Speaker The Velvet Underground was a New York based band. They were very dark there. I mean, Lou wrote songs about drugs, sex, S.A.M., stuff that nobody in Rock and roll was writing about. You had this sort of California hippie kind of flowers in your hair, very pink. Very awkward situation. And the Velvet Underground was very black and white. And Lou Reed songs were very rock noir, sort of without losing any of the gritty edge that rock was supposed to be about. And the guitar sound of rock and roll that he was so in love with and still is he elevated the lyrics of rock and roll. I think in a way that nobody else did, not even Bob Dylan, because Bob Dylan was a great songwriter and a great lyricist and a great poet. But you weren't always sure what his songs were about. Lou's songs were about something. They were very much about a sort of dark underbelly. And they were very influenced by writers, whether it was John Richie or, you know, Dashiell Hammett or Raymond Chandler. It was a very sort of when I say rock. Let me start again with that that slight rambling now. I mean, you can go out of something there, whatever. But basically, Lou Reed songs always elevated the lyrics of rock and roll without losing any of the gritty edge and the guitar sound that he has always been so in love with. You know, you had bands like The Doors that were basically sort of a corny college band, I felt, and most of us felt at that time. And the Velvet Underground were the real thing. And Lou's songs were about stuff that nobody else wrote about. Nobody else was writing songs about drugs, sex, S.A.M., this sort of very dark rock noir song that he invented, basically.

Speaker Did you say that again? Yes, but I would take the doors out of it.

Speaker But what I love is the idea that to understand that because it's not so outrageous when you're looking at all these sort of morning shows in the 60s, you know, it was all about peace and love and the kind of things that Lou wrote about were really tabu.

Speaker I mean, now we're so used to hearing everybody air, all sorts of dirty laundry on any kind of television show or any tabloid press or media situation. But in the 60s, Lou really was daring and he was brave. And what he was writing about was dangerous.

Speaker Let's go there, then we can go back to the other. Let me talk a little bit about that moment where you introduce Kenpo and this is.

Speaker My husband, Richard, was working at RCA Records and they signed, I think, within a course of two months, Lou Reed, David Bowie and the Kinks, Ray Davies and Bowie came to New York. First time, though, we came to New York, he was wearing a dress. Mary Jane shoes, big floppy hat and long hair. He wanted to meet Lou Reed, who had been one of his heroes. And because Danny Fields had introduced Lou to Richard and to me and we kept having people over at our house and we had rock writers over, and Danny felt that this was good for Lou to meet these people. He was sort of on the brink of his solo career. And it was a transition coming from the whole Warhol Velvet's scene into just Lou Reed, rock performer and songwriter. And so Bowie wanted to meet Lou. He wanted to meet Lou and Iggy. Those were the only people he cared about meeting. And we had a dinner at the Jindra Man restaurant, which was a sort of very square straight steak restaurant near Lincoln Center. I don't know why we were there. I think because Richard had an expense account and we could afford to take people there to eat, which in the beginning of the 70s was a rarity. And Lou was there and Danny was there and Bowie came. And that's the first time that I remember them meeting. And then I think that same week I had people over to my house and Lou and David came over with a bunch of other people. And David's manager told me to freeze, who stole an article about the Velvet Underground that Lenny Kay had written that I had in my house. And Lou and Bowie sequestered themselves in a back room for hours, just talking or whatever. You can't use that ever again.

Speaker And she goes, and she was banging on the door screaming and daddy was dancing.

Speaker Go go dancing by herself in the living room. Anyway, whatever Bobbie was very is still going. But he was just very taken with Lou.

Speaker And, you know, we felt at that time that Bowie was very astute in recognizing Lou's talent at the same time that he was stealing from Lowe and using it in his own work. There were very definite things about Bowie songs at that time that were taken really from Lou's songs. And I don't think Bowie would disagree. Bowie says he was a synthetic artist and he took from the best. And Lou certainly was the best songwriter around at that time.

