Theoretically, articulation offers a means for interpreting the convergence of discourses that do not necessarily coincide neatly.

She famously considers herself "a painter first, and a musician second" and thus puts significant consideration into her album art ("Paintings," n.d., para. She was my age when she wrote “Both Sides Now”, one of the most beautiful songs of all time. On Court and spark [Record]. On For the roses [Record]. LA Weekly. I had never felt more seen or understood than when I read those lines. Milwaukee, WI: Hal Leonard Books. Oxford, England: Oxford University Press.

The album art was more diverse in terms of media (e.g., painting, photography, collage, drawing), and included the album cover, the backside, and any additional artwork on the inside of the album and graphic design related to lyrics and liner notes. The boho dance. Mitchell, J. Clothing and Textiles Research Journal, 35, 249 - 271. (1971c).

In the following section, we use the results of our CDA to discuss the emergent fashion philosophies found in Mitchell's songs and album art between 1968 and 1976. The latter relies upon specific methods such as close readings and descriptive coding of written and visual content and can be seen as an iterative process of "formulating critical goals" in relation to that content (Wodak & Meyer, 2016, p. 3). Mitchell, J. Mitchell, J. (1969d).

We made every attempt to understand the textileand appearance-related lyrics in the larger contexts of (a) the songs in their entirety, (b) the albums in their entirety, including the album cover art, (c) Joni Mitchell's life and career trajectory as linked to her lyrics 1968 - 1976, and (d) cultural discourses during the period of study. (1975d). It was on that winter night two years ago when I realised that Joni has changed me: as a man, as a writer, as a lover. (J. Mitchell, 1975d, track 7). It was painfully relatable but also prophetic in its description of the disappointment I felt as I entered adulthood and the infantile sense of hope that seemed to resist the blows of reality: “So the years spin by and now the boy is twenty, Though his dreams have lost some grandeur coming true, There’ll be new dreams, maybe better dreams and plenty, Before the last revolving year is through”. She has always been "troubling"; Mitchell has said, for example, that she was always both inside and outside the countercultural world of the late 1960s: I was the queen of the hippies in a way, but in a way I wasn't really a hippie at all. ", "JUDY COLLINS - full Official Chart History", "Jag hatar att jag älskar dig och jag älskar dig så mycket att jag hatar mig", "ARIA Award winners The Idea of North announce new album and national tour", https://www.youtube.com/watch?v=cFs7-bgMAhc, https://en.wikipedia.org/w/index.php?title=Both_Sides,_Now&oldid=981511118, Creative Commons Attribution-ShareAlike License, A version of the song is featured in the film, Cathrine Hickland Lindsay recorded it for the 2006 album, Scottish singer George Donaldson covered the song as a member of, This page was last edited on 2 October 2020, at 19:17. The seventies: The great shift in American culture, society, and politics. (2015). (1974b).

These are questions for future research. On Hejira [Record]. Raking in what I'm worth. London, England: Bloomsbury. On Clouds [Record]. During the period of 1968 - 1976, Mitchell's lyrics and album covers are replete with references to fashion, textiles, dress, and appearance; however, these have not been critically analyzed in relation to her status as a style icon during this period.

While she delights in observing the aging of others, she acknowledges later, in the song "Sweet Bird," her concern about "Power ideals and beauty/Fading in everyone's hand" (J. Mitchell, 1975c, track 9). In an article for The New Yorker, academic Dan Chiasson perfectly described her relationship with men: “Men often wanted Mitchell to be a wife, a muse, a siren, or a star. The contradictions of fashion through ambivalences about style and tenuous appearances are actively produced through her lyrics and become especially palpable in her 1970s albums: "My fingernails are filthy/I've got beach tar on my feet," J. Mitchell (1971d) wrote in the song "Carey,". A limited run of copies was released on February 8, 2000, in chocolate box packaging for Valentine's Day with several lithographs of Mitchell paintings. However, her worth is likely to be far greater than her skills in what she has called the "mechanics of hip."

(1979). Burbank, CA: Reprise Records. The album has become a rite of passage for every lover and friend that comes through my house, sitting at the round wooden table in my living room, listening to it on my record player. Let the wind carry me. She wrote about love, anguish, disenchantment, and yet all the emotional labour required to live the experiences that made her masterpieces come to life never wore her out. [6], The 2000 version is played during an emotional scene featuring Emma Thompson in the 2003 film Love Actually. Two of her own songs are included: "A Case of You" (1971) and "Both Sides, Now" (1969). (1969c). Victims of domestic abuse face a new kind of threat, By Evie Muir In 2004, Rolling Stone ranked "Both Sides, Now" at number 170 on its list of The 500 Greatest Songs of All Time.[1]. Retrieved from https://www.laweekly 2). Kelsie Doty holds an MSc and BSc in apparel and textiles from Kansas State University and is currently a PhD candidate in the Department of Fiber Science and Apparel Design at Cornell University. Song to a seagull [Record]. 23 - 25).1 Throughout her musical career, spanning and fusing folk, rock, jazz, and other genres, Mitchell - in her own words - has sought "beauty, but of an unusual nature" (Marom, 2014, p. 121). Retrieved from https://www.bustle.com/articles/7965011-times-joni-mitchell-was-our-70s-style-icon-because-who-better-to-look-to-for.

