The Temple of Apollo is located at the end of Side's peninsula.

Side (Greek: Σίδη Side, Turkish: Side) was an ancient Greek city in Anatolia, in the region of Pamphylia, in what is now Antalya province, on the southern Mediterranean coast of Turkey. It is now a resort town and one of the best-known classical sites in Turkey, near Manavgat and the village of Selimiye, 75 km from Antalya) in the province of Antalya.^[1]

It is located on the eastern part of the Pamphylian coast, which lies about 20 km east of the mouth of the Eurymedon River. Today, as in antiquity, the ancient city is situated on a small north-south peninsula about 1 km long and 400 m across.

History[link]

Strabo and Arrian both record that Side was founded by Greek settlers from Cyme in Aeolis, a region of western Anatolia. This most likely occurred in the 7th century BC. Possessing a good harbour for small-craft boats, Side's natural geography made it one of the most important places in Pamphylia and one of the most important trade centres in the region. According to Arrian, when settlers from Cyme came to Side, they could not understand the dialect. After a short while, the influence of this indigenous tongue was so great that the newcomers forgot their native Greek and started using the language of Side. Excavations have revealed several inscriptions written in this language. The inscriptions, dating from the 3rd and 2nd centuries BC, remain undeciphered, but testify that the local language was still in use several centuries after colonisation. Another object found in the excavations at Side, a basalt column base from the 7th century BC and attributable to the Neo-Hittites, provides further evidence of the site's early history. The name Side is Anatolian in origin and means pomegranate.

Next to no information exists concerning Side under Lydian and Persian sovereignty.

Alexander the Great[link]

The Great Gate in the middle of Side's main street.

Temple of Apollo detail.

Alexander the Great occupied Side without a struggle in 333 BC. Alexander left only a single garrison behind to occupy the city. This occupation, in turn, introduced the people of Side to Hellenistic culture, which flourished from the 4th to the 1st century BC. After Alexander's death, Side fell under the control of one of Alexander's generals, Ptolemy I Soter, who declared himself king of Egypt in 305 BC. The Ptolemaic dynasty controlled Side until it was captured by the Seleucid Empire in the 2nd century BC. Yet, despite these occupations, Side managed to preserve some autonomy, grew prosperous, and became an important cultural centre.

In 190 BC a fleet from the Greek island city-state of Rhodes, supported by Rome and Pergamum, defeated the Seleucid King Antiochus the Great's fleet, which was under the command of the fugitive Carthaginian general Hannibal. The defeat of Hannibal and Antiochus the Great meant that Side freed itself from the overlord-ship of the Seleucid Empire. The Treaty of Apamea (188 BC) forced Antiochus to abandon all European territories and to cede all of Asia Minor north of the Taurus Mountains to Pergamum. However, the dominion of Pergamum only reached de facto as far as Perga, leaving Eastern Pamphylia in a state of uncertain freedom. This led Attalus II Philadelphus to construct a new harbour in the city of Attalia (the present Antalya), although Side already possessed an important harbour of its own. Between 188 and 36 BC Side minted its own money, tetradrachms showing Nike and a laurel wreath (the sign of victory).

In the 1st century BC, Side reached a peak when the Cilician pirates established their chief naval base and a centre for their slave-trade.

Romans[link]

The consul Servilius Vatia defeated these brigands in 78 BC and later the Roman general Pompey in 67 BC, bringing Side under the control of Rome and beginning its second period of ascendancy, when it established and maintained a good working relationship with the Roman Empire.^[2]

Emperor Augustus reformed the state administration and placed Pamphylia and Side in the Roman province of Galatia in 25 BC, after the short reign of Amyntas of Galatia between 36 and 25 BC. Side began another prosperous period as a commercial centre in Asia Minor through its trade in olive oil. Its population grew to 60,000 inhabitants. This period would last well into the 3rd century AD. Side also established itself as a slave-trading centre in the Mediterranean. Its large commercial fleet engaged in acts of piracy, while wealthy merchants paid for such tributes as public works, monuments, and competitions as well as the games and gladiator fights. Most of the extant ruins at Side date from this period of prosperity.

One of the maps (portolani) of Piri Reis, taken from the Kitab-i Bahriye, which Piri produced in several editions, supplementing in 1520, but integrating it into subsequent editions.

Decline[link]

Side began a steady decline from the 4th century on. Even defensive walls could not stop successive invasions of highlanders from the Taurus Mountains. During the 5th and 6th centuries, Side experienced a revival, and became the seat of the Bishopric of Eastern Pamphylia. Arab fleets, nevertheless, raided and burned Side during the 7th century, contributing to its decline. The combination of earthquakes, Christian zealots and Arab raids, left the site abandoned by the 10th century, its citizens having emigrated to nearby Antalya.^[2]

In the 12th century, Side temporarily established itself once more as a large city. An inscription found on the site of the former ancient city shows a considerable Jewish population in early Byzantine times. However, Side was abandoned again after being sacked. Its population moved to Antalya, and Side became known as Eski Adalia ("Old Antalya") and was buried.

A hospital dating back to the 6th century.

This portion of the main street in Side is lined with the ruins of homes or shops, many of which feature their original mosaic tile flooring.

