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The History of Rock Music: 1970-1975
The History of Rock Music: 1970-1975 History of Rock Music | 1955-66 | 1967-69 | 1970-75 | 1976-89 | The early 1990s | The late 1990s | The 2000s | Alpha index Musicians of 1955-66 | 1967-69 | 1970-76 | 1977-89 | 1990s in the US | 1990s outside the US | 2000s Back to the main Music page Inquire about purchasing the book (Copyright © 2009 Piero Scaruffi) Decadence 1969-76 (These are excerpts from my book "A History of Rock and Dance Music") As usual, the "dark age" of the early 1970s, mainly characterized by a general re-alignment to the diktat of mainstream pop music, was breeding the symptoms of a new musical revolution. In 1971 Johnny Thunders formed the New York Dolls, a band of transvestites, and John Cale (of the Velvet Underground's fame) recorded Jonathan Richman's Modern Lovers, while Alice Cooper went on stage with his "horror shock" show. In London, Malcom McLaren opened a boutique that became a center for the non-conformist youth. The following year, 1972, was the year of David Bowie's glam-rock, but, more importantly, Tom Verlaine and Richard Hell formed the Neon Boys, while Big Star coined power-pop. Finally, unbeknownst to the masses, in august 1974 a new band debuted at the CBGB's in New York: the Ramones. The future was brewing, no matter how flat and bland the present looked. Decadence-rock 1969-75 TM, ®, Copyright © 2005 Piero Scaruffi All rights reserved. Rock'n'roll had always had an element of decadence, amorality and obscenity. In the 1950s it caused its collapse and quasi-extinction. -
PDF (V. 86:21, March 15, 1985)
COV\q(~UI~6)\SJ CCfl..'\~ THE ro.:h!\lrl-r0\1\S I K~r-lo.\. CALIFORNIA ::red \. VOLUME 86 PASADENA, CALIFORNIA / FRIDAY 15 MARCH 1985 NUMBER ~1 Admiral Gayler Speaks On The Way Out by Diana Foss destroyed just as easily by a gravi- Last Thursday, the Caltech ty bomb dropped from a plane as Distinguished Speakers Fund, the by a MIRVed ICBM. In fact, Caltech Y, and the Caltech World technology often has a highly Affairs Forum jointly sponsored a detrimental effect. Improved ac talk by Admiral Noel Gayler entitl- curacy of nuclear missles has led ed, "The Way Out: A General to the ability to target silos with Nuclear Settlement." The talk, pinpoint precision. This leads to the which was given in Baxter Lecture dangerous philosophy of "use Hall, drew about sixty people, them or lose them," with such mainly staff, faculty, and graduate manifestations as preemptive students, with a sprinkling of strikes and launch-on-warning undergraduates. President systems. Goldberger introduced Admiral While Gayler views as laudable 15' Gayler, who is a former Com- Reagan's attempts to find a more :tl mander in Chiefofthe Pacific Fleet "humane" policy than Mutually ~ and a former director of the Na- Assured Detruction, he sees the ~ tional Security Agency. Space Defense Initiative as a .s Gayler began his talk by em- fruitless attempt to use technology ~ phasizing the. threat of the huge to work impossible miracles, part -a nuclear stockpiles of the two super- of a general trend to make science I powers. The numbers themselves, an omnipotent god. -
Album Review of the Velvet Underground & Nico
Album Review of The Velvet Underground & Nico – Artifacts Journal - University of Mi... Page 1 of 4 University of Missouri A Journal of Undergraduate Writing Album Review of The Velvet Underground & Nico Sam Jennings Sam Jennings started attending the University of Missouri in 2012 and is currently pursuing a bachelor of music performance in guitar. He writes in his spare time and fronts a local Columbia rock band, “The Rollups”. He is thankful to Dr. Michael J. Budds for encouraging him and his submission to this journal. He wrote this paper as one part of a multi-paper project in Historical Studies in Jazz and Popular Music, taught by Dr. Michael J. Budds. They were expected to choose a musician (before 1970) and review a full-length LP by that artist; he felt particularly inclined to make the case for a set of truly bizarre, radical artists who have been historically misunderstood and misaligned. When The Velvet Underground & Nico was released in March of 1967, it was to a public that hardly cared and a critical establishment that could not make heads or tails of it. Its sales were dismal, due in part to legal troubles, and MGM’s bungled attempts at promoting the record. The Velvet Underground’s seedy, druggy music defiantly reflected an urban attitude even closer to the beatniks than Bob Dylan and even more devoted to rock n’ roll primitivism than The Rolling Stones or The Who. Nevertheless, the recording had no place in a landscape soon to be dominated by San Francisco psychedelics and high- concept British pop. -
