1 00:00:00,760 --> 00:00:03,080 Speaker 1: Hollywood Land is a production of double. 2 00:00:02,800 --> 00:00:11,600 Speaker 2: Elvisf well of ruin. 3 00:00:14,920 --> 00:00:20,560 Speaker 1: I would tame the pain of glowing high that pariety 4 00:00:21,680 --> 00:00:30,400 Speaker 1: and my The stories about Andy Warhol are insane. He 5 00:00:30,480 --> 00:00:34,040 Speaker 1: was the first artist to achieve rock star status. He 6 00:00:34,159 --> 00:00:37,360 Speaker 1: was rescued by firefighters when a mob of obsessed fans 7 00:00:37,440 --> 00:00:41,280 Speaker 1: threatened to crush him. His work in play space the 8 00:00:41,360 --> 00:00:46,120 Speaker 1: Factory was a regular target for the NYPD. The factory 9 00:00:46,159 --> 00:00:50,120 Speaker 1: scene attracted people of all ages, rich and poor, straight 10 00:00:50,159 --> 00:00:54,760 Speaker 1: and gay, sane and not so sane. He was almost 11 00:00:54,880 --> 00:00:57,440 Speaker 1: killed by a strung out junkie with a loaded pistol. 12 00:00:58,240 --> 00:01:01,760 Speaker 1: He was shot and critically wounded by would be assassin. 13 00:01:02,400 --> 00:01:06,199 Speaker 1: He died on an operating table before dramatically being brought 14 00:01:06,240 --> 00:01:10,680 Speaker 1: back to life. Andy Warhol's second life began the moment 15 00:01:10,720 --> 00:01:13,399 Speaker 1: his heart started to beat again, and in that second 16 00:01:13,440 --> 00:01:18,280 Speaker 1: life he became a true cultural icon, bigger than his paintings, 17 00:01:18,480 --> 00:01:22,080 Speaker 1: or his polaroids, or his experimental films, and bigger than 18 00:01:22,160 --> 00:01:28,679 Speaker 1: life itself. Andy Warhol was great art. Unlike that clip 19 00:01:28,720 --> 00:01:30,440 Speaker 1: I played for you at the top of the show. 20 00:01:31,000 --> 00:01:34,440 Speaker 1: That wasn't great art. That was a fair youth. Sample 21 00:01:34,520 --> 00:01:37,720 Speaker 1: from the Library of Congress of Harry Burr's painting That 22 00:01:37,880 --> 00:01:42,000 Speaker 1: Mother of Mine in nineteen fifteen. I played to that 23 00:01:42,040 --> 00:01:44,440 Speaker 1: clip because I can't afford the rights to a clip 24 00:01:44,440 --> 00:01:48,560 Speaker 1: from The Agony in the Ecstasy by Carol Reid. And 25 00:01:48,680 --> 00:01:51,720 Speaker 1: why would I play you that specific slice of Sistine 26 00:01:51,840 --> 00:01:57,400 Speaker 1: Chapels ceiling cheese? Could I afford it? Because that was 27 00:01:57,440 --> 00:02:01,120 Speaker 1: the number one movie in America on October eighth, nineteen 28 00:02:01,200 --> 00:02:04,400 Speaker 1: sixty five, and that was the day that Andy Warhol 29 00:02:04,480 --> 00:02:07,240 Speaker 1: debuted his first ever museum show at the Institute of 30 00:02:07,280 --> 00:02:11,800 Speaker 1: Contemporary Art in Philadelphia, a turning point not only in 31 00:02:11,840 --> 00:02:15,720 Speaker 1: the art world, but in the culture at large. On 32 00:02:15,880 --> 00:02:20,760 Speaker 1: this episode, artists as rock stars, strung out junkies would 33 00:02:20,840 --> 00:02:26,119 Speaker 1: be Assassin's quit thinking surgeons the factory in Andy Warhol. 34 00:02:26,880 --> 00:03:03,720 Speaker 1: I'm Jake Brennan and this is Hollywood Land. Nineteen eighty five, 35 00:03:04,280 --> 00:03:07,880 Speaker 1: New York City. The Smiths on their first real tour 36 00:03:07,919 --> 00:03:12,119 Speaker 1: of the United States. The Manchester Band's lead singer Marssey 37 00:03:12,280 --> 00:03:16,360 Speaker 1: on stage at the Beacon Theater, blue jeans, button up shirt, 38 00:03:16,520 --> 00:03:22,520 Speaker 1: casually unbuttoned, flowers in his back pocket, arrogant, dismissive begging, 39 00:03:22,639 --> 00:03:25,920 Speaker 1: please please please let me get what I want this time? 40 00:03:26,440 --> 00:03:29,920 Speaker 1: Not a man so much as a persona, a creation, 41 00:03:30,600 --> 00:03:36,120 Speaker 1: a work of art. Morrissey holds an outstretched hand to 42 00:03:36,200 --> 00:03:38,960 Speaker 1: the thousands there to see him, the kids who just 43 00:03:39,120 --> 00:03:41,480 Speaker 1: hours ago were beating on the windows of the car 44 00:03:41,520 --> 00:03:44,720 Speaker 1: he was riding in, the same kids who screened with 45 00:03:44,760 --> 00:03:47,800 Speaker 1: delight when Johnny marr rang out the opening lick of 46 00:03:47,840 --> 00:03:51,440 Speaker 1: this charming man on his guitar. It's all a bit 47 00:03:51,480 --> 00:03:54,200 Speaker 1: surreal to Morrissey, and he tries hard to make it 48 00:03:54,200 --> 00:03:57,560 Speaker 1: look like he doesn't really care, not like Johnny fawning 49 00:03:57,560 --> 00:04:01,400 Speaker 1: over Mick Jagger backstage, that wrinkly old fuck. But then 50 00:04:01,480 --> 00:04:05,280 Speaker 1: Marssey sees someone out in the crowd, that shock of 51 00:04:05,320 --> 00:04:11,120 Speaker 1: white hair, the glasses. Andy Warhol stops Marssy in his tracks. 52 00:04:13,000 --> 00:04:16,919 Speaker 1: Like Marssey, Andy is a put on, a persona. But 53 00:04:17,080 --> 00:04:20,880 Speaker 1: Andy did it first. Andy walked so that Marrissy could 54 00:04:20,920 --> 00:04:25,680 Speaker 1: run Marssy, doling out that youthful, erotic energy that Andy 55 00:04:25,720 --> 00:04:28,960 Speaker 1: fails to possess and frankly really never had, but which 56 00:04:29,040 --> 00:04:35,880 Speaker 1: fascinates and turns him on nonetheless. But Marssey, like Andy, Warhol, 57 00:04:36,240 --> 00:04:40,480 Speaker 1: markets himself not as a sexual icon but as asexual 58 00:04:41,279 --> 00:04:43,919 Speaker 1: whether or not you believe that whether it's actually true. 59 00:04:44,279 --> 00:04:47,520 Speaker 1: That's all part of the process, the process that is 60 00:04:47,560 --> 00:04:51,839 Speaker 1: intentional and precise, Like the image the Smiths chose for 61 00:04:52,000 --> 00:04:55,320 Speaker 1: the cover of their self titled debut album, a man 62 00:04:55,800 --> 00:04:59,880 Speaker 1: shirtless head hanging down, an image from a nineteen six 63 00:05:00,279 --> 00:05:05,400 Speaker 1: eight film called The Flesh, directed by another Morsey, Paul Morrissey, 64 00:05:05,920 --> 00:05:10,400 Speaker 1: and produced by one Andy Warhol. Right out of the gate, 65 00:05:10,680 --> 00:05:13,320 Speaker 1: the Smiths owed a debt of gratitude to the man 66 00:05:13,400 --> 00:05:15,400 Speaker 1: in the white wig, who is now standing in the 67 00:05:15,440 --> 00:05:18,240 Speaker 1: middle of the Beacon crowd. And they owed him not 68 00:05:18,360 --> 00:05:20,480 Speaker 1: just for stealing a photo from a movie of his, 69 00:05:20,640 --> 00:05:23,000 Speaker 1: but for the very concept of a modern rock