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Meyer Lansky
Meyer Lansky in 1958
Born	Meyer Suchowljansky (1902-07-04)July 4, 1902 Grodno, Russian Empire
Died	January 15, 1983(1983-01-15) (aged 80) Miami Beach, Florida
Cause of death	Lung cancer
Resting place	Mount Nebo Cemetery, Miami, Florida
Nationality	United States
Known for	Mob activity

Meyer Lansky (born Meyer Suchowljansky;^[1] July 4, 1902 – January 15, 1983), known as the "Mob's Accountant," was a Russian-born American organized crime figure who, along with his associate Charles "Lucky" Luciano, was instrumental in the development of the "National Crime Syndicate" in the United States. For decades he was thought to be one of the most powerful people in the country.

Lansky developed a gambling empire which stretched from Saratoga, New York to Miami to Council Bluffs and Las Vegas; it is also said that he oversaw gambling concessions in Cuba. Although a member of the Jewish Mafia, Lansky undoubtedly had strong influence with the Italian Mafia and played a large role in the consolidation of the criminal underworld (although the full extent of this role has been the subject of some debate).

Early life[link]

Lansky was born Meyer Suchowljansky in Grodno (then in Russia, now in Belarus), to a Jewish family who experienced pogroms.^[2] In 1911, he emigrated to the United States through the port of Odessa^[3] with his mother and brother and joined his father, who had previously emigrated to the United States in 1909, and settled on the Lower East Side of Manhattan, New York.^[4]

Lansky met Bugsy Siegel when he was a teenager. They became lifelong friends, as well as partners in the bootlegging trade, and together with Lucky Luciano, formed a lasting partnership. Lansky was instrumental in Luciano's rise to power by organizing the 1931 murder of Mafia powerhouse Salvatore Maranzano. As a youngster, Siegel saved Lansky's life several times, a fact which Lansky always appreciated. The two adroitly managed the Bug and Meyer Mob despite its reputation as one of the most violent Prohibition gangs.

Lansky was the brother of Jacob "Jake" Lansky, who in 1959 was the manager of the Nacional Hotel in Havana, Cuba.

Gambling operations[link]

By 1936, Lansky had established gambling operations in Florida, New Orleans, and Cuba. These gambling operations were very successful as they were founded upon two innovations:

• First, Lansky and his connections had the technical expertise to effectively manage them based upon Lansky’s knowledge of the true mathematical odds of most popular wagering games.
• Second, mob connections were used to ensure legal and physical security of their establishments from other crime figures, and law enforcement (through bribes).

But there was also an absolute rule of integrity concerning the games and wagers made within their establishments. Lansky’s “carpet joints” in Florida and elsewhere were never “clip-joints” where gamblers were unsure of whether or not the games were rigged against them. Lansky ensured that the staff (the croupiers and their management) actually consisted of men of high integrity. And it was widely known what would happen to a croupier or a table manager who attempted to cheat or steal from a customer or the house.^{[clarification needed]}

In 1936, Lansky's partner Luciano was sent to prison.

Lansky later convinced the Mafia to place Bugsy Siegel in charge of Las Vegas, and became a major investor in Siegel's Flamingo Hotel.

After Al Capone's 1931 conviction for tax evasion and prostitution, Lansky saw that he too was vulnerable to a similar prosecution. To protect himself, he transferred the illegal earnings from his growing casino empire to a Swiss numbered bank account, whose anonymity was assured by the 1934 Swiss Banking Act. Lansky eventually even bought an offshore bank in Switzerland, which he used to launder money through a network of shell and holding companies.^[5]

War work[link]

In the 1930s, Meyer Lansky and his gang claimed to have stepped outside their usual criminal activities to break up rallies held by Nazi sympathizers. Lansky recalled a particular rally in Yorkville, a German neighborhood in Manhattan, that he claimed he and 14 other associates disrupted:

The stage was decorated with a swastika and a picture of Adolf Hitler. The speakers started ranting. There were only fifteen of us, but we went into action. We threw some of them out the windows. Most of the Nazis panicked and ran out. We chased them and beat them up. We wanted to show them that Jews would not always sit back and accept insults.^[6]

During World War II, Lansky was also instrumental in helping the Office of Naval Intelligence's Operation Underworld, in which the US government recruited criminals to watch out for German infiltrators and submarine-borne saboteurs.

According to Lucky Luciano's authorized biography, during this time, Lansky helped arrange a deal with the US Government via a high-ranking U.S. Navy official. This deal would secure the release of Lucky Luciano from prison; in exchange the Italian Mafia would provide security for the war ships that were being built along the docks in New York Harbor. German submarines were sinking allied shipping outside the coast on a daily basis and there was great fear of attack or sabotage by Nazi sympathizers.

The Flamingo[link]

This unreferenced section requires citations to ensure verifiability.

During the 1940s, Lansky's associate Benjamin "Bugsy" Siegel persuaded the crime bosses to invest in a lavish new casino hotel project in Las Vegas, the Flamingo. After long delays and large cost overruns, the Flamingo Hotel was still not open for business. To discuss the Flamingo problem, the Mafia investors attended a secret meeting in Havana, Cuba in 1946. While the other bosses wanted to kill Siegel, Lansky begged them to give his friend a second chance. Despite this reprieve, Siegel continued to lose Mafia money on the Flamingo Hotel. A second family meeting was then called. However, by the time this meeting took place, the casino turned a small profit. Lansky again, with Luciano's support, convinced the family to give Siegel some more time.

