Andy Warhol Shot by Factory Actress Valerie Solanas | Village Voice Andy Warhol Shot by Factory Actress Valerie Solanas Remember Me Or sign in with a social account: FACEBOOK GOOGLE + TWITTER YAHOO! Don't have an account yet? Sign Up › Connect. Discover. Share. Get the most out of your experience with a personalized all-access pass to everything local on events, music, restaurants, news and more. Enter your email or sign up with a social account to get started FACEBOOK TWITTER GOOGLE+ YAHOO! Don't have an account yet? Sign Up › Andy Warhol Shot by Factory Actress Valerie Solanas Tuesday, May 4, 2010 at 6 a.m. Clip Job: an excerpt every day from the Voice archives. June 6, 1968, Vol. XIII, No. 34 The Shot That Shattered The Velvet Underground by Howard Smith It was an ordinary afternoon at The Factory, the huge, new loft on the north side of Union Square which is the center of the Warhol scene. Sun came in the windows and gleamed off the mirror-topped desks.

Paul Morrissey, Warhol's executive producer, and Fred Hughes, an assistant, sat around talking with Mario Amaya, a visiting art magazine editor from London. Suddenly the elevator doors opened and Andy Warhol walked into the loft with Valerie Solanis, a sometime write and super-woman-power advocate who had appeared in his film, "I, a Man." She had come by The Factory earlier in the afternoon looking for Warhol, and had waited for him outside in front of the building for three hours. They walked over to talk with Morrissey, Hughes, and Amaya. It was typical Factory small talk, Hughes recalled. "You still writing dirty books, Valerie?" he asked. Upcoming Events Tickets Mon., Jan. 23, 7:00pm Hughes wandered off, and Morrissey took off to the bathroom. Then the telephone rang, and Warhol went to answer it. While he spoke with Viva, the reigning superstar, Valerie Solanis pulled a .32 automatic out of the pocket of her trench coat. Warhol turned and saw the gun. "Valerie," he yelled. "Don't do it! No! No!" She fired three shots, and Warhol fell to the floor.

Then she turned on Amaya, and shot him in the hip. Amaya fled to a back room in the loft and crashed through a door, breaking the latch with the impact. She pursued him, and tried to force the door open while Amaya held it closed with his body. Morrissey, meanwhile had heard the shots and ran to watch her through the small projection window. She then turned and walked back to Hughes who, terrified, begged her not to shoot. "I have to shoot you," she told him. Hughes fell to his knees, pleading "You can't. I'm innocent." Just as she seemed about to shoot, the elevator doors opened again and distracted her. "She was very confused, very agitated," Hughes recalled. She turned back, pointing the gun at Hughes, who was still on his knees, pleading for his life, and then Valerie Solanis darted on the empty elevator and disappeared. Hughes called the police and an ambulance. Warhol lay on the floor, he said, still conscious and bleeding only slightly, but obviously in great pain. He seemed delirious, and cried "I can't! I can't!" Then photographer Billy Name came into the loft, saw Warhol, and went to him.

Warhol heard him cry, but mistook it for laughter. "Billy," he said softly, "don't laugh. Don't make me laugh." The police arrived, and finally the ambulance, and Warhol was taken to Columbia Hospital. "They thought he was dead at first," Morrissey said. But Warhol was alive, and was rushed to surgery, where a four-man team of doctors fought for five and a half hours to save him. Tuesday his condition was still listed as critical, and doctors gave him a 50-50 chance to live. While the doctors operated, friends, press, and superstars jammed the tiny lobby of the hospital. The press was voracious; the superstars responsive. In one corner Leo Castelli and Ivan Karp were being interviewed; in another, Viva and Gerard Malanga were being set up for photographs. Later, Warhol's mother, a tiny old woman wearing a babushka, was brought weeping out of the back room. Malanga and Viva went to comfort her, and a hospital attendant brought a wheelchair to take Mrs. Warhol, who has a heart ailment, outside to a waiting taxi.

A flock of photographers struggled for front photographs, almost trampling the old woman in the process. Then word arrived that Valerie Solanis had turned herself in to a rookie cop at Times Square, and some of the press rused to the 13th Precinct station, only a few blocks away, where she was to be booked. While she was being questioned upstairs, a battery of photographers stood poised for an hour in front of the door through which she would enter. Twenty other newsmen milled about the room. When she finally came through the door, her hands were cuffed behind her back, it was bedlam. Photographers climbed behind the booking desk, elbowing cops out of the way. While police tried to book her, she poised and smiled for photographers. It was impossible to book her; the clicking and whirring of the cameras drowned out the sound of her voice. The police gave in, and let the press interview her. She was responsive to the questions. When asked about a motive, she sad "I have a lot of very involved reasons.

Read my manifesto and it will tell you what I am." After a few minutes, the police hustled the reporters out of the station and took her back to be booked in the fingerprint room. She was charged with felonious assault and possession of a deadly weapon. Valerie Solanis's life revolved around her "manifesto," a 21-page mimeographed document entitled S.C.U.M., Society for Cutting Up Men. She was a manhater, not a lesbian, but consumed with a passionate loathing of men. All the passion was contained in the manifesto, which she sold to support herself by placing ads in The Voice and peddling it -- at $1 for men and 25 cents for women -- at coffeehouses and Max's Kansas City. "She was always known to be cold," said an acquaintance, "even within a pretty odd scene. But she was very friendly, very warm. All her hate was in her writing. In person, she was gentle, not aggressive at all." Yet, suddenly she turned savage, and people at The Factory searched for a motive. She was bitter, they said, because Warhol had refused for over a year to use a script that she had written.

She also had at one time accused Warhol -- absurdly, his associates said -- of dubbing in over her voice in the film, "I, a Man." Neither clue seems sufficient to explain the horror that shattered the Velvet Underground. [Each weekday morning, we post an excerpt from another issue of the Voice, going in order from our oldest archives. Visit our Clip Job archive page to see excerpts back to 1956.] Contact: Assassination attempt on Andy Warhol | World History Project Jun 3 1968 Assassination attempt on Andy Warhol On June 3, 1968, Valerie Solanas shot Warhol and art critic and curator Mario Amaya at Warhol's studio. Before the shooting, Solanas had been a marginal figure in the Factory scene. She founded a "group" called S.C.U.M. (Society for Cutting Up Men) and authored the S.C.U.M. Manifesto, a separatist feminist attack on patriarchy. Over the years, Solanas' manifesto has found a following. Solanas appears in the 1968 Warhol film I, A Man.

Earlier on the day of the attack, Solanas had been turned away from the Factory after asking for the return of a script she had given to Warhol. The script, apparently, had been misplaced. Amaya received only minor injuries and was released from the hospital later the same day. Warhol however, was seriously wounded by the attack and barely survived (surgeons opened his chest and massaged his heart to help stimulate its movement again). He suffered physical effects for the rest of his life. The shooting had a profound effect on Warhol's life and art. Solanas was arrested the day after the assault. By way of explanation, she said that "He had too much control over my life," following which she was eventually sentenced to three years under the control of the department of corrections. After the shooting, the Factory scene became much more tightly controlled, and for many this event brought the "Factory 60s" to an end. The shooting was mostly overshadowed in the media due to the assassination of Robert F. Kennedy two days later.

