Lou Reed, 1. 94. 2- 2. Words for Lou The Apollo December 1. Laurie Anderson Intro Welcome dear friends. We're meeting here this evening because it's a very special day it's the fiftieth day after Lou's death. We were students of Buddhism and also artists so we had lots of reasons to try to understand how life and death can.
He had described this feeling the week before of slipping down through the. And that Sunday morning he said its happening again now. And then he had an expression on his face that I had only. Inexpressible wonder and incredible joy.
He was doing tai chi- the 2. And it was only a few days later that I realized that light was. And the bardo is a place or really a process that. Tibetans believe the spirit or, let's say, the energy prepares to take another life form. Crying is not allowed because. One afternoon was about design glasses apps gadgets lenses chefs he was working with on.
Hal. Yesterday was the final 4. Here he comes our sweet sweet Lou. Outro I want to thank all the friends who are here this evening and have been part of the last 4. Lou and the way their lives intertwined. And thank you to all the people who performed all of you were especially loved by Lou for your friendship. And thanks to all of you who have joined us this evening. I wasn't ready for all the crazy things that have happened since Lou died.
I've learned more in the last 5. I. have in my whole life things I could never have predicted or imagined things about time and energy and transformation and about love and life and death. It's as if the world has suddenly opened and everything is illuminated and transparent. He had learned how not to be Lou Reed many years ago. He could put Lou Reed on and take him off like one of his.
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He knew how that worked. Everyone who knew him saw him cry unselfconsciously when he heard something unspeakably beautiful or saw something that. He lived for beauty in all ways. But in the last few years each time he was angry it was followed by an apology. Lou knew what he was doing and what he was going for. We went to Africa, we. Lolabelle and Will, we invented.
Everyone who has done that knows he'll change the tempo and slide into the words in a way you've never heard before. I never had a single doubt that we loved each other beyond anything. Almost every day we said . We knew exactly what we had and we were both beyond grateful. When I was having trouble finishing a record and was endlessly complaining and.
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But it was so wonderful - he put so much energy into it - and it was so much fun and so. Did you see what I just saw? Remember when you said that before and you were wrong then and you're probably wrong now.. We didn't complete each others sentences either.
I never really knew where things were going. And even if I was angry and frustrated I was.
I was not ready for the shock of that- I had never read or heard anything about that but what has happened is something so amazing The part that was doing the accommodating - that part has been suddenly filled with the most overwhelming energy and boundless joy and love. This has. been so unexpected and weird and surprising that I hardly know what to do with this happiness and it will take me the rest of my life to contain it. I see his. exuberance and sometimes I hear his over the top insane laugh! I see his gestures his beautiful hands making the shapes of the 2. And how fluid the boundaries really are. One of the hardest things was he said.
But you say grief is terrible and it's constant! I'd be giving things away non stop and he said So? The om is all of everything and is here in the head the ah of. And Lou's syllable is centered.
Lou and I tried to come up with a lot of different formulas. Our answer to the absurdity of life was always to make something. We also had three rules we tried to do.
Here they are: Number one: do not be afraid of anyone. Can you imagine what your life would be like if you weren't afraid of anyone? And third be so tender. Be open to the world and in love with. I'll show you how it works it goes like this: (2 minutes of silence) You see how it works humans are so exquisite we already know everything and we have everything we need to live in the present we actually everything we. That it's important to remember Lou as a person.
Myths happen and get. We are not meant to idolize each other but to take things from each other and to become the very. And I got to show some things to him too. During the last few months of his life Lou was so dazzled by nature by the. Michael Azerrad. I don't have any keen insights or vivid recollections, but I will offer a list of song titles. They wanted me to come in an hour. I was dead tired, my first daughter having been born earlier that week, and I hadn.
Nonetheless, I jumped into a cab for his West Village studio, praying that we wouldn. The first thing he said to me when I arrived was, ? Because this is a rock band. I killed the audition.
