It's kind of surprising that this essay is just now being posted here, no?Anyway, reading this now makes me think of the segments of Get In The Van when Hank is first experiencing the phenomenon of autograph requests and, to a lesser extent, his observation of girls at shows standing directly in front of the stage at the show's start then moving to the back of the room three songs in. I think Hank's examples resonate here as a more manageable context of what Reed is talking about. (what does he say, something like "why do they want my signature? I'm part of them!") The pictures Reed paints, specifically of jones and hendrix are astronomically daunting, Hendrix especially.
Last night was the first time I had seen the entire thing, it's been excerpted to death, so I feel like I had seen alot of it, but to get the whole thing was really amazing for me. The only non-lyrics of his I had been able to find were pomes published in Fusion magazine at the beginning and then at the end of the 70s.I think what youre saying is a really interesting way to look at it- Hank- micro- Reed- macro. And in addition to Brian (wow, so perfect, the puffed up isces fish eyes) and Hendrix, I think he gave a fascinating sense of poetry to Brian Epstein which only gathers poignancy since the Velvets would have signed up with NEMS had Epstein not died.In the 90's I found somne bookm years agp where Reed turned his prose eye to Elvis, I wish I could find that piece it makes a great bookend to this one
has anyone else seen this before? not gonna lie, made me a little teary eyed (but that's pretty easy to do):http://www.lettersofnote.com/2010/01/hang-on-my-love-and-grow-big-and-strong.html
That's really cool Jackie, I had never seen that before
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