Idol thoughts: What links the Velvet Underground and the Beatles?
Regular readers will know that I love music and that two of my favourite bands include the Beatles and the Velvet Underground (both of who I have written blogs about including the VU’s lead singer Lou Reed, as well as blogs here, here, and here). Many would argue that the two bands couldn’t have been further apart musically especially given the Velvet Underground’s reputation as an ‘extreme’ band. However, I thought I would try and gather stories, anecdotes, and make my own observations on where the music and lives of members of the two bands connected in some way. Most of you reading this will know the four members of the Beatles (John Lennon, Paul McCartney, George Harrison, and Ringo Starr) but some of you may not know the original Velvet Underground members (Lou Reed, John Cale, Sterling Morrison, and Moe Tucker, plus Nico as vocalist on three songs on their first LP). These are presented in no particular order although towards the end of the list, the associations become more tenuous.
- Both bands released their seminal LPs in 1967 (Sgt. Pepper’s Lonely Hearts Club Band by the Beatles and Velvet Underground and Nico by the Velvet Underground). Both of the covers were designed by ‘pop artists’ (Peter Blake and Andy Warhol, the latter being VU’s manager at the time) and both are regarded as iconic LP cover art. The Velvet Underground were in the minority who didn’t like Sgt. Pepper and John Cale dismissed the LP as a “theatrical statement”. Lou Reed went even further and was quoted as saying “I never liked The Beatles. I thought they were garbage”.
- In 1993, Richard Witts (who before being an academic was the lead singer in one of my favourite 1980s band The Passage, and who I wrote about in a previous blog), published a biography about Velvet Underground vocalist Nico (Nico: The Life & Lies of an Icon). Witts claimed that in 1967 (May 19), Nico attended one of Beatles’ manager Brian Epstein’s private parties where he previewed the Pepper for the British media. Nico said in Witts’ book that: “There is a song I liked on Sgt. Pepper, called ‘A Day in the Life. It has a beautiful song and then this strange sound like John Cale would make (he told me it was an orchestra, actually) and then this stupid little pop song that spoils everything so far. I told this to Paul [McCartney], and I made a mistake, because the beautiful song was written by John Lennon and the stupid song was written by Paul. It can be embarrassing when you speak the truth.” Witts book also claimed that Nico briefly stayed with Paul McCartney at his London home during this particular May visit.
- In 1968, both the Beatles and the Velvet Underground released eponymous LPs (i.e., The Beatles by the Beatles and The Velvet Underground by the Velvet Underground). The eponymous Beatles LP is usually referred to as the ‘White Album’ and the eponymous Velvet Underground LP is sometimes referred to as the ‘Grey Album’. The other LP that the Velvet Underground released in 1968 (i.e., White Light/White Heat) was an all-black cover apart from the name of the group and the album title in white whereas the Beatles eponymous album was completely white apart from the name of the album in black). This is sometimes refereed to ‘The Black Album’.
- According to a number of Lou Reed’s biographers, the Beatles’ manager Brian Epstein really liked the Velvet Underground’s debut LP and (like David Bowie) was given a promo copy before it had actually been released. Epstein was approached by Steve Sesnick (the Velvet Underground’s manager after Andy Warhol) who contacted him hoping to get a deal for Velvet Underground songs with Epstein’s publishing company. It has also been claimed that Epstein was setting up a European tour for the Velvet Underground but Epstein died just before the contracts were signed (in fact Epstein died on my first birthday, August 27, 1967). According to Richie Unterberger (author of the excellent book White Light, White Heat: The Velvet Underground Day-By-Day), Reed actually met Epstein: “In a semicomic incident, Lou Reed himself met Brian Epstein around spring 1967 when, at publicist Danny Fields’s instigation, Reed finagled a cab ride with the Beatles manager in New York in the hopes that some interest in the VU’s affairs might be ignited. Evidently nothing came of it, however, other than Epstein sharing a joint with Reed and telling Lou how much he liked the banana album”.
- Lou Reed was a long-term client/patient of German (but New York-based) Dr. Robert Freymann. Freymann (also known as ‘Dr. Feelgood’) was the subject of the 1966 Beatles song ‘Dr. Robert’ on their Revolver.
