View allAll Photos Tagged LOUREED
~ Repost ~
ALL rights reserved... (original)
Lowkey selective colours .... (Film)
Taken at the 2002 Seattle Bumbershoot Festival backstage.
Vicious ....
© All Rights Reserved - No Usage Allowed in Any Form Without My Written Consent.
Any users found to replicate, reproduce, circulate, distribute, download, manipulate or otherwise use my images without my written consent will be in breach of copyright laws and contract laws.
Mir taking a Walk on the Wild Side.
She'd been out doing some serious stalking but her lack of success (and cold paws) must have told her it was time to quit her tiger impersonation and tiptoe home for a warm snuggle :-)
See monicabielanko's great pix/video set to Lou Reed's "Walk on the Wild Side":
http://www.youtube.com/watch?v=WZ88oTITMoM.
There are more cats/kitten/pet pics in the Big Beasties set.
Editing: Photoshop.
Text: Panos' Photoshop actions freeware. He has a huge,user-friendly selection at www.panosfx.com/.
Thanks to my inspiration: words of Peace.
Holly came from Miami FLA
Hitch-hiked her way across the USA.
Plucked her eyebrows on the way
Shaved her leg and then he was a she
She said, hey babe, take a walk on the wild side
Said, hey honey, take a walk on the wild side.
Candy came from out on the island,
In the backroom she was everybody's darling,
But she never lost her head
Even when she was given head
She said, hey baby, take a walk on the wild side
She said, hey babe, take a walk on the wild side
And the coloured girls go, doo doo doo, doo ...
Little Joe never once gave it away
Everybody had to pay and pay
A hustle here and a hustle there
New York city is the place where they said:
Hey babe, take a walk on the wild side
I Said hey Joe, take a walk on the wild side
Sugar Plum Fairy came and hit the streets
Lookin' for soul food and a place to eat
Went to the Apollo
You should have seen him go go go
They said, hey Sugar, take a walk on the wild side
I said, hey honey, take a walk on the wild side
Jackie is just speeding away
Thought she was James Dean for a day
Then I guess she had to crash
Valium would have helped that dash
She said, hey babe, take a walk on the wild side
I said, hey honey, take a walk on the wild side
And the coloured girls say doo doo doo, doo ...
heroina
buscon.rae.es/drae/srv/search?val=hero%EDna
The Velvet Underground - Heroin
www.youtube.com/watch?v=ffr0opfm6I4
All pics are ©Rosa Rusa. All rights reserved.Please dont use them before had my written permission. mail me if you need one]
rosarusa.photos@gmail.com
Just a perfect day,
Drink Sangria in the park,
And then later, when it gets dark,
We go home.
Just a perfect day,
Feed animals in the zoo
Then later, a movie, too,
And then home.
Oh it's such a perfect day,
I'm glad I spent it with you.
Oh such a perfect day,
You just keep me hanging on,
You just keep me hanging on.
Just a perfect day,
Problems all left alone,
Weekenders on our own.
It's such fun.
Just a perfect day,
You made me forget myself.
I thought I was someone else,
Someone good.
Oh it's such a perfect day,
I'm glad I spent it with you.
Oh such a perfect day,
You just keep me hanging on,
You just keep me hanging on.
You're going to reap just what you sow...
Benalmadena, Malaga.Spain
Please don't use this image on websites, blogs or other media without my explicit permission.
My photos are © all rights reserved. Please e-mail me if you would like to use these photos.
Pour répondre au très bon "Fétichisme"de Doolittle .. et au très bon "Fétichisme" de Vince
♫♪♫♫♪♫♪
my contribution to the the desert island challenge : 24 records group
♫♪♫♫♪♫♪
1974 Plymouth Satellite Sebring Plus.
Downtown, The Loop, Chicago, Illinois.
Thursday, March 12, 2015.
Image coloured 10/12/09.
Added to the Colour Me Sick pool - where the trannies are glamorous and the colours FABULOUS!
Click here to see the original image...
And when you've checked out "Colour Me Sick", why not pay a visit to Jason Novak's flickrstream ...
