Before “Velvet Underground” fell under the wing of Andy Warhol, its members were the wrong people who made the diving of travelers in the Western Village, alienated spectators, and fired them for being too abrasive. . “Some [Velvets, led by Lou Reed] “I played in the crowd with the back,” said Martha Morrison, the wife of guitarist Sterling Morrison, in The Velvet Underground, a new documentary directed by Todd Haynes, appearing on Apple TV + and performing in theaters on Friday. “They had that wonderful aura. They were scary.”
A teenager, Barbara Rubin, who was accidentally a princess, was enchanted by Warhol’s ear. He told Warhol in 1965 to see the Velvet Underground. The group was invited to undergo an inspection at the Warhol factory. Photographer Billy Nain recalls how it was in the document: “They were all dressed in black, they started playing ‘heroin’, they bowed to us.”
In a short time, Warhol became a group manager. But his relationship with the band angered Reed, despite his impressive concerts, openness, and record deal with Warhol. Warhol had an incredible work ethic and showed it to the sad Reed. “Every day now [arrived to the Factory] before me and he asks how many songs I wrote that day, ”Reed said in the documentary. “I would tell him 10. He said, ‘Oh, you’re so lazy.’ You had to write 15. ”
Warhol’s impact on the group was huge and immediate. “Now he showed the band in any way he could,” Haynes said. “He gave them legitimacy and visual impact. He called the band’s music rough and tumble, just like his movies. His cinematography was described by Velvets.”
Warhol gave them bizarre concerts, including as entertainment for the annual dinner of the psychiatric community published by the New York Times; the narrow group there resembled the “LSD experience” – it also gave them a permanent stand as “the inevitable part of plastic that can’t escape an explosion” at a former Polish wedding hall in St. Marx’s Place. The show turned out to be outrageous and made Velvet Underground famous. Walter Cronkite, Jackie Kennedy and Rudolf Nureyev traveled to the city center to receive the pop artist’s new discovery.
During this concert, other signs of a power struggle between Reed and Warhol emerged. As part of the action, Rubin put a polka dot on Reed; Asked why he put an end to it, Reed replied wearily to Ramones’ future head coach Danny Fields: “That’s what he wants now.”
Warhol, who also stole scenes from La Dolce Vita, the brilliant Teutonic yellow Niko, put forward the idea of joining the band to sing a few of Reed’s songs. “Paul [Morrissey, the filmmaker who collaborated with Warhol] Now he was beginning to convince Luni that he was not a very handsome man. You should have had a beautiful girl there, ”the document recalls. “Luga had to ask now.”
Reed came back and proved that the idea was good. “You got it,” says John Kyle, one of the founders of Velvets, in the documentary.[Warhol’s] pay attention to the idea and transparency of this yellow iceberg where we are all standing next to us in black.
But Nico himself was less convinced of joining the harebrain concept put forward by Warhol. “Now he wanted to sing in a Plexiglas box,” Jackson Brown, who met Nico and played guitar with him, said in the documentary. “But Nikoda didn’t let that happen.”
Reid, too, was apparently “insane” in 1967 and fired Andy. “Now he’s set his first record of breathing in the studio,” Reed said. acknowledge that “its existence means we set a record without changing anyone”.
In search of the reason for the divorce — above all, Warhol created one of the album covers featuring an umbrella banana for the band’s debut — Rolling Stone reporter Riddan Warhol asked Velvets if he was tired. Reed replied, “No. Now it’s all over, but so are we. He sat down and talked to me.” You have to decide what you want to do. Do you want to continue playing in museums and art festivals? Or do you want to move to other areas? Lou, don’t you think you shouldn’t think about it? I thought about it and fired him. ”
Undoubtedly, the artist, astonished that his heart was pounding, called Reed a “rat” in response. Most likely, Warhol didn’t know Reed, who told Rolling Stone, “This is the worst thing he could think of,” and others used more players for him: a combination of Drella, Dracula, and Cinderella.
Warhol’s absence was probably felt while writing the band’s fast and noisy second album. The production of “White Light / White Heat” took place here and resulted in a rocket that the engineer told the group, “I don’t have to listen to this. I’ll put it on record. Bring me when you’re done.” then Reed also kicked Kyle out of the group.)
Apparently, Warhol has crossed his line – as Haynes said, Velvets “now Warhol has become a performer on a circus show” – and probably left as a member of the group. Maybe it’s something really associated with a symbolic cane. “People now thought we were guitarists,” Reed said, before singing the documentary, “It made everything harder when we lost our great shepherd.”