and 70 00:05:23,120 --> 00:05:27,320 Speaker 1: roll concert, the light show, the iconography of a superstar, 71 00:05:27,680 --> 00:05:30,200 Speaker 1: whether on a stage or in a silk screen painting, 72 00:05:30,560 --> 00:05:36,200 Speaker 1: it's all Warhol. Warhol is here at the Beacon witnessing 73 00:05:36,240 --> 00:05:38,960 Speaker 1: the Smiths, just like he was at the Cafe Bazar 74 00:05:39,160 --> 00:05:43,240 Speaker 1: some twenty years prior witnessing The Velvet Underground. He is 75 00:05:43,400 --> 00:05:47,520 Speaker 1: everywhere in New York, or so it seems. Liz Taylor's 76 00:05:47,520 --> 00:05:50,680 Speaker 1: birthday party at Studio fifty four, the cock Ring on 77 00:05:50,760 --> 00:05:54,120 Speaker 1: Christopher Street, where guys cruised the bathroom as an amo 78 00:05:54,240 --> 00:05:57,839 Speaker 1: nitrate hot wires, the dance floor the anvil over on 79 00:05:57,920 --> 00:06:01,400 Speaker 1: West Fourteenth, where the hypnotic petition of a man removing 80 00:06:01,400 --> 00:06:04,479 Speaker 1: fifty pairs of jockey shorts from his pelvis is just 81 00:06:04,560 --> 00:06:07,240 Speaker 1: as much a work of art as Andy's thirty two 82 00:06:07,400 --> 00:06:12,279 Speaker 1: Campbell's soup cans, clam chowder, chicken noodle, cream of vegetable, 83 00:06:12,560 --> 00:06:17,080 Speaker 1: green pea repetition in real life in art, and in 84 00:06:17,120 --> 00:06:22,240 Speaker 1: the process split pea, cream of mushroom, onion, chili beef. 85 00:06:23,120 --> 00:06:26,160 Speaker 1: Andy once asked the Velvet Undergrounds low Read, how many 86 00:06:26,200 --> 00:06:30,440 Speaker 1: songs you've written that day? Five? You told him five? 87 00:06:30,760 --> 00:06:34,120 Speaker 1: Andy said, what's wrong with you? Why are you so lazy? 88 00:06:35,120 --> 00:06:39,000 Speaker 1: Andy Warhol despised laziness when it came to work, just 89 00:06:39,080 --> 00:06:43,039 Speaker 1: like he despised anything that wasn't new. That's why he 90 00:06:43,120 --> 00:06:46,080 Speaker 1: was drawn to the Velvet Underground, and now to the Smiths, 91 00:06:46,800 --> 00:06:50,159 Speaker 1: the newness of Stephen Patrick Morrissey, who dropped his first 92 00:06:50,160 --> 00:06:54,320 Speaker 1: in middle names to become something completely different, just like Andy, 93 00:06:54,720 --> 00:06:58,799 Speaker 1: leaving scriwny little Andrew warhola in the past, just another 94 00:06:58,839 --> 00:07:02,120 Speaker 1: working class Pittsburgh kid with a face that disgusted him, 95 00:07:02,160 --> 00:07:04,640 Speaker 1: in a way of carrying himself that betrayed all the 96 00:07:04,640 --> 00:07:07,919 Speaker 1: ways in which he was different from John Q. Hetero. 97 00:07:08,480 --> 00:07:12,120 Speaker 1: It was fine, though, as an adult, Andy Warhol had 98 00:07:12,160 --> 00:07:14,880 Speaker 1: concealer to remake his face and wigs to hide his 99 00:07:15,080 --> 00:07:18,239 Speaker 1: rapidly disappearing hair. He needed those. 100 00:07:18,080 --> 00:07:21,760 Speaker 2: Things just like he needed to make great art, just 101 00:07:21,800 --> 00:07:24,960 Speaker 2: like he needed to be famous, but more than your 102 00:07:25,040 --> 00:07:28,600 Speaker 2: garden variety celebrity, not some fifteen minute flip. 103 00:07:28,960 --> 00:07:31,520 Speaker 1: He wanted to be as famous as the Queen of England, 104 00:07:31,800 --> 00:07:35,520 Speaker 1: as iconic as a meticulous artwork inside the Byzantine Catholic 105 00:07:35,560 --> 00:07:39,040 Speaker 1: church of his youth, which transported him away from dreary 106 00:07:39,080 --> 00:07:44,720 Speaker 1: Pittsburgh somewhere far down the road the future. And he 107 00:07:44,800 --> 00:07:48,120 Speaker 1: did this, and he got there by becoming something in 108 00:07:48,160 --> 00:07:55,080 Speaker 1: someone that no one had ever seen before. September nineteen 109 00:07:55,160 --> 00:07:58,480 Speaker 1: sixty three, half a year until the Beatles would land 110 00:07:58,480 --> 00:08:03,120 Speaker 1: on US soil. Months before JFK's motorcade made that fateful 111 00:08:03,160 --> 00:08:07,400 Speaker 1: turn into Dealey Plaza, thirty five year old Andy Warhol 112 00:08:07,480 --> 00:08:09,360 Speaker 1: laid on a mattress in the back of a Ford 113 00:08:09,440 --> 00:08:13,560 Speaker 1: Falcon next to his assistant Gerard Malanga. They flipped through 114 00:08:13,600 --> 00:08:17,360 Speaker 1: magazines while their friends Winning Chamberlain and Taylor Mead sat 115 00:08:17,440 --> 00:08:20,840 Speaker 1: up front and piloted the station wagon through Middle America 116 00:08:21,160 --> 00:08:24,000 Speaker 1: as if they were in a Kerouac novel. But that 117 00:08:24,200 --> 00:08:28,720 Speaker 1: sal Paradise and Dean Moriarty jive was old news a 118 00:08:28,800 --> 00:08:33,480 Speaker 1: few years was an eternity. At least Andy on the 119 00:08:33,559 --> 00:08:37,000 Speaker 1: Road was in the past. Andy and his friends weren't 120 00:08:37,000 --> 00:08:40,800 Speaker 1: emulating the past. They were doing their own thing, chartering 121 00:08:40,840 --> 00:08:43,479 Speaker 1: this honk of Detroit Steel in a haze of marijuana, 122 00:08:43,559 --> 00:08:49,160 Speaker 1: smoke and speed. They left New York City in the 123 00:08:49,240 --> 00:08:53,319 Speaker 1: dust back where Andy silkscreens Marilyn Monroe had recently shifted 124 00:08:53,320 --> 00:08:56,440 Speaker 1: the tectonic plates of the art world's crusty underpinnings, ever 125 00:08:56,520 --> 00:09:01,720 Speaker 1: so slightly. Fifty Marilands, each one, but each one different, 126 00:09:02,440 --> 00:09:06,000 Speaker 1: just like Andy doling out altered versions of himself to 127 00:09:06,040 --> 00:09:09,120 Speaker 1: each new person he met, like those waiting for him 128 00:09:09,160 --> 00:09:12,160 Speaker 1: in Los Angeles, where he was headed now, where his 129 00:09:12,240 --> 00:09:16,600 Speaker 1: second gallery show was just days away. Twenty three canvases 130 00:09:16,600 --> 00:09:20,920 Speaker 1: of Elvis Presley pistol drawn eyes looking up into the left, 131 00:09:21,440 --> 00:09:27,480 Speaker 1: the same Elvis overlapping over and over Elvi. Andy hoped 132 00:09:27,520 --> 00:09:30,560 Speaker 1: these twenty three Elvis's would send the City of Angels 133 00:09:30,559 --> 00:09:35,120 Speaker 1: into another tizzy. His first La Show. The aforementioned Campbell's 134 00:09:35,120 --> 00:09:39,840 Speaker 1: soup cans really pissed off the so called connoisseurs taste 135 00:09:39,840 --> 00:09:43,559 Speaker 1: makers who didn't realize their time was up. Andy was 136 00:09:43,600 --> 00:09:46,240 Speaker 1: hated as much as he was loved. That's the mark 137 00:09:46,280 --> 00:09:50,880 Speaker 1: of true family. In Kansas, they pulled the forward into 138 00:09:50,920 --> 00:09:53,760 Speaker 1: a truck stop, real salt of the Earth. The kind 139 00:09:53,800 --> 00:09:56,400 Speaker 1: of people whose definition of art was that picture of 140 00:09:56,520 --> 00:09:59,719 Speaker 1: Jesus hanging on their wall at home. They didn't know 141 00:09:59,840 --> 00:10:02,400 Speaker 1: him Warhol, and that he made a name for himself 142 00:10:02,440 --> 00:10:05,760 Speaker 1: in his adopted city of New York, first with commercial 143 00:10:05,800 --> 00:10:10,720 Speaker 1: work illustrations in Harper's Bazaar, Town and Country, ads and sports, 144 00:10:10,720 --> 00:10:15,080 Speaker 1: illustrated drug company propaganda and the like, all while sketching 145 00:10:15,120 --> 00:10:18,440 Speaker 1: his friend's cocks on the side, Or that he parleyed 146 00:10:18,440 --> 00:10:24,480 Speaker 1: department store window dressings into gallery installations. Low art made high. 147 00:10:24,600 --> 00:10:27,960 Speaker 1: All they knew was that he looked different, walked different, 148 00:10:28,480 --> 00:10:32,199 Speaker 1: dressed different. He had that New York stink on him, 149 00:10:32,640 --> 00:10:37,000 Speaker 1: but something about him was tilted. The tuft of white 150 00:10:37,040 --> 00:10:40,520 Speaker 1: hair on his head, sunglasses so dark you couldn't tell 151 00:10:40,559 --> 00:10:44,240 Speaker 1: if there were actually eyes behind them. Andy hung back 152 00:10:44,280 --> 00:10:48,160 Speaker 1: on the fringes, listening, observing the leader of a pack 153 00:10:48,200 --> 00:10:52,120 Speaker 1: who also happened to be a loner. Heads turned as 154 00:10:52,160 --> 00:10:54,520 Speaker 1: Andy and his friends looked around for something to eat. 155 00:10:55,040 --> 00:10:58,240 Speaker 1: A hush fell over the place. This alien in their 156 00:10:58,240 --> 00:11:01,840 Speaker 1: midst art fuck future boy in his limp wrist Queen's. 157 00:11:02,600 --> 00:11:07,959 Speaker 1: The locals fascination quickly turned into menace. Andy Gerard Winn Taylor. 158 00:11:08,280 --> 00:11:11,200 Speaker 1: That could all feel it, the eyes staring at him, 159 00:11:11,520 --> 00:11:14,199 Speaker 1: the threat that didn't need to be spoken to be heard. 160 00:11:15,760 --> 00:11:19,080 Speaker 1: Andy Warhol didn't let it bother him. These people were 161 00:11:19,160 --> 00:11:22,240 Speaker 1: stuck in the past. Andy was thinking about the future, 162 00:11:22,600 --> 00:11:24,920 Speaker 1: about a few more days down the road, where his 163 00:11:25,080 --> 00:11:27,880 Speaker 1: La Gallery show would take him one step closer to 164 00:11:27,920 --> 00:11:31,280 Speaker 1: the fame he craved. He would get there on time, 165 00:11:31,640 --> 00:11:36,120 Speaker 1: and in one piece. Andy Warhol was not going to die, 166 00:11:36,440 --> 00:11:40,760 Speaker 1: not today, not inside a Kansas truck stop, not anywhere. 167 00:11:41,559 --> 00:12:14,200 Speaker 1: Andy Warhol was going to live forever. Philadelphia, nineteen sixty five. 168 00:12:15,160 --> 00:12:18,920 Speaker 1: The roughnecks standing outside the Institute of Contemporary Art fondled 169 00:12:18,920 --> 00:12:23,160 Speaker 1: their switchblades. Their leather jackets provided relief against the cool 170 00:12:23,280 --> 00:12:26,800 Speaker 1: autumn breeze, and they waited for Andy Warhol to step 171 00:12:26,800 --> 00:12:30,800 Speaker 1: out into the night. That's when they'd jump him. They 172 00:12:30,840 --> 00:12:33,199 Speaker 1: didn't give a shit about his art, or any art 173 00:12:33,240 --> 00:12:38,199 Speaker 1: for that matter. They just hated Andy Warhol, his sexual orientation, 174 00:12:38,600 --> 00:12:43,240 Speaker 1: his stupid Brillo boxes. His fame didn't matter. They hated 175 00:12:43,240 --> 00:12:44,800 Speaker 1: that they had to read about him in the paper 176 00:12:44,800 --> 00:12:48,200 Speaker 1: and see his screwed up little face on TV. Tonight 177 00:12:48,400 --> 00:12:52,880 Speaker 1: He'd get what was coming to him. Inside, Andy Warhol 178 00:12:53,000 --> 00:12:56,240 Speaker 1: was surrounded, swarmed by adoring fans as if he was 179 00:12:56,280 --> 00:13:00,240 Speaker 1: a beetle. But Andy didn't do beetlesuits. Andy he wore 180 00:13:00,240 --> 00:13:04,800 Speaker 1: a black shirt, black jacket, Levi denim wrap around sunglasses, 181 00:13:05,040 --> 00:13:08,800 Speaker 1: the coolest thing that Philly had ever seen, so cool 182 00:13:08,840 --> 00:13:11,920 Speaker 1: it could only be seen at night. Nine pm was 183 00:13:11,960 --> 00:13:17,520 Speaker 1: the start time for Andy's first ever museum show. Flashbolts, flashed, 184 00:13:17,840 --> 00:13:21,600 Speaker 1: autograph hounds, hounded hands reached out to touch the hem 185 00:13:21,640 --> 00:13:24,320 Speaker 1: of his garment, just like the hands that would pound 186 00:13:24,360 --> 00:13:29,120 Speaker 1: the window of Stephen Patrick Morrissey's car decades later. The 187 00:13:29,160 --> 00:13:32,280 Speaker 1: cops did their best to keep this particular scene calm, 188 00:13:32,640 --> 00:13:37,520 Speaker 1: but Andy's scene could not be contained. Every one of 189 00:13:37,559 --> 00:13:40,400 Speaker 1: the more than sixteen hundred people attending the show were 190 00:13:40,400 --> 00:13:42,319 Speaker 1: as much a part of the art as the silk 191 00:13:42,360 --> 00:13:46,360 Speaker 1: screens hanging on the walls. Artists didn't have fan clubs 192 00:13:46,360 --> 00:13:51,240 Speaker 1: in entourages. Not in nineteen sixty five. Andy Warhol changed 193 00:13:51,240 --> 00:13:53,680 Speaker 1: all that the moment he stepped into the museum with 194 00:13:53,880 --> 00:13:58,160 Speaker 1: Edie Seddrick on his arm. Seventeen years Andy's junior all 195 00:13:58,280 --> 00:14:00,880 Speaker 1: dawled up in a pink floor length jersey tube and 196 00:14:00,920 --> 00:14:04,400 Speaker 1: earrings that dangled to her collarbone, living on her inheritance 197 00:14:04,440 --> 00:14:06,640 Speaker 1: while also living as a part of the growing community 198 00:14:06,640 --> 00:14:10,319 Speaker 1: at the Factory. Andy's work and play space in Midtown Manhattan, 199 00:14:10,960 --> 00:14:13,120 Speaker 1: four flights up and one of the oldest elevators in 200 00:14:13,160 --> 00:14:16,120 Speaker 1: New York to a space forty feet wide by seventy 201 00:14:16,160 --> 00:14:19,240 Speaker 1: five feet deep, wires sticking out of the ceiling, the 202 00:14:19,280 --> 00:14:22,440 Speaker 1: concrete floor dinged with so many imperfections it could have 203 00:14:22,440 --> 00:14:26,680 Speaker 1: been Andy's blemish face. The crew with the