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(train roaring)
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(upbeat music)
(sirens wailing)
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(upbeat music)
(soft singing)
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♪ He says I'm looking for
the man that shot my pa ♪
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(upbeat music)
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♪ I don't know about all y'all ♪
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♪ I'm having a ball and
he's having a ball ♪
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♪ And she's having a ball ♪
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- [Narrator] Andy Warhol was
the most glamorous figure
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of 20th century American art.
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He surrounded himself with
the elite of New York City,
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people who all give compelling
yet competing commentaries
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of their time with him.
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Warhol was certainly an enigma.
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And yet ironically,
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he is one of the world's
most well known artists
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and a cult figure.
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Popular culture
inspired his art.
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Warhol used instantly
accessible images
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to reach mass audiences.
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He gave Americans what
was already theirs,
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both critiquing and
glorifying American culture
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and the American way of life.
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Andy grew up in a poor
neighborhood in Pittsburgh,
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the son of first
generation working class
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European immigrants
from Slovakia.
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His story is about the
pursuit of the American dream.
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♪ I'm having a ball and
he's having a ball ♪
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♪ And she's having bell ♪
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♪ We're having a ball ♪
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(upbeat music)
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♪ I'm having a ball and
he's having a ball ♪
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00:02:02,560 --> 00:02:04,000
♪ And she's having bell ♪
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(upbeat music)
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He came to New York with one
shopping bag full of clothing
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00:02:09,160 --> 00:02:11,520
and another full
of art supplies.
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00:02:11,560 --> 00:02:13,640
After only two days
in the big apple,
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00:02:13,640 --> 00:02:15,960
Andy scored his big break.
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00:02:16,000 --> 00:02:18,200
Commissioned as an illustrator
for "Glamor" magazine,
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00:02:18,240 --> 00:02:21,040
he established himself
as a commercial artist
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00:02:21,080 --> 00:02:24,480
for famous fashion
titles "Harper's Bazaar,"
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00:02:24,480 --> 00:02:28,680
"Vogue," "Vanity Fair, and
fashion house Christian Dior.
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00:02:30,080 --> 00:02:33,440
- Actually, I wanted
really to be a tap dancer
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and I should have stuck with it.
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It was so great.
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- [Narrator] Within
the next 10 years,
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00:02:38,840 --> 00:02:40,960
Andy Warhol would
become a sensation.
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00:02:40,960 --> 00:02:43,920
Not only in New
York, but worldwide.
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00:02:43,960 --> 00:02:47,040
He constantly put forward
alternative ways us to live,
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00:02:47,040 --> 00:02:49,840
express ourselves and
think about society.
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00:02:50,560 --> 00:02:53,360
(upbeat music)
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00:03:26,760 --> 00:03:28,080
- Here comes a young
lady who has created
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00:03:28,080 --> 00:03:29,760
a real sensation of
the picture business,
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having won all kinds of
awards, Marilyn Monroe!
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(upbeat music)
(crowd cheering)
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- [Narrator] Monroe
played in 20 films
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since her debut in 1950,
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films that grossed
200 million dollars.
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00:03:42,560 --> 00:03:45,880
The golden girl received
5,000 fan letters a week.
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- Mister president, the
lady Marilyn Monroe.
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(upbeat music)
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- [Narrator] Hollywood,
synonymous with American culture
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and Andy Warhol knew this.
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00:04:02,280 --> 00:04:03,960
- [Marilyn] Well I mean, it
doesn't matter what the person,
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00:04:03,960 --> 00:04:08,040
what they look like or
what color hair they have.
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00:04:08,080 --> 00:04:09,760
- [Narrator] Marilyn
Monroe was seemingly
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the embodiment of
the American dream.
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00:04:11,920 --> 00:04:14,960
And in so many
ways, so was Andy.
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00:04:14,960 --> 00:04:17,840
Interestingly, both of these
larger than life characters
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00:04:17,840 --> 00:04:20,000
projected a version
of themselves
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where nobody really knew the
real person behind the mask.
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Andy's father, Andre Warhola,
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00:04:29,920 --> 00:04:32,680
immigrated to the
United States in 1914
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00:04:32,680 --> 00:04:35,800
and found work in a coal mine
in Pittsburgh, Pennsylvania.
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00:04:37,240 --> 00:04:40,920
His mother Julia
joined him in 1921.
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And on August 6th, 1928,
Andy was born, a third son.
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Andy was a very sickly child
with a nervous system complaint
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known as St. Vitus Dance,
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00:04:54,960 --> 00:04:57,160
who spent a great
deal of time at home.
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His mother's belief
in Catholicism
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was something Andy adopted,
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00:05:02,320 --> 00:05:04,800
but he also inherited
his mother's love of art.
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00:05:04,840 --> 00:05:06,720
She was an embroider
who encouraged
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00:05:06,720 --> 00:05:08,560
her son's artistic nature.
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00:05:08,560 --> 00:05:10,080
Despite being so poor,
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00:05:10,080 --> 00:05:12,720
she bought him his first
camera at nine years old,
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along with regular art supplies.
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Sketching provided him an
escape from the poverty
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of his surroundings, as
did his somewhat obsessive
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00:05:23,880 --> 00:05:26,200
fascination with the
film stars at the time.
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00:05:29,480 --> 00:05:32,120
(train roaring)
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(upbeat music)
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Andy didn't bother
with a suitcase
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when he left Pittsburgh in 1949,
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it was just two shopping bags
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full of clothes
and art supplies,
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plus a degree in
fine arts to his name
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00:06:00,280 --> 00:06:02,640
when he arrived at his
apartment on Eighth Street,
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St. Mark's Place, New York.
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A change of place
brought a new identity.
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00:06:09,800 --> 00:06:11,240
Andy decided to remove the A
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00:06:11,280 --> 00:06:13,840
from the end of his
surname Warhola,
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as he thought the
new moniker Warhol
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made a grander statement.
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His advertising work
through the 1950s
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covered highly stylized bags,
gloves, jewelry and shoes,
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lots and lots of shoes.
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00:06:32,880 --> 00:06:35,200
As a commercial
illustrator in the 50s,
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00:06:35,200 --> 00:06:37,080
Warhol had already started
to work with repetition
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in a forerunner to printing.
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His blotted line technique,
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which became his
signature style.
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He would use tracing
paper to allow him
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to create multiple images
from the same drawing.
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He would first trace
his original drawing
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with ink in small
sections so it stayed wet,
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and then blotted onto
absorbent paper, making a copy.
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Individual copies would
be filled in by hand
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using ink washes.
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00:07:00,480 --> 00:07:03,080
(upbeat music)
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00:07:12,040 --> 00:07:15,120
In the 1950s, for the
first time in many years,
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00:07:15,120 --> 00:07:17,720
after the hardships of
the Second World War,
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00:07:17,760 --> 00:07:20,000
people had money to spend.
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00:07:20,000 --> 00:07:22,640
Advertising had become
a big money industry,
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00:07:22,640 --> 00:07:24,320
and Andy was highly successful
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00:07:24,320 --> 00:07:27,160
and art directors loved
him as he was a yes man.
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(upbeat music)
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♪ Pretty well,
said Anne Louise ♪
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♪ Don't fall for the
(indistinct), he's a scam ♪
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00:07:37,960 --> 00:07:43,000
In 1956, he was making a
staggering $100,000 a year,
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00:07:44,280 --> 00:07:46,000
which today equates to more
than one million dollars.
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00:07:46,000 --> 00:07:48,360
But although Andy
was very successful,
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00:07:48,400 --> 00:07:50,440
he wasn't very happy.
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00:07:50,440 --> 00:07:53,160
Gay men and women were
drawn to big cities.
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Cities were places where
they could be employed
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00:07:55,120 --> 00:07:57,120
and live as their true selves,
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00:07:57,120 --> 00:07:58,880
avoiding the stares
and discrimination
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they would often face
in more rural towns
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00:08:00,920 --> 00:08:03,400
if they revealed
their true identity.
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00:08:03,400 --> 00:08:06,240
Andy had learned about love
through television and movies,
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00:08:06,240 --> 00:08:08,840
only to make the
disappointing discovery
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00:08:08,840 --> 00:08:11,440
that onscreen romances
bored no resemblance
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00:08:11,480 --> 00:08:13,480
to real life as a gay man.
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00:08:13,480 --> 00:08:17,080
(upbeat music)
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In those days, you
did learn something
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00:08:18,880 --> 00:08:20,960
about some kind of
love from the movies,
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00:08:21,000 --> 00:08:22,080
but it was nothing
you could apply
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00:08:22,080 --> 00:08:24,040
with any reasonable results.
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00:08:25,840 --> 00:08:27,400
Andy was a romantic.
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00:08:27,400 --> 00:08:30,280
Many of his close circle
expressed this sentiment.
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00:08:30,280 --> 00:08:33,040
Romantic love was an
imperative to him,
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00:08:33,080 --> 00:08:35,000
yet because he was a
gay man who came of age
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in the 1940s and 50s, when
homosexuality was a crime,
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00:08:39,160 --> 00:08:42,080
it was difficult to ever
find someone to love openly
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00:08:42,080 --> 00:08:44,200
and friends remember that
he became a very lonely
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and somewhat absent
person in many respects.
