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Downloaded from
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♪ ♪
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ANNOUNCER: For
more than half a century,
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the music of Joni Mitchell has
been an important part of the
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Official YIFY movies site:
YTS.MX
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American musical landscape.
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Tonight, the Library of Congress
celebrates Joni by
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presenting the nations
highest musical award,
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the Gershwin Prize
for Popular Song,
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with an all-star concert
from Washington DCs
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DAR Constitution Hall,
featuring her greatest hits.
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Along with Joni's artwork,
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which has become almost
as well known as her music.
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Please join us as some of
pop music'’s most-loved artists
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interpret Joni'’s songs
in an emotional, joyous,
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and incredibly
beautiful night of music.
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From "Help Me" to
"Both Sides Now",
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and from "Big Yellow Taxi"
to "Circle Game",
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and a don'’t miss a
special surprise performance
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by Joni herself.
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Please welcome,
from Mumford and Sons,
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Marcus Mumford!
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MARCUS: Thank you so much.
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It'’s my job to kick
things off tonight.
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Joni, it'’s been one of the
great privileges of my life
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getting to play in your band.
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Play songs at your house and,
um, I love you very much.
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Thank you, yeah.
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(audience applause).
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♪ The wind is in from Africa. ♪
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♪ Last night I couldn't sleep ♪
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♪ Oh, you know it sure is
hard to leave here, Carey. ♪
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♪ But it's really not my home. ♪
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♪ My fingernails are filthy. ♪
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♪ I've got beach
tar on my feet. ♪
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♪ And I miss my
clean white linen and ♪
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♪ My fancy
French cologne. ♪
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♪ Oh Carey, get out your cane. ♪
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♪ (Carey, get out your cane). ♪
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♪ And I'll put on some silver. ♪
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♪ (I'll put on some silver). ♪
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♪ Oh, you're a mean old
Daddy, but I like you... ♪
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♪ Fine. ♪
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♪ Come on. ♪
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♪ Down to the Mermaid Café
and I will buy you ♪
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♪ a bottle of wine. ♪
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♪ And we'll laugh and toast to
nothing and smash our empty ♪
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♪ glasses down. ♪
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♪ Let's have a round for these
freaks and these soldiers. ♪
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♪ A round to these
friends of mine. ♪
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♪ Let's have another
round for the bright red devil ♪
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♪ Who keeps me in
this tourist town. ♪
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♪ Come on. ♪
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♪ Carey, get out your cane. ♪
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♪ (Carey, get out your cane). ♪
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♪ I'll put on some silver. ♪
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♪ (I'll put on some silver). ♪
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♪ Oh, you're a mean old
daddy but I like you. ♪
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♪ I like you, I like you,
I like you. ♪
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♪ Oh, maybe I'll go to Amsterdam
or maybe I'll go to Rome. ♪
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♪ And rent me a
grand piano and ♪
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♪ Put some
flowers '‘round my room. ♪
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♪ But let's not talk about
fare-thee-wells now the night ♪
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♪ Is a starry dome. ♪
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♪ And they're playin' that
scratchy rock and roll. ♪
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♪ Beneath the Matala moon. ♪
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♪ Oh, Carey, get
out your cane... ♪
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♪ (Carey, get out your cane). ♪
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♪ I'll put on my
finest silver. ♪
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♪ (I'll put on some silver). ♪
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♪ Oh, you're a mean old
daddy but I like you. ♪
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♪ I like you, I like you,
I like you. ♪
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(trumpet solo).
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(electric guitar solo).
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(trumpet solo).
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(electric guitar solo).
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♪ The wind is in from Africa. ♪
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♪ Last night I couldn't sleep. ♪
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♪ Oh, you know, it sure
is hard to leave here, ♪
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♪ Carey but it's
really not my home. ♪
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♪ Maybe it's been too long a
time since I was scramblin' ♪
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♪ Down in the street. ♪
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♪ Now they got me used to
that clean white linen and ♪
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♪ That fancy French cologne. ♪
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♪ Oh, Carey, get
out your cane. ♪
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♪ (Carey get out your cane). ♪
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♪ I'll put on my
finest silver, ♪
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♪ Oh to the Mermaid Café
have fun tonight. ♪
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♪ I said, oh, you're
a mean old daddy ♪
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♪ But you're out of sight. ♪♪
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(song ends)
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(audience applause).
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BRANDI: American popular
song has many antecedents
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in many places...
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New Orleans, Chicago, Memphis,
San Francisco, Austin, Harlem.
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So how in the world did
Roberta Joan Anderson a
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kid from Fort Macleod, Canada
come to play such an important
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role in changing our
musical landscape over
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the past 50 years?
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And since we'’re asking,
perhaps the same question
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could be asked about
George and Ira Gershwin,
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two sons of eastern European
Jewish immigrant parents in
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whose name tonight'’s ceremony,
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and the Library of
Congress Prize, is named.
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At the same time
she was influencing
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the music of a generation,
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Joan Anderson, soon to
be known as Joni Mitchell
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was taking pen to paper and
brush to canvas and creating a
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legacy of visual art that has
become as identifiable to the
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eye as her songs are to the ear.
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Tonight some of Joni's old and
new friends have gathered here
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to celebrate Joni's
Library of Congress honor.
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But really to do what
many of us have been
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doing over the past few years,
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sitting in with her
and for her at her house,
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and having some of the best
nights of our entire lives.
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We always felt
that it would be fun to
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share those nights with you,
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so tonight we get to
do the next best thing.
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Have us guys up here,
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00:06:08,033 --> 00:06:10,700
you guys out there,
and out there...
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Join us for one great night of
Joni Mitchell's amazing music
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and even more amazing life.
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So let's go back and
start at the beginning.
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Like millions of other
children in the post-war '‘50s,
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her early years were
better than some and not as
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good as others.
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But maybe when you'’re an
only child and your mother
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says to you on
more than one occasion,
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"“Don'’t have kids
when you get grown"”
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and you'’re alone a lot,
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you grow up with a
more acute sense of sadness
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and early on you turn
to music and art for both
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companionship and
a creative outlet.
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She started out writing poetry,
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wrote her first
song before she was seven,
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and started painting
around the same time.
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When the family moved to
Saskatoon she was greatly
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influenced by an
English teacher,
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Dr. Arthur Kratzmann,
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who might have been the first,
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but not the last to
say to young Joni,
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"“If you can paint with a brush,
you can paint with words."”
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Had she been more like other
kids of her generation,
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being stricken with polio in
1963 might have put a damper on
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her dreams.
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But for Joan, it only
strengthened her resolve,
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and soon she was back
dancing, singing,
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and about to get on the road...
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And in the recording studio,
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for much of the
rest of her life.
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There were physical moves,
mostly across Canada,
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and then Detroit,
where in 1966,
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a brief and challenging early
marriage led her to write and
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perform many of her
emotionally rich early songs
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in all-night cafes,
rather than return home.
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Her days in New York were
days of clearing life'’s hurdles,
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turning pain into raw beauty,
and creating a body of work
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built on truth and romance.
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Though she continued
to hone her craft at
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the folk clubs of New York,
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it wasn'’t long before,
just like Bob Dylan,
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Pete Seeger, and Odetta,
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Joni joined the ranks of
the '‘60s wave folk artists
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like Tom Rush,
Gordon Lightfoot,
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00:08:02,166 --> 00:08:04,433
Eric Anderson,
Buffy Sainte-Marie,
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00:08:04,433 --> 00:08:06,333
and the Chad Mitchell Trio,
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00:08:06,333 --> 00:08:08,633
as the leading lights
of a music that appealed
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to a new generation
of music lovers.
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And with the incredibly
rich landscape of pop music
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by that period,
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that included the
British invasion led by the
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Beatles and the Rolling Stones,
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and the arrival and
dominance of Motown in the
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early '‘60s, Joni found herself
elevated to that same level
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in the folk world,
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and with songs that
she had written.
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And by the end of the '‘60s,
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Joni had gone from the folk
clubs of Greenwich Village
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50 blocks north to the
worldwide fame of Carnegie Hall.
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JONI: It'’s a long way from
Saskatoon, Saskatchewan
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to Carnegie Hall.
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(audience laughter).
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BRANDI: Still ahead lay
worldwide admiration,
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creative periods that
she might not have even been
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able to dream of in 1967.
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Life in Laurel Canyon
and beyond.
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Romances that would
add to life experience
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and inspire her writing,
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and always, the passion to
express herself through
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both her music and her art.
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00:09:03,000 --> 00:09:07,233
♪ JONI: I'’ve looked at
love from both sides now. ♪
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00:09:07,500 --> 00:09:09,300
♪ From give and take... ♪♪
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00:09:09,800 --> 00:09:11,266
BRANDI: And though it
might have felt like it took
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a lifetime for ten-year-old
Joan Anderson to turn into
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00:09:13,700 --> 00:09:15,966
25-year-old Joni Mitchell,
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there'’s probably no song
that sums up the journey,
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still evolving, then
what became her first hit,
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00:09:21,200 --> 00:09:24,066
and to many, most
universally loved song,
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"“Both Sides Now."”
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00:09:25,766 --> 00:09:27,766
Would you please welcome...
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00:09:27,766 --> 00:09:30,233
Annie Lennox!
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(audience applause).
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00:09:40,433 --> 00:09:46,566
(piano solo).
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00:09:51,233 --> 00:09:52,966
♪ ♪
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00:09:52,966 --> 00:09:57,800
♪ ANNIE: Rows and
flows of angel hair. ♪
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00:09:59,300 --> 00:10:04,133
♪ And ice cream
castles in the air. ♪
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00:10:05,066 --> 00:10:09,866
♪ And feather
canyons everywhere. ♪
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00:10:10,666 --> 00:10:14,833
♪ I'’ve looked at
clouds that way. ♪
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00:10:14,833 --> 00:10:19,700
♪ But now they only
block the sun. ♪
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00:10:20,333 --> 00:10:25,533
♪ They rain and
snow on everyone. ♪
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00:10:27,066 --> 00:10:31,166
♪ So many things I
would have done. ♪
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♪ But clouds got in my way. ♪
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00:10:37,066 --> 00:10:42,266
♪ I've looked at clouds
from both sides now. ♪
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00:10:42,866 --> 00:10:47,900
♪ From up and down
and still somehow. ♪
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00:10:48,600 --> 00:10:54,300
♪ It's cloud
illusions I recall. ♪
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00:10:54,300 --> 00:10:58,600
♪ I really don't know clouds. ♪
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00:11:02,600 --> 00:11:05,500
♪ At all. ♪
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00:11:11,100 --> 00:11:16,733
♪ (guitar solo). ♪
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00:11:23,666 --> 00:11:29,066
♪ Moons and Junes
and Ferris wheels. ♪
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00:11:29,900 --> 00:11:34,400
♪ The dizzy dancing
way you feel. ♪
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00:11:35,033 --> 00:11:40,100
♪ As every fairy
tale comes real. ♪
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00:11:40,666 --> 00:11:44,600
♪ I've looked at
love that way. ♪
225
00:11:44,933 --> 00:11:49,766
♪ But now it's just
another show. ♪
226
00:11:50,300 --> 00:11:55,033
♪ And you leave 'em
laughing when you go. ♪
227
00:11:56,233 --> 00:12:00,733
♪ And if you care,
don't let them know. ♪
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00:12:02,233 --> 00:12:05,666
♪ Don't give yourself away. ♪
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00:12:06,100 --> 00:12:11,000
♪ I've looked at love
from both sides now. ♪
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00:12:11,433 --> 00:12:16,266
♪ From give and take
and still somehow. ♪
231
00:12:17,100 --> 00:12:21,666
♪ It's love's illusions
that I recall. ♪
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00:12:22,266 --> 00:12:27,200
♪ I really don't know love. ♪
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00:12:30,200 --> 00:12:32,700
♪ At all. ♪
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00:12:36,300 --> 00:12:41,133
♪ ♪
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00:12:41,133 --> 00:12:45,566
♪ Tears and fears
and feeling proud. ♪
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00:12:46,166 --> 00:12:50,633
♪ To say, "I love you,"
right out loud. ♪
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00:12:51,766 --> 00:12:56,233
♪ Dreams and schemes
and circus crowds. ♪
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00:12:57,733 --> 00:13:00,766
♪ I've looked at
life that way. ♪
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00:13:01,066 --> 00:13:06,400
♪ Oh, but now old friends
are acting strange. ♪
240
00:13:07,133 --> 00:13:12,066
♪ They shake their heads,
they say I've changed. ♪
241
00:13:13,033 --> 00:13:17,400
♪ Well, something's lost,
but something's gained. ♪
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00:13:18,266 --> 00:13:21,966
♪ In living every day. ♪
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00:13:22,666 --> 00:13:27,466
♪ I've looked at life
from both sides now. ♪
244
00:13:27,900 --> 00:13:32,966
♪ From win and lose
and still somehow. ♪
245
00:13:33,400 --> 00:13:38,066
♪ It's life's
illusions I recall. ♪
246
00:13:38,400 --> 00:13:43,333
♪ I really don't know life. ♪
247
00:13:45,200 --> 00:13:49,766
♪ I really don'’t know life. ♪
248
00:13:50,033 --> 00:13:55,866
♪ I really don'’t know life. ♪
249
00:13:57,033 --> 00:14:01,200
♪ I really don'’t know life. ♪
250
00:14:01,500 --> 00:14:08,433
♪ Do you know
what I feel? ♪♪
251
00:14:14,633 --> 00:14:21,300
(audience applause).
