Kristen McMenamy, 1993 ph. Glen Luchford

Kaledo Art

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if i look back, i am lost

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Kristen McMenamy, 1993 ph. Glen Luchford

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Blixa Bargeld in Café Mitropa, West Berlin, Schöneberg, 1981
Foto: Esther Colton
Raf Simons | AW 2005-06 | History of my world
Lou Reed - Masonic Auditorium, Detroit, Michigan, April 26, 1978
“Fuckin’ Detroit — are you kidding me?!” That’s how Lou Reed greets the Motor City at the start of this show. The crowd loves it. But before we get to the show itself, let’s talk about fashion. We’ve seen a lot of Lou looks during our Summer of Lou trek so far. But his 1978 ensemble is something else. Suspenders, sleeveless t-shirt with his own face on it, transparent guitar, flares … it’s breathtaking! The suspenders in particular make him look more like a comedian than a rock star — which I suppose makes sense, considering that Take No Prisoners was recorded in ‘78.
Sartorial choices aside, this Detroit audience tape is a solid representation of a well-represented year for Lou. The “Everyman Band” is slick and sleazy, kind of a dirtbag version of the E-Street Band, lead guitars blasting, saxes honking, keys tinkling, backup singers cooing. Lou sounds more at ease and confident than he has in years (maybe it’s the suspenders!) and the new Street Hassle material is delivered with glee, alongside the now-expected warhorses. The set’s high-point comes during the intro to “Coney Island Baby,” where Lou croons a bit of the original doo wop “Coney Island Baby” by the Excellents, a hazy memory from way back in ‘62. Beeyootiful.
Despite his ribbing of Detroit at the start, Reed pays tribute to the city by bringing out hometown hero Mitch Ryder to sing a very loose “Rock and Roll” — Ryder was one of the first to cover a Lou composition and the songwriter seems to have really appreciated it. The show comes to a harrowing end with a soul-sleaze remake of “Heroin,” which feels roughly a million miles from the song’s beginnings. But it works somehow, with Lou delivering a powerful vocal, as his backup singers wail “Her-oooo-innnnnn” behind him … Things are getting weird in the late 70s. Onwards!
Lou Says (1978): I believe in glamour. You oughta stop the mind trip a little and get into the physical trip a little. If you think somebody who’s smart is good, you should see someone who’s smart and beautiful. Tom Waits? Why would I want to listen to him, he’s ugly and grubby. I don’t give a fuck if he’s good. It’s not Elvis Costello, where if you’re really smart you’ve got to look like a fuckin’ banker with fuckin’ glasses. People call him four eyes for a reason. How can you look at him and get off? When you go to the movies now, all the stars are ugly. Who cares about Dustin Hoffman? I want glamour.
Melitta Baumeister - Fall 2019 Ready-to-Wear

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Sora Choi and Clément Chabernaud by Willy Vanderperre for Document Journal No. 14, S/S 2019
paz nyc by darren ankenman
He Cong by Inez and Vinoodh for V Magazine - May 2020
Diane Arbus, Woman in Black Dress

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Aleksandre Akhalkatsishvili
“Haley” by @alexvnderblvck
Lanino Bernardino, St. John The Baptist in The Wilderness, undated
National Gallery of Scotland, Edinburgh
Photo by Peter Lindbergh for Vogue Italia, 1997

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Xiao Wen Ju by Jumbo Tsui for Harper’s Bazaar Hong Kong Magazine - February 2020