Ruins[link]

The great ruins are among the most notable in Asia Minor. They cover a large promontory where a wall and a moat separate it from the mainland. During medieval times, the wall and moat were repaired and the promontory houses a wealth of structures.

There are colossal ruins of a theatre complex, the largest of Pamphylia, built much like a Roman amphitheatre that relies on arches to support the sheer verticals. The Roman style was adopted because Side lacked a convenient hillside that could be hollowed out in the usual Greek fashion more typical of Asia Minor. The theatre is less preserved than the theatre at Aspendos, but it is almost as large, seating 15,000 - 20,000 people. With time and the shifting of the earth, the scena wall has collapsed over the stage and the proscenium is in a cataract of loose blocks. It was converted into an open-air sanctuary with two chapels during Byzantine times (5th-6th c.)

The well-preserved city walls provide an entrance to the site through the Hellenistic main gate (Megale Pyle) of the ancient city, although this gate from the 2nd century BC is badly damaged. Next comes the colonnaded street, whose marble columns are no longer extant; all that remains are a few broken stubs near the old Roman baths. The street leads to the a public bath, restored as a museum displaying statues and sarcophagi from the Roman period. Next is the square agora with the remains of the round Tyche and Fortuna temple (2nd c. BC), a periptery with twelve columns, in the middle. In later times it was used as a trading centre where pirates sold slaves. The remains of the theatre, which was used for gladiator fights and later as a church, and the monumental gate date back to the 2nd century. The early Roman Temple of Dionysus is near the theatre. The fountain gracing the entrance is restored. At the left side are the remains of a Byzantine Basilica. A public bath has also been restored.^[2]

The remaining ruins of Side include three temples, an aqueduct, and a nymphaeum. Side's nymphaeum – a grotto with a natural water supply dedicated to the nymphs – was an artificial grotto or fountain building of elaborate design.

There is also a virtually unknown, but expansive site, up in the Taurus foothills, several miles inland, known locally as Selacleure. Virtually unknown to the outside world and not represented on the internet at all, it is the Roman garrison, built by Mark Anthony, to support the city of Side. It covers at least a couple of square miles and is almost completely unexcavated, apart from two weeks in 1975, when the Turkish government funded two weeks of excavations. The site was, apparently, finally abandoned in the seventh century, when an earthquake caused the spring which fed the site with water to dry up completely. Many of the buildings are in remarkably good shape, particularly since, due to the lack of available stone, a significant quantity of the sites stonework contains egg and gravel based concrete blocks.

Turkish archaeologists have been excavating Side since 1947 and intermittently continue to do so.^[3]

Today[link]

In 1895 Turkish Muslim^[4][5][6] refugees from Crete moved to the ruined town and called it Selimiye. Today, Side has become a popular holiday destination and experiences a new revival.

It was a popular spot for watching the solar eclipse of March 29, 2006.

Having been the Bishopric of Eastern Pamphylia, it is still a titular see of the Roman Catholic church.

See also[link]

• Coinage of Side
• Manavgat Waterfall
• Oymapinar Dam
• Philip of Side
• Saint Probus of Side
• Sidetic language

Notes[link]

External links[link]

Wikimedia Commons has media related to: Side (Turkey)

• About Side and Manavgat
• Excellent Pictures - Pictures Of Side and Manavgat
• Side photos with explanations
• Hazlitt, Classical Gazetteer, "Side"
• Acceptable pictures of the museum, 105 of them
• Not bad pictures of the town, 230 of them
• Side Turkey Guide for UK Travellers

 This article incorporates text from a publication now in the public domain: Chisholm, Hugh, ed. (1911). Encyclopædia Britannica (11th ed.). Cambridge University Press. 

