{"id":148,"date":"2003-04-28T16:03:00","date_gmt":"2003-04-28T15:03:00","guid":{"rendered":"https:\/\/www.kritische-masse.de\/wordpress\/blog\/joni-mitchell-travelogue\/"},"modified":"2023-12-18T08:50:13","modified_gmt":"2023-12-18T07:50:13","slug":"joni-mitchell-travelogue","status":"publish","type":"post","link":"https:\/\/www.kritische-masse.de\/logbuch\/2003\/04\/joni-mitchell-travelogue\/","title":{"rendered":"Joni Mitchell: Travelogue"},"content":{"rendered":"<p>Dicke Doppel-CD mit gro&szlig;er Besetzung, darunter auch Jazz-Gr&ouml;&szlig;en wie Herbie Hancock, Wayne Shorter oder Kenny Wheeler. Eine Musik kommt dabei raus, die ganz unterm Tonfall von Joni Mitchell steht &#8211; und irgendwie auch amerikanisch-selbstdistanziert zu sich selbst steht. Ich mag das ja, anderen mag das wehleidig erscheinen. Mindestens muss man ihrer vielleicht letzten Platte zugestehen, dass kein dummes Schlagzeug im Hintergrund rumdrummt. Da geht einem eher mal die Oboe auf den Geist. Nein, dass kein falscher Eindruck entsteht, ich habe sie meiner Schwester geschenkt und mir dann selbst nochmals nachgekauft. Absolut eine Musik f&uuml;r den Winter, wirklich. Und mit den im Booklet eingebunden Bildern so recht passend zur USA-Irak-Scheisse. <i><br \/><\/i><\/p>\n<p>&nbsp;<\/p>\n<div class=\"shariff\"><ul class=\"shariff-buttons theme-white orientation-horizontal buttonsize-small\"><li class=\"shariff-button mastodon shariff-nocustomcolor\" style=\"background-color:#563ACC\"><a href=\"https:\/\/s2f.kytta.dev\/?text=Joni%20Mitchell%3A%20Travelogue https%3A%2F%2Fwww.kritische-masse.de%2Flogbuch%2F2003%2F04%2Fjoni-mitchell-travelogue%2F\" title=\"Bei Mastodon teilen\" aria-label=\"Bei Mastodon teilen\" role=\"button\" rel=\"noopener nofollow\" class=\"shariff-link\" style=\"; background-color:#6364FF; color:#6364FF\" target=\"_blank\"><span class=\"shariff-icon\" style=\"fill:#6364FF\"><svg width=\"75\" height=\"79\" viewBox=\"0 0 75 79\" fill=\"none\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\"><path d=\"M37.813-.025C32.462-.058 27.114.13 21.79.598c-8.544.621-17.214 5.58-20.203 13.931C-1.12 23.318.408 32.622.465 41.65c.375 7.316.943 14.78 3.392 21.73 4.365 9.465 14.781 14.537 24.782 15.385 7.64.698 15.761-.213 22.517-4.026a54.1 54.1 0 0 0 .01-6.232c-6.855 1.316-14.101 2.609-21.049 1.074-3.883-.88-6.876-4.237-7.25-8.215-1.53-3.988 3.78-.43 5.584-.883 9.048 1.224 18.282.776 27.303-.462 7.044-.837 14.26-4.788 16.65-11.833 2.263-6.135 1.215-12.79 1.698-19.177.06-3.84.09-7.692-.262-11.52C72.596 7.844 63.223.981 53.834.684a219.453 219.453 0 0 0-16.022-.71zm11.294 12.882c5.5-.067 10.801 4.143 11.67 9.653.338 1.48.471 3 .471 4.515v21.088h-8.357c-.07-7.588.153-15.182-.131-22.765-.587-4.368-7.04-5.747-9.672-2.397-2.422 3.04-1.47 7.155-1.67 10.735v6.392h-8.307c-.146-4.996.359-10.045-.404-15.002-1.108-4.218-7.809-5.565-10.094-1.666-1.685 3.046-.712 6.634-.976 9.936v14.767h-8.354c.109-8.165-.238-16.344.215-24.5.674-5.346 5.095-10.389 10.676-10.627 4.902-.739 10.103 2.038 12.053 6.631.375 1.435 1.76 1.932 1.994.084 1.844-3.704 5.501-6.739 9.785-6.771.367-.044.735-.068 1.101-.073z\"\/><defs><linearGradient id=\"paint0_linear_549_34\" x1=\"37.0692\" y1=\"0\" x2=\"37.0692\" y2=\"79\" gradientUnits=\"userSpaceOnUse\"><stop stop-color=\"#6364FF\"\/><stop offset=\"1\" stop-color=\"#563ACC\"\/><\/linearGradient><\/defs><\/svg><\/span><span class=\"shariff-text\" style=\"color:#6364FF\">teilen<\/span>&nbsp;<\/a><\/li><li