Joni: The Creative Odyssey of Joni Mitchell (36 page)

Mojo
, 5, 74, 102, 160, 182, 187

Monterey Pop Festival, 91

Moore, Julianne, 202

Morgellons syndrome, 44–45

Morris, John, 91

Morrison, Jim, 11, 111

Morrison, Van, 124, 161, 235

Morrissey, 54, 194

motherhood
giving up the baby, 57–59, 60, 62, 64–67
Mitchell on, 62, 64
mother-daughter reunion, 63–64
unwed mother stigma, 58–59, 65, 182

Motion Picture
(magazine), 61

Mountain Loves the Sea
,
The
(painting), 13

“Mr. Tambourine Man” (song), 59, 74

MuchMusic, 43

Murphy, Tim, 189, 190

musical styles
blues, 69, 71–72, 241, 266n40
folk, 236–37
jazz, 30–31, 33, 34, 148, 170–71, 239, 266n40
world beat, 28, 148, 166, 241, 244

music festivals.
See
specific festivals

Musician
(magazine), 29, 130, 188

Musicians in Tune
(Boyd), 14, 31, 137

music industry
audience expectations, 6, 108, 171, 219, 239–40
and concept albums, 157, 241
disillusionment with, 11, 117
Geffen Records, 108
managers, 105–9, 150–51
marketing, 78, 83–85, 105, 107, 117, 249
Mitchell on, 85, 116–18, 146
Mitchell's reputation, 109–10, 235–36, 253
pop music, xiv–xv, 85, 110, 119, 235, 249
publishing rights, 60, 106–7
Reprise Records, xiv, 3, 77, 83–85, 107, 117
resistance to innovation, 72–73, 225
sale of song rights, 105
self promotion, 16–17, 112

myth and mythology 27 Club, the, 111
and meaning, xv, 41, 42, 88–89
self-creation of, 16–17
of Woodstock Festival, 90, 92, 93, 101–2

Nash, Graham
and CSN, 241–42
and CSNY, 79, 94
and Mitchell, 93, 121, 129, 144, 169, 200–202
and Neil Young, 40

“Nathan La Franeer” (song), 145

Naylor, Dave, 196

Nelson, Sean, 151

Nelson, Willie, 245

New College Physics, The: A Spiral Approach
(Baez), 161

New Musical Express
, 18

Newport Folk Festival (1965), 91, 92, 141, 142, 269n9

Newport Folk Festival (1967), 91, 92
Mitchell at, 141–44, 149

New Victoria Theatre
(London), 3

New York
Geffen apartment, 90, 92
music scene, 141–42

New York
(magazine), 189

New York Times
, 2, 92, 111, 201

Nicholson, Jack, 85, 212

Nietzsche (the cat), 162–64

Nietzsche, Friedrich Wilhelm.
See also
Thus Spoke Zarathustra
about, xiii, xvi, 164–65
as inspiration, 139, 164, 166–67, 168, 224
misuse by Nazis, 139, 165–66, 270n40
Mitchell quoting of, 156, 170, 188
the performed “I,” 8–10, 20
philosophy of, 8, 10, 165–66, 177–78
referenced in Mitchell songs, 174–80

“Night in the City” (song), ix

Noga, Helen, 92

Nolan, Bob, 245

“Not to Blame” (song), 204

NPR (radio), 228

Nyro, Laura, 108

O'Brien, Karen, 68, 77, 228

O'Donnell, Rosie, 12

O'Keeffe, Georgia, 218, 224, 225, 226–28, 229

Old Man and the Sea, The
(film), 75

Oleta, 245

“One More Cup of Coffee” (song), 154

“One Week Last Summer” (song), 247

“Only Love Can Break Your Heart” (song), 201

On the Road with Bob Dylan
(Sloman), 146

Operator, The
(King), 108

originality
and authenticity, 23, 224–25
and the collective unconscious, 42
Mitchell on, 55–56, 145, 168, 189
and music industry, 148, 225

Ostin, Mo, 71

“Our House” (song), 201–2

outsider experience
and childhood illness, 39
of creative people, 41–43
otherness, 10, 225

Page, Jimmy, 98

Paglia, Camille, 223, 224

Painted Word, The
(Wolfe), 229

painting.
See also
album covers
of cat, 163, 164
of Cohen, 145
of deer, 222
of Don Alias, 19
and identity, 221–25, 229–31
influences, 15, 224
lessons in, 145
Mitchell on, 219–21, 230
Mountain Loves the Sea
,
The
, 12
visual imagery and music, 221

