The Velvet Underground

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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. Newcomers will get a nice overview of each artist's career along with an abundance of suggested albums and tracks. I can't say I walked away from this viewing with a renewed appreciation of the band, but I did pick up a copy of the band's third album the next time I was in a record store, which I suppose says something. (www.musicvideodistributors.com) Fans HTML Subscribe Absinthe-X : www.absinthex.com http://www.lollipop.com/article.php3?text=2006/06june/dvd-thevelvetunderground.html 6/28/2006.

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The Velvet Underground New York Art
300 Park Avenue South Tel. (212) 387-3400 New York, NY 10010 Telefax (212) 387-3535 Rizzoli International Publications, Inc. FOR IMMEDIATE RELEASE CONTACT: Joshua Machat 212.387.3410 / [email protected] THE VELVET UNDERGROUND NEW YORK ART Edited by Johan Kugelberg Introduction by Lou Reed and Maureen Tucker Preface by Vaclav Havel with text contributions by Doug Yule, Sterling Morrison, John Wilcock, and Jon Savage Timeline by Salvatore Mercuri THE VELVET UNDERGROUND: NEW YORK ART (November 2009) is the first monograph devoted to a Rock and Roll band. The Velvet Underground were among the New York avant-garde who closed the gap between the popular arts and the fine art movement of the 20th century. With Andy Warhol at the helm, the band contextualized the hi-art/low-art medium of the dysphoric Sixties with a unique mixture of sound experimentation, performance art, and pop sensibility. With an astonishing assembly of rare objects and artworks and the first book of its scale to document the formative years of the band, The Velvet Underground: New York Art, is not only a testament to one of the greatest New York City bands, but also a visual document of how music can influence the history of fine art and vice versa. From never-before-seen photographs of the band’s first live show in New York to Andy Warhol’s cover and poster designs, Lou Reed’s and John Cale’s handwritten music and lyrics, underground press clippings and controversial reviews, flyers, handbills, and posters, the materials comprise a uniquely comprehensive survey of the first rock group ever to transcend the genre and embrace underground popular culture.
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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.
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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.
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Warhol Underground
WARHOL UNDERGROUND WARHOL UNDERGROUND SOMMAIRE 1. PRÉSENTATION GÉNÉRALE DE L’EXPOSITION ……………P.3 2. PORTRAIT D’ANDY WARHOL………………………… P.5 3. REPÈRES CHRONOLOGIQUES………………………....P.7 4. PARCOURS DE L’EXPOSITION………………………....P.11 5. BIOGRAPHIES DE PHOTOGRAPHES…………………….P.33 6. CITATIONS……………………………………….P.35 7. INFORMATIONS PRATIQUES………………………… P.37 2 WARHOL UNDERGROUND 1.PRÉSENTATION GÉNÉRALE DE L’EXPOSITION WARHOL UNDERGROUND 01.07 > 23.11.15 GALERIE 1 Commissaire : Emma Lavigne, directrice du Centre Pompidou-Metz Une relecture inédite de l’œuvre du pape du pop art à travers ses liens avec la scène new- yorkaise underground : musique, danse, cinéma... L’exposition met en lumière l’influence de la scène musicale, du cinéma underground et de l’avant-garde chorégraphique new-yorkaise dans l’œuvre d’Andy Warhol (1928-1987). Elle est l’occasion de célébrer les cinquante ans de la rencontre de Warhol avec le groupe de rock new-yorkais The Velvet Underground, dont il devint le producteur. « Je n’ai jamais voulu être peintre, j’ai toujours voulu être danseur de claquettes », déclarait Warhol, alors même que l’œuvre de l’artiste du pop art est souvent réduite à sa dimension picturale. « Je ne peins plus. J’ai abandonné la peinture il y a à peu près un an et maintenant je ne fais plus que des films. La peinture était seulement une phase que j’ai traversée », ajoutait-il. Nombre de déclarations de l’artiste montrent combien son œuvre, extrêmement protéiforme, a dépassé la peinture, ainsi qu’il aimait lui-même à le penser. La musique, présente tout au long du parcours, guide le visiteur dans une redécouverte de l’œuvre de Warhol, à travers plus de 150 photographies de Nat Finkelstein, Hervé Gloaguen, Fred W.
