Gershwin Prize

ANNOUNCER: For more than half a century, the music of Joni Mitchell has been an important part of the American musical landscape.

Tonight, the Library of Congress celebrates Joni by presenting the nations highest musical award, the Gershwin Prize for Popular Song, with an all-star concert from Washington DCs DAR Constitution Hall, featuring her greatest hits.

Along with Joni's artwork, which has become almost as well known as her music.

Please join us as some of pop musics most-loved artists interpret Jonis songs in an emotional, joyous, and incredibly beautiful night of music.

From "Help Me" to "Both Sides Now", and from "Big Yellow Taxi" to "Circle Game", and a dont miss a special surprise performance by Joni herself.

Please welcome, from Mumford and Sons, Marcus Mumford!

MARCUS: Thank you so much.

Its my job to kick things off tonight.

Joni, its been one of the great privileges of my life getting to play in your band.

Play songs at your house and, um, I love you very much.

Thank you, yeah.

(audience applause).

The wind is in from Africa.

Last night I couldn't sleep Oh, you know it sure is hard to leave here, Carey.

But it's really not my home.

My fingernails are filthy.

I've got beach tar on my feet.

And I miss my clean white linen and My fancy French cologne.

Oh Carey, get out your cane.

(Carey, get out your cane).

And I'll put on some silver.

(I'll put on some silver).

Oh, you're a mean old Daddy, but I like you... Fine.

Come on.

Down to the Mermaid Caf and I will buy you a bottle of wine.

And we'll laugh and toast to nothing and smash our empty glasses down.

Let's have a round for these freaks and these soldiers.

A round to these friends of mine.

Let's have another round for the bright red devil Who keeps me in this tourist town.

Come on.

Carey, get out your cane.

(Carey, get out your cane).

I'll put on some silver.

(I'll put on some silver).

Oh, you're a mean old daddy but I like you.

I like you, I like you, I like you.

Oh, maybe I'll go to Amsterdam or maybe I'll go to Rome.

And rent me a grand piano and Put some flowers round my room.

But let's not talk about fare-thee-wells now the night Is a starry dome.

And they're playin' that scratchy rock and roll.

Beneath the Matala moon.

Oh, Carey, get out your cane... (Carey, get out your cane).

I'll put on my finest silver.

(I'll put on some silver).

Oh, you're a mean old daddy but I like you.

I like you, I like you, I like you.

(trumpet solo).

(electric guitar solo).

(trumpet solo).

(electric guitar solo).

The wind is in from Africa.

Last night I couldn't sleep.

Oh, you know, it sure is hard to leave here, Carey but it's really not my home.

Maybe it's been too long a time since I was scramblin' Down in the street.

Now they got me used to that clean white linen and That fancy French cologne.

Oh, Carey, get out your cane.

(Carey get out your cane).

I'll put on my finest silver, Oh to the Mermaid Caf have fun tonight.

I said, oh, you're a mean old daddy But you're out of sight.

(song ends) (audience applause).

BRANDI: American popular song has many antecedents in many places... New Orleans, Chicago, Memphis, San Francisco, Austin, Harlem.

So how in the world did Roberta Joan Anderson a kid from Fort Macleod, Canada come to play such an important role in changing our musical landscape over the past 50 years?

And since were asking, perhaps the same question could be asked about George and Ira Gershwin, two sons of eastern European Jewish immigrant parents in whose name tonights ceremony, and the Library of Congress Prize, is named.

At the same time she was influencing the music of a generation, Joan Anderson, soon to be known as Joni Mitchell was taking pen to paper and brush to canvas and creating a legacy of visual art that has become as identifiable to the eye as her songs are to the ear.

Tonight some of Joni's old and new friends have gathered here to celebrate Joni's Library of Congress honor.

But really to do what many of us have been doing over the past few years, sitting in with her and for her at her house, and having some of the best nights of our entire lives.

We always felt that it would be fun to share those nights with you, so tonight we get to do the next best thing.

Have us guys up here, you guys out there, and out there... Join us for one great night of Joni Mitchell's amazing music and even more amazing life.

So let's go back and start at the beginning.

Like millions of other children in the post-war 50s, her early years were better than some and not as good as others.

But maybe when youre an only child and your mother says to you on more than one occasion, Dont have kids when you get grown and youre alone a lot, you grow up with a more acute sense of sadness and early on you turn to music and art for both companionship and a creative outlet.

She started out writing poetry, wrote her first song before she was seven, and started painting around the same time.