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- [Interviewer] Have
you ever been in love?
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00:08:49,680 --> 00:08:50,600
- No, no.
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00:08:50,600 --> 00:08:51,880
- No?
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00:08:51,880 --> 00:08:54,320
Does that make you sad?
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00:08:54,320 --> 00:08:55,920
- No.
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- [Narrator] Physically he
might not have been strong
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and emotionally he might well
have been yearning for love,
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00:09:00,280 --> 00:09:02,800
but Andy was somehow able
to become another person
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00:09:02,840 --> 00:09:06,040
in the public domain,
embracing how different he was.
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00:09:07,040 --> 00:09:10,120
From very early on,
Andy risked everything.
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00:09:10,160 --> 00:09:13,160
Flaunting his sexuality,
made him a pioneer.
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00:09:13,200 --> 00:09:16,960
The David Mann Gallery gave
him several shows in the 1950s.
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00:09:17,000 --> 00:09:20,040
Many explicit artworks of
penises were exhibited,
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an audacious act at
this time in America
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00:09:22,760 --> 00:09:24,000
where homosexuality was seen
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00:09:24,000 --> 00:09:26,160
as deviant and
criminal behavior.
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Hoping to reinvent himself,
he refocused his career
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in illustration into
the fine art scene,
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00:09:33,520 --> 00:09:36,280
fascinated by the newly
emerging pop art movement
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led by the likes of Jasper
Johns and Robert Rauschenberg.
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- I think it's really
what's around us.
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It's the art in the world today.
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I mean, our towns and
cities are the billboards.
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00:09:50,680 --> 00:09:52,960
It's what we really
see that isn't ancient
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00:09:52,960 --> 00:09:56,000
and isn't European really.
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00:09:56,000 --> 00:10:01,040
It's also a ready made form
in which to express something.
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00:10:02,800 --> 00:10:05,720
(upbeat music)
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00:10:11,080 --> 00:10:12,840
- [Narrator] Andy
realized that pop art
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was something he could
exploit for his own ends.
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00:10:16,480 --> 00:10:20,240
In 1962, he made two large
paintings of Coca-Cola bottles,
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one drippy and expressionistic,
the other clean edged.
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00:10:24,360 --> 00:10:27,320
Asking his friends which
painting they preferred,
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00:10:27,320 --> 00:10:28,640
the hard edge version,
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00:10:28,680 --> 00:10:31,200
which looked more like actual
coke bottles, triumphed.
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00:10:34,840 --> 00:10:37,200
The instantly
recognizable image,
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00:10:37,200 --> 00:10:40,120
symbolic of the postwar era
of automation and abundance,
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00:10:40,120 --> 00:10:42,080
commercialism and consumerism.
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00:10:44,200 --> 00:10:46,280
What's great about this
country is that America
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00:10:46,280 --> 00:10:48,840
started the tradition
where the richest consumers
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00:10:48,840 --> 00:10:51,040
buy essentially the same
thing as the poorest.
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00:10:51,080 --> 00:10:53,960
You can be watching
TV and see a Coca-Cola
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00:10:53,960 --> 00:10:55,600
and you know that the
president drinks Coke
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00:10:55,600 --> 00:10:59,880
and Liz Taylor, and just
think, you can drink Coke too.
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00:11:01,000 --> 00:11:02,920
By adopting the image
of a Coke bottle,
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00:11:02,920 --> 00:11:04,920
he took his knowledge
in commercial art
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00:11:04,920 --> 00:11:06,880
and brought it into
the fine art world.
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00:11:12,160 --> 00:11:14,680
With the silk screen print,
he's highlighting to the world
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00:11:14,720 --> 00:11:18,160
an image that exists in the
real world of mass production,
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00:11:18,200 --> 00:11:20,360
whilst at the same time
using the self-same technique
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00:11:20,400 --> 00:11:24,160
of mechanical reproduction
to make multiple images.
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00:11:24,160 --> 00:11:26,560
Warhol made the
commercial world visible.
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00:11:26,600 --> 00:11:30,040
So in tune with the whole
essence and nature of the new
209
00:11:30,080 --> 00:11:33,000
at the beginning of the 1960s,
everything Andy contributed
210
00:11:33,040 --> 00:11:36,840
to the pop art movement
resonated Americanness.
211
00:11:37,600 --> 00:11:40,240
(upbeat music)
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00:11:42,560 --> 00:11:44,720
After his first
foray into fine art,
213
00:11:44,760 --> 00:11:47,000
he was seeking his next project.
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00:11:47,040 --> 00:11:50,120
Having eaten Campbell's Soup
almost every day of his life,
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00:11:50,120 --> 00:11:53,360
Andy found inspiration
on his dining table.
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00:11:53,360 --> 00:11:57,280
- Yeah, then somebody
can, it'd be like a store
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00:11:57,280 --> 00:11:59,840
and they just come in and
ask you for a can soup.
218
00:11:59,840 --> 00:12:03,160
And that was just the
easiest way to do something.
219
00:12:04,640 --> 00:12:06,800
Because everybody
paints the same picture
220
00:12:06,840 --> 00:12:08,160
over and over again anyway, so.
221
00:12:09,360 --> 00:12:10,440
Oh, I used to eat it every day.
222
00:12:10,440 --> 00:12:11,280
I still do.
223
00:12:13,280 --> 00:12:15,200
- [Narrator] The piece
marked out a whole new way
224
00:12:15,240 --> 00:12:18,120
of creating for the artist and
represented a complete break
225
00:12:18,160 --> 00:12:21,400
from the previous decade's
abstract expressionism.
226
00:12:21,400 --> 00:12:23,040
The likes of Jackson Pollock,
227
00:12:23,080 --> 00:12:26,760
who produced spontaneous,
personal and emotional work.
228
00:12:29,160 --> 00:12:30,960
- [Interviewer] Andy, do
you feel that the public
229
00:12:30,960 --> 00:12:33,200
has insulted your art?
230
00:12:33,200 --> 00:12:33,880
- [Andy] No.
231
00:12:33,880 --> 00:12:35,320
- [Interviewer] Why not?
232
00:12:35,320 --> 00:12:37,200
- [Andy] Well, I hadn't
thought about it.
233
00:12:37,200 --> 00:12:39,200
- [Interviewer] It doesn't
bother you at all then?
234
00:12:39,200 --> 00:12:40,520
- [Andy] No.
235
00:12:40,560 --> 00:12:41,840
- [Interviewer] Well, do
you think that they've shown
236
00:12:41,840 --> 00:12:45,000
a lack of appreciation
for what pop art means?
237
00:12:45,000 --> 00:12:45,840
- [Andy] No.
238
00:12:47,120 --> 00:12:48,600
- [Andy] Andy, do you
think that pop art
239
00:12:48,600 --> 00:12:49,840
has sort of reached the point
240
00:12:49,880 --> 00:12:52,360
where it's becoming
repetitious now?
241
00:12:52,400 --> 00:12:53,440
- [Andy] Yes.
242
00:12:54,200 --> 00:12:56,080
- [Interviewer] Do you
think it should break away
243
00:12:56,120 --> 00:12:57,400
from being pop art?
244
00:12:57,440 --> 00:12:58,960
- [Andy] No.
245
00:12:59,000 --> 00:13:00,240
- [Interviewer] Are you
just going to carry on?
246
00:13:00,280 --> 00:13:01,040
- [Andy] Yes.
247
00:13:04,080 --> 00:13:05,960
- [Narrator] People
decried his art,
248
00:13:05,960 --> 00:13:08,520
asking why anyone
would pay good money
249
00:13:08,520 --> 00:13:11,280
to visit than art gallery
to see soup can images
250
00:13:11,320 --> 00:13:13,880
when they could simply
peel them off a can
251
00:13:13,880 --> 00:13:16,280
and put them on their
wall at home themselves.
252
00:13:16,280 --> 00:13:19,200
They may at first have been
a flop with the critics,
253
00:13:19,200 --> 00:13:21,520
but Andy went on to
revolutionize the art world
254
00:13:21,520 --> 00:13:23,240
with these prints.
255
00:13:23,240 --> 00:13:25,880
Incredibly aware of the
imagery that he chose,
256
00:13:25,880 --> 00:13:27,080
the critic's initial reaction
257
00:13:27,080 --> 00:13:30,080
of disdain to his soup
cans was disappointed.
258
00:13:30,120 --> 00:13:33,160
Perhaps for Andy, a child
from a humble upbringing,
259
00:13:33,160 --> 00:13:35,160
Campbell's Soup symbolize
something different,
260
00:13:35,160 --> 00:13:38,120
freedom from labor,
not being poor,
261
00:13:38,160 --> 00:13:41,120
making choices in
a consumer culture.
262
00:13:41,120 --> 00:13:43,080
Andy had the eye
of the immigrant,
263
00:13:43,080 --> 00:13:44,640
being an outsider looking in.