In the Place of the Past: John Cale's Dark Days – Dyddiau Du
In the Place of the Past: John Cale’s Dark Days – Dyddiau Du Jeff Malpas You’re working in the dark, or I am anyway… – John Cale It begins with water. The slow drip from a hose into a bath that will later appear in the final movement of the work as that in which Cale himself is immersed, gasping for breath, his struggle for air, amidst repeated immersions, interrupted by noisy bursts of broken transmission. Water and memory are bound together – if not in any simple logic of physical connection, then in the deeper logic of the unconscious, the logic of symbol, of metaphor, of magic and of mystery. In Hades, it is two rivers, Lethe and Mnemosyne, whose waters have the power to wipe away one’s memories or to restore and sustain them, and it is also water that, in many mythologies, including that of Celtic Wales, marks off the realm of the dead from that of the living. If memory is tied to water, then it is also water that marks the boundary between realms – not only the living and the dead, but the present and the past, the known and the unknown, the mundane and the magical. Dark Days begins with water, not only as an ominous allusion to the torturous scene with which the work ends, but perhaps also as a mark of the entry into the work as an entry into a strange and different realm – even though it is also a realm rooted in the everyday, the ordinary, the present. Yet although it may indeed be said to involve a movement ‘between’ realms, the movement that occurs here is not a movement that takes us away from the embodied materiality of the world around us, but instead returns us to that world. -
Nico Chelsea Girl Mp3, Flac, Wma
Nico Chelsea Girl mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz / Rock Album: Chelsea Girl Country: UK Released: 2004 Style: Folk Rock, Avantgarde MP3 version RAR size: 1680 mb FLAC version RAR size: 1837 mb WMA version RAR size: 1208 mb Rating: 4.4 Votes: 549 Other Formats: RA AU AC3 AHX MP4 MMF MP3 Tracklist Hide Credits The Fairest Of The Seasons 1 4:06 Written-By – Gregory Copeland*, Jackson Browne These Days 2 3:30 Written-By – Jackson Browne Little Sister 3 4:22 Written-By – John Cale, Lou Reed Winter Song 4 3:17 Written-By – John Cale It Was A Pleasure Then 5 8:02 Written-By – John Cale, Lou Reed, Nico Chelsea Girls 6 7:22 Written-By – Lou Reed, Sterling Morrison I'll Keep It With Mine 7 3:17 Written-By – Bob Dylan Somewhere There's A Feather 8 2:16 Written-By – Jackson Browne Wrap Your Troubles In Dreams 9 5:07 Written-By – Lou Reed Eulogy To Lenny Bruce 10 3:45 Written-By – Tim Hardin Companies, etc. Mastered At – PolyGram Studios Copyright (c) – PolyGram Records, Inc. Manufactured By – PolyGram Records, Inc. Marketed By – PolyGram Records, Inc. Credits Arranged By, Conductor – Larry Fallon Engineer [Director Of Engineering] – Val Valentin Engineer [Recording & Remix Engineer] – Gary Kellgren Liner Notes – Pat Patterson Mastered By [Mastered For Compact Disc By] – Thomas Ruff* Photography By [Liner Photo] – Paul Morrissey Producer – Tom Wilson Notes Mastered for compact disc at PolyGram Studios. © 1967 PolyGram Records, Inc. Manufactured and Marketed by PolyGram Records, Inc. Made in U.S.A. -
Astral Weeks? – It’S Not Just Me, …
ASTRAL WEEKS? – IT’S NOT JUST ME, … THE RECORDING Van: “The entire LP was recorded in two eight-hour sessions, plus two overdub sessions. That was the whole album.” (Yorke p.51). Astral Weeks was recorded in just two sessions (48 hours) at Century Sound Studios, on West 52nd Street in New York (25 September & 15 October 1968), using NY session (jazz) musicians: Richard Davis (bass), Connie Kay (drums) from the Modern Jazz Quartet, Warren Smith Jr. (percussionist/vibraphone), John Payne (flute/soprano saxophone), and Jay Berliner (guitar), chosen by Lew Merenstein (Producer) in consultation with Richard Davis (bassist). “Merenstein received a call from Warner Bros: ‘We’ve signed Van Morrison, go up to Boston, see what he’s got’. … Morrison played Merenstein his song Astral Weeks: ‘Thirty seconds into it my whole being was vibrating … I had to be the producer to do it. Not that producer, not that producer, regardless of their accomplishments. It had to be Richard (Davis), not that bass player, I don’t want to sound existential, but there was Van, and that was it; there was no band, there were no arrangements, the direction was him singing and playing – that was where I followed. That’s why it came out like it did. To this day, it gives me pain to hear it; pain is the wrong word – I’m so moved by it.” (Marcus p.52-8). Lew Merenstein (Producer): “The musical energy of Astral Weeks came from the great players. That was the jazz background that I had, and that I brought in to it. -
In Which Yet Another Pompous Blowhard Purports to Possess the True Meaning of Punk Rock
