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With a string of upcoming Chicago dates scheduled for the EPI, and Reed out of commission for weeks, a plan was devised. For the Chicago shows, booked at Poor Richard’s from June 21st through the 26th, original VU percussionist Angus Mac Lise was recruited, and other alterations were made to make up for Reed’s absence.

Considering neither Lou nor Nico—who was out of the country—were present during subsequent rehearsals, things went really well.

This (understandably) proved to be an irksome bone of contention which meant Gluck had to ask, or go cap in hand, for any further monies.

Yet, if Gluck had wanted to be truly independent then it would have made far more sense to cut all ties with the family and establish a career by hard work and perseverance.

The money also enabled Gluck to be the person little Hannah Gluckstein had once dreamed of becoming.

Hair razor cut like a boy’s, a suit handmade by one of London’s finest tailors, and the adopting of the name “Gluck.” Gluck was particular about this new name.

“Lou was yellow in the face, he had a yellow pall and looked sickly—he always looked sickly.

Lou, however, still angry about Mac Lise’s defection, was adamant about punishing Angus and maintaining his loyalty to Moe.

When Warhol, [EPI dancer and Warhol associate, Gerard] Malanga, and Mac Lise stopped by Beth Israel Hospital to inform Reed of the alterations in the lineup, Gerard could see that he was disturbed by it.

Back in the hospital, Lou’s paranoia was fed with catty gossip. Yet, Gluck’s parents indulged their daughter thinking this trifling passion for art was mere whimsy, a passing phase. Instead it proved to be three years that changed Gluck’s life and confirmed a startling talent and some deeply held ambitions. Together they eloped to Lamorna, Cornwall to an artists’ colony. This was not the kind of thing a good Jewish girl was supposed to do.

They blamed Craig as a “pernicious influence.” Yet still, when their wayward daughter reached the age of 21, Gluck’s father supplied a trust fund which ably supported the move to Cornwall, where Gluck bought a studio.

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