THIS IS TODAY!!! Someone PLEASE go to Pittsburgh and film this!!!blackemperor67 wrote:The premiere for "The Velvet Underground In Boston" is now apparently scheduled for April 30th according to The Museum website...
http://www.warhol.org/calendar/events_d ... entID=1876
Someone please spend ten bucks and record this somehow!!! Would go myself but I'm in the UK so no dice....
THE VELVET UNDERGROUND IN BOSTON
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blackemperor67
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Re: THE VELVET UNDERGROUND IN BOSTON
Re: THE VELVET UNDERGROUND IN BOSTON
This is the sort of thing that brings out the ocd in myself. I've tried multiple search engines, umpteen variations in phrasing, and yet no luck. I can't find any review, or mention that this movie even played, let alone was seen. Now I'm sure that this is lingering on a lot of other peoples thoughts as well. Even if the better part of the movie was a bad cut piece "happening"event, there would have to be at least a few noteworthy minutes of VU footage ....right? Anyone in Pittsburgh with AW museum connections...HELP! We MUST know how this was!!
Re: THE VELVET UNDERGROUND IN BOSTON
The same with me! I spent hours searching the net for some news but i don't find anything.This is the sort of thing that brings out the ocd in myself. I've tried multiple search engines, umpteen variations in phrasing, and yet no luck. I can't find any review, or mention that this movie even played, let alone was seen. Now I'm sure that this is lingering on a lot of other peoples thoughts as well. Even if the better part of the movie was a bad cut piece "happening"event, there would have to be at least a few noteworthy minutes of VU footage ....right? Anyone in Pittsburgh with AW museum connections...HELP! We MUST know how this was!!
Please Help
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blackemperor67
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Re: THE VELVET UNDERGROUND IN BOSTON
Had a flick around after the 30th and also can find no reviews from anyone that might have seen this on the 30th.
Frustrating as it is to have to wait for any sign of what this might look like from a 1st hand point of view, I did find this on Amazon as it does apparently include still frames from the film:
http://www.amazon.com/Hidden-Frames-Sti ... 1934772283
It's a new book written by Geralyn Huxley, one of the curators at the Warhol Museum who oversees the Film & Video part of the collection, so may be worth getting hold of, not only for the "VUIB".
Frustrating as it is to have to wait for any sign of what this might look like from a 1st hand point of view, I did find this on Amazon as it does apparently include still frames from the film:
http://www.amazon.com/Hidden-Frames-Sti ... 1934772283
It's a new book written by Geralyn Huxley, one of the curators at the Warhol Museum who oversees the Film & Video part of the collection, so may be worth getting hold of, not only for the "VUIB".
Re: THE VELVET UNDERGROUND IN BOSTON
I have been also searching i did not find a single piece of info. I sent yesterday couple of emails to people at Warhol Museum (authors of the "Hidden Frames" by the way) but nothing heard back so far ...
I have ordered the book this morning .... with a dissapointing Shipping estimate : June 21, 2010 - October 19, 2010!!
I have ordered the book this morning .... with a dissapointing Shipping estimate : June 21, 2010 - October 19, 2010!!
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Sheila Klein
- Head held high
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Re: THE VELVET UNDERGROUND IN BOSTON
Hiyas, I came upon some semi-pertinent text in a book I've been reading lately*, which I thought to share here. It doesn't refer to the putative VU-in-Boston film footage that this thread is about, and is more about the MC5 than the VU at that, but still is likely of interest to at least some of you. (Personally I'm intrigued by this illustration of the VU's resolutely apolitical nature.) Imagine that red-crayon child's-drawing poster ("Velvet Unerground") as you proceed.
--Phil M.
*"Grit, Noise And Revolution: The Birth Of Detroit Rocknroll" by David A. Carson, which I recommend highly to anyone even slightly interested in the topic.
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In December, the MC5 headed for Boston to begin a small East Coast tour, put together by Elektra Records to increase awareness of the band prior to the release of the "Kick Out The Jams" album, scheduled for early 1969. On December 12, the MC5 shared the bill with the Velvet Underground on the first of a three-day engagement at the Boston Tea Party, a rock venue similar to Detroit's Grande Ballroom. The first two nights went off without a hitch. Then, before the show on Sunday, John Sinclair came into contact with a group of community-minded radicals from New York's Lower East Side. Derived from a larger organization called Black Mask, 20 hard-core members of that group, led by Ben Morea and Ron Hahne, had reformed as the Lower East Side SDS chapter in December 1967. They started identifying themselves as "Up Against the Wall Motherfucker!"
