EARLY 1970: ANDY WARHOL GETS A VIDEO CAMERA.
1970: ULTRA VIOLET APPEARS IN THE PHYNXS.
ULTRA VIOLET made a cameo appearance in the non-Warhol film The Phynxs - a youth culture film about a U.S. rock group touring the Soviet Union who get involved in espionage - with songs by Leiber/Stoller. Other cameos included Joan Blondell, Martha Raye, Johnny Weismuller and Colonel Sanders. (www.filmthreat.com/Features.asp?Id=358)
1970: CANDY DARLING AND JACKIE CURTIS AUDITION FOR NO NO NANETTE.
CANDY DARLING, JACKIE CURTIS and PAUL AMBROSE auditioned in drag for the Broadway musical revival of No, No, Nanette but none of them made the cast. (JCC)
c. 1970 JOE DALLESANDRO LIVES IN A BROWNSTONE OWNED BY PAUL MORRISSEY.
Joe Dallesandro at Max's Kansas City, 1971 (Photo: Anton Perich)
Michael Ferguson (Little Joe, Superstar, 2011, pp, 21-2):
"He [Joe] had moved into a four-unit brownstone owned by Paul Morrissey, now his mentor, where an almost father/son relationship evolved. It was a supervised and disciplined lifestyle as Joe worked to help with the restoration of the brownstone and also put in partial days at the Factory. He carried out any number of odd jobs there: answering phones, providing security (standing guard next to a stuffed Great Dane), sending out prints of Warhol and Morrissey films to college campuses, running night-time projection of the movies, and operating the elevator for house events."
BILLY NAME (born Billy Linich) walked out of the darkroom where he had been living as a recluse at the Factory, leaving a note for Andy Warhol saying: Andy - I am not here anymore but I am fine. (LD328/FM411)
MARCH 1970: PRODUCTION BEGINS ON WOMEN IN REVOLT.
SUMMER 1970: EDIE SEDGWICK IN COTTAGE HOSPITAL (AGAIN)
David Weisman (Co-Director, with John Palmer, of Ciao! Manhattan):
"Edie was back in Cottage Hospital the summer of 1970 when I made my first attempt to recontact her and finish Ciao! Manhattan... She finally got authorization from Dr. Mercer to finish Ciao! She was very anxious to complete it. So she got a little apartment on West Padre Street, a block from the hospital and a block from Dr. Mercer. Two professional nurses, Sherry and Maxie, were lined up by the Sedgwick family to keep an eye on her along with John and Janet Palmer, while we got everything ready to start on her film." (EDIE388-9)
SUMMER 1970: JOHNNY LEAVES HOLLY.
Johnny, Holly Woodlawn's boyfriend who played the student in TRASH left Holly after an emotional outburst by her, clouded by the excess of alcohol and drugs."
Holly accused Johnny of "being attractive to other people." During her tirade, she smashed a coffee cup against the brick wall of their tenement apartment (on 3rd Street and Second Avenue) and (being left handed) slashed her right thigh with it, leaving a permanent scar. When Johnny ran out of the apartment and into a cab, Woodlawn rushed after him in her bare feet, screaming please dont leave me and ended up in the emergency ward where she was stitched up like a rag doll, full of stuffing and nothing else. Johnny moved back to Atlanta. He was sixteen years old and Holly, a world-weary twenty-four." (HW155)
SUMMER 1970: JACKIE CURTIS IS SHOT FOR ORGANISM.
Dusan Makavejev filmed Jackie Curtis for the non-Warhol movie, WR: Mysteries of the Organism. (LT43)
c. SUMMER 1970: BILLY NAME LIVES ON THE STREETS IN SAN FRANCISCO, CALLING HIMSELF KINGDOM UNKNOWN NAME.
In interviews with Diane di Prima recorded July 29-August 1, 1970, Di Prima says about Billy, "I saw him in San Francisco recently, and he was living on the street and had changed his name to Kingdom Unknown Name." (FBxvii)
The Velvet Underground were the first live band to play Max's Kansas City. They performed at Max's to promote the LOADED album. BRIGID BERLIN (POLK) recorded the last night on her Sony TC120 cassette recorder and the recording was later released by Atlantic as Live at Max's Kansas City. (UT187/193)
Doug Yule's brother, Billy, replaced Maureen Tucker during the Max's performances as she was pregnant. Billy was paid about $25.00 per week - a $60.00 fee for all performances plus daily round trip fare to/from Long Island plus food. (UT187)
After the last performance, Lou Reed left the band and moved back into his parents' home at 35 Oakfield Avenue. (LR175-7) working for his father as a typist, earning $40 a week. (LR182)
"I was responsible for Live at Max's. That very week they broke up, we realized Brigid had the last recorded performance of The Velvet Underground because it was clear that Lou wasn't coming back. I persuaded Brigid that we take the cassette to Atlantic since they still sort of had them on the label... and this would be their second record and a cheap way for Atlantic to fulfil its contractual obligations. And they could buy this master and all rights to it for I think $10,000. I split it with her and then she started to be mad at me because she thought she had given me too big a cut." (UT195)
Occasionally Lou would venture into New York and visit the Factory.
"I met Lou at the Factory and he was really pathetic. I don't know what he was on, but he was really out of it. He was my hero, but it was like his life was over." (LR181)
The four page colour spread with photos by Jack Mitchell was titled "Just Plain Jane" and described Forth as "a new now face in the awesom tradition of Twiggy and Penelope Tree." It also noted that she had just turned seventeen and "claims no special talents."
Life magazine, July 4, 1970, pp. 54-57
SEPT. 1970: L'AMOUR IS FILMED IN PARIS (LD339)
When Gerard Malanga rang the Factory after returning to New York from a trip abroad, Paul Morrissey told him that "the college film-rental project that he [Malanga] had been running had been discontinued because Morrissey wanted to get the early Warhol films out of circulation." (LD340)
NOV. 14, 1970: JOE DALLESANDRO JR. IS BORN.