v t e Ancient settlements in Turkey Aegean Aegae Aizanoi Alabanda Alinda Allianoi Amorium Amyzon Antioch on the Maeander Apamea in Phrygia Aphrodisias Apollonia in Mysia Atarneus Bargylia Beycesultan Caloe Caryanda Celaenae Ceramus Colophon Cyme Didyma Docimium Ephesus Erythrae Euromus Gambrion Gryneion Halicarnassus Hierapolis Iasos Karmylissos Kaunos Klazomenai Knidos Labraunda Laodicea on the Lycus Latmus Lebedus Limantepe Magnesia on the Maeander Metropolis Miletus Myndus Myriandrus Myus Notion Nysa Oenoanda Orestias Pepuza Pergamon Perperene Phocaea Pinara Pitane Priene Sardis Sigeion Smyrna Stratonicea in Lydia Stratonicea in Caria Temnos Teos Tymion Black Sea Alaca Höyük Comana in the Pontus Euchaita Hattusa Hüseyindede Tepe Ibora Laodicea Pontica Nerik Nicopolis Pompeiopolis Salatiwara Samuha Sapinuwa Tripolis Yazılıkaya Zaliches Central Anatolia Alişar Hüyük Binbirkilise Çatalhöyük Derbe Dorylaeum Gordium Heraclea Cybistra Irenopolis Kaman-Kalehöyük Kerkenes Kültepe (Kanesh) Laodicea Combusta Mokissos Nyssa Pessinus Purushanda Tavium Tyana Eastern Anatolia Altıntepe Ani Melid Sugunia Tushpa Marmara Aegospotami Alexandria Troas Apamea Myrlea Apollonia on the Rhyndax Apros Assos Cardia Cebrene Chalcedon Cius Cyzicus Drusipara Faustinopolis Germanicopolis Lysimachia Nicomedia Sestos Skepsis Troy (Hisarlik) Mediterranean Alalakh Anazarbus Antigonia Antioch on the Orontes Antioch in Pisidia Antiochia Lamotis Antioch on the Cragus Antioch on the Pyramis Aphrodisias of Cilicia Ariassos Arsinoe Arycanda Aspendos Comana in Cappadocia Corycus (Kızkalesi) Cremna Cyrrhus Domuztepe Elaiussa Sebaste Epiphania Gözlükule Hacilar Irenopolis Issus Kandyba Karatepe Kibyra Mallus Mamure Castle Mezgitkale Mopsuestia Myra Olba Patara Perga Phaselis Rhosus Sagalassos Seleucia in Pamphylia Seleucia Pieria Seleucia Sidera Selge Side Sillyon Soli Sozopolis Tell Tayinat Termessos Tlos Xanthos Yumuktepe Southeastern Anatolia Antioch in the Taurus Antioch in Mesopotamia Apamea on the Euphrates Carchemish Çayönü Dara Edessa Göbekli Tepe Harran Kussara Nevalı Çori Sakçagözü Sam'al Samosata Sareisa Seleucia at the Zeugma Sultantepe Tille Tushhan Zeugma

Coordinates: 36°46′00″N 31°23′20″E / 36.7666667°N 31.38889°E / 36.7666667; 31.38889

Lou Reed
Lou Reed performing at the Arlene Schnitzer Concert Hall in Portland, Oregon in January 2004
Background information
Birth name	Lewis Allan Reed
Born	(1942-03-02) March 2, 1942 (age 70) Brooklyn, New York United States
Genres	Rock, experimental rock, art rock, protopunk, noise music, drone music, psychedelic rock, folk rock, glam rock, blue-eyed soul, spoken word
Occupations	Musician, songwriter, producer, photographer
Instruments	Vocals, guitar, ostrich guitar, bass, synthesizer, keyboards, piano, harmonica, drums, percussion
Years active	1964–present
Labels	Matador, MGM, RCA, Sire, Reprise, Warner Bros.
Associated acts	The Velvet Underground, John Cale, Nico, David Bowie, The Killers, Mick Ronson, Gorillaz, Laurie Anderson, Peter Gabriel, Metallica.
Website	www.loureed.com

Lewis Allan "Lou" Reed, born March 2, 1942, is an American rock musician, songwriter, and photographer.^[1] He is best known as guitarist, vocalist, and principal songwriter of The Velvet Underground, and for his solo career, which has spanned several decades. Though the Velvet Underground were a commercial failure in the late 1960s, the group has gained a considerable cult following in the years since its demise and has gone on to become one of the most widely cited and influential bands of the era.^[2] As the Velvet Underground's principal songwriter, Reed wrote about subjects of personal experience that rarely had been examined so openly in rock and roll, including sexuality and drug culture.

After his departure from the group, Reed began a solo career in 1971. He had a hit the following year with "Walk on the Wild Side", although he subsequently lacked the mainstream commercial success its chart status seemed to indicate.^[3] Reed's work as a solo artist frustrated critics wishing for a return of the Velvet Underground. In 1975, Reed released a double album of feedback loops, Metal Machine Music, upon which he later commented, "No one is supposed to be able to do a thing like that and survive."^[4]

In 2008, Reed married performance artist Laurie Anderson.^[5]

Early life[link]

Reed was born at Beth El Hospital in Brooklyn and grew up in Freeport, Long Island.^{[citation needed]} Contrary to some sources, his birth name was Lewis Allan Reed, not Louis Firbanks, a name that was coined as a joke by Lester Bangs in Creem magazine.^[6] Having learned to play the guitar from the radio, he developed an early interest in rock and roll and rhythm and blues, and during high school played in a number of bands.^[7] His first recording was as a member of a doo wop-style group called The Jades.

Reed as a high school senior, 1959

In 1956, Reed received electroconvulsive therapy as a teenager intended to cure his bisexuality; he wrote about the experience in his 1974 song, "Kill Your Sons."^[8] In an interview, Reed said of the experience:

"They put the thing down your throat so you don't swallow your tongue, and they put electrodes on your head. That's what was recommended in Rockland County to discourage homosexual feelings. The effect is that you lose your memory and become a vegetable. You can't read a book because you get to page 17 and have to go right back to page one again."

