From: owner-onlyjoni-digest@smoe.org (onlyJMDL Digest) To: onlyjoni-digest@smoe.org Subject: onlyJMDL Digest V2014 #392 Reply-To: joni@smoe.org Sender: owner-onlyjoni-digest@smoe.org Errors-To: owner-onlyjoni-digest@smoe.org Precedence: bulk Website:http://www.jonimitchell.com Unsubscribe:mailto:onlyjoni-digest-request@smoe.org?body=unsubscribe onlyJMDL Digest Monday, November 24 2014 Volume 2014 : Number 392 ========== TOPICS and authors in this Digest: -------- Don't It Always Seem To Go? [Anita Gabrielle ] Re: Joni interview in Macleans [Anne Madden ] DED [Jeff Clark ] Joni article in the Irish Times. [Anita Gabrielle ] Re: New Library item: Portrait of genius [Moni Kellermann ] Jian Gomeshi interview [Jeff Clark ] re: The Interview [jlhommedieu@insight.rr.com] Re: New Library item: The Interview: Joni Mitchell [Catherine McKay ] Portrait of Genius [gertus@aol.com] Looking for a copy of The Sunday Times Magazine - 11/23/14 ["Laura O." ] Re: Don't It Always Seem To Go? [Dave Blackburn ] Joni interview in Macleans [Deb Messling ] Re: Don't It Always Seem To Go? [Anita Gabrielle ] Joni on Tavis Smiley Tuesday 11/15/14 ["Laura O." ] ---------------------------------------------------------------------- Date: Sun, 23 Nov 2014 13:40:38 +0000 From: Anita Gabrielle Subject: Don't It Always Seem To Go? Ahhhhh, sweet synchronicity. How many times have we talked about Joni and synchronicity here? So, my new all women band played our very first gig last night and I have to say we went down a storm. So I am pretty wired when I get home and feel full and pleased and delighted that our trip to see the Mutts perform Hejira and the Monday sing song on Dave and Robin's porch (and in particular MrBlackburn's pep talk) has led me back to playing again. I get waves of how fortunate I am and feel choked up with joy and so grateful to JMDL and JMDLERS. And then through the night I start thinking I really should submit an abstract of some kind for the University of Lincoln conference about Joni and see if I can get something accepted. Then I imagine myself presenting my paper at the Conference and being so overwhelmed at even trying to explain what all this has meant to me for the past 46 years....... Anyway, this morning I started to play with some ideas for a paper and then thought I am being ridiculous. What could I say or add about Joni that hasn't been said or done? Then Steph says "there aren't many who know more about Joni's music than you" and, I thought, well there are quite a few..........but I was grateful for her encouragement, nonetheless. So off she goes to get the Sunday paper and I thought "Give me a sign. Then I'll know what to do." Ten minutes later, Steph comes in with the London Sunday Times, we sit down for breakfast, I open the paper and head straight for the Culture magazine, as I do every Sunday, and on the front cover is full picture of Joni, (The Lonely Painter) and a three page interview by Bryan Appleyard titled "Portrait of a Genius." What do you reckon? Shall I go for it? Happy Sunday Anita ------------------------------ Date: Sun, 23 Nov 2014 14:11:22 -0500 From: Anne Madden Subject: Re: Joni interview in Macleans I agree. I didn't get the impression she was upset at him or didn't like him, far from it. Gohmeshi is a very sick individual. However he has great interviewing skills. I think he did a wonderful interview with Joni. He did his homework, allowed her to talk and was very respectful towards her. Anne p> Sent from my iPad > On Nov 23, 2014, at 1:56 PM, Gerald Kent wrote: > > I am confused, as usual, with Joni's response about this guy. If you remember, during the time of her interview with him she discussed some sordid interviews she had in the past. He asked how he was and she said (paraphrasing) "you are dong fine"!!!! > > Sent from my iPad > >> On Nov 22, 2014, at 8:13 PM, "Susan E. McNamara" wrote: >> >> Great interview Deb! Thanks so much for sharing the link! I was in Toronto a couple of weeks ago visiting Pat Hillis and we talked a lot about the Gomeshi situation. It is so interesting that Joni hated that interview. You could tell he was pushing her ... At the time I thought he was one of the first interviewers who tried to reign her in and put her on the spot. If only half the stuff that is coming out about him is true he's a pretty sick puppy. >> >> I also am very curious about the details of her interaction with Georgia O'Keeffe ... So many parallels in their artistic journeys ... >> >> Sent from my iPhone >> >>> On Nov 22, 2014, at 6:57 PM, "Deb Messling" wrote: >>> >>> Nice new interview just posted: >>> >>> http://www.macleans.ca/society/the-interview-joni-mitchell/ >>> >>> One interesting tidbit that I confess I've been wondering about. She talks >>> about the