Speaker Well.

Speaker A little bit and we'll talk about his influence, because I can just go right Segway right into that. The thing about Lou that was so influential was not so much what he looked like, although that was important. You know, the Velvet Underground, that very sort of druggy New York, dark sunglasses, black leather jacket.

Speaker Lou took a lot of that from a lot of doowop, early rock and roll stuff, you know, hoods hanging out on the corner wearing black motorcycle jackets. He was in love with that kind of music and it affected very much what he did even in the Velvets. But that became a punk look in the mid 70s. Definitely. Patti Smith, talking heads, David Byrne television, the Ramones. All of those bands visually were certainly influenced by Lou as much as musically. But we wouldn't be talking about Lou Reed today if the songs that he had written have not been so extraordinary. I mean, you just look at his body of work over a 30 year period to have written songs like all tomorrow's Parties in Pale Blue Eyes and I'll Be Your Mirror and Waiting for the man and Sister Ray and satellite of Love and vicious and dirty boulevard and sex with your parents. I mean, right up to today, these are extraordinary songs that have lasted over three decades. And when you're judging someone in rock and roll, whether it's the Rolling Stones or Bob Dylan or Lou Reed, the people who really mattered the most or people who wrote great songs. And it wasn't only the punks that he influenced, both visually and attitude wise in terms of being very rebellious and iconoclastic and so forth. He influenced mainstream bands. I mean, he influenced. He influenced U2. Michael Stipe has written songs that sound like Lou Reed songs. U2 has written songs that sound like Lou Reed songs. Bono was very, very taken with Lou Reed. As a matter of fact, when U2 toured, they wanted the Velvets to open for them during the reunion. He listened to those records a lot. It's very obvious. So the effect that Lou's songs have had have gone into areas. The Eurythmics, you know, Echo and the Bunnymen, Jesus and Mary Chain and U2 and RBM and Patti Smith and television and talking heads. So it's all across the board, really.

Speaker Yes.

Speaker I hung out at Max's, but not that much during the Andy Warhol Velvet time. I saw Lou perform at Max's upstairs after he had left the Velvets with John and that. You know, when he was with Doug Yule and that whole time, that's actually the first time I really saw Lou perform. And I remember Lenny Case and you have to go see the Velvet Underground, even though it was the Lou Reed. Doug, your Velvet Underground. It still was loaded.

Speaker Was the record that came out and Sweet Jane and rock and roll. And to my mind, Sweet Jane is probably the greatest rock and roll song ever written. I mean, if I had to pick one, which is kind of hard to do, but it's been ripped off by everybody. I mean, literally is from the guess who to Jacob Dylan, you can hear Sweet Jane and all those songs. And I remember seeing him at Max's upstairs and he just seemed too big for the room, basically, you know, he was legendary even then, obviously from the Velvets, even though it was an underground thing, they didn't sell that many records in New York. He was a god. And to see him in that tiny little room upstairs, you know, and saying, watch me now and sort of go down to his knees and come back up, it was just an extraordinary moment. You know, people talk about seeing Bruce Springsteen at the bottom line and stuff like that. And that was all very contrived to me and kind of cornier. It was like a rock and roll cliche in a way that maybe Jim Morrison was it didn't have that hard edged being on the brink of danger. That was always the greatest thing about rock and roll to me that Lou had.

Speaker Lisa.

Speaker You wanted to talk about him coming to CBG prison in the 70s? Well, let me just say this one funny story. You can use it if you want to. You don't have to.

Speaker You know, Lou used to occasionally, Richard and I would get him out to go to CBS and see other people and see Patti perform or see the Ramones talking heads, because that was the time we were spending a lot of time with him during the very beginning of his solo career, I think it was before he did Transformer.

Speaker And if he Lou Reed would come by, when was it? 75. Yeah.