252
00:14:33,600 --> 00:14:36,400
(audience applause).
253
00:14:36,866 --> 00:14:39,033
BILLY: Joni, the first
time I heard your voice,
254
00:14:39,033 --> 00:14:40,933
I became a fan immediately.
255
00:14:40,933 --> 00:14:42,600
And as a songwriter,
256
00:14:42,600 --> 00:14:44,466
you'’ve influenced
an entire generation,
257
00:14:44,466 --> 00:14:46,200
me included.
258
00:14:46,200 --> 00:14:48,533
There were not a lot of folk
artists that had the courage or
259
00:14:48,533 --> 00:14:51,700
the expertise to incorporate
jazz into their music
260
00:14:51,700 --> 00:14:54,133
the way you did.
261
00:14:54,133 --> 00:14:57,566
Your songs are as real today
as when I first heard them.
262
00:14:57,566 --> 00:15:01,133
You have an incredible body
of work that will last forever.
263
00:15:01,133 --> 00:15:03,533
We were all inspired
because of you.
264
00:15:03,533 --> 00:15:06,566
Congratulations on this
well-deserved honor.
265
00:15:07,833 --> 00:15:09,800
ANNOUNCER: Please
welcome Angélique Kidjo!
266
00:15:10,133 --> 00:15:11,433
ANGÉLIQUE: Joni, I love you.
267
00:15:12,233 --> 00:15:15,200
♪ ♪
268
00:15:15,200 --> 00:15:19,633
♪ Help me, I think I'm
falling in love again. ♪
269
00:15:21,666 --> 00:15:24,066
♪ When I get that
crazy feeling, ♪
270
00:15:24,066 --> 00:15:27,000
♪ I know I'm in trouble again. ♪
271
00:15:27,333 --> 00:15:30,233
♪ I'm in trouble 'cause you're
a rambler and a gambler. ♪
272
00:15:30,233 --> 00:15:32,833
♪ And a sweet-talking
ladies'’ man. ♪
273
00:15:33,166 --> 00:15:36,533
♪ And you love your loving. ♪
274
00:15:38,166 --> 00:15:39,933
♪ (Loving). ♪
275
00:15:40,166 --> 00:15:46,266
♪ But not like you
love your freedom. ♪
276
00:15:47,466 --> 00:15:52,333
(trumpet solo).
277
00:15:58,600 --> 00:16:04,266
♪ ♪
278
00:16:05,000 --> 00:16:10,966
♪ Help me, I think I'm
falling in love too fast. ♪
279
00:16:11,466 --> 00:16:14,133
♪ It's got me hoping
for the future and ♪
280
00:16:14,133 --> 00:16:16,466
♪ Worrying about the past. ♪
281
00:16:16,466 --> 00:16:18,600
♪ 'Cause I've seen some hot, ♪
282
00:16:18,600 --> 00:16:22,366
♪ Hot blazes come
down to smoke and ash. ♪
283
00:16:23,100 --> 00:16:26,466
♪ We love our lovin'. ♪
284
00:16:27,933 --> 00:16:29,600
♪ (Loving). ♪
285
00:16:29,600 --> 00:16:35,033
♪ But not like we
love our freedom. ♪
286
00:16:36,366 --> 00:16:41,533
(trumpet solo).
287
00:16:48,366 --> 00:16:54,066
♪ ♪
288
00:16:54,366 --> 00:16:55,800
♪ Oh, didn't it feel good? ♪
289
00:16:55,800 --> 00:16:57,400
♪ Were we sittin'
there talking? ♪
290
00:16:57,400 --> 00:17:00,166
♪ Or lying there not talking,
didn't it feel good? ♪
291
00:17:00,166 --> 00:17:03,333
♪ Go dance with the lady
with the hole in her stocking. ♪
292
00:17:03,333 --> 00:17:06,000
♪ Didn't it feel good? ♪
293
00:17:07,666 --> 00:17:11,200
♪ Didn't it feel good? ♪
294
00:17:11,200 --> 00:17:12,866
♪ (Didn'’t it feel good) ♪
295
00:17:12,866 --> 00:17:14,200
♪ Good. ♪
296
00:17:14,200 --> 00:17:15,700
♪ (Didn'’t it feel good) ♪
297
00:17:15,700 --> 00:17:16,766
♪ Good. ♪
298
00:17:16,766 --> 00:17:20,966
♪ (Didn'’t it feel good) ♪
299
00:17:31,433 --> 00:17:36,700
♪ Help me, I think I'm
falling in love with you. ♪
300
00:17:38,000 --> 00:17:41,233
♪ Are you gonna let me
go there by myself? ♪
301
00:17:41,233 --> 00:17:44,200
♪ That's such a
lonely thing to do. ♪
302
00:17:44,200 --> 00:17:46,000
♪ But both of us
flirting around. ♪
303
00:17:46,000 --> 00:17:49,000
♪ Flirting around
and hurting too. ♪
304
00:17:49,200 --> 00:17:53,100
♪ We love our lovin'’. ♪
305
00:17:54,000 --> 00:17:55,500
♪ (Loving). ♪
306
00:17:55,500 --> 00:18:00,900
♪ But not like we
love our freedom. ♪
307
00:18:05,133 --> 00:18:06,800
♪ Mm. ♪
308
00:18:06,800 --> 00:18:09,366
♪ We do love our freedom. ♪
309
00:18:09,933 --> 00:18:12,900
♪ What will we be
without freedom? ♪
310
00:18:12,900 --> 00:18:15,933
♪ Freedom, freedom, freedom. ♪
311
00:18:15,933 --> 00:18:18,800
♪ Hey. ♪
312
00:18:19,766 --> 00:18:25,366
(scatting rhythmically).
313
00:18:27,133 --> 00:18:29,400
♪ ♪
314
00:18:29,400 --> 00:18:35,933
(scatting rhythmically).
315
00:18:41,700 --> 00:18:44,333
(scatting rhythmically).
316
00:18:44,666 --> 00:18:45,966
(song ends)
317
00:18:46,766 --> 00:18:50,700
(audience applause).
318
00:19:00,700 --> 00:19:03,233
(audience applause).
319
00:19:03,900 --> 00:19:07,100
GLORIA: My entire life I'’ve
been a huge Joni Mitchell fan.
320
00:19:07,100 --> 00:19:09,566
But when I heard, "“Help me,"”
321
00:19:09,566 --> 00:19:13,266
I played that song
over and over and over.
322
00:19:13,933 --> 00:19:18,066
It reached into my heart, it
made me feel so many things and
323
00:19:18,066 --> 00:19:21,266
that'’s the kind of
connection that true artists
324
00:19:21,266 --> 00:19:25,300
make with their fans,
and I still listen to that song.
325
00:19:25,733 --> 00:19:29,100
It takes me back to a time
in my life where everything
326
00:19:29,100 --> 00:19:33,966
was possibilities and that
song felt so romantic to me.
327
00:19:33,966 --> 00:19:37,100
I dreamed about
the day that I would
328
00:19:37,100 --> 00:19:38,766
feel that way myself.
329
00:19:42,666 --> 00:19:44,900
ANNOUNCER: Please welcome
six-time GRAMMY Award winner and
330
00:19:44,900 --> 00:19:47,033
member of The Rock
and Roll Hall Of Fame,
331
00:19:47,033 --> 00:19:49,033
James Taylor!
332
00:19:49,233 --> 00:19:50,633
JAMES: Thank you.
333
00:19:50,633 --> 00:19:53,933
(audience applause).
334
00:19:54,400 --> 00:19:55,633
Thank you, folks.
335
00:19:55,633 --> 00:19:57,000
Thank you, Library of Congress.
336
00:19:57,000 --> 00:19:58,566
Thank you,
everybody here tonight.
337
00:19:58,566 --> 00:20:02,133
But, thank you,
most of all, Joni, um.
338
00:20:02,133 --> 00:20:04,400
I think back to the, the,
339
00:20:04,400 --> 00:20:06,733
uh, the year that we
spent together, I...
340
00:20:06,733 --> 00:20:11,666
In 1971 and, and, uh, we
traveled a lot, we, uh...
341
00:20:12,033 --> 00:20:14,466
But when we were in
Los Angeles, uh, at, at,
342
00:20:14,466 --> 00:20:17,100
staying at, at Joni's
little house there, uh,
343
00:20:17,100 --> 00:20:20,700
we were both making albums and
we worked on each other's songs
344
00:20:20,700 --> 00:20:25,666
a lot and, uh, uh, that album,
"Blue", uh, is, uh, is,
345
00:20:25,666 --> 00:20:28,000
is one of my, uh...
346
00:20:28,000 --> 00:20:30,533
(audience applause).
347
00:20:30,833 --> 00:20:34,000
Of course, one of my favorites,
but, but also, uh, uh,
348
00:20:34,000 --> 00:20:37,733
one of the things that,
that I'm proudest of, um.
349
00:20:37,733 --> 00:20:41,566
Joni had been traveling in
Europe before we met and, uh,
350
00:20:41,566 --> 00:20:44,366
she had, she'd come back
with a whole bunch of songs.
351
00:20:44,366 --> 00:20:46,100
Many of them written on a,
352
00:20:46,100 --> 00:20:48,100
uh, a primitive
instrument called a
353
00:20:48,100 --> 00:20:50,233
four-string dulcimer and,
354
00:20:50,233 --> 00:20:53,733
uh, it left a lot of
room for arrangement because
355
00:20:53,733 --> 00:20:57,900
it was a very central rhythmic
instrument and, uh...
356
00:20:57,900 --> 00:20:59,133
(audience laughter).
357
00:20:59,133 --> 00:21:01,800
But this is one of those
songs that Joni wrote, um,
358
00:21:01,800 --> 00:21:04,266
being homesick, uh,
traveling in Europe.
