Ash Fall

Debbie Harry says if you've ever liked her acting it's because Warhol taught her how to listen. He was a 'great listener... ''Oh really?'' That was his phrase... ''oh really''?

:0 WOW

everythng is so hard:( and horrible :(
but i will always have john cale albums 👍

except the "don't hit her" part. lou always went fully into the minds of his characters, and in the song in other parts david does the same thing, but not here. he could've called back to There She Goes Again with "y'better hit her!" but i don't think he could pull it off, or be accepted doing so.

the lyrics of david bowie's Repetition (yes, that's the name) off Lodger have huge Lou Reed vibes. i wonder if he nicked a lyric sheet off him somewhere.

iris ily...

true. both it is! (thanks)

like. ok i know it's cliché but it's genuinely suuch an amazing song. maybe i'll write about it lol.

me whenever i see the number 7: omg clash reference ?!?!

yeah true. it'll probably get lost tho, and idk how many people will see it. but yeah tumblr does work. the desire for something greater is eating away at me. it's bad in this case, i know.

well, who knows, maybe someday i'll have enough for a minizine or something. it'd be fun.

i wish i had somewhere to post my song reviews im writing out of pure enthusiasm and love. i can't stop writing them, combining my two main skill/talent/loves. augh.

they look so cute and tiny and cold XD

spiralling and dancing around lou's words — which, now finding the right companion, seem perfectly delivered. around the end, lou locks on to the viola, and essentially duets it with his vocals. the best stuff i have ever heard. who CARES that it's not the same as the original? i love both versions.

the Le Bataclan Live verison is much less violent, but fucking hell is it beautiful. lou reed introduces it as unintelligible. lou doesn't rapid-fire spit it at you anymore, but whatever, listen to the VIOLA softly in the back, in the beginning, and then as it takes over completely,

the original was very aggresive and confrontational... violence aimed at the audience without even *doing* anything. it was all the music. it's fucking wonderful, the Pistols or whoever could *never*, that's why they had to resort to stage antics. but not the Velvets. pure violence thru music.

in love with Le Bataclan Live version of The Black Angel's death song

im probably just this unhappy because i haven't played my guitar for a while (one (1) day)

Mary Woronov on hippies vs the Velvet Underground

it's not too important to the main event of the song, but i Feel Things about those lines. anyway im done now. thanks for listening & ofc if you have any questions wrt my interpretation, or just want to discuss Velvets songs idk, i'd be open. love finding more superfans like me.

she's the pride and joy of nothing but the local penny-fair. cheap. nothing so grand at all, but her type of people have always been off to the side and looked down upon haven't they? no matter how beautiful they really are. pride and joy of only the local penny-fair.

the surgery->death, describing her condition before it) and "dressed in silk, latin lace, and envy / pride and joy of the local penny-fair" is one of my favourite lyrics because it initially does convey a sense of grandness (till "pride and joy") but then reveals that she's Not... All That,

actually i just thought of this: i don't think the nurse is thinking anything "sweetly" at all. i mean it's a given but i just realised lou coming in with that voice probably was meant to convey this. anyway. i'll calm down now. the beginning of the song is beautiful too (pretty much her life before

add a very nice eerie/tense atmosphere to the whole thing.
also lou reed coming in with the singular words (also at the beginning of the hospital scene) was probably meant to add discordance but it doesn't come off quite like that. stil they tried. i can appreciate the thought.

"by the count of ten the head won't move" bcs she was fucking killed intentionally because of her gender.
i really love the laboured breathing at the end of the song. it fades away. she dies.
& ofc john cale's oxygen machine sounds (which start i guess during the time the hospital scene starts)

(a barbituate that's used for anaesthesia and also is lethal). but. the only time she's referred to as a "he" is when the doctor is speaking, also if you strain your ears you can hear sterling morrison whispering "you're not a girl" in the left track over the last scene

it got way too long but ESSENTIALLY it's about a trans woman having a surgery for something (brain tumour seems most likely because why else would the doctor be removing his blade "cagily slow from the brain") aand the anaesthetic isn't administered quite well & she's given [sodium] penthotal

i want to listen to more Clash but oh my god the AMOUNT of songs on Sandinista! scared me off so bad. 😭 i need to get over myself

anyway. sorry for hijacking your post again. i just get emotional about this song as a queer one.

ANYWAY what led me to thinking about this rn is that this version being sung like a dirty secret is very typical of how queer shit is generally spoken about. and why not. it's fun to be illicit.

also the "let us now do what you fear most / that from which you recoil / but still makes your eyes moist" is so so likely to be... just queerness. recoil bcs of fear and society and internalised queerphobia. makes your eyes moist bcs it is, deep inside, what Tom wants — the nature he has denied.