When the family moved to Saskatoon she was greatly influenced by an English teacher, Dr. Arthur Kratzmann, who might have been the first, but not the last to say to young Joni, If you can paint with a brush, you can paint with words. Had she been more like other kids of her generation, being stricken with polio in 1963 might have put a damper on her dreams.

But for Joan, it only strengthened her resolve, and soon she was back dancing, singing, and about to get on the road... And in the recording studio, for much of the rest of her life.

There were physical moves, mostly across Canada, and then Detroit, where in 1966, a brief and challenging early marriage led her to write and perform many of her emotionally rich early songs in all-night cafes, rather than return home.

Her days in New York were days of clearing lifes hurdles, turning pain into raw beauty, and creating a body of work built on truth and romance.

Though she continued to hone her craft at the folk clubs of New York, it wasnt long before, just like Bob Dylan, Pete Seeger, and Odetta, Joni joined the ranks of the 60s wave folk artists like Tom Rush, Gordon Lightfoot, Eric Anderson, Buffy Sainte-Marie, and the Chad Mitchell Trio, as the leading lights of a music that appealed to a new generation of music lovers.

And with the incredibly rich landscape of pop music by that period, that included the British invasion led by the Beatles and the Rolling Stones, and the arrival and dominance of Motown in the early 60s, Joni found herself elevated to that same level in the folk world, and with songs that she had written.

And by the end of the 60s, Joni had gone from the folk clubs of Greenwich Village 50 blocks north to the worldwide fame of Carnegie Hall.

JONI: Its a long way from Saskatoon, Saskatchewan to Carnegie Hall.

(audience laughter).

BRANDI: Still ahead lay worldwide admiration, creative periods that she might not have even been able to dream of in 1967.

Life in Laurel Canyon and beyond.

Romances that would add to life experience and inspire her writing, and always, the passion to express herself through both her music and her art.

JONI: Ive looked at love from both sides now.

From give and take... BRANDI: And though it might have felt like it took a lifetime for ten-year-old Joan Anderson to turn into 25-year-old Joni Mitchell, theres probably no song that sums up the journey, still evolving, then what became her first hit, and to many, most universally loved song, Both Sides Now. Would you please welcome... Annie Lennox!

(audience applause).

(piano solo).

ANNIE: Rows and flows of angel hair.

And ice cream castles in the air.

And feather canyons everywhere.

Ive looked at clouds that way.

But now they only block the sun.

They rain and snow on everyone.

So many things I would have done.

But clouds got in my way.

I've looked at clouds from both sides now.

From up and down and still somehow.

It's cloud illusions I recall.

I really don't know clouds.

At all.

(guitar solo).

Moons and Junes and Ferris wheels.

The dizzy dancing way you feel.

As every fairy tale comes real.

I've looked at love that way.

But now it's just another show.

And you leave 'em laughing when you go.

And if you care, don't let them know.

Don't give yourself away.

I've looked at love from both sides now.

From give and take and still somehow.

It's love's illusions that I recall.

I really don't know love.

At all.

Tears and fears and feeling proud.

To say, "I love you," right out loud.

Dreams and schemes and circus crowds.

I've looked at life that way.

Oh, but now old friends are acting strange.

They shake their heads, they say I've changed.

Well, something's lost, but something's gained.

In living every day.

I've looked at life from both sides now.

From win and lose and still somehow.

It's life's illusions I recall.

I really don't know life.

I really dont know life.

I really dont know life.

I really dont know life.

Do you know what I feel?

(audience applause).

(audience applause).

BILLY: Joni, the first time I heard your voice, I became a fan immediately.

And as a songwriter, youve influenced an entire generation, me included.

There were not a lot of folk artists that had the courage or the expertise to incorporate jazz into their music the way you did.

Your songs are as real today as when I first heard them.

You have an incredible body of work that will last forever.

We were all inspired because of you.

Congratulations on this well-deserved honor.

ANNOUNCER: Please welcome Anglique Kidjo!

ANGLIQUE: Joni, I love you.

Help me, I think I'm falling in love again.

When I get that crazy feeling, I know I'm in trouble again.

I'm in trouble 'cause you're a rambler and a gambler.

And a sweet-talking ladies man.

And you love your loving.

(Loving).

But not like you love your freedom.

(trumpet solo).

Help me, I think I'm falling in love too fast.

It's got me hoping for the future and Worrying about the past.

'Cause I've seen some hot, Hot blazes come down to smoke and ash.

We love our lovin'.

(Loving).

But not like we love our freedom.

(trumpet solo).

Oh, didn't it feel good?

Were we sittin' there talking?

Or lying there not talking, didn't it feel good?

Go dance with the lady with the hole in her stocking.

Didn't it feel good?