359
00:21:06,866 --> 00:21:12,666
♪ ♪
360
00:21:14,233 --> 00:21:16,566
♪ Sitting in a park
in Paris, France. ♪
361
00:21:16,566 --> 00:21:19,100
♪ Reading the news
and it'’s all bad. ♪
362
00:21:19,100 --> 00:21:21,433
♪ They didn'’t wanna
give peace a chance. ♪
363
00:21:21,433 --> 00:21:24,300
♪ That'’s a dream someone had. ♪
364
00:21:24,300 --> 00:21:26,633
♪ Still, a lot of
lands to see. ♪
365
00:21:26,633 --> 00:21:29,800
♪ But I wouldn't wanna
stay here no more. ♪
366
00:21:30,166 --> 00:21:33,833
♪ It's too old and cold and
settled in its ways here. ♪
367
00:21:34,300 --> 00:21:36,766
♪ California. ♪
368
00:21:38,733 --> 00:21:41,366
♪ But California. ♪
369
00:21:41,933 --> 00:21:44,800
♪ I'm coming home. ♪
370
00:21:45,333 --> 00:21:47,666
♪ I'm gonna see
the folks I dig. ♪
371
00:21:47,666 --> 00:21:50,466
♪ Might even kiss
a sunset pig. ♪
372
00:21:50,466 --> 00:21:53,633
♪ California, I'm coming home. ♪
373
00:21:59,333 --> 00:22:03,100
♪ ♪
374
00:22:03,100 --> 00:22:05,966
♪ So I bought me a ticket
on a plane to Spain. ♪
375
00:22:05,966 --> 00:22:08,533
♪ Went to a party down
a red dirt road. ♪
376
00:22:08,533 --> 00:22:10,666
♪ Lots of pretty
people down there. ♪
377
00:22:10,666 --> 00:22:13,366
♪ Reading the Rolling Stone,
reading the Vogue. ♪
378
00:22:14,000 --> 00:22:16,966
♪ "How long can
you hang around?" ♪
379
00:22:16,966 --> 00:22:19,033
♪ A week, maybe two. ♪
380
00:22:19,033 --> 00:22:21,133
♪ Till my skin turns brown. ♪
381
00:22:21,133 --> 00:22:25,333
♪ Then I'm coming home
to you, California. ♪
382
00:22:28,266 --> 00:22:33,033
♪ California,
I'’m-a-coming home. ♪
383
00:22:34,400 --> 00:22:37,666
♪ Make me feel good
rock n'’ roll band. ♪
384
00:22:37,666 --> 00:22:39,066
♪ I'’m your biggest fan. ♪
385
00:22:39,066 --> 00:22:42,500
♪ California, coming home. ♪
386
00:22:50,400 --> 00:22:54,566
♪ Well, you gets so lonely. ♪
387
00:22:57,500 --> 00:23:01,433
♪ When you're walking and the
streets are full of strangers. ♪
388
00:23:01,433 --> 00:23:05,866
♪ All the news of
home you read. ♪
389
00:23:06,800 --> 00:23:10,033
♪ Just give you the blues. ♪
390
00:23:12,100 --> 00:23:14,600
♪ Gonna give you the blues. ♪
391
00:23:17,633 --> 00:23:23,333
♪ ♪
392
00:23:26,200 --> 00:23:28,366
♪ ♪
393
00:23:28,366 --> 00:23:30,800
♪ I met a redneck
on a Grecian isle. ♪
394
00:23:30,800 --> 00:23:33,466
♪ Who did the goat
dance very well. ♪
395
00:23:33,466 --> 00:23:35,733
♪ I guess he gave
me back my smile. ♪
396
00:23:35,733 --> 00:23:38,666
♪ But he kept my
camera to sell. ♪
397
00:23:38,666 --> 00:23:41,433
♪ Oh, the rogue,
the red, red rogue. ♪
398
00:23:41,433 --> 00:23:43,666
♪ He cooked good
omelets and stews. ♪
399
00:23:43,666 --> 00:23:45,866
♪ And I might have
stayed on with him. ♪
400
00:23:45,866 --> 00:23:50,533
♪ But my heart cried out
for you, California. ♪
401
00:23:53,166 --> 00:23:57,566
♪ California, oh,
I'm coming home. ♪
402
00:24:00,566 --> 00:24:03,100
♪ Will you take
me as I am? ♪
403
00:24:03,100 --> 00:24:05,133
♪ Strung out on another man. ♪
404
00:24:05,133 --> 00:24:09,066
♪ California,
I'’m coming home. ♪
405
00:24:15,600 --> 00:24:19,966
♪ Oh, it gets so lonely. ♪
406
00:24:22,200 --> 00:24:26,766
♪ When you're walking and the
streets are full of strangers. ♪
407
00:24:27,033 --> 00:24:30,766
♪ All the news of
home you read. ♪
408
00:24:32,400 --> 00:24:36,200
♪ All about the war and
the bloody changes. ♪
409
00:24:38,966 --> 00:24:45,166
♪ Will you
take me as I am? ♪
410
00:24:45,700 --> 00:24:47,200
♪ With love. ♪
411
00:24:47,200 --> 00:24:51,966
♪ Will you take me as I am? ♪
412
00:24:53,433 --> 00:24:55,333
♪ Oh. ♪
413
00:24:57,833 --> 00:25:04,700
♪ ♪
414
00:25:07,366 --> 00:25:13,366
♪ ♪
415
00:25:16,600 --> 00:25:18,200
(song ends)
416
00:25:18,200 --> 00:25:21,933
(audience applause).
417
00:25:41,200 --> 00:25:43,733
ANNIE: I'’m absolutely thrilled
to be invited to take part in
418
00:25:43,733 --> 00:25:46,466
this very special celebration
for Joni Mitchell,
419
00:25:47,533 --> 00:25:49,933
and though I'’d heard about
the Library of Congress,
420
00:25:49,933 --> 00:25:51,866
I'’d never actually
been here before.
421
00:25:51,866 --> 00:25:55,600
So, what a revelation it'’s
been to visit this incredible
422
00:25:55,600 --> 00:25:57,966
building and more importantly,
423
00:25:57,966 --> 00:26:01,100
to witness the extraordinary
artifacts that are here.
424
00:26:01,833 --> 00:26:05,500
There are over
173 million items;
425
00:26:06,466 --> 00:26:08,933
with manuscripts,
musical scores,
426
00:26:08,933 --> 00:26:11,800
and historic documents
that are housed here
427
00:26:11,800 --> 00:26:15,400
or in many buildings
throughout the DC area.
428
00:26:15,400 --> 00:26:18,500
Among them are George Gershwin's
original score for,
429
00:26:18,500 --> 00:26:20,433
"“Rhapsody in Blue,"”
430
00:26:20,433 --> 00:26:23,000
Ella Fitzgerald's
original arrangement for,
431
00:26:23,000 --> 00:26:25,266
"A-Tisket, A-Tasket."
432
00:26:25,266 --> 00:26:29,100
An actual lock of
Beethoven's hair.
433
00:26:29,766 --> 00:26:32,466
The Star Spangled
Banner broadside,
434
00:26:32,466 --> 00:26:35,033
published two days
after it was written.
435
00:26:35,033 --> 00:26:37,966
And, coming up
to the present day,
436
00:26:37,966 --> 00:26:39,900
for all you Lizzo fans,
437
00:26:39,900 --> 00:26:43,033
the James Madison crystal
flute she played on her
438
00:26:43,033 --> 00:26:45,100
recent visit to the Library.
439
00:26:46,066 --> 00:26:48,400
And, as I found out,
440
00:26:48,400 --> 00:26:51,466
that are around 75
Eurythmic songs and
441
00:26:51,466 --> 00:26:56,500
my own solo songs registered
and housed within these or
442
00:26:56,500 --> 00:27:00,233
other buildings that make
up the Library of Congress.
443
00:27:00,733 --> 00:27:04,900
Best of all, this building
is open to the public.
444
00:27:05,466 --> 00:27:08,633
The reading room downstairs
is one of the most impressive
445
00:27:08,633 --> 00:27:11,633
literary centers I've ever seen.
446
00:27:12,100 --> 00:27:15,000
I only wish I had more
time to get to know it.
447
00:27:15,333 --> 00:27:21,466
So, Joni, the real joy for
me is being here to honor and
448
00:27:21,466 --> 00:27:25,166
celebrate your glorious
legacy of music and art.
449
00:27:26,366 --> 00:27:29,766
Visiting the Library of Congress
is an added privilege
450
00:27:29,766 --> 00:27:32,333
that I will also never forget.
451
00:27:34,433 --> 00:27:36,033
ANNOUNCER: Please
welcome Brandi Carlile,
452
00:27:36,033 --> 00:27:38,533
Lucius, and Celisse.
453
00:27:38,900 --> 00:27:41,533
BRANDI: All of Joni'’s
proper disciples know that
454
00:27:41,533 --> 00:27:42,866
in her own words,
455
00:27:42,866 --> 00:27:45,466
she sings her sorrow
and paints her joy.
456
00:27:45,466 --> 00:27:48,633
But what strikes me about
the song I'’m about to sing,
457
00:27:48,633 --> 00:27:51,333
is that it won'’t point us in
the direction of sorrow or joy,
458
00:27:51,333 --> 00:27:53,266
but only to truth.
459
00:27:53,266 --> 00:27:56,166
And I would argue
even maybe prophecy.
460
00:27:56,166 --> 00:27:58,366
This is a latter-day
Joni Mitchell song,
461
00:27:58,366 --> 00:28:00,300
my favorite
Joni Mitchell song...
462
00:28:00,300 --> 00:28:02,733
And tonight as we reflect
on the entire arc of Joni's
463
00:28:02,733 --> 00:28:05,700
singular career in
visual art, words, and music,
464
00:28:05,700 --> 00:28:08,166
this particular song
shows us that she is
465
00:28:08,166 --> 00:28:09,800
as much a truth teller,
466
00:28:09,800 --> 00:28:12,900
as much of a prophet
now as she's ever been.
467
00:28:12,900 --> 00:28:14,233
This is, "Shine."
468
00:28:15,333 --> 00:28:18,533
(audience applause).
469
00:28:18,533 --> 00:28:20,966
(piano solo).
470
00:28:20,966 --> 00:28:23,866
♪ Mm-mm. ♪
471
00:28:26,700 --> 00:28:28,733
(piano solo).
472
00:28:28,733 --> 00:28:32,633
♪ Oh, let your light shine. ♪
473
00:28:35,766 --> 00:28:40,733
♪ Oh, let your
little light shine. ♪
474
00:28:44,266 --> 00:28:46,866
♪ Shine on Wall Street
and Vegas. ♪
475
00:28:48,400 --> 00:28:50,700
♪ Place your bets. ♪
476
00:28:51,633 --> 00:28:54,033
♪ Shine on all
the fishermen. ♪
477
00:28:54,033 --> 00:28:57,266
♪ With nothing in their nets. ♪
478
00:28:58,366 --> 00:29:04,433
♪ Shine on rising oceans
and evaporating streams. ♪
479
00:29:06,466 --> 00:29:10,766
♪ Shine on our
Frankenstein technologies. ♪
480
00:29:12,700 --> 00:29:15,800
♪ You can shine on
science, yeah. ♪
481
00:29:17,333 --> 00:29:20,500
♪ With its tunnel vision,
its tunnel vision. ♪
482
00:29:21,366 --> 00:29:24,700
♪ Shine on fertile farmlands. ♪
483
00:29:24,700 --> 00:29:27,033
♪ Buried under subdivisions. ♪
484
00:29:27,033 --> 00:29:31,700
♪ Oh, let your light shine. ♪
485
00:29:34,900 --> 00:29:39,966
♪ Oh, let your
little light shine. ♪
486
00:29:43,366 --> 00:29:47,366
♪ Shine on the
dazzling darkness. ♪
487
00:29:47,366 --> 00:29:50,366
♪ That restores us
in deep sleep. ♪
488
00:29:51,000 --> 00:29:54,300
♪ Shine on what
we throw away. ♪
489
00:29:54,300 --> 00:29:57,533
♪ And shine on what we keep. ♪
490
00:29:57,766 --> 00:30:01,900
♪ And shine on
Reverend Pearson. ♪
491
00:30:01,900 --> 00:30:04,066
♪ Who threw away. ♪
492
00:30:04,066 --> 00:30:06,133
♪ The vain old God. ♪
493
00:30:06,133 --> 00:30:09,233
♪ Kept Dickens and
Rembrandt and Beethoven. ♪
494
00:30:09,233 --> 00:30:11,666
♪ And fresh-plowed sod. ♪
495
00:30:11,666 --> 00:30:14,100
♪ And shine on good earth, ♪
496
00:30:14,100 --> 00:30:16,966
♪ Good air, good water. ♪
497
00:30:16,966 --> 00:30:19,033
♪ And a safe place. ♪
498
00:30:19,033 --> 00:30:21,000
♪ For kids to play. ♪
499
00:30:21,000 --> 00:30:24,200
♪ Shine on bombs exploding. ♪
500
00:30:24,200 --> 00:30:26,933
♪ Half a mile away. ♪
501
00:30:26,933 --> 00:30:32,166
♪ Oh, let your
little light shine. ♪
502
00:30:34,333 --> 00:30:39,166
♪ Oh, let your light shine. ♪
503
00:30:43,133 --> 00:30:46,300
♪ Shine on worldwide
traffic jams. ♪
504
00:30:47,333 --> 00:30:49,600
♪ Honking day and night. ♪
505
00:30:50,866 --> 00:30:53,666
♪ Shine on another assá*á*á*á*. ♪
506
00:30:53,666 --> 00:30:57,266
♪ Who'’s passing on the right. ♪
507
00:30:58,066 --> 00:31:02,433
♪ Shine on the
red light runners. ♪
508
00:31:02,433 --> 00:31:05,166
♪ Busy talking on
their cell phones. ♪
509
00:31:06,466 --> 00:31:09,266
♪ Shine on the
Catholic Church. ♪
510
00:31:09,266 --> 00:31:12,033
♪ And all the
prisons that it owns. ♪
511
00:31:12,300 --> 00:31:13,333
♪ As a matter of fact, ♪
512
00:31:13,333 --> 00:31:16,766
♪ You can shine on
all the Churches. ♪
513
00:31:17,800 --> 00:31:21,066
♪ They all love
less and less. ♪
514
00:31:21,733 --> 00:31:25,033
♪ But shine on a hopeful girl. ♪
515
00:31:25,033 --> 00:31:27,700
♪ In a dreamy dress. ♪
516
00:31:27,700 --> 00:31:32,166
♪ Oh, let your light shine. ♪
517
00:31:33,200 --> 00:31:35,800
♪ (Let your light shine). ♪
518
00:31:36,066 --> 00:31:40,433
♪ Oh, let your
little light shine. ♪
519
00:31:40,933 --> 00:31:43,700
♪ (Let your light shine). ♪
520
00:31:44,866 --> 00:31:49,666
♪ Oh, let your
little light shine. ♪
521
00:31:52,466 --> 00:31:54,666
♪ Shine on good humor. ♪
522
00:31:56,366 --> 00:31:58,733
♪ And shine on goodwill. ♪
523
00:32:00,166 --> 00:32:03,666
♪ Shine on lousy leadership. ♪
524
00:32:04,000 --> 00:32:06,400
♪ With a license to kill. ♪
525
00:32:06,733 --> 00:32:10,766
♪ And you can shine
on dying soldiers. ♪
526
00:32:12,133 --> 00:32:15,466
♪ In patriotic pain. ♪
527
00:32:15,900 --> 00:32:19,333
♪ Shine on mass destruction. ♪
528
00:32:19,333 --> 00:32:21,933
♪ In some God's name. ♪
529
00:32:21,933 --> 00:32:25,400
♪ Oh, you can shine
on the pioneers. ♪
530
00:32:27,000 --> 00:32:30,400
♪ The seekers of
mental health. ♪
531
00:32:30,400 --> 00:32:33,300
♪ Craving simplicity. ♪
532
00:32:33,300 --> 00:32:36,500
♪ They traveled inward
right past themselves. ♪
533
00:32:36,500 --> 00:32:38,300
♪ Right past themselves. ♪
534
00:32:38,300 --> 00:32:42,266
♪ (Oh). ♪
535
00:32:42,266 --> 00:32:44,466
♪ Let their little
lights shine. ♪
536
00:32:44,700 --> 00:32:48,433
♪ (Oh). ♪
537
00:32:48,700 --> 00:32:50,533
♪ Let your little
light shine. ♪
538
00:32:50,533 --> 00:32:52,500
♪ (Let your light shine). ♪
539
00:32:52,500 --> 00:32:54,433
♪ Oh. ♪
540
00:32:54,433 --> 00:32:56,333
♪ (Oh). ♪
541
00:32:56,333 --> 00:32:58,033
♪ Let your little light shine. ♪
542
00:32:58,033 --> 00:33:00,200
♪ (Let your light shine). ♪
543
00:33:00,200 --> 00:33:02,366
♪ Oh, yeah. ♪
544
00:33:02,366 --> 00:33:05,166
♪ (Oh). ♪
545
00:33:05,833 --> 00:33:09,966
♪ Let your light shine. ♪♪
546
00:33:12,600 --> 00:33:18,400
(audience applause).
