Joseph Lowery of King. "Anybody who talks about staying off the buses and challenging folk to walk is militant. Talking about public accommodations and the denial of the voting rights; all that is militant. He was dynamically and actively militantly non-violent." Brooks contends that Dr. King was assassinated because he was about to redirect the civil rights movement into another dimension -- economic parity. "White America decided that this man has certainly been a catalyst in bringing about social change in terms of desegregation and voting rights, but now this man is talking about altering the way America does business and talking about a redistribution of American wealth to the poor and the disenfranchised," Brooks said. "It really upset America." Says Dr. Lowery of the discernable shift in Dr. King's thinking and leadership; "The movement moved away from the customer side of the lunch counter to the cash register side. People who were willing to deal with segregation and busing and lunch counters were not quite ready to deal with economic integration. And so he died. They didn't care about niggas riding the bus, but when you talk about owning the banks and dividing the pie up, that's another proposition. You're talking about a seat at the economic table and even today there is pretty stiff resistance [to that]." During the first decade of the civil rights movement, Martin Luther King, Jr. had been hesitant to become involved in other political issues, for fear of weakening the cause for racial justice. By 1967, however in a speech at Riverside Church in New York City that many considered momentous, he declared his opposition to the Vietnam War. That speech; that moment amounted to a paradigm shift for the movement and the man. "Peace and civil rights don't mix, [people] say," Dr. King said. "Aren't you hurting the cause of your people, they ask. And when I hear them, although I often understand the source of their concern, I am nevertheless greatly saddened, for such questions mean that the inquirers have not really known me, my commitment or my calling." "I knew that America would never invest the necessary funds or energies in rehabilitation of its poor so long as Vietnam continued to draw men and skills and money like some demonic, destructive suction tube," Dr. King continued. "So I was increasingly compelled to see the war as an enemy of the poor and to attack it as such? We were taking the young Black men who had been crippled by our society and sending them 8,000 miles away to guarantee liberties in Southeast Asia, which they had not found in Southwest Georgia and East Harlem." Both Lowery and Brooks say that after that controversial speech, Black and White America took a different view of King. "The war was about economics as well as humanness," Dr. Lowery argues. "Martin said 'the bombs that explode in Vietnam in the '60s will explode in our economy in the '70s and '80s.' And, it did." "[Dr. King] was roundly criticized by all the establishment Black leadership. They all condemned Dr. King for that speech," Rep. Brooks recalls. "They said he'd gone too far and that the movement ought not get involved with foreign affairs. King said look at the amount of money that is coming out the American taxpayers' pocket, including Black people, that's financing this war. After that speech, you saw the anti-war movement really grow, young, White liberals and other civil rights leaders got on board. So, the King speech at Riverside Church laid the foundation for that overwhelming American response which said the war must end now." Brooks said it is most important and ultimately tragic that people began to see Dr. King as just a civil rights leader who would focus on domestic policy, not as an international, global leader. Hopefully future generations will recognize that his deeds and his direction include far more than just his dream of integration. andmoreagain, - ------------------ simon ------------------------------ Date: Sat, 28 Aug 2004 17:16:33 -0400 From: simon@icu.com Subject: Yet Do I Marvel YET DO I MARVEL by Countee Cullen I doubt not God is good, well-meaning, kind And did He stoop to quibble could tell why The little buried mole continues blind, Why flesh that mirrors Him must some day die, Make plain the reason tortured Tantalus Is baited by the fickle fruit, declare If merely brute caprice dooms Sisyphus To struggle up a never-ending stair. Inscrutable His ways are, and immune To catechism by a mind too strewn With petty cares to slightly understand What awful brain compels His awful hand. Yet do I marvel at this curious thing: To make a poet black, and bid him sing! andmoreagain, - ------------------ simon ------------------------------ Date: Sat, 28 Aug 2004 17:09:57 -0700 From: "Mark or Travis" Subject: Re: k. d.'s Joni covers > I haven't heard the song but just on the lyric discussion level I so > agree... it works so perfectly & would have supported the fact that > joni is an incredible songwriter when you leave her songs as is... by > nature of the fact that once again her lyrics can take you in so many > directions... the change is a lyrical crime imo especially for > someone who admires joni so much > There was a time when I might have agreed with you, Kate. But I don't see how altering one line to make it feel more personal to the interpreter constitutes something as dramatic as a 'crime'. Singers change lyrics all the time when they're interpreting somebody else's songs. Joni does it with her own songs when performing them live. I don't think the writers ever meant their lyrics to be the Holy Gospel, although I will defer to you on that point, Kate, since you are a songwriter and I am not. I agree that k. d.'s choice is not as good as the original. But obviously she felt compelled to make a slight alteration to make the song more meaningful to her and I don't think just changing the pronoun would have worked. She also shortened 'and I'm drawn to those ones that ain't afraid' to 'I'm drawn to those ones that ain't' which actually works better with the rhyme scheme and meter (although I still love Joni's original which makes the rhyme internal if less obvious). If a singer is trying to put their own stamp on a song and not just produce a