—Lou Reed quoted in Please Kill Me (1996)^[9]

Reed began attending Syracuse University in the fall of 1960, studying journalism, film directing, and creative writing. In 1961 he began hosting a late-night radio program on WAER called "Excursions On A Wobbly Rail."^[7] Named after a song by pianist Cecil Taylor, the program typically featured doo wop, rhythm and blues and jazz, particularly the free jazz developed in the mid-1950s.^[10] Many of Reed's guitar techniques, such as the guitar-drum roll, were inspired by jazz saxophonists, notably Ornette Coleman. Reed graduated from Syracuse University's College of Arts and Sciences with a B.A. in June 1964.^[8]

Poet Delmore Schwartz taught at Syracuse University and befriended Reed, who in 1966 dedicated the song "European Son," from the Velvet Underground's debut album The Velvet Underground & Nico, to Schwartz.^[11] In 1982, Reed recorded "My House" as a tribute to his late mentor. He later said that his goals as a writer were "to bring the sensitivities of the novel to rock music" or to write the Great American Novel in a record album.^[12]

Career[link]

Pickwick Records[link]

In 1964, Reed moved to New York City and began working as an in-house songwriter for Pickwick Records. In 1964, he scored a minor hit with the single "The Ostrich," a parody of popular dance songs of the time, which included lines such as "put your head on the floor and have somebody step on it." His employers felt that the song had hit potential, and arranged for a band to be assembled around Reed to promote the recording. The ad hoc group, called "The Primitives," included Welsh musician John Cale, who had recently moved to New York to study music and was playing viola in composer La Monte Young's Theater of Eternal Music, along with Tony Conrad. Cale and Conrad were both surprised to find that for "The Ostrich," Reed tuned each string of his guitar to the same note. This technique created a drone effect similar to their experimentation in Young's avant-garde ensemble. Disappointed with Reed's performance, Cale was nevertheless impressed by Reed's early repertoire (including "Heroin"), and a partnership began to evolve.

The Velvet Underground[link]

Reed and Cale lived together on the Lower East Side, and after inviting Reed's college acquaintances, guitarist Sterling Morrison and drummer Maureen Tucker, to join the group, they formed the Velvet Underground. Though internally unstable (Cale left in 1968, Reed in 1970), and without commercial success, the band has a long-standing reputation as one of the most influential bands in rock history.^[13]

The group soon caught the attention of artist Andy Warhol. One of Warhol's first contributions was to integrate them into the Exploding Plastic Inevitable. Warhol's associates inspired many of Reed's songs as he fell into a thriving, multifaceted artistic scene. Reed rarely gives an interview without paying homage to Warhol as a mentor. Conflict emerged when Warhol had the idea for the group to take on a chanteuse, the European former model and singer Nico. Reed and the others registered their objection by titling their debut album The Velvet Underground & Nico to imply that Nico was not accepted as a member of the group. Despite his initial resistance, Reed wrote several songs for Nico to sing, and the two were briefly lovers (as were Nico and Cale later). The Velvet Underground & Nico reached No. 171 on the charts.

Today, however, it is considered one of the most influential rock albums ever recorded. Rolling Stone has it listed as the 13th most influential album of all time. Brian Eno once famously stated that although few people bought the album, most of those who did were inspired to form their own band.^[14]

By the time the band recorded White Light/White Heat, Nico had quit and Warhol was fired, both against Cale's wishes. Warhol's replacement as manager, Steve Sesnick, convinced Reed to drive Cale out of the band. Morrison and Tucker were discomfited by Reed's tactics but continued with the group. Cale's replacement was Doug Yule, whom Reed would often facetiously introduce as his younger brother. The group now took on a more pop-oriented sound and acted more as a vehicle for Reed to develop his songwriting craft. The group released two albums with this line up: 1969's The Velvet Underground and 1970's Loaded. The latter included two of the group's most commercially successful songs, "Rock and Roll" and "Sweet Jane". Reed left the Velvet Underground in August 1970; the band disintegrated as core members Sterling Morrison and Maureen Tucker departed in 1971 and 1972, respectively. Yule continued until early 1973, and the band released one more studio album, Squeeze, under the Velvet Underground name.

After the band's move to Atlantic Records' Cotillion label, their new manager pushed Reed to change the subject matter of his songs to lighter topics in hopes of commercial success. The band's album Loaded had taken more time to record than the previous three albums together, but had not broken the band through to a wider audience. Reed briefly retired to his parents' home on Long Island.

Solo career[link]

1970s[link]

After quitting the Velvet Underground in August 1970, Reed took a job at his father's tax accounting firm as a typist, by his own account earning $40 a week. A year later, however, he signed a recording contract with RCA and recorded his first solo album in London with top session musicians including Steve Howe and Rick Wakeman, members of the progressive rock group Yes. The album, simply titled Lou Reed, contained smoothly produced, re-recorded versions of unreleased Velvet Underground songs, some of which were originally recorded by the Velvets for Loaded but shelved (see the Peel Slowly and See box set). This first solo album was overlooked by most pop music critics (although Stephen Holden in Rolling Stone called it "almost perfect") and it did not sell in significant numbers.