“Paprika Plains” (song), 29, 154

Parker, Dorothy, 124

Pastorius, Jaco, 170–71

PBS documentary, 32

Pender Harbour, B.C. (home), 11, 126, 132–33, 247–48

Penny Farthing, the (nightclub), 59

performance
and appearance, 52
and audience response, 115
and gender, 20–21, 242–43
and vocal style, 242, 245

personae
black man, 1, 2–4, 5–6, 9, 13, 19, 23, 27, 28–29, 234
folk, 4–5, 23, 75–76, 81–83, 86–87, 149, 236–37, 239–40
Mademoiselle Oink, 69–70

Petty, Tom, 245

philosophy
creator-creation equation, 125, 165, 181
destiny, 14, 66, 165
Nietzschean, xiii, xvi, 165–67, 171–80
and singing, 236–37

photography, 11, 12–13, 133, 220

Piaf, Edith, 187

piano
lessons, 67
singing into, 79, 199

Picasso, Pablo, 224, 225, 226, 230, 231

Pine Knob Music Theater, 12

plagiarism, 22–23, 141

Planet Waves
(album), 150, 151

Plant, Robert, 98

Plath, Sylvia, 153

poetry writing
first-person, 239
Mitchell on, 11, 144, 168
third-person portraits, 239

poets, xvi, 170, 187–89

Polanski, Roman, 83

Police, the, 251

police and Mademoiselle Oink (Mitchell persona), 69–70

polio, 36–39, 43, 69, 182, 228, 250

Pollock, Jackson, 230

Pop, Iggy, 98

pop music
industry, xiv–xv, 110, 119
Mitchell on, 249
Mitchell's influence on, 85, 235

Port, Donna, 38

“Positively 4th Street” (song), 152, 153

Power of Myth, The
(Campbell), 88

pregnancy
and art school, 14, 196, 221
and giving up of child, 57–59, 60, 62, 64–67
miscarriage, 63
unwed mother stigma, 58–59, 65, 182

press.
See
media

“Pretender, The” (song), 204

“Priest, The” (song), 180, 184–85

Prince (singer), 13, 235

Psycho-Analysis of Children, The
(Klein), 7–8

psychology
of children, 7–8, 48–49
creative process, xvi, 7–10, 35–36
fort-da game, 35–36, 48
impostor syndrome, 23–26
Jungian theory, 42
the mirrored self, 8–9

public image of Mitchell.
See also
personae
and album covers, 3
and appearance, 13, 199, 208, 240
and effort to change style, 6, 31, 189, 209
escape from, 4–5, 86–87
experimenting with, 155–56
fan adulation, 112, 113
fan disenchantment, 239
female stereotype, 5, 49–52
and identity, 54, 55
and mythmaking, viii, 16–17, 88–89, 93, 121, 194
self-penned press releases, 16

punk movement, 54–55

Q
(magazine), 70

Quinn, John, 180, 271n63

race
and identity, 2–7
and Mitchell's music, 3, 6, 28–29, 252

Rachmaninoff, Sergei, 196

Raditz, Cary, 127–28

Raffi, 235

“Rainy Night House” (song), 185

Reader's Digest
, 159, 168

“Ready to Start” (song), 104

record industry.
See
music industry

Redbird, Duke, 57

Redford, Robert, 125

Reed, B. Mitchell, 76

Reginato, James, 109, 117

religion.
See also
spiritual
well being
and creativity, 32, 125, 136–37, 165–67, 180–81
organized, 179, 181–82, 185
priests, 184–85
theology, 183–84, 190

Renaldo and Clara
(film), 148–49, 156, 158, 170, 243

“Reoccurring Dream, The” (song), 176–77, 178–79

Reprise Records
ad campaign, 83–85, 117
first record deal, xiv, 3, 77, 107
Mitchell on, 117

Rhapsody on a Theme of Paganini
(Rachmaninoff), 196

Rice, William, 51

Richards, Keith, 69, 88, 112

Richie, Lionel, 244

Riefenstahl, Leni, 166

“River” (song), 190–92

Riverboat coffee house, 240

river metaphor, 190–92

River: The Joni Letters
(Hancock album), 233, 234, 235

Roberts, Elliot
as Mitchell's manager, 75, 76, 106–7, 133, 211, 212
and Woodstock, 90, 91
and Young, 40, 79, 108

Robertson, Robbie, 160

Rock and Roll Hall of Fame, 124

Rockefeller, Nelson, 101

Rock Express
, 46

“Rockit” (song), 233

Rock Lives
(White), 81

Rock Photo
, 4

Rocky Horror Picture Show, The
(film), 5

Rodgers, Jeffrey Pepper, 68

Rolling Stone
(magazine), 126
album review, 12, 80
Dylan interview, 19
“Guitar Gods,” 117
interviews, 18–19, 53, 86, 139, 194, 201, 209, 210
love chart, 121–22, 216–17, 268n26
Wenner/Mitchell feud, 119, 121, 124

