“Oh, Beloved! I am honey trapped in your love. Make me hear you!”
As the musicologist Ranjana Saxena writes, lyrics like these illustrate the essence of the tappa, a florid, passionately romantic vocal art form of India. Inspired by the undulating motions of camel-riding Arab tradespeople, the word “tappa” originates from the Punjab province of India and Pakistan. Its root word tappana refers to the bouncing and jerkiness of a camelback ride and the mercurial, melismatic singing that these rides have inspired.
Unlike khayal—the serene art music from the Hindustani tradition of India—the tappa is volatile, unfolding rapidly throughout a single tala (rhythm) cycle. The sung text is usually very brief, consisting of not more than two to four lines. However, tappa singers use this brevity to their advantage. They deftly weave in the frenetic melismas through the scant lyrics, finessing the diction to facilitate speed while maintaining comprehensibility. Unlike other forms of Hindustani art music, where the melodic framework for the piece, encapsulated in the raga, is first outlined, this foreshadowing is summarily eschewed in the tappa. Instead, the emotional content emerges over the course of the presentation, which, due to the extreme physical demands it places upon the singer, does not last for more than ten minutes.
At the heart of tappa virtuosity is the zamzama taan, a circuitous vocal gyration employing short patterns of four to five notes that move through the notes of the raga, often cut with notes that are sung in faster subdivisions to create a sense of drama and unpredictability, or to make abrupt changes in the patterns used even more apparent, according to Debapriya Adhikary, one of the torchbearers of the Benarasi tradition of tappa. “Unlike khayal”, he adds, “tappa singing does not allow for nyaas (resting) on any one note. It is a tireless, intricate pursuit of passionate beauty.” Chhuut taans also find a home in the tappa; these taans start with a wide, upwards jerk and descend rapidly, taking a pliable view of tempo, accelerating and then slowing down for effect, underscoring tension and release. However, sapaat taans—linear runs through the notes of the raga—are avoided to ensure that tappas are never confused with faster khayals, which can be equally dizzying.
The demanding nature of the tappa tends to overshadow its nuanced inner workings in scholarship on the genre, both by Indians and cultural outsiders. Colonial collectors such as William Hamilton Bird and Sarah Plowden described tappa as “wild”. At the same time, orientalists such as William Jones and Augustus Willard considered it a “rude style”. Although it can be hard to look past the virtuosic element of tappa singing, a subtle richness emerges once you do. For starters, there is the curious case of the languages used in the tappa texts. The tappas that have endured in pre-partition India (the longest have Punjabi texts), were sung in various languages, including Sindhi, Multani, Bannochi, Derawali, and Saraiki. The poetry of the tappa speaks beseechingly of love, depicting a traditionally demure view of separation and longing. Most importantly, tappa embody the feminine voice irrespective of the gender of the performer; whosoever sings the tappa has to use female pronouns and embody birhaa and shringar, the emotions most closely associated with the feminine in the Hindustani tradition.
Due to its somewhat limited emotional landscape, tappas tend to be composed in a few ragas, such as Khamaj, Kafi, Bhairavi, Jhinjhoti, Tilang, Sindhura, Des, Jangla, Pahari, Maand, and Sohini. Tala (time cycles) used include Punjabi (adha theka), Pashto, and Sitarkhani, used for their uneven accents that further reinforce the off-kilter feel at the core of the tappa.
The rhythmic gait of the tappa is as complex as its origins, which are contested to say the least. The most common view is that this art form was created by Ghulam Nabi Shori (1742-1792), a genius hereditary musician at the court of Awadh in Lucknow, India, patronized by Nawab Asafuddaulah. Tappas attributed to him bear his nom de plume, Shori Miyan, in the last line of the text. As the story goes, he inherited not only knowledge of dhrupadand khayal, the two most prominent genres of art music in the Hindustani tradition, from his father but also a ceaseless innovative spirit. Nawab’s father, Ghulam Rasul, had adapted some of the qawwali taans to enhance his dhrupad singing. At the height of his prowess and frustration, Shori traveled across India until he finally found inspiration after a chance encounter with the aforementioned camel riders and used their simple folk songs as a base for his melismatic vocal virtuosity.
However, authors like Katherine Schofield have brought this theory under greater scrutiny, suggesting that tappas were sung in Delhi nearly a hundred years before Shori Miyan brought them to Lucknow. Considering that Delhi was also the seat of the Qawwali, it is easy to surmise that this conjecture may carry some weight. Besides Schofield, musicologists Fakirullah and Mirza Khan also have identified famous love songs called “tappay” at the time of the Mughal Emperor Shahjehan in the 17th century. Gokul Nath traced tappay sung by courtesans on the streets of Agra even earlier, sometime during the 16th century. Ranjana Saxena notes that some scholars credit the Besara Geet of dhrupad as the source of the tappa. However, due to the oral tradition of music in India, it is hard to say with certainty how any of these compared with the modern-day tappa popularized by Shori Miyan.
Shori Miyan’s is not the only stream of tappa that can be sampled in India. While a contemporary of Shori Miyan, Ramnidhi Gupta, created a variant of the tappa in Bengal that evolved into something completely different due to the sociocultural climate of its new home in Eastern India, from the mainstream, Northern tappa as practiced in Gwalior and Benares. Famed musicologist V.D. Paluskar also composed tappas, but these were settings of mystical poetry and explicitly Hindu devotional, unlike mainstream tappas with their lovelorn turn of phrase. Shori Miyan’s presence in Lucknow, and the spread of his students eastward, virtually ensured that the tappa never gained prominence in Punjab, the land of its origin, as it did in Central and Eastern India. Gamun Miyan (Shori’s disciple) passed the tappa to Benares, and several excellent tappa singers arose there, most notably Girija Devi, who ultimately passed it down to Debapriya.
“I was fascinated by how intricate her singing was, yet how easy she made it seem,” Debapriya says of his illustrious Gurumaa. “She saw that I had an aptitude for the tappa and a love for learning difficult things, so she started to instruct me in it.” Hearing Debapriya sing the tappa, it is easy to see what may have impressed Girija Devi. His cultured, lyrical, and expressive voice not only exhibits the athleticism required for tappa but is also full of pathos and emotion, which is rare nowadays. Debapriya has cultivated a complete mastery of the four baans of tappa singing–laari daar, guthaao daar, khudi daar, and phande daar–overcoming the many challenges these present both anatomically and conceptually to an outstanding degree. He explains that his gurumaa taught him to avoid excessively heavy oscillations to conserve his voice and to find an appropriate balance between vocal gymnastics and the prosody hidden in the text. “I spent a lot of time trying to connect the notes of any given raga in a series of slow glides, which I could eventually speed up to produce the many scintillating effects that the tappa demands,” Debapriya says, “but in doing so I realized that the onus of hard work has to be upon the student. The teacher can only take you to the fountainhead; it is up to you to put in the hours required to claim knowledge as your own.” Debapriya performs his wide repertoire, including tappa, with his cousin and musical partner, Samanwaya Sarkar, who happens to be one of the few contemporary instrumentalists able to render the tappa on his Sitar faithfully.