Factory was 204 00:14:26,720 --> 00:14:30,400 Speaker 1: growing along with Andy's renown, not just Gerard and Wynn 205 00:14:30,440 --> 00:14:34,160 Speaker 1: and Taylor, but Billy Name, Paul Morrissey, Robert Olivier, to 206 00:14:34,240 --> 00:14:37,840 Speaker 1: name a few. Bibby Hanson, daughter of an avant garde artist, 207 00:14:37,880 --> 00:14:40,480 Speaker 1: and at fourteen years old, one of the youngest factory 208 00:14:40,520 --> 00:14:44,400 Speaker 1: hangers on, later described the collective as quote drag queens 209 00:14:44,440 --> 00:14:48,960 Speaker 1: and queers, children street hustlers and rough trade dropouts and runaways, 210 00:14:49,160 --> 00:14:53,080 Speaker 1: drug dealers and psychiatric basket cases. We were all outside, 211 00:14:53,120 --> 00:14:57,040 Speaker 1: our insiders at the factory, unquote, and they all did 212 00:14:57,080 --> 00:15:01,560 Speaker 1: the things outsider insiders do. Gerard made silk screens with 213 00:15:01,600 --> 00:15:05,120 Speaker 1: Andy while Billy snorted amphetamine hydrochloride and got ready for 214 00:15:05,160 --> 00:15:07,520 Speaker 1: his first three minutes of fame in front of the camera. 215 00:15:07,880 --> 00:15:10,640 Speaker 1: One of the hundreds of human subjects for Andy's so 216 00:15:10,760 --> 00:15:15,040 Speaker 1: called screen tests silent films, one take shot on a 217 00:15:15,080 --> 00:15:20,440 Speaker 1: black and white bolex. Robert Olivio meanwhile shot speed and 218 00:15:20,720 --> 00:15:24,400 Speaker 1: Edie cedric mainline barbiturates and acid while trying to blot 219 00:15:24,400 --> 00:15:27,800 Speaker 1: out the first twenty years of her life, her abusive father, 220 00:15:28,160 --> 00:15:30,760 Speaker 1: her brother who hanged himself at a hospital where he 221 00:15:30,760 --> 00:15:34,640 Speaker 1: had been sent to be cured of homosexuality at the 222 00:15:34,960 --> 00:15:38,600 Speaker 1: Ica in Philly. Though Edie had her shit together for 223 00:15:38,680 --> 00:15:43,000 Speaker 1: one night, at least she looked incredible. The press said 224 00:15:43,040 --> 00:15:46,600 Speaker 1: she was Andy's girlfriend, which was, of course, by design, 225 00:15:47,120 --> 00:15:51,240 Speaker 1: all part of the act Andy's creation. The two of 226 00:15:51,280 --> 00:15:53,480 Speaker 1: them looked down at the rapturous crowd from up on 227 00:15:53,520 --> 00:15:56,600 Speaker 1: their wrought iron staircase, where just moments earlier the cops 228 00:15:56,600 --> 00:15:59,880 Speaker 1: had escorted them for the protection. There were simply two 229 00:16:00,240 --> 00:16:03,400 Speaker 1: people here. They were shouting Andy's name. They tried to 230 00:16:03,440 --> 00:16:05,840 Speaker 1: tear his clothes off of him. Who knew what they 231 00:16:05,840 --> 00:16:08,680 Speaker 1: would do if they actually get a hold of him. 232 00:16:08,840 --> 00:16:12,080 Speaker 1: Andy's newfound fame, the thing he wanted more than anything, 233 00:16:12,400 --> 00:16:14,760 Speaker 1: was beginning to turn on him. In the bow room hold, 234 00:16:15,400 --> 00:16:18,520 Speaker 1: he began to panic. He looked up. There was nowhere 235 00:16:18,560 --> 00:16:21,520 Speaker 1: else to go. The staircase he was standing on led 236 00:16:21,560 --> 00:16:25,480 Speaker 1: to nothing, just the ceiling. He and Yedie were trapped, 237 00:16:26,080 --> 00:16:30,160 Speaker 1: but the cops noticed a potential escamer the trap door 238 00:16:30,240 --> 00:16:31,920 Speaker 1: at the top of the stairs that had been sealed 239 00:16:32,000 --> 00:16:36,040 Speaker 1: up long ago. Philly firefighters wrenched it open the crowbars 240 00:16:36,080 --> 00:16:39,080 Speaker 1: and pulled Andy and Edy through to another floor, away 241 00:16:39,120 --> 00:16:42,360 Speaker 1: from the obsessive throngs. From there, they had to move fast. 242 00:16:42,960 --> 00:16:45,840 Speaker 1: Andy grabbed Edie's hand. They raced through the empty room 243 00:16:45,920 --> 00:16:48,760 Speaker 1: like George and Ringdoll, racing through a train station over 244 00:16:48,800 --> 00:16:51,640 Speaker 1: to a window and a fire escape. The gang of 245 00:16:51,720 --> 00:16:54,600 Speaker 1: leatherclad roughnecks waiting to do Andy harm had long since 246 00:16:54,640 --> 00:16:58,600 Speaker 1: folded up their switchblades and gone home instead. Andy and 247 00:16:58,800 --> 00:17:01,040 Speaker 1: Edie ducked their heads as they slipped into a waiting 248 00:17:01,080 --> 00:17:04,720 Speaker 1: police cruiser, which now whisked them away to safety, then 249 00:17:04,800 --> 00:17:08,760 Speaker 1: back to the confines of the factory East forty seventh Street, 250 00:17:09,080 --> 00:17:12,200 Speaker 1: four flights up, where the cops would soon show up again, 251 00:17:12,920 --> 00:17:15,760 Speaker 1: but this time not to save Andy Warhol from over 252 00:17:15,840 --> 00:17:21,920 Speaker 1: silas fans. The NYPD heard all about what was going 253 00:17:21,960 --> 00:17:24,240 Speaker 1: on at the factory, and I'm not talking about the 254 00:17:24,280 --> 00:17:27,200 Speaker 1: assembly line of artwork and films that were being produced. 255 00:17:27,760 --> 00:17:31,359 Speaker 1: Films like Couch, which was nearly an hour of people 256 00:17:31,680 --> 00:17:35,399 Speaker 1: literally fucking on a couch. That was the film that 257 00:17:35,600 --> 00:17:39,760 Speaker 1: was it in the mid sixties, that was not simply taboo, 258 00:17:39,840 --> 00:17:44,400 Speaker 1: but highly illegal. The constant influx of new people into 259 00:17:44,440 --> 00:17:49,000 Speaker 1: Andy Warhol's factory scene was totally unsupervised, and an unsupervised 260 00:17:49,040 --> 00:17:53,720 Speaker 1: scene of again to paraphrase, maybe Hanson, drug dealers, street hustlers, 261 00:17:53,880 --> 00:17:57,320 Speaker 1: rough trade, et cetera, will undoubtedly bring with it a 262 00:17:57,320 --> 00:18:01,159 Speaker 1: CD criminal element. That criminal element was what the cops 263 00:18:01,160 --> 00:18:06,960 Speaker 1: were there for. Amen sure, for amphetamine men, attics who 264 00:18:06,960 --> 00:18:11,119 Speaker 1: were always looking for a fix, mole people aka the 265 00:18:11,200 --> 00:18:13,680 Speaker 1: ones so strung out they had to hide the ocular 266 00:18:13,720 --> 00:18:18,280 Speaker 1: evidence behind a pair of shades. The police arrived unannounced 267 00:18:18,280 --> 00:18:21,000 Speaker 1: and tossed the place from top to bottom. They hunted 268 00:18:21,000 --> 00:18:23,760 Speaker 1: down every trace of paraphernalia they could find. They kicked 269 00:18:23,800 --> 00:18:27,359 Speaker 1: people out, they shut down parties. Police pressure on the 270 00:18:27,359 --> 00:18:30,600 Speaker 1: factory became such an issue that Andy required all drug 271 00:18:30,720 --> 00:18:33,800 Speaker 1: use to happen elsewhere. If you wanted to get high, 272 00:18:34,000 --> 00:18:35,480 Speaker 1: you had to go to the park down the street 273 00:18:35,520 --> 00:18:38,480 Speaker 1: in the United Nations building, step out onto a fire escape, 274 00:18:38,600 --> 00:18:42,760 Speaker 1: or head to the roof. For his part, Andy popped 275 00:18:42,760 --> 00:18:45,320 Speaker 1: and fetamines only to help him work longer and later 276 00:18:45,800 --> 00:18:48,200 Speaker 1: never just to have a good time. At least that's 277 00:18:48,240 --> 00:18:52,200 Speaker 1: what he told himself. Besides, he wasn't so much interested 278 00:18:52,240 --> 00:18:55,080 Speaker 1: in drugs at the moment as he was interested in Danny. 