The Flamingo was soon losing money again. At a third meeting, the family decided that Siegel was finished. He had humiliated the organized crime bosses and never had a chance. It is widely believed that Lansky himself was compelled to give the final okay on eliminating Siegel due to his long relationship with Siegel and his stature in the family.

On June 20, 1947, Siegel was shot and killed in Beverly Hills, California. Twenty minutes after the Siegel hit, Lansky's associates, including Gus Greenbaum and Moe Sedway, walked into the Flamingo Hotel and took control of the property. According to the Federal Bureau of Investigation, Lansky retained a substantial financial interest in the Flamingo for the next twenty years. Lansky said in several interviews later in his life that if it had been up to him, "...Ben Siegel would be alive today."

This also marked a power transfer in Vegas from the New York crime families to the Chicago Outfit. Although his role was considerably more restrained than in previous years, Lansky is believed to have both advised and aided Chicago boss Tony Accardo in initially establishing his hold.

Cuba[link]

After World War II, Lansky associate Lucky Luciano was paroled from prison on the condition that he permanently return to Sicily. However, Luciano secretly moved to Cuba, where he worked to resume control over American Mafia operations. Luciano also ran a number of casinos in Cuba with the sanction of Cuban president General Fulgencio Batista, though the US government succeeded in pressuring the Batista regime to deport Luciano.

Batista's closest friend in the Mafia was Lansky. They formed a renowned friendship and business relationship that lasted for three decades. During a stay at the Waldorf-Astoria in New York in the late 1940s, it was mutually agreed upon that, in exchange for kickbacks, Batista would offer Lansky and the Mafia control of Havana’s racetracks and casinos. Batista would open Havana to large scale gambling, and his government would match, dollar for dollar, any hotel investment over $1 million, which would include a casino license. Lansky, of course, would place himself at the center of Cuba's gambling operations. He immediately called on his "associates" to hold a summit in Havana.

The Havana Conference was held on December 22, 1946 at the Hotel Nacional. This was the first full-scale meeting of American underworld leaders since the Chicago meeting in 1932. Present were such notable figures as Joe Adonis and Albert "The Mad Hatter" Anastasia, Frank Costello, Joseph "Joe Bananas" Bonanno, Vito Genovese, Moe Dalitz, Thomas Luchese, from New York, Santo Trafficante Jr. from Tampa, Carlos "The Little Man" Marcello from New Orleans, and Stefano Magaddino, Joe Bonanno's cousin from Buffalo. From Chicago there was Anthony Accardo and the Fischetti brothers, "Trigger-Happy" Charlie and his brother Rocco, and, representing the Jewish interest, Lansky, Dalitz and “Dandy” Phil Kastel from Florida. The first to arrive was Salvatore Charles Lucky Luciano, who had been deported to Italy, and had to travel to Havana with a false passport. Lansky shared with them his vision of a new Havana, profitable for those willing to invest the right sum of money. A city that could be their "Latin Las Vegas," where they would feel right at home since it was a place where drugs, prostitution, labor racketeering, and extortion were already commonplace. According to Luciano’s evidence, and he is the only one who ever recounted details of the events in any detail, he confirmed that he was appointed as kingpin for the mob, to rule from Cuba until such time as he could find a legitimate way back into the U.S. Entertainment at the conference was provided by, among others, Frank Sinatra who flew down to Cuba with their friends, the Fischetti brothers.

In 1952, Lansky even offered then President Carlos Prío Socarrás a bribe of U.S. $250,000 to step down so Batista could return to power. Once Batista retook control of the government he quickly put gambling back on track. The dictator contacted Lansky and offered him an annual salary of U.S. $25,000 to serve as an unofficial gambling minister. By 1955, Batista had changed the gambling laws once again, granting a gaming license to anyone who invested $1 million in a hotel or U.S. $200,000 in a new nightclub. Unlike the procedure for acquiring gaming licenses in Vegas, this provision exempted venture capitalists from background checks. As long as they made the required investment, they were provided with public matching funds for construction, a 10-year tax exemption and duty-free importation of equipment and furnishings. The government would get U.S. $250,000 for the license plus a percentage of the profits from each casino. Cuba’s 10,000 slot machines, even the ones which dispensed small prizes for children at country fairs, were to be the province of Batista's brother-in-law, Roberto Fernandez y Miranda. An Army general and government sports director, Fernandez was also given the parking meters in Havana as a little something extra. Import duties were waived on materials for hotel construction and Cuban contractors with the right "in" made windfalls by importing much more than was needed and selling the surplus to others for hefty profits. It was rumored that besides the U.S. $250,000 to get a license, sometimes more was required under the table. Periodic payoffs were requested and received by corrupt politicians.

Lansky set about reforming the Montmartre Club, which soon became the "in" place in Havana. He also long expressed an interest in putting a casino in the elegant Hotel Nacional, which overlooked El Morro, the ancient fortress guarding Havana harbor. Lansky planned to take a wing of the 10-storey hotel and create luxury suites for high-stakes players. Batista endorsed Lansky’s idea over the objections of American expatriates such as Ernest Hemingway and the elegant hotel opened for business in 1955 with a show by Eartha Kitt. The casino was an immediate success.^[7]

Once all the new hotels, nightclubs and casinos had been built Batista wasted no time collecting his share of the profits. Nightly, the "bagman" for his wife collected 10 percent of the profits at Trafficante's interests; the Sans Souci cabaret, and the casinos in the hotels Sevilla-Biltmore, Commodoro, Deauville and Capri (part-owned by the actor George Raft). His take from the Lansky casinos, his prized Habana Riviera, the Nacional, the Montmartre Club and others, was said to be 30 percent. What exactly Batista and his cronies actually received in total in the way of bribes, payoffs and profiteering has never been certified. The slot machines alone contributed approximately U.S. $1 million to the regime's bank account.