Speaker Okay. So this a little earlier. Okay. When Lou Reed would come into CB jeebies, it would be like visiting dignitary. You know, you'd have all these young punk bands. I mean, there weren't that much younger than him. But he had started so early and he had done so much that it seemed like he was this godfather of punk, which is a phrase I don't really feel the same justice because it just makes him sound too old. And some of these people would want three or four years younger than him. But he had this extraordinary career and this amazing body of work. So he was revered and he would come into to jeebies. And everybody got, you know, he's here. And it was all this buzz, just a buzz. And one night I remember Richard and I walked in with him and television was playing. And if you know anything about Tom Verlaine, Tom Verlaine was not impressed with anybody. And Tom Verlaine was an incredibly paranoid and very protective musician on his own. And Lou came in and he was carrying a tape recorder. I don't know why. I think he had just had a tape recorder with him. And Tom Verlaine, as if he smelled this from the back of the room, came racing up to the front. And I was so excited I could introduce Lou Reed to Tom Verlaine, who I was sure must idolize him. And I went, Tom, this is Lou Reed. And Tom went, what are you doing with a tape recorder? And Lou just looked at him like, I am just carrying it. And Tom couldn't have cared less. He wasn't impressed with Lou at all. He was just worried Lou was gonna rip him off. And, you know, tape his songs and steal them.

Speaker I mean, as if he had to.

Speaker And I love Tom DeLay, Monju. But anyway. But that was the only person.

Speaker Because we have David versus I to be. But, yeah, it's wonderful.

Speaker And actually, it's funny because I remember when CBG this was really happening in the mid 70s and talking heads and Patti and Blondie and Ramones and so forth would be playing and New York magazine would write about it and Paul Simon or Linda Ronstadt would come by.

Speaker And that was always kind of felt to be very rock slumming. But when Lou came in, it was a completely different situation because, you know, Lou belonged there, even though he. I don't think he ever played there.

Speaker Now, I don't think anyone thinks they belong, Lou. All right.

Speaker Thoughts, a metal machine influence.

Speaker Well, you know. I don't think I ever listen to it. I remember when metal machine music came out and there was this big hysteria about it because RCA hated it.

Speaker And I don't think they wanted to put it out. And I remember Lou being adamant that this was way ahead of its time and it was very important record. And, you know, we didn't know whether this was just Lou being crazy or maybe he knew something that people didn't. I remember Lester Bangs writing a lot about it, but other than that, it wasn't really taken very seriously at the time. Now, of course, all these bands are saying how much influence them. I don't know if it really did at the time or it's a record that they picked up in a used bins somewhere. And they think it was kind of very already and clever to say that they listened to it over and over again at that time. However, I do think that Lou should be given some credit for being ahead of his time because the entire electronic movement and the whole use of stones.

Speaker Sorry. I say that again. I do think that, Lou, the whole thing again about metal machine music.

Speaker I do think that Lou should be given some credit for possibly being ahead of his time with metal machine music, because the prevalence of electronic music now and the use of technology and synthesizers and so forth, it's infused into rock music over all these years might owe a debt to metal machine music. And, you know, we certainly didn't. Then maybe he did, though.

Speaker OK.

Speaker She said I should go back and listen to what actually Andrew said, it sounds like the white sand machine, right? The noise ratio is actually down.

Speaker That's a nice position.

Speaker Right leaning like that. These horrible nails. Wow.

Speaker No, no. Wait a second. Yeah. You know, I don't want them separated.

Speaker Yeah, exactly. That's what it was. It was a hole there. Oh, thank you.

Speaker It's good. It's good because it is covering the neck. That's.

Speaker And let me say all that same stuff again.

Speaker I don't know if I can stay like this. I can tell you that you actually had your hands down. I mean, I can't remember.

Speaker Anyway, whatever you were like, you're sort of talking like this.

Speaker Okay, whatever. All right. Now I'm going to get to something like a little simple sentence about the mid to late 70s.