–Written by Ali Hassan, a versatile singer, percussionist, an aspiring ethnomusicologist, and a multicultural composer-producer from Karachi, Pakistan. Ali is currently an intern at RILM.
Watch a video of Debapriya performing with Samanwaya Sarkar below.
Here Debapriya sings one of his favorite Shori Miyan tappas, and explains the salient features of the Benarasi tappa.
Skinny Puppy has long been considered a classic band in the electro-industrial genre. Formed in Vancouver, Canada in 1983 by cEVIN Key (Kevin Crompton) and Nivek Ogre (Kevin Ogilvie), Skinny Puppy was influenced early on by Kraftwerk, Throbbing Gristle, Cabaret Voltaire, and Suicide. The band soon created an innovative “hard electronic” sound that combined audio samples of films with heavy metal guitar aesthetics. When asked about the 1980s industrial scene, Ogre stated, “The original idea for industrial music was just a category for abstract ideas and abstract music. . . It didn’t matter what you used. Glass in your cupboard or a rat running across your floor.”
On their first tour, shortly after the release of the Remission EP, Wilhelm Schroeder (Billy Leeb) joined the band as a keyboardist in live performances. In 1986, he left the band to start Frontline Assembly and was replaced by Dwayne Goettel of Psyche. The first LP on which Goettel was involved, Cleanse, Fold and Manipulate, was Skinny Puppy’s worldwide breakthrough. Through this and the following albums and tours, the band garnered fans and gained a strong reputation globally.
In a 2020 interview, cEVIN Key described their songwriting process as having remained fairly consistent over the years. According to Key, “I still luckily own all the original equipment, so I can use that formula if I wish or can improvise with using elements of that formula. We were using a computer to sequence our [early albums] so in this case it’s quite the same even though technology has advanced greatly. . . Luckily, I was trained well by being in a band with five other guys who each had their own world. It’s in this training that I received writing albums, recording, and touring that I was able to grasp the experience to come and produce my own ideas. . . At the time Skinny Puppy was formed, the scene in Vancouver was so vibrant that our first goal literally was to have a song played at the local disco. So, I think, we all started with small goals, and they grew exponentially.”
Part of Skinny Puppy’s success has been that their music, politics, and song lyrics have engaged with the contemporary social issues that have driven them since the band’s foundation, especially animal rights—which inspired their name and albums such as VIVIsectVI. The band also famously billed the U.S. government $666,000 in 2014 for its use of their music played at intolerably high levels in the interrogation of accused terrorists at Guantanamo Bay. As one of the industrial genre’s most influential bands, Skinny Puppy have laid the groundwork for the mainstream success of acts such as Nine Inch Nails. Now celebrating 40 years together, the band has embarked on their farewell tour in 2023.
Read about Skinny Puppy and many other industrial and electronic artists in Das Gothic- und Dark Wave-Lexikon: Das Lexikon der schwarzen Szene (The gothic and dark wave lexicon: The lexicon of the black scene). Find it in RILM Music Encyclopedias.
Below is a classic video of Skinny Puppy performing Assimilate. Enjoy!
The performance of lip syncing is ubiquitous in the drag community. It represents a drag queen’s modus operandi from high-femme queens to gender queer club kids. Crucial to lip syncing is the idea that voice is both self and other, voicing the speaker and the listener at the same time–creating an autoaffective feedback loop. Drag queens actively listen to the voice on the track, not only in the moment of lip-syncing, but also in rehearsing this synchronization and listening painstakingly while practicing before the performance.
According to Rodent, one of London’s premier drag queens, an intensely high volume of sound is necessary to their successful lip-sync performance because it enables them to embody the music and the voice, and to “transport [themself] in the moment”. The immersive soundscape of lip-syncing allows drag queens to engage tactually with sound’s vibrations forming what Jacob Mallinson Bird calls a “haptic aurality”. Haptic aurality creates a successful drag performance because it addresses the immersive potential of sound, its spatial dimensions, tactility, and intercorporeality while suturing the break between drag queen and loudspeaker, “facilitating the reperformance, dramatization, and extension of the processes of everyday speech”.
Read on in “Haptic aurality: On touching the voice in drag lip-sync performance” by Jacob Mallinson Bird (Sound studies 6/1 [2020]. pp. 45-64, RILM Abstracts of Music Literature 2020-3927).
Below is a clip of a drag lip sync performance from a television show in the Philippines called “Drag Race Philippines” (inspired by the US show “RuPaul’s Drag Race”)
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James Brown had an uncanny ability to synthesize the talents of musicians from disparate musical fields into a cohesive ensemble. Still, many of his peers had little regard for his own musical abilities.
“He has no real musical skills…yet he could hold his own onstage with any jazz virtuoso—because of his guts” one of his former bandleaders explained. Indeed, many of Brown’s own players dreamed of eventually moving from pop to jazz, where their individual abilities would shine more brightly.
There is a certain irony in the fact that someone maligned by his colleagues for his apparent musical ineptitude would end up influencing the very musicians that they looked up to: Miles Davis, for example, changed the bebop world when he took the radical step of incorporating Brown’s rhythmic innovations into his music. Further, Brown’s influence is explicitly acknowledged by rap musicians, spawning developments in popular music that continue to reverberate around the world.
A compelling valorization of Brown’s approach is suggested by Gilles Deleuze’s account, in Différence et répétition, of the Idiot as the pedant’s polar opposite. As a musical Idiot, Brown’s naive immunity to conceptual rules or institutionally dominant forms of thinking—his capacity for thought without presupposition—enabled modes of conceptual originality that evaded the musically trained.
“Funk was not a project” he explained. “It happened as part of my ongoing thing…I wasn’t going for some known sound, I was aimin’ for what I could hear.”
Brown’s bravado and innovations were necessary because he lacked the musical and cultural capital of his peers. Deleuze’s Idiot is self-assured because he is not bothered with any image of thought that cannot see him; for Brown, reason yielded to experimentation because his poverty-stricken childhood had demonstrated that abstractions were useless for solving the immanent problems at hand.
Brown had a superlative ability to forge new connections, to make music work regardless of its orthodoxy. This is what Deleuze attributed to the great artist—one who could make new and unforeseen connections.
This according to “James Brown: The illogic of innovation” by John Scannell (New formations: A journal of culture/theory/politics 66 [spring 2009] pp. 118–133; RILM Abstracts of Music Literature 2009-17662).
Today would have been Brown’s 90th birthday! Below, the Godfather of Soul defies logic in his heyday.
