Revisit Joni Mitchell’s first TV appearance on ‘The Dick Cavett Show’
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Exploring why Joni Mitchell hates Madonna: ‘She’s got that whore thing built-in’
Although Joni Mitchell is lauded for her many great artistic efforts, she is also known as one of the spikiest musicians out there and, over the years, has been critical of many of her most prominent peers. From Bob Dylan to David Crosby, many icons have found themselves in the Canadian singer’s crosshairs for a variety of reasons, ranging from the agreeable to the downright bizarre.
One of the most eminent figures Mitchell has outlined her disdain for on numerous occasions is the ‘Queen of Pop’ herself, Madonna. Whilst Mitchell backs her opinion up, the conversation is more than a little strange, especially considering that Madonna is one of her most prominent backers. However, this is Joni Mitchell, and she’s nothing but a true iconoclast.
Ironically, Madonna has always gushed about Mitchell. During a 1997 interview with Rolling Stone, she explained the significant impact the ‘River’ singer had on her. “I was really, really into Joni Mitchell. I knew every word to Court and Spark; I worshipped her when I was in high school. Blue is amazing,” she said. “I would have to say of all the women I’ve heard, she had the most profound effect on me from a lyrical point of view.”
Despite this glowing account of her work, Mitchell had made her thoughts on Madonna apparent six years prior, during a 1991 discussion with Rolling Stone. Her opinions reared their head when examining the role of gender in music.
“The thing is, I came into the business quite feminine,” Mitchell opined. “But nobody has had so many battles to wage as me. I had to stand up for my own artistic rights. And it’s probably good for my art ultimately. I remember early in my career somebody wrote that my work was ‘effeminate,’ which I thought was pretty odd. So over the years, I think I’ve gotten more androgynous — and maybe become an honorary male, according to Bobby (Dylan).”
She then explained why she agreed with Dylan’s idea: “Music has become burlesque over the last few years — video’s done that. Every generation has to be more shocking than the last. But at a certain point, you’ve got to reel it in because decadence ultimately isn’t that hip. Our country is going down the tubes from it. It’s rotten to the core. And I think women can be more than decorative.”
Not done there, she used Madonna as an example, stating: “Yet someone like Madonna can be seen as a feminist hero because she’s exploiting her own sexuality rather than being exploited by some man. That’s an interesting idea, but what’s the difference between her and a hard hooker, you know? Who’s being exploited there? She’s revelling in herself, too. But she can take it. I guess that’s what it is. It’s just being able to take it, you know.
Saving the worst part for last, Mitchell continued on her vitriolic tirade calling Madonna a “terrible role model” and a “whore” in what was a vicious take on contemporary music: “She’s got that whore-Madonna thing built-in [laughs]. She’s like a living Barbie doll but a little bit on the blue side. There’s always been that type of female. There’s always been a market for it, but the danger is that she thinks she’s a role model. And it’s a terrible role model. It’s death to all things real.”
Everyone heard Mitchell’s thoughts on Madonna loud and clear in 1991, but in 2010, she once again criticised the pop star in an interview with the Los Angeles Times. Discussing what she sees as the increasingly vapid culture in America, she used Madonna as an example of this, and even likened her to the insane Roman Emperor Nero.
Mitchell told the publication that her work has consistently opposed the idiocy of everyday existence. “My first four albums covered the usual youth problems – looking for love in all the wrong places – while the next five are basically about being in your 30s,” she said. “Things start losing their profundity; in middle-late age, you enter a tragedian period, realising that the human animal isn’t changing for the better.”
“In a way, I think I entered straight into my tragedian period, as my work is set against the stupid, destructive way we live on this planet.” Mitchell concluded, “Americans have decided to be stupid and shallow since 1980. Madonna is like Nero; she marks the turning point.”
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