- Both bands have individuals that are often claimed to be the ‘fifth member’. There are the ‘fifth Beatles’ (George Martin, Brian Epstein, Mal Evans, Billy Preston) and the ‘fifth VU member’ (Nico, Billy Yule, Andy Warhol).
- Anthony DeCurtis (author of the 2017 biography Lou Reed: A Life) speculates that Lou Reed’s song ‘The Day John Kennedy Died’ includes lyrics that are conflated with Reed’s memories of the day John Lennon died. More specifically, Reed wrote that he heard about Kennedy’s death while watching an American football match but there was no game on that day (12.30pm on November 22, 1963). However, on the day John Lennon died, sports broadcaster Howard Cosell announced that Lennon had been shot dead during his evening TV programme Monday Night Football.
- Lou Reed’s 1980 LP Growing Up In Public was recorded in Monserrat at Beatles’ producer George Martin’s studio.
- The Velvet Underground’s first manager, the rock journalist Al Aronowitz, was the man who first introduced the Beatles to Bob Dylan on August 28, 1964 (and George Harrison became Dylan’s life-long friend and were both in the Traveling Wilburys).
- Both ‘leaders’ of the Beatles and Velvet Underground wrote songs about heroin use from a personal perspective (‘Cold Turkey’ by Lennon and ‘Heroin’ by Reed). Other members of both bands experienced alcoholism (Ringo Starr and John Cale), and almost all members of both bands dabbled in various drug use (some very heavily) in the 1960s and 1970s.
- Lou Reed and John Lennon have both collaborated with David Bowie. Bowie produced Reed’s album ‘Transformer‘, sang on the track ‘Hop Frog’ (on The Raven LP), and and sang live on stage together in 1972 and 1997 (at Bowie’s 50th birthday concert at Madison Square Garden). Bowie co-wrote his No.1 US hit ‘Fame‘ with Lennon at the end of the Young Americans LP sessions (and in a previous blog, I looked at other associations between Bowie and the Beatles). John Cale also collaborated on two songs with Bowie (‘Velvet Couch’ and ‘Piano-la’) but these were never officially released and are only found on bootlegs).
- In the song ‘Rooftop Garden’ (the song that closes Reed’s Legendary Hearts LP), Reed used the line ‘Sitting in my rooftop garden, waiting for the sun’ in which he swapped the word ‘English’ for ‘rooftop’ from the line in ‘I Am The Walrus’.
- Both Lou Reed and Ringo Starr appeared as guests on the 1985 anti-apartheid protest song ‘Sun City’ single and accompanying video put together by Steven Van Zandt. Reed and Starr were also both inducted into the US ‘Rock ‘n’ Roll Hall of Fame’ in 2015.
- In 2011, Lou Reed and Paul McCartney both appeared on the same tribute album (Rave On) to Buddy Holly. Reed sang ‘Peggy Sue‘ and McCartney sang ‘It’s So Easy‘ (and McCartney earned money from both as he owns Holly’s back catalogue).
- Both Lou Reed and George Harrison have been heavily influenced in their lives by various aspects of Buddhism.
- Both John Lennon and Lou Reed spent the last decade of their lives living in New York (although Reed never lived in anywhere but New York) and both released albums with New York in the title (Some Time in New York City by Lennon and New York by Reed).
Dr. Mark Griffiths, Professor of Behavioural Addictions, International Gaming Research Unit, Nottingham Trent University, Nottingham, UK
Bockris, V. & Malanga, G. (1995). Up-tight – The Velvet Underground Story. London: Omnibus Press.
DeCurtis, A. (2017). Lou Reed: A Life. London: John Murray.
Davies, H. (2009). The Beatles: The Authorised Biography. London: Ebury.
Doggett, P. (1991). Lou Reed – Growing Up in Public. London: Omnibus Press.
Henry, T. (1989), Break All Rules! Punk Rock and the Making of a Style, Ann Arbour MI: UMI Research Press.
Hare, R. D., & Vertommen, H. (2003). The Hare Psychopathy Checklist-Revised. Multi-Health Systems, Incorporated.