Warhol had this to say about the attack: "Before I was shot, I always thought that I was more half-there than all-there – I always suspected that I was watching TV instead of living life. People sometimes say that the way things happen in movies is unreal, but actually it's the way things happen in life that's unreal. The movies make emotions look so strong and real, whereas when things really do happen to you, it's like watching television – you don't feel anything. Right when I was being shot and ever since, I knew that I was watching television. The channels switch, but it's all television." Source: Wikipedia Added by: Kevin Rogers The actress Viva was on the phone with Andy Warhol, whose pop celeb creature she was, when she heard loud cracking sounds coming through the receiver. With some justification, Viva kinkily thought ''it was a whip cracking,'' she said later. But she was hearing gunshots. Aspiring writer-actress Valerie Solanas had walked into the Factory — the downtown Manhattan headquarters for Warhol's Pop art empire — pulled a .32 from the pocket of her trenchcoat and blazed away.

Wounded in the spleen, stomach, liver, lungs, and esophagus, Warhol was given a 50-50 chance to live. And so, on June 3, 1968, began the greatest scandale in the career of the man who made an art form of that genre. Ultra Violet, Viva, and other Warhol-made superstars gathered at Columbus Hospital and speculated on Solanas' motive for shooting the artist. The founder of SCUM (Society for Cutting Up Men), Solanas had appeared as a lesbian in Warhol's 1967 underground film, I, a Man, but she had always been on the outskirts of his circle. Reportedly, she was angry because Warhol wouldn't film an obscenely titled script she had written. Ultra Violet said at the hospital, ''This underground movie world is a mad, mad world with a lot of mad people in it. Maybe this girl was mad herself.'' Most people thought there was no maybe about it. Surrendering later that day to a cop in Times Square, Solanas said, ''The police are looking for me. They want me. I am a flower child.

He had too much control over my life.'' At her arraignment, Solanas stated, ''It's not often that I shoot somebody. I didn't do it for nothing.'' Warhol spent two months in the hospital but didn't press charges. Solanas copped a plea to first-degree assault, was sentenced to three years in prison, and became something of a heroine among fringe feminists. After serving her time, she lived quietly in New York, Phoenix, and San Francisco, where she died of pneumonia in 1988 at the age of 52. She survived by a year the man who became the very symbol of an age, the omnipresent, silver-bewigged demiurge of the demimonde, the Pop art pet of café society, who, after gallbladder surgery, finally died alone in the place he feared most, a New York hospital. Source: Rebecca Ascher-Walsh Added by: Kevin Rogers On June 3rd 1968, Valerie Solanis, a periodic visitor of Warhol's studio and the founder and soul member of S.C.U.M. (Society for Cutting up Men), entered the studio and shot Warhol three times.

Dressed for the occasion and uncharacteristically wearing make-up - perhaps for the media photographs that would inevitably follow, Solanis calmly deployed a plan to claim a place in the hall of fame. Her list of non-negotiable demands ran as follows : She wanted an appearance on the Johnny Carson show, publication of the S.C.U.M. manifesto in the Daily News, $25,000 in cash and a promise that Andy would make her a star. While she succeeded in getting her photograph in the Daily News with the headline "Andy Warhol controlled my Life" which ran slightly askew of her demands, Solanis' potential stardom was deflated slightly by her timing, in choosing the day that Bobby Kennedy was shot to make her entrance. However, while robbed of the full glory of that particular moment of fame by the coincidence, this was recently redeemed by the release of a film on the incident entitled "I Shot Andy Warhol". The front page of the Daily News is ironic in its direct reflection of Warhol's art, reminding us of Warhol's sources and techniques and the reciprocal relationship that existed between Warhol and the mass media. The assassination attempt had rendered Warhol a victim.

He had become just like the victims of society portrayed in his Death and Disaster series, but as a celebrity victim the media relished in their right to comment on this deliciously ironic scenario: "If he recovers we'll find out it was one big pop-art joke and he'll be laughing all the way to the bank." The assassination attempt rounded off with a bang his series on Death and Disaster and also, it seems, his career as a fine-artist. It is perhaps interesting that in later works he revised the subject of death in his paintings of skulls, including a self-portrait with a skull in which he humorously portrays himself as Hamlet. However, here he is painting with the cynicism that was seemingly injected into every piece of art during the final period of his life. Indeed this cynicism is easily detectable especially if we consider his production of Mao Tse-tung wallpaper and the many painted versions of the Hammer and Sickle that can be viewed as a teasing play on the critical interpretation that had earlier aligned Warhol's art with the thinking of Brecht. Warhol was no longer concerned with what he was producing or with the critical response.

He had made his mark in the world of fine art, as a consideration of the progression of his career demonstrates, culminating in his shift into the highly lucrative occupation of business artist. Justice: What explains the 3 year sentence given to Valerie Solanas for her attempted murder of Andy Warhol? - Quora Quora Justice: What explains the 3 year sentence given to Valerie Solanas for her attempted murder of Andy Warhol? Warhol amazingly survived his massive injuries and Solanas pled guilty to a lesser charge. But what explains the 3 year sentence? How big a factor was Warhol being openly gay in 1968 America? Related Wikipedia articles: Written Jun 11, 2013 The Wikipedia article you linked to says: "She was charged with attempted murder, assault, and illegal possession of a gun. She was diagnosed as paranoid schizophrenic and pleaded guilty to "reckless assault with intent to harm", serving a three-year prison sentence, including psychiatric hospital time. " That sounds to me like a plea bargain, probably combined with her mental illness being taken into account in mitigation.

Written Sep 20 When I was 14–15 I went through a lovely goth-type phase in which I ONLY wore black clothes, had thick black eyeliner, painted my nails black, had spiky collars… the whole cringe-worthy deal. Naturally, my parents were a bit alarmed (and confused) when their brightly colored Hollister-clad daughter, who only listened to worship music, did a 180 and went into goth mode and cranked death metal mus... Written Dec 22 Once. Boy did I learn my lesson! About ten years ago, I let my sibling pair of border collies off leash at Atlantic Beach, NC, not NJ. They hung around for a bit, playing, listening to me, just two young dogs clowning around…then it happened . A sandpiper crossed their path. They both took off at the speed of…a young border collie hot on the trail of something! I screamed! The male, Mr. Attitude, p...

Valerie Solanas | Women Wiki | Fandom powered by Wikia Edit Solanas was born in Ventnor City, New Jersey, to Louis Solanas and Dorothy Marie Biondo[3] in 1936.[4][5][6] Her father was a bartender and her mother, a dental assistant.[5][7] She had a younger sister, Judith Arlene Solanas Martinez.[8] Her father's parents were immigrants from Spain and her mother was Italian-American.[7] Solanas said that she regularly suffered sexual abuse at the hands of her father.[9] Her parents divorced when she was young, and her mother remarried shortly afterwards.[10] Solanas disliked her stepfather and began rebelling against her mother, becoming a truant. As a child, she wrote insults for children to use on one another, for the cost of a dime. She beat up a boy in high school who was bothering a younger girl, and also hit a nun.[5] Because of her rebellious behavior, her mother sent her to be raised by her grandparents in 1949. Solanas said that her grandfather was a violent alcoholic who often beat her.

