John Cale: "When we went up to the Factory it was a real eye-opener for me. It wasn't called the Factory for nothing. It was where the assembly-line for the silkscreens happened. While one person was making a silkscreen, somebody else would be filming a screen test. Every day something new. I think he was dipping into anything he fancied." Andy Warhol had immigrated to New York City from Pittsburgh in 1949 and spent much of the fifties slowly gaining fame as a commercial artist for his innovative shoe drawings. By the early sixties, Warhol had begun opening eyes in the fine arts community with his silkscreened paintings featuring the repetition of images adopted from popular culture such as 100 Soup Cans and the Marilyn Diptych, but in truth, Warhol's use of such images was anathema to the conservative critical watchdogs of the art establishment. For example, at a symposium on pop art held at the Museum of Modern Art in 1962, Stanley Kunitz argued dismissively, "If the pop artist is concerned with creating anything, it is with the creation of an effect. Consider, for example, the celebrated rows of Campbell's Soup labels. We can scarcely be expected to have any interest in the painting itself. Indeed, it is difficult to think of it as a painting at all." Despite the critical resistance, by 1963 pop art had come into vogue, and Warhol, now using a gang of assistants (including Gerard Malanga) in the silkscreening process to expedite the production of prints, moved to the midtown Manhattan studio that would come to be known as the Factory. This is where, over the next several years, Warhol would begin collecting his so-called "superstars": Billy Name, Rotten Rita, the Duchess, Ondine, Paul Morrissey, Ultra Violet to name but a few and socialites such as Edie Sedgwick and Susan Bottomly. Added to these was a revolving cast of prospective artists, musicians, exhibitionists, hustlers, transvestites, and anyone else able to contribute to the Factory's air of cultivated decadence, all of which was ultimately fodder for Warhol's voyeuristic predilections. It was in the middle of this strange mélange that The Velvet Underground would opportunistically find themselves in late 1965.
Warhol at Work in the Factory, 1964 |
Andy with His Band of Velvets |
Andy Ascending to the Factory |
Throughout the sixties, Warhol steadily cultivated an interest in film-making, most of which featured voyeuristic footage of Factory regulars sleeping, having sex, getting stoned, etc., all filmed with an extraordinary sense of detachment. For Warhol, the purpose of his pursuit of film-making was at least partly social, "a way of getting to meet more people," Morrissey recalls, as well as economic: "Andy always thought that films would be where we'd make money." Among the more enduring of his film-related projects are the hundreds of screen tests Warhol or his assistants filmed of various visitors to the Factory, including Dennis Hopper, Bob Dylan, Nico and Lou Reed. However, Warhol's screen tests were not limited to celebrities, as almost anyone who came into the orbit of the Factory, no matter how briefly, was a potential subject. As he stated in The Philosophy of Andy Warhol, "I've never met a person I couldn't call a beauty [...] I always hear myself saying, She's a beauty! or He's a beauty! or what a beauty! But [...] if everybody's not a beauty, then nobody is." To create these screen tests, Warhol used a stationary 16mm camera equipped with silent, black & white 100 ft. rolls of film set at 24 frames per second, as well as a strong key light to place the subject in stark relief. The results were later arranged into compilations and screened in slow motion at 16 frames per second. In 2008, The Andy Warhol Museum commissioned Dean Wareham of Galaxie 500 and Luna fame, along with Wareham's Luna band-mate Britta Phillips, to compose music for thirteen of the screen tests. In addition to original compositions by Dean & Britta, 13 Most Beautiful: Songs for Andy Warhol's Screen Tests features a cover of Bob Dylan's "I'll Keep It with Mine" and an amazingly effective re-working of an obscure Velvet Underground song, "Not a Young Man Anymore." While Wareham's earlier work with Galaxie 500 made explicit his strong affinity with the V.U. aesthetic, which is also in evidence throughout this project, his true inspiration here is Warhol himself. Wareham: "You could make a case that he [Warhol] was one of the first punks in two ways. 1) He suggested that anyone could be an artist, and that an artist could try his hand at anything. 2) Punk rock celebrates the commonplace and the ugly, and elevates it, and I think Warhol did the same." Good night Andy.