Didn't it feel good?

(Didnt it feel good) Good.

(Didnt it feel good) Good.

(Didnt it feel good) (Didnt it feel good) Help me, I think I'm falling in love with you.

Are you gonna let me go there by myself?

That's such a lonely thing to do.

But both of us flirting around.

Flirting around and hurting too.

We love our lovin.

(Loving).

But not like we love our freedom.

Mm.

We do love our freedom.

What will we be without freedom?

Freedom, freedom, freedom.

Hey.

(scatting rhythmically).

(scatting rhythmically).

(scatting rhythmically).

(song ends) (audience applause).

(audience applause).

GLORIA: My entire life Ive been a huge Joni Mitchell fan.

But when I heard, Help me, I played that song over and over and over.

It reached into my heart, it made me feel so many things and thats the kind of connection that true artists make with their fans, and I still listen to that song.

It takes me back to a time in my life where everything was possibilities and that song felt so romantic to me.

I dreamed about the day that I would feel that way myself.

ANNOUNCER: Please welcome six-time GRAMMY Award winner and member of The Rock and Roll Hall Of Fame, James Taylor!

JAMES: Thank you.

(audience applause).

Thank you, folks.

Thank you, Library of Congress.

Thank you, everybody here tonight.

But, thank you, most of all, Joni, um.

I think back to the, the, uh, the year that we spent together, I...

In 1971 and, and, uh, we traveled a lot, we, uh...

But when we were in Los Angeles, uh, at, at, staying at, at Joni's little house there, uh, we were both making albums and we worked on each other's songs a lot and, uh, uh, that album, "Blue", uh, is, uh, is, is one of my, uh... (audience applause).

Of course, one of my favorites, but, but also, uh, uh, one of the things that, that I'm proudest of, um.

Joni had been traveling in Europe before we met and, uh, she had, she'd come back with a whole bunch of songs.

Many of them written on a, uh, a primitive instrument called a four-string dulcimer and, uh, it left a lot of room for arrangement because it was a very central rhythmic instrument and, uh... (audience laughter).

But this is one of those songs that Joni wrote, um, being homesick, uh, traveling in Europe.

Sitting in a park in Paris, France.

Reading the news and its all bad.

They didnt wanna give peace a chance.

Thats a dream someone had.

Still, a lot of lands to see.

But I wouldn't wanna stay here no more.

It's too old and cold and settled in its ways here.

California.

But California.

I'm coming home.

I'm gonna see the folks I dig.

Might even kiss a sunset pig.

California, I'm coming home.

So I bought me a ticket on a plane to Spain.

Went to a party down a red dirt road.

Lots of pretty people down there.

Reading the Rolling Stone, reading the Vogue.

"How long can you hang around?"

A week, maybe two.

Till my skin turns brown.

Then I'm coming home to you, California.

California, Im-a-coming home.

Make me feel good rock n roll band.

Im your biggest fan.

California, coming home.

Well, you gets so lonely.

When you're walking and the streets are full of strangers.

All the news of home you read.

Just give you the blues.

Gonna give you the blues.

I met a redneck on a Grecian isle.

Who did the goat dance very well.

I guess he gave me back my smile.

But he kept my camera to sell.

Oh, the rogue, the red, red rogue.

He cooked good omelets and stews.

And I might have stayed on with him.

But my heart cried out for you, California.

California, oh, I'm coming home.

Will you take me as I am?

Strung out on another man.

California, Im coming home.

Oh, it gets so lonely.

When you're walking and the streets are full of strangers.

All the news of home you read.

All about the war and the bloody changes.

Will you take me as I am?

Will you take me as I am?

With love.

Will you take me as I am?

Oh.

(song ends) (audience applause).

ANNIE: Im absolutely thrilled to be invited to take part in this very special celebration for Joni Mitchell, and though Id heard about the Library of Congress, Id never actually been here before.

So, what a revelation its been to visit this incredible building and more importantly, to witness the extraordinary artifacts that are here.

There are over 173 million items; with manuscripts, musical scores, and historic documents that are housed here or in many buildings throughout the DC area.

Among them are George Gershwin's original score for, Rhapsody in Blue, Ella Fitzgerald's original arrangement for, "A-Tisket, A-Tasket."

An actual lock of Beethoven's hair.

The Star Spangled Banner broadside, published two days after it was written.

And, coming up to the present day, for all you Lizzo fans, the James Madison crystal flute she played on her recent visit to the Library.

And, as I found out, that are around 75 Eurythmic songs and my own solo songs registered and housed within these or other buildings that make up the Library of Congress.

Best of all, this building is open to the public.