Now they were asking the MC5 to help them raise defense funds on behalf of Morea, who had been arrested in Boston on charges of knifing a serviceman. The MC5, being a "radical, revolutionary" band, saw no problem in letting one of the Motherfuckers address the audience for a couple of minutes between sets. Sinclair and the MC5, however, were not dealing with a harmless bunch of "protesting college kids," but a tough, ruthless gang of well-organized anarchists. At demonstrations they were known to break out of the main throng and smash windows, kick over trash cans, set fires, and disrupt traffic. Not satisfied with heckling, they would charge ahead, throwing karate chops, brandishing knives, and swinging bicycle chains while screaming: "Up against the wall, motherfucker!" As the first group of radical young whites to connect with the black movement, they had won favor with Eldridge Cleaver's Black Panthers. They boldly took up community causes such as the Lower East Side garbage strike, during which they had hauled piles of stinking refuse by way of the subway, and dumped them in upscale Rockefeller Plaza. They'd even rebuffed Abbie Hoffman's attempts to join their organization, viewing him as not radical enough.
A month or so earlier, the Motherfuckers had pressured rock promoter Bill Graham to make the Fillmore available for free, once a week, to support the Lower East Side "community," where the theater was located. Graham had gone along with the idea, and on Wednesday evenings the Fillmore was inhabited by a strange array of belligerent street people, cooking food, taking care of babies, smoking dope, and being generally unpleasant. The Motherfuckers and their people were loud, ugly, mean, and. not to be taken lightly.
As the MC5 finished their opening set, the Motherfuckers took over the microphone. Following a plea for "defense fund" donations for Morea, they abruptly changed the subject and began ranting about how the "people" were being "ripped off' by the Tea Party. Declaring that the "music should be free," they encouraged the kids to tear the place apart. Power to the mike was quickly killed, and the troublemakers were forcefully removed from the stage before the Velvets began their set.
--Phil M.
*"Grit, Noise And Revolution: The Birth Of Detroit Rocknroll" by David A. Carson, which I recommend highly to anyone even slightly interested in the topic.
-----
In December, the MC5 headed for Boston to begin a small East Coast tour, put together by Elektra Records to increase awareness of the band prior to the release of the "Kick Out The Jams" album, scheduled for early 1969. On December 12, the MC5 shared the bill with the Velvet Underground on the first of a three-day engagement at the Boston Tea Party, a rock venue similar to Detroit's Grande Ballroom. The first two nights went off without a hitch. Then, before the show on Sunday, John Sinclair came into contact with a group of community-minded radicals from New York's Lower East Side. Derived from a larger organization called Black Mask, 20 hard-core members of that group, led by Ben Morea and Ron Hahne, had reformed as the Lower East Side SDS chapter in December 1967. They started identifying themselves as "Up Against the Wall Motherfucker!"
Now they were asking the MC5 to help them raise defense funds on behalf of Morea, who had been arrested in Boston on charges of knifing a serviceman. The MC5, being a "radical, revolutionary" band, saw no problem in letting one of the Motherfuckers address the audience for a couple of minutes between sets. Sinclair and the MC5, however, were not dealing with a harmless bunch of "protesting college kids," but a tough, ruthless gang of well-organized anarchists. At demonstrations they were known to break out of the main throng and smash windows, kick over trash cans, set fires, and disrupt traffic. Not satisfied with heckling, they would charge ahead, throwing karate chops, brandishing knives, and swinging bicycle chains while screaming: "Up against the wall, motherfucker!" As the first group of radical young whites to connect with the black movement, they had won favor with Eldridge Cleaver's Black Panthers. They boldly took up community causes such as the Lower East Side garbage strike, during which they had hauled piles of stinking refuse by way of the subway, and dumped them in upscale Rockefeller Plaza. They'd even rebuffed Abbie Hoffman's attempts to join their organization, viewing him as not radical enough.
A month or so earlier, the Motherfuckers had pressured rock promoter Bill Graham to make the Fillmore available for free, once a week, to support the Lower East Side "community," where the theater was located. Graham had gone along with the idea, and on Wednesday evenings the Fillmore was inhabited by a strange array of belligerent street people, cooking food, taking care of babies, smoking dope, and being generally unpleasant. The Motherfuckers and their people were loud, ugly, mean, and. not to be taken lightly.