Jian Ghomeshi interview, says she hated it and says "I exorcised >>> the house after this guy left. I smudged it and opened all the windows." >>> >>> -- >>> Deb Messling >>> dlmessling@gmail.com >>> http://bookbook.typepad.com/blog/ ------------------------------ Date: Sun, 23 Nov 2014 20:00:16 +0000 (UTC) From: Jeff Clark Subject: DED B <> I Love the album Dog Eat Dog. Always have. Not as much as Court and Spark, but more than Blue, about the same as For the Roses.B JeffNP: Mary Hopkin, Night in the City ------------------------------ Date: Sun, 23 Nov 2014 18:34:35 +0000 From: Anita Gabrielle Subject: Joni article in the Irish Times. I don't know if this has appeared here yet. I haven't noticed. Forgive me if it has. It has been forwarded to me by a friend. > > Among Ms. Mitchell's most critically acclaimed albums is "Blue" (1971), which set new standards for emotional, autobiographical songwriting. One of the album's best-known songs is "Carey," which Ms. Mitchell includes on "Love Has Many Faces: A Quartet, A Ballet, Waiting to Be Danced"-a newly remastered four-CD set of previously released material due out on Nov. 24. In an interview at her Los Angeles home, Ms. Mitchell, 71 years old, recalled the song's evolution. Edited from an interview: > > Joni Mitchell: Everyone said I broke Graham Nash's heart when our relationship ended in late 1969. But that's not quite accurate. We both knew it was over, and it wasn't an ugly ending. Reasons for the break are complicated, but Graham and David Crosby were becoming inseparable, which was increasingly tough on me. In late January of 1970, David asked me to sail with him on his boat, the Mayan. But when I came aboard in Jamaica in early February, no one told me that Graham would be there. It was an awkward thing to do, to put us in that position. When we reached Panama, I left, flying to San Francisco to meet my friend Penelope and start a preplanned trip to Greece. > > The truth is after Graham and I separated, I was really depressed. I believed in that relationship and suddenly it was over, so I had a hard time believing in my own word. I also lost most of my Los Angeles friends who had been my constant community. When I left him, they took his side. All of this was very painful. > > In Greece, Penelope and I spent the first few days in Athens. I didn't think I looked like a hippie, but I definitely didn't look Greek. My fair hair made me stand out. During the day, I'd pile it up on my head. It was a conservative look, like a schoolteacher. Still, my hair seemed to offend people, mostly men, who called out with a big grin on their faces, "Sheepy, sheepy, Matala, Matala." I asked around about the phrase and was told it meant, "Hippie, hippie, go to Matala in Crete. That's where your kind are." > > A few days later, Penelope and I were on a ferry to see what Matala was all about. We arrived in Heraklion on Crete's north coast and stayed in a hotel the first night. The next day, I rented a VW Bug and we drove 45 miles to Matala, a fishing village on the south coast. There weren't any homes in Matala, just two grocery stores, a bakery where the owner made fresh yogurt and bread, a general store with the only phone in town, two cafes and a few rental huts. Most of the hippies who had traveled there slept in small caves carved into the cliff on one side of the beach. > > After we arrived, Penelope and I rented a cinder block hut in a nearby poppy field and walked down to the beach. As we stood staring out toward Turkey, an explosion went off behind us. I turned around just in time to see this guy with a red beard blowing through the door of a cafe. He was wearing a white turban, white Nehru shirt and white cotton pants. I said to Penelope, "What an entrance-I have to meet this guy." He wasn't hurt, but all the hair on his arms and legs had been singed from the blast. He was American and a cook at one of the cafes. Apparently, when he had lit the stove, it blew him out the door. That's how Cary [Raditz] entered my life-ka-boom. > > The next night, Penelope and I went to the Mermaid CafC) for a drink with Cary. Several hippies were there along with some soldiers. Someone recommended this clear Turkish liquor called raki. I wasn't a big drinker, and after three glasses I woke up the next morning alone in Cary's cave. The stacked leather heels of my city boots had broken off, apparently from climbing a mountain the night before. I had no recollection of the climb. Later, when I returned to my hut, Penelope was gone. I was told she went off with one of the soldiers from the Mermaid the night before. That was the last I saw of her for many years. > > http://online.wsj.com/articles/when-joni-mitchell-met-cary-raditz-her-mean-old-daddy-1415721367?tesla=y > > > > > --- > This email is free from viruses and malware because avast! Antivirus protection is active. > http://www.avast.com ------------------------------ Date: Sun, 23 Nov 2014 20:33:50 +0000 From: Anita Gabrielle Subject: Re: Joni article in the Irish Times. Oops, sorry forgot to cut that link. Apologies. Anita > On 23 Nov 2014, at 18:55, Moni Kellermann wrote: > >> Am 23.11.2014 um 19:34 schrieb Anita Gabrielle: >> I don't know if this has appeared here yet. I haven't noticed. >> Forgive me if it has. It has been forwarded to me by a friend. > > [... cut ...] >>> >>> http://online.wsj.com/articles/when-joni-mitchell-met-cary-raditz-her-mean-old-daddy-1415721367?tesla=y > > That's not from the Irish Times, it's one of the two Wall Street Journal articles. > > > moni k. ------------------------------ Date: Sun, 23 Nov 2014 02:27:14 -0800 From: kbhla@fastmail.fm Subject: The interview Chris, While I loved most of Joni's answers in the interview, I agree it all seemed a bit disconnected. However, I wouldn't be at all surprised if her answers (which might have gone on for pages) were heavily cut short or chopped in the editing process, so we might have missed a lot of context and other clarifying input. Kakki ------------------------------ Date: Sun, 23 Nov 2014 11:57:55 +0000 (UTC) From: Catherine McKay Subject: Re: Joni interview in Macleans Dunno if anyone outside of Canada is inundated with this stuff as we are, but Ghomeshi was fired by the CBC and now a whole bunch of people have stepped forward to say they were sexually assaulted by him and this goes back years. It seems our Joan can see through people better than most of us can. Just google his name. From: Deb Messling To: JMDL Sent: Saturday, November 22, 2014 4:13 PM Subject: Joni interview in Macleans Nice new interview just posted: http://www.macleans.ca/society/the-interview-joni-mitchell/ One interesting tidbit that I confess I've been wondering about. She talks about the Jian Ghomeshi interview, says she hated it and says "I exorcised the house after this guy left. I smudged it and opened all the windows." - -- Deb Messling dlmessling@gmail.com http://bookbook.typepad.com/blog/ ------------------------------ Date: Mon, 24 Nov 2014 07:02:31 +0100 From: Moni Kellermann Subject: Re: New Library item: Portrait of genius Am 23.11.2014 um 20:44 schrieb TheStaff@JoniMitchell.com: > Title: Portrait of genius > Publication: London Sunday Times > Date: 2014.10.23 > > http://jonimitchell.com/library/view.cfm?id=2871 Quote from the article: > Below us is a huge swimming pool, which, she says, she can no longer afford to heat. Is she smoking all her royalties or what? Or is this supposed to be a trick to get me to buy her first multi-disc compilation? moni k. P.S. Thank you, Les, for putting that article up so quickly! :) ------------------------------ Date: Sun, 23 Nov 2014 12:44:19 -0700 (MST) From: TheStaff@JoniMitchell.com Subject: New Library item: Portrait of genius Title: Portrait of genius Publication: London Sunday Times Date: 2014.10.23 http://jonimitchell.com/library/view.cfm?id=2871 ------------------------------ Date: Sun, 23 Nov 2014 09:58:23 -0800 From: Dave Blackburn Subject: Re: The Interview Not to be nitpicky, but Ethiopia is not a great example of Jonibs harmonic dissonance. Itbs rather lush actually, compared to something like The Jungle Line. What is atmospheric in Ethiopia, to me anyway, is the stark drum machine, and the repetitive piano figure, which perhaps evokes a barren landscape quite well. Personally, I find it hard to believe that Wayne Shorter would ever say such a thing about her chords. He is a deeply advanced musician and Jonibs harmony, although highly unusual for an unschooled musician to employ, makes perfect sense and is not hard to hear or play on either guitar or piano (my chart for it is on the website for closer inspection.) I think this may be one of her filtered stories that has morphed its way into the bio - beven Wayne Shorter couldnbt get what I was doingb - nah, I donbt buy it. What she was very good at is combining chords into unusual progressions, and as Ibve written before, she was a markedly different composer on guitar than she was on piano. > On Nov 23, 2014, at 9:14 AM, jlhommedieu@insight.rr.com wrote: > > Wow. Great post. Sometimes she seems to exaggerate a bit, but it is hard to tell. > > I don't know her personally, of course, but I think she has a bit of Steve Jobs in her. I'm reading a bio called "Jobs" and they talk repeatedly and at length about a habit nicknamed a "reality distortion field". Many at Apple suffered through it, Bill Gates too. > > Here is an example. In the Geffen box'es liner notes, Joni told about when Wayne Shorter listened back to "Ethiopia", preparing to add a layer. According to Joni, he asked something like this: > >>> What are these chords? These are not (easily made) piano chords. These are not guitar chords. What? What are these?