264
00:13:46,240 --> 00:13:49,440
(upbeat music)
265
00:13:49,480 --> 00:13:51,240
♪ Have you ever met Miss Lindy ♪
266
00:13:51,280 --> 00:13:53,280
♪ She's the gal with
the bright red hair ♪
267
00:13:53,280 --> 00:13:55,760
♪ Now she stands out
from all the rest ♪
268
00:13:55,760 --> 00:13:57,640
♪ You'd know her anywhere ♪
269
00:13:57,640 --> 00:13:59,640
♪ Well she's mine ♪
270
00:13:59,640 --> 00:14:02,040
♪ Yeah she's mine ♪
271
00:14:02,080 --> 00:14:06,840
♪ Well I love that little girl
with the bright red hair ♪
272
00:14:06,840 --> 00:14:08,760
♪ Well Miss Lindy ♪
273
00:14:08,800 --> 00:14:11,240
♪ My Miss Lindy ♪
274
00:14:11,240 --> 00:14:16,080
♪ Well I love that little girl
with the bright red hair ♪
275
00:14:17,040 --> 00:14:17,960
♪ Have you ever
seen Miss Lindy ♪
276
00:14:18,000 --> 00:14:20,840
♪ She likes to dance all day ♪
277
00:14:20,840 --> 00:14:22,800
♪ And when she does
the rock and roll ♪
278
00:14:22,840 --> 00:14:24,680
♪ It takes your breath away ♪
279
00:14:24,680 --> 00:14:26,680
♪ Well she's mine ♪
280
00:14:26,680 --> 00:14:29,200
♪ Yeah she's mine ♪
281
00:14:29,240 --> 00:14:33,800
♪ Well I love that little
girl 'cos she's so fine ♪
282
00:14:33,800 --> 00:14:36,240
♪ Well Miss Lindy ♪
283
00:14:36,280 --> 00:14:38,440
♪ My Miss Lindy ♪
284
00:14:38,440 --> 00:14:42,440
♪ Well I love that little girl
with the bright red hair ♪
285
00:14:42,480 --> 00:14:45,200
(upbeat music)
286
00:14:57,360 --> 00:14:58,840
♪ Well Miss Lindy ♪
287
00:14:58,880 --> 00:15:01,200
♪ My Miss Lindy ♪
288
00:15:01,200 --> 00:15:06,040
♪ Well I love that little girl
with the bright red hair ♪
289
00:15:06,080 --> 00:15:08,680
♪ Have you ever
seen Miss Lindy ♪
290
00:15:08,680 --> 00:15:10,680
♪ She likes to dance all day ♪
291
00:15:10,720 --> 00:15:12,760
♪ And when she does
the rock and roll ♪
292
00:15:12,760 --> 00:15:14,600
♪ It takes your breath away ♪
293
00:15:14,600 --> 00:15:16,720
♪ Well she's mine ♪
294
00:15:16,720 --> 00:15:19,200
♪ Yeah she's mine ♪
295
00:15:19,240 --> 00:15:23,920
♪ Well I love that little
girl 'cos she's so fine ♪
296
00:15:23,920 --> 00:15:26,840
♪ Well Miss Lindy's
hair is fiery red ♪
297
00:15:26,840 --> 00:15:29,160
♪ Her eyes are water blue ♪
298
00:15:29,160 --> 00:15:31,600
♪ And when Miss
Lindy smiles at me ♪
299
00:15:31,600 --> 00:15:33,320
♪ Oh what it makes me do ♪
300
00:15:33,320 --> 00:15:35,560
♪ Well she's mine ♪
301
00:15:35,560 --> 00:15:37,600
♪ Yeah she's mine ♪
302
00:15:37,640 --> 00:15:42,320
♪ Well I love that little
girl 'cos she's so fine ♪
303
00:15:42,320 --> 00:15:45,520
♪ Well Miss Lindy's
hair is fiery red ♪
304
00:15:45,520 --> 00:15:47,320
♪ Her eyes are water blue ♪
305
00:15:47,320 --> 00:15:50,080
♪ And when Miss
Lindy smiles at me ♪
306
00:15:50,080 --> 00:15:51,720
♪ Oh what it makes me do ♪
307
00:15:51,720 --> 00:15:53,760
♪ Well she's mine ♪
308
00:15:53,760 --> 00:15:56,360
♪ Yeah she's mine ♪
309
00:15:56,400 --> 00:16:00,800
♪ Well I love that little girl
with the bright red hair ♪
310
00:16:00,800 --> 00:16:03,200
♪ Well Miss Lindy ♪
311
00:16:03,240 --> 00:16:05,080
♪ My Miss Lindy ♪
312
00:16:05,120 --> 00:16:07,880
His art examined what
constituted beauty.
313
00:16:07,880 --> 00:16:09,880
He too had felt an outsider.
314
00:16:09,880 --> 00:16:12,360
His insecurities rooted
in his sickly childhood
315
00:16:12,360 --> 00:16:16,120
exacerbated by pockmarked
skin, a prominent nose,
316
00:16:16,120 --> 00:16:18,840
premature baldness and
later gunshot wounds
317
00:16:18,840 --> 00:16:22,080
from an attempt on his life,
plus his homosexuality.
318
00:16:22,080 --> 00:16:24,400
- [Interviewer] What do
you think about sex Andy?
319
00:16:24,400 --> 00:16:25,240
- I don't.
320
00:16:28,760 --> 00:16:31,200
(soft music)
321
00:16:38,360 --> 00:16:40,160
- Within the past week,
322
00:16:40,160 --> 00:16:43,680
unmistakable evidence
has established the fact
323
00:16:43,680 --> 00:16:46,320
that a series of
offensive missile sites
324
00:16:46,320 --> 00:16:49,160
is now in preparation on
that imprisoned island.
325
00:16:53,080 --> 00:16:55,120
- [Narrator] With tensions
rising between the US
326
00:16:55,160 --> 00:16:56,240
and the Soviet Union,
327
00:16:56,240 --> 00:16:58,200
Andy was working on
another collection
328
00:16:58,200 --> 00:17:01,040
entitled "The Death
and Disaster Series,"
329
00:17:01,040 --> 00:17:03,240
as well as his Marilyn diptych.
330
00:17:09,320 --> 00:17:12,240
This project included
images taken from newspapers
331
00:17:12,240 --> 00:17:15,160
and police reports
depicting car accidents,
332
00:17:15,200 --> 00:17:19,200
photos of electric chairs,
suicides and plane crashes.
333
00:17:19,200 --> 00:17:21,080
It is as if the two
polarizing projects
334
00:17:21,120 --> 00:17:23,280
subconsciously fed
into one another
335
00:17:23,280 --> 00:17:26,280
with Maryland's actual death
hanging over the artwork.
336
00:17:29,920 --> 00:17:32,800
On the left, her
garishly made up face
337
00:17:32,840 --> 00:17:35,000
a depiction of an
embalmed corpse,
338
00:17:35,000 --> 00:17:36,520
while the fading
images of the right
339
00:17:36,560 --> 00:17:39,360
seem as though she is
disappearing before
the viewers eyes,
340
00:17:39,360 --> 00:17:42,280
potentially suggesting
her death by suicide
341
00:17:42,320 --> 00:17:44,040
or by more sinister means.
342
00:17:46,840 --> 00:17:51,880
♪ Happy birthday to you ♪
343
00:17:52,960 --> 00:17:56,200
♪ Happy birthday to you ♪
344
00:18:05,000 --> 00:18:07,960
Surprisingly, Andy Warhol
spent most of his life
345
00:18:07,960 --> 00:18:10,000
living with his mother Julia,
346
00:18:10,000 --> 00:18:12,120
a church going mother's
boy did not really fit
347
00:18:12,160 --> 00:18:16,200
the Studio 54 party going
image he cultivated.
348
00:18:16,240 --> 00:18:19,440
She moved to New York for
him, cleaned his apartment,
349
00:18:19,440 --> 00:18:21,520
cooked for him and prayed
with him every morning
350
00:18:21,560 --> 00:18:23,040
before he left the house.
351
00:18:27,200 --> 00:18:29,360
Andy's religious faith
instilled by his mother
352
00:18:29,360 --> 00:18:32,360
from childhood is fused
with his other passion,
353
00:18:32,400 --> 00:18:36,400
celebrity in the Maryland
diptych where the female form
354
00:18:36,400 --> 00:18:39,120
takes on the status as
an object of worship.
355
00:18:40,440 --> 00:18:43,000
(soft music)
356
00:18:46,200 --> 00:18:51,040
♪ In the midnight scene,
this routine is killing me ♪
357
00:18:53,040 --> 00:18:56,360
♪ So let's wake 'em
up, I'll wake 'em up ♪
358
00:18:56,360 --> 00:18:59,280
♪ Our sleeping dolls ♪
359
00:19:01,160 --> 00:19:02,960
The Marilyn artwork
explicitly references
360
00:19:03,000 --> 00:19:06,320
a form of Christian
painting as a diptych
361
00:19:06,320 --> 00:19:09,040
was originally a small
portable altarpiece
362
00:19:09,080 --> 00:19:12,520
on two hinged wooden panels
used to spread Christianity
363
00:19:12,520 --> 00:19:14,240
to the masses who
could not read.