279 00:18:57,040 --> 00:19:00,880 Speaker 1: Danny Williams was a sound man, an editor, an electrician 280 00:19:01,040 --> 00:19:03,520 Speaker 1: and a gaffer, and upon his arrival in New York 281 00:19:03,560 --> 00:19:06,560 Speaker 1: with Edie Sedgwick in sixty five, he quickly became a 282 00:19:06,600 --> 00:19:10,160 Speaker 1: crucial part of the factory's technical team. He also became 283 00:19:10,200 --> 00:19:13,959 Speaker 1: a crucial part of Andy Warhol's life. He dressed like Andy. 284 00:19:14,280 --> 00:19:16,080 Speaker 1: He moved in with Andy at his row house on 285 00:19:16,160 --> 00:19:20,479 Speaker 1: Lexington Avenue. Andy's romantic relationship with Danny was very private, 286 00:19:20,520 --> 00:19:23,080 Speaker 1: in the way that his non romantic relationship with Edie 287 00:19:23,119 --> 00:19:26,760 Speaker 1: was very public, but Andy's idea of a romance was 288 00:19:26,960 --> 00:19:31,560 Speaker 1: good food and glamorous friends. Danny wanted more. He fought 289 00:19:31,600 --> 00:19:36,040 Speaker 1: for it, and Andy argued with him out for an 290 00:19:36,080 --> 00:19:39,080 Speaker 1: intimate dinner at a Greenwich Village restaurant. Danny couldn't take 291 00:19:39,080 --> 00:19:43,880 Speaker 1: it anymore. He was frustrated, confused, hurt. He lashed out 292 00:19:43,880 --> 00:19:46,880 Speaker 1: at Andy. He wanted to humiliate him, make Andy feel 293 00:19:46,920 --> 00:19:49,439 Speaker 1: the way he felt. He jumped from his seat and 294 00:19:49,480 --> 00:19:53,920 Speaker 1: grabbed Andy's silver wig, ripping it off his head. Andy's 295 00:19:53,960 --> 00:19:57,600 Speaker 1: face went flush. Everyone in the restaurant was staring at him, 296 00:19:57,920 --> 00:20:02,679 Speaker 1: staring at the real Andy warr the pimply bald, working 297 00:20:02,680 --> 00:20:07,880 Speaker 1: class kid who couldn't stand his original skin. Andrew worehala. 298 00:20:08,280 --> 00:20:11,800 Speaker 1: No one was supposed to see him. He was supposed 299 00:20:11,840 --> 00:20:15,440 Speaker 1: to be dead and buried in the dust in the past. 300 00:20:17,160 --> 00:20:19,719 Speaker 1: Andy kicked Danny out of his rowhouse soon after that, 301 00:20:20,200 --> 00:20:22,119 Speaker 1: but he didn't have the heart to completely cut his 302 00:20:22,160 --> 00:20:25,440 Speaker 1: ex lover loose. Danny went on tour with the Factory's 303 00:20:25,480 --> 00:20:29,200 Speaker 1: great rock band, The Velvet Underground. He was the mastermind 304 00:20:29,200 --> 00:20:32,000 Speaker 1: of the group's seminal lighting show, which would change rock 305 00:20:32,040 --> 00:20:36,760 Speaker 1: and roll forever, but Danny was changed too. He was 306 00:20:36,840 --> 00:20:41,119 Speaker 1: now addicted, an ahead, a mole person, a speed freak 307 00:20:41,280 --> 00:20:45,320 Speaker 1: who showered once a week. In July nineteen sixty six, 308 00:20:45,560 --> 00:20:48,359 Speaker 1: he went back to his parents' home in Massachusetts, where 309 00:20:48,359 --> 00:20:50,560 Speaker 1: he borrowed his mother's car and drove it out to 310 00:20:50,600 --> 00:20:53,480 Speaker 1: a rocky cove along the ocean, and no one ever 311 00:20:53,520 --> 00:20:56,480 Speaker 1: saw him again. They just found the car, along with 312 00:20:56,520 --> 00:20:59,000 Speaker 1: his clothes, folded up in a pile by the water. 313 00:21:00,840 --> 00:21:05,120 Speaker 1: Danny Williams's family was despondent. His mother rang the factory. 314 00:21:05,520 --> 00:21:08,360 Speaker 1: Andy refused to come to the phone. I don't care 315 00:21:08,440 --> 00:21:12,320 Speaker 1: where he is, was Andy's reasoning. He's just an amphetamine addict. 316 00:21:13,640 --> 00:21:18,439 Speaker 1: Danny Williams was now like Andrew warhola dead stuck in 317 00:21:18,480 --> 00:21:21,240 Speaker 1: the one place. Andy would never allow himself to be 318 00:21:21,320 --> 00:21:29,399 Speaker 1: caught the past. We'll be right back after this word, 319 00:21:29,600 --> 00:21:42,240 Speaker 1: word word. November nineteen sixty seven. Andy Warhol was expanding 320 00:21:42,840 --> 00:21:47,920 Speaker 1: beyond art, beyond film, and now into music. He had 321 00:21:47,920 --> 00:21:50,879 Speaker 1: his sight set even higher on the culture at large, 322 00:21:51,160 --> 00:21:54,480 Speaker 1: where the real immortality was at but all the money 323 00:21:54,520 --> 00:21:57,399 Speaker 1: he was now sinking into music, into Lou Reed's band, 324 00:21:57,440 --> 00:22:02,040 Speaker 1: The Velvet Underground, the Gear, the Rehearse, the tour, Andy 325 00:22:02,119 --> 00:22:06,120 Speaker 1: has seeing very little return on his investment. The band's 326 00:22:06,160 --> 00:22:09,359 Speaker 1: debut album was a commercial dud, but the failure of 327 00:22:09,400 --> 00:22:12,400 Speaker 1: the Velvet Underground the Chart wasn't what was on Andy's 328 00:22:12,400 --> 00:22:16,080 Speaker 1: mind today. Today he was thinking about the Factory, the 329 00:22:16,119 --> 00:22:19,360 Speaker 1: workspace and freak scene he had established and lorded over 330 00:22:19,400 --> 00:22:22,800 Speaker 1: for the last four years. Their month to month lease 331 00:22:23,000 --> 00:22:27,760 Speaker 1: was being terminated. The building was slated for demolition within weeks. 332 00:22:27,840 --> 00:22:31,479 Speaker 1: The factory would be rubble. Andy needed to find a 333 00:22:31,480 --> 00:22:35,119 Speaker 1: new space and fast, but the machine aspect of the 334 00:22:35,160 --> 00:22:38,840 Speaker 1: factory had to carry on. In meantime, Andy kept printing 335 00:22:38,880 --> 00:22:41,720 Speaker 1: screens and making art, kept calling the press agent he 336 00:22:41,760 --> 00:22:44,680 Speaker 1: had on payroll with any and all news about the factory, 337 00:22:44,720 --> 00:22:47,159 Speaker 1: which the agent would then pitch to the media, drumming 338 00:22:47,240 --> 00:22:51,639 Speaker 1: up more recognition, thus making Andy Warhol more famous. The 339 00:22:51,680 --> 00:22:54,880 Speaker 1: boost and Andy's profile brought more people to the factory 340 00:22:54,880 --> 00:22:58,760 Speaker 1: store of people who wanted something a fix, a fuck, 341 00:22:59,040 --> 00:23:01,480 Speaker 1: a place to crash, or some cash for a sandwich. 