Holly received a telegram addressed to her at Maxs from the Academy of Motion Picture Arts and Sciences informing her that George Cukor had started a campaign to get the Academy to nominate her for an Academy Award for TRASH, supported by petitions whose signatories included Ben Gazarra and Joanne Woodward. (HW159)
At Maxs, HOLLY WOODLAWN met ASHA, a wealthy socialite who had achieved fame as a film actress in India where she starred in numerous ISMAIL MERCHANT films. Asha left India to pursue a jazz-singing career in the Big Apple.
1970: HOLLY WOODLAWN MAKES BAD MARION.
In the film, Holly and Asha came from out of the sea naked, slipped on two full length fur coats lying on the beach and hitchhiked into town. It ends with Marion, playing the lead role as the wealthy young snippet taunted by Holly and Asha, kicking up her heels from an overdose and catching a ride on the next wind to heaven. The film was shown at the Guggenheim Museum in New York and was forgotten soon after. (HW178)
Andy Warhol was defended by the same lawyers used by "Princess Radziwill". Warhol offered Tavel a painting or a thousand dollars and even suggested they go to Hollywood and make a movie. Tavel rejected the offer and later dropped the lawsuit because of the stress of the legal hearings. (LD355)
Andy bought some video equipment and put VINCENT FREMONT and MICHAEL NETTER in charge of the video department. Their video projects eventually include PHONEY, NOTHING SERIOUS and FIGHT.
A portrait cost $25,000, with additional canvases of the same image in different colours initially costing $5,000 each, which, over the years, rose to $20,000. (BC89)
Bob Colacello on Andy Warhol's commissioned portraits:
"His portraits transformed aging socialites into Venus de Milos, and their industrialist husbands into Florentine Davids - or at least, into Hollywood facsimiles thereof... I saw him working on a portrait... He was crouched on the floor over a forty-by-forty inch negative - the standard portrait-size blowup of the negative of the Polaroid that every portrait started with. The negative would then be converted into a silkscreen, which was then used to print the image onto the final portrait canvas... various steps of the process were done by hands other than Andy's. But only Andy, in all the years I knew him, worked on the negatives... What Andy did to the negative was more like plastic surgery... He simply took scissors and snipped out double chins, bumps in noses, bags under eyes...
'God, I said, as I watched him attack a whole neck and scissor away seventy years of wrinkles, is that how you do it?'" (BC89)
JAN. 17 - JUNE 4, 1971: EDIE SEDGWICK HAS SHOCK TREATMENTS (AGAIN)
According to Michael Post, Edie "was in the clinic from January 17 to June 4, 1971. She had shock treatments - I don't know how many - maybe twenty or more. Dr. Mercer told me that she'd had some shock treatments in the East. He authorized the new ones because he thought Edie could be close to suicidal. Really an ugly scene..." (EDIE398)
ANDY WARHOL and entourage (including Jane Forth) attended the grand premiere of TRASH in Munich, Germany. Trash became the second highest grossing film that year in Germany - after Easy Rider.
Andy Warhol's entourage had begun their German tour two days prior in Cologne, after a stop-over in London for a Warhol retrospective opening at the Tate Gallery. After Munich they visit Frankfurt, Berlin, Munich (again), London (again), and then back to New York. (BC49)
While in Frankfurt, JED JOHNSON and FRED HUGHES searched for Art Deco pieces in antique shops which Andy had started collecting as 'props' for the Paul Morrissey/Warhol film, L'AMOUR - at least Andy would list them as 'props' on his tax returns. (BC51)
According to her biography, Holly Woodlawn shot her first scene for WOMEN IN REVOLT in a "swank" upper east side apartment in Spring 1971, howver it may have been earlier than that - see Women in Revolt.
According to Village Voice film critic, Jim Hoberman, production on Women in Revolt began as early as March 1970 and an announcement appeared in the July 29, 1970 issue of Variety magazine that the film was "already in the can." (There is a signed release for Holly dating from 1970.)
According to an interview Holly later gave to Patrick Smith, the only film work she did between TRASH and WOMEN IN REVOLT was a small scene for a non-Warhol film titled Is There Sex after Death? which starred RICHARD PRYOR. Is There Sex After Death was released in 1971 although the actual dates it was filmed are unknown.
Andy Warhol is credited as the photographer on the album cover of The Rolling Stones' Sticky Fingers album. However, Joe Dallesandro's biographer, Michael Ferguson, claims that "There was no photograph session set up where they were taking shots of crotch areas" but that that the photo "was just out of a collection of junk photos that Andy pulled from. It was just the first one he got that he felt was the right shape to fit what he wanted to use for the fly." (PMA, No. 32) Joe Dallesandro claims that it is his crotch on the cover but, according to Bob Colacello, Warhol photographed the crotches of several people:
Andy gave Glenn [O'Brien] a big thrill when he asked him to pose for the cover of the Rolling Stones' new album, Sticky Fingers. It was a crotch shot of a guy in jeans, with a zipper that unzipped to reveal another crotch shot of a guy in Jockey shorts. Glenn wasn't the only one Andy photographed for this project. He also shot Jed's twin brother, Jay, and his best friend, Cory Tippin, who did the makeup for L'Amour. When the album came out, Glenn was certain that it was he on the inside and Jay Johnson on the outside, but Andy would never say exactly whose crotch he had immortalized." (BC57)
According to Warholstars site user, Stylissmo, the model for both the inside and outside of the Rolling Stones cover, was Corey Tippin.
Jay Johnson famously has only one testicle, Jed wasn't built like that... Corey Tippin, a factory kid, star of L'Amour sometime model and makeup artist - was well known for his endowment... and was also known - along with his friend, the illustrator Antonio Lopes, for "showing basket" - a real 70's kind of gay display that involved bulging crotches in tight jeans. Attendees at the Sticky Fingers release party mentioned that of the aforementioned possible models for the cover - only Corey Tippin was at the party. At any rate all this has been told to me in various pieces by Jay Johnson, Corey Tippin, Jane Forth, Paul Caranicas (director of Antonio's estate) and other characters who are still friends and living in and around New York.
In an article published on February 9, 2003 in the New York Times, journalist David Colman attempted to find out whose crotch it was:
David Colman ("1970's New York, on an Album Cover,"The New York Times, 9 February 2003):
"Of course, I always thought it was Mick Jagger," Mr. [Michael] Kors said. "I had to wait until the grand old age of 15 to find out it was Joe Dallesandro," a reference to the star of Warhol films like "Flesh" and "Trash."