The reading room downstairs is one of the most impressive literary centers I've ever seen.

I only wish I had more time to get to know it.

So, Joni, the real joy for me is being here to honor and celebrate your glorious legacy of music and art.

Visiting the Library of Congress is an added privilege that I will also never forget.

ANNOUNCER: Please welcome Brandi Carlile, Lucius, and Celisse.

BRANDI: All of Jonis proper disciples know that in her own words, she sings her sorrow and paints her joy.

But what strikes me about the song Im about to sing, is that it wont point us in the direction of sorrow or joy, but only to truth.

And I would argue even maybe prophecy.

This is a latter-day Joni Mitchell song, my favorite Joni Mitchell song... And tonight as we reflect on the entire arc of Joni's singular career in visual art, words, and music, this particular song shows us that she is as much a truth teller, as much of a prophet now as she's ever been.

This is, "Shine."

(audience applause).

(piano solo).

Mm-mm.

(piano solo).

Oh, let your light shine.

Oh, let your little light shine.

Shine on Wall Street and Vegas.

Place your bets.

Shine on all the fishermen.

With nothing in their nets.

Shine on rising oceans and evaporating streams.

Shine on our Frankenstein technologies.

You can shine on science, yeah.

With its tunnel vision, its tunnel vision.

Shine on fertile farmlands.

Buried under subdivisions.

Oh, let your light shine.

Oh, let your little light shine.

Shine on the dazzling darkness.

That restores us in deep sleep.

Shine on what we throw away.

And shine on what we keep.

And shine on Reverend Pearson.

Who threw away.

The vain old God.

Kept Dickens and Rembrandt and Beethoven.

And fresh-plowed sod.

And shine on good earth, Good air, good water.

And a safe place.

For kids to play.

Shine on bombs exploding.

Half a mile away.

Oh, let your little light shine.

Oh, let your light shine.

Shine on worldwide traffic jams.

Honking day and night.

Shine on another ass****.

Whos passing on the right.

Shine on the red light runners.

Busy talking on their cell phones.

Shine on the Catholic Church.

And all the prisons that it owns.

As a matter of fact, You can shine on all the Churches.

They all love less and less.

But shine on a hopeful girl.

In a dreamy dress.

Oh, let your light shine.

(Let your light shine).

Oh, let your little light shine.

(Let your light shine).

Oh, let your little light shine.

Shine on good humor.

And shine on goodwill.

Shine on lousy leadership.

With a license to kill.

And you can shine on dying soldiers.

In patriotic pain.

Shine on mass destruction.

In some God's name.

Oh, you can shine on the pioneers.

The seekers of mental health.

Craving simplicity.

They traveled inward right past themselves.

Right past themselves.

(Oh).

Let their little lights shine.

(Oh).

Let your little light shine.

(Let your light shine).

Oh.

(Oh).

Let your little light shine.

(Let your light shine).

Oh, yeah.

(Oh).

Let your light shine.

(audience applause).

(audience applause).

ALL: Dont know what you got til its gone.

They paved paradise, put up a parking lot.

Ooh, bop-bop-bop-bop.

Ooh, bop-bop-bop.

GREG: And then Cyndi goes... BRANDI: Hey, farmer, farmer, put away the DDT, now.

Give me spots on my apples.

Leave me the birds and the bees.

Please!

ALL: Dont it always seem to go.

That you don't know what you've got 'Til it's gone?

They paved paradise to put up a parking lot.

(Ooh, bop-bop-bop-bop).

GREG: This is great.

Can I get everybody in the house to sing along?

Come on.

In the house.

In the house!

(scatting rhythmically).

ALL: They paved paradise to put up a parking lot.

Shoo, bop-bop-bop-bop.

Paved paradise to put up a parking lot.

Shoo, bop-bop-bop-bop.

BRANDI: They paved paradise.

And put up a parking lot.

WOMAN: Whoo!

ANNOUNCER: Please welcome GRAMMY-winning artist, Ledisi!

LEDISI: Oh, thank you.

(audience applause).

Shortly before the first ever Earth Day and not long before the word, Movement, came the word, Environmental. Joni was alerting us to the impending crisis that has now both affected and been affected by mans disregard for our world and the importance of doing something about it.

But she did it in an almost subversive way, wrapping the message in a universally easy-to-sing chorus that sneaks up on you and hits you in the face with the importance of taking action.

And by the way, theres almost never, ever been a gathering of people singing Joni songs where this one isnt the loudest and most boisterous moment of the evening.

So with that said and in mind, we ask all of you to join us when the spirit moves you, of course.

This is, Big Yellow Taxi! (audience applause).