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Boohooray-Catalog2-Music
Boo-Hooray Catalog #2 (Music) Terms: Usual. Not onerous. Boo-Hooray welcomes you to our second ever antiquarian book catalog, Catalog #2. For over a decade, we have been committed to the organization, stabilization and preservation of cultural narratives through archival placement. Today, we continue and expand our mission through the sale of individual items and smaller collections, in addition to archives. We invite you to our new space in Manhattan’s Chinatown, where we encourage visitors to browse our extensive inventory of rare books, ephemera, archives and collections by appointment or chance. Catalog prepared by Daylon Orr, lieutenant of the Rare Books & Manuscripts Column of Boo-Hooray, and itinerant consultant-at-large Adam Davis. Text by Adam, Daylon, and Johan. All errors are Daylon’s. Photography by the one and only Joe Conzo. Layout and design by Jason Fox. Please direct all inquiries to Daylon ([email protected]); Johan and Adam are probably at Spicy Village. Price list follows last page of PDF. 1. Anonymous. Warhol Won’t Show Up. Nico Won’t Show Up. The Velvet Underground Won’t Show Up... np: nd [c. 1960’s]. 9 x 12 in. black marker on white card stock. Matted and framed. Provenance: from the archive of Velvet Underground member Sterling Morrison, with a letter of provenance taped onto the verso of the frame from a previous dealer and signed by him, laying out how the artifact was purchased from Martha Morrison, Sterling’s widow. A handmade placard likely made by a disgruntled fan after the Velvets and Warhol were no-shows.
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The Velvet Underground New York Extravaganza Dossier
THE VELVET UNDERGROUND UNE EXPOSITION NEW YORK EXTRAVAGANZA rum iliquib usaperis vel eost, qui dollabo rernatem ea dolores ma aligendae volorae nobis apereris suscilicide comniae venis ipsanie nientiam quam nis sin nus. ipsanie nientiam suscilicide comniae venis nobis apereris volorae ma aligendae qui dollabo rernatem eost, ea dolores vel rum iliquib usaperis du 30 mars au 21 août 2016 philharmoniedeparis.fr - 01 44 84 44 84 - Porte de Pantin DOSSIER DE PRESSE 1 DES ANNÉES 60 JUSQU’À AUJOURD’HUI, la trajectoire du Velvet Underground est l’une des plus fascinantes de l’histoire des arts, de la musique et de la culture populaire : comment un groupe boudé par le succès durant sa brève existence (1965-1970) s’est-il progressivement révélé, jusqu’à devenir la légende rock par excellence ? Trop novateur, trop transgressif, trop frontal et trop frondeur pour son époque, il devient un indépassable modèle pour les mouvements des décennies suivantes, de l’explosion punk à nos jours. Avec le temps et à l’aide de quelques admirateurs de luxe (David Bowie, Kurt Cobain, Étienne Daho…), le fameux « album à la banane », qui fête ses cinquante ans cette année, s’est imposé comme matrice du rock moderne. À l’origine, la rencontre improbable de Lou Reed et John Cale, faux frères surdoués, au sein de la seule ville susceptible de les faire grandir ensemble : le New York interlope du début des sixties, où l’élite des artistes décide que tout est permis. Autour du poète rocker et du musicien d’avant-garde s’agrège une équipe de francs-tireurs – Sterling Morrison, étudiant en littérature et fan de rock’n’roll ; Moe Tucker, banlieusarde androgyne éprise de rythmes tribaux ; Nico, l’iceberg blond dont Andy Warhol va faire la chanteuse du Velvet Underground.
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The Guardian, October 18, 1978
Wright State University CORE Scholar The Guardian Student Newspaper Student Activities 10-18-1978 The Guardian, October 18, 1978 Wright State University Student Body Follow this and additional works at: https://corescholar.libraries.wright.edu/guardian Part of the Mass Communication Commons Repository Citation Wright State University Student Body (1978). The Guardian, October 18, 1978. : Wright State University. This Newspaper is brought to you for free and open access by the Student Activities at CORE Scholar. It has been accepted for inclusion in The Guardian Student Newspaper by an authorized administrator of CORE Scholar. For more information, please contact [email protected]. The Daily Guardian October 18, 1978 Issue 23 Volume XV Wright State University Dayton, Ohio WSU co-ed assulted BY CHUCK STEVENS into the adjacent woods. lot. and report them to the WSU Guardian Associate Writer LEE SAID the woman de- policc office." Lee also indicated scribed the subject as a white that the department would Wright State University policc male, in his early twenties, about "maintain as heavy a patrol as are investigating an assault, re- five feet six inches tall, and possible during those hours (7-11 ported to have occured Oct. 10. at weighing approximately 130 p.m.)." 9:45 p.m. in the Ailyn Hall pounds. The woman further noted parking lot. that she thought the msn had Police It. Charles Lee said that blonde hair and a fair complexion, In other police business, Lee a young woman (whose name is and was dressed in a dark knit noted that 16 parking decals have being withheld) was assaulted in cap, light colored shirt, white been reported stolen since Sept.