Speaker CBD was the epicenter of the scene. Just give me that in your own words. Use those words if you want. But something like, OK.

Speaker Well, for about two to three years in the middle of the 1970s, I literally lived in CBG every night. I mean, we felt that that was the center of the world. Maybe nobody else knew about it. But to us in New York who were involved with the rock scene to go see Patti Smith, the Ramones, Talking Heads, Blondie television. If you missed a night there, it was probably like missing a night in Max's Kansas City in the 60s. It really felt like that. It felt like something was really happening that was going to change the world. And it made a tremendous amount of difference.

Speaker Right. Right.

Speaker The Velvets, the doves were happy. Yeah.

Speaker Well, if punk means iconoclastic, punk means rebellious, punk means outside of the system, if it means kind of hoodie and rocky and all that sort of stuff, the rock n roll was supposed to be about in its true spirit. Not mainstream. Underground. Against society. There was no band that was more like that than the Velvet Underground because they were doing what they were doing at a time when there was still top 40 pop songs on the radio. And they still are now. But there wasn't. Let me say that again.

Speaker The Velvet Underground was dark, scary, sexy, dangerous, doing songs about drugs, S.A.M., sex at a time when nobody else was. So that was the essence of a punk spirit. If punk means iconoclastic, rebellious against society, not mainstream.

Speaker Perfect.

Speaker Beyond that, I mean, I just to me, to call Lou anything like punk is to do him a bit of a disservice. I think it's a limited term for him because punk, to me is just a spirit. And, Lou, embody that spirit. But he also really loves rock and roll. Lou loved the paradox. I mean, Lou loved the Moonglow.

Speaker Lou loved doo wop music in the 50s and everything beyond that. And he also was literary and he read and he knew how to put a sentence together, which a lot of rock and roll musicians did not. And he elevated the entire art form of rock and roll music, I think, and songs. Plus, as a songwriter, I mean, it just you can start naming all of his songs and it just you can't stop them. So extraordinary. He has such an amazing body of work. So to me, he's just a great American songwriter and performer and guitarist and rock and roll star.

Speaker Right. Right. It's a little bit more about the writing and maybe talk about this sort of story.

Speaker Are these gone? There a street house?

Speaker OK.

Speaker Well, the street has, what, years, several years that went on.

Speaker I mean, my husband co-produced that with him. No, that's OK. Well, when Lou, somebody else was out.

Speaker Well, Bruce Springsteen, OK. When Lou was doing Street Hassel, Bruce Springsteen was out there and there was doing Street Hustle. OK.

Speaker When Lois when Lou was doing Street Hassel in 1978 or 79, the end of the 70s, Bruce Springsteen was happening. The I think Aerosmith and Kiss were happening. But on the radio, it was very bland, as the radio usually is, I think was Orio Speedwagon, Styx Journey, maybe the Eagles. I mean, I really honestly, it probably was the Eagles. I mean, that was kind of the stuff coming out of California, Fleetwood Mac 20 years ago. And Street Castle was extraordinary. I mean, he took a year. I remember because Richard was co producing it with him and they went to Germany and they tried to find this binaural sound and they had some kind of weird heads that they were recording with and they found some German. I don't know what went on with that, but it was a very strange, great album. And it was completely against the grain of everything else that was happening, certainly in mainstream rock and roll radio.

Speaker And what do you this thing about, Lou, is this is weird to hear that because he's always been interested in, you know, just very short.

Speaker One of the things I think people probably don't know or realize about Lou Reed is how obsessed he is about technical stuff and certainly guitars. I mean, he can talk for hours about guitars and the kind of wood that the guitar is made from and the amps and the different AMP setups and how he wires the amps and hooks up the microphones to the amps. And during the recording of Street Hustle and the end of the 70s. He went on a quest to Germany to find some guy who had these heads that they could record with binaural sound and make it all sound so extraordinary. And he's always been very, very involved in that. So in addition to being this great songwriter and this great creative talent, he also has a total obsession for the technology of it.

