De Freeport À Pickwick, En Passant Par Syracuse

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De Freeport À Pickwick, En Passant Par Syracuse CHAPITRE 1 DE FREEPORT À PICKWICK, EN PASSANT PAR SYRACUSE « Et puis un beau matin, elle se branche sur une radio de New York Elle n’en croit pas ses oreilles Elle commence à danser sur ces accords géniaux Tu sais, c’est le rock qui lui a sauvé la vie. » —Lou Reed, Rock’n’roll elui qui s’appellera plus tard Lou Reed est le fils aîné et égoïste. Il a fréquenté le collège de Freeport, où il avait de Sidney George Rabinowitz, un New-Yorkais qui une vie intérieure animée, écrivant des poèmes et des Cavait anglicisé son nom avant de devenir comptable, nouvelles, mais il ne dédaignait pas les activités spor- et de Toby Futterman, reine de beauté devenue mère tives, l’athlétisme (la course et le saut à la perche) et le au foyer. Le couple aura cinq ans plus tard un second basket. Rêvant secrètement d’une carrière de rebelle enfant, Elizabeth, plus connue sous le nom de Bunny, devant un public, il réussit à convaincre ses parents de et quittera Brooklyn pour le quartier plus chic et typique lui acheter une moto, pour ressembler à Marlon Brando du rêve américain de Freeport, à Long Island, Lewis avait dans L’Équipée sauvage. Les poètes beatniks le fasci- alors onze ans. À l’image de beaucoup de mères juives, nent, ainsi que la culture underground gay. (« J’ai toujours Toby couvait son fiston jusqu’à parfois l’étouffer sous pensé que la seule manière qu’avaient les mômes de se son amour, tandis qu’en bon père juif, Sidney espérait rebeller contre leurs parents était de jouer sur leur identité secrètement qu’il reprenne « la boutique » une fois grand. sexuelle : c’étaient des mômes qui cherchaient juste à Si l’on en croit ses biographes, Reed souffrait de choquer », devait-il affirmer plus tard, à une époque où il fréquentes sautes d’humeur quand il était enfant, une semblait vouloir effacer toute trace de sa propre bisexua- particularité de caractère qui devait perdurer dans sa vie lité.) C’est à cette époque que commence son histoire d’adulte, au point que dans son entourage, on ne pouvait d’amour avec le rock’n’roll, d’abord en auditeur passionné jamais être sûr du Lou Reed que l’on avait devant soi, des musiques qui sortaient de son transistor quand il avait variant de l’ami affectueux et empathique au tyran cruel douze ans, plus tard en guitariste débutant se branchant Lou Reed dans la Silver Factory d’Andy Warhol, vers 1966. Stephen Shore. 23 Job:01329 Title: Velvet Underground (MBI) Job:01329 Title: Velvet Underground (MBI) Page22 Page23 Lou Reed à la guitare vers 1962 dans un des nombreux sur divers groupes qui animaient les soirées de groupes auxquels il a participé pendant ses études danse au collège ou des concerts de quartier. à l’université de Syracuse. À seize ans, Lou enregistre quelques-unes de ses premières chansons avec un groupe baptisé Jades, ainsi que le bien nommé single « So Blue », accompagné sur la face B de Leave Her For me, sorti en 1958 sur le petit label Time Records. Inquiets de la manière dont Lou évolue en 1959, Sid et Toby suivent l’avis d’un médecin et soumet- tent leur fils, âgé alors de dix-sept ans, à une cure de huit semaines d’électrochocs à l’Hôpital psychiatrique d’État de Creedmore, suivie d’un début de thérapie. Les résultats ne sont pas à la hauteur : Lewis en veut encore plus à ses parents et se persuade qu’il faut qu’il s’éloigne le plus possible de chez lui pour suivre sa propre voie. Après un court séjour sur le campus haut de gamme de l’université de New York, dans le Bronx, il s’éloigne vers l’université plus distante de Syracuse, où il rencontre le premier de plusieurs de ses mentors, le poète Delmore Schwartz, connu pour une nouvelle publiée en 1937, C’est dans les rêves que commencent les responsabili- tés. Dans les derniers stades de l’alcoolisme à Syracuse, », une création de Pickwick International en 1965, composée Soundsville! Schwartz persuade Lou qu’il a l’étoffe d’un grand écri- « de chansons coécrites par Lou Reed, qui chante aussi sur de nombreux titres vain, quoique l’étudiant n’ait jamais montré une ligne de et joue sans doute de la guitare tout au long de l’album. ses écrits à son professeur. À l’université, Lou anime pendant quelque temps sa propre émission de radio, programmant un mélange de très proches des siennes, Sterling Morrison, par l’inter- International, un nom fait pour rappeler la rapide invasion « J’ai pris la porte et fait le truc le plus