ANNIE: Oh!

They paved paradise, put up a parking lot.

LEDISI: All right, now.

ANNIE: Oh, with a pink hotel, a boutique, And a swinging hot spot.

ALL: Don't it always seem to go.

That you don't know what you got 'til it's gone?

They paved paradise, put up a parking lot.

Shoo, bop-bop-bop-bop.

Shoo, bop-bop-bop-bop.

CYNDI: They took all the trees and they put 'em in A tree museum.

Ooh, and they charged them arm and leg Just to come see em.

Oh!

LEDISI: Don't it always seem to go.

That you don't know what you got 'til it's gone?

They paved paradise, put up a parking lot.

(Shoo, bop-bop-bop-bop).

(Shoo, bop-bop-bop-bop).

BRANDI: Hey, farmer, farmer, put away the DDT, now.

Give me spots on my apples and Leave me the birds and the bees.

Please!

ALL: Don't it always seem to go.

That you don't know what you got 'til it's gone?

They paved paradise and put up a parking lot.

(Shoo, bop-bop-bop-bop).

(Shoo, bop-bop-bop-bop).

ANGLIQUE: Late last night, I heard the screen door slam.

And a big yellow taxi took away my old man.

Don't it always seem to go.

That you don't know what you got 'til it's gone?

They paved paradise and put up a parking lot ALL: Shoo, bop-bop-bop-bop.

Don't it always seem to go.

That you don't know what you got 'til it's gone?

They paved paradise and put up a parking lot.

Shoo, bop-bop-bop-bop.

Shoo, bop-bop-bop-bop.

LUCIUS: They paved paradise and put up a parking lot.

(Hey, hey, hey) ANNIE: What'd you say?

LUCIUS: With a pink hotel, a boutique, And a swinging hot spot.

ALL: Don't it always seem to go.

That you don't know what you got 'til it's gone?

(audience applause).

(drum solo).

They paved paradise and put up a parking lot.

Shoo, bop-bop-bop-bop.

They paved paradise and put up a parking lot.

Shoo, bop-bop-bop-bop.

BRANDI: They paved paradise.

JONI: Put up a parking lot.

(audience cheering).

(audience applause).

ANGLIQUE: Put up a parking lot.

CAROL: When I first heard Joni Mitchell and also heard about her, because she lived in Laurel Canyon and people were aware of her and her music...

I just felt like I knew she was a songwriter and I knew she was really good.

And then when I heard her and heard her over and over again, and multiple albums, I realized we do the same thing but we do it in such different ways.

She is an artist.

She's also a visual artist as well as a artist in creativity and she goes right there.

She goes to the place of total creativity.

My way of doing it, I was trained to write on assignment and I have been struck by the muse.

I have worked at the direction of the muse.

But that's Joni's native habitat and she's so good at it.

Joni, you're the best, just keep on going 'cause you are so great.

Congratulations.

ANNOUNCER: Please welcome, two-time GRAMMY award winner, Cyndi Lauper!

CYNDI: Before I sing, I just wanted to say, and yeah, I know I've told you so many times but, maybe you should hear it.

When I was growing up, the landscape of music was mostly men and there were a few women, far and few, from me, and, um, Joni Mitchell was the first artist who really spoke about what it was like to be a woman navigating in a male world and, um... And you taught me so much, Joni.

You taught me that I could be a multi-media artist if I wanted.

'Cause you painted, and you, you wrote, and you played, and that's what I wanted to do and I thought, "Well if you could do it, I could maybe do it too."

And thank you for teaching me how to paint with words, with sounds, and with paint.

(laughter).

(audience applause).

And this next song is a very special song that I used to sing to myself to comfort myself sometimes and I still pick up seashells and listen.

(cello solo).

(trumpet solo).

Blue.

Songs are like tattoos.

You know I've been to sea before.

Crown and anchor me.

Or let me sail away.

Hey Blue.

There is a song for you.

Ink on a pin.

Underneath the skin.

An empty space to fill in.

Well, there're so many sinking.

You know, youve got to keep thinking.

You can make it through these waves.

Acid, booze, and ass.

Needles, guns, and grass.

Lots of laughs.

Lots of laughs.

(piano solo).

Everybody's saying that hell's the hippest way to go.

Well, I don't think so, but I'm gonna take a Look around it now.

Blue.

I love you.

Hey Blue.

Here's a shell for you.

Inside you'll hear a sigh.

A foggy lullaby.

It is your song from me.

(trumpet solo).

(audience applause).

Mm.

Ooh.

(audience applause).

(audience applause).

GARTH: Garth Brooks here.