In December 1972, Reed released Transformer. David Bowie and Mick Ronson co-produced the album and introduced Reed to a wider popular audience (specifically in the U.K.). The hit single "Walk on the Wild Side" was an ironic yet affectionate salute to the misfits, hustlers, and transvestites who once surrounded Andy Warhol. Each of the song's five verses poignantly describes an actual person who had been a fixture at The Factory during the mid-to-late 1960s: (1) Holly Woodlawn, (2) Candy Darling, (3) "Little Joe" Dallesandro, (4) "Sugar Plum Fairy" Joe Campbell and (5) Jackie Curtis. The song's cleverly transgressive lyrics evaded radio censorship. Though the jazzy arrangement (courtesy of bassist Herbie Flowers and saxophonist Ronnie Ross) was musically somewhat atypical for Reed, it eventually became his signature song. The song came about as a result of his commission to compose a soundtrack to a theatrical adaptation of Nelson Algren's novel of the same name, though the play failed to materialize. Ronson's arrangements brought out new aspects of Reed's songs. "Perfect Day," for example, features delicate strings and soaring dynamics. It was rediscovered in the 1990s and allowed Reed to drop "Walk on the Wild Side" from his concerts.

Though Transformer would prove to be Reed's commercial and critical pinnacle, there was no small amount of resentment in Reed devoted to the shadow the record cast over the rest of his career. An argument between Bowie and Reed ended their working relationship for several years, though its subject is not known. The two reconciled some years later, and Reed performed with Bowie at the latter's 50th birthday concert at Madison Square Garden in 1997. The two would not formally collaborate again until 2003's The Raven. Touring in support of Transformer posed the challenge of forming a band for the first time since joining the Velvets. Reed took the simple path of hiring an inexperienced bar band, the Tots. Their straightforward guitar sound suited the songs, and Reed spent much of 1972 and the winter of 1973 on the road with them. Though they improved over the months, criticism of their still-basic abilities ultimately led Reed to fire them mid-tour. He chose the creative young keyboardist Moogy Klingman to come up with a new five-member backing band on barely a week's notice. Thus the tour continued through the spring with a denser, bluesier and tighter sound that presaged the very successful live albums Reed would record with all different musicians in December.^[15]

Reed followed Transformer with the darker Berlin, which tells the story of two junkies in love in that city. The songs variously concern domestic abuse ("Caroline Says I," "Caroline Says II"), drug addiction ("How Do You Think It Feels"), adultery and prostitution ("The Kids"), and suicide ("The Bed"). Reed's late-1973 European tour, featuring dual lead guitarists Steve Hunter and Dick Wagner, mixed his Berlin material with older rockers.

After Berlin came two albums in 1974, Sally Can't Dance and a live record Rock 'n' Roll Animal, which contained performances of the Velvet Underground songs "Sweet Jane" and "Heroin". Rock 'n' Roll Animal became his biggest selling album, and its follow-up Lou Reed Live, recorded on the same occasions in December 1973, kept Reed in the public eye with strong sales after its release in early 1975.

As he had done with Berlin after Transformer, in 1975 Reed responded to commercial success with a commercial failure, a double album of electronically generated audio feedback, Metal Machine Music. Critics interpreted it as a gesture of contempt, an attempt to break his contract with RCA or to alienate his less sophisticated fans. But Reed claimed that the album was a genuine artistic effort, even suggesting that quotations of classical music could be found buried in the feedback. Lester Bangs declared it "genius," though also as psychologically disturbing. The album was reportedly returned to stores by the thousands after a few weeks.^[16] Though later admitting that the liner notes' list of instruments is fictitious and intended as parody, Reed maintains that MMM was and is a serious album. He has since stated though that at the time he had taken it seriously, he was also "very stoned".^{[citation needed]} In the 2000s it was adapted for orchestral performance by the German ensemble Zeitkratzer.

By contrast, 1975's Coney Island Baby was mainly a warm and mellow album, though for its characters Reed still drew on the underbelly of city life. At this time his lover was a transgender woman, Rachel, mentioned in the dedication of "Coney Island Baby" and appearing in the photos on the cover of Reed's 1977 "best of" album, Walk on the Wild Side: The Best of Lou Reed. While Rock and Roll Heart, his 1976 debut for his new record label Arista, fell short of expectations, Street Hassle (1978) was a return to form in the midst of the punk scene he had helped to inspire. But Reed was dismissive of punk and rejected any affiliation with it. "I'm too literate to be into punk rock . . . The whole CBGB's, new Max's thing that everyone's into and what's going on in London—you don't seriously think I'm responsible for what's mostly rubbish?"^[17] The Bells (1979) featured jazz musician Don Cherry, and was followed the next year by Growing Up in Public with guitarist Chuck Hammer. Around this period he also appeared as a sleazy record producer in Paul Simon's film One Trick Pony. Reed also played several unannounced one-off concerts in tiny downtown Manhattan clubs with the likes of Cale, Patti Smith, and David Byrne during this period.

1980s[link]

In 1980, Reed married British designer Sylvia Morales.^[18] They were divorced more than a decade later. While together, Morales inspired Reed to write several songs, particularly "Think It Over" from 1980's Growing Up in Public and "Heavenly Arms" from 1982's The Blue Mask.^{[citation needed]} After Legendary Hearts (1983) and New Sensations (1984) fared adequately on the charts, Reed was sufficiently reestablished as a public figure to become spokesman for Honda motorcycles.