13 Most Beautiful: Songs for Andy Warhol's Screen Tests (2010)
Disc I:
Disc I:
1. Silver Factory Theme
3. Not a Young Man Anymore (My Robot Friend Remix)
4. I Found It Not So
6. Incandescent Innocent
7. International Velvet Redux (Anthony LaMarca Remix)
9. Herringbone Tweed
10. Richard Rheem Theme
11. Knives from Bavaria (Spoonful of Fun)
12. Eyes in My Smoke
13. Ann Buchanan Theme
Disc II:
1. Incandescent Innocent (Sanctus)
2. I'll Keep It with Mine (Scott Hardkiss Electric Remix)
3. Silver Factory Redux (Sonic Boom Remix)
4. Not a Young Man Anymore
5. I Found It Not So (Sonic Boom Remix)
6. It Don't Rain in Beverly Hills
7. International Velvet Theme
John Cale - Eat/Kiss: Music for the Films of Andy Warhol (1997)
Eat/Kiss is comprised of soundtrack material John Cale composed during the mid-nineties for two of Andy Warhol's earliest films, Eat (1963) and Kiss (1963-1964). The performances are live and many feature Cale's ex-Velvet Underground band-mate Mo Tucker and British pedal-steel guitar legend B.J. Cole. The music itself is what you'd expect of Cale, moody and quirky by turns, but regularly punctuated by moments of twisted beauty. Not a major work, but deserves to be heard nonetheless.
Eat/Kiss is comprised of soundtrack material John Cale composed during the mid-nineties for two of Andy Warhol's earliest films, Eat (1963) and Kiss (1963-1964). The performances are live and many feature Cale's ex-Velvet Underground band-mate Mo Tucker and British pedal-steel guitar legend B.J. Cole. The music itself is what you'd expect of Cale, moody and quirky by turns, but regularly punctuated by moments of twisted beauty. Not a major work, but deserves to be heard nonetheless.
-Kiss
1. Kiss Movement 01 (Infinite Guitar, Quartet)
2. Kiss Movement 02 (Frozen Warning, Jimmy, Metal-Violin Solo, David Tiyé-Backing Vocal)
4. Kiss Movement 04 (Violin Solo-Todd, Tiyé, Quartet)
5. Kiss Movement 05 (Harpsichord, Infinite Guitar)
6. Kiss Movement 06 (Quartet, Moe-Harpsichord, Tiyé-Percussion)
7. Kiss Movement 07 (Quartet, Cello Solo-Dawn, Harpsichord)
8. Kiss Movement 08 (B.J., Quartet, Electric Piano)
9. Kiss Movement 09 (B.J., Quartet, Electric Piano)
10. Kiss Movement 10 (Quartet Solo)
11. Kiss Movement 11 (Solo Tiyé, Strings)
-Eat
12. Eat Movement 12 (B.J., 12-String Guitar Intro-David)
14. Eat Movement 14 (Todd Solo, 12-String, Moe)
13 Most Beautiful
ReplyDeletemp3v0
https://****.co.nz/#!1tNBDBgY!cSTh3DSXSAxloX0uUla8VBRbXGBSx1pySxOQukpQdKc
flac
part 1
https://****.co.nz/#!V4N1gIwJ!F3gOM1RtY66hdkU75auLPjcCRXgP2tfg5_s5INoUm2Q
part 2
https://****.co.nz/#!gltzUaqB!d6lLNFqgP8gDMfCdOKYv5ytwGph1wIrvEdRkhR2VUk0
Eat/Kiss
ReplyDeletemp3v0
https://****.co.nz/#!NwVD3ahB!XQ25Rx0dBi1finHHGVXDmmKaqgwgPUCkEEQp1Ra7Jc4
flac
https://****.co.nz/#!Uot1TSKQ!OUAGs2R5izn-vZpWpK3SqDITiPJmykw6iHnCEJ6t0DQ
That is such a great Warhol clip.
ReplyDeleteI couldn't resist :)
DeleteThank you for the walk down memory lane with the perpetually bored Andy, and for the 13 Most Beautiful post. Never heard of it till today.
ReplyDeleteScurfie, I hope you enjoy it; I think it really captures the VU aesthetic
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