Already a cello prodigy with a full scholarship to the Moscow Conservatory, the ten-year-old Gregor Piatigorsky found himself stranded in Astrahan’ due to one of his father’s failed enterprises.
Tall enough to pass as a teenager, he found a temporary job as a substitute cellist in an amusement-park orchestra, and when the former cellist returned he was offered a job playing violin. Piatigorsky accepted gamely, and found that he could play the unfamiliar instrument easily in undemanding passages; but for more difficult ones he had to revert to playing it between his knees, like a cello. For distracting attention from the conductor and eliciting unwelcome applause, the boy was fired.
Still lacking the funds to return to Moscow, he found a job in a café orchestra. To keep the underaged cellist from seeing the nude dancers onstage, the owner had him turn to face the wall of the pit and provided a mirror so he could see the conductor. When he quit in sympathy for a fired dancer he had developed a crush on, he was given a week’s pay.
Piatigorsky used the money to buy a train ticket as far north toward Moscow as he could; he finally arrived home after about 12 days of hitching rides on freight trains by night, sleeping during the day, and selling everything but his cello for food.
This according to Gregor Piatigorsky: The life and career of the virtuoso cellist by Terry King (Jefferson: McFarland, 2010, pp. 8–10; RILM Abstracts of Music Literature 2010-6179).
Today is Piatigorsky’s 120th birthday! Above, the cellist in his school uniform before he moved to Moscow. Below, excerpts from the film Heifitz & Piatigorsky (Kultur, 1953).
After her breakout performance at Lebanon’s 1957 Baalbeck International Festival (where organizers had initially worried that their sophisticated audience would find homegrown music distasteful) the music of Fayrūz went on to become a powerful emblem of Lebanese identity—a position that it holds to this day.
Fayrūz’s performance, which featured music by the Raḥbānī brothers, was the headline act of the Festival’s first Lebanese Nights series, and its resounding success ensured the continuation of the series, with the Fayrūz/Raḥbānī trio as its mainstay, until the Festival’s suspension at the beginning of the Civil War in 1975. During that time, the trio forged a music that both articulated Lebanon’s national character and aspired toward a future in which the country’s liminal position between the Arab world and the West would bring long-lasting peace and prosperity.
While this element of futurity was rhetorical and discursive, it was also profoundly sonic, manifested in the arrangement, instrumentation, and style of their work. The Fayrūz/Raḥbānī trio’s music was clearly positioned in relation to three major reference points that dominated nationalist discourse at the time: Arab nationalism, the West (conceived as European high culture), and Lebanese culture (conceived as local folklore).
While the style developed by the trio continues to shape understandings what it is to sound Lebanese today, Fayrūz’s voice has become symbolic of Lebanon itself. Notably, she did not sing there during the Civil War; she came back to perform in 1994, and returned to Baalbeck’s stage on the occasion of the Festival’s postwar resumption in 1998. Her wartime silence was publicly received as an act of resistance against violence on Lebanese soil and as a show of solidarity with the Lebanese people—further reinforcing the identification of her voice and persona with Lebanon as a country.
This according to “Hearing cosmopolitan nationalism in the work of Fairuz and the Rahbani Brothers” by Nour El Rayes (Yearbook for traditional music LIV/1 [2022] 49–72; RILM Abstracts of Music Literature 2022-16150).
Above, Fayrūz performing in 1971 (public domain). Below, the official music video for the Fayrūz/Raḥbānī song Lebnan el akhdar(لبنان الأخضر/Lebanon the verdant); the recording is the subject of a detailed analysis in El Rayes’s article.
To celebrate Enrico Caruso’s 150th birthday, we are delighted to provide documentary evidence seldom found elsewhere—the full text of his own words on his gastronomic predilections! Alas, we have been unable to find the name of the translator, but the English version originally appeared in The monthly musical record, which published it along with Caruso’s technical observations on singing in its May, June, and July 1913 issues. It was republished as “Talks on singing: Signor Enrico Caruso. I” in The choral journal XIV/4 (December 1973) 31–33 (RILM Abstracts of Music Literature 1973-17498).
As regards eating — a rather important item, by the way — I have kept to the light “Continental” breakfast, which I do not take too early; then a rather substantial luncheon towards 2 o’clock. My native macaroni, specially prepared by my chef, who is engaged particularly for his ability in this way, is often a feature in this midday meal. I incline towards the simpler and more nourishing food, though my tastes are broad in the matter, but I lay particular stress on the excellence of the cooking, for one cannot afford to risk one’s health on indifferently cooked food, no matter what its quality.
On the nights when I sing I take nothing after luncheon, except perhaps a sandwich and a glass of Chianti, until after the performance, when I have a supper of whatever I fancy within reasonable bounds. Being blessed with a good digestion, I have not been obliged to take the extraordinary precautions about what I eat that some singers do. Still, I am careful never to indulge to excess in the pleasures of the table, for the condition of our alimentary apparatus and that of the vocal cords are very closely related, and the unhealthy state of the one immediately reacts on the other.
My reason for abstaining from food for so long before singing may be inquired. It is simply that when the large space required by the diaphragm in expanding to take in breath is partly occupied by one’s dinner the result is that one cannot take as deep a breath as one would like, and consequently the tone suffers, and the all-important ease of breathing is interfered with. In addition, a certain amount of bodily energy is used in the process of digestion which would otherwise be entirely given to the production of the voice.
These facts, seemingly so simple, are very vital ones to a singer, particularly on an opening night. A singer’s life is such an active one, with rehearsals and performances, that not much opportunity is given for exercise, and the time to do this must, of course, be governed by individual needs. I find a few simple physical exercises in the morning after rising, somewhat similar to those practiced in the army, or the use for a few minutes of a pair of light dumb-bells, very beneficial. Otherwise I must content myself with an occasional automobile ride. One must not forget, however, that the exercise of singing, with its constant deep inhalation (and acting in itself is considerable exercise also), tends much to keep one from acquiring an oversupply of embonpoint.
A proper moderation in eating, however, as I have already said, will contribute as much to the maintenance of correct proportion in one’s figure as any amount of voluntary exercise which one only goes through with on principle.
On the subject of whether one should or should not drink intoxicants, you may inquire what practice is, in my opinion, most in consonance with a singer’s well-being. Here again, of course, customs vary with the individual. In Italy, we habitually drink the light wines of the country with our meals, and surely are never the worse for it. I have retained my fondness for my native chianti, which I have even made on my own Italian estate, but believe and carry out the belief that moderation is the only possible course. I am inclined to condemn the use of spirits, whisky in particular, which is so prevalent in the Anglo-Saxon countries, for it is sure to inflame the delicate little ribbons of tissue which produce the singing tone, and then — addio to a clear and ringing high C!