Lou picked up on every nuance of every note? Do you think any great art comes out of having a nice relaxing time? At a rehearsal once with the great saxophonist James Carter, James played these incredibly beautiful low notes. The gig was great too, but there was something about that rehearsal and how James played, the spirit that he invoked. He instantly knew if it was happening and he lived by that litmus test. When he ripped on people, it was only because he was trying to wake them up, to make their art alive and to make them play with this level of attention. I once said to him, .
He often said that if the iconic . On many occasions we would work on something for hours and play it that way the next day only to have Lou say, . Or rather, he cared more than anyone I. The other guitarist/violinist, Tony Diodore, and I had never played in front of 4.
And on top of that, Iggy Pop and Patti Smith were watching us from the side of the stage. Tony was taking a violin solo on the song . He shouted it over and over. At first Tony noodled a bit, but then something flipped and he started wailing. And the crowd went nuts. Lou taught him how to really play that day.
I see so many bands today that seem dead, like they. Everything is so perfect. And I see it because of Lou. The other day I was talking to guitar tech Stewart Hurwood about the awesomeness of sound checks with Lou. Most of the time bands. But with Lou they were marathons, going two or three hours.
Usually right until the doors opened. We. And then better. I remember one time in Bordeaux when he decided the saxophone sounded too much like a saxophone. And out came the pedals.
Fuzzes and harmonizers and such. Lou was on the ground twiddling the knobs and he was like a teenager again, just loving exploring the sound until he found that perfect cacophony. It reminded me of that beautiful space you.
You just love the sound. Lou was in that space all the time. And the beautiful thing is that he didn. He was already in the Rock and Roll Hall of Fame. He was already famous and rich. And we only had a few shows left in the tour. He could have just said, Ah it sounds fine.
Or found one weird sound and have just gone with that. But he always kept pushing and pushing, constantly searching for the next level. When Lou was 7. 0 he did a record with Metallica. Think about how punk that is. The second to last show we ever played at together was at Leamington Spa in England. It was a really cool old theatre that maybe held 1.
And it had a really small stage. Before Lou arrived at sound check, we were all worried. This makes it tough for the whole band to play, because you lose that punch and rumble you have when the bass amp is behind you. Lou really cared about the sound and the power of the sound, so we were worried this would bother him. But when he arrived and saw the setup, he said, . All that matters is that we have fun. Of course he still cared, but on these last shows we played together we got back to something that.
In a few hours we had to play a festival in the rain. Lou looked and me and said, . For me, his Taiji brother and for his beloved teacher, Ren Guangyi, we would also describe him as a Taiji Warrior who represented the highest ideals of martial arts. Lou energized and inspired us with with his enduring love of Taijiquan - to which he credited for the health and vitality he displayed for years. To that, Lou worked consistently to spread the powerful message of Taiji, a martial art that gave him so much joy and well- being, that he truly wanted the whole world to experience what Taiji gave him. With Ren Guangyi by his side, he exposed parts of the world never before privy to authentic Chen style Taiji with over 1.
Ren performing Taiji live with Lou's band. From this extraordinarily prescient work, Lou promoted Taiji in unprecedented venues, including a performance on the David Letterman show, a concert at the Winter Olympics closing ceremony in Turin, Italy, and a pioneering display and instruction of Taiji at the Sydney Opera House. With press appearances, personal testimonies, a pilgrimage to Taiji's birthplace, Chenjiagou, and most recently his affection for our film collaboration, Final Weapon, Lou spread the message of the wonders of Taiji to millions. HIs appearance in Final Weapon and his generous sharing of his music gave me the once in a lifetime opportunity to employ his music as the fuel for our cinematic capture of what he always described as the visceral power of Taijiquan. So for me and Ren, two martial artists who found deep inspiration and support from Lou, we are eternally grateful for his sharing, blessing, and sheer love for an art understood best by those in the know. With his decades- long commitment to Chinese martial arts and his final ten years devouring Chen Taijiquan like only a warrior can, he was a knight errant for Taijiquan of the highest order who was also a real martial arts tough guy with genuine Taiji skill.
All of which we were most privileged to see when Lou carried his classical Chinese weapons with him.