I think it was in the Scorsese documentary No Direction Home where Baez said something like, “I don’t know who Dylan really is, I just know what he gave us.” Obviously she has conflicting feelings about him, but she also has enormous respect for his contribution to music. I think a lot of people who know him personally feel the same way.
I think it’s actually “Morning Morgellontown”.
I was under the impression Collins wanted to show more of her body for the 1979 album “Hard Times for Lovers” but the record company nixed it. Never bought the album so I don’t know what the inner sleeve has.
I dunno, I see them all as little satellites around Chuck Mitchell 
See In Winnipeg’s remarks in post 35.
Not sure, but that’s what I’m inferring when In Winnipeg stated, again in post 35, “I think it’s hilarious that she wants to call names, when she owes a big part of her career (at the time she was getting established) to government legislation.”
But my point is that this is patently untrue.
Mitchell was an established artist with four charting albums to her credit and several songwriting successes for others before the CanCon regulations ever took effect in 1971.
And in any case, those regulations only affected radio airplay in Canada, and had no bearing on radio airplay in the U.S. or the UK.
Even if there were no time element involved here, the idea that U.S. DJ’s (and it was they, not Program Directors, who made this call, as Joni was an FM artist and no one was yet dictating to “underground” DJ’s what to play) would play an artist because he/she/they were getting a lot of Canadian airplay is absurd.
I know, because I was such a DJ in the early 70s.
:dubious: I don’t think an artist in performance saying something negative about another artist that she’s well known for having had a longstanding connection and famous falling-out with automatically equates to being “incredibly bitter” about him.
Yeah sure, Baez criticizes Dylan in public sometimes. (She also praises Dylan in public sometimes.) You may choose to interpret that as “incredible bitterness” fueled by professional/artistic jealousy if you want, but that’s basically your opinion.
I agree. No argument from me on this one. I’d suggest that your debate lies with In Winnipeg.
ISTR that even prior to the Cancon regs coming into force, she got airplay on Canadian AM stations, so she wasn’t necessarily an FM artist to Canadians. But that may not necessarily have been the case to others elsewhere, granted.
I was an on-air DJ too: FM, early 80s, and in Canada. As you might guess, I had to know the Cancon regs well in those days. I’m no longer on-air, but Cancon remains a subject of interest to me; and I’ve done a fair bit of research and writing on the history, legality, and scope of CRTC jurisdiction, the CRTC’s enabling legislation, and the Cancon regs themselves.
I’ll give you the others, but if you are going to insist that Jane Siberry is only played because of CanCon, I’m going to have to ask you to meet me in the Pit. I am 100% American, have been a Jane Siberry fan for decades and consider her a genius songwriter - easily the equal of both Joni Mitchell and Bob Dylan.
On topic for this thread, she is also self-absorbed, a very difficult interview and was - on one occasion - a genuine bitch towards Victoria Williams, one of the sweetest human beings on the planet.
I saw him live several times. I had all his albums. Of course i was a fan. I also was a fan of Ian and Sylvia, Dave Van Ronk, Cisco Houston, Broadside Ballads albums, and the whole genre.
He came up on Jeopardy once. They played a musical intro. I immediately identified it as “I Ain’t a Marchin Anymore”. I yhink from the album “all the news thats fit to sing.”
This would be an interesting point if it wasn’t for the fact that Mitchell became a successful recording artist before CanCon rules existed.
Having heard a similar tale from my then-guitar teacher at the Old Town School of Folk Music, I would tend to concur. Apparently when the school opened its new HQ building in 1998, she was the headliner at the inaugural benefit concert. She launched into a bunch of tunes from her then-current album.
The audience, however, wanted to hear the stuff that had made her famous, and their attention soon started to wander. Apparently the lack of audience focus made her so livid that she actually stormed off the stage after a rant about how obviously nobody properly appreciated her, and that was the end of her set.
Just don’t get her started on Jackson Browne.
gonzomax, have you been rooting around in my record collection?
I’ll take your word for it, because I don’t actually know what “artistic voice” means. I just know that Bob Dylan mumbles, has a whiny voice, and that I don’t like listening to him. I do like listening to Joni Mitchell, though.
No Anne Murray? Shame on you and your Canuck roots! 
I am of a mind that singers should sing. Sure, sing political, but I am not interested in the drama surrounding the talent. IMO, Dylan is over-hyped and over-worshipped. Hell, you’ll find more objective criticism about the Beatles than about Dylan. He can’t sing for shit, but he knew how to market himself and he IS a talented lyricist and songwriter.
Joni and Joan strike me as being a tad unprofessional on stage regarding fellow performers. Then again, walking offstage because you don’t feel the audience is appreciating you to YOUR satisfaction implies a huge, not connected with reality ego…
I call it a draw. 
Oh, I know. I wasn’t aiming any of my comments at you, but since you quoted his posts in the here and now, and he has yet to reappear since his initial one, it was to you I replied.
Thanks for the support, and nice to know we were once in the same racket!
The Old Town School flew her in on a private flight because she wouldn’t fly commercially because she wanted to smoke. Someone in the crowd at the show yawned, she stormed off stage, and wrote, “Get some sleep, Chicago,” on the wall in the green room.
Maybe I know this because I read that wall many times as I was teaching in that room?
David
I had to go all the way to Germany to learn about Joan Baez. My German exchange Mother was incredulous and quite upset that I didn’t “know Joan Baez”… She played her record and I was schooled. Had no idea, about her until I heard Where Have all the Flowers Gone on a leather sofa in a theologist’s living room in Hessen.
and so sweet…
Morgellon Crescent!