Big Yellow Taxi and The Quantum Goddess

9 12 2012
Saraswati artwork by Steve Kilbey (yes of The Church etc) URL http://thetimebeing.com

Saraswati artwork by Steve Kilbey (yes of The Church etc) URL http://thetimebeing.com

Joni Mitchell . . .must be considered a treasure and not just a national treasure of her native Canada but i think it’s fair to say of the world. She is indeed a Global Goddess. I can remember as a young teenager in the early 1970’s hearing her hit song Big Yellow Taxi all over the airwaves. Well they never stopped playing it, but back in the day I didn’t really get it. I mean it never really occurred to me just how wonderful Joni was – and of course will always be. She is a gift to the world. You can look at live recorded performances of Joni across the years and her amazing qualities of grace and sensitivity combined with sparkling brightness and musical genius highlight the simple and profound truth. It’s hard for us to imagine what a God or a Goddess might look like if rendered in the humble guise of a human being. Looking at Joni these days with the benefit of hindsight, it could easily be imagined that she is certainly a representative of the Goddess Saraswatti – the Goddess of The Arts, music, science (surely including healing) and knowledge, learning and literature. Meanwhile the message of Big Yellow Taxi is more relevant, poignant and urgent than ever. Here’s a peek at the Goddess and a celebration of a beautiful human being.

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2 responses

10 12 2012
A Kane

Simon, Thanks for sharing Joni.� Those were some amazing times.� There was more vision out there than I remember.� Would that we could have taken more action on those visions.� Be well! Annie

10 12 2012
DR Quantum's Lime Flavoured Revolution

Thanks for sharing your thoughts Annie. Yes they were amazing times. And yes . . .sometimes as i hear the seemingly endless tide of automatic pop, junk music and disposable pap, I feel we have lost something. To balance that view perhaps we can also consider that there was also a lot of bad music made back then and we now have the luxury of selective listening. Nevertheless . . .it’s undoubtedly true that they’re not making music like they used to. There are certain complexities here that are worthy of a deeper analysis. A couple of items on a laundry list of considerations follows 1) A lot of the great music that we love from that time (the 60s?) was the result of a hard-core commercial music industry. There is a certain kind of relentless middle-of-the road factor playing out there. 2) The distribution channels for this music were, by today’s standards, limited and tightly controlled so what we were seeing was in one sense a very thin slice 3) Today’s commercial-industrial music is often pretty dire. House music and variants has spread virally into contemporary music so it’s hard to find pop music that hasn’t been robotized 4) There is good and even great music still being made. The advent of the internet and digital recording have brought musical production and global distribution into the reach of every-person. The results are far less tightly controlled than the music industry of the past 5) The profusion of both professional and semi-professional music available on global distribution platforms like Youtube, iTunes, Grooveshark et al means that a lot of music that was not released commercially previously and therefore carrying limited incentive for musicians to produce . . .is now available 6) New classical forms have emerged from contemporary musical culture. Classical meaning simply “excellent” music. Take for example Jazz. There is a lot of truly excellent jazz music being performed in little (and sometimes in BIG) places round the world. Add to this the influences of “world music”. 7) The bigger picture reveals a world in which consumers need to be more conscious, discriminating and aware of who they are being in relation to musical taste and consumption, and where and how they find, discover, share and celebrate and listen. The music game has well and truly changed with more power in the hands of artists and audiences. This seems to be a journey in which we are all being given expanded opportunities and new cultural and personal responsibilities

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