In the early 1980s, Reed asked guitarist Robert Quine to join his group. Quine appeared on Reed's The Blue Mask (1982), acclaimed as one of Reed's best albums, and Legendary Hearts (1983). The two guitarists’ played both rhythm and lead guitar. Robert Quine eventually quit the group due to tensions with Reed. However, Reed persuaded Quine to rejoin for a world tour, with which he agreed to despite his aversion to touring, for financial reasons. Quine ended his musical relationship with Reed in 1985.

On September 22, 1985, Reed performed at the first Farm Aid concert in Champaign, Illinois. He performed "Doin' The Things That We Want To", "I Love You, Suzanne", "New Sensations" and "Walk on The Wild Side".

In 1986, he joined Amnesty International's A Conspiracy of Hope Tour and was outspoken about New York's political issues and personalities on the 1989 album New York, commenting on crime, AIDS, Jesse Jackson, Kurt Waldheim, and Pope John Paul II.

Following Warhol's death after routine surgery in 1987, Reed again collaborated with John Cale on the biographical Songs for Drella, Warhol's nickname. The album marked an end to a 22-year estrangement from Cale. On the album, Reed sings of his love for his late friend, but also criticizes both the doctors who were unable to save Warhol's life and Warhol's would-be assassin, Valerie Solanas.

1990s[link]

In 1990, following a twenty-year hiatus, the Velvet Underground reformed for a Fondation Cartier benefit in France. Reed released his sixteenth solo record, Magic and Loss, in 1992, an album about mortality, inspired by the death of two close friends from cancer. In 1993, the Velvet Underground again reunited and toured throughout Europe, although plans for a North American tour were cancelled following another falling out between Reed and Cale. In 1994, Reed appeared in A Celebration: The Music of Pete Townshend and The Who, also known as Daltrey Sings Townshend. This was a two-night concert at Carnegie Hall produced by Roger Daltrey in celebration of his fiftieth birthday. In 1994, a CD and a VHS video were issued, and in 1998 a DVD was released. Reed performed a radically rearranged version of "Now And Then" from Psychoderelict.

In 1996, the Velvet Underground were inducted into the Rock and Roll Hall of Fame. At the induction ceremony, Reed performed a song entitled "Last Night I Said Goodbye to My Friend" alongside former bandmates John Cale and Maureen Tucker, in dedication to Velvet Underground guitarist Sterling Morrison, who had died the previous August. Reed has since been nominated for the Rock Hall as a solo artist twice, in 2000 and 2001, but has not been inducted.^[19]

His 1996 album, Set the Twilight Reeling, met with a lukewarm reception, but 2000's Ecstasy drew praise from most critics, including Robert Christgau. In 1996, Reed contributed songs and music to Time Rocker, an avant-garde theatrical interpretation of H.G. Wells' The Time Machine staged by theater director Robert Wilson. The piece premiered in the Thalia Theater, Hamburg, Germany, and was later also shown at the Brooklyn Academy of Music in New York.^[20]

In 1998, the PBS TV show American Masters aired Timothy Greenfield-Sanders' feature documentary Lou Reed: Rock and Roll Heart. This film, which premiered at the Sundance Film Festival in the U.S. and at the Berlin Film Festival in Germany went on to screen at over 50 festivals worldwide. In 1999, the film and Reed as its subject received a Grammy Award for best long form music video.

Since the late 1990s, Reed has been romantically linked to the musician, multi-media and performance artist Laurie Anderson, and the two have collaborated on a number of recordings together. Anderson contributed to "Call On Me" from Reed's project The Raven, to the tracks "Baton Rouge" and "Rock Minuet" from Reed's Ecstasy, and to "Hang On To Your Emotions" from Reed's Set the Twilight Reeling. Reed contributed to "In Our Sleep" from Anderson's Bright Red and to "One Beautiful Evening" from her Life on a String. They married on April 12, 2008.^[21]

2000s[link]

Reed performing in Málaga, Spain, July 21, 2008.

2000 to 2003[link]

In May 2000, Reed performed before Pope John Paul II at the Great Jubilee Concert in Rome. In 2000, a new collaboration with Robert Wilson called "Poe-Try" was staged at the Thalia Theater in Germany. As with the previous collaboration "Time Rocker," "Poe-Try" was also inspired by the works of a 19th century writer: Edgar Allan Poe. Reed became interested in Poe after producer and long-time friend Hal Willner suggested he read some of Poe's text at a Halloween benefit he was curating at St. Ann's Episcopal Church in Brooklyn.^[22] For this new collaboration, Reed reworked and even rewrote some of Poe's text as well as included some new songs based on the theme explored in the texts. In 2001, Reed made a cameo appearance in the movie adaptation of Prozac Nation. On October 6, 2001, the New York Times published a Reed poem called Laurie Sadly Listening in which he reflects upon the 9/11 terrorist attacks.^[23]

Incorrect reports of Reed's death were broadcast by numerous U.S. radio stations in 2001, caused by a hoax email (purporting to be from Reuters) which said he had died of a drug overdose. In 2003, he released a 2-CD set, The Raven, based on "Poe-Try." Besides Reed and his band, the album featured a wide range of actors and musicians including singers David Bowie, Laurie Anderson, Kate and Anna McGarrigle, The Blind Boys of Alabama and Antony Hegarty, saxophonist and long-time idol Ornette Coleman, and actors Elizabeth Ashley, Christopher Walken, Steve Buscemi, Willem Dafoe, Amanda Plummer, Fisher Stevens and Kate Valk. The album consisted of songs written by Reed and spoken-word performances of reworked and rewritten texts of Edgar Allan Poe by the actors, set to electronic music composed by Reed. At the same time a single disc CD version of the albums, focusing on the music, was also released.