When she was 15, she left her grandparents and became homeless.[11] Between 1951[12] and 1953, she gave birth to a son, fathered by a married man or a sailor.[12][note 1] The child, named David (later, David Blackwell, by adoption), was taken away from Solanas and she never saw him again.[12][14][15][note 2] Despite this, she graduated from high school on time and earned a degree in psychology from the University of Maryland, College Park, where she was in the Psi Chi Honor Society.[16][17] While at the University of Maryland, she hosted a call-in radio show where she gave advice on how to combat men.[9] She was also an open lesbian, despite the conservative cultural climate of the 1950s.[18] She attended the University of Minnesota's Graduate School of Psychology, where she worked in the psychology department's animal research laboratory,[19] before dropping out and moving to attend Berkeley for a few courses, when she began writing the SCUM Manifesto.[20] §New York City and the Factory[edit] Edit In

 the mid-1960s Solanas moved to New York City where she supported herself through begging and prostitution.[18][21] In 1965 she wrote two works: an autobiographical[22] short story called "A Young Girl's Primer on How to Attain the Leisure Class" and a play titled Up Your Ass,[note 3] about a young prostitute.[18] According to James Martin Harding, the play is "based on a plot about a woman who 'is a man-hating hustler and panhandler' and who ...

ends up killing a man"[23] and is more a "provocation than ... a work of dramatic literature"[24] and "rather adolescent and contrived."[23] The short story was published in Cavalier magazine in July 1966.[25][26] Up Your Ass remains unpublished.[18] Harding described her as "an avant-gardist".[27] In 1967, Solanas encountered Andy Warhol outside his studio, The Factory, and asked him to produce her play. He accepted the script for review and told Solanas that it was "well typed" and promised to read it.[19]According to Factory lore, Warhol, whose films were often shut down by the police for obscenity, thought the script was so pornographic that it must have been a police trap.[28][29] Solanas contacted Warhol about the script, and was told that he had lost it. He also jokingly offered her a job at the Factory as a typist. Insulted, Solanas demanded money for the lost manuscript.

Instead, Warhol paid her $25 to appear in his film, I, A Man.[19] In her role in I, A Man, she leaves the film's title character (played by Tom Baker) to fend for himself, explaining "I gotta go beat my meat" as she exits the scene.[30] Solanas was satisfied with her experience working with Warhol and her performance in the film, and brought Maurice Girodias to see the film. Girodias described her as being "very relaxed and friendly with Warhol." Solanas also had a nonspeaking role in Warhol's film Bikeboy, in 1967.[29] §SCUM Manifesto[edit] Edit Main article: SCUM Manifesto In 1967, Solanas self-published her best-known work, the SCUM Manifesto.

"SCUM", generally held to be an acronym of "Society for Cutting Up Men", actually does not appear as an acronym in the body of the manifesto.[31] It was her first publisher, Maurice Girodias, who said that SCUM stood for "Society for Cutting Up Men",[31] something which, according to Susan Ware et al., Solanas "never seems to have intended."[32]However, the phrase is on the cover of the 1967 self-published edition, after the title, in "Presentation of ... SCUM (Society for Cutting Up Men) ....",[33] where it is not an expansion of a title word. The manifesto's opening words are: Some authors have argued that the Manifesto is a parody of patriarchy and a satirical work and, according to Harding, Solanas described herself as "a social propagandist",[35] but Solanas denied that the work was "a put on"[36] and insisted that her intent was "dead serious."[37] While living at the Chelsea Hotel, Solanas introduced herself to Maurice Girodias, the founder of Olympia Press and a fellow resident of the hotel.

In August 1967, Girodias and Solanas signed[38] an informal contract stating that she would give Girodias her "next writing, and other writings."[39] In exchange, Girodias paid her $500.[39][40][41] She took this to mean that Girodias would own her work.[41] She told Paul Morrissey that "everything I write will be his. He's done this to me ... He's screwed me!"[41] Solanas intended to write a novel based around the SCUM Manifesto, and believed that a conspiracy was behind Warhol's failure to return the Up Your Ass script. She suspected that he was coordinating with Girodias to steal her work. §The shooting[edit] Edit In early 1968 Solanas went to writer Paul Krassner to ask him for $50.

According to Krassner, writing in 2009 and rejecting part of Morrissey's account, she asked Krassner for the money for food and he loaned it to her.[42] Krassner also speculated in 2009 that she could have used the money to buy the gun as the shooting was a few days later.[42] According to Freddie Baer, when she asked Krassner for money in 1968, she told him she wanted to shoot Girodias and she used the $50 Krassner gave her to buy a .32 automatic pistol.[43][44] In any event, in 2009 Krassner denied that he knew in 1968 that Solanas intended to kill Warhol.[42] But in 2009, Margo Feiden said in an interview with James Barron of The New York Times that she did know that Solanas intended to kill Warhol, but could not prevent it.

[45][46][47] (A New York Times assistant Metro editor responded to an online comment regarding the story, saying that the Times "does not present the account as definitive.")[45] According to an unquoted source in The Outlaw Bible of American Literature, on June 3, 1968, at 9:00 am, Solanas arrived at the Chelsea Hotel, where Girodias lived. She asked for him at the desk but was told he was gone for the weekend. She remained for three hours before heading to the Grove Press, where she asked for Barney Rosset, who was also not available. Later that day Solanas arrived at the Factory and waited outside. Morrissey arrived and asked her what she was doing there, and she replied "I'm waiting for Andy to get money".[48] Morrissey tried to get rid of her by telling her that Warhol was not coming in that day, but she told him she would wait. At 2:00 pm she went up into the studio. Morrissey told her again that Warhol was not coming in and that she had to leave.

She left but rode the elevator up and down until Warhol finally boarded it.[49] She entered The Factory with Warhol, who complimented her on her appearance (she was uncharacteristically wearing makeup). Morrissey told her to leave, threatening to "beat the hell"[48] out of her and throw her out otherwise. The phone rang and Warhol answered while Morrissey went to the bathroom. While Warhol was on the phone, Solanas fired at him three times. She missed twice, but the third shot went through both lungs, his spleen, stomach, liver, and esophagus.[49] She then shot art critic Mario Amaya in the hip.

She tried to shoot Fred Hughes, Warhol's manager, in the head but her gun jammed.[50] Hughes asked her to leave, which she did, leaving behind a paper bag with her address book on a table.[50] Warhol was taken to Columbus–Mother Cabrini Hospital, where he underwent a five-hour, successful operation.[49][51] Later that day Solanas turned herself in, gave up her gun, and confessed to the shooting,[52] telling a police officer that Warhol "had too much control in my life."[53] She was fingerprinted and charged with felonious assault and possession of a deadly weapon.[54] The next morning, New York City tabloid The Daily News ran a front page headline stating: "Actress Shoots Andy Warhol." Solanas demanded a retraction of the statement that she was an actress.

The Daily News changed the headline in its later edition and added a quote from Solanas stating "I'm a writer, not an actress."[53] At her arraignment in Manhattan Criminal Courtshe denied shooting Warhol because he wouldn't produce her play but said "it was for the opposite reason",[55] that "he has a legal claim on my works."[55] Solanas told the judge that "it's not often that I shoot somebody. I didn't do it for nothing. Warhol had tied me up, lock, stock, and barrel. He was going to do something to me which would have ruined me."[56] She told the judge she wanted to represent herself[56] and she declared that she "was right in what I did! I have nothing to regret!"[56] "The judge struck her comments from the court record"[56] and had her admitted to Bellevue Hospital for psychiatric observation.[54] §Trial[edit] Edit I consider that a moral act. And I consider it immoral that I missed. I should have done target practice.

—Valerie Solanas on her assassination attempt on Andy Warhol[57][58] Solanas appeared at the New York Supreme Court on June 13, 1968. Florynce Kennedy represented her and asked for a writ of habeas corpus, arguing that Solanas was being held inappropriately at Bellevue. The judge denied the motion and Solanas returned to Bellevue's psychiatric ward. On June 28, Solanas was indicted on charges of attempted murder, assault, and illegal possession of a gun. She was declared "incompetent" in August and sent toWards Island to be hospitalized. That same month, Olympia Press published the SCUM Manifesto with essays by Girodias and Krassner.[54] In January, 1969, Solanas underwent psychiatric evaluation and was diagnosed with chronic paranoid schizophrenia.[9] In June, she was finally deemed fit to stand trial.

