I stumbled upon Simon Doonan’s book Transformer: A Story of Glitter, Glam Rock, and Loving Lou Reed this past spring at the Book Table in Oak Park. The exotically slim volume detailed how Reed’s poppy, gender stretching tunes supplied a shot of freedom and joy into the arm of the burgeoning queer community of the early ’70s. The book emphasized that while the troubled, often violent Reed was probably not a role model in his personal life, his artistic vision was definitely revolutionary for many.
Furthering his lavender outreach, one of Lou’s muses for many years was a Trans woman named Rachel Humphries. Throughout their often-volatile relationship, Rachel figured, importantly, in Lou’s art. She was the featured illustration on the back cover of 1974’s Sally Can’t Dance and inspired multiple songs on 1976’s Coney Island Baby and 1978’s Street Hassle.
Naturally, as both rock and horror are filled with rebellious creativity, Reed’s music has been featured in a number of terror-based shows, as well. Sweet Jane was a significant force in the recent Fear Street series, a 3-film project that thrived, importantly, on a Sapphic pulse. Titles such as Fear the Walking Dead, Zombieland, Suck and Blade: Trinity have also been lifted up by the inclusion of some of his most popular tunes.
But for me, his creativity reaches its most nostalgic heights with 1989’s New York. This offering was my college age equivalent of Transformer, offering a suite of tunes that acknowledged the AIDS ridden, yet eternally magical LGBTQIA community as it stood then.
Unsurprisingly, almost 11 years after his death, Reed is still a guiding force for many – including a fictional serial killer. A poster of him appears, prominently, in the gothic lair of the titular Longlegs, this summer’s critically lauded tale of generational horror.
Until the next time, SWEET love and pink GRUE, Big Gay Horror Fan!
Big Gay Horror Fan 