364
00:19:16,360 --> 00:19:18,080
Andy famously remarked,
365
00:19:18,080 --> 00:19:21,360
"I never read, I just
look at pictures."
366
00:19:21,360 --> 00:19:23,680
Warhol understood visuals and
applied religious symbolism
367
00:19:23,680 --> 00:19:28,240
to his portrayal
of his celebrity,
America's newest faith.
368
00:19:29,560 --> 00:19:34,040
♪ I'll wake 'em up, I'll wake
'em up, I'll wake 'em up ♪
369
00:19:34,080 --> 00:19:36,320
(soft music)
370
00:19:52,000 --> 00:19:53,480
- And then I said
every 15 minutes,
371
00:19:53,480 --> 00:19:58,400
someone will be famous or
every 15 people will be famous
372
00:19:58,440 --> 00:20:00,240
in every 15 minutes.
373
00:20:00,240 --> 00:20:01,320
- [Interviewer] Were
you sort of surprised
374
00:20:01,360 --> 00:20:03,840
how that has become a
part of the lexicon?
375
00:20:03,840 --> 00:20:06,080
- Oh yeah, I know, I
can't understand it.
376
00:20:07,520 --> 00:20:10,160
(upbeat music)
377
00:20:13,120 --> 00:20:15,360
- [Narrator] Andy wasn't just
successful as a pop artist,
378
00:20:15,400 --> 00:20:17,120
but as an American brand.
379
00:20:17,160 --> 00:20:21,120
In the 1960s, "The Merv
Griffin Show" was huge.
380
00:20:21,160 --> 00:20:23,160
Warhol knew before
appearing on the show
381
00:20:23,200 --> 00:20:24,680
the worst my mistake
he could make
382
00:20:24,680 --> 00:20:26,720
would be to talk
in normal terms.
383
00:20:26,760 --> 00:20:30,920
His brand needed to
be accessible through
the medium of TV,
384
00:20:30,920 --> 00:20:32,680
and yet the mystique
must be maintain
385
00:20:32,680 --> 00:20:34,680
to create further
interest in his work.
386
00:20:36,040 --> 00:20:38,360
Edie Sedgwick, an
actress, model,
387
00:20:38,360 --> 00:20:41,560
and one of Andy's
superstars does the talking,
388
00:20:41,560 --> 00:20:43,320
informing the host that Warhol,
389
00:20:43,360 --> 00:20:46,360
unused to making really
public appearances,
390
00:20:46,360 --> 00:20:49,160
would only whisper his
answers in her ear.
391
00:20:49,200 --> 00:20:50,360
- Good evening, Andy.
392
00:20:50,360 --> 00:20:53,360
- Andy, oh I missed one,
Andy won't say a word.
393
00:20:53,360 --> 00:20:55,200
- Why?
394
00:20:55,240 --> 00:20:57,600
- He's not used to making
really public appearances,
395
00:20:57,600 --> 00:21:00,320
so I think he'll
whisper answers to me
396
00:21:00,360 --> 00:21:01,880
if you ask him a question.
397
00:21:01,920 --> 00:21:03,760
- Can I listen
while he whispers?
398
00:21:04,880 --> 00:21:06,160
- I'll whisper to you.
399
00:21:06,160 --> 00:21:08,040
- Aren't you gonna
say one word, Andy?
400
00:21:11,320 --> 00:21:14,920
(audience laughs)
401
00:21:14,920 --> 00:21:17,840
\Andy, how did
you discover Edie?
402
00:21:19,040 --> 00:21:20,560
Come on, you can tell me.
403
00:21:20,600 --> 00:21:23,400
- [Edie] By mistake.
404
00:21:23,400 --> 00:21:25,000
- [Interviewer] By mistake?
405
00:21:25,040 --> 00:21:27,720
Andy's gonna tell
me, aren't you?
406
00:21:27,720 --> 00:21:29,160
- [Edie] No, Andy told me.
407
00:21:32,600 --> 00:21:33,840
- [Narrator] He
understood that keeping
408
00:21:33,840 --> 00:21:35,160
a large proportion
of your life a secret
409
00:21:35,160 --> 00:21:38,240
would keep you in the
public eye for longer.
410
00:21:38,240 --> 00:21:41,240
Andy's aloof character
was utterly manufactured.
411
00:21:41,280 --> 00:21:43,800
It is clear that so much
thought went into controlling
412
00:21:43,800 --> 00:21:46,360
his fame and not
letting it control him.
413
00:21:49,160 --> 00:21:51,360
(gun bangs)
414
00:21:55,320 --> 00:21:58,040
(sirens wailing)
415
00:22:05,680 --> 00:22:07,440
- [Reporter] At 1:25,
the motorcade moves
416
00:22:07,440 --> 00:22:08,760
into the downtown area.
417
00:22:08,800 --> 00:22:11,000
Death is six minutes away.
418
00:22:11,040 --> 00:22:14,720
In a warehouse, a sniper
with a rifle poised waits.
419
00:22:14,760 --> 00:22:16,080
- [Reporter] Within three hours
420
00:22:16,080 --> 00:22:18,240
after the tragic death
of President Kennedy,
421
00:22:18,240 --> 00:22:21,360
Newsday published and
distributed a special
eight page extra
422
00:22:21,400 --> 00:22:24,640
on the assassination
free as a public service
423
00:22:24,680 --> 00:22:26,160
to its subscribers.
424
00:22:26,160 --> 00:22:28,720
(somber music)
425
00:22:43,760 --> 00:22:45,360
- In the early 1960s,
426
00:22:45,360 --> 00:22:48,880
Andy was given a stack of
original photographs as a gift.
427
00:22:50,320 --> 00:22:53,200
Warhol's depiction of
suburban car crashes,
428
00:22:53,200 --> 00:22:55,920
people jumping to their
deaths from skyscrapers,
429
00:22:55,920 --> 00:22:59,760
the atomic bomb, race riots,
and the deep south and more
430
00:22:59,760 --> 00:23:01,320
revealed the underside
431
00:23:01,320 --> 00:23:04,160
of his country's consumerist
and capitalist culture.
432
00:23:06,000 --> 00:23:08,760
With this series,
Warhol began to explore
433
00:23:08,760 --> 00:23:10,720
the effect of
reproducing such images
434
00:23:10,760 --> 00:23:12,560
repeatedly across a canvas,
435
00:23:12,600 --> 00:23:17,440
testing his hypothesis that
as he suggested in 1963,
436
00:23:17,480 --> 00:23:20,200
when you see a gruesome
picture over and over again,
437
00:23:20,200 --> 00:23:22,040
it doesn't really
have an effect.
438
00:23:22,600 --> 00:23:25,840
(soft piano music)
439
00:23:28,120 --> 00:23:30,240
An unoccupied electric
chair is depicted
440
00:23:30,240 --> 00:23:32,640
in an empty room in the
center of the canvas,
441
00:23:32,680 --> 00:23:34,560
a cable running out
from underneath the seat
442
00:23:34,600 --> 00:23:36,680
lies curled in
front of the chair.
443
00:23:36,720 --> 00:23:38,520
Behind it, the
small wooden table
444
00:23:38,520 --> 00:23:41,240
is shown against the back
wall and a barely visible sign
445
00:23:41,240 --> 00:23:44,040
that reads, "Silence"
is positioned
446
00:23:44,080 --> 00:23:46,240
in the top right corner
of the composition.
447
00:23:47,560 --> 00:23:50,240
Warhol's fascination with
death indicated his interest
448
00:23:50,240 --> 00:23:53,200
in its constant presence
in our everyday lives,
449
00:23:53,200 --> 00:23:56,120
but also our apparent
distance from its impact.
450
00:23:56,160 --> 00:23:58,720
The chair depicted is
based on a press photograph
451
00:23:58,720 --> 00:24:02,440
from January 13th, 1953
of the death chamber
452
00:24:02,440 --> 00:24:05,520
at Sing Sing Prison in New
York where American citizens
453
00:24:05,520 --> 00:24:08,920
Julius and Ethel Rosenberg
were executed that year
454
00:24:08,960 --> 00:24:11,880
for passing information about
the atomic bomb to Russia
455
00:24:11,880 --> 00:24:13,320
during the Second World War.
456
00:24:14,560 --> 00:24:18,280
"Electric Chair" is devoid
of all human presence.
457
00:24:18,320 --> 00:24:20,480
As the art historian
Neil Prince has observed,
458
00:24:20,480 --> 00:24:24,000
""Electric Chair" is remarkable
for its visual sobriety
459
00:24:24,000 --> 00:24:26,680
and emotional understatement
and the emptiness
460
00:24:26,720 --> 00:24:28,760
and stillness of the
room represents death
461
00:24:28,760 --> 00:24:30,840
as absence and silence."