Just wanted to say congratulations on the Gershwin Prize.

Understand this is something they dont have to give every year.

But, you are a true American icon.

The hero to my hero as a kid.

You were my sisters hero.

One girl out of six kids, so you can imagine how tough it was for her.

She loved you which means we loved you, our whole family did.

Again, congratulations on making an award that I thought was pretty cool, even cooler.

(audience applause).

ANNOUNCER: Please welcome Graham Nash!

GRAHAM: Thank you.

I met Joan in Ottawa in 1967.

She took me to her room.

(audience laughter).

And played me probably over a dozen of the most incredible songs Id ever heard in my life.

(audience applause).

As you know, she suffered a, a brain aneurysm a few years ago.

But resilience is the right word for Joni.

She made it through a lot of stuff.

(audience applause).

Um... Let's give a shoutout to Brandi Carlile for bringing Joni back.

(audience applause).

A song of Joans called, A Case of You. (guitar solo) (guitar solo) (harmonica solo).

Just before our love got lost you said.

"I am as constant as a northern star."

And I said, "Constant in the darkness.

Where is that at?

If you want me I'll be in the bar."

On the back of the cartoon coaster.

In the blue TV screen light.

I drew a map of Canada.

Oh, Canada.

With your face sketched on it twice.

You're in my blood, youre my holy wine.

You taste so bitter, so bitter and so sweet.

Oh, I could drink A case of you, darling.

And I will still be on my feet.

I will still be on my feet.

(harmonica solo).

You are a lonely painter.

You live in a box of paints.

Youre frightened by the devil.

When darling youre really not afraid.

I remember a time you told me.

"Love was touching souls."

Well, surely you touched mine.

'Cause part of me pours out of you.

In these lines from time to time.

Oh, you're in my blood, youre my holy wine.

You taste so bitter, so bitter and so sweet.

Oh, I could drink A case of you, darling.

And I will still be on my feet.

I will still be on my feet.

(harmonica solo).

I knew a woman, she had a mouth like yours.

She knew your life.

She knew your devils and your deeds.

And she said, "Go to him, stay with him if you can.

But be prepared to bleed."

Oh, you are in my blood.

You're my holy wine.

You taste so bitter, so bitter and so sweet.

Oh, I could drink A case of you, darling.

And I will still be on my feet.

I will still be on my feet.

(harmonica solo) (song ends) (audience applause).

GRAHAM: Thank you very much.

(audience applause).

JONI: Cheap guitars, eye shades and guns Aimed at the hot blood of being no one ANNOUNCER: Jazz musician Wayne Shorter, a great friend and collaborator of both Joni and Herbie Hancock, passed away the night of the Gershwin Prize taping.

The following day, in the Gershwin Room at the Library of Congress, we asked Joni to remember Wayne.

JONI: Oh, well Wayne Shorter is also a visual artist and, and, uh, you know, he died last night, Wayne and, and, he will be sorely missed.

I, I love Wayne Shorter, he's the best saxophonist ever.

I think, in my opinion.

Well, Wayne was like a little Zen master, you know?

He, he was more than a musician.

He, he was... Mystical.

(laughs).

(audience applause).

ANNOUNCER: Please welcome Kennedy Center Honoree and winner of 14 GRAMMY awards, Herbie Hancock!

HERBIE: Well, along with everything else I owe to Joni, there is... Yeah, there is that 2008 GRAMMY Album of The Year that... (audience applause).

Thank you.

That we won performing the songs of Joni Mitchell.

And it was only the second time that a Jazz album ever won that award.

But as both Joni and I have said over the years, you can try and put us in those boxes that award shows have created, but were gonna break out of them as fast as you can put us in.

(audience applause).

And no one has proven that more than Joni Mitchell.

(audience applause).

Heres the amazing talented, Ledisi.

LEDISI: It's coming on Christmas.

Cutting down trees.

They're putting in reindeers.

And singing songs of joy and peace.

Oh, I wish I had a river.

I could skate away on.

But it don't snow here.

It stays pretty green.

I'm gonna make a lot of money.

Then I'm gonna leave this crazy scene.

Oh, I wish I had a river.

I could skate away on.

Wish I had a river so long.

I could teach my feet to fly.

Oh, I wish I had a river.

I could skate away on.

I made my baby cry.

I tried hard to help him.

You know, he put me at ease.

And he loved me so naughty.

He made me weak at the knees.

Oh, I wish I had a river.

I could skate away on.

I'm so hard to handle.

I'm selfish and I'm sad.

Now I've gone and lost the best baby.

That I ever had.

Oh, I wish I had a river.