Though I indulge occasionally in a cigarette, I advise all singers, particularly young singers, against this practice, which can certainly not fail to have a bad effect on the delicate lining of the throat, the vocal cords, and the lungs.
You will see by all foregoing that even the gift of a good breath is not to be abused or treated lightly, and that the “goose with the golden egg” must be most carefully nurtured.
In 1963 Eunice Waymon, a classically-trained pianist who had recently achieved recognition as a jazz singer under the stage name Nina Simone, learned that four young African American girls had been killed in the bombing of a Baptist church in Alabama.
She immediately wrote the song Mississippi Goddam “in a rush of fury, hatred, and determination.” The lyrics—filled with anger and despair in stark contrast to the fast-paced and rollicking rhythm—vehemently rejected the notions that race relations could change gradually, that the South was unique in terms of discrimination, and that African Americans could or would patiently seek political rights. Simone also challenged principles that are still strongly associated with liberal civil rights activism in that period, especially the viability of a beloved community of Whites and Blacks.
With both her music and her self-presentation, Simone offered a vision of Black cultural nationalism within and outside the U.S. that insisted on female power. Her story demonstrates how events and issues from the 1960s that are often treated as separate were in fact deeply intertwined—the development of Black cultural nationalism, the role of women in Black activism more generally, and the emergence of second-wave feminism.
This according to “‘I don’t trust you anymore’: Nina Simone, culture, and Black activism in the 1960s” by Ruth Feldstein (Journal of American history XCI/4 [2005] 1349–79; RILM Abstracts of Music Literature 2005-23369).
Today would have been Simone’s 90th birthday!
Above, Nina Simone 1965 is licensed under CCO 1.0; below, performing Mississippi Goddam in 1965.
The main entrance to the New York Public Library for the Performing Arts’s exhibition Lou Reed: Caught between the twisted stars opens up on Lincoln Plaza, directly adjacent to the The Metropolitan Opera house. On a sunny day, the Met’s angular, august facade reflects light beams that seem lightyears away from the intransigent, transgressive spirit, the championing of misfits, the sardonic humor that the exhibit captures and that Reed’s music embodies. Is there a psychogeographic contradiction between the outside buildings’ shimmering, safe, highbrow sheen and the sounds and images purveyed by the avant-garde prince (or pauper?) of New York proto-punk? If so, it is an incongruity to revel in.
Reed’s music and poetry disrupted reductive divisions between the cultivated and vernacular, the concert hall and the streets, and the transcendent and ephemeral. His sounds rejected the colorful and optimistic 1960s utopian collective, the normative middle-class assumptions that homogenized gender distinctions and human sexuality, and the blind eye cast towards a drug-fueled urban underclass. This rebellious spirit runs through his creative work and the eclectic literary and sonic sources on which he drew to craft his own sound(scapes). One finds this eclecticism refracted everywhere in the ethnic mosaic of New York City, whether on the Upper West Side in 2022, or the Lower East Side in the 1960s and 1970s. The NYC mosaic—a metaphor that’s preferable to “melting pot”, which fails to grasp the historical resonance of ethnically similar people living together in specific neighborhoods—is captured in the form of the exhibit. It eschews strict narrative construction of Reed’s life, offering instead a constellated, interconnected network of images, recordings, friendships, interests, collaborators, writings, and technologies. The visitor is invited to take a free (as in gratis) journey that may nourish the inquisitive iconoclast within.
Not only Reed, but also his friends and collaborators, become the “twisted stars” through which one navigates in the exhibit. And what could be more appropriate? Reed’s New York was a particular moment in U.S. music history when “highbrow” avant-garde Western art music walked arm-in-arm with minimalist “lowbrow” sensibilities in some streams of rock that would birth punk. The two camps’ common language was seeped in discourses of ingenuity, novelty, and rupture, and whether or not musicians in each directly influenced one another, ideas (musical and otherwise), were undoubtedly exchanged. Laurie Anderson‘s description—equally applicable to her husband, the real people featured in his lyrics, and some of his collaborators—is perhaps best: “a Shakespearean panoply of characters, and they were all New Yorkers“. Beyond New York, Reed’s artistic orbit spanned disciplines, styles, and perspectives: John Cale, Iggy Pop, David Bowie, Allen Ginsberg, Robert Wilson, Julian Schnabel, Hal Willner, Andy Warhol, Candy Darling, Little Joe, Doug Yule, Metallica, “Moe” Tucker, Sterling Morrison, Nico, William S. Burroughs, Paul McCartney, to name some.
Lou Reed is indexed in over 280 records across RILM Abstracts of Music Literature and RILM Abstracts of Music Literature with Full Text—the sources from which the bibliography below is taken—and has two entries in RILM Music Encyclopedias(in Das Gothic- und Dark Wave-Lexikon: Das Lexikon der schwarzen Szene and the Algemene muziek encyclopedie). Additionally, information on Reed, his collaborators, and related topics (such as literature, poetry, the NYC downtown scene, visual arts, film, recording techniques, and more) can be found in several reference texts in RME, as well as in MGG Online. Links to some of these sources have been embedded into this introduction. But in the end, this bibliography is by necessity a superficial treatment of what can be said and has been said on Reed and his career, as well as on what can be found in RILM’s resources.
What follows below more or less replicates the organizing structure of the exhibit, beginning with Reed’s work in The Velvet Underground and his collaboration with Cale and Warhol, followed by emphasis on his literary interests and poetry, which then leads into his solo productions of the 1970s (especially Metal machine music) and beyond, and ends with Reed as a subject (e.g., an interviewee, a listener with a wide range of interests, a human with a sense of humor). The reader, then, may use this blog entry to supplement and elaborate the experience of attending the exhibit (open until 4 March 2023) in person.
Reed’s music has attracted attention from musicologists (e.g., a 2016 special issue on The Velvet Underground published in Rock music studies), music theorists, music journalists (most notoriously Lester Bangs), theologians, literary theorists, and many others working in other music and music-adjacent fields, and this is reflected in some of the sources you’ll find in this bibliography. The writers of these texts are themselves a motley crew in all the best possible ways, and they reveal the enormous impact that Reed continues to make on musicians, researchers, teachers, and explorer-outcasts of all stripes around the world.
– Written and compiled by Michael Lupo, Assistant Editor/Marketing & Media, RILM
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Main entrance to the New York Public Library for the Performing Arts
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The exhibit begins with what is perhaps the most famous context for Reed’s production: his time as co-founder, songwriter, vocalist, and guitarist of The Velvet Underground.
