Welcome to Warhol’s world.
New York might be Lou Reed’s most politically active album, especially on tracks like “Halloween Parade,” which functions both as a dirge and call-to-action confronting societal torpidity.
Andy is standing in a far corner, examining reels of film. His assistants begin arranging floodlights, setting up the movie camera, waving light meters around. A chair is set down in front of the movie screen. Stephen Shore brings the word to Cass. “Pardon me, Cass. Andy would like you to sit in that chair.” […]