Speaker Anything about some of the signs that might be sending waves of fear? Those are the records. I don't know. Clear signs.

Speaker I care. I could never talk about what he I mean, yes, it does.

Speaker One of the things as an interviewer and a journalist, whenever I would talk to law, I would interview him, even knowing him as well as I did.

Speaker I was always a little nervous about talking to him because he is very private. And also, he's very protective of his work. He knows what he's done and he is very aware of his legacy. And I would never really ask him about his lyrics because I guess he would think they were supposed to be self-evident. And you just read into them what you read into them. And I would never ask him to analyze them. But Lou led, I think, a pretty interesting life. And he's had a lot of very different kinds of experiences. And he's the first to admit that he's lived on the edge and then he's experienced a lot of different things. And I think it's actually all there in the work. I think if you really his songs.

Speaker I'm sorry. Let me start again with the. I think Lou's songs reflect the life that he's led.

Speaker In addition to what he's read and as a great songwriter, he can write about things that he didn't necessarily experience, too. I mean, he hasn't murdered anybody, but he could write about a murder. And as far as the drugs and all of the underground seamy side of stuff that he writes about, some of it he may have experienced, some of it. He may not have. That's the mark of a great artist. But I also think that, Lou, now I completely forgot what I wanted to say.

Speaker I'm sorry, in the sense of, you know, the you're saying say you see his life.

Speaker Yeah.

Speaker But I'm also trying to say that his talent is so large that he doesn't only have to write about what he knows. OK, let me try this again. That's a big mouthful to say. I think Lou has led a really interesting life and a lot of the things that he's experienced are in the songs. Walk on the Wild Side.

Speaker Candy says, you know, that's about a specific time of his life. If Lou's been in love, he can write a great love song. Lou hasn't necessarily murdered anybody, but he could write about murder in the way that a great novelist could write about murder. And that is, I think, the difference between Lou Reed and a lot of other rock and roll songwriters because his talent is so large that he can expand not only from his own personal experience, which is probably interesting enough, but also to write about very large themes.

Speaker That's sort of the way that it is so concise.

Speaker He gets to get it right away. Very, very. OK.

Speaker Well, I think probably OK. The really great songwriters, like any great writer or any great artist, any great painter, anything, makes it look easy.

Speaker And, you know, I'm sure that it isn't easy. I'm sure he struggles over his lyrics particularly, and he can cut to the chase and say something in just a few words. I mean, her life was saved by rock and roll. To me, that conjures up a whole experience, a whole world. And he wanted to do it again and just cut out of that.

Speaker But you want it as a stop. And her life was saved by a guy like the really great talent, really great talents.

Speaker Whether it's a songwriter or a painter or writer, make something look easy. And of course, it's not easy. But if you can sum something up in one sentence that says a whole world of experience, that's what's so great about his talent, to say her life was saved by rock and roll.

Speaker Well, because mine was.

Speaker I don't know if it's fair to say that by the late 70s, things are getting out of control.

Speaker Who is smart enough to know when to stop? Stop what? Stop drugs. Okay. Because the 80s is a terrible day.

Speaker I think that.

Speaker Lou went through Lou went through a period of time and that whole sort of glam rock period. You know, that whole rock and roll Frankenstein era, as I look at it with him sort of tottering around on those platform heels and all that grotesque makeup, that was just really a brief episode. It may have been what a lot of people remember or the way they were first introduced to him because of the live album and so forth, where they heard those great songs for the first time. But I think that was really just a brief episode. I think he knew when enough was enough and he moved on.

Speaker Right. Look, Karen. Anything else that I'm forgetting?

Speaker Instead of saying Aragón, you want say confident.

Speaker You say, are you good?

Speaker I think that you can also say what I'm trying to find is that Lou was there was an area at the time when he was reading at St. Mark's Poetry. He was hanging out at your writer's salon.

