The Exploding Plastic Inevitable

Entranced, Gerard Malanga brought Andy Warhol to hear the Velvets .. and the media master concurrued. By 1966, the provacative American artist, whose creations, happenings, philosophy and above all, lifestyle, ahd catapulted him to the heights of hi chic, was fascinated with the VU's sensual assualt.

Warhols' whole artisitc life was a projector, throwing off vivid images on any flat surface. For years, he and Gerard, whose looks were like that of a fine piece of italian sculpture, strode about in black leather, visually flirting with S/M images and disturbing right order.

Here began the hysterical, halcyon days and greatest years of the Velvet Underground. These luminous times, which have glowed in rock history as perhaps the most savage, stylish and splendid, were centered on The Factory, Warhol's legendary working and playing loft.

Into this splendour came the moon godess Nico. Nico was german fashion model with a low, mellow voice, with the timbre of a fine cello and she whispered a broken English that seemed the language of dreams. Delivered to the factory by the equally extra-terrestrial Brian Jones, her aura of enchantment seduced all that surrounded her.

Even the pragmatist Warhol saw her as the perfect lead singer for the Velvets, and Lou, so bedazzled, agreed. Realising that her mournful sobs did not lend themselves to the electric rage of the Velvets, Reed composed "All Tommorrow's Parties", Femme Fatale and "I'll Be Your Mirror" for Nico.

The Exploding Plastic Inevitable, Warhol's multi-media assualt, which radicalized the New York music scene, had its grand opening in the Spring of 1966 at the Dom, the old Polish National Social Hall, on St Marks Place.

In musical and visual ferocity it was an update of the Gotterdammerung, complete with warriors and Valkyries dancing in derangement on and off stage. The Velvets were center stage, with Gerard Malanga in black leather performing his reptilian, mesmerizing whip dance.

Abstract: Lou Reed and The Velvet Underground (Dianna Clapton 1982)