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However, his songwriting - unusually literate and often embracing themes that flouted society's conventions, especially in terms of drugs and sex - broke fresh ground that other artists would follow, and his willingness to confront his audience made him a vitally important precursor to the punk revolution of the mid- to late '70s. While he flirted with mainstream success between 1970 (when he left the Velvet Underground) and 2013 (when he succumbed to liver disease), he most often played to a large cult following that only occasionally expanded into mainstream visibility. One hour.Few rock artists have been more influential without achieving superstardom than Lou Reed. ’90s and given the prestigious Hero Award by the National Academy of RecordingĪrts and Sciences, he continues his life-long experimentation as both a writerĪnd performer. Inducted into the Rock and Roll Hall of Fame in the late From punk rock to grunge, he has had an unparalleled influence on theĪmerican music scene. Reed worked with other icons of his day - Andy Warhol, David Bowie, LaurieĪnderson. The charts and has become a cultural classic about a taboo, hidden lifestyle. His Walk on the Wild Side surprisingly made it to the top of With songs like Heroin and All Tomorrow’s Parties, he tackled harsh Gritty and realistic, the brutal honesty in Reed’s lyricsĪnd sound made him a cultural icon of the disenfranchised throughout the ’60sĪnd ’70s. In 1965, a band with artistic and political visions far beyond the popular
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I’m Lou Reed!'”Ĭatch up with four movies involving Lou Reed for free here. Check out the below videos of Reed on Charlie Rose in 1988, and Arcade Fire’s tribute to the late singer on NPR, with snippets from Reed classics “Perfect Day” and “Satellite of Love.”įor more than 40-years, Reed has been at the forefront ofĪmerican avant-garde music, beginning with creation of the Velvet Underground In his typical dry and penetrating manner, Lou looked at me: “That’s when I said to myself, ‘Hey. After some tuning and a squall of feedback from being turned up to 11, the boy launched into the opening chords to “Sweet Jane” the riff turned everyone’s head in the store. Lou was wondering what this geeked-out teen would play to test out his momentous purchase. The kid was 13 or so and practically shaking with excitement as had just put on the Telecaster and was being plugged in–a very serious part of the ritual of buying a guitar at Manny’s. Lou was just hanging out, buying some new guitar strings, when he noticed that a young teen with his Dad were shopping for his first Fender guitar.
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He told me a story of when he was most happy being ‘Lou Reed.’ It was in Manny’s Music Store (a very famous place where guitarist Mike Bloomfield bought the Fender he used on ‘Like a Rolling Stone’ on his way to that session, and countless other amps, guitars and basses that mark the history of Rock were purchased). Hearing those personal tales of decadence just made him uncomfortable and he did not like being the “Lou Reed” connection for only those types of experiences. I asked Lou when it first struck him that he was indeed ‘Lou Reed.’ He told me that starting with “Transformer” in 1972, people came up to him on the street all the time and shared drug experiences or stories of being on the fringe of societal standards of behavior and how his music had inspired them to these extremes. I vividly remember this conversation with Lou Reed on the set of ‘Get Crazy’ in 1982. Arkush (“Heroes,” “Crossing Jordan”) sent me a remembrance of working with Reed after his death at age 71 on Sunday: I was in awe of the taciturn legendary rocker, who turned up on the Wiltern Theatre set in beat-up jeans, boots and leather jacket, knew his lines and was a total pro. When I first came to Los Angeles in my 20s I worked on the sets of a few movies as a unit publicist, among them director Allan Arkush’s 1983 rock musical “Get Crazy,” which starred Malcolm McDowell and Lou Reed.