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gone2soon · 2 years

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Andrea Feldman 1 April 1948 - 8 August 1972

Some would describe true star quality as when the audience can’t tell when you’re acting. That’s what Penny Arcade artist and friend said of Andrea Feldman, “A lot of people in the Warhol scene pretended to be crazy, but Andrea really was.”

She was a rich girl, with a long list of inpatient stays at state hospitals. After a nervous breakdown in the interim of the release of Andy Warhol produced Heat, the third film in the Paul Morrissey directed Trash trilogy, (where she had a co-starring role, as a psychotic, masochistic, lesbian) Penny remembers Andrea’s nervous breakdown, her physician adamantly telling her parents that, that all Andrea needed to stop the hysterics was a real job. To which Andrea told Penny, “What am I supposed to do? Be a waitress?!” She believed she was destined for stardom and after starring in Heat, not just any old star, but a Superstar. Andrea would commit suicide shortly before the film’s release.

Before Heat, Andrea had had a co-starring role in Trash. Where she plays an ex-debutante Rich Girl looking to score some acid from her heroin-addicted conquest Joe Dallesandro, “Is it acid? Is it acid?! Is it acid?!?!” she asks him while he shoots up, in a high-pitched affected upper east-side / British drawl. She rattles on about how she’s never done drugs, was a virgin before her marriage to her husband and has never seen anyone shoot up. She invites Joe to rape her, in a cuckolding of her husband, but he’s impotent. An immovable and disengaged force, an unapologetic junkie. A total counter to the Rich Girl’s fast-talking neuroticism. Feldman’s character is indicative of a housewife looking for some excitement. Asking if this is all there is, why can’t I have more?

Andy Warhol never attended the filming of Heat instead he kept in contact with the cast and crew via telephone. All the actors provided were members of Warhol’s Factory and the principal shooting took place in Los Angeles for two weeks in July 1971. This distance allowed Warhol to stir the pot. Bob Colacello, writer and editor of Interview magazine and Warhol’s right-hand man said: “...Andy barraged Sylvia [Mills], Andrea, and Pat [Ast] with late-night calls from New York, stirring things up long distance.” He made Sylvia jealous of Pat’s high fashion (she wore expensive muumuus designed by Halston), Pat jealous of Sylvia’s star-billing, “and... it didn’t take much to drive poor Andrea crazy.”

Andrea was a native New Yorker who attended Quintano’s a well-known, private performing arts high school in mid-town New York, that groomed its students for a career in the spotlight. Some well-known alumni included Mary Weiss from the heartbreak girl group the Shangri-Las and queen of the stage and screen Bernadette Peters. But the education provided there was subject to criticism, a letter from New York’s Division for School Regulation and Supervision observed pointedly, “there is no science laboratory, no library, and no gymnasium.”

From the mid-1960s onwards, Quintano’s was the school of choice for rich kids who had faced expulsion or flunked out of their previous schools for non-attendance or anti-social behaviour. One previous attendee described the mix of students as “...the students who were there because they had real careers and you had the fuck ups.” It seemed, especially during the drug-fuelled days of the 1960s, that as long as the incredibly expensive tuition fees were paid, drug use and dealing were ignored by the faculty.

Andrea pioneered a performance called “Showtime”, where she performed a striptease on a round table in the centre of Max’s Kansas City, and received her nickname “Whips”, after a dance she did with them for Warhol’s multimedia art event The Exploding Plastic Inevitable between 1966 and 1967. The event included music from The Velvet Underground & Nico who Warhol promoted as “The Pop Girl of ‘66″. Andrea craved Andy’s attention referring to herself as “Ms. Warhol”. Warhol was known for the flitting of his affections based on whose persona he found interesting at the time. Nico’s unaffected, stoic-german, coolness stood in stark contrast to Andrea who was known as “Crazy Andy” amongst her friends.

Leee Black Childers, photographer at the Factory and Andrea’s boyfriend before her untimely death remembers an incident in which after a short absence documenting Andy Warhol’s Pork at the Roundhouse in London. “...She stood up on a chair and held a picture of Marilyn Monroe over her head... After a long time of just standing there, she said, ‘Marilyn died; love me while you can!’” Her suicide note would read “I’m headed for the big time. I’m on my way up there with James Dean and Marilyn Monroe”. She jumped to her death from the fourteenth-floor window of her uncle’s apartment, a few days after the tenth anniversary of Marilyn Monroe’s death at the age of 24. Perhaps Andrea identified with Monroe as like her she would later allege mistreatment by directors, depression, and the inability to be taken seriously as an actress.