As the MC5 finished their opening set, the Motherfuckers took over the microphone. Following a plea for "defense fund" donations for Morea, they abruptly changed the subject and began ranting about how the "people" were being "ripped off' by the Tea Party. Declaring that the "music should be free," they encouraged the kids to tear the place apart. Power to the mike was quickly killed, and the troublemakers were forcefully removed from the stage before the Velvets began their set.
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velvetfan
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Re: THE VELVET UNDERGROUND IN BOSTON
Drag! I hoped someone had snuck in with a video cam. I wanna see this!alfredovu wrote:Nothing so far ...
http://eventful.com/pittsburgh/events/a ... 29165505-0 begin_of_the_skype_highlighting 29165505-0 end_of_the_skype_highlighting
Re: THE VELVET UNDERGROUND IN BOSTON
Rosie Lee where are you!!!!!! 
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velvetfan
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Re: THE VELVET UNDERGROUND IN BOSTON
Not Boston, but new video???? (not symphony of sound, is it?)
http://www.uniondocs.org/the-7th-orphan-film-symposium/
....The rest of the bill was reserved for Danny Williams, an unheralded Factory habitué who shot a handful of Warhol?s films before vanishing in 1966. The first on the program, here titled The Velvet Underground Rehearses, was developed forty years after the fact from an unprocessed roll found among Williams? possessions, and is perhaps the earliest documentation of the VU. Though slight on the whole, it offers ample evidence of Williams? sensuous feel for cinematography. Training his lens on Lou Reed and John Cale ? already the band?s stars ? he is not afraid to get close, honing in on even the minutest of their jittery, speed-addled gestures. He never rests, often pixelating them one frame at a time, zooming in and out, searching for a visual analogy to the scraping, jerky sounds his Bolex cannot capture. The second Williams film on the program is the real revelation. With Barbara Rubin, who steered a second camera, Williams shot Uptight #3 ? David Susskind as a backdrop for Warhol?s Exploding Plastic Inevitable, the series of concerts cum happenings he produced to showcase the Velvet Underground. Orphans marks the first time this footage has been shown by itself. Accompanied by T. Griffin?s live score, the new context gives Williams? and Rubins? images a temporal weight that would have been obliterated by the stage show. There is no editing to speak of ? Williams? and Rubins? rolls have just been alternately spliced together. This means we see everything happen twice. The repetitions, combined with Williams? dreamy slow-motion photography, lend the footage a warm, otherworldly glow that culminates in an almost ecstatic languor on the bus ride that concludes the film, as Williams abandons his human subjects to capture the clouds floating through the grey sky overhead......
http://www.uniondocs.org/the-7th-orphan-film-symposium/
....The rest of the bill was reserved for Danny Williams, an unheralded Factory habitué who shot a handful of Warhol?s films before vanishing in 1966. The first on the program, here titled The Velvet Underground Rehearses, was developed forty years after the fact from an unprocessed roll found among Williams? possessions, and is perhaps the earliest documentation of the VU. Though slight on the whole, it offers ample evidence of Williams? sensuous feel for cinematography. Training his lens on Lou Reed and John Cale ? already the band?s stars ? he is not afraid to get close, honing in on even the minutest of their jittery, speed-addled gestures. He never rests, often pixelating them one frame at a time, zooming in and out, searching for a visual analogy to the scraping, jerky sounds his Bolex cannot capture. The second Williams film on the program is the real revelation. With Barbara Rubin, who steered a second camera, Williams shot Uptight #3 ? David Susskind as a backdrop for Warhol?s Exploding Plastic Inevitable, the series of concerts cum happenings he produced to showcase the Velvet Underground. Orphans marks the first time this footage has been shown by itself. Accompanied by T. Griffin?s live score, the new context gives Williams? and Rubins? images a temporal weight that would have been obliterated by the stage show. There is no editing to speak of ? Williams? and Rubins? rolls have just been alternately spliced together. This means we see everything happen twice. The repetitions, combined with Williams? dreamy slow-motion photography, lend the footage a warm, otherworldly glow that culminates in an almost ecstatic languor on the bus ride that concludes the film, as Williams abandons his human subjects to capture the clouds floating through the grey sky overhead......