Revolution[link]

The 1959 Cuban revolution and the rise of Fidel Castro changed the climate for mob investment in Cuba. On that New Year's Eve of 1958, while Batista was preparing to flee to the Dominican Republic and then on to Spain (where he died in exile in 1973), Lansky was celebrating the $3 million he made in the first year of operations at his 440-room, $18 million palace, the Habana Riviera. Many of the casinos, including several of Lansky's, were looted and destroyed that night.

On January 8, 1959, Castro marched into Havana and took over, setting up shop in the Hilton. Lansky had fled the day before for the Bahamas and other Caribbean destinations. The new Cuban president, Manuel Urrutia Lleó, took steps to close the casinos.

In October 1960, Castro nationalized the island's hotel-casinos and outlawed gambling. This action essentially wiped out Lansky's asset base and revenue streams. He lost an estimated $7 million. With the additional crackdown on casinos in Miami, Lansky was forced to depend on his Las Vegas revenues.

Later years[link]

In his later years, Lansky lived a low-profile, routine existence in Miami Beach. He dressed like the average grandfather, walked his dog every morning, and portrayed himself as a harmless retiree. Lansky's associates usually met him in malls and other crowded locations. Lansky would change drivers, who chauffeured him around town to look for new pay phones almost every day.

Attempted escape to Israel and trial[link]

In 1970, Lansky fled to Herzliya Pituah, Israel, to escape federal tax evasion charges. Although the Israeli Law of Return allows any Jew to settle in the State of Israel, it excludes those with criminal pasts. Two years after Lansky fled to Israel, Israeli authorities deported him back to the U.S. The US government brought Lansky to trial with the testimony of loan shark Vincent "Fat Vinnie" Teresa, an informant with little or no credibility. Lansky was acquitted in 1974.

Death[link]

Lansky's last years were spent quietly at his home in Miami Beach. He died of lung cancer on January 15, 1983, age 80, leaving behind a widow and three children.^[8] On paper, Lansky was worth almost nothing. At the time, the FBI believed he left behind over $300 million in hidden bank accounts, but they never found any money.

However, his biographer Robert Lacey describes Lansky's financially strained circumstances in the last two decades of his life and his inability to pay for health care for his relatives. For Lacey, there was no evidence "to sustain the notion of Lansky as king of all evil, the brains, the secret mover, the inspirer and controller of American organized crime."^[9] He concludes from evidence including interviews with the surviving members of the family that Lansky's wealth and influence had been grossly exaggerated, and that it would be more accurate to think of him as an accountant for gangsters rather than a gangster himself. His granddaughter told author T.J. English that at his death in 1983, Lansky left only $37,000 in cash.^[10] When asked in his later years what went wrong in Cuba, the gangster offered no excuses. "I crapped out," he said. Lansky even went as far as to tell people he had lost almost every penny in Cuba and that he was barely scraping by. In all likelihood, it was only an excuse to keep the IRS off his back. According to Lansky's daughter Sandra, he had transferred at least $15 million to his brother Jake due to his problems with the IRS. In fact, all of his men seemed to have more money than him. They owned hotels, restaurants, nightclubs, stocks and bonds and some like Sam Cohen and Alvin Malnik, even owned banks. "Meyer Lansky doesn't own property. He owns people." said Hank Messick, a journalist for the Miami Herald who had spent years investigating the character. Messick, the FBI and legendary District Attorney, Robert Morgenthau all believed Lansky had kept large sums of money in other people's names for decades and that keeping very little in his own was nothing new to him. If Lansky's low key demeanor was fooling many people, it certainly was not fooling the FBI. He was treated like royalty wherever he went and the way some of the most powerful people in Miami conducted themselves around him was enough for them to keep him on the radar until his dying day. The truth regarding Lansky's wealth and influence remains a mystery.

In popular culture[link]

In film[link]

• The character Hyman Roth, portrayed by Lee Strasberg, and certain aspects of the main character Michael Corleone from the film The Godfather Part II (1974), are based on Lansky. In fact, shortly after the premiere in 1974, Lansky phoned Strasberg and congratulated him on a good performance (Strasberg was nominated for an Oscar for his role), but added "You could've made me more sympathetic." Roth's statement to Michael Corleone that "We're bigger than U.S. Steel" was actually a direct quote from Lansky, who said the same thing to his wife while watching a news story on the Cosa Nostra. The character Johnny Ola is similar to Lansky's associate Vincent Alo. Additionally, the character Moe Greene, who was a friend of Roth's, is modeled upon Bugsy Siegel.^[11][12] The film reflects real life in that Lansky was denied the Right of Return to Israel and returned to the U.S. to face criminal charges, but fabricated details regarding Roth's attempts to bribe Latin American dictators for entry to their countries, as well as Roth's ultimate fate.
• Maximilian "Max" Bercovicz, the gangster played by James Woods in Sergio Leone's opus Once Upon A Time In America was inspired by Meyer Lansky.^[13]
• Mark Rydell plays Lansky in the 1990 Sydney Pollack film Havana, starring Robert Redford.
• The film Bugsy (1991), a biography of Bugsy Siegel, included Lansky as a major character, played by Ben Kingsley.
• In the 1991 film Mobsters, he is played by Patrick Dempsey.
• Meyer Lansky is portrayed by Dustin Hoffman in the 2005 film The Lost City.