Heylin, C. (2005). All Yesterday’s Parties – The Velvet Underground In Print 1966-1971. Cambridge, MA: Da Capo Press.
Hogan, P. (2007). The Rough Guide To The Velvet Underground. London: Penguin.
Hogan, P. (2007). The Dead Straight Guide To The Velvet Underground. London: Red Planet.
Jovanovich, R. (2010). The Velvet Underground – Peeled. Aurum Press.
Kostek, M.C. (1992). The Velvet Underground Handbook . London: Black Spring Press.
Lewisohn, M. (1990). The Complete Beatles Chronicle. London: Harmony Books.
McNeil, Legs; McCain, G. (1996). Please Kill Me: The Uncensored Oral History of Punk. London: Grove Press.
Muggleton, D. & Weinzierl, R. (2003). The Post-Subcultures Reader. Oxford: Berg.
Norman, P. (2011). Shout! the Beatles in their generation. New York: Simon and Schuster.
Reed, L. (1992). Between Thought and Expression. London: Penguin Books.
Unterberger, R. (2011). White Light, White Heat: The Velvet Underground Day-By-Day. London: Edition Olms.
Wall, M. (2013). Lou Reed: The Life. Croydon: Orion Books.
Witts, R. (1993). Nico: The Life & Lies of an Icon. London: Virgin Books.
Cynical psychology: The psychology of hoaxing
Earlier this week, I appeared on BBC radio talking about the psychology of hoaxing after someone had made hoax calls to the police about a bomb being on Nottingham school premises. I have to admit that I’m no expert on the psychology of hoaxing but I’ve always had a personal interest in hoaxes especially those in science (such a the Piltdown Man ‘missing link’ hoax), cryptozoology (such as Bigfoot, the Abominable Snowman, the Loch Ness Monster), parapsychology (alien abductions, flying saucers, etc.), art hoaxes (such as the Nat Tate scandal, a fake biography written by William Boyd and given credence by US writer Gore Vidal, Picasso’s biographer John Richardson, and David Bowie), and literary hoaxes (such as the German magazine Stern publishing Hitler’s diaries before they realised they were fake).
I also grew up in the late 1970s and 1980s enjoying television shows like Candid Camera and Game For A Laugh where hoaxing was the shows’ main ingredient in the name of entertainment. This has carried on into today’s light entertainment strand such as the hoaxes with celebrities on Ant and Dec’s Saturday Night Takeaway. I’m not claiming that such shows make hoaxing socially acceptable or socially condoned but they probably help in softening individuals’ attitudes towards hoaxing.
The radio show I was interviewed on wanted to know about why people hoax and the underlying psychology of a hoaxer. Before looking at any articles on what motivates a hoaxer I made a list of all the reasons I could think of what might cause people to hoax. My preliminary list included hoaxing (i) for amusement purposes, (ii) out of boredom, (iii) as an act of revenge, (iv) as a way to gain fame and/or notoriety in some way, (iv) to gain attention, such as faking illness [Munchausen’s Syndrome], (v) to demonstrate cleverness (or a perception of cleverness) to others around them, (vi) to disrupt the status quo (including terrorist and non-terrorist activity), and for political causes (such as claiming to be a victim of a racist hate crime).
After this (and in preparation for my radio interview) I went on Google Scholar and was surprised how little research had been done on the psychology of hoaxes (although there is plenty of research on more general areas such as the psychology of deception). One online article on hoaxes gave a different list of reasons as to why individuals would carry out hoaxes that was very different from my own speculations. The five reasons listed were to: (i) draw attention to their fraudulent skills, (ii) gain financial benefits through their deceit, (iii) “put their bait out and see who falls victim or target specific individuals to vilify or discredit, especially those who pose a threat (paranoia)”, (iv) feed people’s secret prejudices and beliefs, and (v) fool people “because it’s fun”.
Although there are many similar definitions as to what constitutes a hoax, I decided to use the Wikipedia definition as the basis for this article as it was more detailed than others that I read:
“A hoax is a deliberately fabricated falsehood made to masquerade as truth. It is distinguishable from errors in observation or judgment, or rumors, urban legends, pseudosciences, or April Fool’s Day events that are passed along in good faith by believers or as jokes”.