I was really sad Pitchfork didn't use any of my shots of Lou Reed. He was the #1 reason why I decided it was worthwhile to shoot Lollapalooza this year. It goes without saying he's a complete legend in my book and I have such love for his Velvet Underground albums especially.
Visually, the three songs were quite disappointing because, most of the time, Lou stayed behind a table with equipment and what looked like lyrics. (This is my favorite shot because he actually came out behind the table for this once) He also started about fifteen minutes late which I guess made people who were waiting for Band of Horses really angry but whatever...the man is a legend up there and you're going to disrespect him because of Band of Horses? That doesn't seem entirely right to me.
There's a couple of things that I really liked from what I heard (before I had to run to my next assignment unfortunately across the field.) The first, I felt like he could keep his guitar parts up and even though he needed perhaps the lyrics to remember...give the guy a break..he's old and we all fall apart, don't we?
Second...he played alot of his old songs and unlike Leonard Cohen (who actually did not need any lyric sheet, I will say that and who actually had a better visual stage presence), he didn't adulterate them with adult contemporary type of shlock. What I mean by that is I would pay twice the amount I paid just to have Leonard Cohen on stage with a guitar and not all the other junk. Lou Reed had some backup guitar and bass for sure but he didn't have the Kenny G like wind instruments and I'm very thankful for that.
I just wish there weren't so many jaded hipsters in the audience who didn't seem to care for the first thing about music history.
All photos are copyrighted. Do not use without permission.
A series of lost recordings from between 1968 and 1969 were mixed and assembled into an order in 1984 as a 'missing' Velvet Underground album from a chronology between their self titled third LP (black and white photo on the cover) and their last official release 'Loaded'. The discovered package had a fad title (V.U.) and simplistic cover artwork, but worked as a coherent piece and showed the band having a good time as musicians, with more than one track including punctuation of laughter (the gest of laughter common in reality, but very rare in rock and roll). The period of the songs coincided with an unofficial residency at a city centre concert hall called 'The Boston Teaparty' (1900 capacity). John Cale had left the band, and aside the regular dynamic range, tone dissonance was replaced by long experiments in rhythm - experimentations of taking rhythm guitar inside the rock form via duals and blends between the bands two guitarists - Lou Reed and Sterling Morrison. The witty and smart songwriter Jonathan Richman was an audience member and became part of their entourage for many of these Boston concerts. His 'Modern Lovers' would play this then unreleased 'Foggy Notion' from fond memories.
www.youtube.com/watch?v=rWkbu_98fpo This live version is from five years before the eventual release of 'The Modern Lovers' debut LP. Johnathan Richman once talked to Lou Reed about Reed's lyrics: "What are you talking about? What's that? What is this?" Lou Reed's lyrics often described in slang and turn of phrase, shining his words into corners of an often unthreaded underworld. Here Johnathan Richman covers a broadly similar topic to 'Foggy Notion' with his own lyrical strategies:
www.youtube.com/watch?v=uqNuNMIY0zk&list=PL3FsqPw8M_D...
Richman's song includes the anti-rock lines
"She'd eat garbage, eat shit, get stoned
I stay alone, eat health food at home!"
Not the sort of lyric Lou Reed would write, but Lou Reed and Sterling Morrison showed the young Johnathan Richman guitar chords backstage, and appreciated his work. And it might even be argued that the laughter and upbeat of some of Lou Reed and the band's tracks from this period ('Temptation inside your heart', 'Foggy Notion') were perhaps a measure of having Johnathan Richman hanging around rather than John Cale.
[The link between 'The Modern Lovers' and 'The Velvet Underground' can be traced to include an opportune support slot by Jonathan Richman who was probably already playing a version of 'Roadrunner'].
Also a fan of the Velvet Underground, guitarist and keyboard player Jerry Harrison would first work with Johnathan Richmand's 'Modern Lovers', before his heavy involvement with 'Talking Heads', and it can be argued that the rhythm guitar experiments of the Velvet Underground (seen on the tracks such as 'What goes on', 'Foggy Notion', 'Run Run Run' and 'Rock and Roll') were expanded into further logical vistas within this latter group, with their live performances around the time of 'Remain in light' being a further example of keystones in the history of music.