Bockris, Victor and Gerard Malanga. Up-tight: The Velvet Underground story (New York: Quill, 1983). [RILM Abstracts of Music Literature, 1983-7587]
Abstract: Presents an in-depth history of the Velvet Underground from the pre-VU activities of band members up through the Exploding Plastic Inevitable tour and the four seminal albums. Although the band was an outright commercial failure at the time, they are now recognized as one of the key catalysts in the development of rock music, especially as progenitors of punk rock and postpunk. Substantial portions of the book reproduce interviews with the four founding members of the Velvet Underground (Lou Reed, John Cale, Maureen Tucker, and Sterling Morrison) and with key associates such as Nico, Andy Warhol, and members of the Factory.
Bouchard, Marie-Ève. “Andy Warhol et le Velvet Underground: Réalité ou reconstruction de la réalité?”, Les cahiers de la Société Québécoise de Recherche en Musique III/1–2 (septembre 1999) 51–62. [RILM Abstracts of Music Literature with Full Text, 1999-38064]
Abstract: Describes how reality is expressed in the New York underground scene in the 1960s, as epitomized by Andy Warhol’s Factory. The world of the Factory is detailed, and the relationship between Andy Warhol and The Velvet Underground is explored. The Velvet Underground incorporated elements of the Warhol Factory in their music, and in the song I’m waiting for the man composed by Lou Reed, in particular. An analysis of the song’s text and music is undertaken to demonstrate how it conforms to the reality of the Factory and the New York City underground.
Cuesta, Stan. Lou Reed, The Velvet Underground, John Cale, Nico (Paris: Layeur, 2019). [RILM Abstracts of Music Literature, 2019-21973]
Abstract: The Velvet Underground had an amazing destiny. In the 1960s, in the wake of Andy Warhol, avant-garde artist, provocateur, and way ahead of his time, they had no success at all! But, as Brian Eno said, although almost nobody bought their records when they were released, the people who did all later formed their own groups. The band steadily attracted more and more imitators, especially in punk, and is now recognized as one of the most enduringly influential groups in rock history. The recordings of the Velvet Underground are analyzed: the group only released four albums during its brief existence, though myriad records came out after they broke up: live, never-released, and other pirate recordings which achieved official status. After 1970, the three principal members of the group embarked on incredibly fertile solo careers, which are discussed chronologically.
Dorin, Stéphane. Velvet underground: La Factory de Warhol et l’invention de la bohème pop (Paris: Éditions des Archives Contemporaines, 2016). [RILM Abstracts of Music Literature, 2016-28124]
Abstract: Between 1965 and 1967 with its first album The Velvet Underground & Nico (1967), The Velvet Underground evolved from a promising underground New York band into a legend of rock history. This pivotal period for the group that installed itself in the Factory was equally so for Andy Warhol, who was for a short while its patron and manager. Warhol’s yearning to achieve the alchemical transformation of rock into art through his collaboration with Lou Reed and the Velvet Underground was always balanced on the razor’s edge between sub-cultural marginality and social and commercial recognition within the realm of contemporary art and rock. Although it did not completely shake up the classical and popular art and music worlds, it did blur their boundaries and give rise to one of the most beautiful myths of 20th-century American culture, and to a rock group which attained cult status. Using the conceptual tools of cultural studies and cultural sociology, an analysis of the life and experience of the band at the center of the Factory reveals how rock and art have transformed today’s lifestyles and relationship to work, from the standpoint of the pop aesthetic.
Heylin, Clinton. All yesterdays’ parties: The Velvet Underground in print 1966–1971 (Cambridge: Da Capo, 2005). [RILM Abstracts of Music Literature, 2005-18301]
Abstract: The Velvet Underground (VU) are among the most influential bands of all time. Their trademark sound is easily detected in David Bowie, Iggy Pop, Talking Heads, R.E.M., Jane’s Addiction, Yo La Tengo, Luna, and the Strokes, and they are also credited with creating a streetwise, pre-punk sensibility that has become inseparable from the popular image of downtown New York. “Discovered” by Andy Warhol in 1966, the VU—with their original line-up of Lou Reed, John Cale, Sterling Morrison, and Moe Tucker—would soon become the house band of the avant-garde, composing songs simultaneously furious in their abrasiveness and beautiful in their pathos, standing in striking contrast to the prevailing flower power of the era. With such a notorious pedigree, it’s only natural that the story of the VU has become shrouded in myth and hyperbole. Here gathered for the first time are almost all of the published writings contemporary with the band’s existence–from sources as mainstream as the New York times to vanished voices of the counterculture like Crawdaddy!, Oz, Open city, and Fusion. An invaluable snapshot of an era is provided by trailblazing rock writers such as Lester Bangs, Robert Greenfield, Sandy Pearlman, and Paul Williams. With the most complete VU discography assembled to date; a biographical overview by the editor; and photographs, posters, and other visual evocations of the period throughout, a treasure trove of lore is made available for anyone interested in the VU, their roots, and legacy.
A portion of The Velvet Underground section of Lou Reed: Caught between the twisted stars
Jovanovic, Rob. Seeing the light: Inside The Velvet Underground (New York: St. Martin’s Press, 2012). [RILM Abstracts of Music Literature, 2012-3572]
Abstract: Artists including David Bowie, The Sex Pistols, Joy Division, Roxy Music, Nirvana, U2, R.E.M., and even the dissident Czech playwright and eventual president Václav Havel have cited The Velvet Underground as a major influence. Formed by the mercurial Lou Reed and the classically trained Welshman John Cale in the mid-1960s, the band first gained notoriety after being adopted by Andy Warhol. Warhol’s patronage allowed the group to chart unexplored regions of rock ‘n’ roll, producing music that veered from droning, avant-garde experimentalism to folk-infused pop, offering taboo-busting tales of drug addiction, prostitution, and sexual deviance. Creative tensions and frustrated ambition eventually saw both Cale and Reed leave the band, to its ignominious end. In the decades since, The Velvet Underground’s music has attained classic status, revered alongside The Beatles and The Beach Boys as one of the sources of modern pop. New interviews from members Moe Tucker and Doug Yule, as well as the widow of their bandmate Sterling Morrison, reveal the mystique of one of the most important bands in rock history.
Abstract: The author casts an ear back through the musical history of The Velvet Underground legend and brilliant rock musician who recently passed away. Lou Reed saw himself as the bard of New York; the way, he explained, Joyce had Dublin and Faulkner the South, though a sensibility awash in Edgar Allan Poe, Delmore Schwartz, and Nelson Algren produced adolescent renderings of perversion. But he didn’t stop there. Reed’s fictive power acted as a window through which sympathetic parents, heterosexual marriages, and other tenets of the bourgeoisie look as deeply strange as kissing a boot of shiny, shiny leather. If rock critics remain as obsessed with lyrics as they ever were, Reed deserves the blame as much as Dylan. But what’s astonishing about those Velvet Underground records is the success with which their musical correlatives complement if not overwhelm the lyrics. For instance, Venus in furs, the ode to sadomasochism from the band’s first album, is sexy and thrilling and wondrous in ways that have little to do with the ooh-scary libretto. Listen as those Byrds-y guitars slam against the single note that John Cale saws off his viola, while “Moe” Tucker bangs a kick drum; when Cale actually plays chords on the bridge the song sounds as tired and weary as Reed himself.