Rolling Stones, the, 105

Rolling Thunder Revue (1975), 143, 146, 154, 156–57
Mitchell's experience of, 148, 155, 158, 159, 207–8, 243

romantic love
Mitchell on, 206, 207–8, 213
theme of, 11, 194, 202–3, 213

Ronstadt, Linda, 42, 253

Rose, Charlie, 224, 249

Rosemary's Baby
(film), 83

Rosenthal, Mort, 145

Rotten, Johnny, 54, 55

Ruhlmann, William, 69, 237

Rush, Tom, 68–69

Sainte-Marie, Buffy, 56, 69, 106

“Same Situation, The” (song), 43

San Diego Union-Tribune
, 71

Saskatoon
on
Clouds
album cover, 10
growing up in, 52–54
Louis Riel café, 105
Mendel Art Gallery, 231
Queen Elizabeth Public School, 167, 223
St. Paul's Hospital, 36, 37

Saskatoon Star-Phoenix
, 153

Seagull
.
See
Song to a Seagull
(album)

“Second Coming, The” (Yeats), 179–80, 271n63

Second Sex, The
(de Beauvoir), 50

Seeger, Pete, 67, 142, 269n9

“See You Sometime” (song), 203

SEX (boutique), 55

“Sex Kills” (song), 160

Sex Pistols, 54, 55

Sexton, Anne, 153

sexuality
in artwork, 19
Mitchell on, 194–95
and music marketing, 85
and personal empowerment, 19, 50, 75, 82–83
sex life and the media, 121–25

“Shades of Scarlet Conquering” (song), 239

Shadows and Light
(album), 170

Shepard, Sam, 148, 158, 207

Sheppard, Bob, 247

Shine
(album), 131, 189, 254
vocal style, 238, 240, 246–49

“Shine” (song), 246

Shipley, Mike, 210

Shorter, Wayne, 235

“Short Shorts” (song), 142

Simmons, Sylvie, 74

Simon, Carly, 150, 238

Sinatra, Frank, 107, 153

singer-songwriter
and album sales, 78, 107
movement, 151, 157

Siquomb Publishing, 106

“Sire of Sorrow, The” (song), 180, 186, 187

“Sisters of Mercy” (song), 142

Slick, Grace, 94, 122, 217

Sloman, Larry “Ratso,” 143, 146, 147, 148, 149, 154, 155, 158, 207

“Slouching Towards Bethlehem” (song), 179–80

“Smokin' (Empty, Try Another)” (song), 212

“Snakes and Ladders” (song), 244

“Song for Sharon” (song), 125

song genres.
See
themes

Song to a Seagull
(album), ix, 60, 153, 243
cover art, 10, 11, 152
dedication, 80, 168
Mitchell on, 78, 80, 81
recording of, 77–80

“Song to a Seagull” (song), 56

song writing.
See also
imagery; themes
composition method, 68–69, 71–74, 145, 266n40
crediting sources, 141, 156
first-person, 239
impact on vocal style, 237–38
influences, 139, 144, 152
labelled as confessional, 152, 182, 194
literary references, xii, 117, 122, 141, 174–80
as little plays, 242
and maturity, 149
melody, 178–79
Mitchell on, 11, 31–32, 54
and Nietzschean philosophy, 174–80, 187–90
originality, 168, 206–7, 224
poetry, 11, 144, 170, 187–89, 239
process, 31–32, 135, 168
singer-songwriter, 78, 107, 151, 157
third-person portraits, 145, 239
universals of experience, 146, 199

Sontag, Susan, 47

Souther, J.D., 4

spaceman imagery, 42–43, 45–46, 100

SpeakEasy
(television), 105, 110

spiritual well being
and cocaine use, 159–60
and the concept of God, 136–39
in consumerist culture, 176–78
and the creative experience, x, 138
creator-creation equation, 125, 165, 181
and fame, 113
and inner peace, 251–54
and self-pity, 186–90

Starbucks project, 249

“Stay in Touch” (song), 213

Steiger, Rod, 178, 212

Stewart, Rod, 253

Stills, Stephen, 79, 122, 259
and Woodstock, 92–93, 94, 95

Sting, 235

Strauss, Neil, 2

Stravinsky, Igor, 46

studio production.
See also
composition method
of
Clouds
, 201
and creative control, xiv, 3, 77
of
Dog Eat Dog
, 210–12
experimentation, 213–14, 251
instrumentation, 210–12, 244
producer credits, 201, 210
rhythms, 166, 213–14, 241, 244, 251
singing into a piano, 79, 199
use of male voices, 244–45

Summer Lawns
.
See
Hissing of Summer Lawns
,
The
(album)

Sunday Telegraph
, 81

Sunset Sound (studio), 77, 78

Sutcliffe, Phil, 70