She represented herself without an attorney and pleaded guilty to "reckless assault with intent to harm".[59][60] She was sentenced to three years in prison, with the year she spent in a psychiatric ward counted as time served.[59][60] §After murder attempt[edit] Edit According to Robert Marmorstein in 1968, Solanas "has dedicated the remainder of her life to the avowed purpose of eliminating every single male from the face of the earth."[61] Feminist Robin Morgan (later editor of Ms. magazine) demonstrated for Solanas's release from prison.[citation needed] Norman Mailer called her the "Robespierre of feminism."[62][a] Ti-Grace Atkinson, the New York chapter president of the National Organization for Women (NOW), described Solanas as "the first outstanding champion of women's rights"[62] and as "a 'heroine' of the feminist movement", and "smuggled [her manifesto] ...

out of the mental hospital where Solanas was confined."[63] The NOW board repudiated Atkinson.[63] She soon left the women's movement to start her own movement "but the media continued to treat Ti-Grace as a leader of the women's movement, despite its repudiation of her."[64] Another NOW member, Florynce Kennedy, called her "one of the most important spokeswomen of the feminist movement." Dissatisfied with NOW's approach to change, Kennedy also left in 1970 and founded the Feminist Party in 1971.

English professor Dana Heller argued that Solanas was "very much aware of feminist organizations and activism",[65] but that she "had no interest in participating in what she often described as 'a civil disobedience luncheon club.'"[65] Heller also stated that Solanas could "reject mainstream liberal feminism for its blind adherence to cultural codes of feminine politeness and decorum which the SCUM Manifesto identifies as the source of women's debased social status."[66][b] §Solanas and Warhol[edit] Edit After Solanas was released from the New York State Prison for Women in 1971,[67] she stalked Warhol and others over the telephone and was arrested again in November 1971.[68] She was subsequently institutionalized several times and then drifted into obscurity.[69] The attack had a profound impact on Warhol and his art, and the Factory scene became much more tightly controlled afterward. For the rest of his life, Warhol lived in fear that Solanas would attack him again. "It was the Cardboard Andy, not the Andy I could love and play with," said close friend and collaborator Billy Name.

"He was so sensitized you couldn't put your hand on him without him jumping. I couldn't even love him anymore, because it hurt him to touch him."[70] §Later life[edit] Edit Solanas died in 1988 of pneumonia at the Bristol Hotel in San Francisco.

Solanas may have intended to write an eponymous autobiography.[71] In a 1977 Village Voice interview,[72] she announced a book with her name as the title.[73] The book, possibly intended as a parody, was supposed to deal with the conspiracy which led to her imprisonment.[72] In a corrective 1977 Village Voice interview, Solanas said the book would not be autobiographical other than a small portion and that it would be about many things, include proof of statements in the manifesto, and "deal very intensively with the subject of bullshit", but she said nothing about parody.[74] In the mid-1970s, in New York City, according to Heller, Solanas was "apparently homeless",[75] "continued to defend her political beliefs and the SCUM Manifesto",[75] and "actively promoted" her own new Manifesto revision.[75] Ultra Violet, according to her somewhat unreliable report,[76] interviewed her. Solanas was then known as Onz Loh.

Solanas stated that the August 1968 version of the manifesto had many errors, unlike her own printed version of October 1967, and that the book had not sold well. She also said that, until told by Violet, she was unaware of Andy Warhol's death.[77] §Death and after[edit] Edit On April 25, 1988, at the age of 52, Solanas died of pneumonia at the Bristol Hotel in the Tenderloin district of San Francisco.[78] A building superintendent at the hotel, not on duty that night, had a vague memory of Solanas: "Once, he had to enter her room, and he saw her typing at her desk. There was a pile of typewritten pages beside her. What she was writing and what happened to the manuscript remain a mystery."[12][79] Her mother burned all her belongings posthumously.[12] The grave of Valerie Jean Solanas at Saint Marys Catholic Church Cemetery, Fairfax County, Virginia §Legacy[edit] Edit Solanas's life has been the focus of numerous performances, films, musical compositions, and publications.

In 1996, actress Lili Taylor played Solanas in the film I Shot Andy Warhol, which focused on Solanas's assassination attempt on Warhol. Taylor won Special Recognition for Outstanding Performance at the Sundance Film Festival for her role.[80] The film's director, Mary Harron, requested permission to use songs by the Velvet Underground, but was denied by Lou Reed, who feared that Solanas would be glorified in the film. Six years before the film's release, Reed and John Cale included a song about Solanas, "I Believe," on their concept album about Warhol, Songs for Drella (1990). In "I Believe", Reed sings, "I believe life's serious enough for retribution... I believe being sick is no excuse. And I believe I would've pulled the switch on her myself." Reed believed Solanas was to blame for Warhol's death from a gallbladder infection 20 years after she shot him.[81] Three plays have been based around Solanas' life.

Valerie Shoots Andy, by Carson Kreitzer, from 2001, which starred two actresses playing a younger (Heather Grayson) and an older (Lynne McCollough) Solanas.[82] Tragedy in Nine Lives, by Karen Houppert, in 2003, examined the encounter between Solanas and Warhol as a Greek tragedy and starred Juliana Francis as Solanas.[83] Most recently, in 2011, wasPop!, a musical by Maggie-Kate Coleman and Anna K. Jacobs. Pop! focused mainly on Andy Warhol, with Rachel Zampelli playing Solanas and singing the song "Big Gun", which was described as the "evening's strongest number" by The Washington Post.[84] In 1999 Up Your Ass was re-discovered and produced in 2000 by George Coates Performance Works in San Francisco. Coates turned the piece into a musical, starring an all-female cast. Coates learned about Up Your Ass while at an exhibition at the Andy Warhol Museum, which marked the 30th anniversary of the shooting.

The copy that Warhol had lost was discovered buried in a trunk of lighting equipment that was owned by Billy Name. Coates would consult with Solanas's sister, Judith, while writing the piece, and sought to create a "very funny satirist" out of Solanas, not just showing her as the attempted assassin of Warhol.[12][83] Swedish author Sara Stridsberg wrote a semi-fictional novel about Valerie Solanas, called Drömfakulteten (English: The Dream Faculty). In the book, the narrator visits Solanas towards the end of her life at the Bristol Hotel. Stridsberg was awarded The Nordic Council's Literature Prize for the book.[85] Composer Pauline Oliveros released a piece titled "To Valerie Solanas and Marilyn Monroe in Recognition of Their Desperation" in 1970. Through the work, Oliveros sought to explore how "Both women seemed to be desperate and caught in the traps of inequality: Monroe needed to be recognized for her talent as an actress.