Speaker You want to call it just a tiny bit upset, that scene, because I think in the big arc with a looking after the book, after the Velvets were finished and Lou was Segway, I didn't say, OK, it's OK to develop think in August of 1970 when the Velvets were really finished and Lou was sort of sag weighing into his solo career.

Speaker I think he was reaching out to different groups in New York City. He was reading at St. Mark's. He was coming to our house a lot and meeting a lot of the rock writers. That's where he really was spending time with Lester Bangs and Richard Meltzer and so forth. And I think he was very confident about the fact that he was pretty much the Velvet Underground. This is not to denigrate any of the other members of the Velvets, because Maureen Tucker is an awesome, amazing drummer. And Sterling and John certainly were incredibly important to that band. But Lou wrote the songs.

Speaker So I think Lou knew that he was going to have an important career on his own, but he was starting to reach out and come out from under that factory sort of vibe. And he was just meeting a lot of different people in the city and doing a lot of different things.

Speaker The other thing I would love feeling is more albums.

Speaker And Lou wrote all of the songs for albums like The Banana, The Black and White, White, Velvet Underground. I loved it.

Speaker I loved it. I don't think I'm OK. OK, well, when you look at the Velvet Underground and you see that they only had four albums and you realize the legacy that that band left behind. Really, that's Lou Reed's legacy, because Lou wrote all those songs, said again and you don't have to give him that credit.

Speaker Don't gotten his due. You know, we tried to get him in the Hall of Fame on his own. We should be. But you see, that is a big problem with ever rolling.

Speaker OK, so what role does everything big honor for the Velvets?

Speaker It wasn't even the first year that they were eligible. So that was a nightmare for us on the nominating committee. OK. I think that the Velvet Underground was so important, even though they only have four albums, they influenced bands from as far ranging as Jonathan Richman and The Modern Lovers, then to U2 and Aughrim now. But Lou wrote all those songs. So I think that Lou never had any doubt that he would continue in a rock and roll career and be able to make great records because he knew he could write great songs.

Speaker That's perfect. I said again, Lou was always a writer like me, and he was obviously whether he was going to be as he was always a writer. He'd written all the songs about underground. Even it was obvious that he would continue that way, too. Lou was always, always been interested in.

Speaker Lou elevated Lou elevated rock and roll lyrics to an art form. And he was literary. And he always wrote. And he was always going to write. And he wrote the songs. And let me say that again. Okay. Lou was the principal songwriter for the Velvet Underground, who even though they only put out four albums, they influenced a wide range of musicians for 30 years and still do. And I think that Lou knew that he was going to have a successful solo recording career and a successful solo writing career because he was the one who had written all these other songs. And he knew he was a great writer and he knew he would continue.

Speaker I can't know if he's not coming out. What is it you really want to see?

Speaker That is always wanna be a writer and then you discover it.

Speaker Right. Okay. Okay, okay. Okay. I get it. Yes. Okay, fine. Okay.

Speaker Lou was one of those few rock and roll musicians at that time who actually read books.

Speaker And Lou was very literary. And Lou always wanted to be a writer, but he also happened to fall in love with the sound of rock and roll. And so he was really the first person to merge those things and put them together in a very dark literary way that he did with the Velvet Underground when he wrote all those songs.

Speaker And as he continued to do so in his solo career, horrific falling off the stool here.

Speaker Certainly.

Speaker But this gets if this gets into some personal stuff. I mean, you're talking about somebody's personality. I mean, basically what I would tell you if I was talking freely about this is that I would say Lou came from this middle class Jewish Long Island background with a father, was an accountant. And where did the rest of all this stuff come from? You know, I mean, I don't know.

Speaker I'm not an analyst. I don't know. He obviously grew up reading a lot of sick stuff, and he had an extraordinary talent. I mean, he just had an amazing talent and was probably a misfit in the world that he grew up in and was able to channel all that stuff into this direction.