342 00:23:02,200 --> 00:23:05,200 Speaker 1: Andy Warrel had money. He took in the less fortunate, 343 00:23:05,400 --> 00:23:11,840 Speaker 1: the down announce, the outsider insiders. This was the thinking 344 00:23:11,920 --> 00:23:14,840 Speaker 1: that drove a guy known around the neighborhood as Sammy 345 00:23:14,880 --> 00:23:17,480 Speaker 1: the Italian to make his way up to the factory 346 00:23:17,520 --> 00:23:21,679 Speaker 1: with a loaded gun. In reality, Sammy was having a 347 00:23:21,720 --> 00:23:24,800 Speaker 1: hard time thinking at all. He was strung out and 348 00:23:24,840 --> 00:23:27,960 Speaker 1: he needed to score, but first he needed to settle 349 00:23:27,960 --> 00:23:30,280 Speaker 1: a drug debt that he owed to some guys downtown. 350 00:23:31,160 --> 00:23:34,240 Speaker 1: He figured, like many before him, that Andy Warrel was 351 00:23:34,280 --> 00:23:38,800 Speaker 1: good for him. The elevator door on the fourth floor 352 00:23:38,880 --> 00:23:42,600 Speaker 1: opened and Sammy stepped into the factory pistol in hand, 353 00:23:42,920 --> 00:23:46,719 Speaker 1: where Andy, Paul Morrissey Taylor Mead Billy Name, and Nico 354 00:23:46,960 --> 00:23:49,880 Speaker 1: the Velvet Underground soon to be former lead singer, were 355 00:23:49,880 --> 00:23:52,919 Speaker 1: hanging around. Sammy waved around his gun and told him 356 00:23:52,920 --> 00:23:54,720 Speaker 1: to all get on the couch, and they did as 357 00:23:54,760 --> 00:23:57,399 Speaker 1: they were told. Then Sammy told him that one of 358 00:23:57,400 --> 00:23:58,840 Speaker 1: them was going to have to give him some dough 359 00:23:59,280 --> 00:24:02,920 Speaker 1: right now. Andy was in shock. Nico, on the other hand, 360 00:24:03,320 --> 00:24:08,119 Speaker 1: was laughing. That thing's not even loaded, she said. Sammy 361 00:24:08,200 --> 00:24:10,479 Speaker 1: was insulted, and he fired the gun at the ceiling. 362 00:24:12,280 --> 00:24:15,960 Speaker 1: Sammy's peace was loaded all right, and he wasn't fucking around. 363 00:24:16,560 --> 00:24:19,600 Speaker 1: He needed cash, so he opened the gun's cylinder and 364 00:24:19,640 --> 00:24:24,080 Speaker 1: emptied out all the bullets, but won. Then he snapped 365 00:24:24,119 --> 00:24:27,280 Speaker 1: the cylinder shot, pointed the barrel at Andy Warhol and 366 00:24:27,320 --> 00:24:29,879 Speaker 1: the others on the couch, and he pulled the trigger. 367 00:24:31,080 --> 00:24:33,080 Speaker 1: Said he was going to keep pulling the trigger until 368 00:24:33,119 --> 00:24:36,879 Speaker 1: someone paid him. Everyone started a frantically dig into their pockets, 369 00:24:36,920 --> 00:24:39,920 Speaker 1: pulling out dollar bills, change, whatever they could find here. 370 00:24:40,040 --> 00:24:43,840 Speaker 1: Sammy take it. Just don't fucking pull the trick. Fuck Sammy, 371 00:24:43,920 --> 00:24:48,360 Speaker 1: Fuck Jesus Christ. Suddenly a wave of regret came over 372 00:24:48,400 --> 00:24:52,159 Speaker 1: Sammy's face. Only now did he realize what he was doing. 373 00:24:52,600 --> 00:24:55,000 Speaker 1: He didn't want to hurt anybody. He really did need 374 00:24:55,040 --> 00:24:57,920 Speaker 1: the money, though, or else someone was gonna hurt him. 375 00:24:58,240 --> 00:25:02,840 Speaker 1: That's all Andy for one breathed a sigh of relief. 376 00:25:03,520 --> 00:25:08,280 Speaker 1: He dodged a bullet literally Seven months later, however, he 377 00:25:08,359 --> 00:25:16,720 Speaker 1: wouldn't be so lucky. June third, nineteen sixty eight, the 378 00:25:16,760 --> 00:25:19,600 Speaker 1: elevator bell rang out not on the fourth floor of 379 00:25:19,640 --> 00:25:22,160 Speaker 1: the building on East forty seventh Street, but the sixth 380 00:25:22,240 --> 00:25:24,960 Speaker 1: floor of a Victorian on the west side of Union Square, 381 00:25:25,240 --> 00:25:29,240 Speaker 1: where Andy Warhol's factory now made his home. This time, 382 00:25:29,480 --> 00:25:32,960 Speaker 1: it wasn't Sammy the Italian coming for Andy, but someone else, 383 00:25:33,359 --> 00:25:36,679 Speaker 1: another character on the factory's fringes who also wanted something. 384 00:25:37,480 --> 00:25:43,080 Speaker 1: Valerie Solanis said she lived nowhere, that she was no one, 385 00:25:43,560 --> 00:25:47,760 Speaker 1: but she clearly wanted to be someone like Andy Warhol. 386 00:25:48,160 --> 00:25:54,040 Speaker 1: She wanted to be famous, but Andy Warhol didn't want 387 00:25:54,040 --> 00:25:56,120 Speaker 1: to help her with that. He didn't care about her 388 00:25:56,119 --> 00:26:01,399 Speaker 1: self published pamphlet The Scum Manifesto asked um as in 389 00:26:01,440 --> 00:26:04,520 Speaker 1: the society for cutting up men, the one that called 390 00:26:04,560 --> 00:26:08,439 Speaker 1: for overthrowing the government and eliminating the male sex. Andy 391 00:26:08,520 --> 00:26:11,080 Speaker 1: was no feminist, and just because he'd let her act 392 00:26:11,119 --> 00:26:13,480 Speaker 1: in one of his shitty movies, that wasn't gonna change 393 00:26:13,480 --> 00:26:16,440 Speaker 1: anything he asked her to do that, not the other 394 00:26:16,440 --> 00:26:19,880 Speaker 1: way around, because when she asked for something, she got buckus. 395 00:26:20,400 --> 00:26:22,360 Speaker 1: Andy wasn't gonna turn the script she gave him into 396 00:26:22,359 --> 00:26:25,000 Speaker 1: a movie. That was clear to her now. It was 397 00:26:25,040 --> 00:26:28,040 Speaker 1: also clear that Andy hadn't even read the fucking thing 398 00:26:28,440 --> 00:26:31,439 Speaker 1: on an asshole. Andy didn't care about other artists. He 399 00:26:31,560 --> 00:26:34,640 Speaker 1: just cared about himself. And if Andy Warhol wasn't gonna 400 00:26:34,640 --> 00:26:37,880 Speaker 1: help Malari Salanis become famous by shooting her script, then 401 00:26:37,880 --> 00:26:45,520 Speaker 1: she would become famous by shooting Andy Warhol. The first 402 00:26:45,560 --> 00:26:47,960 Speaker 1: two rounds from Valerie Beretta sent the people in the 403 00:26:48,000 --> 00:26:51,600 Speaker 1: factory scattering. Someone yelled, hit the floor, and Andy duck 404 00:26:51,680 --> 00:26:55,720 Speaker 1: behind a desk. Valerie found him easily cowering there in 405 00:26:55,760 --> 