In television[link]

• In the HBO series Boardwalk Empire Meyer Lansky is played by Anatol Yusef.
• The 1981 NBC mini series, The Gangster Chronicles, the character of Michael Lasker, played by Brian Benben, was based on Lansky. Because Lansky was still living at the time, the producers derived the "Michael Lasker" name for the character to avoid legal complications.
• A 1999 made-for-TV movie called Lansky was released starring Richard Dreyfuss as Lansky, Eric Roberts as Bugsy Siegel, and Anthony LaPaglia as Lucky Luciano.
• Manny Wiesbord, the mob chieftain played by Joseph Wiseman on Crime Story, was based on Lansky.
• Lansky's grandson, Meyer Lansky II, appeared in the "Jesse James vs. Al Capone" episode of Spike's Deadliest Warrior as a Capone expert, credited as "Mafioso Descendant." The senior Lansky was briefly referenced during the episode.

In literature[link]

• In the 2010 book of photographs "New York City Gangland",^[14] Meyer Lansky is seen "loitering" on Little Italy's famed "Whiskey Curb" with partners Benjamin "Bugsy" Siegel, Vincent "Jimmy Blue Eyes" Alo, and waterfront racketeer Eddie McGrath.
• In the 1996 novel The Plan, by Stephen J. Cannell, Lansky and fellow mobster Joseph Alo are involved in putting an anti-Racketeer Influenced and Corrupt Organizations Act presidential candidate into office.
• In the 2009 theatrical adaption by Joseph Bologna "Lansky" is portrayed by Mike Burstyn in a one act play.
• In the book Havana by Stephen Hunter, Lansky and Fidel Castro are both included as main characters.
• In the 2009 novel If The Dead Rise Not by Philip Kerr the hero, Bernie Gunther, meets Lansky in Havana.
• In the 2009 novel Ride of the Valkyries by Stuart Slade, Meyer Lansky is the President of Mafia run Cuba.
• In the 2011 historical novel, "The Devil Himself" by Eric Dezenhall, Meyer Lansky coordinates counterespionage operations with the U.S. Navy to prevent Nazi sabotage in New York and help plan the invasion of Sicily.
• He portrays himself in Harold Robbins 1995 follow-up to The Carpetbaggers, The Raiders.

In music[link]

• In his 2007 song "Party Life," Jay-Z raps, "So tall and Lanky / My suit, it should thank me / I make it look good to be this hood Meyer Lansky."
• Raekwon, a member of the Wu-tang Clan referred to himself as "rap's Meyer Lansky" in his song "Glaciers of Ice," a single on his classic 1995 release "Only Built 4 Cuban Linx..."
• A member of the rap group Wu-Syndicate uses Myalansky as his stage name, referring to Meyer Lansky.
• In the 2010 mixtape "Albert Anastasia" by Rick Ross refers to Meyer Lansky in his song White Sand Pt.II: "I put the team together like I'm Meyer Lansky."
• On Obie Trice's "Outro" off the Cheers album Proof raps, " Know much about Meyer Lansky? / Don't tustle with my hand speed / Clutch your burner, bust it and watch your man bleed."
• In 2011 50 Cent's Run Up On Me Freestyle raps, "Got a fetish for the guns Calico drums / Rap Meyer Lansky steady counting my ones"
• On the 2011 debut album from South Florida hardcore hip hop group "[dead] P.o.e.t.s." emcee Vice Gripp raps, "Introducing, the Bear Jew, the new Meyer Lansky" on the track "Just Gimme the Money".

References[link]

This article includes a list of references, but its sources remain unclear because it has insufficient inline citations. Please help to improve this article by introducing more precise citations. (October 2009)

Further reading[link]

• Lacey, Robert: Little man. Meyer Lansky and the Gangster Life. Little, Brown and Company; Boston Toronto London 1991. ISBN 0-316-51163-3
• Messick, Hank Lansky. New York, Putnam 1971
• Stephen, Hunter Havana.
• Birmingham, Stephen The Rest of Us. Boston: Little, Brown, 1984
• Cohen, Rich Tough Jews: Fathers, Sons, and Gangster Dreams. Vintage books, 1999
• Conrad, Harold Dear, Muffo: 35 Years in the Fast Lane. New York, Stein and Day, 1982
• Demaris, Ovid The Boardwalk Jungle. Bantam Books, 1986
• Eisenberg, Dennis/Dan, Uri/ Landau, Eli Meyer Lansky: Mogul of the mob. Paddington Press, 1979
• English, T.J. Havana Nocturne: How the Mob Owned Cuba and Then Lost It to the Revolution, William Morrow, 2008/The Havana Mob: Gangster, Gamblers, Showgirls and Revolutionaries in 1950s Cuba, 2007, Mainstream Publishing (UK edition)
• Piper, William Collins Final Judgment: The Missing Link in the JFK Assassination Conspiracy.
• Almog, Oz, Kosher Nostra Jüdische Gangster in Amerika, 1890–1980 ; Jüdischen Museum der Stadt Wien ; 2003, Text Oz Almog, Erich Metz, ISBN 3-901398-33-3