Solanas wished to be supported for her own creative work."[86][87] There is a music group from Belgium called The Valerie Solanas.[88] Welsh rock group the Manic Street Preachers included an excerpt from the SCUM Manifesto in the liner notes of their debut album, Generation Terrorists (1992), in relation to the album track "Little Baby Nothing."[c]That excerpt includes the description of males as "walking abortions;" the Manic Street Preachers released a song titled "Of Walking Abortion" on their album The Holy Bible (1994). §Influence and analysis[edit] Edit Solanas's role as a cult figure was solidified with the publication of the SCUM Manifesto and her shooting of Andy Warhol. Harding explained that, by declaring herself independent from Andy Warhol, after her arrest she "aligned herself with the historical avant-garde's rejection of the traditional structures of bourgeois theater",[89][d] and Harding explained that her anti-patriarchal "militant hostility ...

pushed the avant-garde in radically new directions."[90] Harding believed that Solanas' assassination attempt on Warhol was its own theatrical performance.[91] At the shooting, she left on a table at the Factory a paper bag in which she carried a gun, her address book, and a sanitary napkin.[92] Harding stated that leaving behind the sanitary napkin was part of the performance,[93] and called "attention to basic feminine experiences that were publically [sic] taboo and tacitly elided within avant-garde circles."[94] Feminist philosopher Avital Ronell compared Solanas to an array of people: Lorena Bobbitt, a "girl Nietzsche", Medusa, the Unabomber, and Medea.[95] Ronell believed that Solanas was threatened by the hyper-feminine women of the Factory that Warhol liked and felt lonely because of the rejection she felt due to her own butch androgyny.

She believed that Solanas was ahead of her time, living in a period before feminist and lesbian revolutionaries such as the Guerilla Girls and the Lesbian Avengers.[62] Solanas has also been credited as instigating radical feminism,[58] according to Harding and Victor Bockris feminist revolutionaries supported her,[96] and Catherine Lord wrote that "the feminist movement would not have happened without Valerie Solanas."[5] Lord believed that the reissuing of the SCUM Manifesto and the disowning of Solanas by "women's liberation politicos" triggered a wave of radical feminist publications. As women's liberation activists denied hating men, Vivian Gornick said that a year later the same women would change their stories, developing the first wave of radical feminism.[5] At the same time, perceptions of Warhol were transformed from largely nonpolitical into political martyrdom because the motive for the shooting was political, according to Harding and Bockris.[97] However, writer Breanne Fahs describes Solanas as a contradiction which "alienates her from the feminist movement." Fahs argues that Solanas never wanted to be "in movement" but she nevertheless fractured the feminist movement by provoking N.O.W.

members to disagree about her case. Many contradictions are seen in her lifestyle (a lesbian who sexually serviced men, claim of being asexual, confusion), a rejection ofqueer culture, and a non-interest in working with others despite a co-dependency on others. Fahs also brings into question the contradictory stories of Solanas' life. Solanas' life is described as one of a victim, a rebel, a desperate loner, yet Solanas' cousin says she worked as a waitress in her late 20s and 30s, not primarily as a prostitute, and friend Geoffrey LaGear said she had a "groovy childhood." Solanas also kept in touch with her father throughout her life, which makes one question and complicate the notion that Solanas hated her father and acted out this hatred in the shooting/manifesto. Fahs believes that Solanas embraced these contradictions as a key part of her identity.[13] §Works[edit] Valerie Solanas (Writer) - Pics, Videos, Dating, & News Valerie Solanas Female Born Apr 9, 1936 Valerie Jean Solanas was an American radical feminist writer. She was abused in her family and went on to study psychology.

She was best known for her attempted murder of Andy Warhol in 1968. She wrote the SCUM Manifesto, which urged women to "overthrow the government, eliminate the money system, institute complete automation and eliminate the male sex.… Read More related links Last Updated At 7:00 Pm On 20th August 2011 Daily Mail Google News - Aug 20, 2011 'Two days later, the woman â a radical feminist named <mark>Valerie Solanas</mark> â shot Andy Warhol, though he survived. Bard liked to assign different types of people to different floors â musicians on the second, tourists on the third, people he wanted to' The Ex Girlfriend Experience: How Coming Apart Came Together Village Voice Google News - Aug 16, 2011 'Though influenced by Andy Warhol&#39;s head-game movies, and by <mark>Valerie Solanas</mark>&#39;s assassination attempt on Warhol just weeks before he began the script, Ginsberg says the real catalyst of his project was much more personal.

Ginsberg recalls a troubled,' E Se Andy Warhol Non Fosse Poi CosÃ¬ Cattivo... Il Giornale Google News - Aug 11, 2011 'Come quella <mark>Valerie Solanas</mark> che gli sparÃ² a bruciapelo. E uccise Andy per la prima volta. Solo il miracolo dei medici lo strappÃ² a un cardiogramma ormai piatto, riattivandogli la respirazione con un massaggio a cuore aperto' New Music: Scum â Whitechapel (Light Asylum Remix) The Guardian (Blog) Google News - Aug 10, 2011 'Since then the previously all-male band have enlisted Melissa Rigby on drums, thereby undermining their ironic name taken from the title of <mark>Valerie Solanas</mark>&#39;s feminist work, SCUM Manifesto. After a few years of procrastinating, they are finally ready to' Learn about the memorable moments in the evolution of Valerie Solanas.

CHILDHOOD 1936 Birth Solanas was born in Ventnor City, New Jersey, to Louis Solanas and Dorothy Marie Biondo in 1936. … Read More Her father was a bartender and her mother, a dental assistant. She had a younger sister, Judith Arlene Solanas Martinez. Her father's parents were immigrants from Spain and her mother was Italian-American.<br /><br /> Solanas said that she regularly suffered sexual abuse at the hands of her father. Her parents divorced when she was young, and her mother remarried shortly afterwards. Solanas disliked her stepfather and began rebelling against her mother, becoming a truant. As a child, she wrote insults for children to use on one another, for the cost of a dime. She beat up a boy in high school who was bothering a younger girl, and also hit a nun. Read Less TEENAGE 1949 13 Years Old Because of her rebellious behavior, her mother sent her to be raised by her grandparents in 1949. … Read More Solanas said that her grandfather was a violent alcoholic who often beat her. When she was 15, she left her grandparents and became homeless.

Read Less 1953 17 Years Old In 1953, she gave birth to a son, fathered by a married sailor. … Read More The child, named David (later David Blackwell by adoption), was taken away from Solanas and she never saw him again.<br /><br /> Despite this, she graduated from high school on time and earned a degree in psychology from the University of Maryland, College Park, where she was in the Psi Chi Honor Society. While at the University of Maryland, she hosted a call-in radio show where she gave advice on how to combat men. She was also an open lesbian, despite the conservative cultural climate of the 1950s.<br /><br /> She attended the University of Minnesota's Graduate School of Psychology, where she worked in the psychology department's animal research laboratory, before dropping out and moving to attend Berkeley for a few courses, when she began writing the SCUM Manifesto.<br /><br /> In the mid-1960s Solanas moved to New York City where she supported herself through begging and prostitution.

Read Less TWENTIES 1965 29 Years Old In 1965 she wrote two works: an autobiographical short story called "A Young Girl's Primer on How to Attain the Leisure Class" and a play titled Up Your Ass, about a young prostitute. … Read More According to James Martin Harding, the play is "based on a plot about a woman who 'is a man-hating hustler and panhandler' and who... ends up killing a man" and is more a "provocation than... a work of dramatic literature" and "rather adolescent and contrived." The short story was published in Cavalier magazine in July 1966. Up Your Ass remains unpublished. Harding described her as "an avant-gardist". Read Less THIRTIES Show Less In 1967, Solanas encountered Andy Warhol outside his studio, The Factory, and asked him to produce her play. … Read More He accepted the script for review and told Solanas that it was "well typed" and promised to read it.