547
00:33:31,300 --> 00:33:32,966
(audience applause).
548
00:33:33,733 --> 00:33:37,700
♪ ALL: Don'’t know what
you got '‘til it'’s gone. ♪
549
00:33:37,700 --> 00:33:40,266
♪ They paved paradise,
put up a parking lot. ♪
550
00:33:40,266 --> 00:33:42,366
♪ Ooh, bop-bop-bop-bop. ♪
551
00:33:42,366 --> 00:33:43,933
♪ Ooh, bop-bop-bop. ♪♪
552
00:33:43,933 --> 00:33:45,266
GREG: And then Cyndi goes...
553
00:33:46,166 --> 00:33:50,833
♪ BRANDI: Hey, farmer, farmer,
put away the DDT, now. ♪
554
00:33:50,833 --> 00:33:52,233
♪ Give me spots
on my apples. ♪
555
00:33:52,233 --> 00:33:54,533
♪ Leave me the
birds and the bees. ♪
556
00:33:54,866 --> 00:33:56,333
♪ Please! ♪
557
00:33:56,333 --> 00:33:58,900
♪ ALL: Don'’t it
always seem to go. ♪
558
00:33:58,900 --> 00:34:00,700
♪ That you don't
know what you've got ♪
559
00:34:00,700 --> 00:34:01,966
♪ 'Til it's gone? ♪
560
00:34:01,966 --> 00:34:04,633
♪ They paved paradise
to put up a parking lot. ♪
561
00:34:04,633 --> 00:34:06,700
♪ (Ooh, bop-bop-bop-bop). ♪
562
00:34:06,700 --> 00:34:08,400
GREG: This is great.
563
00:34:10,333 --> 00:34:12,300
Can I get everybody in
the house to sing along?
564
00:34:12,300 --> 00:34:14,400
Come on.
In the house. In the house!
565
00:34:15,033 --> 00:34:16,233
(scatting rhythmically).
566
00:34:16,233 --> 00:34:18,700
♪ ALL: They paved paradise
to put up a parking lot. ♪
567
00:34:19,300 --> 00:34:21,533
♪ Shoo, bop-bop-bop-bop. ♪
568
00:34:21,533 --> 00:34:24,800
♪ Paved paradise to
put up a parking lot. ♪
569
00:34:24,800 --> 00:34:27,400
♪ Shoo, bop-bop-bop-bop. ♪
570
00:34:27,766 --> 00:34:29,266
♪ BRANDI:
They paved paradise. ♪
571
00:34:29,266 --> 00:34:31,566
♪ And put up a parking lot. ♪♪
572
00:34:32,866 --> 00:34:34,066
WOMAN: Whoo!
573
00:34:37,966 --> 00:34:41,166
ANNOUNCER: Please welcome
GRAMMY-winning artist, Ledisi!
574
00:34:41,733 --> 00:34:43,433
LEDISI: Oh, thank you.
575
00:34:43,433 --> 00:34:44,733
(audience applause).
576
00:34:44,733 --> 00:34:47,133
Shortly before the
first ever Earth Day and
577
00:34:47,133 --> 00:34:49,100
not long before the word,
"“Movement,"”
578
00:34:49,100 --> 00:34:52,400
came the word, "“Environmental."”
579
00:34:52,400 --> 00:34:55,066
Joni was
alerting us to the impending
580
00:34:55,066 --> 00:34:59,033
crisis that has now both
affected and been affected by
581
00:34:59,033 --> 00:35:04,000
man'’s disregard for our
world and the importance of
582
00:35:04,000 --> 00:35:06,333
doing something about it.
583
00:35:06,333 --> 00:35:09,366
But she did it in an
almost subversive way,
584
00:35:09,366 --> 00:35:13,766
wrapping the message in a
universally easy-to-sing chorus
585
00:35:13,766 --> 00:35:17,466
that sneaks up on you and
hits you in the face with the
586
00:35:17,466 --> 00:35:20,066
importance of taking action.
587
00:35:21,033 --> 00:35:23,400
And by the way,
there'’s almost never,
588
00:35:23,400 --> 00:35:27,533
ever been a gathering of
people singing Joni songs where
589
00:35:27,533 --> 00:35:31,133
this one isn'’t the loudest
and most boisterous moment
590
00:35:31,133 --> 00:35:33,166
of the evening.
591
00:35:33,166 --> 00:35:36,033
So with that said and in mind,
592
00:35:36,033 --> 00:35:39,033
we ask all of you
to join us when the spirit
593
00:35:39,033 --> 00:35:41,000
moves you, of course.
594
00:35:41,000 --> 00:35:44,300
This is, "“Big Yellow Taxi!"”
595
00:35:45,666 --> 00:35:48,500
(audience applause).
596
00:35:50,700 --> 00:35:56,366
♪ ♪
597
00:36:00,333 --> 00:36:06,666
♪ ♪
598
00:36:09,766 --> 00:36:11,166
♪ ANNIE: Oh! ♪
599
00:36:11,166 --> 00:36:14,733
♪ They paved paradise,
put up a parking lot. ♪
600
00:36:14,733 --> 00:36:16,133
♪ LEDISI: All right, now. ♪
601
00:36:17,000 --> 00:36:19,100
♪ ANNIE: Oh, with a
pink hotel, a boutique, ♪
602
00:36:19,100 --> 00:36:21,966
♪ And a swinging hot spot. ♪
603
00:36:23,166 --> 00:36:26,033
♪ ALL: Don't it
always seem to go. ♪
604
00:36:26,033 --> 00:36:28,900
♪ That you don't know what
you got 'til it's gone? ♪
605
00:36:29,266 --> 00:36:32,066
♪ They paved paradise,
put up a parking lot. ♪
606
00:36:32,066 --> 00:36:34,900
♪ Shoo,
bop-bop-bop-bop. ♪
607
00:36:35,166 --> 00:36:37,566
♪ Shoo,
bop-bop-bop-bop. ♪
608
00:36:37,900 --> 00:36:40,233
♪ CYNDI: They took all the
trees and they put 'em in ♪
609
00:36:40,233 --> 00:36:41,966
♪ A tree museum. ♪
610
00:36:43,233 --> 00:36:46,066
♪ Ooh, and they
charged them arm and leg ♪
611
00:36:46,066 --> 00:36:48,233
♪ Just to come see '‘em. ♪
612
00:36:48,233 --> 00:36:49,400
♪ Oh! ♪
613
00:36:49,733 --> 00:36:52,766
♪ LEDISI: Don't it
always seem to go. ♪
614
00:36:52,766 --> 00:36:55,966
♪ That you don't know
what you got 'til it's gone? ♪
615
00:36:55,966 --> 00:36:59,000
♪ They paved paradise,
put up a parking lot. ♪
616
00:36:59,000 --> 00:37:01,733
♪ (Shoo,
bop-bop-bop-bop). ♪
617
00:37:02,133 --> 00:37:04,066
♪ (Shoo,
bop-bop-bop-bop). ♪
618
00:37:04,966 --> 00:37:08,900
♪ BRANDI: Hey, farmer, farmer,
put away the DDT, now. ♪
619
00:37:10,566 --> 00:37:12,666
♪ Give me spots
on my apples and ♪
620
00:37:12,666 --> 00:37:15,366
♪ Leave me the
birds and the bees. ♪
621
00:37:15,366 --> 00:37:17,000
♪ Please! ♪
622
00:37:17,233 --> 00:37:19,900
♪ ALL: Don't it
always seem to go. ♪
623
00:37:19,900 --> 00:37:22,833
♪ That you don't know
what you got 'til it's gone? ♪
624
00:37:23,200 --> 00:37:26,300
♪ They paved paradise
and put up a parking lot. ♪
625
00:37:26,300 --> 00:37:28,966
♪ (Shoo,
bop-bop-bop-bop). ♪
626
00:37:29,300 --> 00:37:31,833
♪ (Shoo,
bop-bop-bop-bop). ♪
627
00:37:32,166 --> 00:37:33,600
♪ ANGÉLIQUE: Late last night, ♪
628
00:37:33,600 --> 00:37:35,866
♪ I heard the
screen door slam. ♪
629
00:37:37,833 --> 00:37:41,966
♪ And a big yellow taxi
took away my old man. ♪
630
00:37:44,200 --> 00:37:47,100
♪ Don't it always
seem to go. ♪
631
00:37:47,100 --> 00:37:50,133
♪ That you don't know what
you got 'til it's gone? ♪
632
00:37:50,133 --> 00:37:53,266
♪ They paved paradise
and put up a parking lot ♪
633
00:37:53,266 --> 00:37:55,966
♪ ALL: Shoo,
bop-bop-bop-bop. ♪
634
00:37:56,366 --> 00:37:59,033
♪ Don't it always seem to go. ♪
635
00:37:59,033 --> 00:38:02,600
♪ That you don't know
what you got 'til it's gone? ♪
636
00:38:02,800 --> 00:38:05,766
♪ They paved paradise
and put up a parking lot. ♪
637
00:38:06,000 --> 00:38:11,066
♪ Shoo,
bop-bop-bop-bop. ♪
638
00:38:11,566 --> 00:38:14,933
♪ LUCIUS: They paved paradise
and put up a parking lot. ♪
639
00:38:14,933 --> 00:38:16,233
♪ (Hey, hey, hey) ♪
640
00:38:16,233 --> 00:38:17,400
ANNIE: What'd you say?
641
00:38:17,400 --> 00:38:19,566
♪ LUCIUS: With a pink hotel,
a boutique, ♪
642
00:38:19,566 --> 00:38:22,366
♪ And a swinging hot spot. ♪
643
00:38:23,566 --> 00:38:26,600
♪ ALL: Don't it
always seem to go. ♪
644
00:38:26,600 --> 00:38:30,133
♪ That you don't know what
you got 'til it's gone? ♪
645
00:38:31,533 --> 00:38:34,833
(audience applause).
646
00:38:34,833 --> 00:38:40,266
(drum solo).
647
00:38:44,933 --> 00:38:48,600
♪ They paved paradise
and put up a parking lot. ♪
648
00:38:48,933 --> 00:38:50,933
♪ Shoo,
bop-bop-bop-bop. ♪
649
00:38:50,933 --> 00:38:53,966
♪ They paved paradise
and put up a parking lot. ♪
650
00:38:53,966 --> 00:38:56,900
♪ Shoo,
bop-bop-bop-bop. ♪
651
00:38:56,900 --> 00:38:58,700
♪ BRANDI: They
paved paradise. ♪
652
00:38:58,700 --> 00:39:01,266
♪ JONI:
Put up a parking lot. ♪♪
653
00:39:07,433 --> 00:39:13,000
(audience cheering).