External links[link]

Biography portal

Wikiquote has a collection of quotations related to: Meyer Lansky

• Official Meyer Lansky Memorabilia Museum 2001 Edition
• Jewish Virtual Library - Meyer Lansky
• Free Information Society: Meyer Lansky
• Seize The Night: Meyer Lansky
• Review of Robert Lacey's book 'Little Man'
• Review of Movie "Lansky"
• 'Havana' Revisited: An American Gangster in Cuba NPR, June 5, 2009

Demetri Martin
Demetri Martin at Northeastern University on April 11, 2007
Born	(1973-05-25) May 25, 1973 (age 39) New York City, New York, United States
Nationality	American
Years active	Since 2002
Genres	Observational comedy, surreal humor, musical comedy, wit/wordplay, sketch comedy
Subject(s)	Everyday Life, American Culture, Random Subjects
Influences	Steven Wright, Eddie Izzard, Emo Philips, Mitch Hedberg, Socrates
Notable works and roles	· Demetri Martin. Person.  · Correspondent on The Daily Show  · Himself/Various on Important Things with Demetri Martin  · Elliot Tiber in Taking Woodstock (2009)
Website	www.demetrimartin.com

Demetri Martin (born May 25, 1973) is an American comedian, actor, artist, musician, writer and humorist. Martin is best known for his work as a stand-up comedian, contributor on The Daily Show and for his Comedy Central show Important Things with Demetri Martin.

Early life[link]

Demetri Martin was born to a Greek American family^[1] in New York City, New York, and grew up in Toms River, New Jersey. He is the son of Lillian, a nutritionist, and Dean C. Martin, now deceased, a Greek Orthodox priest.^[2] Martin graduated from Yale University in 1995. Although he was accepted into Harvard Law School, he went to New York University School of Law after he received a full scholarship.^[3]

Career[link]

In 2001, Martin caught his first big break in stand-up comedy when he appeared on Comedy Central's stand-up showcase Premium Blend. At the 2003 Edinburgh Festival Fringe he won the Perrier award with his show If I....^[4] The show was turned into a British television special in 2004. From 2003 to 2004, Martin wrote for Late Night with Conan O'Brien.^[5] In 2004, Martin had his own Comedy Central Presents stand-up special. His special was divided into three parts. In the first, he performed in traditional stand-up comedy fashion. In the second segment, he used humorous drawings as visual aids, which would serve either as the punchline or a background. During the third segment, he played a guitar and put on a pseudo-play where he would strum his guitar while alternating between playing harmonica and talking; some of his comedian friends dressed as fairies and dragons acted according to the story he was telling, detailing the magical land where his jokes came from. Martin's mother and grandmother also appeared.

Since late 2005, he has been credited as a contributor on The Daily Show, on which he has appeared as the named "Senior Youth Correspondent" and on which he hosts a segment called "Trendspotting". He has used this segment to talk about so-called hip trends among youth such as hookahs, wine, guerilla marketing and Xbox 360. A piece about social networking featured his profile on MySpace.^[6] On March 22, 2007, Demetri made another appearance on The Daily Show, talking about the Viacom lawsuit against Google and YouTube.

He has recorded a comedy CD/DVD titled These Are Jokes, which was released on September 26, 2006. This album also features Saturday Night Live member Will Forte and stand-up comedian Leo Allen.

Martin returned to The Daily Show on March 22, 2006, as the new Youth Correspondent, calling his segment "Professional Important News with Demetri Martin". In 2007, he starred in a Fountains of Wayne music video for "Someone to Love" as Seth Shapiro, a character in the song. He also starred in the video for the Travis single "Selfish Jean", in which he wears multiple t-shirts with lyrics written on them.

On September 2, 2007, Martin appeared on the season finale of the HBO series Flight of the Conchords. He appeared as a keytar player named Demetri.^[7]

He also had a part in the movie The Rocker (2008) starring Rainn Wilson. Martin played the part of the videographer when the band in the movie was making their first music video.

In 2009, he hosted and starred in his own television show called Important Things With Demetri Martin on Comedy Central. Later in June, it was announced his show had been renewed for a second season.^[8] The second season premiered, again on Comedy Central, on February 4, 2010. Martin has stated that Important Things will not return for a third season.

Prior to completing work on his second season, Martin starred in the comedy-drama film Taking Woodstock (2009), directed by Ang Lee, which premiered at the 2009 Cannes Film Festival. In the film Martin plays Elliot Tiber, a closeted gay artist who has given up his ambitions in the city to move upstate and help his old-world Jewish family run their Catskill Mountains motel. The film is based on the book written by Tiber.

On April 25, 2011, Martin released his first book, titled This Is a Book by Demetri Martin.

Martin was slated to portray Paul DePodesta as Oakland Athletics assistant GM to Billy Beane in the 2011 movie Moneyball, however was dropped and Jonah Hill took his place in the movie.

Plans[link]

Martin sold his movie concept Will to DreamWorks; he is expected to play a key supporting role.^[9] He will play the lead in the film Moon People, a pitch that he sold to Columbia Pictures.

Martin also signed a blind script deal with CBS in October 2010 to produce, write, and star in his own television series.^[10]

After CBS was shown the pilot for the series, they decided not to air it.^[11]

On August 11, 2011, Fox ordered a presentation of a new animated show they might air.^{[citation needed]}

[edit] If I

If I is a Perrier Comedy Award-winning comedy one-man show written and performed by Demetri Martin at the 2003 Edinburgh Festival Fringe.^[12] It was also aired on British television as a special. The show is an autobiographical examination of Martin's life, as seen through various definitions of the word "if."