Speaker I mean, but that's never to say a middle class Jewish back on Long Island, that makes it some sort of anti-Semitic right to say Jewish. I do want to say that. Let me say it again. Yeah, I mean, because.

Speaker Well, from what I know, Lou came from this sort of middle class Long Island background. I think his father was an accountant or something, and I think Lou even worked in his office, but would escape from there to go and write rock and roll songs at a very young age. And I think that he obviously grew up reading probably a lot of dark, sick stuff and probably listened to a lot of great, dark, sick stuff and ended up writing a lot of great, dark, sick stuff. And I think that as any great talent in probably any art form, he was an outsider and felt like a misfit from the world that he came from. And that's why he channeled all that into this direction.

Speaker Perfect. I also think he's an outsider in the sense that he's always been sort of against authority and the establishment and, you know.

Speaker Yeah. OK. So that's what the role thing. Well, not anymore, unfortunately. Yeah. OK. You say it is OK.

Speaker Also.

Speaker Rock and roll stars used to be one step away from being a criminal. You know, it was not a good career choice. People did not give their children guitars or synthesizers for their 16th birthday. This was prior to MTV when it came in your living room like a sitcom and you could watch it with your parents. It was outside of society. You know, Lou said that. Patti Smith said that. I mean, all the great rock and roll musicians knew that and said that. And Lou came of age at a time when it still was not an acceptable thing to be a rock and roll musician. So in that way, he was outside of the mainstream. But even the work that he did was outside of the mainstream because it was so dark and it was so on the edge and it was so great, you know.

Speaker Well, the other thing I wanted to say is the idea that.

Speaker When I was young, my parents were afraid. Rock and roll, because rock and roll was dangerous and, you know, we all want these kids exposed to this kind of these lyrics in this song. Now, I'm a father and it seems like nothing for me to have my kids listening to rock n roll is because I grew up it. I know I found it. I loved it. That's it.

Speaker Because ours. OK. I'll try and say something fast.

Speaker It's like the contrast of 30 years ago. Parents were afraid of rock and roll. Now those kids that they were are the parents.

Speaker Yeah, OK. There's three different things, however, that have happened. Number one, there are probably some lyrics.

Speaker I don't know if you'd be enthralled for your child to be listening to a lot of very hard core gangsta rap lyrics, you know, which is something that still terrifies a lot of certainly white middle class parents. You're not going to use this.

Speaker But at any rate, the fact that people grew up with rock n roll definitely makes it seem like it's just another form of entertainment now. So it isn't as dangerous and edgy and scary and outside of society as it was. This is true to some extent, but Lou Reed could still do a song like Sex With Your Parents on his last record and have to have a sticker on his album because of that or whatever, have a band on radio. There still are people who are pushing the envelope with that.

Speaker Perfect. I was that. That was great. Why don't you get it?

Speaker You want to make a noise, end up with whatever. So you want me to make that tighter? I get tighter. OK, you know. OK, yeah. OK. Rock and roll.

Speaker Rock and roll, rock music is not as scary as it once was because people have grown up with it. It's been around for 30 years. It now is in the living room. It's on television. Nonetheless, when you get an artist who still can push the envelope like Lou Reed does, and he does a song like Sex With Your Parents on his last record, it still gets banned. It doesn't get played on the radio. It still gets a sticker on it in the stores. And people are still scared of that.

Lisa Robinson
Interview Date:
American Archive of Public Broadcasting GUID:
" Lisa Robinson, Lou Reed: Rock And Roll Heart." American Masters Digital Archive (WNET). 27 Oct. 1997,
(1997, October 27). Lisa Robinson, Lou Reed: Rock And Roll Heart. [Video]. American Masters Digital Archive (WNET).
" Lisa Robinson, Lou Reed: Rock And Roll Heart." American Masters Digital Archive (WNET). October 27, 1997. Accessed January 16, 2022


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