>> > > Joni said that the chords have a lot of dissonance in them because they stand in for despair. > > That makes perfect sense to me; that's why NOBODY DIES IT LIKE JONI MITCHELL. > > The muse says she needs dissonance, so she simply does exactly that. No fear. No courage required. It is simply the RIGHT way to construct a song about sub-human conditions and despair. > > But getting back to the point, I think that Joni took an exploratory conversation with Shorter and transmuted it into, "no one liked Ethiopia". > > A strange thing about is that she doesn't attach that discomfort to Shorter. It is attached to "everyone". In a way, that b"b"isb"b" true. "Ethiopia" is not easy or beautiful. It must be difficult, and therefore it is. As an artist, she has to live with her audience's difficulty. Maybe no one gushes over it, but that's something Van Gogh must withstand. I mean Joni. p > > Jim ------------------------------ Date: Mon, 24 Nov 2014 01:34:12 +0000 (UTC) From: Jeff Clark Subject: Jian Gomeshi interview My favorite part of that interview is when he says to her, "does it bother you when people call you a recluse?" and she says, "No, people always get everything wrong. Whenever anyone gets anything right, I'm amazed" That cracks me up and I quote it all the time.JeffNP: The Wizard of Oz on TBS ------------------------------ Date: Sun, 23 Nov 2014 12:14:07 -0500 From: jlhommedieu@insight.rr.com Subject: re: The Interview Wow. Great post. Sometimes she seems to exaggerate a bit, but it is hard to tell. I don't know her personally, of course, but I think she has a bit of Steve Jobs in her. I'm reading a bio called "Jobs" and they talk repeatedly and at length about a habit nicknamed a "reality distortion field". Many at Apple suffered through it, Bill Gates too. Here is an example. In the Geffen box'es liner notes, Joni told about when Wayne Shorter listened back to "Ethiopia", preparing to add a layer. According to Joni, he asked something like this: >> What are these chords? These are not (easily made) piano chords. These are not guitar chords. What? What are these?>> Joni said that the chords have a lot of dissonance in them because they stand in for despair. That makes perfect sense to me; that's why NOBODY DIES IT LIKE JONI MITCHELL. The muse says she needs dissonance, so she simply does exactly that. No fear. No courage required. It is simply the RIGHT way to construct a song about sub-human conditions and despair. But getting back to the point, I think that Joni took an exploratory conversation with Shorter and transmuted it into, "no one liked Ethiopia". A strange thing about is that she doesn't attach that discomfort to Shorter. It is attached to "everyone". In a way, that b"b"isb"b" true. "Ethiopia" is not easy or beautiful. It must be difficult, and therefore it is. As an artist, she has to live with her audience's difficulty. Maybe no one gushes over it, but that's something Van Gogh must withstand. I mean Joni. p Jim ------------------------------ Date: Sun, 23 Nov 2014 11:54:48 +0000 (UTC) From: Catherine McKay Subject: Re: New Library item: The Interview: Joni Mitchell The annoying thing about that "read-this-first" page that pops up when you click on a link these days is that, once you close it, it just takes you to the main page, not the one the link links to. From: "TheStaff@JoniMitchell.com" To: joni@smoe.org Sent: Saturday, November 22, 2014 6:37 PM Subject: New Library item: The Interview: Joni Mitchell Title: The Interview: Joni Mitchell Publication: Canadian Press Date: 2014.11.22 http://jonimitchell.com/library/view.cfm?id=2870 ------------------------------ Date: Sun, 23 Nov 2014 19:55:58 +0100 From: Moni Kellermann Subject: Re: Joni article in the Irish Times. Am 23.11.2014 um 19:34 schrieb Anita Gabrielle: > I don't know if this has appeared here yet. I haven't noticed. > Forgive me if it has. It has been forwarded to me by a friend. [... cut ...] >> >> http://online.wsj.com/articles/when-joni-mitchell-met-cary-raditz-her-mean-old-daddy-1415721367?tesla=y >> That's not from the Irish Times, it's one of the two Wall Street Journal articles. moni k. ------------------------------ Date: Sun, 23 Nov 2014 20:10:02 +0000 From: gertus@aol.com Subject: Portrait of Genius What a good title for the article about Joni in today's Culture section of the UK Sunday Times. Nice article by Brian Appleyard, although I could have done with more depth but a front cover photo can't be bad for the 'lonely painter'. Sad to read she has given up on music and love though and to hear her describe