I could skate away on.

I wish I had a river so long.

I could teach my feet to fly.

Wish I had a river.

I could skate away on.

I made my baby cry.

(scatting rhythmically).

(song ends).

(audience applause).

SMOKEY: Hey, Joni, how you doing sweetheart?

Smokey Robinson here.

I want to congratulate you on getting the Gershwin Award.

Thats such an honor.

As a songwriter, I, I mean, its such an honor.

When I got it, I just cannot tell you how flattered I am to be even mentioned in the same breath as the Gershwin's.

So, I know you feel the same way, honey, and you deserve it.

Its long overdue for you.

Youre one of our greatest songwriters ever.

Enjoy the night and have a wonderful time.

God bless you.

Love you.

ANNOUNCER: Please welcome two time GRAMMY Award winner Diana Krall.

(audience applause).

DIANA: Thank you.

It's such an honor to be here this evening.

Joni, I love you so much and to be present...

I get to play together again with so many great artists and listen to each other.

And, uh, Joni, this song means so much to me as I listen to the album, "For the Roses" um, because where you wrote this song, uh, you reference nature in a way that is very unique and beautiful, so.

(piano solo).

(piano solo).

I heard it in the wind last night.

It sounded like applause.

Did you get a round resounding for you.

Way up here?

(piano solo).

Seems like many dim years ago.

Since I heard face-to-face.

I saw you face to face.

But tonight I can feel you here.

(piano solo).

I get these notes.

On butterflies and lilac sprays.

From girls that just have to tell you.

They saw you.

Last night somewhere.

(piano solo).

I guess I seem ungrateful.

With my teeth sunk in the hand.

That brings me things.

I really can't give up just yet.

Now I sit up here the critic And I introduce some new band.

But they look like pink confetti.

On my old TV screen.

Oh, the power and the glory.

Just when you start getting a taste for worship.

They start bringing out the hammers.

And the nails.

(piano solo).

I heard it in the wind last night.

It sounded like applause.

Chilly now.

End of summer.

No more hot shiny nights.

It was just the arbutus rustling.

And the bumping of the logs.

And the moon swept down.

On black water.

Ooh.

Ooh.

Like an empty spotlight.

Like an empty spotlight, Light.

(piano solo).

(song ends) (audience applause).

Thank you so much.

We love you, Joni, so much, everybody here.

Thank you, Brandi Carlile, also.

(audience applause).

LIONEL: Tonight, uh, Im going to kind of say congratulations as your next-door neighbor, uh.

You totally deserve this.

(laughs).

Long overdue but my dear, congratulations.

Enjoy this moment, uh.

I love you, as I told you the last time I saw you, and every time I see you.

I love you to death, thank you for your talent, and thank you for your friendship.

But more importantly, your humanity.

Youre a smokin child.

Love you to death.

God bless you.

BRANDI: The songs of Joni Mitchell, like the woman, speak to innocence and experience, success and failure, overcoming odds, falling short.

Eight years ago this month, all of these qualities became part of Jonis life when she suffered a brain aneurysm that left her in a coma.

And when she emerged she was unable to walk or talk.

But just as she had with her polio experience back in the 60s she fought back.

So much so that last summer she walked onstage at the Newport Folk Festival and performed 13 songs.

JONI: Ive looked at clouds from both sides now.

BRANDI: She showed the world that it was not done with Joni Mitchell, and she showed the world that she was not done with us.

All of us onstage here tonight just couldnt let the evening pass without recognition of Jonis courage, her determination, her spirit.

Will and grit.

She is and will always be the embodiment of the words of her beloved song.

Ive looked at life from both sides now.

From win and lose and still somehow.

Its lifes illusions I recall.

I really dont know life at all."

But the search goes on.

(audience applause).

JONI: I really don't know life.

I really dont know life at all.

(audience applause).

ANNOUNCER: To help present the Library of Congress Gershwin Prize for Popular Song, please welcome, the honorable, Kevin McCarthy, Speaker of the House, United States House of Representatives.

Please welcome, the honorable, Patty Murray, President Pro Tempore, United States Senate.

(audience applause).

Please welcome, the honorable, Amy Klobuchar, Chairwoman, Committee on Rules and Administration, United States Senate.

(audience applause).

Please welcome, the honorable, Jack Reed, Chairman, Committee on Appropriations, Subcommittee on the Legislative Branch, United States Senate.

(audience applause).

Please welcome, the honorable, Susan Collins, Vice Chair, Committee on Appropriations, United States Senate.

Please welcome, the honorable, Bryan Steil, Chairman, Committee on House Administration, United States House of Representatives.

