"I would make tea for Joni Mitchell or clean her car, anything to be in the studio and watch her work"
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Devotion, framed as domestic labor, becomes a kind of backstage pass. Sheena Easton isn’t just praising Joni Mitchell; she’s staging a little parable about artistic hierarchy in pop culture. “Make tea” and “clean her car” are deliberately unglamorous tasks, the sort of invisible work that props up the visible genius. By choosing them, Easton signals she’s not angling for a feature credit or industry proximity. She’s volunteering for humility because the real prize is proximity to process: “in the studio and watch her work.”
The line also carries a quiet self-awareness about the economy of respect. Easton came up in a music machine that prized polish, radio readiness, and image. Mitchell represents a different mythology: the auteur who writes, rearranges, explores harmony, changes her voice over time, and treats the studio as an instrument. Easton’s willingness to become a helper underscores how rare it is to witness that kind of control up close, especially for women who were often steered into being interpreters rather than architects.
There’s subtext, too, about apprenticeship in a business that rarely offers it. Pop stardom sells the finished product and hides the drafts; Easton is saying the drafts are the sacred part. It’s fandom, but it’s also professional curiosity: an established artist admitting there are levels, and that Mitchell’s level is worth trading ego for. In a culture that rewards networking, Easton’s fantasy is almost purist: not to be seen with Joni, but to see.
The line also carries a quiet self-awareness about the economy of respect. Easton came up in a music machine that prized polish, radio readiness, and image. Mitchell represents a different mythology: the auteur who writes, rearranges, explores harmony, changes her voice over time, and treats the studio as an instrument. Easton’s willingness to become a helper underscores how rare it is to witness that kind of control up close, especially for women who were often steered into being interpreters rather than architects.
There’s subtext, too, about apprenticeship in a business that rarely offers it. Pop stardom sells the finished product and hides the drafts; Easton is saying the drafts are the sacred part. It’s fandom, but it’s also professional curiosity: an established artist admitting there are levels, and that Mitchell’s level is worth trading ego for. In a culture that rewards networking, Easton’s fantasy is almost purist: not to be seen with Joni, but to see.
Quote Details
| Topic | Music |
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