The title of the special comes from a lengthy palindromic poem that Martin wrote; the words "if I" are at the center of the poem.^[13]

Comedic style[link]

Martin is known for being an unconventional stand-up comic. He uses one-liners and drawings on a "large pad", as well as accompanying his jokes with music on either guitar, harmonica, piano, keyboard, glockenspiel, toy bells, ukulele, or tambourine, sometimes all at once.^[14] He has cited comedian Steven Wright as an important influence (both use deadpan one-liners in their acts) and he is also a fan of Bill Cosby.^[15]

Personal life[link]

According to a July 2011 interview on the WTF with Marc Maron podcast, Demetri had a short-lived marriage to a girl he knew from high school. They began dating after high school and got married when he was in NYU Law School and she was attending NYU Medical School. He was aged 25 and in the end of his marriage when his stand-up career began.^[3]

He is extremely allergic to nuts and peanuts.^[16]

Martin moved to Santa Monica, California in 2009.^[17]

Filmography[link]

• Invite Them Up (2005)
• These Are Jokes (2006)
• Demetri Martin. Person. (2007)
• Important Things with Demetri Martin (2009–2010)

Filmography and television work[link]

Written works[link]

• This Is a Book, April 2011, ISBN 978-0446539708.

Awards and nominations[link]

References[link]

External links[link]

This article's use of external links may not follow Wikipedia's policies or guidelines. Please improve this article by removing excessive or inappropriate external links, and converting useful links where appropriate into footnote references. (May 2012)

• Official website
• Demetri Martin on Myspace
• Demetri Martin at the Internet Movie Database
• Interview from November, 2006, in Onion AV Club
• Interview from October 2006, in The DePaulia
• Article, in The Scotsman
• Article, in Gelf Magazine
• Interview by Brian M. Palmer
• MP3 Audio Interview on The Sound of Young America public radio show and podcast
• Interview Believer Mag
• New Jersey Monthly Magazine
• Fresh Air, NPR.org

Andy Warhol
Andy Warhol, with Archie, by Jack Mitchell, 1973
Birth name	Andrew Varchola, Jr.
Born	(1928-08-06)August 6, 1928. Baptized August 28, 1928 Pittsburgh, Pennsylvania, U.S.
Died	February 22, 1987(1987-02-22) (aged 58) New York City, New York, U.S.
Nationality	American
Field	Printmaking, painting, cinema, photography
Training	Carnegie Institute of Technology
Movement	Pop art
Works	Chelsea Girls (1966 film) Exploding Plastic Inevitable (1966 event) Campbell's Soup Cans (1962 painting)

Andy Warhol (August 6, 1928 – February 22, 1987) was an American artist who was a leading figure in the visual art movement known as pop art. His works explore the relationship between artistic expression, celebrity culture and advertisement that flourished by the 1960s. After a successful career as a commercial illustrator, Warhol became a renowned and sometimes controversial artist. The Andy Warhol Museum in his native city, Pittsburgh, Pennsylvania, holds an extensive permanent collection of art and archives. It is the largest museum in the United States of America dedicated to a single artist.

Overview[link]

Andy Warhol's artwork ranged in many forms of media that include hand drawing, painting, printmaking, photography, silk screening, sculpture, film, and music. He was a pioneer in computer-generated art using Amiga computers that were introduced in 1985, just before his death in 1987. He founded Interview Magazine and was the author of numerous books, including The Philosophy of Andy Warhol and Popism: The Warhol Sixties. Andy Warhol is also notable as a gay man who lived openly as such before the gay liberation movement. His studio, The Factory, was a famous gathering place that brought together distinguished intellectuals, drag queens, playwrights, Bohemian street people, Hollywood celebrities, and wealthy patrons. Warhol has been the subject of numerous retrospective exhibitions, books, and feature and documentary films. He coined the widely used expression "15 minutes of fame". Many of his creations are very collectible and highly valuable. The highest price ever paid for a Warhol painting is US$100 million for a 1963 canvas titled Eight Elvises. The private transaction was reported in a 2009 article in The Economist, which described Warhol as the "bellwether of the art market".^[1] Warhol's works include some of the most expensive paintings ever sold.

Early life (1928–49)[link]

Warhol's childhood home. 3252 Dawson Street, South Oakland neighborhood of Pittsburgh, Pennsylvania

Andy Warhol (né Andrej Varchola, Jr.) was born on August 6, 1928 in Pittsburgh, Pennsylvania.^[2] He was the fourth child of Ondrej Varchola (1889-1942)(americanized as Andrew Warhola,Sr.)^[3] and Júlia (née Zavacká, 1892–1972),^[4] whose first child was born in their homeland and died before their move to the U.S. Andy had two older brothers Paul, born about 1923 and John born about 1925.

His parents were working-class Rusyn^[5][6][7] emigrants from Mikó (now called Miková), located in today’s northeastern Slovakia, part of the former Austro-Hungarian Empire. Warhol's father immigrated to the US in 1914, and his mother joined him in 1921, after the death of Warhol's grandparents. Warhol's father worked in a coal mine. The family lived at 55 Beelen Street and later at 3252 Dawson Street in the Oakland neighborhood of Pittsburgh.^[8] The family was Byzantine Catholic and attended St. John Chrysostom Byzantine Catholic Church. Andy Warhol had two older brothers – Pavol (Paul), the oldest, was born in Slovakia; Ján was born in Pittsburgh. Pavol's son, James Warhola, became a successful children's book illustrator. About 1939, he starts collecting autographed cards of film stars.

