Lou Reed succumbed to liver disease at his home in Long Island, New York, according to the late rocker's doctor. The former Velvet Underground frontman died on Sunday (27Oct13) after battling poor health for months.
Dr. Charles Miller, who performed a liver transplant on Reed at the Cleveland Clinic in April (13), tells the New York Times that the rocker returned to Ohio last week (bes21Oct13) for further treatment.
The medic told Reed his condition could no longer be treated, and the singer/songwriter opted to return to the home he shared with his wife Laurie Anderson.
The doctor says, "We all agreed that we did everything we could."
Tributes from the music world have been pouring in for Reed since news of his death was released. Blondie stars Debbie Harry and Chris Stein and Talking Heads frontman David Byrne added their thoughts about the rock star in statements on Monday (28Oct13).
Harry wrote, "I'm so sad that he's gone but his hypnotic voice telling a story of a Perfect Day, or the devil let loose in White Light/White Heat will live forever."
Her bandmate Stein added, "Lou was one of a handful of originals. I don't think that the conditions that created him will again even be approximated, let alone duplicated."
And Byrne stated, "His work and that of the Velvets was a big reason I moved to NY and I don't think I'm alone there. We wanted to be in a city that nurtured and fed that kind of talent."
Blondie stars Debbie Harry and Chris Stein have added their names to the long list of celebrities paying tribute to the late Lou Reed, who died on Sunday (27Oct13) at the age of 71. The punk icons have recalled magical moments with the former Velvet Underground frontman in statements released on Monday (28Oct13).
Harry remembers, "The first time I saw the Velvet Underground with Lou Reed it was in the 1960s at a place on the Lower East Side (of New York) called The Balloon Farm. That day I became a lifelong devotee of the iconoclastic sound and style of Lou and the Velvets.
"I'm so sad that he's gone but his hypnotic voice telling a story of a Perfect Day, or the devil let loose in White Light/White Heat will live forever."
Her bandmate Stein adds, "I had many encounters with Lou over the years and he was always charming and polite. I just never ran into his infamous dark side... Lou was one of a handful of originals. I don't think that the conditions that created him will again even be approximated, let alone duplicated."
And Stein recalls a really amazing night when his band was asked to open for the Velvet Underground: "When I was 17 years old in 1967, my friends and I were fascinated by the Velvets' first amazing album. A close friend of mine worked for (Andy) Warhol. One night he arrived at my house in Brooklyn and told my friends and I that the band who was supposed to open for the Velvets in NYC had cancelled and would we like to replace them.
"We got on the subway with our guitars and went to a venue on the Upper West Side, called the Gymnasium. Maureen Tucker let us use her drums; turn them right side up even and we used the Velvets' amps. We played our little blues rock set and at the end someone came over and said, 'Oh, Andy thought you were terrific'.
" There were maybe 30 people there. The Velvets came on and were just powerful. They used the echo-y acoustics of the place to their advantage. This was a moment that shaped my musical life and I tell the story frequently."
Other tributes have poured in since the news of Reed's death broke, including notes, statements and tweets from the likes of his friend and VU bandmate John Cale, The Who, the Pixies, Patrick Carney, Morrissey, Ryan Adams, Nikki Sixx, Steven Tyler and Cyndi Lauper, among others.
And Talking Heads frontman David Byrne offered up his thoughts on Monday in a statement that reads: "No surprise I was a big fan, and his music, with and without the Velvets, was a big influence on myself and Talking Heads. He came to see us at CBGB (in New York) numerous times, and I remember three of us going to visit him at his Upper East Side apartment after one of our very early gigs there.
"I kept in touch with Lou over the years. We'd run into one another at concerts or at various NY cultural events and benefits... More recently I'd see Lou and (wife) Laurie (Anderson) socially - we'd join mutual friends for dinner sometimes and at concerts. He and Laurie never stopped checking out emerging artists, bands and all sorts of performances.
"His work and that of the Velvets was a big reason I moved to NY and I don't think I'm alone there. We wanted to be in a city that nurtured and fed that kind of talent."
Last year director Garry Marshall hit upon a devilishly canny approach to the romantic comedy. A more polished refinement of Hal Needham’s experimental Cannonball Run method it called for assembling a gaggle of famous faces from across the demographic spectrum and pairing them with a shallow day-in-the-life narrative packed with gobs of gooey sentiment. A cynical strategy to be sure but one that paid handsome dividends: Valentine’s Day earned over $56 million in its opening weekend surpassing even the rosiest of forecasts. Buoyed by the success Marshall and his screenwriter Katherine Fugate hastily retreated to the bowels of Hades to apply their lucrative formula to another holiday historically steeped in romantic significance and New Year’s Eve was born.
Set in Manhattan on the last day of the year New Year’s Eve crams together a dozen or so canned scenarios into one bloated barely coherent mass of cliches. As before Marshall’s recruited an impressive ensemble of minions to do his unholy bidding including Oscar winners Hilary Swank Halle Berry and Robert De Niro the latter luxuriating in a role that didn’t require him to get out of bed. High School Musical’s Zac Efron is paired up with ‘80s icon Michelle Pfeiffer – giving teenage girls and their fathers something to bond over – while Glee’s Lea Michele meets cute with a pajama-clad Ashton Kutcher. There’s Katherine Heigl in a familiar jilted-fiance role Sarah Jessica Parker as a fretful single mom and Chris “Ludacris” Bridges as the most laid-back cop in New York. Sofia Vergara and Hector Elizondo mine for cheap laughs with thick accents – his fake and hers real – and Jessica Biel and Josh Duhamel deftly mix beauty with blandness. Fans of awful music will delight in the sounds of Jon Bon Jovi straining against type to play a relevant pop musician.
The task of interweaving the various storylines is too great for Marshall and New Year’s Eve bears the distinct scent and stain of an editing-room bloodbath with plot holes so gaping that not even the brightest of celebrity smiles can obscure them. But that’s not the point – it never was. You should know better than to expect logic from a film that portrays 24-year-old Efron and 46-year-old Parker as brother-and-sister without bothering to explain how such an apparent scientific miracle might have come to pass. Marshall wagers that by the time the ball drops and the film’s last melodramatic sequence has ended prior transgressions will be absolved and moviegoers will be content to bask in New Year's Eve's artificial glow. The gambit worked for Valentine's Day; this time he may not be so fortunate.