654
00:39:26,166 --> 00:39:32,533
(audience applause).
655
00:39:37,133 --> 00:39:39,133
♪ ANGÉLIQUE: Put
up a parking lot. ♪♪
656
00:39:45,466 --> 00:39:48,800
CAROL: When I first
heard Joni Mitchell
657
00:39:48,800 --> 00:39:51,233
and also heard about her,
658
00:39:51,233 --> 00:39:54,900
because she lived in
Laurel Canyon and people were
659
00:39:54,900 --> 00:39:57,700
aware of her and her music...
660
00:39:58,200 --> 00:40:04,133
I just felt like I knew she
was a songwriter and I knew
661
00:40:04,466 --> 00:40:06,166
she was really good.
662
00:40:06,166 --> 00:40:10,100
And then when I heard her and
heard her over and over again,
663
00:40:10,100 --> 00:40:12,566
and multiple albums,
664
00:40:12,566 --> 00:40:17,100
I realized we do the
same thing but we do it
665
00:40:17,100 --> 00:40:20,166
in such different ways.
666
00:40:20,166 --> 00:40:21,833
She is an artist.
667
00:40:21,833 --> 00:40:26,800
She's also a visual artist as
well as a artist in creativity
668
00:40:27,033 --> 00:40:28,966
and she goes right there.
669
00:40:28,966 --> 00:40:33,833
She goes to the place
of total creativity.
670
00:40:34,533 --> 00:40:35,866
My way of doing it,
671
00:40:35,866 --> 00:40:39,500
I was trained to write on
assignment and I have been
672
00:40:39,500 --> 00:40:41,100
struck by the muse.
673
00:40:41,100 --> 00:40:44,466
I have worked at the
direction of the muse.
674
00:40:44,466 --> 00:40:48,766
But that's Joni's native
habitat and she's so good at it.
675
00:40:49,433 --> 00:40:52,433
Joni, you're the best,
676
00:40:52,800 --> 00:40:55,433
just keep on going
'cause you are so great.
677
00:40:55,433 --> 00:40:57,066
Congratulations.
678
00:40:59,800 --> 00:41:02,333
ANNOUNCER: Please welcome,
two-time GRAMMY award winner,
679
00:41:02,333 --> 00:41:04,066
Cyndi Lauper!
680
00:41:08,033 --> 00:41:10,933
CYNDI: Before I sing,
I just wanted to say,
681
00:41:10,933 --> 00:41:15,000
and yeah, I know I've
told you so many times but,
682
00:41:15,000 --> 00:41:16,433
maybe you should hear it.
683
00:41:16,433 --> 00:41:18,033
When I was growing up,
684
00:41:18,033 --> 00:41:22,633
the landscape of music
was mostly men and there were
685
00:41:22,633 --> 00:41:27,466
a few women,
far and few, from me, and, um,
686
00:41:27,466 --> 00:41:31,566
Joni Mitchell was the first
artist who really spoke about
687
00:41:31,566 --> 00:41:34,833
what it was like to be
a woman navigating in a
688
00:41:34,833 --> 00:41:38,000
male world and, um...
689
00:41:39,400 --> 00:41:41,633
And you taught
me so much, Joni.
690
00:41:41,633 --> 00:41:44,933
You taught me that I
could be a multi-media artist
691
00:41:44,933 --> 00:41:46,166
if I wanted.
692
00:41:46,166 --> 00:41:50,633
'Cause you painted, and you,
you wrote, and you played,
693
00:41:50,633 --> 00:41:53,566
and that's what I wanted
to do and I thought,
694
00:41:53,566 --> 00:41:57,066
"Well if you could do it,
I could maybe do it too."
695
00:41:57,066 --> 00:42:01,633
And thank you for teaching
me how to paint with words,
696
00:42:01,633 --> 00:42:05,133
with sounds, and with paint.
697
00:42:05,133 --> 00:42:07,433
(laughter).
698
00:42:08,166 --> 00:42:10,466
(audience applause).
699
00:42:11,600 --> 00:42:14,400
And this next song
is a very special song that I
700
00:42:14,400 --> 00:42:18,600
used to sing to myself to
comfort myself sometimes and
701
00:42:18,600 --> 00:42:21,500
I still pick up
seashells and listen.
702
00:42:23,966 --> 00:42:30,366
(cello solo).
703
00:42:33,433 --> 00:42:36,700
(trumpet solo).
704
00:42:36,700 --> 00:42:41,100
♪ Blue. ♪
705
00:42:44,233 --> 00:42:47,833
♪ Songs are like tattoos. ♪
706
00:42:48,366 --> 00:42:54,466
♪ You know I've
been to sea before. ♪
707
00:42:55,700 --> 00:42:59,000
♪ Crown and anchor me. ♪
708
00:42:59,000 --> 00:43:05,266
♪ Or let me sail away. ♪
709
00:43:07,433 --> 00:43:10,133
♪ Hey Blue. ♪
710
00:43:12,166 --> 00:43:15,533
♪ There is a song for you. ♪
711
00:43:15,900 --> 00:43:19,500
♪ Ink on a pin. ♪
712
00:43:21,100 --> 00:43:24,166
♪ Underneath the skin. ♪
713
00:43:25,166 --> 00:43:31,466
♪ An empty space to fill in. ♪
714
00:43:35,266 --> 00:43:38,200
♪ Well, there're
so many sinking. ♪
715
00:43:38,200 --> 00:43:40,966
♪ You know, you'’ve
got to keep thinking. ♪
716
00:43:40,966 --> 00:43:45,600
♪ You can make it
through these waves. ♪
717
00:43:47,300 --> 00:43:49,600
♪ Acid, booze, and ass. ♪
718
00:43:49,600 --> 00:43:52,933
♪ Needles, guns, and grass. ♪
719
00:43:52,933 --> 00:43:55,200
♪ Lots of laughs. ♪
720
00:43:59,266 --> 00:44:02,300
♪ Lots of laughs. ♪
721
00:44:05,033 --> 00:44:08,866
(piano solo).
722
00:44:14,000 --> 00:44:19,133
♪ Everybody's saying that
hell's the hippest way to go. ♪
723
00:44:19,133 --> 00:44:23,033
♪ Well, I don't think so,
but I'm gonna take a ♪
724
00:44:23,033 --> 00:44:25,200
♪ Look around it now. ♪
725
00:44:25,200 --> 00:44:29,600
♪ Blue. ♪
726
00:44:32,700 --> 00:44:37,100
♪ I love you. ♪
727
00:44:49,666 --> 00:44:51,933
♪ Hey Blue. ♪
728
00:44:53,200 --> 00:44:56,733
♪ Here's a shell for you. ♪
729
00:44:57,000 --> 00:45:00,833
♪ Inside you'll hear a sigh. ♪
730
00:45:03,000 --> 00:45:07,600
♪ A foggy lullaby. ♪
731
00:45:12,700 --> 00:45:18,133
♪ It is your song from me. ♪
732
00:45:23,566 --> 00:45:27,800
(trumpet solo).
733
00:45:30,000 --> 00:45:32,233
(audience applause).
734
00:45:32,233 --> 00:45:36,666
♪ Mm. ♪
735
00:45:37,100 --> 00:45:40,666
♪ Ooh. ♪♪
736
00:45:45,900 --> 00:45:50,000
(audience applause).
737
00:46:00,600 --> 00:46:04,633
(audience applause).
738
00:46:05,266 --> 00:46:06,466
GARTH: Garth Brooks here.
739
00:46:06,466 --> 00:46:07,966
Just wanted to say
congratulations on the
740
00:46:07,966 --> 00:46:09,266
Gershwin Prize.
741
00:46:09,266 --> 00:46:10,733
Understand this is
something they don'’t have to
742
00:46:10,733 --> 00:46:12,266
give every year.
743
00:46:12,266 --> 00:46:15,433
But, you are a
true American icon.
744
00:46:15,433 --> 00:46:18,533
The hero to my hero as a kid.
745
00:46:18,533 --> 00:46:20,433
You were my sister'’s hero.
746
00:46:20,433 --> 00:46:22,666
One girl out of six kids,
747
00:46:22,666 --> 00:46:24,933
so you can imagine
how tough it was for her.
748
00:46:24,933 --> 00:46:27,433
She loved you which
means we loved you,
749
00:46:27,733 --> 00:46:29,000
our whole family did.
750
00:46:29,000 --> 00:46:31,433
Again, congratulations
on making an award that
751
00:46:31,433 --> 00:46:33,700
I thought was
pretty cool, even cooler.
752
00:46:36,300 --> 00:46:39,533
(audience applause).
753
00:46:41,100 --> 00:46:43,833
ANNOUNCER: Please
welcome Graham Nash!
754
00:46:45,200 --> 00:46:47,133
GRAHAM: Thank you.
755
00:46:48,333 --> 00:46:52,533
I met Joan in Ottawa in 1967.
756
00:46:54,400 --> 00:46:56,566
She took me to her room.
757
00:46:56,566 --> 00:46:59,100
(audience laughter).
758
00:46:59,100 --> 00:47:04,000
And played me probably over
a dozen of the most incredible
759
00:47:04,000 --> 00:47:06,366
songs I'’d ever heard in my life.
760
00:47:06,366 --> 00:47:10,366
(audience applause).
761
00:47:14,266 --> 00:47:16,700
As you know, she suffered a,
762
00:47:16,700 --> 00:47:19,400
a brain aneurysm
a few years ago.
763
00:47:19,400 --> 00:47:22,900
But resilience is
the right word for Joni.
764
00:47:22,900 --> 00:47:26,000
She made it
through a lot of stuff.
765
00:47:26,966 --> 00:47:30,066
(audience applause).
766
00:47:31,066 --> 00:47:33,733
Um...
767
00:47:33,733 --> 00:47:36,066
Let's give a shoutout
to Brandi Carlile for
768
00:47:36,066 --> 00:47:38,100
bringing Joni back.
769
00:47:39,200 --> 00:47:41,900
(audience applause).
770
00:47:47,766 --> 00:47:50,900
A song of Joan'’s called,
"“A Case of You."”
771
00:47:54,100 --> 00:48:00,766
(guitar solo)
772
00:48:08,733 --> 00:48:13,266
(guitar solo)
773
00:48:13,866 --> 00:48:19,933
(harmonica solo).
774
00:48:30,766 --> 00:48:34,900
♪ Just before our love
got lost you said. ♪
775
00:48:35,966 --> 00:48:39,400
♪ "I am as constant
as a northern star." ♪
776
00:48:39,600 --> 00:48:43,033
♪ And I said,
"Constant in the darkness. ♪
777
00:48:43,033 --> 00:48:46,166
♪ Where is that at? ♪
778
00:48:46,166 --> 00:48:49,066
♪ If you want me
I'll be in the bar." ♪
779
00:48:50,633 --> 00:48:54,266
♪ On the back of
the cartoon coaster. ♪
780
00:48:55,866 --> 00:48:59,300
♪ In the blue TV screen light. ♪
781
00:49:00,933 --> 00:49:04,266
♪ I drew a map of Canada. ♪
782
00:49:04,266 --> 00:49:07,200
♪ Oh, Canada. ♪
783
00:49:11,066 --> 00:49:14,533
♪ With your face
sketched on it twice. ♪
784
00:49:17,066 --> 00:49:21,000
♪ You're in my blood,
you'’re my holy wine. ♪
785
00:49:22,300 --> 00:49:26,100
♪ You taste so bitter,
so bitter and so sweet. ♪
786
00:49:26,400 --> 00:49:29,533
♪ Oh, I could drink ♪
787
00:49:29,533 --> 00:49:33,933
♪ A case of you, darling. ♪
788
00:49:35,166 --> 00:49:38,366
♪ And I will
still be on my feet. ♪
789
00:49:39,333 --> 00:49:42,266
♪ I will still
be on my feet. ♪
790
00:49:42,666 --> 00:49:49,033
(harmonica solo).