gravissime possible médiaire de leur ami commun Jim Tucker. Entre deux des groupes britanniques et l’écrasante domination de en ce temps-là. J’ai rejoint un groupe de rock. Évidemment, cours, Reed écrivait des chansons scabreuses inspirées Motown. Parmi les titres que Lou Reed pond à la chaîne pour mes parents j’étais devenu un zombie. Je n’ai jamais par la vie dans l’underground miteux de Manhattan. Il dans le studio minimaliste du label, on trouve Soul City, subi les plus terribles (les électrochocs) quand on ne vous envisageait déjà des versions de I’m Waiting For The Why Don’t You Smile, Tell Mama Not To Cry et Cycle endort pas avant. J’ai eu droit aux marrants, quand on vous Man et Heroin, sorte de reflet musical de ce que certains Annie. Bien qu’il n’ait passé que cinq mois dans ce label, endort d’abord. On compte à rebours, et on plonge dans de ses écrivains favoris, Hubert Selby Jr et William S. jusqu’en février 1965, celui-ci tient une grande place le sirop. C’était un choc, mais c’était aussi une époque Burroughs, avaient produit dans Last Exit to Brooklyn dans son histoire : il a apporté une discipline à la Brill où je m’intéressais beaucoup à l’électricité. » et Junky. Lou Reed se lance aussi dans la rédaction de Building à peu de frais à son écriture, et il lui a permis nouvelles à l’humour grinçant et tordu, dont une dans de rencontrer John Cale. —Lou Reed, extrait de Up-Tight, de Victor Bockris laquelle un type abruti, obsessionnel et amoureux fou Né à Garnant, dans le Sud du Pays de Galles, le et Gérard Malanga, 1983 s’envoie par la poste dans un paquet à destination de sa 9 mars 1942, une semaine après la naissance de Reed petite amie qui étudie dans le Wisconsin. à Brooklyn à 4 500 km de là, John avait pour père un Sa licence en lettres dans la poche, Lou retourne mineur de fond et pour mère une enseignante et pianiste. free jazz (un maximum d’Ornette Coleman, Cecil Taylor chez ses parents à Long Island pendant l’été 1964, plus Quoiqu’elle n’ait pas réussi à instiller à son fils l’impor- et Don Cherry) et de rythm & blues (parmi ses préfé- déterminé que jamais à faire carrière dans la musique. tance des études – il détestait l’école –, elle lui transmet rés : James Brown et Hank Ballard). C’est à cette épo- Au lieu de travailler avec son père, il signe comme l’amour de la musique, un amour encouragé par ses que qu’il fait quelques rencontres qui s’avéreront riches auteur de textes de chansons et musicien de studio oncles maternels dont l’un anime une émission de radio de potentiel, comme celle d’un guitariste aux idées avec un petit label minable aux dents longues, Pickwick sur la BBC et l’autre joue du violon. À l’âge de treize ans, 24 VU Out Of Sight! Avec Cycle Annie de Lou Reed, par les Beachnuts, Reed au chant et à la guitare. DE FREEPORT À PICKWICK, EN PASSANT PAR SYRACUSE 25 Job:01329 Title: Velvet Underground (MBI) Job:01329 Title: Velvet Underground (MBI) Page24 Page25 Les Primitives en tournée, 1965. De gauche à droite : Tony Conrad, Lou Reed, le directeur des disques Pickwick, Walter de Maria et John Cale. John Cale entame une longue collaboration avec Leonard Bernstein et intègre le conservatoire du l’Orchestre des jeunes Gallois en tant qu’altiste. Certains Berkshire à Tanglewood, dans l’État du Massachusetts, de ceux qui l’entendirent se souviennent d’un jeune pro- qui lui permet de s’échapper presque définitivement dige. C’est pourtant pour réaliser le rêve de sa mère qu’il du Pays de Galles et de se rapprocher de Manhattan. s’inscrit au collège Goldsmith des professeurs de l’univer- Il exploite les divers talents réunis à Tanglewood, se sité de Londres à l’automne 1960. rapprochant d’un autre géant avant-gardiste de l’époque, Finalement, les années universitaires de John Cale Yannis Xenakis. Il aura un jour sa photo dans le New scellent son destin, qui penchait depuis toujours vers York Times lorsqu’il participe en compagnie de plusieurs la musique, car, tout comme Reed avait rencontré autres pianistes à la performance musicale épique, plus Schwartz, le jeune Gallois fait la connaissance d’un men- de dix-huit heures sur scène, de Vexations, de John Cage tor : l’intellectuel extrémiste Cornelius Cardew, qui le met en septembre 1963. Il se lie également à cette époque en contact avec le mouvement anti-art anti-commerce avec le Théâtre de la musique éternelle, de Young, dans de l’art Fluxus. Le jeune altiste est fasciné par le travail lequel évoluent Terry Riley et Tony Conrad.
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