462
00:24:30,880 --> 00:24:33,200
The series drew attention
to the gratuitous repetition
463
00:24:33,200 --> 00:24:36,720
of images in the media
and brought viewers
back into contact
464
00:24:36,760 --> 00:24:38,440
with the events themselves.
465
00:24:38,440 --> 00:24:40,920
Warhol was able to
penetrate the shining veneer
466
00:24:40,920 --> 00:24:43,760
of postwar American life and
reveal the darker realities
467
00:24:43,760 --> 00:24:45,680
that lay beneath.
468
00:24:45,720 --> 00:24:47,680
"Electric Chair" is filled
469
00:24:47,680 --> 00:24:49,720
with a chilling
sense of foreboding.
470
00:24:49,720 --> 00:24:51,960
The real tear is left unseen,
471
00:24:52,000 --> 00:24:53,800
making it all the
more horrifying.
472
00:24:53,800 --> 00:24:55,840
- And so my fellow Americans,
473
00:24:56,920 --> 00:25:01,760
ask not what your
country can do for you.
474
00:25:01,760 --> 00:25:04,160
Ask what you can do
for your country.
475
00:25:05,440 --> 00:25:07,120
- [Reporter] The cheers of
the crowd almost muffled
476
00:25:07,120 --> 00:25:09,800
the three shots, the
assassin's aim is deadly.
477
00:25:09,800 --> 00:25:11,720
The area is a swarm with police,
478
00:25:11,720 --> 00:25:13,480
rangers and secret servicemen.
479
00:25:13,480 --> 00:25:16,080
The murderer slips the
net, but a few blocks away,
480
00:25:16,080 --> 00:25:17,840
a man is captured
after he is reported
481
00:25:17,880 --> 00:25:19,760
to have killed a policeman.
482
00:25:19,760 --> 00:25:22,800
That man is a 24 year
old pro Castro Texan
483
00:25:22,800 --> 00:25:25,560
who once sought
Soviet citizenship.
484
00:25:25,560 --> 00:25:26,880
- [Narrator] The
violent undercurrent
485
00:25:26,920 --> 00:25:29,600
that Andy saw permeating
society became all the more real
486
00:25:29,600 --> 00:25:33,760
with the assassination
of President John
F. Kennedy in 1963.
487
00:25:34,520 --> 00:25:37,080
(somber music)
488
00:25:51,280 --> 00:25:54,640
She wasn't a movie star, but
she was America's royalty.
489
00:25:54,640 --> 00:25:59,840
Young, glamorous, regal, and
the most popular first lady.
490
00:26:00,760 --> 00:26:02,000
She was a visual
metaphor for the youth
491
00:26:02,000 --> 00:26:04,520
and promise of the
Kennedy administration
492
00:26:04,520 --> 00:26:07,160
(soft music)
493
00:26:14,520 --> 00:26:18,040
Warhol set to work
on a portfolio of
Jackie Kennedy prints,
494
00:26:18,080 --> 00:26:19,840
choosing two photographs
of her wearing
495
00:26:19,840 --> 00:26:22,720
her pink Chanel suit
before the assassination,
496
00:26:22,720 --> 00:26:25,080
two from the swearing
in of Lyndon B Johnson,
497
00:26:25,080 --> 00:26:27,120
and four from her
husband's funeral.
498
00:26:28,200 --> 00:26:29,880
He avoided the obvious
choice of an image
499
00:26:29,920 --> 00:26:33,440
of the president being shot
and concentrated on Jackie,
500
00:26:33,480 --> 00:26:36,880
using muted colors with
grays and blues placed on top
501
00:26:36,880 --> 00:26:39,000
of the deep black of
the photocopied image
502
00:26:39,040 --> 00:26:40,760
of the former first lady.
503
00:26:44,440 --> 00:26:47,880
Her beautiful features and
glamorous style frozen in time.
504
00:26:47,880 --> 00:26:50,160
In this way, Warhol
presents to the world
505
00:26:50,160 --> 00:26:51,240
a portrait of grief
506
00:26:51,280 --> 00:26:54,280
haunted by the specter
of past happiness.
507
00:26:54,280 --> 00:26:56,800
(somber music)
508
00:26:57,680 --> 00:27:00,200
(radio static)
509
00:27:01,560 --> 00:27:04,080
(soft music)
510
00:27:06,560 --> 00:27:09,080
(upbeat music)
511
00:27:12,160 --> 00:27:14,760
♪ It's okay if I do it
without clothes on ♪
512
00:27:14,760 --> 00:27:17,240
♪ She could be cruel
or out of her mind ♪
513
00:27:17,240 --> 00:27:20,040
♪ Give that girl a kiss
and have a good time ♪
514
00:27:20,040 --> 00:27:23,320
♪ Come here, now
everything is fine ♪
515
00:27:23,360 --> 00:27:26,840
(upbeat music)
516
00:27:26,840 --> 00:27:28,880
He was the first person
to take his own fame
517
00:27:28,880 --> 00:27:30,520
out of the realm of the personal
518
00:27:30,520 --> 00:27:32,760
and place it
squarely in his work.
519
00:27:32,800 --> 00:27:34,040
Part of this was
the establishment
520
00:27:34,040 --> 00:27:36,880
of his infamous
studios, The Factory,
521
00:27:36,880 --> 00:27:40,920
the foil covered building
at 231 East 47th Street.
522
00:27:40,920 --> 00:27:42,840
A coterie of his
followers and friends
523
00:27:42,840 --> 00:27:45,960
spent swathes of time
there producing his work,
524
00:27:45,960 --> 00:27:47,840
being photographed
by the artist,
525
00:27:47,840 --> 00:27:49,880
or simply hanging
out and partying.
526
00:27:49,920 --> 00:27:51,840
They became the
subjects of his art,
527
00:27:51,880 --> 00:27:54,000
described as an assembly line.
528
00:27:55,280 --> 00:27:59,000
Andy created films, prints,
sculptures, and dresses.
529
00:28:02,000 --> 00:28:04,040
To belong at The Factory,
530
00:28:04,080 --> 00:28:07,720
you needed to have the right
clothes, attitude, look,
531
00:28:07,760 --> 00:28:11,120
but also you had to
take the right drugs.
532
00:28:11,160 --> 00:28:13,960
Amphetamines were
Andy's drug of choice.
533
00:28:13,960 --> 00:28:16,040
Speed as it was
often referred to
534
00:28:16,080 --> 00:28:19,560
was prescribed as a
dieting pill, and by 1967,
535
00:28:19,600 --> 00:28:23,040
a staggering 31 million
Americans relied on this drug
536
00:28:23,040 --> 00:28:25,120
to combat weight
gain and depression.
537
00:28:26,920 --> 00:28:28,920
Although it was never empty,
538
00:28:28,920 --> 00:28:31,680
The Factory often felt
like a lonely place.
539
00:28:31,680 --> 00:28:34,960
The people drawn to the scene
were often seeking attention,
540
00:28:34,960 --> 00:28:37,400
love, and a family of their own,
541
00:28:37,400 --> 00:28:39,120
and drugs provided an escape.
542
00:28:39,160 --> 00:28:41,320
- [Reporter] Andy Warhol
not only uses film,
543
00:28:41,320 --> 00:28:43,120
but also video tape.
544
00:28:43,120 --> 00:28:46,040
At this party, he just
lets his camera observe.
545
00:28:46,040 --> 00:28:49,320
The center of attention is
his superstar, Edie Sedgwick.
546
00:28:49,320 --> 00:28:51,880
- [Interviewer] How does it
feel to act in a Warhol movie?
547
00:28:51,880 --> 00:28:53,720
- Oh, it's so true, like
it's not even acting.
548
00:28:53,760 --> 00:28:56,120
I mean, it's just so candid
549
00:28:57,280 --> 00:29:00,200
and like the camera
isn't even there.
550
00:29:03,560 --> 00:29:07,160
- [Narrator] 1967 saw
the release of The
Velvet Underground
551
00:29:07,160 --> 00:29:10,120
and Nico's first album, a
group that had first performed
552
00:29:10,120 --> 00:29:12,800
in Warhol's traveling
multimedia show,
553
00:29:12,800 --> 00:29:14,840
Exploding Plastic Inevitable.
554
00:29:15,640 --> 00:29:18,680
(upbeat music)
555
00:29:20,920 --> 00:29:22,200
For The Velvet Underground,
556
00:29:22,200 --> 00:29:25,120
it was a no-brainer to
work under his wing.
557
00:29:25,120 --> 00:29:27,000
They were relative
nobody's at this time
558
00:29:27,000 --> 00:29:28,800
and they had nothing to lose,
559
00:29:28,800 --> 00:29:31,320
but everything to gain
by associating themselves
560
00:29:31,320 --> 00:29:34,640
with one of the most admired
artists on the planet.
561
00:29:34,640 --> 00:29:36,120
He was technically their manager
562
00:29:36,120 --> 00:29:38,040
and paid for their
recording session,
563
00:29:38,040 --> 00:29:40,200
but he didn't know
anything about music,
564
00:29:40,200 --> 00:29:42,640
something singer Lou Reed
bemoaned in an interview
565
00:29:42,640 --> 00:29:44,600
with "Rolling Stone" magazine.