791
00:50:02,166 --> 00:50:04,933
♪ You are a lonely painter. ♪
792
00:50:07,200 --> 00:50:09,933
♪ You live in a box of paints. ♪
793
00:50:12,066 --> 00:50:15,033
♪ You'’re frightened
by the devil. ♪
794
00:50:17,300 --> 00:50:20,600
♪ When darling you'’re really
not afraid. ♪
795
00:50:22,300 --> 00:50:25,033
♪ I remember a
time you told me. ♪
796
00:50:25,300 --> 00:50:28,466
♪ "Love was touching souls." ♪
797
00:50:28,733 --> 00:50:31,166
♪ Well, surely
you touched mine. ♪
798
00:50:31,166 --> 00:50:35,300
♪ 'Cause part of me
pours out of you. ♪
799
00:50:35,833 --> 00:50:39,633
♪ In these lines
from time to time. ♪
800
00:50:40,900 --> 00:50:45,600
♪ Oh, you're in my blood,
you'’re my holy wine. ♪
801
00:50:47,100 --> 00:50:51,033
♪ You taste so bitter,
so bitter and so sweet. ♪
802
00:50:51,333 --> 00:50:54,533
♪ Oh, I could drink ♪
803
00:50:54,800 --> 00:50:58,900
♪ A case of you, darling. ♪
804
00:51:00,233 --> 00:51:03,666
♪ And I will
still be on my feet. ♪
805
00:51:04,600 --> 00:51:07,800
♪ I will still be on my feet. ♪
806
00:51:08,733 --> 00:51:14,800
(harmonica solo).
807
00:51:28,000 --> 00:51:31,166
♪ I knew a woman,
she had a mouth like yours. ♪
808
00:51:31,766 --> 00:51:34,133
♪ She knew your life. ♪
809
00:51:34,133 --> 00:51:36,266
♪ She knew your
devils and your deeds. ♪
810
00:51:36,266 --> 00:51:38,033
♪ And she said, ♪
811
00:51:38,033 --> 00:51:41,900
♪ "Go to him,
stay with him if you can. ♪
812
00:51:42,566 --> 00:51:46,100
♪ But be prepared to bleed." ♪
813
00:51:46,466 --> 00:51:48,933
♪ Oh, you are in my blood. ♪
814
00:51:48,933 --> 00:51:52,100
♪ You're my holy wine. ♪
815
00:51:52,666 --> 00:51:56,133
♪ You taste so bitter,
so bitter and so sweet. ♪
816
00:51:56,533 --> 00:51:59,833
♪ Oh, I could drink ♪
817
00:52:00,100 --> 00:52:04,166
♪ A case of you, darling. ♪
818
00:52:05,500 --> 00:52:08,766
♪ And I will still
be on my feet. ♪
819
00:52:09,533 --> 00:52:12,733
♪ I will still
be on my feet. ♪♪
820
00:52:15,366 --> 00:52:21,933
(harmonica solo)
821
00:52:33,400 --> 00:52:34,733
(song ends)
822
00:52:35,233 --> 00:52:39,600
(audience applause).
823
00:52:40,633 --> 00:52:43,033
GRAHAM: Thank you very much.
824
00:52:45,166 --> 00:52:49,166
(audience applause).
825
00:52:51,900 --> 00:52:55,433
♪ JONI: Cheap guitars,
eye shades and guns ♪
826
00:52:56,000 --> 00:52:59,300
♪ Aimed at the hot blood
of being no one ♪♪
827
00:53:01,233 --> 00:53:02,900
ANNOUNCER: Jazz
musician Wayne Shorter,
828
00:53:02,900 --> 00:53:06,400
a great friend and collaborator
of both Joni and Herbie Hancock,
829
00:53:06,400 --> 00:53:09,433
passed away the night of the
Gershwin Prize taping.
830
00:53:09,733 --> 00:53:11,133
The following day,
831
00:53:11,133 --> 00:53:12,833
in the Gershwin Room at
the Library of Congress,
832
00:53:12,833 --> 00:53:14,866
we asked Joni to remember Wayne.
833
00:53:15,200 --> 00:53:18,966
JONI: Oh, well Wayne Shorter
is also a visual artist and,
834
00:53:18,966 --> 00:53:21,966
and, uh, you know,
835
00:53:21,966 --> 00:53:27,200
he died last night, Wayne and,
and, he will be sorely missed.
836
00:53:27,200 --> 00:53:28,933
I, I love Wayne Shorter,
837
00:53:28,933 --> 00:53:31,333
he's the best
saxophonist ever.
838
00:53:31,333 --> 00:53:33,033
I think, in my opinion.
839
00:53:33,033 --> 00:53:36,333
Well, Wayne was like a
little Zen master, you know?
840
00:53:36,333 --> 00:53:38,166
He, he was more than a musician.
841
00:53:38,166 --> 00:53:40,766
He, he was...
842
00:53:40,766 --> 00:53:42,066
Mystical.
843
00:53:42,066 --> 00:53:43,666
(laughs).
844
00:53:51,500 --> 00:53:52,733
(audience applause).
845
00:53:53,600 --> 00:53:55,733
ANNOUNCER: Please welcome
Kennedy Center Honoree and
846
00:53:55,733 --> 00:53:59,266
winner of 14 GRAMMY awards,
Herbie Hancock!
847
00:54:03,133 --> 00:54:07,266
HERBIE: Well, along with
everything else I owe to Joni,
848
00:54:08,366 --> 00:54:11,866
there is...
849
00:54:12,066 --> 00:54:17,933
Yeah, there is that 2008 GRAMMY
Album of The Year that...
850
00:54:18,866 --> 00:54:21,800
(audience applause).
851
00:54:21,800 --> 00:54:23,366
Thank you.
852
00:54:23,366 --> 00:54:27,700
That we won performing the
songs of Joni Mitchell.
853
00:54:27,700 --> 00:54:31,000
And it was only the
second time that a Jazz album
854
00:54:31,000 --> 00:54:33,533
ever won that award.
855
00:54:33,533 --> 00:54:38,133
But as both Joni and I
have said over the years,
856
00:54:38,133 --> 00:54:41,466
you can try and put
us in those boxes that
857
00:54:41,466 --> 00:54:44,566
award shows have created,
858
00:54:44,566 --> 00:54:47,466
but we'’re gonna break out
of them as fast as you can
859
00:54:47,466 --> 00:54:49,600
put us in.
860
00:54:50,100 --> 00:54:53,600
(audience applause).
861
00:54:54,800 --> 00:54:59,433
And no one has proven
that more than Joni Mitchell.
862
00:55:01,433 --> 00:55:04,833
(audience applause).
863
00:55:11,366 --> 00:55:16,866
♪ ♪
864
00:55:25,700 --> 00:55:31,600
♪ ♪
865
00:55:41,566 --> 00:55:47,333
♪ ♪
866
00:55:47,333 --> 00:55:50,100
Here'’s the
amazing talented, Ledisi.
867
00:55:50,766 --> 00:55:53,366
♪ LEDISI: It's coming
on Christmas. ♪
868
00:55:53,666 --> 00:55:55,700
♪ Cutting down trees. ♪
869
00:55:55,900 --> 00:55:57,866
♪ They're putting
in reindeers. ♪
870
00:55:57,866 --> 00:56:01,500
♪ And singing songs
of joy and peace. ♪
871
00:56:02,533 --> 00:56:05,533
♪ Oh, I wish I had a river. ♪
872
00:56:06,800 --> 00:56:10,066
♪ I could skate away on. ♪
873
00:56:11,900 --> 00:56:14,666
♪ But it don't snow here. ♪
874
00:56:14,666 --> 00:56:17,133
♪ It stays pretty green. ♪
875
00:56:17,133 --> 00:56:19,500
♪ I'm gonna make
a lot of money. ♪
876
00:56:19,500 --> 00:56:22,900
♪ Then I'm gonna leave
this crazy scene. ♪
877
00:56:22,900 --> 00:56:26,266
♪ Oh, I wish I had a river. ♪
878
00:56:27,166 --> 00:56:31,200
♪ I could skate away on. ♪
879
00:56:33,633 --> 00:56:37,633
♪ Wish I had a river so long. ♪
880
00:56:38,466 --> 00:56:43,800
♪ I could teach
my feet to fly. ♪
881
00:56:49,766 --> 00:56:53,066
♪ Oh, I wish I had a river. ♪
882
00:56:53,966 --> 00:56:58,866
♪ I could skate away on. ♪
883
00:57:02,000 --> 00:57:06,233
♪ I made my baby cry. ♪
884
00:57:12,900 --> 00:57:18,266
♪ ♪
885
00:57:20,300 --> 00:57:22,766
♪ I tried hard to help him. ♪
886
00:57:22,766 --> 00:57:25,200
♪ You know, he
put me at ease. ♪
887
00:57:25,466 --> 00:57:27,700
♪ And he loved
me so naughty. ♪
888
00:57:27,700 --> 00:57:30,633
♪ He made me
weak at the knees. ♪
889
00:57:30,866 --> 00:57:33,900
♪ Oh, I wish I had a river. ♪
890
00:57:35,400 --> 00:57:39,133
♪ I could skate away on. ♪
891
00:57:41,733 --> 00:57:44,200
♪ I'm so hard to handle. ♪
892
00:57:44,200 --> 00:57:46,833
♪ I'm selfish and I'm sad. ♪
893
00:57:47,066 --> 00:57:49,633
♪ Now I've gone and
lost the best baby. ♪
894
00:57:49,633 --> 00:57:51,800
♪ That I ever had. ♪
895
00:57:51,800 --> 00:57:56,966
♪ Oh, I wish I had a river. ♪
896
00:57:57,600 --> 00:58:01,133
♪ I could skate away on. ♪
897
00:58:03,066 --> 00:58:07,400
♪ I wish I had a
river so long. ♪
898
00:58:08,133 --> 00:58:13,666
♪ I could teach
my feet to fly. ♪
899
00:58:19,066 --> 00:58:23,433
♪ ♪
900
00:58:25,566 --> 00:58:28,766
♪ Wish I had a river. ♪
901
00:58:28,766 --> 00:58:34,000
♪ I could skate away on. ♪
902
00:58:36,900 --> 00:58:42,300
♪ I made my baby cry. ♪
903
00:58:47,000 --> 00:58:53,366
(scatting rhythmically).
904
00:58:56,466 --> 00:59:02,733
♪ ♪
905
00:59:09,200 --> 00:59:15,600
♪ ♪
906
00:59:21,833 --> 00:59:28,200
♪ ♪
907
00:59:35,600 --> 00:59:39,000
(song ends).
908
00:59:39,000 --> 00:59:45,200
(audience applause).
909
00:59:54,600 --> 00:59:56,400
SMOKEY: Hey, Joni,
how you doing sweetheart?
910
00:59:56,400 --> 00:59:57,866
Smokey Robinson here.
911
00:59:58,800 --> 01:00:01,833
I want to congratulate you
on getting the Gershwin Award.
912
01:00:01,833 --> 01:00:03,366
That'’s such an honor.
913
01:00:03,366 --> 01:00:05,766
As a songwriter, I, I mean,
it'’s such an honor.
914
01:00:05,766 --> 01:00:06,833
When I got it,
915
01:00:06,833 --> 01:00:09,800
I just cannot tell
you how flattered I am to
916
01:00:09,800 --> 01:00:13,766
be even mentioned in the
same breath as the Gershwin's.
917
01:00:13,766 --> 01:00:15,800
So, I know you feel
the same way, honey,
918
01:00:15,800 --> 01:00:17,300
and you deserve it.
919
01:00:17,300 --> 01:00:19,066
It'’s long overdue for you.
920
01:00:19,066 --> 01:00:21,233
You'’re one of our
greatest songwriters ever.
921
01:00:21,233 --> 01:00:23,866
Enjoy the night and
have a wonderful time.
922
01:00:23,866 --> 01:00:25,200
God bless you.
923
01:00:25,200 --> 01:00:26,466
Love you.
924
01:00:28,566 --> 01:00:31,033
ANNOUNCER: Please welcome
two time GRAMMY Award winner
925
01:00:31,033 --> 01:00:33,100
Diana Krall.
926
01:00:33,100 --> 01:00:35,733
(audience applause).
927
01:00:37,200 --> 01:00:39,100
DIANA: Thank you.
928
01:00:41,000 --> 01:00:43,533
It's such an honor to
be here this evening.
929
01:00:43,533 --> 01:00:48,233
Joni, I love you so much
and to be present...
930
01:00:48,233 --> 01:00:51,400
I get to play together again
with so many great artists and
931
01:00:51,400 --> 01:00:52,966
listen to each other.
932
01:00:52,966 --> 01:00:55,733
And, uh, Joni, this
song means so much to me
933
01:00:55,733 --> 01:00:57,033
as I listen to the album,
934
01:00:57,033 --> 01:00:59,466
"For the Roses" um,
935
01:00:59,466 --> 01:01:03,133
because where you
wrote this song, uh,
936
01:01:03,133 --> 01:01:07,233
you reference nature
in a way that is very unique
937
01:01:07,233 --> 01:01:09,500
and beautiful, so.
938
01:01:12,166 --> 01:01:18,766
(piano solo).
939
01:01:29,300 --> 01:01:34,566
(piano solo).
