Bob Dylan âDignity [#2]â The Bootleg Series, Vol 8: Tell Tale Signs, October 6, 2008.
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Bob Dylan âDignity [#2]â The Bootleg Series, Vol 8: Tell Tale Signs, October 6, 2008.

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Joni Mitchell âDon Juanâs Reckless Daughterâ Target Center, Minneapolis, MNâOctober 23, 1998.
Joni Mitchell "Harlem In Havana" Taming The Tiger, September 29, 1998.
âThe highlight of the summer, when I was growing up in Saskatoon, Canada, was the week the fair came to town. At the end of the mile long midway, there were two adult, Vegas-style shows - Club Lido and Harlem In Havana. Parents seemed to be scared by Harlem In Havana. Donât let me catch you there! Every kid I knew got that instruction. Every hour or so (if you wanted to), you could hear the barker shouting through the roar of the crowds and rides, âStep right up folks - itâs Harlem In Havana time!â When I heard this, Iâd go running - to see the band file out - horns in hand - and seat themselves behind the blue and silver music stands. Theyâd begin to play this brassy, stripper groove - so slow and humid. Then, out came the girls - black girls - some chewing gum - and theyâd begin to move - slowly - flipping their capes open and closed to the beat - like they had done a million times - a tired, bored tease.â
Cher, K.D. Lang, Madonna, and Joni Mitchell, 1998.
Bob Dylan âMr. Tambourine Manâ Royal Festival Hall, May 17, 1964.

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Joni Mitchell during a concert at the Royal Festival Hall. London, May 16, 1972. (Photo by Christian Rose/Roger Viollet)
I was thinking of a series of dreams. Where nothing, comes up to the top. Everything stays down where itâs wounded and comes to a permanent stop. Wasnât thinking of anything specific. Like in a dream where someone wakes up and screams!
Joni Mitchell and David Hockney at the L.A. Louver gallery in Los Angeles, Photo Credit Jacob Sousa, via L.A. Louver, Venice, CA, February 13, 2019.
Joni Mitchell with David Hockney, at the L.A. Louver Gallery, February 13, 2019.
Joni Mitchell âLittle Greenâ Blue, June 22, 1971.
âThe painter Claude Monet once said, âColor is my daylong obsession, joy, and torment.â One of my other favorite painters is Joni Mitchell, who also sings a little. The song âLittle Greenâ is from her colorful album âBlueâ in 1971. The song was written four years before that and itâs about the daughter she was forced to give up for adoption when she was a poor art student in Calgary. About eight years ago Joni had a tearful reunion with her daughter. Joni said, âIâve had pain and joy in my life, but nothing like thisâitâs an unparalleled emotional feeling.â Hereâs the song she wrote for her daughter, âLittle Greenââ
[Little Green plays]
âThat was Joni Mitchell on Theme Time Radio Hour, singing âLittle Greenâjust a little green, like the color when the spring is born. Thereâll be icicles and birthday clothes and sometimes, thereâll be sorrowâŚâ
âBob Dylan, Theme Time Radio Hour: Colors, February 28, 2007.

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Joni Mitchellâs âBlueâ spotted in the background of Agnès Vardaâs film, âOne Sings, The Other Doesnâtâ (1977).
Joni Mitchell & Kris Kristofferson, Newport Folk Festival, July 19, 1969.
Joni Mitchell & Kris Kristofferson, Newport Folk Festival, July 19, 1969 Š Dan Beach.
Joni Mitchell âCaliforniaâ September 1970âBlue 50: Demos & Outtakes, June 21, 2021.
The unrendered photograph used for Joni Mitchellâs fourth studio album âBlueâ (1971).
Tim Considine, the photographer behind the 1968 portrait, quoted âIt was indeed a black & white photograph [shown on the left] originally shot with an experimental instrument film rated at the then unheard of ASA (ISO) of 6000. And, yes, it had the microphone in it. The truth is, I hated the way it was rendered on the cover, an artistic decision by the art director, who processed it as a daguerreotype, thereby, in my opinion, heightening the contrast enough to remove all the softness and subtlety of the original image. So I made my own versions, both with and without mic for prints that are sold to collectors around the world. The version on this site is without the mic, but one with the mic included is requested just as often.â
Considine publicly considers this version âthe album cover for Blue- the way it shouldâve beenâ as of his website.

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Joni Mitchell "Black Crow" featuring Chaka KhanâHejira demo, March 1976.
Chaka Khan, 1977 Š Norman Seeff.
I love the song "Dreamland" that you sing on, in her 1977 jazz-heavy album Don Juan's Reckless Daughter. Chaka: "Oh please! You know what? She called me at 4 o'clock in the morning and said [in a deep, Canadian accent imitating Mitchell], "Chaka...come down to the studio right now! You have to come down here!" So I said, finally! Joni and I are going to get to work together I was so happy! Until I got down to the studio and it changed. It was me singing no words at all (referring to the tones and textures she warbles on the world music influenced track). Not a word! Just "Aye aye aye.." and all that shit." âAn interview with Chaka Khan: Life, career, and her ongoing love affair with music
The Byrds âWild Mountain Thymeâ Fifth Dimension, July 18, 1966.