The track 'Foggy Notion' offered a seedy vignette, and the vocal rendition includes a parody voice and a laugh that shows us that there was a comic element to the lyric's described situation. The song's protagonist 'Sally' may be the same person as the Sally from the lyrics of their earlier and darkly complex song 'Sister Ray' (an experimental track that at times merged into and out of 'Foggy Notion' for example on the San Francisco Quine tapes www.youtube.com/watch?v=bYTbBYcRhrc&list=LL&index=29) and the question can also be asked as to whether Lou Reed's character 'Sally' is the same 'Sally' as in the tracks 'Ride Sally Ride' and another tragicomic vignette - 'Sally Can't Dance' from five years after 'Foggy Notion' and then released as a Lou Reed solo work. There is a text that identifies 'Sally' as a socialite (other than Eddie) who went to seed and often ended nights asleep on excess, which is the theme of this song's narrative: a lady is sloshed (or other) and slumped - 'arms by her side'; her 'boyfriend' is worried and slaps her - he fears the worst... She wakes up and causes a scene, with those around saying that the 'boyfriend' nearly killed her slapping her so hard - with calamine lotion offered against possible bruising; so the 'boyfriend' went to buy her flowers to say sorry - which she rejected. High camp drama and a tragic comic example of constant inversions of intention and reaction: she went out to dance and have fun and ended up the inverse - static and KO; he was worried for her life and wanted to save her - inversion - he is told he tried to 'kill' her; a cream aimed to maintain a skin of decadence is brought back to reality and used to reduce facial bruising (an inversion of intended use): he goes to buy a gift of flowers to show her he is sorry and rather than bringing the situation back into friendship the flowers are sent back - a last inversion of intention and a last 'foggy notion'. And perhaps the words repeat in the way that Sally and co fail to learn, and their foggy 'style' continues. With other lyrics and songs Lou Reed and his band will take other avenues into street subjects, but here, he isn't moralising or capitalising - he even sees a funny side to the drama and theatre - maybe even a certain energy and rhythm.
Lou Reed – singer, guitarist and principal songwriter for the Velvet Underground, shared with his Greenwich village elder, Fred Neil roots as a commercial NYC songwriter. Lou Reed working for Pickwick records (circa 1964) and Fred Neil from the Brill building (1958-61). Further afield, and of no surprise or consequence, Lou Reed also shared with Sly Stone roots as a DJ, with Lou Reed and his show 'Excursions on a wobbly rail” (RnB and Jazz) against Sly's "Music for your mind, body, and your soul" (soul plus tunes from a wide vista). As a DJ, Lou Reed had time to look into experimental Jazz (attempting to take Ornette Coleman's style into guitar being one mischievous induction), and as a New York songwriter, musician and citizen, Lou Reed will have known about or met (in the vast hubbub that makes up life's “off record”) the great folk artist Fred Neil. Looking at blur rather than category, and the first recorded version of the Reed track 'Heroin' can be described a folk song:
www.youtube.com/watch?v=ah_xdsIhj9w&list=LL&index...
...and in 1966, Fred Neil released a self titled LP which included the track titled 'Cynicrustpetefredjohn Raga'
www.youtube.com/watch?v=TeHdWBVT2xc&list=PLL-NbN8uTOi...
...a track that sounds like ... 'The Velvet Underground'. One of the raison d'etres of the folk scene was that it was a music that could describe all topics of the real world around, and Lou Reed's beautifully crafted, but almost nauseating rendition of the existential of heroin use was in sync with folk and early songster tracks about, for example, cocaine, whilst being utterly shocking. Once the 'folk' version was orchestrated with experimental idiom (plentiful in NYC and around the band members), 'heroin' simply became one of rock and rolls most controversial tracks. There were none of the codified illusion of The Rolling Stones 'Brown sugar' or obtuse wanton of The Beatle's 'Happiness is a warm gun' - just direct description of the kind that the film director Ken Loach might appreciate.