herself as old. Jacky Sent from my iPad ------------------------------ Date: Sun, 23 Nov 2014 17:08:52 -0600 From: "Laura O." Subject: Looking for a copy of The Sunday Times Magazine - 11/23/14 Anyone willing to mail a copy of Culture, The Sunday Times Magazine - November 23rd 2014 (with Joni on the cover.....The Lonely Painter) to the USA? Please email me and let me know the postage cost/details. I'll reimburse you. Or if you want to do a trade.....I have a few different postcards of Joni & liquor bottle stickers. Thank you! Laura ------------------------------ Date: Sun, 23 Nov 2014 13:56:45 -0500 From: Gerald Kent Subject: Re: Joni interview in Macleans I am confused, as usual, with Joni's response about this guy. If you remember, during the time of her interview with him she discussed some sordid interviews she had in the past. He asked how he was and she said (paraphrasing) "you are dong fine"!!!! Sent from my iPad > On Nov 22, 2014, at 8:13 PM, "Susan E. McNamara" wrote: > > Great interview Deb! Thanks so much for sharing the link! I was in Toronto a couple of weeks ago visiting Pat Hillis and we talked a lot about the Gomeshi situation. It is so interesting that Joni hated that interview. You could tell he was pushing her ... At the time I thought he was one of the first interviewers who tried to reign her in and put her on the spot. If only half the stuff that is coming out about him is true he's a pretty sick puppy. > > I also am very curious about the details of her interaction with Georgia O'Keeffe ... So many parallels in their artistic journeys ... > > Sent from my iPhone > >> On Nov 22, 2014, at 6:57 PM, "Deb Messling" wrote: >> >> Nice new interview just posted: >> >> http://www.macleans.ca/society/the-interview-joni-mitchell/ >> >> One interesting tidbit that I confess I've been wondering about. She talks >> about the Jian Ghomeshi interview, says she hated it and says "I exorcised >> the house after this guy left. I smudged it and opened all the windows." >> >> -- >> Deb Messling >> dlmessling@gmail.com >> http://bookbook.typepad.com/blog/ ------------------------------ Date: Sun, 23 Nov 2014 08:05:17 -0800 From: Dave Blackburn Subject: Re: Don't It Always Seem To Go? Dear Anita, congrats on the new ensemble and pleased to have had an unwitting hand in its formation. It wasnbt very clever of me to say bif path A isnbt working for you why not try path B?b but maybe it gave a nudge! On the symposium, I agree with Steph that you are highly qualified to present a paper. Your lifetime of immersion in the music automatically gives you a deep perspective and Ibm sure you could put together something fascinating. I have been thinking about submitting a paper called something like bThe Martians have been here: Joni Mitchellbs harmonic palette" but work has been quite sparse for me for the last couple of years and if that persists through next year, traveling to England would not be realistic. I suppose I could try for a grant... Dave > On Nov 23, 2014, at 5:40 AM, Anita Gabrielle wrote: > > Ahhhhh, sweet synchronicity. How many times have we talked about Joni and synchronicity here? > > So, my new all women band played our very first gig last night and I have to say we went down a storm. So I am pretty wired when I get home and feel full and pleased and delighted that our trip to see the Mutts perform Hejira and the Monday sing song on Dave and Robin's porch (and in particular MrBlackburn's pep talk) has led me back to playing again. I get waves of how fortunate I am and feel choked up with joy and so grateful to JMDL and JMDLERS. > > And then through the night I start thinking I really should submit an abstract of some kind for the University of Lincoln conference about Joni and see if I can get something accepted. Then I imagine myself presenting my paper at the Conference and being so overwhelmed at even trying to explain what all this has meant to me for the past 46 years....... > > Anyway, this morning I started to play with some ideas for a paper and then thought I am being ridiculous. What could I say or add about Joni that hasn't been said or done? Then Steph says "there aren't many who know more about Joni's music than you" and, I thought, well there are quite a few..........but I was grateful for her encouragement, nonetheless. > > So off she goes to get the Sunday paper and I thought "Give me a sign. Then I'll know what to do." > > Ten minutes later, Steph comes in with the London Sunday Times, we sit down for breakfast, I open the paper and head straight for the Culture magazine, as I do every Sunday, and on the front cover is full picture of Joni, (The Lonely Painter) and a three page interview by Bryan Appleyard titled "Portrait of a Genius." > > What do you reckon? Shall