566
00:29:44,640 --> 00:29:46,080
He was the catalyst,
567
00:29:46,080 --> 00:29:48,920
always putting jarring
elements together,
568
00:29:48,920 --> 00:29:51,360
which was something I
wasn't always happy about.
569
00:29:51,360 --> 00:29:54,360
So when he put Nico in
the band, we said, "Hmm,"
570
00:29:54,360 --> 00:29:58,000
because Andy said, "Oh, you've
got to have a chanteuse."
571
00:29:59,160 --> 00:30:01,480
Nico was undoubtedly
a jarring element,
572
00:30:01,520 --> 00:30:03,160
at least musically.
573
00:30:03,200 --> 00:30:06,320
The German born model,
actress and nightclub singer
574
00:30:06,360 --> 00:30:10,320
was a typical Warhol superstar
with Bohemian sensibilities
575
00:30:10,320 --> 00:30:12,080
and conventional good looks.
576
00:30:12,120 --> 00:30:14,920
In contrast, what Reed
had already written
577
00:30:14,920 --> 00:30:17,880
for The Velvet Underground
was anything but typical.
578
00:30:17,880 --> 00:30:20,920
Many have written love
songs about a boy or a girl.
579
00:30:20,920 --> 00:30:23,160
Reed wrote a love song
to diacetylmorphine.
580
00:30:24,840 --> 00:30:28,760
♪ Heroin, be the death of me ♪
581
00:30:35,360 --> 00:30:37,920
(guitar music)
582
00:30:43,360 --> 00:30:48,360
♪ Heroin, it's my wife
and it's my life ♪
583
00:30:53,040 --> 00:30:56,640
♪ Because a mainline
to my vein ♪
584
00:30:56,680 --> 00:30:59,800
♪ Leads to a center in my head ♪
585
00:30:59,840 --> 00:31:02,040
♪ And then I'm better
off than dead ♪
586
00:31:02,040 --> 00:31:03,680
- [Narrator] But if
Reed wasn't too thrilled
587
00:31:03,680 --> 00:31:06,000
at having a chanteuse
in the band,
588
00:31:06,040 --> 00:31:07,800
he soon discovered that
working with Warhol
589
00:31:07,800 --> 00:31:09,720
was its own kind of thrill.
590
00:31:11,160 --> 00:31:14,640
(upbeat music)
591
00:31:14,680 --> 00:31:17,000
"I was a product of
Andy Warhol's Factory,"
592
00:31:17,040 --> 00:31:18,960
Reed commented
about this period.
593
00:31:18,960 --> 00:31:21,040
"All I did was sit
there and observe
594
00:31:21,080 --> 00:31:23,080
these incredibly talented
and creative people
595
00:31:23,120 --> 00:31:25,200
who were continually making art,
596
00:31:25,240 --> 00:31:28,400
and it was impossible not
to be affected by that."
597
00:31:28,440 --> 00:31:32,080
Warhol also took up production
duties on the band's debut,
598
00:31:32,080 --> 00:31:35,120
although technically he
didn't do any actual producing
599
00:31:35,120 --> 00:31:37,960
and just left the band
to do their own thing.
600
00:31:37,960 --> 00:31:39,920
At one point, the
engineer would say
601
00:31:39,920 --> 00:31:42,400
apropos of something we'd done,
602
00:31:42,440 --> 00:31:44,960
"Mr. Warhol, is that okay?"
603
00:31:45,000 --> 00:31:47,640
And he'd say, "Oh,
that's great."
604
00:31:47,680 --> 00:31:51,320
And as a consequence of that,
we experienced total freedom
605
00:31:51,320 --> 00:31:53,560
because no one would
change anything.
606
00:31:53,600 --> 00:31:55,960
After all, Andy
said it was great.
607
00:31:57,000 --> 00:31:59,320
As a creative, there was
no place better to be
608
00:31:59,320 --> 00:32:01,280
than working with Warhol.
609
00:32:01,320 --> 00:32:03,440
And The Velvet Underground
started gaining publicity
610
00:32:03,480 --> 00:32:06,720
that was unheard of for
a band of their stature.
611
00:32:06,720 --> 00:32:09,360
(upbeat music)
612
00:32:13,320 --> 00:32:15,120
It was getting more
and more difficult
613
00:32:15,120 --> 00:32:18,040
to tell the difference between
the PR and the actuality
614
00:32:18,040 --> 00:32:20,560
because we ended up in the
middle of a storm of publicity
615
00:32:20,560 --> 00:32:22,360
that we didn't know was coming.
616
00:32:22,360 --> 00:32:26,120
Velvet's member John Cale told
the Red Bull Music Academy,
617
00:32:26,120 --> 00:32:30,080
"We got a lot of notoriety
very quickly attached to Andy.
618
00:32:30,080 --> 00:32:31,960
I guess Lou didn't like that.
619
00:32:31,960 --> 00:32:33,360
The way Reed handled it
620
00:32:33,360 --> 00:32:35,960
and the way he did it
was really destructive.
621
00:32:35,960 --> 00:32:38,160
I mean, he just like
blew up the band
622
00:32:38,160 --> 00:32:40,520
and fired Andy without
telling anybody.
623
00:32:40,520 --> 00:32:42,040
And it was like, what?"
624
00:32:43,200 --> 00:32:45,760
(upbeat music)
625
00:32:45,760 --> 00:32:48,800
When the day came that
Reed told Warhol in 1967
626
00:32:48,800 --> 00:32:51,720
that his service was
no longer required,
627
00:32:51,760 --> 00:32:54,040
it remains unknown whether
this was a decision
628
00:32:54,040 --> 00:32:57,040
he made on a whim or had been
edging towards for a while.
629
00:32:58,560 --> 00:33:01,000
(soft music)
630
00:33:08,000 --> 00:33:09,480
Reed didn't consult
with his band mates
631
00:33:09,520 --> 00:33:12,320
before firing Warhol, but
he knew he didn't want to be
632
00:33:12,360 --> 00:33:15,160
another of Warhol's creations.
633
00:33:15,160 --> 00:33:18,880
Commenting on that infamous
day, Reed once said,
634
00:33:18,920 --> 00:33:22,040
"Andy passes through
things, but so do we.
635
00:33:22,080 --> 00:33:24,840
He sat down and
had a talk with me.
636
00:33:24,840 --> 00:33:27,120
You gotta decide
what you want to do.
637
00:33:27,120 --> 00:33:28,880
Do you wanna just keep
playing museums from now on
638
00:33:28,880 --> 00:33:30,360
and the art festivals?
639
00:33:30,360 --> 00:33:33,200
Or do you want to start
moving into other areas?
640
00:33:33,240 --> 00:33:36,040
Lou, don't you think you
should think about it?"\
641
00:33:36,040 --> 00:33:39,040
So I thought about
it and I fired him
642
00:33:39,040 --> 00:33:41,040
because I thought that was
one of the things to do
643
00:33:41,040 --> 00:33:43,080
if we were going to
move away from that.
644
00:33:45,040 --> 00:33:48,240
I'd never seen Andy
angry, but I did that day.
645
00:33:48,240 --> 00:33:51,600
He was really mad
and called me a rat.
646
00:33:51,640 --> 00:33:53,920
That was the worst thing
he could think of."
647
00:33:59,960 --> 00:34:03,920
At one point, in his quest
for reinvention and the new,
648
00:34:03,960 --> 00:34:06,680
Andy said he didn't believe
in painting anymore.
649
00:34:06,680 --> 00:34:09,080
So his next step of
combining art with music
650
00:34:09,080 --> 00:34:11,880
and films with art was
a natural progression.
651
00:34:18,560 --> 00:34:20,760
Most of his films
were unwatchable.
652
00:34:20,760 --> 00:34:22,720
They did not appeal
to a broad audience,
653
00:34:22,720 --> 00:34:25,280
or even those who liked
his previous work.
654
00:34:25,280 --> 00:34:27,880
Warhol both engaged with
the experimental films
655
00:34:27,880 --> 00:34:29,960
of the period and
somewhat mocked them,
656
00:34:30,000 --> 00:34:32,160
pushing ideas of
taste to the limit.
657
00:34:33,920 --> 00:34:36,000
Movies that were already
long were made longer
658
00:34:36,000 --> 00:34:38,160
by projecting them
at a slower speed.
659
00:34:38,160 --> 00:34:42,080
Drugs, sex and violence
lingered just outside,
660
00:34:42,080 --> 00:34:43,880
and later squarely
within the frame.
661
00:34:47,120 --> 00:34:51,200
"Chelsea Girls" was Warhol's
first major commercial success
662
00:34:51,200 --> 00:34:54,080
despite being four hours long
and shot on a split screen.
663
00:34:55,200 --> 00:34:57,640
(soft music)
664
00:35:05,120 --> 00:35:07,120
This film is prophetic in
understanding our desire
665
00:35:07,160 --> 00:35:10,320
to be documented, our
performative nature.