The rehearsal space of the band was in between: it was neither Greenwich village or Soho or Brooklyn, just a lower east side... Bleeker Street was within walking distance, but you needed a reason to go. People meet and people talk, and I once spoke with Sterling Morrison about the band's influences and early years. Photographs litter their early history; many by the bold and structured Nat Finkelstein. From these images, it was possible to see the band in Warhol's Silver Factory (an art studio wallpapered with aluminium foil), in Warhol's 'Index book' (a pop up art book crowded with 'gifts' and surprises); via record cover artwork; in song with Warhol's 'superstar' Nico (fresh from Fellini and a 45 rpm written by Jimmy Page) and live within Warhol's 'Exploding Plastic Inevitable' (a multimedia show). Warhol ushered the band through their first LP, and with so many names passing through his Factory art studio, It seemed logical to ask Sterling Morrison if this ambience had effected the band's final sound. Sterling had a way of speaking that was quiet, direct and measured, and he told me that as a band they hardly set foot in Warhol's Factory which anyway was on the other side of town (four miles away). It seems that the sheer number of vivid photos did not tell a true story of creation, and the bands sound was from Ludlow street aside Greenwich village, and not E. 47th. They, as musicians, and as a group, understood the sounds they wanted to create, and many of the topics they wanted to cover prior to, during and after Andy Warhol. Maureen Tucker's drumming was studied, with all drum fills and rolls replaced by the rhythmic energy largely from guitars. The beat itself could vary slightly within a track and was alive without being a tin drum or neu beat. The role of rhythm and lead guitar could blur in at least two ways: Lou Reed would play rhythm as Sterling Morrison interwove lead guitar, after which, (and often within the same track), Sterling Morrison would take the rhythm guitar and Lou Reed the lead, after which Lou Reed would pick slots of lead from inside the rhythm, with constant variations and bends of the bar hand ... and so on. The dissonances between the two guitarists, especially on the neck, causing between-amp effects and emergent sounds often unrepeated on records.
As time moved on, Nico dedicated much of her short late life to heroin, and her creative output reverberated like a trampoline that only went down. Lou Reed skipped in and out of drugs, which at worst stripped his voice of all nuance leaving little more than wrasping caricature (for example 'Sweet Jane' from 'Rock and Roll Animal' 1973), and at best left rich variation even beyond that seen within The Velvet Underground (for example the 'Street Hassle' suite 1978 either side of the spoken voice of Bruce Springsteen). Adding their personal dynamic range, Maureen Tucker and Sterling Morrison were from within the armature of the wide angle experimental project and remained thoughtful.
Today The Velvet Underground have risen above being 'the band that performed a track called 'Heroin'', with songs like 'Pale Blue Eyes' and 'Oh Sweet Nothing' watched by countless millions on YTB, and oddities like 'Ferryboat bill' - eccentric fonds for Sterling Morrison's significant input.
For the film I measured up a series of focal points and exposures before one single take using the Takumar 35mm on a K3.
AJM 07.05.21
If I close my eyes I see your face
And Im not without you
If I try hard and concentrate I can hear your voice saying
Who better than you
If I close my eyes I cant believe that
Im here without you
Inside your pale room your empty red chair
And my head
Dreamin, Im always dreamin
Dreamin, Im always dreamin
Dreamin, Im always dreamin
Lollapalooza 2009
Grant Park
Chicago, IL
All photos © Joshua Mellin per the guidelines listed under "Owner settings" to the right.
you're caught in a vicious circle
and it looks like it will just never end
~ lou reed
sculpture trouvée, amsterdam
Sunday, October 27, 2013, just a perfect day to walk on the not so wild side of the urban village.
Please also listen to "Just a perfect day" by Lou Reed, who died this Sunday, October 27, 2013...a wonderful song! That's exactly what I had in mind when I shot this one while walking in the streets of Arjun Nagar with my friend Pentax K5.