I go for it? > Happy Sunday > Anita ------------------------------ Date: Sat, 22 Nov 2014 16:13:34 -0500 From: Deb Messling Subject: Joni interview in Macleans Nice new interview just posted: http://www.macleans.ca/society/the-interview-joni-mitchell/ One interesting tidbit that I confess I've been wondering about. She talks about the Jian Ghomeshi interview, says she hated it and says "I exorcised the house after this guy left. I smudged it and opened all the windows." - -- Deb Messling dlmessling@gmail.com http://bookbook.typepad.com/blog/ ------------------------------ Date: Sun, 23 Nov 2014 17:37:22 +0000 From: Anita Gabrielle Subject: Re: Don't It Always Seem To Go? Dave, many thanks for this encouragement. I am really going to start thinking about this. Steph and I are currently writing a chapter for a book about the history of women's physical education. I always seem to think I have nothing to say, then get involved and really enjoy the process, so what better way to spend time than working on something about Joni. I am particularly touched by you valuing my "lifetime of immersion" that may give me a perspective. I will try to value this in myself. As for The Martians Have Been Here - I SO look forward to hearing your paper! Let's make it happen :-) Anita xx > On 23 Nov 2014, at 16:05, Dave Blackburn wrote: > > Dear Anita, congrats on the new ensemble and pleased to have had an unwitting hand in its formation. It wasnbt very clever of me to say bif path A isnbt working for you why not try path B?b but maybe it gave a nudge! > > On the symposium, I agree with Steph that you are highly qualified to present a paper. Your lifetime of immersion in the music automatically gives you a deep perspective and Ibm sure you could put together something fascinating. I have been thinking about submitting a paper called something like bThe Martians have been here: Joni Mitchellbs harmonic palette" but work has been quite sparse for me for the last couple of years and if that persists through next year, traveling to England would not be realistic. I suppose I could try for a grant... > > Dave > > >> On Nov 23, 2014, at 5:40 AM, Anita Gabrielle wrote: >> >> Ahhhhh, sweet synchronicity. How many times have we talked about Joni and synchronicity here? >> >> So, my new all women band played our very first gig last night and I have to say we went down a storm. So I am pretty wired when I get home and feel full and pleased and delighted that our trip to see the Mutts perform Hejira and the Monday sing song on Dave and Robin's porch (and in particular MrBlackburn's pep talk) has led me back to playing again. I get waves of how fortunate I am and feel choked up with joy and so grateful to JMDL and JMDLERS. >> >> And then through the night I start thinking I really should submit an abstract of some kind for the University of Lincoln conference about Joni and see if I can get something accepted. Then I imagine myself presenting my paper at the Conference and being so overwhelmed at even trying to explain what all this has meant to me for the past 46 years....... >> >> Anyway, this morning I started to play with some ideas for a paper and then thought I am being ridiculous. What could I say or add about Joni that hasn't been said or done? Then Steph says "there aren't many who know more about Joni's music than you" and, I thought, well there are quite a few..........but I was grateful for her encouragement, nonetheless. >> >> So off she goes to get the Sunday paper and I thought "Give me a sign. Then I'll know what to do." >> >> Ten minutes later, Steph comes in with the London Sunday Times, we sit down for breakfast, I open the paper and head straight for the Culture magazine, as I do every Sunday, and on the front cover is full picture of Joni, (The Lonely Painter) and a three page interview by Bryan Appleyard titled "Portrait of a Genius." >> >> What do you reckon? Shall I go for it? >> Happy Sunday >> Anita ------------------------------ Date: Sun, 23 Nov 2014 17:50:05 +0000 (UTC) From: carmel rotem Subject: Malka Marom interview this weekend there was an interview with Malka Marom about her book in a big Israeli newspaper.I guess the main reason was Malka's Israeli origins (the title of that article was "the Israeli who exposed Joni Mitchell to the world reveals the secrets of the folk queen"), since I don't see too many people reading that book here, and no chance it's ever going to be translated to Hebrew. anyway, in the article (that was mostly quotations from the book, a short biography and a short interview) Malka is saying that her musician granddaughter B Marva (the daughter of her son Danny Marom, and a well known Israeli author Zeruya Shalev) reminds her of Joni.I searched for music by her, but