Not so, said Glenn O'Brien, the writer who was working for the Warhol magazine, Interview. "Joe wasn't up to it or something, or they wanted someone skinnier." Mr. O'Brien said it was he who posed for the inner sleeve photo, in his Carter's briefs. As for the cover star, he said it was Jay Johnson, the decorator, then a model.
"It's not me," Mr. Johnson said, pointing the finger at Corey Tippin, a Factory habitué, now a photo stylist living in Bridgeport, Conn. Mr. Tippin said that, yes, the jeans and their contents were his, and he thought, but was not positive, that the inner sleeve was him as well. Both he and Mr. O'Brien were photographed, he said, but in his recollection, "Glenn O'Brien seemed like he probably wore boxer shorts."
("It's my body," Mr. O'Brien rejoined. "I'd know it anywhere.")
Andy Warhol is also credited with the "Cover Concept" on the album credits. Craig Braun (as "Craigbrauninc") is credited with "Design/Graphics." However, Braun, according to the Andy Wahol catalogue raisonnè of album covers, "had been indeed contacted by Jagger first, but none of his ideas were accepted. At a party in 1969, Warhol proposed the famous jeans idea to Jagger, whom he had first met six years before. Warhol, artist and filmmaker, had probably already had this idea for the poster of his movie Lonesome Cowboys, shot in Arizona the year before. In an interview with the author of this catalogue on February 8, 2008, Ultra Violet, singer and Factory star, confirmed this possibility." (PMA, No 32) However, given that Ultra Violet wasn't actually in Lonesome Cowboys, it's unclear how she would know about Warhol's plans for the design of a poster advertising the film.
See Andy Warhol's Pork, here.
See Vain Victory, here.
One friday afternoon in 1971, two junkies arrived at the front desk on a of the Union Square factory, pointed pistols at VINCENT FREMONT and demanded money and to see Andy Warhol. Andy had already retreated into the editing room with JED JOHNSON and JOE DALLESANDRO who followed him. FRED HUGHES gave the junkies a hundred dollar bill, and PAUL MORRISSEY handed over the same amount. JOE DALLESANDRO's wife, TERRY was visiting the Factory with their baby girl. One of the thieves grabbed the baby and the other grabbed Terry, saying that they were going to kill the kid unless Andy came out. JOE DALLESANDRO appeared and calmly announced that the police have already been called from the editing room telephone. The thieves dropped the baby and rushed out. (BC72)
ISMAIL MERCHANT offered HOLLY WOODLAWN a three-thousand dollar role in his film 'Tacky Women' (later retitled 'Savages'), also starring MARTIN KOVE, ULTRA VIOLET, and ASHA. Holly instead took up the offer from another producer to star in 'Scarecrow in a Garden of Cucumbers' for $6,500.00.
After the filming, Holly Woodlawn moved back into the Chelsea with Johnny and started using heroin again. When they ran out of money they moved into a hovel on Tenth and Hudson Streets. Holly got into another dramatic argument with Johnny and he left her again. Broke, she went to the Factory and got some money from Andy to pay her rent. (HW197-8)
PAUL MORRISSEY and JED JOHNSON edited HEAT at a house that Andy Warhol rented in the Hamptons. (L&D354)
AUTUMN 1971: WOMEN IS SHOWN WEEKLY.
Women in Revolt is shown weekly at the Factory, but Warhol is unable to get a distributor for the film. (BC84)
Valerie was released from prison after serving her time at two institutions - the New York State Prison for Women at Bedford Hills and Mattewan Prison. (UV134)
NOV. 1971: VALERIE SOLANAS IS ARRESTED.
Valerie was arrested once again because of threatening letters and telephone calls she made to MAURICE GIRODIAS, publisher BARNEY ROSSET, HOWARD HUGHES, and ROBERT SARNOFF of NBC.
In the letters, Valerie Solanas claimed: I have a license to kill. In and out of mental institutions in 1973, Valerie continued to write obscene and incendiary letters. In 1975 she spent eight months in South Florida State Hospital. In 1977 she mailed a rambling letter to a Playboy editor, on the theory that he was a contact man for "The Mob. (UV187)
The Coroner classified Edie Sedgwick's death as Accident/Suicide' and the cause of death as acute barbiturate intoxication. (E421) Edie was buried in Oak Hill Cemetery in Ballard, California. Andy Warhol did not go to the funeral. (UV233)
In 1971, O'Brien replaced Bob Colacello as the managing editor of Interview so that Bob could write a book about Warhol. BOB COLACELLO became "special contributing editor", leaving him more time to work on the book.
FRED HUGHES "secretly" negotiated the sale of JEROME HILL and CHARLES RYDELL's Interview shares to PETER BRANT and JOE ALLEN, "his new best friends" - and Andy's new best clients." Peter and Joe ran their father's expanding newsprint company.
Andy's new Swiss art dealer, BRUNO BISCHOFBERGER, was involved in the "complicated transaction" which, according to Bob Colacello, included "the exchange of paintings, the publication of the Electric Chair prints, tax write-offs - a typical FRED HUGHES deal."
Fred Hughes was credited as editor on the masthead, above the names of PAUL MORRISSEY and ANDY WARHOL. (BC102)
GLENN O'BRIEN's first issue (February 1972) was a MARILYN MONROE special. (BC104)
She was "tossed out of her East Side setup by the garment center heir" and moved "into the West Side duplex of SAMUEL ADAMS GREEN, an art-world friend of Andy's from the sixties, who had curated the riotous 1965 show in Philadelphia." (BC103)
"By December, Jackie [Curtis] was persona non grata at the Factory; Holly had stopped coming by for handouts because she had a manager in Dallas who got her a paying part in an almost-aboveground movie called Is There Sex After Death?; and Candy had a big solo finale, the most closeups, and top billing in ANDY WARHOL'S WOMEN IN REVOLT (BC84)
1972: HALSTON MEETS VICTOR HUGO.
