- Loren Eiseley, "The Fire-Apes" (1949)
Danny Rifkin’s business card — original co-manager of the Dead
best record ever? perhaps
Fairport Convention “Liege And Leaf” promo, Rolling Stone magazine, June 11. 1970.
It was Reed who defined the band’s sensibility, embodied its contradictions. He was a romantic alienated bohemian and an antiromantic pop ironist, a middle-class Jewish kid from Brooklyn who came on like a streetwise punk in tight jeans and shades, a classical piano student turned rock and roller, Bob Dylan-cum-Nelson Algren-cum-Jean Genet. He talked his songs in an expressive semi-mumble that made you think of James Dean without the naiveté.
Not that Lou did not display his own kind of innocence. His songs hinted, when you least expected it, that underneath the meanness and paranoia, the affectless brutality that smothered pain, there was after all the possibility of love.
- These sentences, from Ellen Willis’ essay “The Velvet Underground,” are exactly how I want to remember Lou Reed. The piece originally appeared in Greil Marcus’ ‘Stranded’ collection, but is reprinted in ‘Out of the Vinyl Deeps,’ the anthology of Willis’ music criticism edited by Nona Willis Aronowitz. (via judyxberman)
Bob Dylan, Joan & Mimi Baez & their mother, 1965.
The Feelies - Rock n Roll (VU cover)
from the stellar show at the Sinclair, Cambridge, MA, 9-27-13
The audience is pretty bouncy for Boston! I’m definitely one of the bouncing heads visible in the last 1/3, but I can’t figure out which one.
The right way to end your work week.
Stills, Young, Crosby & Nash
Fascinating and breathtakingly cinematic short film about the nutrient cycle in Alaska, including the Jekyll-and-Hyde life and afterlife of wild salmon, by filmmaker Paul Klaver – the best thing since Radiolab’s poetic piece on the afterlife of whales.
Pair with Jon Mooallem’s moving meditation on wildlife.