In his cunningly (or should that be ‘punningly’) titled recent book Hoax Springs Eternal: The Psychology of Cognitive Deception, the psychologist Peter Hancock highlighted six steps that characterise a truly successful hoax:
- “Identify a constituency – a person or group of people who, for reasons such as piety or patriotism, or greed, will truly care about your creation.
- Identify a particular dream which will make your hoax appeal to your constituency.
- Create an appealing but ‘under-specified’ hoax, with ambiguities.
- Have your creation discovered.
- Find at least one champion who will actively support your hoax.
- Make people care, either positively or negatively – the ambiguities encourage interest and debate.”
In a short (but interesting) online presentation, Chris Jones noted that hoaxers exploit human psychology in order to persuade us to do foolish things. More specifically, Jones asserted that hoaxes prey upon a number of human traits including good will, naivety, greed, fear and anxiety, and a deference to authority (such as your doctor, lawyer, your bank, etc.). This is supported by the computer hacker Kevin Mitnick who in his 2002 book The Art of Deception claims that human beings are the biggest threat to security and that human emotions such as willingness to help others, personal gain, trust, fear of getting reprimanded, and conformity are the primary reasons social engineering techniques (which include hoaxes) can be so successful.
In an article in The Independent, Rose Shepherd interviewed a police inspector (Glen Chalk) and a psychologist (Dr. Glenn Wilson) about individuals’ motives for hoaxes concerning information about crimes that had been committed. Chalk noted:
“People have various motives…Some people might be overly helpful. They could have some information, and then embellish it. Others might be outright malicious…[These] are probably fantasists, anxious to help or to associate themselves with events…A lot of callers are attention-seekers”.
Dr. Wilson added that hoax callers enjoy “a sense of potency” and:
“They may be people who feel they make no impact on the world, and this is one way they can do that, rather as fire-setters start fires then stand back to admire their handiwork. They see people running around and think `I did that!’ For people who feel they have no power, it is the capacity to influence events. There may be an element of exhibitionism, of getting into the public eye. For the time on the phone, at least, everybody is terribly interested in what they’ve got to say. Anonymity spoils things, but they might deliberately then get caught, and might even become famous as a result, in a rather lesser way than those who kill a celebrity: they get fame in a very backhanded way. [Not all nuisance callers are knowing hoaxers: some probably, genuinely believe they have something to offer]. I suppose they may think they are being helpful…perhaps telling police where a body might be found. They might really think they are psychic. They’re not trying to be obstructive; they just want to get in on the act.”
The article also made reference to one of the most notorious hoax calls of all time, the infamous “Jack” who pretended to by the Yorkshire Ripper and ended up subverting the police hunt for the real female serial killer. Although many believed that “Jack” should have been pursued, Inspector Chalk concluded that there was “not a lot of point in prosecuting the sad fantasists”.
The Wikipedia entry on hoaxes provided an interesting ‘typology’ of hoaxes that could certainly be used in further academic research. The list included:
- Socially appropriate hoaxes (with April Fools’ Day being the most noteworthy example)
- Religious hoaxes (such as Maria Monk’s 1836 best-selling book Awful Disclosures of Maria Monk, or, The Hidden Secrets of a Nun’s Life in a Convent Exposed that claimed there was systematic sexual abuse of nuns by Catholic priests and that the priests murdered the resulting babies).
- Anthropological hoaxes (such as the fossilized skull and jaw remains of the Piltdown Man collected in 1912 and exposed as a forgery in 1953 as the lower jawbone of an orangutan with the skull of modern man).
- Hoaxes as scare tactics (such as those that appeal to individuals’ subjectively rational belief that the expected cost of not believing the hoax outweighs the expected cost of believing the hoax).
- Academic hoaxes (such as when Polish psychologist Tomasz Witkowski published a fake article in the psychology journal Charaktery)
- ‘Sting operation’ hoaxes that are used by law enforcement to catch criminals.
- Art hoaxes such as art done by chimpanzees and elephants that fooled many art critics.
- Internet hoaxes (such as the online videos claiming that iPods could be charged up with an onion and Gatorade).