all I found was one video of 30 seconds of her playing a Hanukka song on the guitar... (attached here if anyone is interested). Carmel. WW(WW W)WW WW(WW | B | | B | | B | B | B | B | B | | WW(WW W)WW WW(WW | | | | View on www.youtube.com | Preview by Yahoo | | | | B | B ------------------------------ Date: Sun, 23 Nov 2014 18:42:49 -0600 From: "Laura O." Subject: Joni on Tavis Smiley Tuesday 11/15/14 FYI: Joni is scheduled to be on Tavis Smiley on Tuesday this week. http://www.pbs.org/wnet/tavissmiley/interviews/joni-mitchell/ Laura ------------------------------ Date: Mon, 24 Nov 2014 01:06:14 -0500 From: M Jones Subject: Re: JMDL Digest V2014 #1448 Joni always composes or paints with one hand while erasing with the other. She's at a point in her life, I gather from these interviews and this project, to assess the long arc of her career. You've pulled some quotes out of songs, but one could just as easily pull quotes out in which she's quite harsh on the music industry (Taming the Tiger, most of Dog Eat Dog, Free Man in Paris, For the Roses, most folks are familiar with this line of critique in her music) and songs that question the trappings of fame. In situations like this, I always have to remind myself to be a responsible cultural critic. JM is under no obligation to be honest, self-reflective, or consistent in her own assessment of her work. In fact, I think she (like Dylan) is sometimes masterfully and intentionally contrary with her own previous comments. "Nobody ever asked Van Gogh to paint 'A Starry Night' again, man." She's constructing her own mythology, and I find the things she says intriguing, infuriating, and perplexing most of the time. But the net gain of these interviews is a portrait of an artist whose relationship with her own fame is very complex. A woman who can claim to be anti-feminist (based on a very narrow experience of one type of second wave feminism it seems) and at the same time claim her place alongside men in the musical pantheon on grounds that her music is "raceless and genderless" is someone whose views ought to spur us to plumb deeper depths in her work. But, again, I think it's a mistake to read too close to the autobiographical bone. In doing so, you miss the best parts of the musical meat. The more interesting questions to ask are something like "What work does her music accomplish?" "What do these varied and contradictory stances on fame/fortune/the industry mean within the economy of popular music in the 20th/21st century? The other thing to keep in mind is that JM singing in the first person isn't necessarily Joni Mitchell. She has pretty consistently described her songs as dramatic roles or personae, and I think it's actually unfair to expect any artist to be the autobiographical "I" of their works in any easy, one-to-one way. It'd be like accusing Randy Newman of racism for singing the n-word in "Rednecks" or "Christmas in Capetown" or assuming the "I" in "It's Money That I Love" isn't meant to be ironic. We seek truth in JM's biography from the songs, but as she has wisely advised, it's better (and ultimately more interesting) to look for the ways the songs illuminate something about your own experience or our own experiences collectively.... This is all part of why we all love her music so much On Sun, Nov 23, 2014 at 3:00 AM, JMDL Digest wrote: > > JMDL Digest Sunday, November 23 2014 Volume 2014 : Number > 1448 > > > > ========== > > TOPICS and authors in this Digest: > -------- > re: The Interview [c Karma < > ckarma@hotmail.com>] > > ---------------------------------------------------------------------- > > Date: Sun, 23 Nov 2014 03:36:48 +0000 > From: c Karma > Subject: re: The Interview > > assumptions > and speculation toward interpretation that her work may have offered, even > some long held ones. I'm beginning to distrust whether I understand the > English language. > > Q: The poem has a line about "the gilded bait" of fame that so many of > these > stars desired. Did you ever feel like you took the bait?A: No. I've never > been > very ambitious. I never felt like I had any talent. I was a painter but the > musical and writing gift hadn't come in - even though that poem is pretty > precocious > Example 1:"I slept last > night in a good hotel. I want shopping today for jewels. Now me I play > for > fortunes and those velvet curtain calls. I've got a black limousine and > two > gentlemen escorting me to the halls." -- For FreeExample 2:"Up the charts, > off > to the airport. You're name's in the news, everything's first class. The > lights go down and it's just you up there making them feel like that....I > guess I seem ungrateful with my teeth sunk in the hand that brings me > things I > really can't give up just yet.""Oh the