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The Seminal Velvet Underground by Jim Derogatis
The Seminal Velvet Underground By Jim DeRogatis I. Introduction “I have always believed that rock ’n’ roll comes down to myth. There are no ‘facts.’” — Lester Bangs, 1981 “I remember when the Velvet Underground came out, and very few people were interested in them at all. And for a certainty I knew that they were going to become one of the most interesting groups, and that there would be a time when it wouldn’t be the Beatles up there and then all these other groups down there, it would be a question of attempting to assess the relative values of the Beatles and the Velvet Underground as equals.” — Brian Eno, Punk magazine, 1976 “Where does this album fit in?... I think it’s great rock ’n’ roll. I think Alexander the Great, Lord Byron, Jack the Ripper, F. Scott Fitzgerald, Albert Einstein, James Dean, and other rock ’n’ roll stars would agree with me.” — Elliott Murphy, liner notes to 1969: The Velvet Underground Live with Lou Reed (1974) Such is the enduring influence of Lou Reed, John Cale, Sterling Morrison, and Maureen Tucker that it essentially has become a part of their collective name—they are the Seminal Velvet Underground, thank you very much—though in addition to standing as one of rock’s hoariest clichés, that phrase also slights Tucker’s role as one of rock’s instrumental gender pioneers. Fine points like that hardly matter though in the mad competition to hyperbolize the band’s genius. Witness another, even more resonant quote from that erudite musical philosopher Eno, though this one could be apocryphal (I’ve seen variations of it repeated dozens of times, but I’ve never found the original in any of his voluminous writings or interviews): “Only five thousand people ever bought a Velvet Underground album, but every single one of them started a band.” Mull that over for a second and you’ll realize that it’s pure hyperbole: All of those people can’t possibly have formed bands, because many of them clearly became rock critics! Not to mention the fact that by now, we’ve endured many more than five thousand shameless Velvets clones and unapologetic V.U.
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Contents Events
1947 1947: January · February · March · April · May · June · July · August · September · October · November · December 1947 (MCMXLVII) was a common year starting on Wednesday of the Gregorian Millennium: 2nd millennium calendar, the 1947th year of the Common Era (CE) and Anno Domini (AD) designations, Centuries: 19th century · the 947th year of the 2nd millennium, the 47th year of the 20th century, and the 8th year 20th century · of the 1940s decade. 21st century Decades: 1920s · 1930s · 1940s · 1950s · Contents 1960s Events Years: 1944 · 1945 · 1946 · Births 1947 · 1948 · 1949 · Deaths 1950 Nobel Prizes References 1947 in various calendars External links Gregorian 1947 calendar MCMXLVII Ab urbe 2700 Events condita Armenian 1396 January calendar ԹՎ ՌՅՂԶ Assyrian 6697 January–February – Winter of 1946–47 in the United Kingdom: Worst snowfall in the calendar country in the 20th century, with extensive disruption of travel.[1] Given the low ratio of private vehicle ownership at the time this is mainly remembered in terms of the Bahá'í 103–104 [2] effects on the railway networks. calendar January 1 Balinese 1868–1869 British coal mines are nationalised. saka Nigeria gains limited autonomy before gaining independence in 1960. calendar The Canadian Citizenship Act comes into effect. Bengali 1354 January 3 – Proceedings of the United States Congress are televised for the first time. calendar January 10 – The United Nations takes control of the free city of Trieste. Berber 2897 January 15 – Elizabeth Short, an aspiring actress nicknamed the "Black Dahlia", is calendar found brutally murdered in a vacant lot in Los Angeles. The case remains unsolved to this day.
