![]() ![]() The last reunion took place in 1996, minus Morrison, who died in 1995, when they were inducted into the Rock and Roll Hall of Fame. The Velvets also did a brief tour of Europe in 1993, but the old wounds still hadn't healed and they canceled the American stage of the tour. And most notably, Reed and Cale joined forces for the 1990 album Songs for Drella, a cycle of songs in tribute to their early Svengali, Andy Warhol, who died in 1987. There was a reunion concert in Paris in 1972. The Velvets, or parts of the band, did reform now and again, though the film pretty much ends with the dissolution of the group in 1970. And yet, they seemed destined to be merely a footnote in rock history.īut then, over the course of the next decade, the band was discovered by the next generation. During their time together the band never really made an impact-although they had a cadre of loyal fans, including many in New York's avant-garde art scene. ![]() The two found themselves living in an apartment in New York's Lower East Side in 1964 when they began collaborating, at first, to create music greater than either could have alone-guitarist Sterling Morrison and drummer Maureen “Mo” Tucker would later join them-then ultimately having the band implode in 1970 under the weight of their conflicting personalities. In this case, it was Lou Reed, the Jewish kid from Long Island in love with doo wop and early rock 'n' roll, and John Cale, the small-town Welsh boy obsessed with avant-garde classical music. The story of the Velvet Underground began, like many rock band stories, with two very smart, talented, passionate and troubled artists, both searching to find themselves while battling inner demons of intense ego and insecurities. And somewhere within its cavernous sound, an understanding that creativity itself comes, at least in part, out of subjugation.” ![]() “As a young gay guy, I didn’t have to read Lou Reed’s lyrics or see Warhol’s films to recognize the world being conjured in this music: its erotic charge and its drive came from its assertion of marginality. “his one band was at the source of everything I was listening to-Bowie, Roxy, punk, new wave,” he wrote in the press materials of his 1980s college years. And now, in his first documentary, The Velvet Underground, Haynes takes on the mythology of the eponymous group he himself idolizes. And then came I'm Not There (2007), where he explored the mythic Bob Dylan, using six different actors, including Cate Blanchett, to portray the many reinventions of the legendary singer/songwriter. Haynes returned to this theme with Velvet Goldmine (1998), a fantasy based on the careers of David Bowie and Iggy Pop. The short film with which he first made his name, Superstar: The Karen Carpenter Story (1987), told the tragic story of the pop singer by using Barbie dolls. Oscar-nominated filmmaker Todd Haynes has been fascinated with the mythology and idolatry of celebrity, and the space between artist and fan, throughout his career. ![]()
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