By Clinton Heylin
A useful source, a trove of lore for somebody drawn to The Velvet Underground, their roots, and legacy.
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Additional resources for All Yesterdays' Parties: The Velvet Underground in Print, 1966-1971
They’ve become a burden almost, because I feel guilty that I can’t follow them all. ” I did that in the case of the sheriff. I notiﬁed the supervising editor downtown, my immediate supervisor, and he called in the person who supervised the bureau [in Pasco County]. They discussed it and asked me if I’d be willing to take it on as a project. It was late February. I told them that there were several things they needed to know: that if we took on the sheriff’s department project, we needed to do an extremely thorough job.
But when Kaufman recounted the early work on the investigation of racial discrimination in Boston, his recollections suggested another sort of frame. A story must also be framed as a picture is framed—to clearly delineate it from the background in order to focus attention. Through the interplay of these two sorts of frames, as Kaufman recalled, the Boston Globe reporters developed their story: Everyone knew Boston had problems in race relations, but the only way you’d be able to convince people was by actually documenting the problems.
I just wrote down, ‘Pension Plan A’ in my notebook. ” After the meeting was over, however, Marimow looked through his notes and decided to read that particular bill. “It turned out that the city council was going to double its pension beneﬁts at a time when the city administration had just raised property taxes and was claiming there was a ﬁscal crisis,” he recalled. “Now, no other reporter in the room got that story. ’” The story was soon in the Inquirer, and the bill was soon back in committee from whence it never reemerged.
All Yesterdays' Parties: The Velvet Underground in Print, 1966-1971 by Clinton Heylin