NEW YORK —
Reviewing Reed's 1989 topical album "New York," Village Voice critic Robert Christgau wrote that "the pleasure of the lyrics is mostly tone and delivery — plus the impulse they validate, their affirmation that you can write songs about this stuff. Protesting, elegizing, carping, waxing sarcastic, forcing jokes, stating facts, garbling what he just read in the Times, free-associating to doomsday, Lou carries on a New York conversation — all that's missing is a disquisition on real estate."
He was one of rock's archetypal tough guys, but he grew up middle class — an accountant's son raised on Long Island. Reed was born to be a suburban dropout. He hated school, loved rock 'n' roll, fought with his parents and attacked them in song for forcing him to undergo electroshock therapy as a supposed "cure" for being bisexual. "Families that live out in the suburbs often make each other cry," he later wrote.
His real break began in college. At Syracuse University, he studied under Schwartz, whom Reed would call the first "great man" he ever encountered. He credited Schwartz with making him want to become a writer and to express himself in the most concrete language possible. Reed honored his mentor in the song "My House," recounting how he connected with the spirit of the late, mad poet through a Ouija board. "Blazing stood the proud and regal name Delmore," he sang.
Reed moved to New York City after college and traveled in the pop and art worlds, working as a house songwriter at the low-budget Pickwick Records and putting in late hours in downtown clubs. One of his Pickwick songs, the dance parody "The Ostrich," was considered commercial enough to record. Fellow studio musicians included Cale, a Welsh-born viola player, with whom Reed soon performed in such makeshift groups as the Warlocks and the Primitives.