Warner, Simon. “La banalité de la dégradation: Andy Warhol, le Velvet Underground et l’esthétique trash”, Volume! La revue des musiques populaires IX/1 (2012) 51-65. [RILM Abstracts of Music Literature with Full Text, 2012-15874]
Abstract: The American 1960s has become closely associated with moral crusades that strove for Civil Rights for the Black community and protested against the conflict in Vietnam, and with the peace and love gestures of the hippies, particularly in the latter part of the decade. However, the seeds of a more subversive underground movement were sown during the period, and a new approach to art creation, centered on an emerging trash aesthetic, not only challenged the psychedelic utopianism of the counterculture but actually left a longer lasting mark on left-field creative activity in the final quarter of the century. As Andy Warhol’s art and film projects were reshaped into multimedia experiences, the importance of the Velvet Underground, the rising house band at the artist’s Factory headquarters, was magnified. The Exploding Plastic Inevitable, a performance work inspired in part by early-decade Happenings, would be unveiled in 1966, combining Warhol’s underground cinema projections, light shows, dancers, and the cacophonous sound of the Velvets. This radical piece of stage art was filmed by the director Ronald Nameth, and his account remains a key document of the live venture. While Warhol and the band built on traditions from Dada to the Beats to build a form of anti-art, it was during this time that the aesthetic of trash took shape, from the Pop Art celebrations of mass cultural forms to the darker realms of drugs and sexual perversity. This anti-aesthetic would have an enduring impact in the years that followed, beyond the subterranean avant-garde of New York City, as music, cinema, art, and literature were all shaped by this brand of expression. An English translation is abstracted as RILM 2014-3712.
Willis, Ellen. “Velvet underground: Golden archive series”, Stranded: Rock and roll for a desert island, ed. by Greil Marcus (New York: Da Capo, 1996) 71–83. [RILM Abstracts of Music Literature, 1996-3327]
Abstract: Ostensibly an essay on her desert island album—a slightly Willis-doctored version of an existing Velvet Underground anthology released in 1970 (she switches out Afterhours for Pale blue eyes)—this piece serves as more of a general essay on the band and even Lou Reed’s post-VU work. Willis situates all sides of the band into a larger framework that accounts for detachment, innocence, irony, and, most unusual in writings on the Velvets, moral responsibility. As she sees it, there’s an intended irony in their emotional distance—a straddling of the rock ‘n’ roller as aesthete and the rock ‘n’ roller as punk. Their stance is self-critical and even in danger of being internally undermined: “The risk is real because the Velvets do not use irony as a net, a way of evading responsibility by keeping everyone guessing what they really mean. On the contrary, their irony functions as a metaphor for the spiritual paradox, affirming that the need to face one’s nakedness and the impulse to cover it up are equally real, equally human”.
Although strained at times, Reed’s relationship with the vanguardist John Cale was incredibly fruitful. Moreover, it encouraged a complex and perhaps erroneous dichotomy between highbrow and lowbrow sensibilities, which surfaced in different guises throughout Reed’s career.
Gibson, Dylan Lawrence. “Postmodernism in Lou Reed and Metallica’s collaborative album Lulu: The subjective perception of highbrow and lowbrow“, Metal music studies V/2 (2019) 187–200. [RILM Abstracts of Music of Literature with Full Text, 2019-5761]
Abstract: The 2011 collaborative album Lulu (by Lou Reed and Metallica) presents one with what can be clearly identified as a clash between highbrow and lowbrow culture. This clash, as demonstrated in this article, attempts to blur what the media tries to enforce by revealing that Metallica and Lou Reed in actuality cannot be exclusively defined by one coherent label. The intended implication is that the album should not be dismissed as its impact, as Metallica’s first postmodern album, ought to be remembered and formally recognized as such—a postmodern experimental metal album.
Gracyk, Theodore. “What goes on: The double-bind of theorizing rock”, Literature and psychology XLIV/3 (1998)1–22. [RILM Abstracts of Music Literature, 1999-32628]
Abstract: Theorizing about rock is difficult because intellectuals trained in the values of high culture have not found a way to approach popular music on its own terms. In addition, rock music is often assumed to be incapable of incorporating the values of high culture. The career of Lou Reed of The Velvet Underground demonstrates how a rock musician can include tradition and morality in his work, drawing on both high and low culture. The views of the cultural critics John Fiske and Martha Bayles are also examined.
Sangild, Torben. “Flossede nerver: Støj og avantgardisme hos Velvet Underground”, Loaded: Om The Velvet Underground, Lou Reed, John Cale, Nico, ed. by Klaus Lynggaard and Henrik Queitsch (København: Information, 2004) 64–70. [RILM Abstracts of Music Literature, 2004-10893]
Abstract: The link between The Velvet Underground and the avant-garde art music world was established by John Cale, a classically trained composer and viola player active in the vanguardist scene of John Cage and associates. Together with Lou Reed they developed an aesthetic alternating between intense noise and otherworldy ambience on albums such as White light/White heat. Lou Reed pushed this aesthetic further than it had ever been taken in popular music with his album Metal machine music. With their avant-noise innovations, The Velvet Underground were a key inspiration for the post-punk of the 1970s and 1980s.
Zak, Albin J., III., ed. The Velvet Underground companion: Four decades of commentary (New York: G. Schirmer, 1997). [RILM Abstracts of Music Literature, 1997-8762]
Abstract: A collection of articles, reviews, and essays on the influential avant-garde rock band made up of John Cale, Lou Reed, Maureen Tucker, Sterling Morrison, guest vocalist Nico, and Doug Yule in the band’s final incarnation. Interviews with and memoirs by band members are included.
The exhibit includes multiple stations for listening to Reed’s music. One example, now available on vinyl as Words & music, May 1965, is a reel-to-reel tape that Reed sent to himself, likely as a “poor man’s copyright”. It contains a number of acoustic demos with Cale, some of which would develop into VU songs.