class=\"shariff-button bluesky shariff-nocustomcolor\" style=\"background-color:#84c4ff\"><a href=\"https:\/\/bsky.app\/intent\/compose?text=Joni%20Mitchell%3A%20Travelogue https%3A%2F%2Fwww.kritische-masse.de%2Flogbuch%2F2003%2F04%2Fjoni-mitchell-travelogue%2F \" title=\"Bei Bluesky teilen\" aria-label=\"Bei Bluesky teilen\" role=\"button\" rel=\"noopener nofollow\" class=\"shariff-link\" style=\"; 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Eine Musik kommt dabei raus, die ganz unterm Tonfall von Joni Mitchell steht &#8211; und irgendwie auch amerikanisch-selbstdistanziert zu sich selbst steht. Ich mag das ja, anderen mag das wehleidig erscheinen. Mindestens muss man ihrer vielleicht letzten Platte zugestehen, [&hellip;]<\/p>\n<div class=\"shariff\"><ul class=\"shariff-buttons theme-white orientation-horizontal buttonsize-small\"><li class=\"shariff-button mastodon shariff-nocustomcolor\" style=\"background-color:#563ACC\"><a href=\"https:\/\/s2f.kytta.dev\/?text=Joni%20Mitchell%3A%20Travelogue https%3A%2F%2Fwww.kritische-masse.de%2Flogbuch%2F2003%2F04%2Fjoni-mitchell-travelogue%2F\" title=\"Bei Mastodon teilen\" aria-label=\"Bei Mastodon teilen\" role=\"button\" rel=\"noopener nofollow\" class=\"shariff-link\" style=\"; background-color:#6364FF; color:#6364FF\" target=\"_blank\"><span class=\"shariff-icon\" style=\"fill:#6364FF\"><svg width=\"75\" height=\"79\" viewBox=\"0 0 75 79\" fill=\"none\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\"><path d=\"M37.813-.025C32.462-.058 27.114.13 21.79.598c-8.544.621-17.214 5.58-20.203 13.931C-1.12 23.318.408 32.622.465 41.65c.375 7.316.943 14.78 3.392 21.73 4.365 9.465 14.781 14.537 24.782 15.385 7.64.698 15.761-.213 22.517-4.026a54.1 54.1 0 0 0 .01-6.232c-6.855 1.316-14.101 2.609-21.049 1.074-3.883-.88-6.876-4.237-7.25-8.215-1.53-3.988 3.78-.43 5.584-.883 9.048 1.224 18.282.776 27.303-.462 7.044-.837 14.26-4.788 16.65-11.833 2.263-6.135 1.215-12.79 1.698-19.177.06-3.84.09-7.692-.262-11.52C72.596 7.844 63.223.981 53.834.684a219.453 219.453 0 0 0-16.022-.71zm11.294 12.882c5.5-.067 10.801 4.143 11.67 9.653.338 1.48.471 3 .471 4.515v21.088h-8.357c-.07-7.588.153-15.182-.131-22.765-.587-4.368-7.04-5.747-9.672-2.397-2.422 3.04-1.47 7.155-1.67 10.735v6.392h-8.307c-.146-4.996.359-10.045-.404-15.002-1.108-4.218-7.809-5.565-10.094-1.666-1.685 3.046-.712 6.634-.976 9.936v14.767h-8.354c.109-8.165-.238-16.344.215-24.5.674-5.346 5.095-10.389 10.676-10.627 4.902-.739 10.103 2.038 12.053 6.631.375 1.435 1.76 1.932 1.994.084 1.844-3.704 5.501-6.739 9.785-6.771.367-.044.735-.068 1.101-.073z\"\/><defs><linearGradient id=\"paint0_linear_549_34\" x1=\"37.0692\" y1=\"0\" x2=\"37.0692\" 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alt='' src='https:\/\/secure.gravatar.com\/avatar\/501e6823cd63847c2e8d3e53092cfbaf5f572cd136981466e10cf90502235bec?s=96&#038;d=blank&#038;r=g' srcset='https:\/\/secure.gravatar.com\/avatar\/501e6823cd63847c2e8d3e53092cfbaf5f572cd136981466e10cf90502235bec?s=192&#038;d=blank&#038;r=g 2x' class='avatar avatar-96 photo' height='96' width='96' loading='lazy' decoding='async'\/>"],"featured_video":null,"jetpack-related-posts":[{"id":8898,"url":"https:\/\/www.kritische-masse.de\/logbuch\/2023\/12\/warum-desavouiert-der-swr-tc-so-sehr\/","url_meta":{"origin":148,"position":0},"title":"Warum desavouiert der SWR TC so sehr","author":"der huflaikhan","date":"10. Dezember 2023","format":false,"excerpt":"Oder