From Tim Blanks, "The Mad Hatter," The Daily Telegraph (London), 6 December 2001:
"Halston was used to paying for sex and that's how he met a Venezualan rent-boy called Victor Hugo in 1972. Halston's money and Hugo's appetite for excess made the pair an accident waiting to happen."
EARLY 1972: FRAN LEBOWITZ IS HIRED FOR ANDY WARHOL'S INTERVIEW.
Glenn O'Brien "delighted in telling the boys in Max's back room that he'd hired Fran Lebowitz on the spot because she'd brought him a nasty review of Women in Revolt that she had published in Changes, 'a magazine with a readership of fifty three,' as Fran put it. Glenn thought this was 'gutsy.' Paul [Morrissey] thought it was a good reason not to use Fran. She began writing for Interview early in 1972 and her generally nasty film reviews quickly evolved into a column called Best of the Worst, which Paul referred to as Worst of the Worst. Andy didn't like Fran either. For one thing, she always went mute around him. She later told me that she was sure if she got too close to him before he was famous, 'my sense of humor would somehow become Andy Warhol's sense of humor.'
'Who does she think she is?' Andy always said of Fran in those days, especially after he found out that she refused to to learn to type and instead dictated her handwritten pieces to Glenn or Jude. 'She's not that good. She just does that New York Jewish comedy that everybody does. We should drop her.' (BC104)
FEBRUARY 16, 1972: WOMEN IN REVOLT OPENS.
Women in Revolt opened in New York after two initial screenings in Los Angeles.
Even with the success of Trash and Flesh, no distributor would take Women in Revolt, so Andy Warhol rented the Cine Malibu - a small exploitation movie house on East 59th.
The opening of Women in Revolt was a celebrity preview with a dinner for Candy afterwards at le Parc Perigord (see bio).
Women's Liberation Groups protested outside the cinema during its run. (BC77)
MARCH 1972: SCARECROW OPENS.
Holly Woodlawn's non-Warhol film, Scarecrow in a Garden of Cucumbers opened at the Waverly Theater.
Holly arrived in a long white limo with live white doves attached to her wrists, "flapping, squawking, excreting". When CANDY DARLING saw them, she commented, "How Holly". (BC112)
Candy Darling had brought a bag full of tomatoes to the premiere - Just in case I need them she said behind a large pair of dark sunglasses.
According to Holly, the film played in New York, Los Angeles and at various art houses in between. (HW252)
Darling appeared in a production of Tennessee William's play, Small Craft Warnings.(BC186)
1972: BOB COLACELLO HAS A BIRTHDAY.
BOB COLACELLO celebrated his twenty-fifth birthday at a dinner at SAM GREEN and CANDY DARLING's duplex. Among the guests were ROBERT MAPPLETHORPE, JOHN MCKENDRY, SYLVIA MILES, RUDOLF MARTINUS, RUTH FORD, DOTSON RADER, THE JACKSONS, SCAVULLO, ANDY WARHOL, PAUL MORRISSEY and Warhol's boyfriend JED JOHNSON.
Warhol gave Colacello a rhinestone necklace as a 'joke' gift which a Daily News reporter mistakenly reported as diamonds.
Gossip columnist Suzy Knickerbocker reported on the wedding in the Montreal Gazette:
Suzy Knickerbocker ("Smart Set," The Montreal Gazette, February 12, 1972, p. 10):
NEW YORK - The Andrew Fuller's beautiful daughter, Gillian was married to Gino Piserchio, a concert pianist in Aspen, Colo., on Monday.
The "liberated" ceremony for which the couple wrote their own vows complete with several verses of romantic poetry, was performed at the Paragon, one of the most colorful restaurants in the West with a local minister, Thomas Benton, of the Church of the Truth in charge.
You all remember Gillian, called Gill (pronounced Jill) for short. Seven years ago, she married handsome Lord Charles Spencer-Churchill, younger son of the Duke of Marlborough, in a glittering ceremony in London. They were divorced two years ago...
If Gill's first wedding had eclat and social significance, her second one had dazzle and variety from start to finish... Gathered in the red and gold private dining room of the Paragon, under a series of English country paintings hanging on the walls, were such superstars as Holly Woodlawn, star of Andy Warhol's Trash and Scarecrow in a Garden of Cucumbers, Paul Issa, 23-year-old scion of the Jamaica Issas, who has just completed a 900 page diary cunningly titled Demented, a treatise on the Aspen scene, and Ritchie Berlin, the maid of honor...
In the world of society, the former Lady Charles Spencer-Churchill, who reverted to her maiden name immediately after her separation from Lord Charles, is something of a household word, but in the world of music the 28-year-old bridegroom has a few credits of his own. A music student since the age of 8, he is a product of the Manners School of Music and is listed in Who's Who in the East. He has been a featured artist at the Guggenheim Museum and was recently chosen by Bell Laboratories to do the score for their film on modecular dynamics... Gill and Gino have produced an experimental 16-milimeter color movie, which Gino directed and in which Gill appears, called The Tacky Woman. It was filmed at the Fuller family estate in Southampton and shown privately at the Guggenheim Museum. The Tacky Woman stars the ubiquitous Holly Woodlawn and Ayasha Putchli, the Indian singer. Thought you'd like to know.
The May 1972 issue of Interview was the first with a cover designed by RICHARD BERNSTEIN.
Both the Art Deco logo and tagline 'Andy Warhol's Film Magazine" were dropped from the magazine starting with this issue. They were replaced with 'Andy Warhol's Interview'. On the cover was Donna Jordan who was in Warhol's film L'Amour, with Jane Forth. (BC105)
Richard Bernstein continued to design the cover for the next fifteen years. He died on October 18, 2002 of complications from AIDS at the age of 62, after having been a long term resident of The Chelsea Hotel.
ANDY WARHOL, JED JOHNSON, FRED HUGHES and BOB COLACELLO flew to Mexico City to attend the opening of an art exhibit by MARIA LUISA DE ROMANS at the Museum of Modern Art in Mexico.
Maria Luisa was the wife of the Italian ambassador to Mexico, heiress to the second-largest fortune in Italy and an artist herself. She had exhibited her paintings in spring at the Iolas Gallery in New York. Andy was hoping that Bob Colacello could get a commission from Maria Luisa for Andy to do her portrait.
