Lee Ranaldo

  • Tony Conrad

    BEFORE I KNEW Tony Conrad, I knew his work: I was introduced to his films by my professor Ken Jacobs at Harpur College in Binghamton, New York, in 1975. The Flicker, 1966, was a crowning achievement of the kind of structural filmmaking that was being explored in American avant-garde film. In spite of its austerity, it was also wild and psychedelic in concept—the stroboscopic visual effects that the sequences of black-and-white frames created during projection seemed magical. At that time, I had no idea about his history with La Monte Young or, later, John Cale and Lou Reed—collaborations