Retrieved from https://www.newstatesman.com/culture/music-theatre/2017/12/david-mitchellblue-joni-mitchell-it-s-art-so-it-s-ageless. Mitchell, J. On postmodernism and articulation: An interview with Stuart Hall. Jahn, M. (1969, January). (1969a). Curtains, on a large scale, enabled her to travel through "velvet curtain calls" (J. Mitchell, 1970a, track 2). "Nuages" is the French word for "clouds". In S. Davison, D. Featherstone, M. Rustin, & B. Schwarz (Eds. Karen unwraps her small package, and finds a Joni Mitchell CD, Both Sides Now. Karppinen (2016) argues that contradictions abound "in Mitchell's music, her life and opinions," as well as in the gendered world of rock music (p. 6). Portraits of the instafamous. (2008). 141, 142). Mitchell, J. For example, when writing about her mother: "She don't like my kick pleat skirt/She don't like my eyelids painted green/She don't like me staying up late/In my high-heeled shoes" in "Let the Wind Carry Me" (J. Mitchell, 1972b, track 5). (1976a).

Sonenberg (2003) argued that Mitchell's records during the period of 1968 - 1976 were "philosophically, if not stylistically, indebted to the rise of rock and its apparent disdain for social mores and conventional behavior," and her lyrics and songs more specifically "emphasized nonconformity" (p. 6). (2007). 1to8and11to24and38to48/SOP16.pdf, Hall, S. (2017). (Hall in Grossberg, 1996, p. 141). Men don't like them because they like resolution, just like they do in life I stay on sus chords a long time and go from sus chord to sus chord [contrary to musicological principles], and then it builds tension It's like a complementary color - the sky just opens up.

We also have delimited the temporal frame of this study to an 8-year period and therefore have not analyzed albums produced after 1976. Writing from a feminist critical discourse perspective, Karppinen (2016) submits that Mitchell's music in the 1960s and 1970s was autobiographical, although Mitchell eschewed the "confessional" label that some rock music critics assigned to her. 7. Underlying these temporary articulations were cultural "contradictions" (Hall, 2017, p. 241): Many hippies had the "race" and class privilege enabling them to enter back into the dominant system when they became professionals in the 1970s and 1980s. The author(s) received no financial support for the research, authorship, and/or publication of this article. The terminology of "influencer" is relatively new and emerged to describe individuals with large social media followings (Abidin, 2016; Luvaas, 2017). "Song for Sharon," the first song on Side Two of the album, contains the following lyrics: And I saw the long white dress of love [10] The record peaked at number 3 on Billboard's Easy Listening survey and "Both Sides, Now" has become one of Collins' signature songs. I felt that I had been deprived of a lot of the experience of people who broke away and tried alternate lifestyles, communal living and that kind of experimentation, which, if I hadn't been successful, I would have been a part of. After contracting polio 1 week before her 10th birthday, she became "an artist of her own expressive body" (Yaffe, 2017, pp. 1. She self-reflexively acknowledged that she "sees herself in style" and "rakes in what she's worth." Burbank, CA: Asylum Records. Mitchell thus uses lace to articulate with diverse materials and contexts across her music. Introduction: Redefining the political/Stuart Hall. In "The Gallery," beauty is a commodity of sorts: "I gave you all my pretty years/Then we began to weather" (J. Mitchell, 1969d, track 6).

In the process of articulating ambivalences and contradictions, she reveals how cultural power relations such as gender, sexuality, and class (and their intersectionalities) intervene through the textiles and fashioned bodies that appear in her autobiographical storytelling. As such, it offers a lens to think through the contradictions among these discourses and also the ambivalences that become expressed at the cultural (see Davis, 1992; Kaiser, Nagasawa, & Hutton, 1995) and individual levels. Style-fashion-dress: From black to post-black.

On Clouds [Record]. Mitchell's openness and ability to capture cultural contradictions and her own ambivalence about them are conveyed through the narrative nature of her songs: She is telling stories (Gates, 2016, p. 711). (2017). Based on interviews with Mitchell (Yaffe, 2017), it is evident that she was writing about her mother, whom she later credits on the same album, For the Roses, with teaching her the "deeper meaning" (J. Mitchell, 1972c, track 11). It is a linkage which is not necessary, determined, absolute and essential for all time. Through song lyrics and artwork from 1968 to 1976, Mitchell highlighted the critical role of fashion, textiles, and body modifications as filling "empty space" - in other words, the ambivalent integration of body, fashion, and place. Mitchell, J. Joni Mitchell. (2016). [11] The Collins version is featured as the opening title music of the 2014 romantic comedy And So It Goes,[12] and as the end title music of the 2018 supernatural horror film Hereditary.

Joni Mitchell's image first appeared in Vogue on February 1, 1969: stick-straight blond hair and gaze turned upward beneath blunt-cut bangs; she was described "with lake-blue eyes, hair like poured Chablis, and a voice that echoes through invisible hills, who writes and sings with her guitar" ("People Are," 1969, p. 191).