11 In Which Yet Another Pompous Blowhard Purports to Possess the True Meaning of Punk Rock Lester Bangs All the shit they play on the radio today-it lacks the true meaning of rock, which is sex, subversion, and style. Rock 'n' roll is pagan and primitive and very jungle, and that's how it should be. The moment it stops being those things, it's dead. -Sex Pistols manager Malcolm McClaren (Kohut and Kohut 1994, 18) The kids want misery and death. They want threatening noises because that shakes you out of your apathy. -John Lydon of the Sex Pistols (Kohut and Kohut 1994, 101) Lester Bangs is the most celebrated critic in the history of rock. A wild man and visionary armed with a pugnacious attitude and original writing style, which he claimed was based on the sound and language of rock and roll itself (Bangs 1987, ix), he was an early champion of punk rock. According to Bangs, punk means rock "in its most basic, primitive form," and it has thus been around from the beginnings of rock 'n' roll. Here he expounds upon what he sees as the true meaning of not only punk, but of rock itself, delivering a manifesto for both: the essence is passion. Rock must be first and foremost "a raw wail from the bottom of the guts." Punk rock was hardly invented by the Ramones in Qyeens, NY, in 1974-5, any more than it was by the Sex Pistols in London a year or so later. You have to go back to the New York Dolls. -
Lester Bangs August 1979
LESTER BANGS AUGUST 1979 One day someone I love said, “You hit me with your eyes.” When I hear David Byrne’s lyrics, I can imagine him feeling the same thing and saying it in language just oblique enough to turn the pain into percussively lapping waters. Are you afraid of air? Well, why not (if not)? David Byrne is. Do you think heaven is nowhere (is vacuum the obverse of oid’svoid)? David Byrne does. How about the animal kingdom: wouldn’t you say they’re a bunch of smug little disease carriers, setting a perfectly rotten example (them being, after all, our elders on that ole evolutionary totem pole) for us so-called human beings who might be a lot more at least interpersonally better off if we wised up and just told all them li’l critters to take a walk? If stuff like that maltomeals round your noggin, you’re in D. Byrne territory for sure, friends. And why not? These are mutant times, and Talking Heads are the most human of mutant groups (hopelessly perfect cross-fertilization); unlike Devo, they actually look good off TV, on a concert stage (in fact, up till now I’d always bemoaned my feeling that their records didn’t come near the excitement of their live sound). I may never forget the first time I saw them at CBGB’s: though they had gotten Jerry Harrison to swat keyboards by then, they were all still a little ragged (if such a word could ever be applied to such rarefied entities) around the edges. -
Neg(Oti)Ating Fusion: Steely Dan's Generic Irony by Ethan Krajewski A
Neg(oti)ating Fusion: Steely Dan’s Generic Irony by Ethan Krajewski A thesis presented for the B.A. degree with Honors in The Department of English University of Michigan Winter 2018 © 2018 Ethan Patrick Krajewski To my parents for music and language Acknowledgements My biggest thanks go to my advisor, Professor Julian Levinson, as a teacher, mentor, and friend, for helping me think, talk, write, and (most importantly, I think) laugh about seventies rock music. You’ve helped make this project fun in all of its rigor and relaxed despite all of the stress that it’s caused. I’d also like to thank Professor Gillian White for leading our cohort toward discipline, and for keeping us all grounded. Also for her spirited conversations and anecdotes, which proved invaluable in the early stages of my thinking. I wouldn’t be here writing this if it weren’t for Professor Supriya Nair, who pushed me to apply for the program and helped me develop the intellectual curiosity that led to this project. The same goes for Gina Brandolino, who I count among my most important teachers and role models. To the cohort: thank you for all of your help over the course of the year. You’re all so smart, and so kind, and I wish you all nothing but the best. To Ashley: if you aren’t the best non-professional line editor at large in the world, then you’re at least second or third. I mean it sincerely when I say that this project would be infinitely worse without your guidance. -
The Velvet Underground By: Kao-Ying Chen Shengsheng Xu Makenna Borg Sundeep Dhanju Sarah Lindholm Group Introduction