00:26:58,800 Speaker 1: his black leather jacket like a rat. She pushed the 406 00:26:58,800 --> 00:27:01,919 Speaker 1: hot barrel of her bretta into Andy's side and pulled 407 00:27:01,920 --> 00:27:05,280 Speaker 1: the trigger again. The bullet went straight through him and 408 00:27:05,359 --> 00:27:08,960 Speaker 1: lodged into the hardwood floor below, and Andy screamed out 409 00:27:09,000 --> 00:27:12,920 Speaker 1: in pain. Valerie then turned her gun on Mary o Amaya, 410 00:27:13,320 --> 00:27:15,800 Speaker 1: a London curator and critic in town to talk with 411 00:27:15,840 --> 00:27:19,959 Speaker 1: Andy about a supercan show in the UK. Amaya suffered 412 00:27:19,960 --> 00:27:22,359 Speaker 1: a minor flesh wound and managed to scurry off to 413 00:27:22,400 --> 00:27:25,560 Speaker 1: a better hiding place. Valerie would have also shot a 414 00:27:25,600 --> 00:27:28,800 Speaker 1: third person if her gun hadn't jammed, or so goes 415 00:27:28,800 --> 00:27:32,520 Speaker 1: one telling of the story. Within minutes, Valerie Solanis was 416 00:27:32,560 --> 00:27:35,560 Speaker 1: gone and Andy Warhol was left dying on the floor 417 00:27:35,560 --> 00:27:41,439 Speaker 1: of his studio. Everyone wanted something from Andy, even the 418 00:27:41,440 --> 00:27:44,560 Speaker 1: ambulance driver who transported Andy six blocks down the street 419 00:27:44,560 --> 00:27:48,160 Speaker 1: to Columbus Hospital. He told Mary o'maya it was fifteen 420 00:27:48,200 --> 00:27:51,000 Speaker 1: bucks to turn the siren on, or so goes another 421 00:27:51,040 --> 00:27:55,240 Speaker 1: telling of the story. The doctors at Columbus were more sympathetic. 422 00:27:55,720 --> 00:27:58,960 Speaker 1: When Andy Warhol's unconscious body arrived in the er, he 423 00:27:59,080 --> 00:28:02,400 Speaker 1: was pronounced clinically dead. The bullet from Valerie's gone had 424 00:28:02,400 --> 00:28:06,600 Speaker 1: punctured his stomach, his liver, his spleen, his esophagus, and 425 00:28:06,680 --> 00:28:10,040 Speaker 1: both of his lungs. The surgeon on duty had one option, 426 00:28:10,960 --> 00:28:17,439 Speaker 1: a miracle. Meanwhile, in Times Square, Valerie Solanis walked up 427 00:28:17,480 --> 00:28:21,080 Speaker 1: to a rookie cop and turned herself in. Being arrested 428 00:28:21,119 --> 00:28:24,080 Speaker 1: for murdering Andy Warhol. Thrust her in the right direction 429 00:28:24,640 --> 00:28:31,760 Speaker 1: toward a radio station, microphone and one step closer to fame. Valerie, 430 00:28:31,840 --> 00:28:35,160 Speaker 1: why did you do this? But he's a piece of garbage? 431 00:28:35,840 --> 00:28:40,240 Speaker 1: You know he may die good? Do you mean that? Yeah? 432 00:28:40,280 --> 00:28:43,680 Speaker 1: I do. Why do you hate him so much because 433 00:28:43,720 --> 00:28:45,920 Speaker 1: he's hung? What do you think is going to happen 434 00:28:45,920 --> 00:28:47,920 Speaker 1: to me? Now? I have no idea. I don't care. 435 00:28:48,040 --> 00:28:49,720 Speaker 1: I love the throw it to going to jail because 436 00:28:49,720 --> 00:28:55,960 Speaker 1: there's nothing out here but garbage. Valerie Solanis had no 437 00:28:56,080 --> 00:28:58,960 Speaker 1: patience for garbage. For the things she tried to kill 438 00:28:59,000 --> 00:29:04,040 Speaker 1: and leave behind. Andy Warhol was dead, dead like Andrew 439 00:29:04,080 --> 00:29:07,560 Speaker 1: WARHOLA and Danny Williams and on the road and pictures 440 00:29:07,600 --> 00:29:10,000 Speaker 1: of Jesus and living rooms and any creative thought that 441 00:29:10,120 --> 00:29:13,560 Speaker 1: wasn't in the service of the new. But Andy Warhol 442 00:29:14,080 --> 00:29:18,600 Speaker 1: was also alive, the future Andy Warhol, the one who 443 00:29:18,640 --> 00:29:22,280 Speaker 1: was resurrected on an operating table. The attending surgeon at 444 00:29:22,280 --> 00:29:25,520 Speaker 1: Columbus Hospital cut open Andy's chest and massaged his heart 445 00:29:25,600 --> 00:29:31,240 Speaker 1: by hand. Slowly Andy's pulse returned. He took a deep breath. 446 00:29:31,840 --> 00:29:34,800 Speaker 1: He was the same, but different, just like one of 447 00:29:34,800 --> 00:29:39,479 Speaker 1: his fifty Marilynds or twenty three Elviss and also just 448 00:29:39,560 --> 00:29:44,000 Speaker 1: like Marilyn and Elvis. Andy Warhol, the impossible survivor of 449 00:29:44,040 --> 00:29:47,920 Speaker 1: an assassination attempt, had finally achieved fame at a level 450 00:29:47,960 --> 00:29:51,959 Speaker 1: that someone like Valerie Solanis could only dream of, the 451 00:29:52,080 --> 00:30:13,880 Speaker 1: kind that can never be taken away. Andy Warhol turned 452 00:30:13,920 --> 00:30:16,120 Speaker 1: forty years old right after he was released from the 453 00:30:16,160 --> 00:30:19,320 Speaker 1: hospital in the summer of nineteen sixty eight, but he 454 00:30:19,360 --> 00:30:23,640 Speaker 1: looked and felt much older, and he was frightened the 455 00:30:23,680 --> 00:30:27,600 Speaker 1: memory of the hospital, so cold, so empty, were life 456 00:30:27,680 --> 00:30:31,160 Speaker 1: hung in the balance, the image of his Frankenstein body, 457 00:30:31,480 --> 00:30:34,800 Speaker 1: all that scarred flesh, rapptite with a surgical course to 458 00:30:34,880 --> 00:30:38,200 Speaker 1: hold the stitched up organs in place. The sound of 459 00:30:38,280 --> 00:30:43,080 Speaker 1: gunshots echoing inside the factory. Those things haunted him and 460 00:30:43,120 --> 00:30:48,080 Speaker 1: they never went away and needed at Valerie Salanis, at 461 00:30:48,160 --> 00:30:54,160 Speaker 1: least not at first. Just months later, around Christmas that 462 00:30:54,240 --> 00:30:57,800 Speaker 1: same year, Valerie was released from lock up while awaiting trial. 463 00:30:58,480 --> 00:31:02,600 Speaker 1: Some scum sympathizer that's again, the Society for Cutting Up 464 00:31:02,680 --> 00:31:05,720 Speaker 1: Men scum put up the ten grand to bail her out. 465 00:31:06,280 --> 00:31:10,400 Speaker 1: Valerie immediately called the factory and Paul Morrissey answered. Valerie 466 00:31:10,440 --> 00:31:13,440 Speaker 1: wanted to talk to Andy. Paul told her that that 467 00:31:13,520 --> 00:31:16,880 Speaker 1: wasn't going to happen. Valerie said she needed twenty thousand 468 00:31:16,880 --> 00:31:20,040 Speaker 1: dollars for her legal defense and she wanted Andy to 469 00:31:20,120 --> 00:31:23,640 Speaker 1: give it to her. Let me repeat that. The woman 470 00:31:23,640 --> 00:31:28,000 Speaker 1: who shot and nearly killed Andy Warhol called Andy Warhol 471 00:31:28,280 --> 00:31:31,239 Speaker 1: just months later to ask him to pay for her 472 00:31:31,280 --> 00:31:35,880 Speaker 1: legal defense. But that wasn't all She wanted. More than money, 473 00:31:36,120 --> 00:31:38,520 Speaker 1: She wanted Andy to use his connections to get her 474 00:31:38,560 --> 00:31:42,880 Speaker 1: on The Tonight Show with Johnny Carson. Of course, Andy 475 00:31:42,920 --> 00:31:47,080 Speaker 1: Warhol did not give Valerie Solanas anything. Still, she stayed 476 00:31:47,120 --> 00:31:49,880 Speaker 1: with him for the rest of his life. Her bullet 477 00:31:50,000 --> 00:31:54,680 Speaker 1: caused permanent damage and incision during his initial life saving surgery. 