Nice work Dave! I've never heard the VU/punk correlation before, that's wild.

The Krefting remembrance is also brilliant.

Here's my ripple in the swell of response to Lou's passing-

My catharsis was instigated by European Son's presence on a mix-tape from a high school friend. In my immediate quest for more, I lucked out and found a used copy of the Peel Slowly And See box set for 30$ (a great deal considering it was the year the set came out). These CDs were of the few that accompanied me for several pre-mp3 player bohemian years, the music of which became (and remains) so personally significant I am at a loss for words to try and better explain the affect. It might seem misaligned, but driving through the moonscapes of the Alcan highway listening to these records is a very unique experience.

While on the one hand I've always thought it an amazing defiance of biology that Lou Reed lived beyond his 30's, on the other hand- hearing the news the other day hit me in the same way as losing a friend or relative. Resonance of the VU and Reed in music since the record button was first pressed cannot be understated; I'd go so far as to say each individual song on the Velvet Underground & Nico record have authored what's emerged as distinctive genres amidst the independent rock sphere.

A quick semi-digression before I sign off, my above and beyond most incredible record-collection story involves the holy grail Velvet Underground & Nico LP: 

A couple years ago I was running late to meet up with some friends, and happen to park in front of a house in Missoula, MT that was having a yard sale. Though a yard sale attic, given my lateness I would have passed on this one except I notice the lone crate of records, and at the front of it I can make out a banana. At this point I'm thinking you've got to be shitting me as it was day 2 of the yard sale in a college town with plenty of collectors. The woman who sold it to me for a buck was in her early 50's and she said this record belonged to her Mom who had recently passed, so I do the math and get to thinking that this could be a pretty early pressing. Sho' nuff it turns out to be a near-mint first pressing! 

They sure don't make 'em like they used to.

RIP Mr. Reed

Jared Brennan
Nashville Public Library | Special Collections
615 Church Street| Nashville  TN | 37219
615.862.5782 |

-----Original Message-----
From: Association for Recorded Sound Discussion List [mailto:[log in to unmask]] On Behalf Of David Lewis
Sent: Wednesday, October 30, 2013 9:13 PM
To: [log in to unmask]
Subject: Re: [ARSCLIST] Excellent Lou Reed rememberance

My summary of Lou Reed's solo work, which was published on facebook but is either downloadable here or you can read it in the preview pane:

Uncle Dave Lewis
Lebanon, OH

On Wed, Oct 30, 2013 at 3:20 PM, Tom Fine <[log in to unmask]>wrote:

> And the following was in today's Wall Street Journal:
> ------------------------------**------------------------------**
> ------------------------------**------
> The United States of Lou ReedThe United States of Lou Reed
> Sometimes rock 'n' roll can accomplish more to promote freedom than 
> translating the Federalist Papers.
> By David Feith, And Bari Weiss
> It is somehow fitting that rock star Lou Reed died Sunday, in this 
> season of American national angst over government shutdowns, mounting 
> debt and declining influence abroad. That's because the Velvet 
> Underground frontman not only motivated Václav Havel and the 
> Czechoslovak dissidents who challenged their Communist rulers and helped bring down the Soviet Union.
> He also demonstrated why, for all we hear about Washington's 
> sclerosis, it is still smart to bet on America in this century as in the last.
> Not that Reed himself would have put it this way. Starting in the 
> mid-1960s, his lyrics about urban life, drugs and sexuality made him 
> one of rock's leading transgressives. Later he lambasted the concept 
> of the American dream ("Give me your hungry, your tired, your poor 
> I'll piss on 'em/That's what the Statue of Bigotry says") and railed 
> against New York Mayor Rudy Giuliani and the religious right. In 
> recent years, he supported Occupy Wall Street and performed in Israel, 
> even as some of his left-wing contemporaries boycotted the Jewish state.
> But whatever his personal politics, Reed's music took on a life of its 
> own behind the Iron Curtain. In the 1970s Czechoslovakia's 
> anti-Communist movement coalesced around a Velvet Underground-inspired 
> rock group called the Plastic People of the Universe. The Communist 
> government branded the rockers enemies of the state for their long 
> hair, crazy outfits, secret concerts and anti-authority lyrics.
> Playwright Václav Havel documented their trial and imprisonment in 
> 1976, then published the "Charter 77" human-rights manifesto and 
> eventually led the Velvet Revolution against Communism in 1989. The 
> name derived partly from Reed's band, Havel later said. And when the 
> two men met in 1990, Havel told him, "Do you know I am president because of you?"
> As far as we know, Lou Reed didn't get up in the morning thinking 
> about how he could overthrow the Soviet Union. But his story reminds 
> us that rock 'n' roll can sometimes inadvertently accomplish more to 
> promote freedom than translating the Federalist Papers. In unfree 
> societies, free expression-whether from Lou Reed or Lady Gaga-is subversive in itself.
> Consider apartheid South Africa and the unlikely story of Rodriguez, 
> an early-1970s folk singer in Detroit who achieved no fame in the U.S. 
> but immense popularity among white, anti-apartheid activists thousands 
> of miles away. His blunt lyrics about sex won him young South African 
> listeners, as did his claim that "This system's gonna fall soon, to an 
> angry young tune/And that's a concrete cold fact." The system that 
> fell was South Africa's, where the government tried to keep 
> Rodriguez's music off the radio and out of stores, with official 
> censors sometimes scratching his LPs by hand.
> The music of Reed and Rodriguez reinforced an appreciation for the 
> critical divide between closed and open societies. Free societies like 
> the United States-where one can write songs such as "The Establishment Blues"
> or even "F*** tha Police" without fear of hearing a knock on the door 
> in the dead of night-create an endless stream of material that can 
> wield outsize power in rigid, unfree countries.
> When the Soviets sent tanks to crush the "Prague Spring" in August 
> 1968, they couldn't have imagined that the crackdown would spur the 
> formation of an absurdist rock band capable of stoking two decades of 
> popular political protest. But Communist leaders knew that their hold 
> on power was always tenuous. Otherwise they wouldn't have built a 
> police state to monitor and restrain their people.
> So it is today, as regimes try to tamp down the contemporary analogues 
> to the Plastic People of the Universe. In Vladimir Putin's Russia, two 
> members of the punk-rock collective Pussy Riot now sit in prison, 
> guilty of "hooliganism." In Turkmenistan, the popular singer Maksat 
> Kakabaev, known as Maro, served in a penal colony for two years. In 
> Belarus, Europe's last dictatorship, the rocker Miron was accused of 
> creating political unrest and forced into military service. And in 
> Iran, "Samira," a female rapper,
> sings: "Captive and prisoners behind the dark walls/ We know our 
> destiny to freedom."
> In July, Iranian Navy Commander Rear Admiral Habibollah Sayyari 
> pointed to the Internet, movies and satellite TV as "tools" of the West's "soft war"
> against the Islamic Republic. Last month, the Revolutionary Guard took 
> his cue, rounding up hundreds of satellite dishes in the city of 
> Shiraz and crushing them with a tank. On some, the regime had written 
> "satellite dishes are treason."
> No matter how many satellite dishes the ayatollahs confiscate, or how 
> many Internet connections they jam, as Lou Reed put it in a 1987 song, 
> just two years before the Velvet Revolution: "I hear the voices of 
> freedom from the left/ I hear the voices of freedom from the right/I 
> hear the voices of freedom, babe, from all over this world."
> ------------------------------**------------------------------**
> ------------------------------**------
> ----- Original Message ----- From: "Justin Lemons" < 
> [log in to unmask]>
> To: <[log in to unmask]>
> Sent: Wednesday, October 30, 2013 2:43 PM
> Subject: Re: [ARSCLIST] Excellent Lou Reed rememberance
>  This is without a doubt the best obituary I have read for him so far.
>> Thank you.
>> On Wed, Oct 30, 2013 at 1:07 PM, Aaron L. Rosenblum 
>> <[log in to unmask]
>> >wrote:
>>  A quick addendum (sorry to clog your inboxes) - the previously 
>> linked
>>> post
>>> about Lou Reed has been picked up by Huffington Post, if you prefer 
>>> to read it in the "legit" (?!?) media.
>>> 4178090.html?utm_hp_ref=**entertainment<
>>> m/matt-krefting/lou-reed_b_4178090.html?utm_hp_ref=entertainment>
>>> Okay, done talking about Lou...for now!
>>> Aaron
>>> On Wed, Oct 30, 2013 at 1:25 PM, Aaron L. Rosenblum < 
>>> [log in to unmask]
>>> >wrote:
>>> > Another terrific remembrance from music writer and Lou fanatic 
>>> > Matt Krefting. Okay, he's also a lifelong friend and bandmate of 
>>> > mine, but I stand by his piece quite apart from any of that:
>>> >
>>> >
>>> >
>>> http://kreftingmoondawn.****
>>> do-you-think-it-feels-and-**when-do-you-think-it-stops/<http://kreft
>>> hen-do-you-think-it-stops/>
>>> >
>>> > Aaron
>>> >
>>> > Aaron L. Rosenblum
>>> >
>>> > Assistant Curator of Special Collections
>>> >
>>> > The *Filson* Historical Society
>>> >
>>> > 1310 South Third Street
>>> >
>>> > Louisville, KY 40208
>>> >
>>> > 502.635.5083 x 269 (phone)
>>> >
>>> > 502.635.5086 (fax)
>>> >
>>> > [log in to unmask]**org 
>>> > <[log in to unmask]>
>>> >
>>> >
>>> >