It was a vase (rhymes with OZ).

Is 'White Light/White Heat' supposed to be hard to get into? I'm sure everyone has their own criteria, but I think something like 'Bitches Brew' is "hard to get into"—that thing's like slogging through ice.

Dear readers: It's ambivalent. The whole song is about the crisis at the end of idealism—do you sell out, buy in, go nuts or go on pretending? There are cases to be made for all four approaches—but I don't think Joni's sure which is best and all four get equal time on 'Court & Spark'.

My favorite on 'Miles' is 'Cold Blue Steel and Sweet Fire' which really takes advantage of the band. But I like 'Don Juan's Reckless Daughter' (most of it anyway), 'The Hissing of Summer Lawns' and 'Mingus' better than 'Hejira'. I think this is more due to the order in which I first heard them, but by the time I got…

"Joni through a Steely Dan filter"

I'm going back to Cali…

"Batshit crazy" and "fantastic between the sheets" are like two sides of the same coin—a coin with an odd affinity for Joni Mitchell by the way.

A woman I used to work with used to ask questions like what's the saddest song in the world—her vote was something by Neil Young. My response, which I had to think about for a long time, was 'Stand by Your Man' both for the personal narrative of the song itself and for what it says about people who are trapped in…

breaking a personal rule
I'm so glad to see this that I'm posting before I even read the article—so forgive anything I haven't seen yet in the interest of exuberence. It seems to me that Joni Mitchell deserves more than a 'Better Late Than Never'—she ought to get a 'Primer' for the depth richness and variety of her…

"when people refer to the slave trade, they specifically mean the transatlantic slave trade, not just slavery"

"as though he were a 4 year old left alone with a cookie jar"

I prefer rampant speculation to augmenting the show with those AMC interviews—something about the integrity of the text (and hating AMC)—but I hope you're right about the future, detectives. Nevertheless, the scene I created was just one example of how the show could have better developed Toni—another would be one…

I thought my construction implied that it was a rhetorical question—of course Lane doesn't see the irony, he's too busy ogling her (cotton) tail.

What's more, we could have a scene where the restaurant won't even admit her without him despite reservations.

It was the right choice whether they could have afforded it or not—after all, Don's going to wear earplugs to the show (and he's right to do so, if what I've heard about those concerts is true—all teenage screaming). So a muzak version of the song is more in line with his tastes, and that raises a related issue. As…

"we see Joan, on the bus"

"Britain started the slave trade"

I don't think Lane's father is saying "pick a world" as if divorce were an option—he's saying put your house in order and keep your family intact either here or there. I've always liked Lane and especially how alive he's become away from his British overlords, but as much as I'd love to see him defy the odds, the…

And yet she was the same old Betty when her new husband came home late from work.

If Sal ever comes back, it won't be to reconstitute the firm of the past but to show how things have changed for him (and by extension Homosexuals) in the later present. Crane may run into him in LA (although Crane's not important enough to follow that far), or (more likely) Peggy may encounter him in the Village…