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

Angeles Times , April 8, 1997.
Ibid.
Ibid.
Joni Mitchell to Mary Black, Both Sides Now, BBC2, February 20, 1999, transcribed by Lindsay Moon, produced and written by Roland Jaquarello for BBC2.
Higgins, “Both Sides at Last.”
Black, Both Sides Now.
David Gardner, “Why Joni Mitchell Has to Find the Little She Gave Away,” Daily Mail , December 8, 1996.
William Ruhlmann, “From Blue to Indigo,” Goldmine (February 17, 1995).
John J. Miller, “The Superstar Mamas of Pop—Why They’re Singing the Blues,” Motion Picture (December 1975).
Crowe, “The Rolling Stone Interview.”
Higgins, “Both Sides at Last.”
Alexandra Gill, “Joni Mitchell in Person,” Globe and Mail , February 17, 2007.
Higgins, “Both Sides at Last.”
Reola Daniel, “Adoption—Both Sides Now,” Western Report (April 21, 1997).
Laila Fulton, “Alberta Native Gave Up Daughter,” Calgary Sun, December1996.
Crowe, “The Rolling Stone Interview.”
David Wild, “Joni Mitchell,” Rolling Stone (October 31, 2002).
Steve Matteo, “Woman of Heart and Mind,” Inside Connection (October 2000).
Boyd, Musicians in Tune , 59.
Jeffrey Pepper Rodgers, “The Guitar Odyssey of Joni Mitchell: My Secret Place,” Acoustic Guitar (August 1996).
O’Brien, Joni Mitchell, 44.
Ruhlmann, “From Blue to Indigo.”
Phil Sutcliffe, “Joni Mitchell,” Q (May 1988).
Divina Infusino, “A Chalk Talk with Joni Mitchell,” San Diego Union-Tribune , April 3, 1988.
James Bennighof, The Words and Music of Joni Mitchell (Santa Barbara, CA: Praeger, 2010), 10.
Before the western scales were “tempered” during the Renaissance, musicians relied on Pythagorean tuning—which tuned in progressions of perfect fifths. The fifths worked fine, but there was always a snag around the major third. It didn’t sound right because it wasn’t “just” (the term used for pure intonation—in just intonation, the interval between two pitches corresponds to a whole-number ratio between frequencies). The solution was to change the fifth ever so slightly to bring the rest of the notes into tempered harmony. This altered fifth is called a diminished fifth, an augmented fourth, or a tritone—and the resulting diminished triad chord includes a minor third and a diminished fifth above the root. This was called “the devil’s interval,” because in the Middle Ages that’s what tritones were considered: too dissonant to be pure or good, they were labelled “diabolus in musica,” or what Georg Philipp Telemann called in 1733 “Satan in music.” The devil’s interval was stigmatized in Western culture until the Romantic movement, but it re-entered the musical vocabulary of the masses through jazz, which makes ample use of tertian harmonies—and was, as a result, branded the “devil’s music” by Southern holy rollers looking to stigmatize black music as evil and impure.
Jim Bessman, “Mitchell Does Rare Live Show at New York Club,” Billboard (November 18, 1995).
Joni Mitchell to Chris Douridas, “Morning Becomes Eclectic,” KCRW-FM broadcast transcribed by Lindsay Moon, March 27, 1998.
Bennighof, The Words and Music of Joni Mitchell, 27.
David Crosby interviewed by Wally Breese for jonimitchell.com, March 15, 1997.
Sylvie Simmons, “A Long Strange Trip,” Mojo (November 2003).
McDonough, Shakey , 245.
In 1934, Crosby the elder had been invited to document the strange odyssey called the Bedaux Expedition. Financed by French millionaire Charles Bedaux, the odyssey had two ambitions: to make a feature film and to test the off-road capabilities of the specially designed Citroën half-track truck. The journey was supposed to go from Edmonton, Alberta, to Telegraph Creek, B.C., but the crew and the entourage of more than one hundred people turned back at Hudson’s Hope