- Computer virus hoaxes
Dr. Ross Anderson notes in his 2008 book Security Engineering that frauds and hoaxes have always happened, but that the Internet makes some hoaxes easier, “and lets others be repackaged in ways that may bypass our existing controls (be they personal intuitions, company procedures or even laws)”.
As a self-confessed music obsessive, my all-time favourite hoax was music magazine Rolling Stone’s 1969 invention of the debut album by the Masked Marauders, a ‘supergroup’ featuring Paul McCartney, John Lennon, Bob Dylan and Mick Jagger. As a 2014 article in Mental Floss recalled:
“Due to legal issues with their respective labels, the stars’ names wouldn’t appear on the album cover, but the review extolled the virtues of Dylan’s new ‘deep bass voice’ and the record’s 18-minute cover songs…The writer earnestly concluded, ‘It can truly be said that this album is more than a way of life; it is life.’ For anyone paying attention, the absurd details added up to a clear hoax. The man behind the gag, editor Greil Marcus, was fed up with the supergroup trend and figured that if he peppered his piece with enough fabrication, readers would pick up on the joke. They didn’t. After reading the review, fans were desperate to get their hands on the Masked Marauders album. Rather than fess up, Marcus dug in his heels and took his prank to the next level. He recruited an obscure San Francisco band to record a spoof album, then scored a distribution deal with Warner Bros. After a little radio promotion, the Masked Marauders’ self-titled debut sold 100,000 copies. For its part, Warner Bros. decided to let fans in on the joke after they bought the album. Each sleeve included the Rolling Stone review along with liner notes that read, ‘In a world of sham, the Masked Marauders, bless their hearts, are the genuine article’.”
It all goes to show that people will believe what they want to believe. I probably would have fallen for this hoax as well but I was only three years old at the time.
Dr. Mark Griffiths, Professor of Behavioural Addiction, International Gaming Research Unit, Nottingham Trent University, Nottingham, UK
Anderson, R. (2008). Security engineering (2nd edition). Chichester: Wiley.
Caterson, S. (2010). Towards a general theory of hoaxes [online]. Quadrant, 54, 70-74.
Daly, K. C. (2000). Internet hoaxes: Public regulation and private remedies. Located at: http://dash.harvard.edu/bitstream/handle/1/8965617/Daly,_Karen.html?sequence=2
Dunn, H. B., & Allen, C. A. (2005, March). Rumors, urban legends and Internet hoaxes. In Proceedings of the Annual Meeting of the Association of Collegiate Marketing Educators (p. 85)
Edward, G. (2010). Profiling hoaxers: The psychology of fame. Bigfoot Lunch Club, January 27. Located at: http://www.bigfootlunchclub.com/2010/01/profiling-hoaxers-psychology-of-fame.html
Hancock, Peter (2015). Hoax Springs Eternal: The Psychology of Cognitive Deception. (pp.182-195). Cambridge: Cambridge University Press.
Heyd, T. (2008). Email hoaxes: form, function, genre ecology (Vol. 174). John Benjamins Publishing
Hobart, M. (2013). My best friend’s brother’s cousin new this guy who…: Hoaxes, legends, warnings, and fisher’s narrative paradigm. Communication Teacher, 27(2), 90-93.
Hyman, R. (1989). The psychology of deception. Annual Review of Psychology, 40(1), 133-154.
Mitnick, K.D. (2002). The Art of Deception: Controlling the Human Element of Security. Indianapolis: Wiley.
Podhradsky, A., D’Ovidio, R., Engebretson, P., & Casey, C. (2013). Xbox 360 hoaxes, social engineering, and gamertag exploits. In System Sciences (HICSS), 2013 46th Hawaii International Conference (pp. 3239-3250). IEEE.
Raymond, A. K. (2014). The 14 greatest hoaxes of all time. Mental Floss, March 31. Located at: http://mentalfloss.com/article/49674/14-greatest-hoaxes-all-time
Shepherd, R. (1996). It starts with a hoax…It ends with havoc. The Independent, July 31. Located at: http://www.independent.co.uk/life-style/it-starts-with-a-hoax-it-ends-in-havoc-1307603.html