A few months after the release of The Raven, a new 2-CD Best Of-set was released, entitled NYC Man (The Ultimate Collection 1967-2003), which featured an unreleased version of the song "Who am I" and a selection of career spanning tracks that had been selected, remastered and sequenced under Reed's supervision. In April 2003, Reed embarked on a new world tour supporting both new and released material, with a band including cellist Jane Scarpantoni and singer Antony Hegarty. During some of the concerts for this tour, the band was joined by Master Ren Guangyi, Reed's personal T'ai Chi instructor, performing T'ai Chi movements to the music on stage. This tour was documented in the 2004 double-disc live album Animal Serenade, recorded live at The Wiltern in Los Angeles.

In 2003, Reed released his first book of photographs, Emotions in Action. This work actually was made up out of two books, a larger A4-paper sized called Emotions and a smaller one called Actions which was laid into the hard cover of the former. After Hours: a Tribute to the Music of Lou Reed was released by Wampus Multimedia in 2003.

In 2003, Reed was also a judge for the third annual Independent Music Awards to support independent artists' careers.^[24]

2004 to 2006[link]

In 2004, a Groovefinder remix of his song, "Satellite of Love" (called "Satellite of Love '04") was released. It reached No. 10 in the UK singles chart. Also in 2004, Reed contributed vocals and guitar to the track "Fistful of Love" on I Am a Bird Now by Antony and the Johnsons. In 2005, Reed recorded a spoken word text on Danish rock band Kashmir's album No Balance Palace.

In January 2006, a second book of photographs, Lou Reed's New York, was released.^[25] At the 2006 MTV Video Music Awards, Reed performed "White Light/White Heat" with The Raconteurs. Later in the night, while co-presenting the award for Best Rock Video with Pink, he exclaimed, apparently unscripted, that "MTV should be playing more rock n' roll."

In October 2006, Reed appeared at Hal Willner's Leonard Cohen tribute show "Came So Far For Beauty" in Dublin, beside the cast of Laurie Anderson, Nick Cave, Antony, Jarvis Cocker, Beth Orton, and others. According to the reports, he played a heavy metal version of Cohen's "The Stranger Song."^[26] He also performed "One Of Us Cannot Be Wrong" and two duets—"Joan of Arc", with Cohen's former back-up singer Julie Christensen, and "Memories"—in a duet with Anjani Thomas.

In December 2006, Reed played a first series of show at St. Ann's Warehouse, Brooklyn, based on his 1973 Berlin song cycle. Reed was reunited on stage with guitarist Steve Hunter, who played on the original album as well as on Rock 'n' Roll Animal, as well as joined by singers Antony Hegarty and Sharon Jones, pianist Rupert Christie, a horn and string section and the Brooklyn Youth Chorus. The show was being produced by Bob Ezrin, who also produced the original album, and Hal Willner. The stage was designed by painter Julian Schnabel and a film about protagonist "Caroline" directed by his daughter, Lola Schnabel, was being projected to the stage. A live recording of these concerts was also published as a film (directed by Schnabel) which was released spring 2008. The show was also played at the Sydney Festival in January 2007 and throughout Europe during June and July 2007. The album version of the concert, entitled Berlin: Live At St. Ann's Warehouse, was released in 2008.

2007 to 2009[link]

In April 2007, he released Hudson River Wind Meditations, his first record of ambient meditation music. The record was released on the Sounds True record label and contains four tracks that were said to have been composed just for himself as a guidance for T'ai Chi exercise and meditation. In May 2007, Reed performed the narration for a screening of Guy Maddin's silent film The Brand Upon the Brain. In June 2007, he performed live at the Traffic Festival 2007 in Turin, Italy, a five-day free event organized by the city.

In August 2007, Reed went into the studio with The Killers in New York City to record "Tranquilize," a duet with Brandon Flowers for The Killers' b-side/rarities album, called Sawdust. During that month, he also recorded guitar for the Lucibel Crater song "Threadbare Funeral," which appears on their full-length CD The Family Album. In October 2007, Reed gave a special performance in the Recitement song "Passengers." The album combines music with spoken word. The album was composed by Stephen Emmer and produced by Tony Visconti. Hollandcentraal was inspired by this piece of music and literature, which spawned a concept for a music video. On October 1, 2008, Reed joined Richard Barone via projected video on a spoken/sung duet of Reed's "I'll Be Your Mirror," with cellist Jane Scarpantoni, in Barone's FRONTMAN: A Musical Reading at Carnegie Hall.

Reed performing the Berlin album in Stockholm, Sweden, 2008.