940
01:01:35,466 --> 01:01:38,100
♪ I heard it in the
wind last night. ♪
941
01:01:38,866 --> 01:01:41,500
♪ It sounded like applause. ♪
942
01:01:41,766 --> 01:01:44,633
♪ Did you get a round
resounding for you. ♪
943
01:01:44,633 --> 01:01:47,666
♪ Way up here? ♪
944
01:01:49,633 --> 01:01:54,333
(piano solo).
945
01:01:54,733 --> 01:01:57,833
♪ Seems like
many dim years ago. ♪
946
01:01:57,833 --> 01:02:00,900
♪ Since I heard
face-to-face. ♪
947
01:02:01,633 --> 01:02:04,400
♪ I saw you face to face. ♪
948
01:02:04,400 --> 01:02:08,066
♪ But tonight I
can feel you here. ♪
949
01:02:11,000 --> 01:02:13,366
(piano solo).
950
01:02:13,366 --> 01:02:15,066
♪ I get these notes. ♪
951
01:02:15,066 --> 01:02:18,333
♪ On butterflies
and lilac sprays. ♪
952
01:02:18,600 --> 01:02:21,800
♪ From girls that
just have to tell you. ♪
953
01:02:21,800 --> 01:02:25,133
♪ They saw you. ♪
954
01:02:26,600 --> 01:02:30,233
♪ Last night somewhere. ♪
955
01:02:32,366 --> 01:02:38,533
(piano solo).
956
01:02:40,066 --> 01:02:43,033
♪ I guess I seem ungrateful. ♪
957
01:02:43,033 --> 01:02:46,233
♪ With my teeth
sunk in the hand. ♪
958
01:02:46,833 --> 01:02:48,366
♪ That brings me things. ♪
959
01:02:48,366 --> 01:02:51,166
♪ I really can't
give up just yet. ♪
960
01:02:54,600 --> 01:02:57,733
♪ Now I sit up here the critic ♪
961
01:02:57,733 --> 01:03:00,800
♪ And I introduce
some new band. ♪
962
01:03:00,800 --> 01:03:03,200
♪ But they look
like pink confetti. ♪
963
01:03:03,200 --> 01:03:07,066
♪ On my old TV screen. ♪
964
01:03:13,133 --> 01:03:16,133
♪ Oh, the power and the glory. ♪
965
01:03:16,133 --> 01:03:19,566
♪ Just when you start
getting a taste for worship. ♪
966
01:03:19,833 --> 01:03:24,066
♪ They start bringing
out the hammers. ♪
967
01:03:26,766 --> 01:03:30,400
♪ And the nails. ♪
968
01:03:31,866 --> 01:03:38,200
(piano solo).
969
01:03:44,166 --> 01:03:47,700
♪ I heard it in the
wind last night. ♪
970
01:03:47,900 --> 01:03:50,866
♪ It sounded like applause. ♪
971
01:03:52,333 --> 01:03:54,333
♪ Chilly now. ♪
972
01:03:54,333 --> 01:03:56,100
♪ End of summer. ♪
973
01:03:56,100 --> 01:04:00,133
♪ No more hot shiny nights. ♪
974
01:04:04,933 --> 01:04:08,600
♪ It was just the
arbutus rustling. ♪
975
01:04:08,600 --> 01:04:12,066
♪ And the bumping
of the logs. ♪
976
01:04:12,900 --> 01:04:19,300
♪ And the moon swept down. ♪
977
01:04:22,866 --> 01:04:29,433
♪ On black water. ♪
978
01:04:32,933 --> 01:04:36,666
♪ Ooh. ♪
979
01:04:38,366 --> 01:04:44,333
♪ Ooh. ♪
980
01:04:48,333 --> 01:04:52,100
♪ Like an empty spotlight. ♪
981
01:04:53,400 --> 01:04:58,533
♪ Like an empty spotlight, ♪
982
01:05:00,600 --> 01:05:02,833
♪ Light. ♪
983
01:05:06,533 --> 01:05:10,533
(piano solo).
984
01:05:13,433 --> 01:05:14,933
(song ends)
985
01:05:14,933 --> 01:05:17,400
(audience applause).
986
01:05:17,400 --> 01:05:18,466
Thank you so much.
987
01:05:18,466 --> 01:05:20,200
We love you, Joni, so much,
everybody here.
988
01:05:20,200 --> 01:05:22,366
Thank you, Brandi Carlile, also.
989
01:05:23,833 --> 01:05:26,766
(audience applause).
990
01:05:37,900 --> 01:05:41,933
LIONEL: Tonight, uh, I'’m going
to kind of say congratulations
991
01:05:41,933 --> 01:05:44,433
as your next-door neighbor, uh.
992
01:05:44,433 --> 01:05:46,866
You totally deserve this.
993
01:05:46,866 --> 01:05:48,033
(laughs).
994
01:05:48,033 --> 01:05:50,500
Long overdue but my dear,
congratulations.
995
01:05:50,500 --> 01:05:52,800
Enjoy this moment, uh.
996
01:05:52,800 --> 01:05:55,500
I love you, as I told you
the last time I saw you,
997
01:05:55,500 --> 01:05:57,133
and every time I see you.
998
01:05:57,133 --> 01:05:59,500
I love you to death,
thank you for your talent,
999
01:05:59,500 --> 01:06:00,966
and thank you for
your friendship.
1000
01:06:00,966 --> 01:06:03,400
But more importantly,
your humanity.
1001
01:06:03,400 --> 01:06:05,866
You'’re a smokin'’ child.
1002
01:06:05,866 --> 01:06:07,300
Love you to death.
1003
01:06:07,700 --> 01:06:09,233
God bless you.
1004
01:06:10,666 --> 01:06:12,500
BRANDI: The songs of
Joni Mitchell,
1005
01:06:12,500 --> 01:06:14,233
like the woman,
1006
01:06:14,233 --> 01:06:16,866
speak to innocence
and experience,
1007
01:06:16,866 --> 01:06:18,166
success and failure,
1008
01:06:18,166 --> 01:06:20,266
overcoming odds, falling short.
1009
01:06:20,266 --> 01:06:21,733
Eight years ago this month,
1010
01:06:21,733 --> 01:06:24,000
all of these qualities
became part of Joni'’s life
1011
01:06:24,000 --> 01:06:25,900
when she suffered a
brain aneurysm that
1012
01:06:25,900 --> 01:06:28,266
left her in a coma.
1013
01:06:28,266 --> 01:06:31,433
And when she emerged she
was unable to walk or talk.
1014
01:06:31,433 --> 01:06:33,600
But just as she had with
her polio experience back
1015
01:06:33,600 --> 01:06:35,666
in the '‘60s she fought back.
1016
01:06:35,666 --> 01:06:38,566
So much so that last
summer she walked onstage at
1017
01:06:38,566 --> 01:06:41,433
the Newport Folk Festival
and performed 13 songs.
1018
01:06:41,900 --> 01:06:46,033
♪ JONI: I'’ve looked at
clouds from both sides now. ♪♪
1019
01:06:46,766 --> 01:06:50,366
BRANDI: She showed the
world that it was not done
1020
01:06:50,366 --> 01:06:53,166
with Joni Mitchell,
1021
01:06:53,166 --> 01:06:56,933
and she showed the world
that she was not done with us.
1022
01:06:56,933 --> 01:07:00,133
All of us onstage here tonight
just couldn'’t let the evening
1023
01:07:00,133 --> 01:07:03,400
pass without recognition
of Joni'’s courage,
1024
01:07:03,400 --> 01:07:06,200
her determination, her spirit.
1025
01:07:06,200 --> 01:07:08,600
Will and grit.
1026
01:07:09,566 --> 01:07:12,966
She is and will always be
the embodiment of the words
1027
01:07:12,966 --> 01:07:15,066
of her beloved song.
1028
01:07:15,066 --> 01:07:17,866
"“I'’ve looked at life
from both sides now.
1029
01:07:17,866 --> 01:07:20,700
From win and lose
and still somehow.
1030
01:07:20,700 --> 01:07:23,000
It'’s life'’s illusions I recall.
1031
01:07:23,000 --> 01:07:25,266
I really don'’t
know life at all."
1032
01:07:25,266 --> 01:07:27,766
But the search goes on.
1033
01:07:31,266 --> 01:07:35,400
(audience applause).
1034
01:07:37,666 --> 01:07:40,300
♪ JONI: I really
don't know life. ♪
1035
01:07:42,233 --> 01:07:45,666
♪ I really don'’t
know life at all. ♪♪
1036
01:07:49,266 --> 01:07:53,400
(audience applause).
1037
01:07:55,466 --> 01:07:57,566
ANNOUNCER: To help present
the Library of Congress
1038
01:07:57,566 --> 01:08:00,600
Gershwin Prize for
Popular Song, please welcome,
1039
01:08:00,600 --> 01:08:03,866
the honorable, Kevin McCarthy,
Speaker of the House,
1040
01:08:03,866 --> 01:08:06,300
United States House
of Representatives.
1041
01:08:06,500 --> 01:08:08,566
Please welcome, the honorable,
Patty Murray,
1042
01:08:08,566 --> 01:08:11,300
President Pro Tempore,
United States Senate.
1043
01:08:12,200 --> 01:08:14,566
(audience applause).
1044
01:08:18,033 --> 01:08:20,800
Please welcome, the honorable,
Amy Klobuchar, Chairwoman,
1045
01:08:20,800 --> 01:08:22,633
Committee on Rules
and Administration,
1046
01:08:22,633 --> 01:08:24,700
United States Senate.
1047
01:08:25,400 --> 01:08:27,500
(audience applause).
1048
01:08:27,800 --> 01:08:30,466
Please welcome, the honorable,
Jack Reed, Chairman,
1049
01:08:30,466 --> 01:08:32,200
Committee on Appropriations,
1050
01:08:32,200 --> 01:08:34,133
Subcommittee on the
Legislative Branch,
1051
01:08:34,133 --> 01:08:36,266
United States Senate.
1052
01:08:36,266 --> 01:08:37,666
(audience applause).
1053
01:08:37,666 --> 01:08:39,466
Please welcome, the honorable,
Susan Collins,
1054
01:08:39,466 --> 01:08:41,333
Vice Chair,
Committee on Appropriations,
1055
01:08:41,333 --> 01:08:43,400
United States Senate.
1056
01:08:43,400 --> 01:08:45,366
Please welcome,
the honorable, Bryan Steil,
1057
01:08:45,366 --> 01:08:47,366
Chairman, Committee
on House Administration,
1058
01:08:47,366 --> 01:08:49,400
United States House
of Representatives.
1059
01:08:49,400 --> 01:08:52,300
(audience applause).
1060
01:08:52,300 --> 01:08:54,366
Please welcome, the Chairman
of the Library of Congress
1061
01:08:54,366 --> 01:08:57,466
James Madison Council,
Mr. David M. Rubenstein.
1062
01:08:58,033 --> 01:09:00,166
(audience applause).
1063
01:09:00,633 --> 01:09:02,566
Please welcome, the
Librarian of Congress,
1064
01:09:02,566 --> 01:09:04,366
Carla Hayden.
1065
01:09:04,866 --> 01:09:09,266
(audience applause).
1066
01:09:11,333 --> 01:09:12,966
DR. HAYDEN: Oh.
1067
01:09:13,733 --> 01:09:16,066
Ooh.
1068
01:09:16,066 --> 01:09:17,933
Whoa.
1069
01:09:19,800 --> 01:09:24,500
This has been such a
memorable evening and
1070
01:09:25,433 --> 01:09:27,800
it'’s about to get even better.
1071
01:09:29,766 --> 01:09:33,366
The Gershwin Prize for
Popular Song is the nation'’s
1072
01:09:33,366 --> 01:09:36,300
highest award for influence,
1073
01:09:36,300 --> 01:09:40,033
impact, and achievement
in popular music.
1074
01:09:40,600 --> 01:09:43,866
The prize honors artists
whose contribution to the
1075
01:09:43,866 --> 01:09:49,633
American songbook exemplify
the excellence associated with
1076
01:09:49,633 --> 01:09:52,800
George and Ira Gershwin.
1077
01:09:52,800 --> 01:09:56,300
I think you'’ll agree
that this year'’s honoree
1078
01:09:56,300 --> 01:09:58,666
epitomizes their legacy.
1079
01:10:02,266 --> 01:10:05,500
(audience applause).
1080
01:10:12,233 --> 01:10:15,833
Joni Mitchell'’s music hits
you straight to your heart,
1081
01:10:15,833 --> 01:10:17,933
down to your soul.
1082
01:10:17,933 --> 01:10:21,633
You can say, she has
truly helped all of us,
1083
01:10:21,633 --> 01:10:24,366
"“Look at both sides now."”
1084
01:10:26,100 --> 01:10:30,000
(audience applause).