Andy to Bob Colacello: "It's just so hard to get up in the morning. It would be so much easier to stay in bed all day, wouldn't it? I have to take, uh, a pill to get going. I just don't have any energy since I was shot."
Bob Colacello: "What kind of pill?"
Andy Warhol: "Oh, uh, just a little Dexamyl. It's nothing." (BC117)
ANDREA FELDMAN, who appeared in Imitation of Christ, Trash and Heat, committed suicide by jumping out of the window of the apartment she lived in with her family on the fourteenth floor of a building at Fifth Avenue and 12th Street. (POP299) Andy did not go to the funeral.
According to Bob Colacello, Andrea Feldman was carrying a can of coke in one hand and a rosary in the other when she jumped from 51 Fifth Avenue. Many factory employees thought August 8th was Warhol's birth date at the time - Andrea may have chosen this date because she assumed it was his birthday. It was also the tenth anniversary of MARILYN MONROE's death with whom Andrea identified herself. (BC126)
Andrea had "apparently made dates for that afternoon with half a dozen guys she had gone out with, including the poet and diarist JIM CARROLL, so that they would all be down on the sidewalk when she flew out the window."
Andrea Feldman's best friend and Warhol superstar, GERALDINE SMITH, mentioned a note that Feldman had left telling everyone she loved them and that she was 'going for the big time, I hit the jackpot!'
But, according to Bob Colacello, "in the back room of Max's the old Superstars were saying that... the note wasn't to everyone and it wasn't about love; it was to Andy and it was very, very nasty." (BC128)
Andrea Feldman's last interview was conducted on July 29, 1972 by Greg Ford who submitted it to Interview magazine. In regard to her career as a Warhol star, she said:
"They just throw you in front of a camera - they don't care what you look like. And they just use you, and abuse you, and step on you, and they don't pay you anything. I am very depressed about the whole thing, because I know I'm a damn good actress and I've been brought down by Warhol and I've been mistreated by them. And Paul Morrissey told me I was the best actress he ever had."
Interview never printed the article. (BC128)
Andy Warhol approached LOU REED and asked him to write some songs for a Broadway musical to be produced by Warhol and YVES ST. LAURENT.
Lou Reed wrote Vicious, New York Telephone Conversation, and Make Up for the musical - all of which would appear on his second solo album, Transformer (produced by DAVID BOWIE).
"Andy said 'Why don't you write a song called Vicious?' I said, 'Well, Andy, what kind of vicious?' 'Oh, you know, like I hit you with a flower.' And I wrote it down, literally." (LR200)
Holly was arrested for shoplifting in Puerto Rico, while visiting an old friend, ROBERT JONES, and was locked up in an old, dilapidated jail known as La Princessa. (HW217)
The following week Heat was booked into two additional cinemas. Judith Christ reviewed the film in New York magazine, saying "The most striking performance - in large part non-performance - comes from the late Andrea Feldman as the flat-voiced, freaked-out daughter, a mass of psychotic confusion, infantile and heart-breaking." (DB322)
Bob Colacello persuaded CANDY DARLING to host an opening party at SAM GREEN's after the premiere. (BC132)
A celebrity preview of HEAT took place at the Director's Guild in Los Angeles. Andy Warhol attended, along with PAUL MORRISSEY, BOB COLACELLO and SYLVIA MILES. (BC136)
SUSAN BLOND, future star of Andy Warhol's BAD, worked as assistant to SANDY BRANT, the director of advertising for Interview magazine and wife to Interview investor PETER BRANT. According to Bob Colacello, Susan Blond was a "frizzy-haired brunette" who "was a serious painter at the Whitney Museum school when Andy lured her to Interview's advertising department with party invitations." (BC140)
"The best part of my job was being in that video soap opera that Andy was making up at Maxime de la Falaise's with Candy Darling and Geri Miller. It was called Phonies." (BC140)
Andy Warhol produced Halston's fashion show for the 1972 Coty Awards at Lincoln Center (with"'considerable help from JOE EULA").
Andy had the models cooking breakfast onstage with the latest kitchen appliances from General Electric. Amongst the models were Warhol superstars CANDY DARLING, PAT AST, JANE HOLZER, DONNA JORDAN and JANE FORTH who had with her the newborn child she had with ERIC EMERSON, who they had named EMERSON FORTH.
DIANA VREELAND said the smell of bacon fat was "the most optimistic fragrance in the world!" (BC137)
NOVEMBER 1972: ANDY WARHOL'S MOTHER DIES.
David Bourdon gave the date of November 28th for the death of Warhol's mother in his biography of Warhol. Victor Bockris wrote that she died on November 22nd. Almost two years prior to her death, Warhol's mother had left New York and had stayed briefly with her son John before moving in with her other son Paul. She suffered a stroke three months later and ended up comatose in a hospital. After a month of hospitalization she was put into a nursing home - the Wightman Manor in Squirrel Hill - where she died nineteen months later. Warhol did not attend the funeral.
"Andy did not mention his mother's death to any of this close friends. Fred Hughes accidentally found out she had died when he happened to answer a phone call from Andy's brother John. Jed Johnson did not learn of her death until the summer of 1975, when he saw James Warhola, Paul's son, and asked, 'How's your grandmother doing?' As late as 1976, when friends asked about his mother, Andy said, 'Oh, she's great. But she doesn't get out of bed much." (DB322)
The Factory held its first Christmas party. The guests included CANDY DARLING, SYLVIA MILES, PAT AST, GERALDINE and MARIA SMITH, DONNA JORDAN, JANE FORTH, ERIC EMERSON (and their baby son Emerson Forth) and JOE DALLESANDRO (and his son Joe Jr.). (BC144)
1973: SILENT NIGHT IS RELEASED.
The non-Warhol film, Silent Night, Bloody Night, was released in 1973. It was directed by MARY WORONOV's husband, Theodore Gershuny, and featured Woronov in the cast. Cameo appearances included CANDY DARLING (as "guest"), JACK SMITH and TALLY BROWN as mental patients and ONDINE as the head mental patient. (IMY31)
HOLLY WOODLAWN starred in the non-Warhol film, Broken Goddess, which was originally conceived as a vehicle for Bette Midler by DALLAS, the light man for Bettes show at the Continental Baths. Folk singer LAURA NYRO worked as Dallas' assistant.
ca. SUMMER 1973: HOLLY WOODLAWN DOES CABARET.