On October 2 and 3, 2008, he premiered his new group, which later was named Metal Machine Trio, at REDCAT (Walt Disney Concert Hall Complex, Los Angeles). The live recordings of the concerts were released under the title The Creation of the Universe. The Trio features Ulrich Krieger (saxophone) and Sarth Calhoun (electronics), and plays free improvised instrumental music inspired by Reed's 1975 album Metal Machine Music. The music ranges from ambient soundscapes to free rock to contemporary noise. The trio played further shows at New York's Gramercy Theater in April 2009, and appeared as part of Reed's band at the 2009 Lollapalooza, including a ten minute free trio improvisation.^[27] At Lollapalooza, held in Chicago's Grant Park, Reed played "Sweet Jane" and "White Light/White Heat" with Metallica at Madison Square Garden as part of the twenty-fifth anniversary celebration of the Rock and Roll Hall of Fame on October 30, 2009.^[28][29] Reed's recent activity in films include providing the voice of Maltazard, the villain in the forthcoming Luc Besson animated film, Arthur and the Vengeance of Maltazard, and playing the role of himself in Wim Wenders' movie Palermo Shooting (2008).

In 2009, Reed became an active member of the Jazz Foundation of America (JFA).^[30] He was a featured performer at the JFA's annual benefit "A Great Night in Harlem" in May 2009.^[31]

2010s[link]

Reed has remained active doing benefits and composing music. He has contributed vocals on the third Gorillaz album, Plastic Beach, on the song "Some Kind Of Nature" and co-wrote and performed backup music for a Chen Style T'ai Chi instructional DVD.^[32] He has a co-production credit on Laurie Anderson's Homeland.

Lou Reed performed a cover of the Buddy Holly song "Peggy Sue" which is featured on the tribute album Rave On Buddy Holly.

Reed also began touring with the Metal Machine Trio, which was widely viewed as a return to his exploration of noise and sound. In 2011, heavy metal band Metallica recorded a full length collaboration with Lou Reed entitled Lulu, released November 1 in North America and October 31 everywhere else.^[33] After he initially refused Susan Boyle the right to perform "Perfect Day" on an American television special ("America's Got Talent"), he subsequently agreed to direct her video rendition.^[34]

In January, 2012, Reed and John Cale sued the Andy Warhol Foundation for the license to use the yellow banana image from Warhol's art for The Velvet Underground & Nico album.^[35]

Reed contributed vocals to the track "Wanderlust" on Metric's 2012 album Synthetica.

Discography[link]

With the Velvet Underground[link]

As a solo artist[link]

Collaborations[link]

• Songs for Drella (with John Cale) (1990)
• Tranquilize (with The Killers) (2007)
• The Stone: Issue Three (with John Zorn and Laurie Anderson) (2008)
• The Creation of the Universe (with the Metal Machine Trio) (2008)
• Some Kind of Nature (with Gorillaz) (2010)
• Lulu (with Metallica) (2011)

Guest appearances[link]

• The Road from Memphis - Booker T. Jones (2011) "The Bronx"
• Synthetica - Metric (2012) "The Wanderlust"

Appearances in film[link]

• One Trick Pony (1980) as Steve Kunelian
• Get Crazy (1983) as Auden
• Permanent Record (1988) as himself
• Faraway, So Close! (1993) as himself
• Blue in the Face (1995) as "Man with Strange Glasses"
• Closure (1997) as himself
• Prozac Nation (2001) as himself
• Berlin: Live At St. Ann's Warehouse (2008)
• Palermo Shooting (2008) as himself

References[link]

External links[link]

Wikimedia Commons has media related to: Lou Reed

Wikiquote has a collection of quotations related to: Lou Reed

• Official Lou Reed website
• Comprehensive music biography of Reed by Allmusic

Monty Python (sometimes known as The Pythons)^[2][3] was a British surreal comedy group who created Monty Python's Flying Circus, a British television comedy sketch show that first aired on the BBC on 5 October 1969. Forty-five episodes were made over four series. The Python phenomenon developed from the television series into something larger in scope and impact, spawning touring stage shows, films, numerous albums, several books and a stage musical as well as launching the members to individual stardom. The group's influence on comedy has been compared to The Beatles' influence on music.^[4][5]

The television series, broadcast by the BBC from 1969 to 1974, was conceived, written and performed by members Graham Chapman, John Cleese, Terry Gilliam, Eric Idle, Terry Jones, and Michael Palin. Loosely structured as a sketch show, but with an innovative stream-of-consciousness approach (aided by Gilliam's animation), it pushed the boundaries of what was acceptable in style and content.^[6][7] A self-contained comedy team responsible for both writing and performing their work, the Pythons' creative control allowed them to experiment with form and content, discarding rules of television comedy. Their influence on British comedy has been apparent for years, while in North America it has coloured the work of cult performers from the early editions of Saturday Night Live through to more recent absurdist trends in television comedy. "Pythonesque" has entered the English lexicon as a result.

In a 2005 UK poll to find The Comedian's Comedian, three of the six Pythons members were voted by fellow comedians and comedy insiders to be among the top 50 greatest comedians ever: Cleese at #2, Idle at #21, and Palin at #30.^[8]