According to Factory lore, Warhol, whose films were often shut down by the police for obscenity, thought the script was so pornographic that it must have been a police trap. Solanas contacted Warhol about the script, and was told that he had lost it. He also jokingly offered her a job at the Factory as a typist. Insulted, Solanas demanded money for the lost manuscript. Instead, Warhol paid her $25 to appear in his film, I, a Man.<br /><br /> In her role in I, a Man, she leaves the film's title character (played by Tom Baker) to fend for himself, explaining "I gotta go beat my meat" as she exits the scene. Solanas was satisfied with her experience working with Warhol and her performance in the film, and brought Maurice Girodias to see the film. Girodias described her as being "very relaxed and friendly with Warhol." Read Less Solanas also had a nonspeaking role in Warhol's film Bikeboy, in 1967. In 1967, Solanas self-published her best-known work, the SCUM Manifesto, a scathing critique of patriarchal culture.

… Read More The manifesto's opening words are: <br /><br /> Some authors have argued that the Manifesto is a parody of patriarchy and a satirical work and, according to Harding, Solanas described herself as "a social propagandist", but Solanas denied that the work was "a put on" and insisted that her intent was "dead serious." The Manifesto has been translated into over a dozen languages and is excerpted in several feminist anthologies. Read Less While living at the Chelsea Hotel, Solanas introduced herself to Maurice Girodias, the founder of Olympia Press and a fellow resident of the hotel. In August 1967, Girodias and Solanas signed an informal contract stating that she would give Girodias her "next writing, and other writings." … Read More In exchange, Girodias paid her $500. She took this to mean that Girodias would own her work. She told Paul Morrissey that "everything I write will be his.

He's done this to me He's screwed me!" Solanas intended to write a novel based around the SCUM Manifesto, and believed that a conspiracy was behind Warhol's failure to return the Up Your Ass script. She suspected that he was coordinating with Girodias to steal her work. Read Less Show Less On May 31, 1968, Solanas went to writer Paul Krassner to ask him for $50, which he loaned to her. … Read More Krassner later speculated that Solanas could have used the money to buy the gun she used to shoot Andy Warhol as the shooting was only three days later. Read Less According to an unquoted source in The Outlaw Bible of American Literature, on June 3, 1968, at 9:00 am, Solanas arrived at the Chelsea Hotel, where Girodias lived. … Read More She asked for him at the desk but was told he was gone for the weekend.

She remained for three hours before heading to the Grove Press, where she asked for Barney Rosset, who was also not available.<br /><br /> In her 2014 biography, Valerie Solanas, Breanne Fahs argues that it is unlikely that Solanas appeared at the Chelsea Hotel looking for Girodias. Fahs states that Girodias may have fabricated the account in order to boost sales of the SCUM Manifesto, which he had published. Fahs states that "the more likely story... places Valerie at the Actor's Studio at 432 West Forty-Fourth Street early that morning." Actress Sylvia Miles states that Solanas appeared at the Actor's Studio looking for Lee Strasberg, asking to leave her play for him. Miles said that Solanas "had a different look, a bit tousled, like somebody whose appearance is the last thing on her mind." Miles told Solanas that Strasberg would not be in until the afternoon. Miles said that she accepted a copy of the play from Solanas and then "... shut the door because I knew she was trouble.

I didn't know what sort of trouble, but I knew she was trouble." Read Less After a cursory evaluation, Solanas was declared mentally unstable and transferred to the prison ward of Elmhurst Hospital. Solanas appeared at the New York Supreme Court on June 13, 1968. … Read More Florynce Kennedy represented her and asked for a writ of habeas corpus, arguing that Solanas was being held inappropriately at Elmhurst. The judge denied the motion and Solanas returned to Elmhurst. On June 28, Solanas was indicted on charges of attempted murder, assault, and illegal possession of a gun. She was declared "incompetent" in August and sent to Matteawan State Hospital for the Criminally Insane. That same month, Olympia Press published the SCUM Manifesto with essays by Girodias and Krassner. Read Less 1969 33 Years Old In January 1969, Solanas underwent psychiatric evaluation and was diagnosed with chronic paranoid schizophrenia. … Read More In June, she was finally deemed fit to stand trial. She represented herself without an attorney and pleaded guilty to "reckless assault with intent to harm".

She was sentenced to three years in prison, with one year of time served.<br /><br /> The shooting of Warhol propelled Solanas into the public spotlight, prompting a flurry of commentary and opinions in the media. Robert Marmorstein, writing in The Village Voice, declared that Solanas "has dedicated the remainder of her life to the avowed purpose of eliminating every single male from the face of the earth." Norman Mailer called her the "Robespierre of feminism."<br /><br /> Ti-Grace Atkinson, the New York chapter president of the National Organization for Women (NOW), described Solanas as "the first outstanding champion of women's rights" and as "a 'heroine' of the feminist movement", and "smuggled manifesto... out of the mental hospital where Solanas was confined." According to Betty Friedan, the NOW board repudiated Atkinson. Atkinson left NOW and started another feminist organization.

According to Friedan, "the media continued to treat Ti-Grace as a leader of the women's movement, despite its repudiation of her." Read Less 1971 35 Years Old After Solanas was released from the New York State Prison for Women in 1971, she stalked Warhol and others over the telephone and was arrested again in November 1971. … Read More She was subsequently institutionalized several times and then drifted into obscurity.<br /><br /> The attack had a profound impact on Warhol and his art, and security at the Factory scene became much stronger afterward. For the rest of his life, Warhol lived in fear that Solanas would attack him again. "It was the Cardboard Andy, not the Andy I could love and play with," said close friend and collaborator Billy Name. "He was so sensitized you couldn't put your hand on him without him jumping. I couldn't even love him anymore, because it hurt him to touch him." Read Less FORTIES Show Less Solanas may have intended to write an eponymous autobiography. In a 1977 Village Voice interview, she announced a book with her name as the title.

… Read More The book, possibly intended as a parody, was supposed to deal with the conspiracy which led to her imprisonment. Read Less In a corrective 1977 Village Voice interview, Solanas said the book would not be autobiographical other than a small portion and that it would be about many things, include proof of statements in the manifesto, and "deal very intensively with the subject of bullshit", but she said nothing about parody. … Read More In the mid-1970s, in New York City, according to Heller, Solanas was "apparently homeless", "continued to defend her political beliefs and the SCUM Manifesto", and "actively promoted" her own new Manifesto revision.<br /><br /> Ultra Violet, according to her somewhat unreliable report, interviewed her. Solanas was then known as Onz Loh. Solanas stated that the August 1968 version of the manifesto had many errors, unlike her own printed version of October 1967, and that the book had not sold well. She also said that, until told by Violet, she was unaware of Andy Warhol's death.

Read Less FIFTIES Valerie Solanas - 必应 Sign in Valerie Solanas Valerie Jean Solanas (April 9, 1936 – April 25, 1988) was an American radical feminist writer who is best known for writing the SCUM Manifesto and attempting to murder artist Andy Warhol . She was born in New Jersey and as a teenager had a volatile relationship with her mother and stepfather after her parents' divorce. As a consequence, she was sent to live with her grandparents. Her alcoholic grandfather physically abused her and Solanas ran away and became homeless. She came out as a lesbian in the 1950s. She graduated with a degree in psychology from the University of Maryland, College Park. Solanas r ... (展开) elocated to Berkeley, California . There, she began writing her most notable work, the SCUM Manifesto, which urged women to "overthrow the government, eliminate the money system, institute complete automation and eliminate the male sex." Solanas moved to New York City in the mid-1960s, working as a writer. She met Andy Warhol and asked Warhol to produce her play, Up Your Ass.