In third grade, Warhol had chorea, the nervous system disease that causes involuntary movements of the extremities, which is believed to be a complication of scarlet fever and causes skin pigmentation blotchiness.^[9] He became a hypochondriac, developing a fear of hospitals and doctors. Often bedridden as a child, he became an outcast at school and bonded with his mother.^[10] At times when he was confined to bed, he drew, listened to the radio and collected pictures of movie stars around his bed. Warhol later described this period as very important in the development of his personality, skill-set and preferences. When Warhol was 13, his father died in an accident.^[11]

As a teenager, Warhol graduated from Schenley High School in the year 1945. Though not medically diagnosed, Andy had dyslexia, which contributed to broadening his imagination for art. He perceived the world differently from other artists, who did not have this disorder, which was somewhat of a underlying gift. After graduating from high school, his intentions were to study art education at the University of Pittsburgh in hopes of becoming an art teacher, but his plans changed to enrolling in the Carnegie Institute of Technology to pursue an art career as a commercial illustrator. In 1949, he earned a Bachelor of Fine Arts in Graphic Design.

Phases of his artwork by decade[link]

1950s[link]

Former studio in New York

Warhol showed early artistic talent and studied commercial art at the School of Fine Arts at Carnegie Institute of Technology in Pittsburgh, Pennsylvania, (now Carnegie Mellon University).^[12] In 1949, he moved to New York City and began a career in magazine illustration and advertising. During the 1950s, he gained fame for his whimsical ink drawings of shoe advertisements. These were done in a loose, blotted-ink style, and figured in some of his earliest showings at the Bodley Gallery in New York. With the concurrent rapid expansion of the record industry and the introduction of the vinyl record, Hi-Fi, and stereophonic recordings, RCA Records hired Warhol, along with another freelance artist, Sid Maurer, to design album covers and promotional materials.^[13]

Warhol was an early adopter of the silk screen printmaking process as a technique for making paintings. His earliest silkscreening in painting involved hand-drawn images though this soon progressed to the use of photographically derived silkscreening in paintings. Prior to entering the field of fine art, Warhol's commercial art background also involved innovative techniques for image making that were somewhat related to printmaking techniques. When rendering commercial objects for advertising Warhol devised a technique that resulted in a characteristic image. His imagery used in advertising was often executed by means of applying ink to paper and then blotting the ink while still wet. This was a process akin to a printmaking process on the most rudimentary scale.^[14] Warhol's work both as a commercial artist and later a fine artist displays a casual approach to image making, in which chance plays a role and mistakes and unintentional marks are tolerated. The resulting imagery in both Warhol's commercial art and later in his fine art endeavors is often replete with imperfection—smudges and smears can often be found. In his book "POPism" Warhol says, "…when you do something exactly wrong, you always turn up something."^[15][16][17]

1960s[link]

He began exhibiting his work during the 1950s. He held exhibitions at the Hugo Gallery,^[18] and the Bodley Gallery^[19] in New York City and in California his first one-man art-gallery exhibition^[20][21] was on July 9, 1962, in the Ferus Gallery of Los Angeles. The exhibition marked his West Coast debut of pop art.^[22] Andy Warhol's first New York solo pop art exhibition was hosted at Eleanor Ward's Stable Gallery November 6–24, 1962. The exhibit included the works Marilyn Diptych, 100 Soup Cans, 100 Coke Bottles and 100 Dollar Bills. At the Stable Gallery exhibit, the artist met for the first time poet John Giorno who would star in Warhol's first film, Sleep, in 1963.^[23]

It was during the 1960s that Warhol began to make paintings of iconic American products such as Campbell's Soup Cans and Coca-Cola bottles, as well as paintings of celebrities such as Marilyn Monroe, Elvis Presley, Troy Donahue, Muhammad Ali and Elizabeth Taylor. He founded "The Factory", his studio during these years, and gathered around himself a wide range of artists, writers, musicians, and underground celebrities. He began producing prints using the silkscreen method.^[24] His work became popular and controversial.

Among the imagery tackled by Warhol were dollar bills, celebrities and brand name products, as well as newspaper headlines or photographs of mushroom clouds, electric chairs, and police dogs attacking civil rights protesters. Warhol also used Coca Cola bottles as subject matter for paintings. He had this to say about Coca Cola:

What's great about this country is that America started the tradition where the richest consumers buy essentially the same things as the poorest. You can be watching TV and see Coca-Cola, and you know that the President drinks Coca-Cola, Liz Taylor drinks Coca-Cola, and just think, you can drink Coca-Cola, too. A Coke is a Coke and no amount of money can get you a better coke than the one the bum on the corner is drinking. All the cokes are the same and all the cokes are good. Liz Taylor knows it, the President knows it, the bum knows it, and you know it.^[25]

New York's Museum of Modern Art hosted a Symposium on pop art in December 1962 during which artists like Warhol were attacked for "capitulating" to consumerism. Critics were scandalized by Warhol's open embrace of market culture. This symposium set the tone for Warhol's reception. Throughout the decade it became more and more clear that there had been a profound change in the culture of the art world, and that Warhol was at the center of that shift.^{[citation needed]}

Warhol (left) and Tennessee Williams (right) talking on the SS France, 1967; in the background: Paul Morrissey.

