cited by Mark Deming as "document[ing] a relationship at the point of collapse." The song is a slow tempo reflection on relationships in theme with the rest of the album exploring marriage, affairs and their emotional and physical extremities. "Future farmers of America" is a two-chord rock and roll commentary on race relations, described by critic Kristin Sage Rockermann as "cringe-inducing." Running at just over three minutes, it is one of the shorter songs on the album. "Turning Time Around" is another slow tempo ballad-like exploration a romantic relationship, opening by posing the question, "What do you call love?" "White Prism" is cited by Mark Deming as where "Eros is usually messy" on the album. The song explores themes of aging and sex. It is in G major. "Rock Minuet" is one of the more lauded songs on the album, cited by Julian Schnabel as one of his favourite songs by Lou Reed. The song follows a straightforward riff played on guitar while Reed plays a solo over it. Strings are also used with his wife and frequent collaborator Laurie Anderson playing electric violin. The song is played in 3/4 time, mirroring the French social dance. The song explores the "unhealthy and perverse," by documenting the life of a young man and his affiliations with drugs and lurid sexual fantasies ("thrill of the needle and anonymous sex") relating it to his fathers abusive nature ("His mother on all fours, ah, with his father behind"). "Baton Rouge" is described by Mark Deming as being "an eccentric but moving elegy for a love that didn't last." It is in G major. "Like a Possum " has come under vitriolic criticism, one critic calling it "unbearable" mostly due to its length at just over 18 minutes. Patrick Stickles of Stereogum describes the music as being "gargantuan guitar tones in the service of slowly bludgeoning a rudimentary two-chord riff", and a "monolithic tower of punishment." However, Mark Deming writes "Never let it be said that Lou Reed has lost the ability to surprise his audience." "Like a Possum" is followed by "Rouge", a one-minute instrumental played on strings and bass. The album concludes with "Big Sky", which Patrick Stickles describes as a "honest-to-god, uplifting, life-affirming, fist-pumping Rock Anthem, the likes of which he had so studiously avoided for nearly his entire career." Mark Deming describes the song as a " rousing closer" and concludes