478 00:31:54,840 --> 00:31:58,440 Speaker 1: Caused a major hernia. Eating was a chore, and valume 479 00:31:58,560 --> 00:32:02,920 Speaker 1: was necessary, so much value that Andy Warhol was constipated 480 00:32:03,080 --> 00:32:07,840 Speaker 1: and required a daily enema. His gallbladder became inflamed, but 481 00:32:07,960 --> 00:32:10,880 Speaker 1: he ignored it because he couldn't do hospitals, not since 482 00:32:10,920 --> 00:32:13,880 Speaker 1: the shooting. He survived once on the inside, and he 483 00:32:13,960 --> 00:32:16,800 Speaker 1: wasn't about to chance it again. And that was Andy's thinking, 484 00:32:17,400 --> 00:32:21,200 Speaker 1: so he turned to crystals to heal him again. Andy's 485 00:32:21,240 --> 00:32:25,400 Speaker 1: thinking this time wished for bordering on delusional. His gallbladder 486 00:32:25,440 --> 00:32:28,719 Speaker 1: became more diseased, gang greened even and when it was 487 00:32:28,760 --> 00:32:32,160 Speaker 1: finally removed in nineteen eighty seven, it was too late. 488 00:32:32,840 --> 00:32:37,480 Speaker 1: The night after the surgery, Andy's heart stopped. He was 489 00:32:37,520 --> 00:32:43,160 Speaker 1: fifty eight. Andy Warhol died in the future. He was 490 00:32:43,200 --> 00:32:46,240 Speaker 1: busy creating. But the crazy thing is that he never 491 00:32:46,280 --> 00:32:49,080 Speaker 1: got to witness the future that his art had always envisioned. 492 00:32:49,680 --> 00:32:54,280 Speaker 1: Let me explain. In the two decades between the shooting 493 00:32:54,280 --> 00:32:57,280 Speaker 1: in nineteen sixty eight and his death in nineteen eighty seven, 494 00:32:57,480 --> 00:33:00,760 Speaker 1: Andy Warhol kept reinventing himself what it meant to be 495 00:33:00,800 --> 00:33:03,640 Speaker 1: an artist. He put a working zipper on the cover 496 00:33:03,720 --> 00:33:06,800 Speaker 1: of a Rolling Stones album. He became a male model. 497 00:33:07,040 --> 00:33:10,600 Speaker 1: He commissioned portraits of the upper crust shahs and princesses 498 00:33:10,600 --> 00:33:15,680 Speaker 1: and empresses, Diana Ross, Bridget Bardoux, Mick Jagger. He launched 499 00:33:15,800 --> 00:33:19,160 Speaker 1: Interview magazine. He started his own cable access show in 500 00:33:19,200 --> 00:33:22,440 Speaker 1: the MTV Age with guests like Duran Durant, The Cars 501 00:33:22,560 --> 00:33:26,440 Speaker 1: and Debbie Harry. He courted the New School, all that youthful, 502 00:33:26,440 --> 00:33:31,000 Speaker 1: erotic energy that he never possessed but so desperately craved Basquiat, 503 00:33:31,400 --> 00:33:35,760 Speaker 1: Keith Herring, Stephen Patrick Morrissey. Only now in the twenty 504 00:33:35,800 --> 00:33:39,000 Speaker 1: first century is it obvious that we are living in 505 00:33:39,040 --> 00:33:42,640 Speaker 1: Andy Warhol's creation. No one knew it at the time, but 506 00:33:42,960 --> 00:33:45,680 Speaker 1: Andy's greatest work of art. Who's not a Campbell's soup 507 00:33:45,720 --> 00:33:48,760 Speaker 1: can or a Brillo box, or even the deliberately constructed 508 00:33:48,760 --> 00:33:52,280 Speaker 1: image of himself, but rather the reality that we are 509 00:33:52,320 --> 00:33:57,400 Speaker 1: living in right this very minute. And yes, it's flawed, 510 00:33:57,680 --> 00:34:02,479 Speaker 1: it's weird, it's dangerously kills us. It revolves around some 511 00:34:02,520 --> 00:34:07,080 Speaker 1: of the worst aspects of people, vanity, greed, viral videos, 512 00:34:07,280 --> 00:34:12,120 Speaker 1: everyone getting their fifteen minutes. But it's undeniable. The selfie 513 00:34:12,160 --> 00:34:14,680 Speaker 1: you took last night, the video you shot on your 514 00:34:14,680 --> 00:34:17,960 Speaker 1: phone with some monotonous slice of everyday life. The live 515 00:34:18,000 --> 00:34:20,920 Speaker 1: stream that I am filming right now as I record 516 00:34:21,040 --> 00:34:26,920 Speaker 1: this podcast. They're all just screen tests. They're Andy Even podcasts, 517 00:34:27,000 --> 00:34:30,239 Speaker 1: Like I said, especially this podcast, which Don't Forget, is 518 00:34:30,280 --> 00:34:34,160 Speaker 1: produced by a company named after in Andy Warhol Painting. 519 00:34:34,400 --> 00:34:37,520 Speaker 1: Double Elvis, the creative device that I use at the 520 00:34:37,520 --> 00:34:39,440 Speaker 1: top of my show, as well as the one that 521 00:34:39,480 --> 00:34:41,200 Speaker 1: you know is coming in just a minute. It's my 522 00:34:41,440 --> 00:34:44,719 Speaker 1: clam chowder, it's my chicken noodle, my cream of vegetable. 523 00:34:44,800 --> 00:34:51,200 Speaker 1: It's all repetition, all Andy Warhol. We're all factory kids, 524 00:34:51,719 --> 00:34:54,319 Speaker 1: some of us up, some of us down. Some are 525 00:34:54,360 --> 00:34:58,000 Speaker 1: candies or Billy's or EV's or girards. But we're all 526 00:34:58,040 --> 00:35:00,600 Speaker 1: free to be who we want to be to that 527 00:35:00,840 --> 00:35:05,160 Speaker 1: which resonates with us. We are art, and art is us. 528 00:35:06,640 --> 00:35:10,160 Speaker 1: We live together in one nation, one world, one future, 529 00:35:10,680 --> 00:35:16,440 Speaker 1: not under God, but under Andy Warhol. Amen. I'm Jake Brennan, 530 00:35:16,920 --> 00:35:29,000 Speaker 1: and this is Disgraceland. Hollywood Land was created by Years 531 00:35:29,000 --> 00:35:33,000 Speaker 1: Truly and is produced in partnership with Double Elvis. Follow 532 00:35:33,160 --> 00:35:35,440 Speaker 1: like rate and review hollywood Land wherever you get your 533 00:35:35,480 --> 00:35:37,680 Speaker 1: podcasts and get in touch with us on social media 534 00:35:37,840 --> 00:35:40,920 Speaker 1: at double Elvis. If you like hollywood Land, check out 535 00:35:40,960 --> 00:35:43,840 Speaker 1: my other show, the award winning Disgraceland, which looks at 536 00:35:43,880 --> 00:35:45,880 Speaker 1: the world of music through the lens of true crime. 537 00:35:45,960 --> 00:35:48,840 Speaker 1: Just search for Disgraceland or wherever you get your podcasts. 538 00:35:54,480 --> 00:35:55,640 Speaker 1: Good des al