HOLLY WOODLAWNs cabaret act was born at the Continental Baths. Holly performed at the older, smaller Continental Baths (not the larger one where BETTE MIDLER performed - which later became Plato's Retreat) for a benefit for the Phoenix House in New York, a drug rehabilitation center. She presented half of her performance fee of $150.00 to the center in the form of a huge cardboard check after her performance. (HW230-1)
Elda was the mother of ERIC EMERSONs son who was conceived in one lust-filled afternoon in a telephone booth at Maxs. (HW231) (Eric also had a son with Warhol superstar JANE FORTH.)
Elda was going out with New York Dolls guitarist SYLVAIN SYLVAIN. Elda and Holly started a band called Pure Garbage with a black girl named JAMAICA KINCAID. They performed on talent night at nightclub Reno Sweeney and owner LEWIS FRIEDMAN offered Holly a solo spot which she accepted after encouragement from Elda.
Pure Garbage replaced Holly with a pretty brunette from New Jersey who was waitressing at Maxs - DEBBIE HARRY, changing the bands name to the Stilettos. Later, Debbie left the band to start Blondie with boyfriend, CHRIS STEIN. (HW233-4)
Andy Warhol and his dog Archie commuted between New York and Rome with FRED HUGHES while ANDY WARHOL'S FRANKENSTEIN (aka Flesh for Frankenstein) and ANDY WARHOL'S DRACULA were being shot at Cinecitta. While in Rome Warhol was also filmed for a cameo role in The Driver's Seat, opposite ELIZABETH TAYLOR. (BC145)
SPRING 1973: ANDY WARHOL MEETS PAULETTE GODDARD.
Andy Warhol met PAULETTE GODDARD at the opening of the Metropolitan Museum of Art's Gold Show. They became friends and were seen together so often that the Daily News predicted they would marry in 1974. (BC194/7)
Artist HAROLD STEVENSON had an exhibit at the Iolas Gallery at 15 E. 55th Street. Harold Stevenson had a small part in HEAT. He has always maintained that he was also the subject of Warhol's first film - however there is no record of the "Harold" film ever being made. Warhol, himself, said that SLEEP was his first film.
ANDY WARHOL was admitted into hospital after pain caused by gallstones at a dinner given by ELSIE WOODWARD. (BC166)
MAY 1973: CANDY DARLING INTERVIEWS SALVADOR DALI.
Candy Darling interviewed Salvador Dali in the May 1973 issue of Interview magazine.
L'Amour opened in New York in May and was panned by critics. (DB346) Patti D'Arbanville, who appeared in the film and was also in FLESH, spoke about L'AMOUR in the April 1973 issue of Interview magazine. (During the interview, she gets a phone call from Candy Darling.)
New York magazine May 14, 1973
JUNE 1973: INTERVIEW MAGAZINE FEATURES A TWO PAGE SPREAD, "AT HOME WITH JANE FORTH."
Interview magazine, June 1973
The two-page spread featured Jane Forth and Donna Jordan planning a part for the opening of Andy Warhol's L'Amour. The same issue of Interview magazine included a full page ad on the inside cover for the film which was advertised as Andy Warhol's L'Amour - a new film by Andy Warhol and Paul Morrissey. The title song was sung by "Cass Elliot," previously "Mama Cass Elliot" of the Mamas and the Papas. (After the band broke up, she tried to launch a solo career unsuccessfully.)
More on L'Amour here.
The nightclub, Le Jardin, opened on 43rd Street and Broadway (next to Nathan's Famous Hot Dog emporium) - with a special midnight performance by CANDY DARLING singing Give Me a Man. The opening was covered by Interview magazine in their Small Talk section.
ca. JUNE 1973: CANDY DARLING DOESN'T SHOW
CANDY DARLING fails to appear for her date, composer RICHARD CURRIER, at the Phoenix House benefit at Roseland because of illness. (IJY33)
The Sal Mineo produced play, CHILDREN'S MASS, premiered at the Theatre de Lys in New York. The play was about "drugs and drags" and supposedly, "partially based" on the life of HOLLY WOODLAWN. (IJY45)
The JACKIE CURTIS Revue and ERIC EMERSON were the support band for a Manhattan Transfer "cruise on the Hudson" concert. (IJY5)
SUMMER 1973: ROSEMARY KENT BECOMES EDITOR OF INTERVIEW.
ROSEMARY KENT (from WWD) was made editor-in-chief of INTERVIEW magazine. PAUL MORRISSEY, who had been listed as an editor on the masthead, was dropped, and no longer visited the Factory regularly. GLENN O'BRIEN quit and was hired by JANN WENNER to run the NY office of ROLLING STONE magazine. JOHN FAIRCHILD banned Warhol from ever being mentioned in WWD magazine - "everyone at Conde Nast was calling Rosemary Kent's INTERVIEW, WWD Jr." (BC180)
1973: HOLLY WOODLAWN TOURS.
HOLLY WOODLAWN toured her cabaret act, getting favorable reviews. She was eventually booked into venues in Philadelphia, Chicago and Boston. (HW255)
Joe Dallesandro and his brother Bob went to visit her and were reunited successfully, with a headline appearing in The saturday morning Sacrament Bee newspaper proclaiming "Lost Son Is X-Rated Star of Warhol Films."(JOE29)
CANDY DARLING was admitted to Columbus-Mother Cabrini Hospital for medical tests - the same hospital Andy Warhol attended when he was shot by Valerie Solanas. (BC188)
A Warhol painting from the early sixties sold for $135,000, breaking his record, at "the big art world event of 1973" - the Scull auction at Sotheby Parke Bernet. (BC169)
OCT. 26, 1973: BROKEN GODDESS OPENS.
The Village Voice featured an ad for the opening of the film which took up most of one page. According to Holly, Broken Goddess opened to "critical acclaim" on her 27th birthday. (HW257)
Village Voice ad, October 25, 1973
NOV. 7 - 10, 1973: HOLLY WOODLAWN PLAYS RENO SWEENEY - AND GETS ARRESTED (AGAIN).