ist das subtilstes Mobbing? Oder nur eine schlechte \u00dcbersetzung eines kruden Gedankens? Es muss im SWR (\u00f6ffentlich-rechtliche Rundfunkanstalt) jemanden geben, der den aktuellen Dirigenten seines zusammengeschrumpfen Orchesterapparates noch mehr nicht mag, als der Intendant des SWR, Kai Gniffke, das Radio insgesamt. Auf einer Facebook-Kachel liest man da, den Dirigenten\u2026","rel":"","context":"In &quot;die Kommunikation&quot;","block_context":{"text":"die Kommunikation","link":"https:\/\/www.kritische-masse.de\/logbuch\/category\/angriffauf\/die-kommunikation\/"},"img":{"alt_text":"\u201eDiese Sinfonie ist das eigentliche Zeugnis f\u00fcr die zeitgen\u00f6ssische Musik. 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Oktober 2015","format":false,"excerpt":"Heute landete der Hinweis auf einen Impulsvortrag von Tobias Ruderer in meinem Postfach. Ruderer ist Mitmacher bei \u201eVAN\u201c. Den hat er in Weikersheim gehalten, auf Einladung der jeunesses musicales, anl\u00e4\u00dflich von \u201esch\u00fcler komponieren\u201c. Es steckt dabei mit einer selten so wahrzunehmenden Ernsthaftigkeit das Terrain seine Magazins aber auch der Zukunft\u2026","rel":"","context":"In &quot;die Kunst&quot;","block_context":{"text":"die Kunst","link":"https:\/\/www.kritische-masse.de\/logbuch\/category\/angriffauf\/die-kunst\/"},"img":{"alt_text":"VAN - Logo","src":"https:\/\/i0.wp.com\/www.kritische-masse.de\/logbuch\/wp-content\/2015\/09\/vanzine.png?resize=350%2C200&ssl=1","width":350,"height":200},"classes":[]},{"id":85,"url":"https:\/\/www.kritische-masse.de\/logbuch\/1999\/06\/einsame-masse-und-flexible-menschen\/","url_meta":{"origin":148,"position":2},"title":"Einsame Masse und flexible Menschen","author":"huflaikhan","date":"30. Juni 1999","format":false,"excerpt":"Die neue Steinzeit der \u00f6ffentlichen KommunikationIm Medium des Internets scheint sich der traditionelle Subjekt-Begriff langsam aber stetig aufzul\u00f6sen. Damit wird eine Entwicklung vollzogen, die sich seit dem Aufkl\u00e4rungsprozess der abendl\u00e4ndischen Kultur seit dem 18. Jahrhundert zweischneidig abzeichnete: In dem Moment, da sich Menschen als Subjekte sozialen Handelns verstanden, l\u00f6sten sie\u2026","rel":"","context":"In &quot;nmz&quot;","block_context":{"text":"nmz","link":"https:\/\/www.kritische-masse.de\/logbuch\/category\/texte\/nmz\/"},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":219,"url":"https:\/\/www.kritische-masse.de\/logbuch\/2003\/08\/mitleid-mit-der-gema-ich-sage-ja\/","url_meta":{"origin":148,"position":3},"title":"Mitleid mit der Gema? Ich sage: Ja.","author":"huflaikhan","date":"13. August 2003","format":false,"excerpt":"Sie kann einem schon auch leid tun, die Gema. Niemand mag sie richtig, alle hauen auf sie drauf. Dabei hat diese Organisation um die 60.000 Berechtigte, eine h\u00fcbsche Kleinstadt nur von Musik- und Musiktext-Urhebern und allerlei Verlagen. 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Betreibt Eure eigene sozialen Medien. Schreibt in eigene Blogs, nutzt von mir aus diese Medien hier zum Austausch, aber nicht zum (Umsich-)Schlagen. Ach, macht\u2026","rel":"","context":"In &quot;die Urteilskraft&quot;","block_context":{"text":"die Urteilskraft","link":"https:\/\/www.kritische-masse.de\/logbuch\/category\/angriffauf\/dieurteilskraft\/"},"img":{"alt_text":"Schatten. 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