The package containing Reed’s 1965 demos. Canal Street Communications
Peraino, Judith A. “I’ll be your mixtape: Lou Reed, Andy Warhol, and the queer intimacies of cassettes”, The journal of musicology: A quarterly review of music history, criticism, analysis, and performance practice XXXVI/4 (fall 2019) 401–436. [RILM Abstracts of Music Literature, 2019-9699]
Abstract: Tells the story of a cassette tape housed in the Andy Warhol Museum archives, a set of never-released (and rarely heard) songs by Lou Reed, and the tape’s intended audience: Andy Warhol. Warhol and Reed are giant figures in the history of 20th-century pop art and popular music, and their collaboration from 1966 to 1967 resulted in the acclaimed album The Velvet Underground & Nico. Based on extensive archival research and interviews, I discuss how this tape reflects Warhol’s and Reed’s failed attempt to collaborate on a stage version of Reed’s album Berlin (1973); Reed’s reaction to Warhol’s book, The philosophy of Andy Warhol (from A to B and back again) (1975); and how elements of Warhol’s own audio aesthetics and taping practices find their way into Reed’s recordings around 1975. I also place this cassette in the context of the emerging common practice of creating and gifting homemade mixtapes of curated music, and demonstrate how such mixtapes function as a type of “closet media” (to quote theater scholar Nick Salvato) marked by private audience, disappearance, and inaccessibility. Drawing on William S. Burroughs’s conceptual spliced-tape experiments and their challenge to unified subjectivity, I explore the epistemological and ontological ramifications of sonically entangling the self with another person, and the queer intimacies of doing so on cassette tape.
Perhaps Reed’s “lyrics and poetry were kind of one and the same” (Don Fleming). In the early 1970s, in the direct aftermath of the VU, Reed follows a path towards literature and writing poetry.
Morris, Daniel. “Whose life is saved by rock and roll? An essay on the lyrics of Lou Reed”, Popular music and society XVI/3 (fall 1992) 23–30. [RILM Abstracts of Music Literature, 1992-4611]
Abstract: Reed’s lyrics are the work of a surreal, imagistic poet whose announced purpose is to chronicle public life in New York. His desire to embody the city through the description of a representative life diminished rather than enhanced the scope and quality of his writing over time. In lyrics from 1967, 1969, and 1989, Reed wrote a genuine public poetry by focusing his gaze with empathy and identification on the pain of others living on the margins of visibility. His best writing stems from an impersonal, Whitmanesque impulse to register the value of lives on the margin and not from the self-absorption that characterized his writing from 1972 on.
Rae, Casey. William S. Burroughs and the cult of rock ‘n’ roll (Austin: University of Texas Press, 2019). [RILM Abstracts of Music Literature, 2019-12562]
Abstract: William S. Burroughs’s fiction and essays are legendary, but his influence on music’s counterculture has been less well documented. Examining how one of America’s most controversial literary figures altered the destinies of many notable and varied musicians, this book reveals the transformations in music history that can be traced to Burroughs. A heroin addict and a gay man, Burroughs rose to notoriety outside the conventional literary world; his masterpiece, Naked lunch, was banned on the grounds of obscenity, but its nonlinear structure was just as daring as its content. The book examines Burroughs’s parallel rise to fame among daring musicians of the 1960s, 1970s, and 1980s, when it became a rite of passage to hang out with the author or to experiment with his cut-up techniques for producing revolutionary lyrics (as the Beatles and Radiohead did). Whether they tell of him exploring the occult with David Bowie, providing Lou Reed with gritty depictions of street life, or counseling Patti Smith about coping with fame, the stories of Burroughs’s backstage impact will transform the way we see the U.S.’s cultural revolution and how we hear its music.
Metal machine music
Lou Reed holding a copy of Metal Machine Music, Paris, 19 September 1996. Photograph: Lou Reed Papers, Music & Recorded Sound Division, The New York Public Library for the Performing Arts
Dault, David. “To the void: Karl Barth, Yvves Klein, and Lou Reed’s Metal machine music“, Secular music and sacred theology, ed. by Tom Beaudoin (Collegeville: Liturgical Press, 2013) 3–15. [RILM Abstracts of Music Literature, 2013-2033]
Abstract: This chapter juxtaposes the music of Lou Reed with the theology of Karl Barth and the art of Yves Klein, so as to show how all three artists create works that try to name what exceeds naming. The ancient theological question of whether God can be comprehended in human turns is turned into a triptych of rock and roll, theology, and visual art, all trying to let that which is profoundly other appear through their respective mediums.
Moore, Thurston. “Towards a sonic machine music”, Lou Reed, Metal Machine Trio: The creation of the universe, ed. by Christopher Scoates (Bloomfield Hills: Cranbrook Art Museum, 2015) 63. [RILM Abstracts of Music Literature, 2015-19624]
Abstract: Personal recollections of the guitarist and founding member of Sonic Youth on his encounter with Lou Reed’s Metal machine music (1975), particularly the way in which the seminal album validated feedback as a compositional element.
Metal machine music LP viewable at Lou Reed: Caught between the twisted stars
Spelman, Nicola. “Recasting noise: The lives and times of Metal machine music“, Resonances: Noise and contemporary music, ed. by Michael Goddard, Benjamin Halligan, and Nicola Spelman (New York: Bloomsbury, 2013) 24–36. [RILM Abstracts of Music Literature, 2013-6206]
Abstract: Many of Lou Reed’s fans purchased his double-album Metal machine music (1975) assuming its contents to be of a similar ilk to his previous albums. With limited pre-listening opportunities, they were effectively lured into an auditory experience few were prepared for. Thus followed an unprecedented number of album returns and the record’s withdrawal just three weeks later. Although many accounts of the album’s unpalatable nature rest on attempts to describe its arresting sonic properties, the discrete sounds and techniques of timbral manipulation explored with MMM (heavy distortion, feedback, amplifier hum, use of tremolo units, varied tape speed, EQ, reverb and tone controls) were already standard fare by the time of its conception and release. As such, the distinctly experimental aspects of Reed’s noisescape are located not within the sounds themselves, but rather in how and where they were presented, and in the way they were creatively and unconventionally employed. Here, through examination of the original album and its subsequent transformations—moving from recorded composition to score/arrangement and finally to an improvised performance exploring the compositional techniques used in the construction of the original work—an attempt is made to pinpoint shifts in perception resulting from this successive recasting of noise.
Steintrager, James A. “Metal machines, primal screams, horrible noise, and the faint hum of a paradigm shift in sound studies and sonic practice”, Musica humana III/1 (spring 2011) 121–151. [RILM Abstracts of Music Literature with Full Text, 2011-10305]
Abstract: In the mid-1970s there emerged both in pop music practice and in theoretical discourse a paradigm that extended liberating, ecstatic value to noise. For noise in practice, Lou Reed’s LP Metal machine music has been cited as seminal; in theory, Jacques Attali’s Noise: The political economy of music (see RILM 1977-1976 for the original French version; the first English translation is cited as RILM 1985-7455) stands out. Both of these important moments, however, have deep and often complex genealogies. Moreover, once we grasp the historical constitution of the noise paradigm, we can better understand why and how the promise of liberating noise—noise as revolutionary violence or subjectivity-shattering ecstasy—has in recent sound theory been treated as an unnecessarily limiting discursive trap. This has been most emphatically the case with Michel Chion’s suggested abandonment of the concept of noise as pseudo-scientific and roughly ideological. This abandonment, moreover, has been echoed in sonic practice—in the onkyō scene in Japan, for example—where an emphasis on subtle sound processing, gently modulated feedback, and bare audibility have put into question the relevance of noise as previously conceived and produced.