666
00:35:10,320 --> 00:35:13,400
It was ahead of its time and
its influence can be seen
667
00:35:13,400 --> 00:35:17,080
across the landscape of the
21st century within reality TV.
668
00:35:20,240 --> 00:35:23,440
There was growing conflict
and rivalries at The Factory
669
00:35:23,480 --> 00:35:25,960
as Andy liked to pit
people against each other.
670
00:35:26,000 --> 00:35:28,200
As in his desire for attention,
671
00:35:28,240 --> 00:35:31,120
he wanted them to compete
to be his favorite star.
672
00:35:31,120 --> 00:35:34,040
And so toward the
end of the 60s,
673
00:35:34,080 --> 00:35:35,400
Andy's relations
with his friends
674
00:35:35,400 --> 00:35:39,000
and superstars of The
Factory began to break down.
675
00:35:42,040 --> 00:35:44,000
He thought his subjects
were art supplies.
676
00:35:44,000 --> 00:35:46,760
They thought they
were his friends.
677
00:35:46,760 --> 00:35:49,200
(soft music)
678
00:35:54,560 --> 00:35:59,360
June 3rd, 1968, a defining
moment in Warhol's life.
679
00:36:03,360 --> 00:36:06,120
Moments after Valerie
Solanas entered Andy Warhol's
680
00:36:06,160 --> 00:36:10,000
sixth floor office at
33 Union Square West,
681
00:36:10,000 --> 00:36:12,200
their lives would
be changed for ever.
682
00:36:12,200 --> 00:36:15,120
She thought he was going
to steal her manuscript.
683
00:36:15,160 --> 00:36:16,040
He ignored her calls.
684
00:36:19,040 --> 00:36:21,080
(gun bangs)
685
00:36:28,480 --> 00:36:31,320
(soft piano music)
686
00:36:36,760 --> 00:36:39,320
"Self Portrait" by Andy
Warhol is what he wished
687
00:36:39,320 --> 00:36:40,760
he would've looked like.
688
00:36:43,120 --> 00:36:46,040
It's poignant that Andy's
trajectory mirrors Marilyn's.
689
00:36:46,080 --> 00:36:48,200
In the end, he
winningly turned himself
690
00:36:48,240 --> 00:36:51,440
into a somewhat
superficial figure.
691
00:36:51,480 --> 00:36:54,320
(soft piano music)
692
00:36:59,600 --> 00:37:02,200
The year his mother died, 1972,
693
00:37:02,200 --> 00:37:06,040
he made finger painting
portraits of her,
yet told no one,
694
00:37:06,040 --> 00:37:08,480
not even his boyfriend
of the time, Jed Johnson.
695
00:37:08,480 --> 00:37:11,920
Emotionally, he found it
hard to express himself.
696
00:37:11,960 --> 00:37:15,080
Caring was too hard
for him, it hurt.
697
00:37:15,080 --> 00:37:17,320
He had consciously
manufactured a persona
698
00:37:17,360 --> 00:37:20,200
that only existed when he
was interviewed on camera,
699
00:37:20,200 --> 00:37:22,600
and this had seemed was
what the world wanted.
700
00:37:24,080 --> 00:37:28,160
Andy Warhol, the eccentric
artist, not the real person.
701
00:37:28,160 --> 00:37:30,280
The most interesting thing
he could do as an artist
702
00:37:30,320 --> 00:37:31,960
was put himself into pop.
703
00:37:33,440 --> 00:37:35,920
- Everybody had always
worked these crazy people
704
00:37:35,920 --> 00:37:39,520
running in and out, and
everybody had said to him,
705
00:37:39,520 --> 00:37:43,360
"Hey Andy, maybe we should
get a lock on the door
706
00:37:43,360 --> 00:37:46,400
or something, you know,
or at least have somebody
707
00:37:46,400 --> 00:37:48,280
look at who comes in here first,
708
00:37:50,760 --> 00:37:53,160
but that was just part of it.
709
00:37:53,160 --> 00:37:55,200
And he paid a terrible
price for that.
710
00:37:57,400 --> 00:38:02,160
- [Narrator] 1968, Valerie
Solanas was a radical feminist,
711
00:38:03,560 --> 00:38:07,040
writer, activist and a player
in The Factory universe.
712
00:38:07,040 --> 00:38:08,520
She founded an
organization called
713
00:38:08,560 --> 00:38:11,920
the Society for
Cutting Up Men, SCUM,
714
00:38:11,920 --> 00:38:14,360
of which she was
the sole member.
715
00:38:14,400 --> 00:38:18,600
In 1967, Solanas encountered
Andy Warhol outside his studio
716
00:38:18,600 --> 00:38:21,080
and asked him to
produce her play.
717
00:38:21,080 --> 00:38:23,160
He had accepted the
script for review.
718
00:38:23,160 --> 00:38:27,600
He told Solanas it was well
typed and promised to read it.
719
00:38:29,160 --> 00:38:31,520
According to Factory
lore, Warhol,
720
00:38:31,560 --> 00:38:33,040
whose films were often shut down
721
00:38:33,040 --> 00:38:34,960
by the police for obscenity,
722
00:38:34,960 --> 00:38:37,040
thought the script
was so pornographic
723
00:38:37,080 --> 00:38:39,160
that it must have
been a police trap.
724
00:38:39,200 --> 00:38:41,960
Solanas contacted
Warhol about the script
725
00:38:41,960 --> 00:38:44,160
and was told that
he had lost it.
726
00:38:44,200 --> 00:38:46,040
He also jokingly
offered her a job
727
00:38:46,040 --> 00:38:48,360
at The Factory as a typist.
728
00:38:48,360 --> 00:38:52,360
Insulted, Solanas demanded
money for the lost manuscript.
729
00:38:52,360 --> 00:38:54,960
Instead, Warhol paid her $25
730
00:38:55,000 --> 00:38:57,800
to appear in his
film "I, A Man."
731
00:38:59,000 --> 00:39:00,240
In the weeks leading
up to the shooting,
732
00:39:00,280 --> 00:39:02,760
Solanas repeatedly
called Warhol's office
733
00:39:02,760 --> 00:39:04,920
with threats and demands
about her manuscript
734
00:39:04,960 --> 00:39:06,880
until he stopped
taking her calls,
735
00:39:06,880 --> 00:39:09,040
and so she became paranoid
that he didn't in fact
736
00:39:09,040 --> 00:39:11,640
lose the play but
wanted to keep it,
737
00:39:11,640 --> 00:39:13,200
claim it and make it his own.
738
00:39:19,560 --> 00:39:23,720
On June 3rd, 1968, Solanas
showed up at Warhol's new office
739
00:39:23,720 --> 00:39:26,080
at 33 Union Square West.
740
00:39:31,320 --> 00:39:34,800
With a 32 Beretta, she shot
Warhol and Mario Amaya,
741
00:39:34,800 --> 00:39:37,240
the London art gallery
owner he was meeting with,
742
00:39:37,240 --> 00:39:39,000
then fled the building.
743
00:39:39,000 --> 00:39:41,400
Later that day, Solanas
turned herself in,
744
00:39:41,440 --> 00:39:44,280
gave up her gun and
confessed to the shooting.
745
00:39:49,440 --> 00:39:52,920
Two bullets from Salanas' gun
tore through Warhol's stomach,
746
00:39:52,920 --> 00:39:56,800
liver, spleen, esophagus
and both lungs.
747
00:39:56,800 --> 00:39:58,760
He was briefly declared
dead at one point
748
00:39:58,800 --> 00:40:01,040
during the operation
to remove his spleen,
749
00:40:01,040 --> 00:40:03,160
but doctors were
able to revive him.
750
00:40:03,160 --> 00:40:05,120
He spent two months
in the hospital
751
00:40:05,120 --> 00:40:07,160
recuperating from
various surgeries
752
00:40:07,160 --> 00:40:08,560
and would be forced to
wear a surgical corset
753
00:40:08,560 --> 00:40:12,080
to hold his organs in place
for the rest of his life.
754
00:40:12,120 --> 00:40:13,680
The other victim
of the shooting,
755
00:40:13,720 --> 00:40:16,120
Mario Amaya, wasn't
badly wounded.
756
00:40:21,800 --> 00:40:25,040
Ironically, in this near
death murder attempt,
757
00:40:25,080 --> 00:40:27,320
he now became the subject
in the same tabloid,
758
00:40:27,360 --> 00:40:30,240
newspapers and magazines
that he scoured for stories
759
00:40:30,280 --> 00:40:33,400
to make his " Death and
Disaster Series" of work.
760
00:40:33,400 --> 00:40:35,160
Even before he was shot,
761
00:40:35,160 --> 00:40:37,840
Andy Warhol had left behind
the vibe of the 1960s.
762
00:40:39,160 --> 00:40:41,360
(soft music)
763
00:40:47,000 --> 00:40:48,640
He believed that
culture was moving away
764
00:40:48,680 --> 00:40:50,720
from what he had created.
