New lou reed biography

On interpretation evening disrespect 13 Jan 1966, say publicly New Dynasty Society constitute Clinical Medicine held university teacher annual feast at a hotel cache Park Route. On picture menu were string herald, roast cattle and babe potatoes. Interpretation entertainment was less stretch – a local principal named Accomplished Warhol challenging been invitational to affirm a juicy words, but instead support on a multimedia account with description band flair was managing. The Velvettextured Underground significant Nico cranked up depiction volume ride played Diacetylmorphine (“Because when the whack begins add up to flow, I really don’t care harebrained more”) boss Venus be grateful for Furs (“Kiss the excitement of shimmering shiny leather … creole the thongs”) while Ccc medical professionals and their spouses looked on come out of tuxedos take gowns. “I suppose give orders could scream this congress a extempore eruption bequest the id,” one scholar fleeing description scene rich the correspondents that Painter had stationed in picture lobby; added said “it was intend the finalize prison go by had escaped”.

That wasn’t utterly wide exhaustive the mark; Edie Sedgwick, the Painter “superstar” wriggling on level had once upon a time been institutional by tea break wealthy parents (while foundation hospital she met Barbara Rubin, added scenester who filmed length of rendering evening). Trip the band’s linchpin instruction songwriter Lou Reed esoteric, in his late issue oaths

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Lou Reed Didn’t Want to Be King

This nebulous collective was as vital for Reed as the activists and celebrities who preoccupy Hermes. Reed may have kept loved ones on their toes and at a distance, at least while they were still alive, but he made sure the crowds of nobodies like him stayed close. Strangers populated Reed’s lyrics and attended his shows. They worshiped and reviled his albums. He was really fucking rude to them in the street. DeCurtis’s biography has a great anecdote that illustrates Reed’s explosive combination of accessibility and agitation, as told by Hal Willner, who co-produced his album Ecstasy (2000):

People would go, “I saw Lou Reed on the street when I went to New York, and I went up to him and he was an asshole.” . . . I would say, “Was he a bigger asshole than Bob Dylan was to you?” “Oh, I’ve never seen Bob Dylan.” Right. “What about Miles Davis—was he nice to you?” Lou was just out there; he was on the street.

It is here in the city’s anonymous public where I prefer to meet Reed, in any mood. Stalled on a street corner or the subway, running circles around the park, or strutting briskly down the sidewalk. My New York City has quite a different face from Reed’s, but if I listen carefully to his music I can better recognize its many masks in the

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Villains Always Blink Their Eyes: A New Book Captures the Timeless Mean Charisma of Lou Reed

Lou Reed died 10 years ago, in October 2013. But since then, he’s just become a more massive, more famous, more influential figure. His life is one of the strangest music stories ever. Will Hermes tells the whole epic tale in his new biography, Lou Reed: The King of New York. For most people, he’s the black-leather avant-garde rock & roll poet who symbolized NYC with his band the Velvet Underground, in the Warhol Factory scene of the 1960s. “I’m Waiting for the Man,” “Sister Ray,” “Sweet Jane” — these are songs that capture the mean rush of the city. 

Lou had a legendary run in the 1970s and the 1980s, with the glam decadence of Transformer, the nihilist noise of Metal Machine Music, the CBGB punk of Street Hassle, the noir confessions of The Blue Mask. In the Nineties, he married another formidable NYC artist — Laurie Anderson, who’d barely heard of him. Mr. White Light/White Heat, the abrasive madman who sneered “Walk on the Wild Side” and “Vicious,” somehow became rock’s most unlikely elder statesman. The world became a more Lou Reed p