1085
01:10:31,266 --> 01:10:35,500
So, on behalf of the Library of
Congress, Members of Congress,
1086
01:10:36,266 --> 01:10:39,666
and a very, very
grateful nation,
1087
01:10:40,866 --> 01:10:43,233
it is my honor to award the
1088
01:10:43,233 --> 01:10:48,166
2023 Gershwin Prize
for Popular Song
1089
01:10:48,166 --> 01:10:52,533
to the legendary
singer-songwriter, icon,
1090
01:10:53,200 --> 01:10:56,300
idol, Joni Mitchell!
1091
01:10:58,566 --> 01:11:02,533
(audience applause).
1092
01:11:11,600 --> 01:11:15,966
(audience applause).
1093
01:11:15,966 --> 01:11:18,666
JONI: Thank you.
1094
01:11:18,666 --> 01:11:22,733
(audience applause).
1095
01:11:23,133 --> 01:11:25,266
Thank you.
1096
01:11:27,066 --> 01:11:28,766
Hey!
1097
01:11:29,733 --> 01:11:31,900
(laughs).
1098
01:11:33,033 --> 01:11:35,733
(audience applause).
1099
01:11:35,733 --> 01:11:37,800
(laughs).
1100
01:11:40,600 --> 01:11:43,533
Well, my God, it's overwhelming.
1101
01:11:44,333 --> 01:11:47,366
It's just a beautiful
event for me, I...
1102
01:11:47,366 --> 01:11:49,000
It's so many people that,
1103
01:11:49,000 --> 01:11:52,400
that I care about are
here tonight and, uh, from
1104
01:11:52,400 --> 01:11:55,400
different parts of my life, um.
1105
01:11:55,400 --> 01:11:59,766
New friends, old friends,
it, it's just, uh,
1106
01:12:01,166 --> 01:12:02,533
kind of thrilling.
1107
01:12:02,533 --> 01:12:04,033
(laughs).
1108
01:12:04,033 --> 01:12:06,400
Thank you all for coming.
1109
01:12:06,400 --> 01:12:09,933
(audience applause).
1110
01:12:11,366 --> 01:12:14,533
DR. HAYDEN: Joni, would
you honor us with a song?
1111
01:12:14,533 --> 01:12:16,233
JONI: Yeah, I, I would...
1112
01:12:16,466 --> 01:12:21,733
(audience applause).
1113
01:12:26,066 --> 01:12:33,033
♪ ♪
1114
01:12:33,933 --> 01:12:36,500
♪ JONI: Summertime. ♪
1115
01:12:39,166 --> 01:12:42,133
♪ And the living is easy. ♪
1116
01:12:47,400 --> 01:12:51,166
♪ Fish are jumpin'. ♪
1117
01:12:54,533 --> 01:12:59,166
♪ And the cotton is high. ♪
1118
01:13:04,733 --> 01:13:08,766
♪ Your daddy's rich ♪
1119
01:13:10,266 --> 01:13:14,266
♪ And your mama's
so good lookin'. ♪
1120
01:13:20,633 --> 01:13:24,800
♪ So hush, little baby ♪
1121
01:13:26,766 --> 01:13:31,033
♪ Don't cry, don'’t cry. ♪
1122
01:13:32,500 --> 01:13:37,033
(trumpet solo).
1123
01:13:45,066 --> 01:13:48,500
♪ One of these mornings. ♪
1124
01:13:51,200 --> 01:13:55,166
♪ You're gonna
rise up singin'. ♪
1125
01:14:00,600 --> 01:14:04,966
♪ And you'’ll spread
your pretty wings. ♪
1126
01:14:07,233 --> 01:14:11,200
♪ And you'’ll
take to the sky. ♪
1127
01:14:11,466 --> 01:14:14,933
(trumpet solo).
1128
01:14:16,833 --> 01:14:20,600
♪ But until that morning. ♪
1129
01:14:25,200 --> 01:14:29,233
♪ Ain't nothin'’
gonna harm you. ♪
1130
01:14:33,133 --> 01:14:39,933
♪ Not with your daddy and
your mammy standin' by. ♪
1131
01:14:43,166 --> 01:14:45,533
♪ Standin'’ by. ♪
1132
01:14:45,533 --> 01:14:46,833
(trumpet solo).
1133
01:14:46,833 --> 01:14:50,766
BRANDI: Yeah, our main man,
Greg Phillinganes on the piano!
1134
01:14:55,266 --> 01:14:59,700
(piano solo).
1135
01:15:10,433 --> 01:15:16,933
♪ ♪
1136
01:15:19,700 --> 01:15:21,600
BRANDI: Come on, Celisse!
1137
01:15:23,366 --> 01:15:29,966
(guitar solo).
1138
01:15:39,866 --> 01:15:45,933
(guitar solo).
1139
01:15:53,966 --> 01:15:57,666
(guitar solo).
1140
01:15:58,566 --> 01:16:01,633
♪ JONI: Summertime. ♪
1141
01:16:03,466 --> 01:16:07,500
♪ And the livin'’ is easy. ♪
1142
01:16:13,933 --> 01:16:16,766
♪ Fish are jumpin'. ♪
1143
01:16:16,766 --> 01:16:19,366
♪ (Fish are jumpin'’). ♪
1144
01:16:20,933 --> 01:16:24,566
♪ And the cotton is high. ♪
1145
01:16:25,733 --> 01:16:29,600
♪ (Ooh). ♪
1146
01:16:31,066 --> 01:16:33,633
♪ Your daddy's rich. ♪
1147
01:16:33,633 --> 01:16:35,800
♪ (Your daddy'’s rich). ♪
1148
01:16:35,800 --> 01:16:38,433
♪ (Oh, ooh, oh). ♪
1149
01:16:38,433 --> 01:16:42,266
♪ And your mama's
so good lookin'. ♪
1150
01:16:42,633 --> 01:16:44,300
♪ (Yeah). ♪
1151
01:16:45,433 --> 01:16:47,966
♪ (Ooh). ♪
1152
01:16:48,933 --> 01:16:53,433
♪ So hush, little baby, ♪
1153
01:16:55,133 --> 01:16:59,000
♪ Don't cry, don'’t cry. ♪
1154
01:17:03,800 --> 01:17:09,433
♪ ♪
1155
01:17:19,166 --> 01:17:25,833
♪ ♪
1156
01:17:35,166 --> 01:17:39,533
♪ ♪
1157
01:17:40,033 --> 01:17:43,133
♪ One of these mornings. ♪
1158
01:17:46,733 --> 01:17:51,033
♪ You're gonna
rise up singin'. ♪
1159
01:17:52,500 --> 01:17:54,766
♪ (You'’re gonna rise up). ♪
1160
01:17:54,966 --> 01:17:57,466
♪ (You'’re gonna rise up). ♪
1161
01:17:57,666 --> 01:18:01,366
♪ Spread your pretty wings. ♪
1162
01:18:04,966 --> 01:18:09,400
♪ And take off up to the sky. ♪
1163
01:18:10,566 --> 01:18:13,433
♪ (Ooh). ♪
1164
01:18:15,300 --> 01:18:19,533
♪ Oh, but until that mornin'. ♪
1165
01:18:22,833 --> 01:18:26,133
♪ Ain't nothin'’
gonna harm you. ♪
1166
01:18:26,633 --> 01:18:31,733
♪ (Ooh). ♪
1167
01:18:32,833 --> 01:18:37,900
♪ Not with your daddy
and mammy ♪
1168
01:18:40,033 --> 01:18:43,300
♪ Standin' by ♪
1169
01:18:44,633 --> 01:18:47,933
♪ Standin'’ by. ♪
1170
01:18:54,700 --> 01:18:59,133
♪ ♪
1171
01:18:59,133 --> 01:19:04,300
(audience applause).
1172
01:19:16,200 --> 01:19:19,700
(audience applause).
1173
01:19:19,700 --> 01:19:21,966
BRANDI: Joni says she
doesn'’t mind doing one more!
1174
01:19:21,966 --> 01:19:23,833
What do you guys think?
1175
01:19:23,833 --> 01:19:26,333
(audience applause).
1176
01:19:32,366 --> 01:19:38,033
♪ ♪
1177
01:19:49,600 --> 01:19:53,366
♪ JONI: Yesterday a
child came out to wander. ♪♪
1178
01:19:55,966 --> 01:19:57,400
BRANDI: Yay!
1179
01:19:57,833 --> 01:20:03,000
♪ JONI: Caught a
dragonfly inside a jar. ♪
1180
01:20:06,200 --> 01:20:11,733
♪ Fearful when the sky
was full of thunder. ♪
1181
01:20:14,133 --> 01:20:19,366
♪ And tearful at the
falling of a star. ♪♪
1182
01:20:19,700 --> 01:20:20,866
BRANDI: Everybody!
1183
01:20:22,200 --> 01:20:26,400
♪ ALL: And the seasons,
they go round and round. ♪
1184
01:20:26,400 --> 01:20:30,700
♪ And the painted
ponies go up and down. ♪
1185
01:20:31,866 --> 01:20:37,100
♪ We're captive on the
carousel of time. ♪
1186
01:20:40,133 --> 01:20:43,766
♪ We can't return,
we can only look. ♪
1187
01:20:43,766 --> 01:20:47,266
♪ Behind, from where we came. ♪
1188
01:20:47,266 --> 01:20:51,033
♪ And go round and round
and round, ♪
1189
01:20:51,033 --> 01:20:53,466
♪ In the circle game. ♪
1190
01:21:01,366 --> 01:21:07,133
♪ JONI: 16 springs and
16 summers gone now. ♪
1191
01:21:09,800 --> 01:21:15,400
♪ Cartwheels turn to car
wheels through the town. ♪
1192
01:21:17,800 --> 01:21:21,333
♪ And they tell him,
"Take your time, ♪
1193
01:21:22,166 --> 01:21:25,933
♪ it won't be long now. ♪
1194
01:21:26,500 --> 01:21:32,033
♪ 'Til you drag your feet
to slow the circles down." ♪
1195
01:21:34,766 --> 01:21:39,133
♪ ALL: And the seasons,
they go round and round. ♪
1196
01:21:39,133 --> 01:21:43,300
♪ And the painted
ponies go up and down. ♪
1197
01:21:44,400 --> 01:21:49,266
♪ We're captive on
the carousel of time. ♪
1198
01:21:52,733 --> 01:21:56,500
♪ We can't return,
we can only look. ♪
1199
01:21:56,500 --> 01:21:59,766
♪ Behind, from where we came. ♪
1200
01:21:59,766 --> 01:22:03,500
♪ And go round and
round and round, ♪
1201
01:22:03,500 --> 01:22:06,966
♪ in the circle game. ♪
1202
01:22:13,166 --> 01:22:18,766
♪ JONI: So the years spin
by and now the boy is 20. ♪♪
1203
01:22:19,300 --> 01:22:21,233
BRANDI: Yeah, Joni.
That's what I'm talkin' bout.
1204
01:22:22,000 --> 01:22:24,133
♪ JONI: Though his
dreams have lost ♪
1205
01:22:24,133 --> 01:22:27,833
♪ Some grandeur coming true. ♪
1206
01:22:30,566 --> 01:22:32,733
♪ There'll be new dreams, ♪
1207
01:22:32,733 --> 01:22:36,666
♪ Maybe better dreams,
and plenty. ♪
1208
01:22:39,100 --> 01:22:44,433
♪ Before the last revolving
year is through. ♪
1209
01:22:47,300 --> 01:22:51,500
♪ ALL: And the seasons,
they go round and round. ♪
1210
01:22:51,500 --> 01:22:55,633
♪ And the painted
ponies go up and down. ♪
1211
01:22:56,966 --> 01:23:01,400
♪ We're captive on
the carousel of time. ♪
1212
01:23:05,866 --> 01:23:08,866
♪ We can't return,
we can only look. ♪
1213
01:23:08,866 --> 01:23:11,900
♪ Behind, from where we came. ♪
1214
01:23:12,433 --> 01:23:16,100
♪ And go round and
round and round, ♪
1215
01:23:16,100 --> 01:23:18,500
♪ in the circle game. ♪
1216
01:23:21,100 --> 01:23:25,100
♪ And go round and
round and round, ♪
1217
01:23:25,100 --> 01:23:28,633
♪ In the circle game. ♪♪
1218
01:23:33,833 --> 01:23:37,200
(audience applause).
1219
01:23:37,200 --> 01:23:38,733
ANNOUNCER: Learn more about
the Library of Congress
1220
01:23:38,733 --> 01:23:41,466
Gershwin Prize
and past recipients by visiting
1221
01:23:41,466 --> 01:23:44,866
pbs.org/gershwinprize.
1222
01:23:46,100 --> 01:23:50,100
Join the conversation with
#GershinPrizePBS and
1223
01:23:50,100 --> 01:23:52,666
stream the Gershwin Prize
with the PBS App.
1224
01:23:56,966 --> 01:23:59,333
(audience applause).
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