According to Holly Woodlawn's autobiography, The Holly Woodlawn Story: A Low Life in High Heels , Holly was arrested in the lobby of Reno's for not fulfilling her probation obligations from her grand larceny charge a couple of years earlier. In about 1970 she had been arrested for impersonating a French diplomat's wife and cashing a cheque in her name. A mutual friend of Holly and Silver George had been subleasing an apartment from the wealthy wife of a French diplomat. After finding the bank book, passport and credentials of the diplomat's wife at the apartment, George pasted a picture of Holly over the picture of the wife in the passport and Holly practiced the signature. She successfully withdrew $2,000 from the wife's account. But when she returned to withdraw more money she was drunk and suspicions were aroused. She was caught and arrested, with bail set at $1,000.00. (HW10-13)
Holly was jailed in the Tombs until ETHAN GETO, a prominent gay politician, got her released under his recognizance with Geto taking responsibility for her re-appearance and compliance with court orders. When Geto was first given her court papers and saw the name 'Harold Azenberg' on them, he asked "Who's that? I'm here for Holly Woodlawn", not knowing it was Holly's birth name. The cops replied: "That's 'her', bub!" (EG) Later, Getto would help with the fundraiser at Reno Sweeney's to pay back the money she had embezzled.
"On Nov 7th  she [Holly] was performing at Renos Sweeneys and throwing a birthday party for me. That is when the FBI came in and pulled her off stage for failing to pay the French Ambassador's wife the money she owed her. Holly thought that payment was made directly from the production of the movie she made in '70 Scarecrow in a Garden of Cucumbers but obviously was not paid. Arthur Bell from the Village Voice bailed her out that night and 2 weeks later the benefit was held." (EG160109)
Holly Woodlawn was released in my recognizance - I had to take responsibility for her re-appearance and compliance with court orders, etc., and helped with the fundraiser which subsequently occurred at Reno Sweeney's. The authorities would NEVER have released her in her own recognizance! When I first was given her court papers, and saw the name "Harold Azenberg," I said: "Who's that?" I'm here for Holly Woodlawn. They said: "That's "her," bub!" (EG291102)
The benefit that was staged for Holly at Reno's included appearances by TALLY BROWN, BETTY RHODES, JACKIE CURTIS, ALEXIS DEL LAGO, JUDITH COHEN, BLOSSOM DEARY, MARTHA SHLAMME, ANITA O’DAY, BRUCE ROBERTS, ELLEN GREEN and GERALDINE FITZGERALD. BETTE MIDLER sent Holly a check for $500.00. (HW281-2)
After getting good reviews at Reno Sweeney, Holly was contracted for another engagement at another nightclub, Trude Hellers. CANDY DARLING went to the show and complimented Holly backstage afterwards. Holly was suspicious of her goodwill as previously Candy would always berate Holly for her behavior. The next afternoon Holly learned that Candy was dying of cancer and had left the hospital against their advice to go and see Hollys cabaret act. (HW244)
1973: JOE DALLESANDRO DATES STEFANIA CASINI.
After filming FRANKENSTEIN and DRACULA in Italy, JOE DALLESANDRO decided to stay there, enjoying a whirlwind romance with his DRACULA co-star STEFANIA CASINI, while his wife and son moved back to New York. Joe stayed in Europe to pursue a film career there. (JOE26/27)
CANDY DARLING had a birthday party - to celebrate what would be her very last birthday. (BC190)
EARLY DEC. 1973: BIANCA JAGGER WANTS A PORTRAIT.
BIANCA JAGGER rang BOB COLACELLO to ask for her portrait to be done by Warhol as a Christmas present from Mick. When Andy was told, he snapped: "Tell her to fork over some money... She's nothing but trouble." (BC169)
Reed was arrested in Riverhead, Long Island for trying to get drugs from a pharmacy with a forged prescription. (LR236)
DEC. 31, 1973: BOB COLACELLO WATCHES ANDY WARHOL PAINT.
Andy Warhol bought a new house for $310,000 which he paid for outright as, according to Bob Colacello, "he didn't believe in mortgages." The six story brownstone was located at 57 East 66th Street, between Madison and Park avenue. (BC239)
Andy Warhol, LOU REED, BOB COLACELLO met at Reeno Sweeney's to discuss the possibility of turning Lou Reed's album, Berlin into a musical. Afterwards, they went to the gay bar, the 'Ninth Circle'. (LR237)
Andy Warhol went to Paris for the opening of his Mao exhibition at the Musee Galleria, along with FRED HUGHES, PETER and SANDY BRANT, DAVID WHITNEY (who hung the show) and PALOMA PICASSO. (BC202)
FEB. 1974: HOLLY CLEANS UP - JANE FORTH TO MARRY - VIVA AND MICHEL TOGETHER AGAIN.
The following item appeared in the March 1974 issue of Interview magazine about HOLLY WOODLAWN:
"SUPERSTAR FOOTNOTES: A completely cleaned up HOLLY WOODLAWN is off taking her successful nightclub act to college campuses across the land..." (IMA28)
The same issue also reported that "PATTI D'ARBANVILLE [who appeared in Flesh] has dropped CHU CHU MALAVE... JANE FORTH may tie the knot and not to ERIC EMERSON who is living in sunny splendor in Coral Gables, Florida, thanks to the generosity of a certain rockstar's girlfriend... VIVA and MICHAEL AUDER are together again in L.A. where Viva is writing her second book, called THE BABY and based on the experiences of her three year old ALEXANDRA."
Andy Warhol signed a contract with Harcourt Brace Jovanovich for two books - one on Paulette Goddard and the Philosophy of Andy Warhol (From A to B and Back Again).
When Candy Darling was re-admitted to hospital, JACKIE CURTIS rang HOLLY WOODLAWN and told her that Miss Ds back in the hospital again, and shes only got two minutes so you better hurry. When Holly started crying, Jackie told her to shut up: We gotta go visit her. Photographers and the press are gonna be there. (HW257)
MARCH 1974: INTERVIEW MAGAZINE MENTIONS CANDY DARLING'S "BLOOD DISEASE."
