John Lurie
Autor von The History of Bones: A Memoir
Über den Autor
Bildnachweis: wikimedia.org
Werke von John Lurie
Stranger Than Paradise and The Resurrection of Albert Ayler (Music From the Original Scores) (1995) 3 Exemplare
Excess Baggage: Original Music by John Lurie 1 Exemplar
Men in Orbit 1 Exemplar
[No title] 1 Exemplar
Fishing With John 2 1 Exemplar
Fishing With John 3 1 Exemplar
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Permanent Vacation [1980 film] — Actor — 8 Exemplare
Getagged
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- Geburtstag
- 1952-12-14
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- male
- Berufe
- actor
painter
musician
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Bull Tongue (1)
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I’d guess that the most used adjective in conjunction with Lurie is “cool”. At this point its become an overused and practically meaningless word, but its seems apt to say that this dude is the archetype of “cool” as it originally meant. He is cool in a way that Kareem Abdul Jabbar is tall; to us normal folks its hard to imagine what it would be like to live your life with such a god given gift. As Lurie described countless instances of random sex with hot women or multi day drug binges, I quickly realized that in order to make it in his world, one had to be gifted in someway to put up with all of it for so long, living under conditions that for all their hedonistic appeal would break most people into many tiny pieces. Props to Mr Lurie for sticking to his creative convictions and literally just surviving this long. The irony of his life is that for some one so talented and intensely charismatic, some one who the idea of “celebrity” seemed to be made for, he was so fucked over by so many people in the industry. Its a shame that so much of his energy over the years was spent on struggling with the forces that constitute the creative business, sheerly (at least according to him) due to his inability/unwillingness to play the game. Disturbing too, is the implication posed by the inverse: most, if not all, of the successful creative figures, artists we all know and love, were successful in large part due to their ability to manipulate, kiss ass, and sell their work.
My one criticism of the book might sound strange for a book of almost 500 pages: it wasn’t long enough. The story ends almost in medias res with a trip to Africa. Nothing about how he was able to reconstitute his band and make the final (and best) Lounge Lizards album, nothing about his subsequent decision to withdrawal from the public eye, nothing about his dedication to painting as shown on his recent TV show. Lurie might have thought his struggles with his health in recent years might now be very interesting as compared to the rock and roll life style he was living in the 80s and 90s, but to end the book right before what I can only assume was one of the most difficult times in his life seems to leave it unfinished. In light of the fact that Lurie also includes nothing of the situation detailed in. New Yorker piece about him that came about ten years ago, a piece reverenced with characteristic venom several times in the book, it may be that Lurie felt like this stuff, ironically, hit too close to home. Of course I respect that sentiment. But leaving out his later years I think strips the book of what could be some of its power.… (mehr)