Hey everyone sorry I am late been busy but here I am to give my thoughts on Weds show.. I cried like a big baby yes I know over Kat I felt bad for her though but in saying that she should of kept her mouth closed about my least favorite (Monica) person and wanting to vote her out.. I think things shifted and they were going to vote out Laura B that one night but did not.. Laura B Rupert's wife should of not done what she did as well.. I hope she gets back into the game but to be honest I hope two players come back and one goes ..
Well we shall see Vytas I think will be the next to go but who knows though I did think Weds show was good and next week shows will be even better from what I seen in previews which will be the merge and a player is returning so we shall see yes I know I said that already :)
Alright then hope you all have a great day or evening where ever in the world you may live and be kind to one another in your life..
Kimberly
TV Reality Mom
Lou Reed, a massively influential songwriter and
guitarist who helped shape nearly fifty years of rock music, died today.
The cause of his death has not yet been released, but Reed underwent a liver transplant in May.
Look back at Lou Reed's remarkable career in photos
With the Velvet Underground in the late Sixties, Reed fused
street-level urgency with elements of European avant-garde music,
marrying beauty and noise, while bringing a whole new lyrical honesty to
rock & roll poetry. As a restlessly inventive solo artist, from the
Seventies into the 2010s, he was chameleonic, thorny and unpredictable,
challenging his fans at every turn. Glam, punk and alternative rock are
all unthinkable without his revelatory example. "One chord is fine," he
once said, alluding to his bare-bones guitar style. "Two chords are
pushing it. Three chords and you're into jazz."
Lewis Allan "Lou" Reed was born in Brooklyn, in 1942. A fan of
doo-wop and early rock & roll (he movingly inducted Dion into the
Rock and Roll Hall of Fame in 1989), Reed also took formative
inspiration during his studies at Syracuse University with the poet
Delmore Schwartz. After college, he worked as a staff songwriter for the
novelty label Pickwick Records (where he had a minor hit in 1964 with a
dance-song parody called "The Ostrich"). In the mid-Sixties, Reed
befriended Welsh musician John Cale, a classically trained violist who
had performed with groundbreaking minimalist composer La Monte Young.
Reed and Cale formed a band called the Primitives, then changed their
name to the Warlocks. After meeting guitarist Sterling Morrison and
drummer Maureen Tucker, they became the Velvet Underground. With a stark
sound and ominous look, the band caught the attention of Andy Warhol,
who incorporated the Velvets into his Exploding Plastic Inevitable.
"Andy would show his movies on us," Reed said. "We wore black so you
could see the movie. But we were all wearing black anyway."
"Produced" by Warhol and met with total commercial indifference when it was released in early 1967, VU’s debut The Velvet Underground & Nico stands as a landmark on par with the Beatles' Sgt. Pepper's Lonely Hearts Club Band and Bob Dylan's Blonde On Blonde.
Reed's matter-of-fact descriptions of New York’s bohemian demimonde,
rife with allusions to drugs and S&M, pushed beyond even the Rolling
Stones’ darkest moments, while the heavy doses of distortion and noise
for its own sake revolutionized rock guitar. The band’s three subsequent
albums – 1968’s even more corrosive sounding White Light/White Heat, 1969’s fragile, folk-toned The Velvet Underground and 1970’s Loaded,
which despite being recorded while he was leaving the group, contained
two Reed standards, “Rock & Roll” and “Sweet Jane,” were similarly
ignored. But they’d be embraced by future generations, cementing the
Velvet Underground’s status as the most influential American rock band
of all time.
Read Rolling Stone's 1989 Lou Reed cover story
After splitting with the Velvets in 1970, Reed traveled to England
and, in characteristically paradoxical fashion, recorded a solo debut
backed by members of the progressive-rock band Yes. But it was his next
album, 1972’s Transformer, produced by Reed-disciple David
Bowie, that pushed him beyond cult status into genuine rock stardom.
“Walk On the Wild Side,” a loving yet unsentimental evocation of
Warhol’s Factory scene, became a radio hit (despite its allusions to
oral sex) and “Satellite of Love” was covered by U2 and others. Reed
spent the Seventies defying expectations almost as a kind of sport.
1973’s Berlin was brutal literary bombast while 1974’s Sally Can’t Dance had soul horns and flashy guitar. In 1975 he released Metal Machine Music, a seething all-noise experiment his label RCA marketed as a avant-garde classic music, while 1978’s banter-heavy live album Take No Prisoners was
a kind of comedy record in which Reed went on wild tangents and savaged
rock critics by name (“Lou sure is adept at figuring out new ways to
shit on people,” one of those critics, Robert Christgau, wrote at the
time). Explaining his less-than-accommodating career trajectory, Reed
told journalist Lester Bangs, “My bullshit is worth more than other
people’s diamonds.”
Reed’s ambiguous sexual persona and excessive drug use throughout the
Seventies was the stuff of underground rock myth. But in the Eighties,
he began to mellow. He married Sylvia Morales and opened a window into
his new married life on 1982’s excellent The Blue Mask, his best work since Transformer. His 1984 album New Sensations took a more commercial turn and 1989’s New York
ended the decade with a set of funny, politically cutting songs that
received universal critical praise. In 1991, he collaborated with Cale
on Songs For Drella, a tribute to Warhol. Three years later, the Velvet Underground reunited for a series of successful European gigs.
Reed and Morales divorced in the early Nineties. Within a few years,
Reed began a relationship with musician-performance artist Laurie
Anderson. The two became an inseparable New York fixture, collaborating
and performing live together, while also engaging in civic and
environmental activism. They were married in 2008.
Reed continued to follow his own idiosyncratic artistic impulses
throughout the ‘00s. The once-decadent rocker became an avid student of
T'ai Chi, even bringing his instructor onstage during concerts in 2003.
In 2005 he released a double CD called The Raven, based on the work of Edgar Allen Poe. In 2007, he released an ambient album titled Hudson River Wind Meditations. Reed returned to mainstream rock with 2011’s Lulu, a collaboration with Metallica.
“All through this, I’ve always thought that if you thought of all of
it as a book then you have the Great American Novel, every record as a
chapter,” he told Rolling Stone in 1987. “They’re all in
chronological order. You take the whole thing, stack it and listen to it
in order, there’s my Great American Novel.”