On the 8th of July 1972, Andrea made dates with all her ex-boyfriends so that they would be on the sidewalk below when she jumped. Geraldine Smith who had written Andrea’s Village Voice obituary sympathetically excluded this detail, and detailed how Andrea’s final message to her friends was one of love. According to Bob Colacello, and his connections at The Factory, Smith made no mention of the more scathing portions of Andrea’s suicide note, where she cursed Andy Warhol and Paul Morrissey, claiming abuse. She had conducted an interview in July 1972 with George Ford for Interview magazine, which never made it to print. “They just throw you in front of a camera - they don’t care what you look like. They just use you, and abuse you, and step on you, and they don’t pay you anything... I’m a damn good actress and I’ve been brought down by Warhol and I’ve been mistreated by them.”

She died three weeks before the release of Heat, holding either “a rosary and a can of coke” or “a bible and a crucifix” on her descent. Judith Crist of the New Yorker described her performance in the film as “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.”

#andrea feldman #warhol #andy warhol #trash #celebrity culture #blog #1970s #1960s #gonetoosoon #andy warhol's superstars #nico #the velvet underground #tragedy

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sequincowgirl · 5 months

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“Trash“ (1970)

By Paul Morrissey and Andy Warhol

Starring Joe Dallesandro and Holly Woodlawn

#c #andy warhol #holly woodlawn #paul morrissey #trash

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gotankgo · 2 years

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Trash and Putney Swope playing at the cinema

#boston #vintage #1970s #Andy Warhol’s Trash #putney swope

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omgthatdress · 3 months

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Andy Warhol had a fascination with drag queens, and frequently made them the subjects of his work. If you're interested, check out Warhol's Queens, edited by Henriette Dedichen, which combines his portraits of actual royalty with his portraits of drag queens and trans women.

(It's important to note that in this time, the trans identity that we know today had yet to fully coalesce and settle on one correct term, so many of the people we'd call trans women today identified themselves as "drag queens" or "transvestites")

Warhol was so fascinated with drag that he made three trans women into his celebrated "superstars" who appeared in his films and art.

Candy Darling was an actress and indie it girl whose career was on the upswing until her untimely death from Lymphoma in 1974. Actress Hari Nef is set to play her in an upcoming biopic. You can watch a documentary about her here.

Holly Woodlawn made her screen debut in the movie Trash. Her performance was so good that none less than George Cukor himself instigated a write-in campaign to have her nominated for a best actress Academy Award, but as she was a first-time actress in a controversial low-budget indie, nothing came of it.

Jackie Curtis was a drag queen, cabaret performer, poet and playwright who was an inspiration to many of the glitter and glam rock artists of the 1970s.

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memecucker · 3 months

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Thinking about this time in college when I went to a start of year party at the dorm of my friend who also happened to become my neighbor that year and she had a roommate who I kinda like immediately clicked with like we shared similar interests and we kept returning to having conversations bc it felt like we were both interested in talking to the other and when I mentioned that I had a student membership at the Art Institute of Chicago and would study in the lounge she thought that was really cool and would like it if I could show her around it later on after she’s settled in. And I was thinking oh cool I got a date with a cool neighbor girl neat plus I’m friends with her roommate. So the next week my roommates and my friend and her roommates minus the one I was interested went out and I asked about her and my friend said she was busy and same thing next week and eventually my friend picked up that I liked her roommate and she got out that the girl I liked was trying to not sound rude and actually didn’t like going to clubs and holy shit neither did I I only came because I thought she would. So my friend said that next weekend the girl is gonna be out of town but after that she’ll try one more time to get her to come and if not she’ll throw a room party so the two of us can chat again and I can ask her out. Sweet

Anyway one of the ppl she invited was an old high school guy friend that showed up a day early (while the girl I was interested in was still out of town) to stay over and also this guy was a coke fiend that brought a lot of cocaine to share and he bragged about all the cocaine and he was bad enough of a coke fiend that he was picking it out of the carpet when the lines were finished which I thought it was funny bc it was pretty fucking shitty cocaine compared to what my ex-raver roommate had and also this guy was the son of the mayor of a Chicago suburb so he obviously has never faced consequences before type and also liked heavily quoting rap lyrics with the n word and also once left me in a room with my unconscious friend and closed the door behind him as if he was expecting me to do something and was giving a courtesy. Also got the vibe he may have invited himself over.

Anyway the next day at some point around noon the girl I was interested in came back and saw someone trashed in their living room and also broke into her room and trashed it and stole basically all the valuables and yes it was the scummy rich white boy coke fiend that somehow has coke that felt like it was cut with table salt son of Chicago suburb mayor that stole her stuff and somehow thought he’d get away with it which didn’t happen because his dad has no influence over Chicago PD or the girls family who happened to be lawyers.

