But how can Edie write substantial songs

about ridiculous movie stars?

An example provides the best answer to this question. Edie Sedgwick has a popular song amongst those "in the know" called "Sigourney Weaver." If Edie wanted to write a silly song about Sigourney Weaver, the lyrics would be "Sigourney is fucking awesome/I hear that she is six feet tall and used to model." This is trite. Instead, consider these choice lyrics:

Sigourney Weaver

Hudson's ready to get it on and Hicks is ready to get it on
but Ripley's not ready to get it on 'til Vasquez gets those big black boots on
Apone's ready to get it on and Bishop maybe sorta could get it on
But Newt's not old enough to get it on so Ripley's gotta wait 'til Vasquez gets those big black boots on
When the Company's ready to get it on than Burke is ready to get it on
but Ripley's not ready to get it on 'til Vasquez gets those big black boots on.

What does this trite verbiage signify?

Superficially, these lyrics are little more than a roll call of the Marines who appear in the Sigourney Weaver film Aliens (1986). This is absurd. However, this song addresses Hollywood's ubiquitous homophobia that forced a lesbian subtext to be edited from the Aliens series. This meaning isn't apparent -- in fact, it is shrouded. One can enjoy "Sigourney Weaver" without thinking about homophobia. However, if one is aware of the context, there is a moment -- a glorious, elusive moment -- when the song's real meaning is revealed. Every Edie Sedgwick song -- nay, every sentence that spills from Edie's beautiful mouth -- contains such a moment that offers the sublime intersection of surface and substance.

This moment is Edie Sedgwick's revolution and gift to her audience.

 

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