From the "Small Talk" section of the March 1974 issue of Interview (p. 28):
"Candy Darling is making a valiant effort against a serious blood disease... send your get wells care of Interview, Box Candy."
Holly Woodlawn visited Candy Darling at the hospital for the final time the day before Candy died. She noted that Candys once-painted picture-perfect face had now faded to a dull, lifeless gray" with the exception of her lips, which were painted a bright crimson red. The right side of Candy's face was paralyzed from Bell's palsy. Her body was horribly thin, weighing only eighty pounds.
When Candy Darling tried to speak, Holly told her Its okay, hon... you dont have to talk. I know youre tired.
CANDY DARLING died of Leukemia at the age of 25 at Columbus Hospital, a few blocks from the Factory. Then she had the movie stars funeral shed always wanted, uptown at Frank Campbells. (POP299)
Candy Darling was laid out in the same funeral room that had been used for Judy Garland. The funeral guests included: TAYLOR MEAD, PAT AST, PAUL AMBROSE, MAXIME DE LA FALAISE, KENNETH JAY LANE, VICTOR HUGO, BABY JANE HOLZER, PAUL MORRISSEY, PETER ALLEN, JOHN PHILLIPS, GENEVIEVE WAITE, JACKIE CURTIS, TALLY BROWN, ERIC EMERSON and SYLVIA MILES who appeared in HEAT in 1972. Andy Warhol didn't attend the funeral. (HW263) Eulogies were delivered by JULIE NEWMAR, EUGENE of CINANDRE and gossip columnist R. COURI HAY.
Not once did the minister mention Candys real gender or refer to her by her real name, James. (HW263)
When Candy's casket was being loaded into a hearse in the front of the funeral home, a large black Rolls-Royce drove up and paused. Seated alone in the back seat was "an elegant old woman in white - white fur, white veil, white gloves. Gloria Swanson." (BC192)
MARCH 22, 1974: GLAMOUR, GLORY AND GOLD IS REVIVED.
An ad appeared in the April 1974 issue of Interview (which came out in March) for a revival performance of Glamour, Glory and Gold by Jackie Curtis for the opening on March 22, 1974 - the night after Candy Darling's death. In the Village Voice, The play was scheduled to be performed at the "New York Theatre Ensemble" (same address as the Fortune Theater) from March 22 to April 13 but the run was cut short after Jackie collapsed during the curtain call and had to be rushed to the hospital. He had been stabbed several days prior and his right kidney had become infected as a result. The kidney was removed. (See "Glamour, Glory and Gold," p. 2.)
JACKIE CURTIS performed her play, Glamour, Glory and Gold at the Fortune Theater.
MAY, JUNE 1, 7, 8, 1974: JACKIE AND HOLLY DO CABARET.
JACKIE CURTIS and HOLLY WOODLAWN appeared together in Cabaret in the Sky - an Evening with Holly Woodlawn and Jackie Curtis at the New York Cultural Center. (JCC)
Nine years after making his only Warhol film, My Hustler, Paul America returned to the Factory. Andy Warhol told him to wait while he got Pat Hackett and then retreated into the back room until Paul left. (BC233)
Holly performed at a benefit for the Pines on Fire Island organized by the niece of Franklin D. Roosevelt.
Kent was fired as editor-in-chief of Interview magazine. The day after she left, Bob Colacello rang Fran Lebowitz to try and get her back on the staff. (BC249)
Andy Warhol and Bob Colacello went to Paris for the premiere of The Driver's Seat in which Andy appeared with ELIZABETH TAYLOR. (BC210)
Andy Warhol painted his last portrait at the Union Square Factory - of his belated mother, JULIA WARHOLA, who had died at the age of eighty on November 28, 1972. (BC266)
Andy Warhol moved his operation from 33 Union Square West to offices at 860 Broadway - just across Union Square on the corner of Broadway and East 17th Street . (L&D375)
PAUL MORRISSEY did not have a desk at the new Factory nor did he have a position in Warhol's new company - Andy Warhol Enterprises (AWE). Warhol was chairman, Fred Hughes was president and Vincent Fremont the vice president, secretary and treasurer. Andy Warhol Films, Inc. now only existed as the copyright owner of the movies that Morrissey and Warhol had made together.
JOE DALLESANDRO was also not part of the new Factory - he had stayed in Rome after the success of Frankenstein and Dracula, "making spaghetti westerns for $100,000 a picture". Joe's brother, Bobby Dallesandro, was also gone. He had been working at the Factory as Warhol's chauffeur. (BC237)
THURSDAY, NOVEMBER 21, 1974: JACKIE AND GINO GO TO CRISPO'S.
The Andrew Crispo Gallery opens. GINO PISERCHIO from Warhol's film BEAUTY NO. 2 attends. On the same night of the opening there is a party at John Richardson's of Knoedler's. Jackie Curtis is there as a girl "necking in the hall with Lance Loud." (IFB42)
Andrew Crispo's Christmas party took place on December 23, 1974 with guests FRANCESCO SCAVULLO, SEAN BYERS and DAVID CROLAND who were "triple-dating" with MARIA SMITH, PATTI D'ARBANVILLE (FLESH), and DONNA JORDAN (L'AMOUR). (IFB43)
ca. NOV. 1974: LUNA ARRIVES AS A BLACK ORCHID.
DONYALE LUNA who was in Warhol's film, CAMP, appeared at Bill Maynard's opening at the Holographic Communications Centre in New York dressed as a black orchid.
Interview magazine (December 1974): "Billy Maynard's opening of photographs and holograms... had to be one of the most interesting shows for a long time. The highlight of the evening was the arrival of Donyale Luna, who appeared amidst flashing laser beams, dressed as a black orchid."
Luna made fashion history by becoming the first black super-model during the sixties. She later died of a drugs overdose.
THURSDAY, DEC. 19, 1974: THE FACTORY CHRISTMAS PARTY.(IFB43)
1974: FRED HUGHES MAKES THE BEST DRESSED LIST OF1974. (BC433)
An advertisement for the Paul Morrissey production of Man On The Moon with book, music and lyrics by John Phillips, appeared in the December 1974 issue of Interview magazine. (IDC23) The production was panned by the critics and closed after five nights.