She gave him her script, which she later accused him of losing and/or stealing, followed by Warhol expressing additional indifference to her play. After Solanas demanded financial compensation for the lost script, Warhol hired her to perform in his film, I, A Man, paying her $25. In 1967, Solanas began self-publishing the SCUM Manifesto. Olympia Press owner Maurice Girodias offered to publish Solanas' future writings, and she understood the contract to mean that Girodias would own her writing. Convinced that Girodias and Warhol were conspiring to steal her work, Solanas purchased a gun in the spring of 1968. On June 3, 1968, she went to The Factory, where she found Warhol. She shot at Warhol three times, with the first two shots missing and the final wounding Warhol. She also shot art critic Mario Amaya , and attempted to shoot Warhol's manager, Fred Hughes, point blank, but the gun jammed. Solanas then turned herself in to the police. She was charged with attempted murder, assault, and illegal possession of a gun.

She was diagnosed with paranoid schizophrenia and pleaded guilty to "reckless assault with intent to harm", serving a three-year prison sentence, including treatment in a mental hospital. After her release, she continued to promote the SCUM Manifesto. She died in 1988 of pneumonia, in San Francisco . Valerie Jean Solanas (April 9, 1936 – April 25, 1988) was an American radical feminist, best known for writing the SCUM Manifesto and attempting to ... SCUM Manifesto is a radical feminist manifesto by Valerie Solanas, published in 1967. It argues that men have ruined the world, and that it is up to women ... With their wayward songs reminiscent of The Doors, Captain Beefheart and Nick Cave, The Valerie Solanas acquired a unique position in the Belgian music scene. Valerie Solanas (Q11093) From Wikidata. Jump to: navigation, search. American radical feminist and writer. Attempted to assassinate Andy Warhol.

Valerie Jean Solanas; Valerie Solanas的用法讲解 法语助手是权威的法语在线词典,为您提供Valerie Solanas的中文意思,Valerie Solanas的读音,Valerie Solanas的同义词,Valerie Solanas的反义词 ... Warholstars Condensed 17 Valerie Solanas and Tom Baker in I, A Man For updated information about Valerie Solanas see " Valerie Solanas ." Valerie Jean Solanas was born on April 9, 1936 in New Jersey. Although her last name is sometimes spelled Solanis in Warhol biographies, it is the Solanas spelling that appears on her death certificate and is also the spelling used by her sister. As a child, Valerie was repeatedly molested by her father. When she was fifteen years old she became pregnant and was kicked out of high school. She went to live with a family in Washington called the Blackwells during her pregnancy. Her son, David, was born on March 31, 1953 and the Blackwells raised him as their own. Valerie returned to high school and never saw her son again.

After high school she studied psychology at the University of Maryland and graduated with honours. (FM36) After college, she eventually ended up in Greenwich Village in New York in 1966, supporting herself through prostitution and panhandling. She wrote a play called Up Your Ass and submitted it to Warhol in early 1967. Although Warhol loved the title of the play, he thought it was "so dirty" that Valerie might be a cop trying to entrap him. (POP271) Warhol lost the play and when Solanas started demanding money for it, Andy suggested she appear in his film I, a Man and earn some money, which she did. Andy Warhol: "When I finally admitted to her that it [Up Your Ass] was lost, she started asking me for money. She was staying at the Chelsea Hotel, she said, and she needed the money to pay her rent. One afternoon in September when she called, we were in the middle of shooting a sequence for I, a Man, so I said why didn't she come over and be in the movie and earn twenty-five dollars instead of asking for a handout.

She came right over and we filmed her in a short scene on a staircase and she was actually funny and that was that." (POP271) Although Warhol refers to I, a Man as being filmed in September, it was actually filmed earlier. The first version of the film, which was 99 minutes long, opened at the Hudson Theatre prior to September on August 24, 1967. The uncut footage was also shown as part of Warhol's 25 hour movie, **** (Four Stars) which was shown on December 15-16, 1967. A 110 minute version of I, a Man was playing at the beginning of 1968 at the Cinematheque-16 in Los Angeles. (FAW30) In 1967 Solanas also self-published her SCUM manifesto.

When she was interviewed in late 1967/early 1968 by Robert Mamorstein for the Village Voice, she called Warhol a "son of a bitch," saying that "A snake couldn't eat a meal off what he paid out." She told the interviewer that, in addition to the SCUM manifesto, she had written a few sex novels and was paid $500.00 for one. (Although the interview was done earlier, it did not appear in print until June 1968 - after Warhol was shot.) Valerie had signed a contract with publisher Maurice Girodias for an autobiographical novel, but when she was unable to come up with the goods, she convinced him to publish the SCUM manifesto instead. (FM352) When she later read the contract carefully, she was convinced that she had signed away the rights to all future works to him. On June 3, 1968, Solanas arrived at Warhol's Union Square offices and was told that Andy was not there. He was doing some errands that morning and had not yet arrived at work.

One of Warhol's errands that morning was to collect a prescription for Obetrol which he had been taking on a regular basis for the past five years. While many of his stars were taking illegal 'speed', Warhol had managed to obtain a regular prescription from his doctor for pharmaceutical speed in the form of Obetrol (amphetamine) which was also popular with street dealers because of its purity. (POP33) Warhol took it regularly until he was shot. He stopped taking it while recuperating, and then switched to Dexamyl. Dexamyl was a combination of amphetamine ('speed') and a barbiturate ('downer') that was known as a 'purple heart' among street dealers. After Andy died in 1987, Brigid Berlin told Bob Colacello that "Andy took one or two Obetrols every day until he died," although she may have been confusing Dexamyl and Obetrol. (BC50) Although some people blamed Warhol for the drug addictions of his superstars, there is only one record of him giving any of them drugs from his own supply.

When Patrick Smith interviewed Ondine in 1978 for a book he was writing on Warhol, Ondine told him that Warhol gave him drugs at the beginning of the marathon 24 hour tape recording session that took place on July 30, 1965 and was the basis for the book A: A Novel by Andy Warhol. Ondine: "At the start of A, Andy and I are having a snecken in a restaurant called Starkee's on Lexington Avenue (in the 50s), but who walks in but David Whitney... And Andy hands me four pills immediately. He takes them from his bottle of speed, and the said, 'How many do you want?' and I said, 'Oh, I'll take them all.' He said 'On Ondine!... How could you possibly?' I said, 'You swallow them, and, then, you have a snecken. And then everything is all right'... but I managed to take 100 milligrams right there, and he said, 'Oh! My eyeballs would be...

you can't!' And I said, 'Oh, you have to.' He said, 'Well, here we go.' And that 's how the book started." (PS440) to JULY 30, 1965: ANDY WARHOL RECORDS ONDINE Three years later Warhol was still taking Obetrol. After picking up his prescription on June 3, 1968 and finishing other errands, he finally arrived at his Union Square office at approximately 4:15 pm., only to be met by Valerie Solanas who was still waiting outside after nearly two hours. Jed Johnson arrived at the same time, carrying a bag of fluorescent lights he had just purchased at a hardware store. (POP270) Valerie joined the two of them in the elevator. Warhol noticed something highly unusual about her appearance - she was wearing make-up. Andy Warhol: "It was a very hot day, and as Jed, Valerie, and I waited for the elevator, I noticed that she was wearing a fleece-lined winter coat and a high turtleneck sweater, and I thought how hot she must be - although, surprisingly, she wasn't even sweating.