So obviously she changed dorms and partially blames my friend for what happened for inviting or at least not kicking out/watching that guy and they then absolutely hated each other I won’t go into all the details.

Anyway that’s the story of how I accidentally influenced a chain of events that caused the the girl I was gonna ask out to get her room burglarized and incinerating the chances of actually getting a date bc what was I gonna say “hey remember me I’m the friend of the roommate that brought over a guy that robbed you? Wanna see the Andy Warhol exhibit?”

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pop-art-sixties-seventies · 1 month

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Douglas Kirkland - Andy Warhol, ‘Trash’, 1970.

#Douglas Kirkland #Andy Warhol #1970

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pinkacadessays · 17 days

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Jackie, Marilyn, and Elle: Comparing and Contrasting two ICONS to remind us that Warner was WRONG

Too BLONDE?? An Introuction

Elle Woods’ iconic journey in Legally Blonde is prompted by Warner Huntington III breaking up with her.The comments made are how Warner needs to be “serious,” and the deep blow of how if he’s to be a senator, he needs to marry “a Jackie, not a Marilyn.”

While in the musical, the scene adds an implication that Warner thinks Elle is “tacky,” Elle’s thought process leads her to summarise Warner’s viewpoint as being that Elle is “too blonde.”

Warner sees Marilyn Monroe and Jackie Kennedy as being two polar opposites- one the sultry actress knows for ‘bimbo’ film roles, and the other the respectable wife of the President of the United States.

But Elle can’t fathom differences between these women aside from their appearance.

Let us analyse what can be compared and contrasted between two iconic women.

In the climax of Legally Blonde, Elle discovers that Chutney Wyndham is the real perpetrator due to her knowledge of hair care. As Elle notes, “any Cosmo girl would’ve known.” It is Elle’s feminine knowledge that guides her to victory in her very first trial. With that in mind, let us examine the feminine knowledge of Marilyn and Jackie as our real-life role models to Elle Woods, and uncover just why she sees so little difference between these fascinating women.

A note before we begin: this is not a competition. But Warner sees it that way, and the purpose therefore is to remind him just how wrong he is.

Marilyn Monroe: Political Powerhouse

Firstly, Marilyn Monroe is known to most as either the glamorous actress of 1950s films- such as the notorious Gentlemen Prefer blondes, which certainly could have influenced Elle’s mindset, especially with the pink drama of the Diamonds are a Girl’s Best Friend sequence. Others may know her from regularly recreated images, such as her holding her blowing-up skirt from The Seven Year Itch, or the pop art portrait by Andy Warhol.

Either way, the most prominent images in the heads of many in regards to Marilyn Monroe are glamorous, sexy, feminine- and blonde and pink, of course.

Famously, like Elle, Marilyn’s femininity and sex appeal lead her to being boxed into roles of the comedic blonde bombshell, though the fought to be out of her typecasting.

After the success of “Gentlemen Prefer Blondes” and “How to Marry a Millionaire,” Marilyn was offered what would have been a third ‘dumb blonde’ in “The Girl in Pink Tights,” she not only refused, but CNN’s article ‘How Marlyn took the male-led film industry and flipped it on its head” notes that she reportedly labelled it “Trash.”

In that same article, Mira Sorvino is quoted. “She was the main attraction,” the actress notes, saying “she was the reason people flocked to the theatre. So it was insane that she wasn’t in a more powerful position in terms of salary.” The reference here is to Marilyn’s discovery that Frank Sinatra, her would-be co-star in “The Girl in Pink Tights” was offered $5000, while Marilyn was offered $1,500- a third of Frank’s pay.

The article points out that Marilyn’s contract was changed after the snub, showing Marilyn to be valuing her feminine charm and wiles that made her studio so much money and garnered them so much attention. Is this why Warner does not wish for Elle to see Marilyn as aspirational, given she was something of an upstart?

Not to mention, Warner doesn’t seem like the biggest advocate for equal pay…

A lesser-known contribution that Marilyn made to her society was in the civil rights movement, drawing attention to Ella Fitzgerald.

The Biography article by Sara Kettler titled “Ella Fitzgerald and Marilyn Monroe: Inside Their Surprising Friendship” opens with a photo of the songstress and the starlet smiling together in conversation. Kettler notes how Marilyn helped Ella get a gig in Mocambo, the famous LA nightclub. Marilyn “promised to come every night” that Ella was booked, and to “bring along other celebrities.” With this promise of publicity, Ella was granted several weeks employment at the famous club.

