Joni Mitchell has finally accepted stardom and all the craziness that goes with it. During her Memphis appearance she still revealed her female submissiveness on the songs that required it, but she also displayed the more aggressive side that has recently emerged in her music.

The first set was uneven and inferior to the music that came later. Looking tan in her green outfit and floppy hat, she quickly ran through "This Flight Tonight" and "You Turn Me On I'm A Radio." She loosened up and put some feeling into "Free Man In Paris," "Same Situation" and "Just Like This Train." But then, abandoning her guitar, she led the band in an upbeat perversion of "Rainy Night House" and a funky "Woodstock." Her aggressive treatment of these old songs just didn't make it; she stood in front of the microphone like a Holiday Inn lounge singer, making nervous attempts at hand gestures. Through the entire set she had not said a word to the audience. After a 10-minute break Ms. Mitchell returned by herself and treated us to one of the most beautiful performances I have ever seen. She was open and easy with the audience, and they reacted with adoration.

Joni improvised and giggled some on "Big Yellow Taxi" and then spoke to the crowd for the first time, discussing our perceptions of God, and how they affect relationships with others. She could have talked about her laundry and it would have worked. Her sensitivity and personal communication are why people love her, and for the first time all evening she showed that side of herself. After "People's Parties" it was obvious that she needed no support from any band. She was funny. She was beautiful. By this time she had set aside her hat, and her gold hair was sparkling, almost like a Roman candle.

After a special request from a girl in the audience, Joni turned to her dulcimer and performed "A Case Of You," followed by a stunning version of "All I Want."

Back on guitar, she did "For The Roses" which, she explained, was inspired by a talented friend who had decided not to try to make it as a performer -to race for the roses. Joni accompanied herself on piano for "Blue," alone and bathed in a blue spotlight. Then Joni picked up her guitar, the L.A. Express moved in behind her, and they began the third portion of the concert, performing material from her new album. Court and Spark.

Here's where Joni's aggressiveness worked. "Troubled Child," "Help Me," "Car On A Hill" and "Down To You" were energetic and enjoyable, and the audience was ready for it. "Both Sides Now" was a pleasant surprise, done more in Judy Collins' fashion than the original Mitchell. All lights went red for "Raised On Robbery," and the volume and energy hit a peak. It seemed a little out of place to be rocking so hard after keeping the lid on all night, but it was fun.

Joni returned for the encore with "The Last Time I Saw Richard," which was perhaps an attempted explanation to fans who might be puzzled by all this rock and roll from such a sensitive hand. Further explanation was provided with her second encore, the old Annie Ross jazz number, "Twisted." "Annie Ross was pretty crazy" she said. "We are all a little crazy. We are made that way by our schools, our churches, our parents."

Joni Mitchell no longer lets her craziness keep her down. There is a time for emotion and a time for assertiveness. And there is no escaping the inherent contradiction. Joni's a romantic, but she's also a strong woman looking out for herself.