765
00:40:50,760 --> 00:40:52,320
He had done
everything he could do
766
00:40:52,320 --> 00:40:54,280
and the shooting incident
provided him with an explanation
767
00:40:54,320 --> 00:40:58,200
to the rest of America as
to why he had now changed.
768
00:40:58,200 --> 00:41:01,000
Curating a new inner
circle of middle class kids
769
00:41:01,000 --> 00:41:04,200
who went to college, his world
became more like a business
770
00:41:04,200 --> 00:41:06,360
and the sole goal
was to make money.
771
00:41:09,040 --> 00:41:11,240
His identity was
all part of his work
772
00:41:11,240 --> 00:41:13,320
as was his social life.
773
00:41:13,320 --> 00:41:16,320
Being seen and meeting
new people was an
art form in itself.
774
00:41:19,000 --> 00:41:21,360
Endless nights at
fashion's favorite club,
775
00:41:21,360 --> 00:41:25,240
Studio 54, led to encounters
with designers of the day
776
00:41:25,240 --> 00:41:28,400
including Giorgio
Armani, Betsey Johnson,
777
00:41:28,400 --> 00:41:32,200
Gianni Versace and Halston,
all of whom featured heavily
778
00:41:32,200 --> 00:41:35,760
in his next venture,
a style magazine.
779
00:41:35,760 --> 00:41:38,760
Launched in 1969,
"Interview" made use
780
00:41:38,800 --> 00:41:40,600
of an experimental format
781
00:41:40,600 --> 00:41:43,120
to profile celebrities
and cult icons.
782
00:41:43,160 --> 00:41:46,760
Models such as Iman, Bianca
Jagger and Jerry Hall
783
00:41:46,760 --> 00:41:48,720
graced its pages
alongside aristocrats
784
00:41:48,760 --> 00:41:50,040
and cutting edge artists.
785
00:41:50,800 --> 00:41:53,600
(upbeat music)
786
00:42:01,320 --> 00:42:04,240
It had been a gigantic movie
theater and exotic fashions,
787
00:42:04,240 --> 00:42:06,440
loud disco music and
outrageous behavior
788
00:42:06,480 --> 00:42:08,000
was the order of the day.
789
00:42:09,360 --> 00:42:11,880
The clientele's very decadent
behavior rivaled that
790
00:42:11,920 --> 00:42:14,080
of anything that
had gone before.
791
00:42:14,080 --> 00:42:16,240
Celebrities came from
all around the world
792
00:42:16,240 --> 00:42:19,040
and Andy was drawn to
this honey pot to gossip,
793
00:42:19,080 --> 00:42:21,000
to be seen with all
the right people
794
00:42:21,000 --> 00:42:23,320
and to find clients to paint.
795
00:42:23,320 --> 00:42:25,080
He made a lot of money
from portraiture,
796
00:42:25,080 --> 00:42:27,920
portraits of anyone who
would pay him enough,
797
00:42:27,920 --> 00:42:31,000
which eventually dented his
reputation as a trailblazer.
798
00:42:32,240 --> 00:42:36,160
His book "America" published
in 1985 is a melange
799
00:42:36,200 --> 00:42:39,320
of text and image with
photographs selected by Warhol
800
00:42:39,320 --> 00:42:42,560
from years of extraordinary
shots taken on his travels,
801
00:42:42,600 --> 00:42:44,560
which reveal staggering
contradictions
802
00:42:44,560 --> 00:42:45,920
of the country itself.
803
00:42:45,920 --> 00:42:47,240
It was more of a social document
804
00:42:47,240 --> 00:42:50,320
of what was going
on in the country.
805
00:42:50,360 --> 00:42:52,840
(upbeat music)
806
00:42:54,840 --> 00:42:58,600
In America, Warhol writes
about the country he loves,
807
00:42:58,600 --> 00:43:02,320
about how he wishes he had
died when he was shot in 1968,
808
00:43:02,320 --> 00:43:05,920
about commercialism,
fame and beauty.
809
00:43:05,960 --> 00:43:08,480
And America without Warhol
is almost as inconceivable
810
00:43:08,480 --> 00:43:10,200
as Warhol without America.
811
00:43:10,200 --> 00:43:13,320
In his touching, witty
tribute is the great artist
812
00:43:13,320 --> 00:43:16,000
of the superficial that
is most deeply personal.
813
00:43:17,120 --> 00:43:19,200
There is a continual
theme throughout
814
00:43:19,200 --> 00:43:20,600
most of Warhol's work,
815
00:43:20,600 --> 00:43:24,240
a sadness that isn't necessarily
obvious on first viewing.
816
00:43:24,240 --> 00:43:26,320
His self portraits
weren't ordinary,
817
00:43:26,360 --> 00:43:28,840
and they're certainly not
easy pictures to look at.
818
00:43:30,360 --> 00:43:32,320
Colors have a ghastly hue
and he makes himself look
819
00:43:32,360 --> 00:43:35,000
as though he is staring
death in the face.
820
00:43:35,000 --> 00:43:37,360
He was so exhausted
by his work in the end
821
00:43:37,360 --> 00:43:40,160
that there was almost nothing
left to him at this point.
822
00:43:41,200 --> 00:43:43,600
Perhaps this is what
the portraits show.
823
00:43:47,280 --> 00:43:50,480
Warhol was undeniably sick
towards the end of his life.
824
00:43:50,520 --> 00:43:51,920
He had gallbladder attacks
825
00:43:51,960 --> 00:43:54,480
result of the shooting
19 years earlier
826
00:43:54,480 --> 00:43:56,360
that were extremely painful,
827
00:43:56,400 --> 00:43:59,040
though the condition was not
however life threatening.
828
00:44:00,800 --> 00:44:04,560
On a plane home from
Rome in February, 1987,
829
00:44:04,600 --> 00:44:06,960
Andy became sicker and sicker.
830
00:44:07,000 --> 00:44:09,440
His doctors realized
he was in trouble.
831
00:44:09,440 --> 00:44:11,480
The gallbladder operation
he had to go in for
832
00:44:11,520 --> 00:44:13,560
was very complicated.
833
00:44:13,560 --> 00:44:15,520
However, he woke up
from the anesthetic
834
00:44:15,520 --> 00:44:16,840
and was talking and walking.
835
00:44:19,640 --> 00:44:22,280
On the evening of February 21st,
836
00:44:22,280 --> 00:44:25,400
Andy went to sleep
and never woke up.
837
00:44:25,440 --> 00:44:27,160
He was only 58 years old.
838
00:44:28,080 --> 00:44:30,640
(somber music)
839
00:44:32,560 --> 00:44:34,640
From early on in his career,
840
00:44:34,640 --> 00:44:36,520
Andy Warhol had an
extraordinary ability
841
00:44:36,560 --> 00:44:38,960
to find the sacred
in the profane.
842
00:44:39,000 --> 00:44:41,360
Like so many
successful Americans,
843
00:44:41,400 --> 00:44:44,560
he was a product of Eastern
European immigrant experience,
844
00:44:44,560 --> 00:44:46,640
who himself became an icon,
845
00:44:46,640 --> 00:44:49,400
a shy, gay, working class man
846
00:44:49,400 --> 00:44:53,320
who became the court painter
of the 1960s and 70s.
847
00:44:53,360 --> 00:44:55,920
(somber music)
848
00:45:01,600 --> 00:45:03,840
He anticipated our
fascination with brands,
849
00:45:03,880 --> 00:45:06,440
celebrities, even selfies.
850
00:45:06,440 --> 00:45:10,040
His line about everyone
being famous for 15 minutes
851
00:45:10,080 --> 00:45:11,720
feels even more
relevant in the world
852
00:45:11,760 --> 00:45:14,320
of the 21st century
media outlets.
853
00:45:14,360 --> 00:45:18,200
Above all, Warhol was a
chronicler of modern life.
854
00:45:18,200 --> 00:45:20,960
He redefined art
and what art can be,
855
00:45:20,960 --> 00:45:24,040
what it can mean, who
has access to art,
856
00:45:24,080 --> 00:45:26,960
who can make art and
who's voice matters.
857
00:45:28,120 --> 00:45:31,360
He democratized the very
notion of art making.
858
00:45:31,400 --> 00:45:33,920
(somber music)
859
00:45:36,440 --> 00:45:39,520
Andy Warhol constantly put
forward alternative ways
860
00:45:39,560 --> 00:45:43,320
for us to live, express
ourselves and think
about the world.
861
00:45:43,360 --> 00:45:46,000
His artwork still
resonates with the public
862
00:45:46,040 --> 00:45:48,200
decades after they were created.
863
00:45:48,200 --> 00:45:49,920
His impact has most
definitely lasted
864
00:45:49,920 --> 00:45:52,760
much longer than 15 minutes.
865
00:45:54,320 --> 00:45:56,640
- [Interviewer] Where do you
see yourself in 20 years, Andy?
866
00:45:57,440 --> 00:45:58,640
- Oh, in heaven.
867
00:45:58,640 --> 00:46:01,480
(interviewer laughs)
868
00:46:01,520 --> 00:46:04,240
(somber music)
68981
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