SHE'S A CULTURAL MYTH.

I confess, I hate the myth of Edie Sedgwick.
The pity, the pedestal, everything about it.

IT'S INEVITABILITY.

FAURÈ.

LEAVING OUR HOME.

LET'S NEVER COME HERE AGAIN.

LOVE IS THE SADDEST THING WHEN IT GOES AWAY.

REPULSION.

COULEUR CAFÈ.

DEATH DON'T HAVE NO MERCY.

I'VE SEEN A LOT OF PEOPLE LEAVING.

PAGANS.

SHE'S HALFWAY DOWN THE STREET.

FORNICATION AMONG THE PLANTS AND WEEDS.

DAS KABINETTE.

49 SECOND ROMANCE.

I HAD TOO MUCH TO DREAM LAST NIGHT. THEN CAME THE DAWN, AND YOU WERE GONE.

BLACK AND WHITE BATAILLE.

GERMANY, 1966.

ROUGE ROUGE.

NERVOUS WRECK.

JUNGER MANN.

A HERMIT IS A HERMIT IS A HERMIT IS A HERMIT.

SOON TO BE INNOCENT FUN.

FOR PHONOGRAPHS.

 

YOUR FAT CHERRY LIPS.

  

MY MOM SAYS I'M A CATCH.

THE SOUND OF FEAR.

FIVE THOUSAND YEARS AGO.

YOUNG CANDLES.

STRANGE WHAT LOVE DOES WHEN YOU'RE ALL ALONE.

BUT YOU'RE NOT REALLY HERE, IT'S JUST THE RADIO.

SO TINHA DE SER COM VOCE.

I GUESS I FORGOT I DON'T LIKE YOU MUCH NOW.

ALL THE FORTUNE IN MY EYE.

CLASSICAL ARTILLERY.

"The piece represented, for Elgar, the angst, despair, and disillusionment he felt after the end of the War, and an introspective look at death and mortality. It was a significant change in his style, as he wrote much of his previous works in a noble and jovial style, inspired by the English way of life and the pre-war renaissance of European art."