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The Velvet Underground the Best of the Velvet Underground Mp3, Flac, Wma
The Velvet Underground The Best Of The Velvet Underground mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock Album: The Best Of The Velvet Underground Country: US Released: 2000 Style: Rock & Roll, Art Rock, Psychedelic Rock MP3 version RAR size: 1781 mb FLAC version RAR size: 1543 mb WMA version RAR size: 1844 mb Rating: 4.1 Votes: 428 Other Formats: AUD AIFF VQF RA APE AU MMF Tracklist 1 I'm Waiting For My Man 4:37 2 Run Run Run 4:20 3 Heroin 7:10 4 White Light/White Heat 2:44 5 Sister Ray 17:27 6 Beginning To See The Light 4:38 7 What Goes On 4:52 8 Pale Blue Eyes 5:38 9 I Can't Stand It 3:23 10 Sweet Jane (Live) 3:56 11 Rock And Roll (Live) 6:06 Companies, etc. Phonographic Copyright (p) – Universal Records Copyright (c) – Universal Records Distributed By – Universal Music & Video Distribution, Inc. Mastered At – Gateway Mastering Mastered At – Universal Mastering Studios Credits Arranged By – The Velvet Underground (tracks: 1 to 3, 6 to 8) Compilation Producer – Bill Levenson Conductor [Conducted By] – The Velvet Underground (tracks: 6 to 8) Liner Notes – Joseph F. Laredo Mastered By – Bob Ludwig, Jeff Willens Performer – Doug Yule (tracks: 6 to 11), John Cale (tracks: 1 to 5), Lou Reed (tracks: 1 to 11), Maureen Tucker* (tracks: 1 to 11), Nico (tracks: 1 to 3), Sterling Morrison (tracks: 1 to 11) Producer – Andy Warhol (tracks: 1 to 3), The Velvet Underground (tracks: 9), Tom Wilson (tracks: 4, 5) Written-By – John Cale (tracks: 5), Lou Reed (tracks: 1 to 11), Maureen Tucker* (tracks: 5), Sterling Morrison (tracks: 5) Barcode
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ASCAP/BMI Comment
Stuart Rosen Senior Vice President General Counsel November 20, 2015 Chief, Litigation III Section Antitrust Division U.S. Department of Justice 450 5th Street NW, Suite 4000 Washington, DC 20001 Re: Justice Department Review of the BMI and ASCAP Consent Decrees To the Chief of the Litigation III Section: BMI recently alerted its community of affiliated songwriters, composers and publishers to the profound impact 100% licensing would have on their careers, both creatively and financially, if it were to be mandated by the U.S. Department of Justice. In a call to action, BMI provided a letter, one for songwriters and one for publishers, to which their signatures could be added. The response was overwhelming. BMI received nearly 13,000 signatures from writers, composers and publishers of all genres of music, at all levels in their careers. Some of the industry's most well- known songwriters added their names, including Stephen Stills, Cynthia Weil, Steve Cropper, Ester Dean, Dean Pitchford, Congressman John Hall, Trini Lopez, John Cafferty, Gunnar Nelson, Lori McKenna, Shannon Rubicam and Don Brewer, among many others. Enclosed you will find the letters, with signatures attached. On behalf of BMI, I strongly urge you to consider the voices of thousands of songwriters and copyright owners reflected here before making a decision that will adversely affect both the creators, and the ongoing creation of, one ofAmerica's most important cultural and economic resources. Vert truly yours, Stuart Rosen 7 World Trade Center, 250 Greenwich Street, New York, NY 10007-0030 (212) 220-3153 Fax: (212) 220-4482 E-Mail: [email protected] ® A Registered Trademark of Broadcast Music, Inc.
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Lou Reed 2015.Pdf
Lou Reed By Anthony DeCurtis His formidable artistry has contributed timeless classics to the rock & roll canon, while influencing several generations of musicians. LOU REED’S SONGS, BOTH WITH THE VELVET UNDER- ground and as a solo artist, constitute a body of work that ranks with Dylan and Lennon-McCartney as among the most significant and in fluential songwriting catalogues of the twentieth century. Reed was both an artistic exhibitionist and an intensely private man; a restless experimental soul and an ardent fan dedicated to the most elemental, even conservative, principles of rock & roll; a writer with the highest literary aspirations and a guitarist with a boundless love of distortion and noise. He is best known for his most daring, provocative mo ments, but he has also written ballads that are heartbreakingly mov ing in their sensitivity, their lack of sentimentality, and their profound emotional insight. According to Doug Yule, a former member of the Velvet Underground, Reed’s toughness “protected his core, the gen tleness that comes out in a lot of his work.” ’I Sustaining such dualities without reducing any aspect of them to a cliche is essential to under standing Lou Reed and his work. Like Keith Richards or Bob Dylan, Reed is as much a symbolic figure as an artist. Well beyond the incal culable impact of his music, he stands for an unwavering determina tion to follow his own creative path and repel compromise. He allows the characters in his songs to live and act on entirely amoral terms, but ultimately he views the world that they and we move through ac cording to a strict moral code.
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