The Velvet Underground By: Kao-Ying Chen Shengsheng Xu Makenna Borg Sundeep Dhanju Sarah Lindholm Group Introduction The Velvet Underground helped create one of the first proto-punk songs and paved the path for future songs alike. Our group chose this group because it is one of those groups many people do not pay attention to very often and they are very unique and should be one that people should learn about. Shengsheng Biography The Velvet Underground was an American rock band formed in New York City in 1964. They are also known as The Warlocks and The Falling Spikes. Best-known members: Lou Reed and John Cale. 1967 debut album, “The Velvet Underground & Nico” was named the 13th Greatest Album of All Time, and the “most prophetic rock album ever http://t2.gstatic.com/images?q=tbn:ANd9GcTpZBIJzRM1H- made” by Rolling Stone in 2003. GhQN6gcpQ10MWXGlqkK03oo543ZbNUefuLNAvVRA Ranked #19 on the “100 Greatest Artists of All Time” by Rolling Stone. Shengsheng Biography From 1964-1965: Lou Reed (worked as a songwriter) met John Cale (Welshman who came to United States to study classical music) and they formed, The Primitives. Reed and Cale recruited Sterling Morrison to play the guitar (college classmate of Reed’s) as a replacement for Walter De Maria. Angus MacLise joined as a percussionist to form a group of four. And this quartet was first named The Warlocks, then The Falling Spikes. Introduced by Michael Leigh, the name “The Velvet Underground” was finally adopted by the group in Nov 1965. Shengsheng Biography From 1965-1966: Andy Warhol became the group’s manager. -
NEW YORK APRIL 1 - JUNE 30, 2018 the First Ever Global Exhibition Dedicated to the Velvet Underground and Its Influence on Modern Music, Art & Popular Culture
THE VELVET UNDERGROUND EXHIBITION + CONCERT SERIES + EVENTS EXPERIENCE NEW YORK APRIL 1 - JUNE 30, 2018 The first ever global exhibition dedicated to the Velvet Underground and its influence on modern music, art & popular culture. The Velvet Underground and Andy Warhol became one Music-related art exhibitions see growing success—the of the most iconic artistic collaborations of all time, David Bowie exhibit saw 1.1 million visitors to date. merging counter-culture and the mainstream in one Thus, this exhibition is preparing to expand beyond the gigantic creative explosion and bringing the world of 100,000 visitors mark. arts and communication into the modern era. The first show to ever receive the official support and exclusive contributions of the band’s three surviving members - John Cale, Moe Tucker and Doug Yule - as well as the official representatives THE VELVET of Velvet Underground Estate. UNDERGROUND EXPERIENCE It all started in New York City in the early 1960s, with an improbable encounter between Brooklyn born singer/songwriter Lou Reed and Welsh avant-garde musician John Cale. Lou and John soon were joined by Sterling Morrison—a literature student and rock-and-roll fan—and Moe Tucker—an androgynous- looking drummer from the suburbs driven by tribal rhythms. In 1965, Andy Warhol became the Released in band’s manager, offering them March 1967 shelter in his famous silver Factory. and recorded 1960s New York City, Music, in 1966 during Warhol brought in Nico, a blonde Andy Warhol’s Andy and Pop Culture fashion model, actress and “Exploding chanteuse, as the fifth member of P l a s t i c the band. -
The Velvet Underground
Page 1 of 2 The Velvet Underground Indie/Alternative Under Review (MVD) Stoner/Hard Rock by Brian Varney Punk/Power Pop Metal/Hardcore Coming to you from the always-fine folks at MVD is the first in a pair of documentaries, apparently two entries in the Electro/Industrial same series (the other covers the career of Captain Compilations Beefheart). These documentaries were of special interest to me because, despite my status as a full-blown geek more or less dictating that I love or at least pay lip service to these bands, I've never enjoyed listening to the music of either very much. Well, I take that back: I did undergo a brief Velvets phase during my teenage years, but I discarded them pretty quickly. However, the continued importance attributed to The Velvet Underground compels me to re-examine their legacy at somewhat regular intervals, and Under Review gave an opportunity to do just such a thing. Each film follows the band's career more or less chronologically, with a bit of background information on the main players provided when necessary, and tells the stories through a combination of voiceover narration, critical comments from band members (though it should be noted that main players Lou Reed and John Cale are not interviewed for this volume), friends, producers, fellow musicians (band members Moe Tucker and Doug Yule are interviewed), artists, and a few rock critics, along with a nice selection of rare performance footage. The films provide a reasonably in-depth analysis (this volume runs about 85 minutes), and even if there isn't much new information for the hardcore geeks, the performance footage is enough to make these films worthwhile.