And then there was more Reed solo…with a little help from his friends
Reed’s live performance TV concept on display in the Lous Reed: Caught between the twisted stars
Furman, Ezra. Transformer. 33 1/3 (New York: Bloomsbury, 2018). [RILM Abstracts of Music Literature, 2018-6807]
Abstract: Lou Reed’s most enduringly popular album is described with varying labels: it’s often called a glam rock album, a proto-punk album, a commercial breakthrough for Lou Reed, and an album about being gay. And yet, it doesn’t neatly fit into any of these descriptors. Buried underneath the radio-friendly exterior lie coded confessions of the subversive, wounded intelligence that gives this album its staying power as a work of art. Here Lou Reed managed to make a fun, accessible record that is also a troubled meditation on the ambiguities—sexual, musical, and otherwise—that defined his public persona and helped make him one of the most fascinating and influential figures in rock history. Through close listening and personal reflections, the author explores Reed’s unstable identities and the secrets the songs challenge us to uncover.
Thompson, Dave. Your pretty face is going to hell: The dangerous glitter of David Bowie, Iggy Pop, and Lou Reed (New York: Backbeat Books, 2009). [RILM Abstracts of Music Literature, 2009-8003]
Abstract: Sketches the intertwining, outrageous lives of three rock legends. When Lou Reed and Iggy Pop first met David Bowie in the fall of 1971, Bowie was just another English musician passing through New York City. Reed was still recovering from the collapse of the Velvet Underground, and Iggy Pop had already been branded a loser. Yet within two years they completely changed the face of popular music with a decadent glamour and street-level vibe. With Bowie producing, Reed’s Transformer album was a worldwide hit, spinning off the sleazy street anthem “Walk on the wild side”. Iggy’s Raw power, mixed by Bowie, provided the mean-spirited, high-octane blueprint for punk rock. Bowie boosted elements from both Iggy and Reed to create his gender-bending rock idol alter-ego Ziggy Stardust. Here, the story of these friendships, and the musical productivity and rock star debauchery that emerged from their three-fold alliance is told—a triple helix of sexuality, glam rock, and drugs as seen through the eyes of the people who made it happen.
And Lou Reed the humorist
Lou Reed performing at the Hop Farm Music Festival on Saturday, 2 July 2011
Hamelman, Steven. “‘I never said I was tasteful’: Lou Reed and the classic philosophy of humor”, The Routledge companion to popular music and humor, ed. by Thomas M. Kitts and Nick Baxter-Moore. Routledge music companions (New York: Routledge, 2019) 177–185. [RILM Abstracts of Music Literature, 2019-12616]
Abstract: Lou Reed is rarely considered a humorist. Yet, the author identifies the humorous impulse in Reed, which he sees as dry and ironic, raunchy and tasteless, and dark and cynical. He draws on the three main theories of humor (superiority, incongruity, and relief) to explicate songs like Dirt and The gift, Reed’s laughter at the end of the original recording of Heroin, and his on-stage monologues.
_____. “Why is this man laughing?”, Rock music studies III/2 (2016) 180–191. [RILM Abstracts of Music Literature, 2016-25331]
Abstract: There is a good deal of humor, from dry and ironical to raunchy and tasteless, in the music and live monologues of Lou Reed, both as a member of The Velvet Underground and as a solo artist. To examine Reed’s wide-ranging humor in terms of the three major categories comprising the philosophy of humor (superiority theory, incongruity theory, and relief theory) is to appreciate the nuances of a rock humorist who could at one point be heard laughing at the end of a song about heroin’s destructiveness and at another point delivering a scathing but hilarious attack on well-known rock journalists who annoyed him. As this analysis demonstrates, the diversity of tone, subject matter, and manner of delivery of Reed’s humor reflects an artist who satisfied, in terms defined as much by courage as by literary skill, the three classic divisions of humor, suggesting that despite his reputation for writing dark and often cynical songs about taboo topics, Lou Reed enjoyed hearing the sound of laughter, sometimes his own, when he gave free expression to his comic genius.
Interviews
Lou Reed: Caught between the twisted stars: Reed in TV interviews
Reed, Lou. Lou Reed: The last interview and other conversations (Brooklyn: Melville House, 2015). [RILM Abstracts of Music Literature, 2015-81311]
Abstract: A revealing collection of interviews with one of the greatest artists in the history of rock ’n’ roll—as brilliant, punchy, and blustery as the man himself. In this collection of interviews given over 30 years, including his final interview, Lou Reed oscillates between losing patience with his interviewers (he was famous for walking out on them) and sharing profound observations on the human experience, especially as he reflects on poetry and novels, the joy of live performances, and the power of sound. In conversation with legendary rock critics and authors he respected, Reed’s interviews are as pithy and brilliant as the man himself.
Reed’s album collection at Lou Reed: Caught between the twisted stars, including several bootlegs of his performances, zines, and TV interviews
Finally, take a listen to some of the music that Reed liked in “Listen Like Lou Did”, a playlist curated by NYPL.
And definitely take a second to get what is surely the coolest, most New York, free library card that has ever existed.
Special Edition Lou Reed NYPL library card
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“Little” Richard Wayne Penniman burst onto the American scene in 1955 with his mega-hit Tutti frutti, and went on to write the anti-rules and pour the concrete for the foundation of a new musical art form.
Dubbing himself “The Architect of Rock & Roll,” Little Richard had an incalculable impact on musicians and singers black and white with his wild, flamboyant performances and outrageous costumes, which included sequined tuxedos, velvet capes, pancake make-up, eyeliner, and a six-inch pompadour hairdo.
He was one of the first artists to make the androgynous look popular, and his influence could be experienced in the music and performances of Mick Jagger, The Beatles, Jerry Lee Lewis, Elvis Presley, James Brown, Jimi Hendrix, and David Bowie—who all cited him as their inspiration.
But Little Richard also had demons he struggled with throughout his career: his complicated relationship with his sexual orientation, and its effect on his faith. He left secular music 18 months after his first hit to sing “for the Lord” in an effort to suppress his homosexuality; but four years later he was back on stage in London with The Beatles as his opening act, shaking his hips and singing Tutti frutti, a song that originated as a testament to gay sex.
This according to Awop bop aloo mop: Little Richard—A life of sex, drugs, rock & roll…and religion by Tina Andrews (New York: The Malibu Press, 2020; RILM Abstracts of Music Literature 2020-55689).
Today is Little Richard’s 90th birthday! Above, an uncredited photo from 1967; below, performing in 1957 (the year John Lennon met Paul McCartney around some of Little Richard’s songs).
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