carbon copy of the original, I don't see that an altered pronoun does that much harm in some songs. With some it doesn't work. I wouldn't try it with 'The Man That Got Away' or 'I Enjoy Being a Girl'. But singing 'go with it, stay with it', which, to me anyway, is not meaningless ('it' meaning the relationship - the object is shifted from the actual person to the relationship but it really isn't that big of a difference in meaning, imo) was a choice that k. d. felt comfortable with. Really she has removed the gender issue entirely and anybody could sing that line (or the entire song, for that matter) and not feel any discomfort about it. To me the most important line of the verse is 'But be prepared to bleed' and that comes through loud and clear in k. d.'s version. I think that the woman 'with a mouth like yours' is someone close to the subject of the song. She loves this person and wants them to have somebody that cares for and loves them. But she also knows that whoever does get involved with this man or woman will have to endure a lot of pain. That, to me, is the point of the verse and k. d. succeeds in putting that across. Mark He in She-attle ps: When Streisand recorded 'Send in the Clowns' for 'The Broadway Album', she asked Stephen Sondheim to write a second bridge for it because she didn't feel the next to last verse transitioned very well into the last. Sondheim wrote the second bridge. What could he do? It was Babs! But the nerve of that woman! ------------------------------ Date: Sun, 29 Aug 2004 13:08:19 +1200 From: "hell" Subject: RE: k. d.'s Joni covers Mark wrote: > There was a time when I might have agreed with you, Kate. But I > don't see how altering one line to > make it feel more personal to the interpreter constitutes > something as dramatic as a 'crime'. I'm with Mark on this one (Hi Mark!). I don't think changing a lyric to make a song more meaningful to the singer is a "crime". In some cases it's not necessarily a good decision, especially if it completely changes the meaning of the lyric. But then that's pretty subjective anyway - as Joni says, "Who cares what it means to me, what does it mean to YOU?" Joni is guilty of this "crime" herself, with interpretation of Yeats' "The Second Coming", or the passage from Corinthians in "Love". I haven't heard kd's version of ACOY (although it's on the "to get" list), so I won't comment on that, but there's another example I've heard recently. I just got Joss Stone's "Soul Sessions" (a fabulous album, by the way) and there's a White Stripes song on it. The original song by Jack White is entitled "Fell In Love With A Girl", but Joss sings "Fell In Love With A Boy". A fairly major lyric change, but it works in both cases. I've heard many instances of artists changing pronouns from male to female and vice versa, but I've never thought it "hurt" the song. It can change a rhyme, with can make the song sound a little clumsy, but for the most part, it doesn't bother me, and I don't suspect I'll have a problem with kd's version of ACOY. Incidentally, you can see/hear the video to both the White Stripes "Fell In Love With A Girl" and Joss Stone's "Fell In Love With A Boy" on the music video section of www.launch.com - although they sound VASTLY different. Joss Stone has done a great job of interpreting this song, although I also love the original! Hell NP: Joss Stone - I've Fallen In Love With You ____________________________________ "To have great poets, there must be great audiences too" - Walt Whitman Hell's Pages - a whole new experience! http://homepages.ihug.co.nz/~hell ------------------------------ Date: Sat, 28 Aug 2004 18:28:17 -0700 From: "Kate Bennett" Subject: RE: k. d.'s Joni covers Mark >ps: When Streisand recorded 'Send in the Clowns' for 'The Broadway Album', she asked Stephen Sondheim to write a second bridge for it because she didn't feel the next to last verse transitioned very well into the last. Sondheim wrote the second bridge. What could he do? It was Babs! But the nerve of that woman!< interesting tangent... I spoke recently with a (now) hit songwriter (forget his name at this moment) who wrote a song for babs, she wanted to change the first line, he didn't want to but realized he risked not having her sing his song... he mulled it over & decided to stay with his song integrity- he felt her line was weak & compromised the song (especially being the first line)... so he said no to babs but she did his song anyway (the way he wrote it)... I love it... & forget the song & the line but it was a small change that made a big difference as is often the case in songwriting ------------------------------ Date: Sat, 28 Aug 2004 18:39:35 -0700 From: "Kate Bennett" Subject: RE: k. d.'s Joni covers Hi mark & hell, well I used crime as a slang to mean a very bad artistic choice... I don't think changing a lyric per se is criminal (again using the slang version) but in this case it was lazy writing imo which I consider a crime because joni is so meticulous (mostly) with her lyric choices :~) ------------------------------ Date: Sat, 28 Aug 2004 19:56:11 -0700 From: "Kate Bennett" Subject: KPFK Interview Transcription Thanks Lindsay! I was happy to read that Joni said this: "I think you've just got to get, you know -- before the Constitution is destroyed I think you have to get Bush out of power." >The ever-amazing Lindsay Moon has completed the transcription of the KPFK interview. Read it here: http://www.jmdl.com/articles/view.cfm?id=1173< ------------------------------ Date: Sun, 29 Aug 2004 02:00:05 -0400 From: ljirvin@jmdl.com Subject: Today's Library Links: August 29 On August 29 the following articles were published: 1969: "Joni's Love of Words Turns Into $500,000 Bonanza" - Saskatoon StarPhoenix (Interview) http://www.jmdl.com/articles/view.cfm?id=641 1979: "Joni's talent is original" - Philadelphia Bulletin (Review - Concert) http://www.jmdl.com/articles/view.cfm?id=887 ------------------------------ End of onlyJMDL Digest V2004 #247 ********************************* ------- Post messages to the list by clicking here: mailto:joni@smoe.org Unsubscribe by clicking here: mailto:onlyjoni-digest-request@smoe.org?body=unsubscribe ------- Siquomb, isn't she? (http://www.siquomb.com/siquomb.cfm)