power and the glory. Just when > you're > getting the taste for worship they start bringing out the hammers, and the > boards and the nails." -- For The RosesExample 3:"I looked at the granite > markers, those tributes to finality, to eternity. Then I looked at myself > here, chicken scratching for my immortality." -- HejiraExample 4:"I was a > hopeful in rooms like this when I was working cheap. It's an old romance, > the > Boho dance. It hasn't gone to sleep. But even on the scuffle, the > cleaner's > press was in my jeans. And any eye for detail caught a little lace along > the > seams." -- The Boho DanceExample 5:"Sharon, you've got a husband and a > family > and a farm. I've got the apple of temptation and a diamond snake around my > arm . But you still have your music, and I've still got my eyes on the > land > and the sky." -- Song For SharonExample 6:"W.C. Handy, I'm rich and I'm > fay. > Why should I expect that old guy to give it to me true. Fallen to hard > luck > and time and other thieves, while our limo is shining on his shanty > street." > - -- Furry Sings The BluesExample 7:"I spot you through the smoke with > your eyes > on fire from J&B and coke as I'm coming through the door. I'm coming back. > I'm coming back for more!" -- Paprika PlainsExample 8:"Once I was blessed; > I > was awaited like the rain, like eyes for the blind, like feet for the > lame.Kings heard my words, and they sought out my company. But now the > janitors of Shadowland flick their brooms at me." -- The Sire of Sorrow > (Job's Sad Song) Example 9:"Sophia says, 'it's hard to catch and harder > still > to ride. The time to watch the beast the best is when it's purring at your > side.' Accolades and honors. One false move and you're a goner. I'm so > sick of this game. It's hip, it's hot. Life's too short, the whole > thing's > gotten boring. The old man is snoring and I'm taming the tiger." -- Taming > The Tiger > some > punctuation? Is all her experience out of body? Is all the self > observation > rhetorical? I have to believe that the second part of that answer was > given > in a temporal context, that she was describing herself and her head space > at > 16 when she wrote the poem. I'm not sure I buy the first part of the > answer. > Joni certainly knows about fame and its perils, to claim otherwise is > disingenuous.> > A: The two [songs] that stand out that people just hated were Ethiopia and > Moon at the Window. I still can't see what is so eccentric about those > pieces. > I think that work was closer to jazz than I have ever gone but I was > working > harmonically outside the laws of jazz. > I > think the list here could give Joni a more objective list of songs that > people > hate via our friends and relatives, if she wants one.> > A: You know I did an interview with a CBC commentator. I exorcised the > house > after this guy left. I smudged it and opened all the windows. Now it comes > out > that he has been fired from CBC. People kept saying, "What a great > interviewer." I didn't think so. After about the 20th one, I said, "What > did > you think was great about it?" That he couldn't knock me over? They would > look > stunned when I said that. To me, his behaviour was overtly hostile. > convivial, at least initially. Maybe she was warning this Canadian Press > interviewer? I don't think I've read her response to her own interviews > without getting defensive except for two Tavis Smiley and Cameron Crowe.> > Q: Your song Two Grey Rooms was another ahead-of-its-time song. Was there > pushback from the record company recording a song about one man falling in > love with another? > A: They always pushed me back but I take as much liberty as I can get away > with. That's why I'm not a feminist. When I heard, "You can't do that, > you're > a girl," I went ahead and did it anyway. > relationship between two men, you must be clairvoyant. It's language is > profoundly humanistic and the use of pronouns completely neutral, > regardless > of the story that she said inspired it. I dislike and would disagree with > any > attempt to hijack the song on behalf of any sex or sexuality. I seriously > doubt anyone at Geffen Records would have raised any such objection. The > question is asinine.> > CC > > ------------------------------ > > End of JMDL Digest V2014 #1448 > ****************************** > > ------- > To post messages to the list,sendtojoni@smoe.org. > Unsubscribe by clicking here: > mailto:joni-digest-request@smoe.org?body=unsubscribe > ------- ------------------------------ End of onlyJMDL Digest V2014 #392 ********************************* ------- Post messages to the list by clicking here:mailto:joni@smoe.org Unsubscribe by clicking here: mailto:onlyjoni-digest-request@smoe.org?body=unsubscribe