Joni: The Creative Odyssey of Joni Mitchell by Katherine Monk Page B

acceptance speech, 93–94
    Birth of Tragedy, The (Nietzsche), 174, 175
    Black, Mary, 60, 167
    black man persona, 1, 2–4, 5–6, 9, 13, 19, 23, 27, 28–29, 234
    Blade, Brian, 246, 248
    Blair, Iain, 46, 210, 211
    Blakley, Ronee, 143, 169, 170
    Blonde on Blonde (album), 153
    Blood, Sweat & Tears, 90, 142
    Blue (album)
cover art, 11
public perception of, 202–3
themes, 62, 129, 130–31, 193
vocal style, 239
    â€œBlue” (song), 111, 239, 240
    Bluebird (Mercedes car), 86–87
    blues, 241
chording, 71–72, 266n40
guitar tunings, 69
    Blues Project, the, 142
    Blumenfeld, Roy, 141–42
    â€œBoho Dance, The” (song), 230
    Bonli, Henry, 15
    Bono, 175
    Both Sides Now (album), 215–16, 239–40
    â€œBoth Sides Now” (song)
Collins’s version, 11, 76, 83, 142, 153
Hancock’s version, 236
Mitchell singing, 74, 216
other versions, 56, 153
themes of, 197–98, 208
    Bowie, David, 5
    Boyd, Jenny, 14, 31, 67, 135, 200
on God, 137–38
    Boyd, Joe, 51
    â€œBoys of Summer, The” (song), 31
    Brand, Oscar, 51
    Brand, Stewart, 223, 224, 230
    Brando, Marlon, 225
    Brecht, Bertolt, 59
    Breese, Wally, 63, 74, 78, 79
    Brown, Jerry, 253
    Brown, Les, 80
    Browne, Jackson, 108, 114, 204–5
    Buffalo Springfield, 40, 78
    Butler, Judith, 20
    Byrds, the, 73–74
    Byrne, David, xvii
    â€œCactus Tree” (song), 198
    Cafe au Go Go, 106
    Calgary Sun , 83
    â€œCalifornia” (song), 69
    Campbell, Joseph, xv, 88
    Camus, Albert, xii, 12, 141
    Canadian
beer, 147–48
First Nations issues, 57
politics, 95
psyche, 15, 110, 144
view of U.S. media, 153
    Capote, Truman, 125
    car, stolen, 86–87
    career. See also life experiences
choice over marriage, 200–201
coffee houses, 105, 110–11
establishing, 50–52
first record deal, 3, 77
as journey, 126
media impact on, 120
obtaining U.S. work visa, 61, 197
retirements, 104, 105, 111, 118, 126, 131
vocal style changes, 237–38
    â€œCarey” (song), 127–28
    Carey, Mariah, 218
    â€œCar on a Hill” (song), 204
    Carter, Rubin “Hurricane,” 156–57
    Casey, Patrick, 55
    Cash, Johnny, 153, 154
    Cashbox (magazine), 12
    Castaneda, Carlos, 182
    cats, 162–64, 169
    Cavett, Dick, 91, 94–96
    Cavolina, Robbie, 219
    CBC television, 51, 105
    Chalk Mark in a Rain Storm (album), 176, 212, 244–45
    Champagne Safari, The (film), 75, 266n47
    Chapman, Tracy, 178
    Charles, Ray, 83
    Cheech, Marin, 4, 243
    Cheech & Chong, 4, 243
    â€œChelsea Morning” (song), 11, 142
    Cher, 150
    â€œCherokee Louise” (song), 57
    Chicago Tribune , 210
    childhood experiences
of choir, 228, 238
as described by Mitchell, 16–17
of fashion, 52–54
of gender stereotyping, 18–19
illness, 36–38
piano lessons, 67
poetry writing, 115, 167–68, 224
of the prairies, 144
of school, 223–24
of smoking, 228
    children
gender stereotyping, 24–25
Mitchell on, 62
mother-daughter reunion, 63–64
psychology of, 7–8, 35–36, 48–49
    Cholodenko, Lisa, 202
    Chong, Tommy, 4, 243
    â€œCircle Game, The” (song), 56, 68, 84, 125
    Clance, Pauline Rose, 23, 25
    Clark, Gene, 91
    Clarke, Michael, 73
    classical music, 196, 210
    clothing. See fashion
    Clouds (album), 153, 201
cover art, 10
liner notes, 17
promotion of, 83
success of, xvii, 10–11, 127
vocal style, 241, 243
    cocaine, 125, 159–60, 213
    Cocker, Joe, 90
    CoEvolution Quarterly , 223, 229
    Cohen, Leonard
background, 139, 148
“Hallelujah” (song), 105, 141, 145
as mentor to Mitchell, 140–41, 149
Mitchell’s “superficial” remark, 141, 147
referenced in Mitchell songs, 145–46, 147–48, 185
relationship with Mitchell, 144–49, 198, 201
    Collins, Judy
“Both Sides Now” version, 76, 83, 197
“Chelsea Morning” version, 11
meets Mitchell, 142–43, 144
and Mitchell comparison, 80, 237
on Seagull vocal style, 79
    Coltrane, John, 233
    â€œComes Love” (song),