She was wearing pants, more like trousers (I'd never seen her in a dress), and holding a paper bag and twisting it - bouncing a little on the balls of her feet. The I saw that there was something even more odd about her that day: when you looked close, she'd put on eye makeup and lipstick." (POP272) Inside the Union Square offices (sometimes referred to as the Union Square Factory), the editor of Art & Artist's magazine, Mario Amaya, was waiting for Warhol to discuss an upcoming retrospective in London. After getting off the elevator, Jed retired into Warhol's private office and Andy took over a telephone call from Viva while Paul Morrissey, who had previously been talking to her, went to the bathroom. Viva was calling from Kenneth's Hair Salon where she was having her hair dyed red for a forthcoming appearance in John Schlesinger's film, Midnight Cowboy. After a few moments of conversation, Warhol handed the phone to Fred Hughes who was also in attendance. Valerie pulled out a .32 automatic from her paper bag and fired at Andy twice. He fell to the floor and attempted to crawl under a desk.

She fired a third time and the bullet entered his right side and went straight through him, coming out the left side of his back. Warhol later told his friends that "It hurt so much, I wished I was dead." (BC) She then turned her attention to Mario Amaya, fired another shot at him, missed, and then aimed again. Her second shot wounded him just above the hip but did not cause serious damage. She then pointed the gun at Fred Hughes who pleaded with her to leave. She pressed the elevator call button and then returned to shoot him. The gun jammed so she pulled out a back-up gun - a .22 caliber from the paper bag, but the elevator arrived and she left. When the ambulance arrived nearly thirty minutes later, both Mario and Andy were taken in it to Columbus Hospital on 19th Street between 2nd and 3rd Avenue. In the ambulance, the driver told Mario that sounding the siren would cost five dollars extra. Mario replied "Go ahead and sound it. Leo Castelli will pay." (DD75) At the hospital, Warhol was pronounced clinically dead.

Valerie's bullet went through his lung, then ricocheted through his oesophagus,gall bladder, liver, spleen, and intestines before exiting his left side, leaving a large hole. The doctors managed to revive him and operated for 5 1/2 hours, removing his spleen. Warhol was in critical condition but survived. At approximately 8:00 pm, Valerie walked up to a traffic cop near Times Square and surrendered. Later, when questioned as to why she did it, she replied "I just wanted him to pay attention to me. Talking to him was like talking to a chair." (BC32) She was arrested and later taken to Bellevue Hospital for psychiatric examination. While Warhol recuperated from his gun wounds, Paul Morrissey took over Warhol's filmmaking duties with a new project that starred Joe Dallesandro as a hustler, appropriately titled... On This Day: Valerie Solanas Shoots Andy Warhol Valerie Solanas is booked after shooting Andy Warhol, June 3, 1968.

On This Day: Valerie Solanas Shoots Andy Warhol June 03, 2011 06:00 AM Andy Warhol Nearly Killed Valerie Solanas, angered that Andy Warhol had lost a script of hers, made an afternoon visit to Warhol’s Midtown Manhattan studio , known as The Factory, with a .32 revolver stashed in a brown paper bag. Warhol, accompanied by his boyfriend, Jed Johnson, and art critic Mario Amaya, saw Solanas outside The Factory and invited her in. Once inside, Solanas pulled out the gun . The Village Voice’s Howard Smith described: “Warhol turned and saw the gun. ‘Valerie,’ he yelled. ‘Don't do it! No! No!’ She fired three shots, and Warhol fell to the floor.” Solanas then shot Amaya and aimed at Warhol’s manager, Fred Hughes, but her gun jammed and she fled.

She later turned herself in to rookie traffic cop William Shemalix, handing him her gun and saying she had shot Andy Warhol “because he had too much control of my life.” After the shooting, Warhol was taken to Columbus Hospital and was pronounced dead, but doctors resuscitated him and he survived after emergency surgery. PBS: Andy Warhol: A Documentary Film Andy Warhol was an eccentric artist and filmmaker who frequently collaborated with other artists and writers, often employing them for his films. He became one of the most influential personalities of his generation, entertaining the young and hip in his New York City “Factory.” Holding an unabashed fascination with celebrity, Warhol famously remarked, “In the future everybody will be world famous for fifteen minutes.” He created art that embraced consumerism and a culture of mass production . The famous “Campbell’s Soup Cans” series in the early 1960s made Warhol a world-renowned artist and something of a celebrity. Warhol, who also delved into sculpture and filmmaking, is credited with fathering Pop Art. Warhol’s life became more subdued after the shooting. He died at the age of 58 in February 1987 due to complications after gall bladder surgery.

The BBC offers a glimpse of Warhol’s methods and inspiration through a series of recorded interviews in which the artist discusses his technique, his favorite subject, (Liza Minelli) and his love of his Sony Walkman. A troubled woman, Valerie Solanas had been abandoned by her father as a child . She gave birth at age 15 and later worked as a prostitute in New York City. In the early 1960s, hoping to become a member of Warhol’s entourage, Solanas had showed him one of her plays , “Up Your Ass.” Warhol later said of the play, “I looked through it briefly and it was so dirty, I thought she might be working for the police department and that this was some kind of entrapment.” Hoping to appease Solanas, Warhol paid her 25 dollars to be in his film, “I, a Man.” Solanas began hanging around Warhol and The Factory, but received little attention.

In 1967, she outlined her radical feminist ideology in the SCUM Manifesto , described by American Heritage’s Elizabeth Hoover as “an anti-male, anti-capitalist screed that called on women to ‘eliminate’ men.” She served three years in prison for the shootings, and spent much of her life on the streets and in mental hospitals for schizophrenia before her death in 1988. Valerie Solanas, Writer • Biography & Facts Valerie Solanas Writer Valerie Jean Solanas (April 9, 1936 – April 25, 1988) was an American radical feminist writer who is best known for the SCUM Manifesto, as well as the attempted murder of artist Andy Warhol .She was born in New Jersey and as a teenager had a volatile relationship with her mother and stepfather after her parents' divorce. As a consequence, she was sent to live with her grandparents. Her alcoholic grandfather physically abused her and Solanas ran away and became homeless. She came out as a lesbian in the 1950s. She graduated with a degree in psychology from the University of Maryland, College Park. Solanas relocated to Berkeley, California.

There, she began writing her most notable work, the SCUM Manifesto, which urged women to "overthrow the government, eliminate the money system, institute complete automation and eliminate the male sex."Solanas moved to New York City in the mid-1960s, working as a writer. She met Andy Warhol and asked Warhol to produce her play, Up Your Ass. She gave him her script, which she later accused him of losing and/or stealing, followed by Warhol expressing additional indifference to her play. After Solanas demanded financial compensation for the lost script, Warhol hired her to perform in his film, I, A Man, paying her $25.In 1967, Solanas began self-publishing the SCUM Manifesto. Olympia Press owner Maurice Girodias offered to publish Solanas' future writings, and she understood the contract to mean that Girodias would own her writing. Convinced that Girodias and Warhol were conspiring to steal her work, Solanas acquired a gun in the spring of 1968.On June 3, 1968, she sought out Girodias, who was gone for the weekend.

She then went to The Factory, where she found Warhol. She shot at Warhol three times, with the first two shots missing and the final wounding Warhol. She also shot art critic Mario Amaya, and attempted to shoot Warhol's manager, Fred Hughes, point blank, but the gun jammed. Solanas then turned herself in to the police. She was charged with attempted murder, assault, and illegal possession of a gun. She was diagnosed with paranoid schizophrenia and pleaded guilty to "reckless assault with intent to harm", serving a three-year prison sentence, including psychiatric hospital time. After her release, she continued to promote the SCUM Manifesto. She died in 1988 of pneumonia, in San Francisco.

Question: Which artist did Valerie Solanis attempt to murder in 'The Factory'?
Answer: ANDY WARHOL