(audience applause).

Please welcome, the Chairman of the Library of Congress James Madison Council, Mr. David M. Rubenstein.

(audience applause).

Please welcome, the Librarian of Congress, Carla Hayden.

(audience applause).

DR. HAYDEN: Oh.

Ooh.

Whoa.

This has been such a memorable evening and its about to get even better.

The Gershwin Prize for Popular Song is the nations highest award for influence, impact, and achievement in popular music.

The prize honors artists whose contribution to the American songbook exemplify the excellence associated with George and Ira Gershwin.

I think youll agree that this years honoree epitomizes their legacy.

(audience applause).

Joni Mitchells music hits you straight to your heart, down to your soul.

You can say, she has truly helped all of us, Look at both sides now. (audience applause).

So, on behalf of the Library of Congress, Members of Congress, and a very, very grateful nation, it is my honor to award the 2023 Gershwin Prize for Popular Song to the legendary singer-songwriter, icon, idol, Joni Mitchell!

(audience applause).

(audience applause).

JONI: Thank you.

(audience applause).

Thank you.

Hey!

(laughs).

(audience applause).

(laughs).

Well, my God, it's overwhelming.

It's just a beautiful event for me, I...

It's so many people that, that I care about are here tonight and, uh, from different parts of my life, um.

New friends, old friends, it, it's just, uh, kind of thrilling.

(laughs).

Thank you all for coming.

(audience applause).

DR. HAYDEN: Joni, would you honor us with a song?

JONI: Yeah, I, I would... (audience applause).

JONI: Summertime.

And the living is easy.

Fish are jumpin'.

And the cotton is high.

Your daddy's rich And your mama's so good lookin'.

So hush, little baby Don't cry, dont cry.

(trumpet solo).

One of these mornings.

You're gonna rise up singin'.

And youll spread your pretty wings.

And youll take to the sky.

(trumpet solo).

But until that morning.

Ain't nothin gonna harm you.

Not with your daddy and your mammy standin' by.

Standin by.

(trumpet solo).

BRANDI: Yeah, our main man, Greg Phillinganes on the piano!

(piano solo).

BRANDI: Come on, Celisse!

(guitar solo).

(guitar solo).

(guitar solo).

JONI: Summertime.

And the livin is easy.

Fish are jumpin'.

(Fish are jumpin).

And the cotton is high.

(Ooh).

Your daddy's rich.

(Your daddys rich).

(Oh, ooh, oh).

And your mama's so good lookin'.

(Yeah).

(Ooh).

So hush, little baby, Don't cry, dont cry.

One of these mornings.

You're gonna rise up singin'.

(Youre gonna rise up).

(Youre gonna rise up).

Spread your pretty wings.

And take off up to the sky.

(Ooh).

Oh, but until that mornin'.

Ain't nothin gonna harm you.

(Ooh).

Not with your daddy and mammy Standin' by Standin by.

(audience applause).

(audience applause).

BRANDI: Joni says she doesnt mind doing one more!

What do you guys think?

(audience applause).

JONI: Yesterday a child came out to wander.

BRANDI: Yay!

JONI: Caught a dragonfly inside a jar.

Fearful when the sky was full of thunder.

And tearful at the falling of a star.

BRANDI: Everybody!

ALL: And the seasons, they go round and round.

And the painted ponies go up and down.

We're captive on the carousel of time.

We can't return, we can only look.

Behind, from where we came.

And go round and round and round, In the circle game.

JONI: 16 springs and 16 summers gone now.

Cartwheels turn to car wheels through the town.

And they tell him, "Take your time, it won't be long now.

'Til you drag your feet to slow the circles down."

ALL: And the seasons, they go round and round.

And the painted ponies go up and down.

We're captive on the carousel of time.

We can't return, we can only look.

Behind, from where we came.

And go round and round and round, in the circle game.

JONI: So the years spin by and now the boy is 20.

BRANDI: Yeah, Joni.

That's what I'm talkin' bout.

JONI: Though his dreams have lost Some grandeur coming true.

There'll be new dreams, Maybe better dreams, and plenty.

Before the last revolving year is through.

ALL: And the seasons, they go round and round.

And the painted ponies go up and down.

We're captive on the carousel of time.

We can't return, we can only look.

Behind, from where we came.

And go round and round and round, in the circle game.

And go round and round and round, In the circle game.

(audience applause).

ANNOUNCER: Learn more about the Library of Congress Gershwin Prize and past recipients by visiting pbs.org/gershwinprize.

Join the conversation with #GershinPrizePBS and stream the Gershwin Prize with the PBS App.

(audience applause).