Kettler also notes that, despite Ella’s success, some clubs would hire Ella, but still have her enter through the side door “due to the colour of her skin.” In order to combat such prejudice, Marilyn “refused to go inside unless both she and Fitzgerald were allowed through the front doors.

Marilyn may not have been dying on the front lines of the civil rights movement, but she was using her status to forward the career of someone directly affected by said movement.

Marilyn used a name built as a blonde bombshell in order to be an influential activist, just as Elle Woods being a Cosmo girl is what won her her first legal trial.

Have we emphasised enough that Warner doesn’t know his rear end from his elbow when it comes to powerful women? Perhaps Warner doesn’t want a Marilyn, not because she’s blonde, but because she was an upstart who knew her own mind and fought to make her own way in the world. Is that just too much for him to handle?

Jackie Kenney: First Lady of Fashion

On the side of Jackie Kennedy, later Jackie Onassis, she is of course best known due to her time as First Lady of the United States. She was from a respectable family, studied French literature in university, and is perceived largely as classy, elegant, and educated. To this day, she is cited as an image of grace, with This week in Libraries magazine writing “In the realms of elegance, poise, and grace, one name reigns supreme- Jackie Kennedy.”

While Jackie’s other accomplishments are not to be overlooked, let us focus on traditionally feminine aspects of life that she has embodied to remember the value of both aspects of her, and of Elle.

As Vogue writes, “Before Jackie graced the halls of the White House, she trod those of this very magazine,” referring to her job as junior editor of Vogue, immediately showing that, like Elle, Jackie not only had political potential, but fashion icon potential early on in her life.

It should be noted that Jackie “quit by mid-morning,” as the environment was not suited to her goals, however, she is still heavily associated with the magazine as she contributed to salvaging the Temple of Dendur, which has played host to the Met Gala, as noted by Vogue.

This Week in Libraries also notes Jackie as a “Style Icon,” praising her boucle suits, pearls, and, of course, her pillbox hats- the latter being described as “synonymous with her name.”

It’s also not just her connection with Vogue that cements Jackie’s name in the world of fashion, as countless articles have addressed her style as “timeless” or “iconic,” so why exactly does Warner have such an issue with committing to a woman with a degree in fashion merchandising?

Town and Country’s list “11 Brands Jackie Kennedy Loved” notes how Gucci named the Jackie bag after her, and I wish for that kind of influence for Elle Woods, which I thibk highlights just how much of an influence that Jackie would have potentially had on Elle.

Warner, your Jackie was in front of you all along.

And of course, while steeped in tragedy, it is nonetheless fair to say that one of the most iconic images of Jackie is of her pink suit on the day of her husband’s assassination. Loathe to overlook the horrors of such an event, but be that as it may, it emphasises that Jackie Kennedy is just as pink and pretty as Marilyn Monroe.

In the Legally Blonde sequel Red, White, and Blonde, Elle even sports a tribute to this suit, which really sends home how far Warner is from the mark.

On that note, let us now discuss beautiful pink outfits worn by Jackie to intensify how connected Jackie can be to Elle. Firstly, the aforementioned suit became an iconic moment of defiance as Jackie bore the bloodstains, cited as saying “let them see what they’ve done.”

She also had a similar sleeveless suit designed by Oleg Cassini, as well as a matching coat and hat worn in New Delhi.

One of her other beautiful pink moments was a floor length, strapless Dior gown worn with white opera gloves. Other pink outfits include a dress with a unique pink bow detail by Joan Morse, and a high-collared suit by Oleg Cassini. The point here is not to simply list pink outfits, but to remind us that a woman- such as Elle- can be fashionable, elegant, and bright pink, AND be a force of change.

Elle Woods knows that Marilyn and Jackie had it all: fashion girl status, and cultural and political know-how; and frankly, it’s lucky for her that Warner knew less about these iconic women than she did.

Always have Faith in Yourself

And to my masculine girls, you’re the real winners here, because Warner would probably be threatened by your vibes. Not only are you valid, but take comfort in not attracting Warner Huntington III.

Let us remember to value our own self worth, just as Elle did when she shows us all how valuable she could be- and she did it in a playboy costume.

WE DID IT!! To Conclude

In conclusion, my place is not to overlook one woman, or pit her against another; it is not to overlook one woman’s achievements and put them against the achievements of another woman; it is not even to claim traditional femininity as a pinnacle of achievement, or to explore what it means to be a feminist, or anything so grandiose.

My intention here is just to remind us all, whether we relate more to the story of a Marilyn or a Jackie, to always have faith in ourselves, and to always remember that the Warner Huntington III we have in our own lives is a bonehead.

#essay #pink academia #pinkacademic #pink academic essays #elle woods #legally blonde #marilyn monroe #jackie kennedy

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