Word: velvets
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...Jerome Lewis, president of Petro-Lewis Corp., one of the country's 15 largest independent oil exploration and production companies. Lewis began as a consultant eleven years ago, and today he holds an interest in 11,000 wells in 21 states. Sitting amid the chrome and crushed velvet of Denver's Petroleum Club, Lewis gestures toward the Rocky Mountains still glazed with snow and exults: "This is today's big oil frontier. It is the most exciting thing in America's energy equation since the North Slope of Alaska...
...grass, quickly sprouted and gone, lovely but not to be sentimentalized, the dependable product of sun, rain and horse manure. It is hard not to think of Liz Taylor, especially if the thinker happens to have been twelve when she was twelve, all brave and radiant in National Velvet. (Teddy Kennedy was twelve then, and so was John Updike, but they had not wandered into the witch's house, were not on public view.) Some of the present class of very young actresses will become fat, will be many times divorced, will forever erase the lying promise of incredible early...
...guests cross the broad terrace to the crushed-velvet lawn of bent, meadow and rye grass, they face a crucial decision: to head straight for the green-and-white striped refreshment tent, to claim one of the limited number of tables or to stake out a position along the royals' walkabout route. Two out of three is the best even a sprinter can hope...
...music of The Bells reflects the desolation of that face. Somewhere along the line, Reed seems to have decided that the minimal rock he pioneered with the velvet Underground in the late '60s-basic riffs repeated without elaboration on a rhythm guitar-was bankrupt as a musical form. He broadcast this decision with his rendition of the old Velvet Underground standard "We're Gonna Have a Real Good Time Together" on Street Hassle; he sang it virtually a cappella, with no guitar, no drums, nothing but a fuzzy electronic backup to signal that this was indeed, or had been, rock...
Reed's replacement for the Velvet Underground sound is a mixture of electronically synthesized guitar and bass, a traditional wind and brass section, and a technique called "stereo binaural sound"-which has something to do with the placement of microphones and leads to a thick, atmospheric recording best listened to with headphones. The sound is unmistakeable and very pleasing, and so far Reed has been able to write songs that take full advantage fo it. On "I Want to Boogie With You," Don Cherry's trumpet and Marty Fogel's sax thicken the soup of a repeated chord sequence...