A pivotal event was the 1964 exhibit The American Supermarket, a show held in Paul Bianchini's Upper East Side gallery. The show was presented as a typical U.S. small supermarket environment, except that everything in it – from the produce, canned goods, meat, posters on the wall, etc. – was created by six prominent pop artists of the time, among them the controversial (and like-minded) Billy Apple, Mary Inman, and Robert Watts. Warhol's painting of a can of Campbell's soup cost $1,500 while each autographed can sold for $6. The exhibit was one of the first mass events that directly confronted the general public with both pop art and the perennial question of what art is (or of what is art and what is not).^{[citation needed]}

As an advertisement illustrator in the 1950s, Warhol used assistants to increase his productivity. Collaboration would remain a defining (and controversial) aspect of his working methods throughout his career; in the 1960s, however, this was particularly true. One of the most important collaborators during this period was Gerard Malanga. Malanga assisted the artist with producing silkscreens, films, sculpture, and other works at "The Factory," Warhol's aluminum foil-and-silver-paint-lined studio on 47th Street (later moved to Broadway). Other members of Warhol's Factory crowd included Freddie Herko, Ondine, Ronald Tavel, Mary Woronov, Billy Name, and Brigid Berlin (from whom he apparently got the idea to tape-record his phone conversations).^[26]

During the 1960s, Warhol also groomed a retinue of bohemian eccentrics upon whom he bestowed the designation "Superstars", including Nico, Joe Dallesandro, Edie Sedgwick, Viva, Ultra Violet, Holly Woodlawn, Jackie Curtis and Candy Darling. These people all participated in the Factory films, and some – like Berlin – remained friends with Warhol until his death. Important figures in the New York underground art/cinema world, such as writer John Giorno and film-maker Jack Smith, also appear in Warhol films of the 1960s, revealing Warhol's connections to a diverse range of artistic scenes during this time.

Attempted murder (1968)[link]

On June 3, 1968, Valerie Solanas shot Warhol as well as art critic and curator Mario Amaya at Warhol's studio.^[27] Before the shooting, Solanas had been a marginal figure in the Factory scene. She authored the S.C.U.M. Manifesto,^[28] a separatist feminist attack on males. 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.^[29]

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.^[30][31]

Solanas was arrested the day after the assault. By way of explanation, she said that Warhol "had too much control over my life." 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 the "Factory 60s" ended.^[31] 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."^[32]

1970s[link]

Andy Warhol and Jimmy Carter in 1977

Compared to the success and scandal of Warhol's work in the 1960s, the 1970s were a much quieter decade, as he became more entrepreneurial. According to Bob Colacello, Warhol devoted much of his time to rounding up new, rich patrons for portrait commissions– including Shah of Iran Mohammad Reza Pahlavi, his wife Empress Farah Pahlavi, his sister Princess Ashraf Pahlavi, Mick Jagger, Liza Minnelli, John Lennon, Diana Ross, and Brigitte Bardot.^{[33][citation needed]} Warhol's famous portrait of Chinese Communist leader Mao Zedong was created in 1973. He also founded, with Gerard Malanga, Interview magazine, and published The Philosophy of Andy Warhol (1975). An idea expressed in the book: "Making money is art, and working is art and good business is the best art."^{[cite this quote]}

Warhol used to socialize at various nightspots in New York City, including Max's Kansas City; and, later in the 1970s, Studio 54.^[34] He was generally regarded as quiet, shy, and a meticulous observer. Art critic Robert Hughes called him "the white mole of Union Square."^[35]

With his longtime friend Stuart Pivar, Warhol founded the New York Academy of Art in 1979.^[36][37]

1980s[link]

Warhol had a re-emergence of critical and financial success in the 1980s, partially due to his affiliation and friendships with a number of prolific younger artists, who were dominating the "bull market" of 1980s New York art: Jean-Michel Basquiat, Julian Schnabel, David Salle and other so-called Neo-Expressionists, as well as members of the Transavantgarde movement in Europe, including Francesco Clemente and Enzo Cucchi.

By this period, Warhol was being criticized for becoming merely a "business artist".^[38] In 1979, reviewers disliked his exhibits of portraits of 1970s personalities and celebrities, calling them superficial, facile and commercial, with no depth or indication of the significance of the subjects. They also criticized his 1980 exhibit of 10 portraits at the Jewish Museum in New York, entitled Jewish Geniuses, which Warhol – who was uninterested in Judaism and Jews – had described in his diary as "They're going to sell."^[38] In hindsight, however, some critics have come to view Warhol's superficiality and commerciality as "the most brilliant mirror of our times," contending that "Warhol had captured something irresistible about the zeitgeist of American culture in the 1970s."^[38]

Warhol also had an appreciation for intense Hollywood glamour. He once said: "I love Los Angeles. I love Hollywood. They're so beautiful. Everything's plastic, but I love plastic. I want to be plastic."^[39]

Death[link]

Warhol died in New York City at 6:32 a.m. on February 22, 1987. According to news reports, he had been making good recovery from a routine gallbladder surgery at New York Hospital before dying in his sleep from a sudden post-operative cardiac arrhythmia.^[40] Prior to his diagnosis and operation, Warhol delayed having his recurring gallbladder problems checked, as he was afraid to enter hospitals and see doctors. His family sued the hospital for inadequate care, saying that the arrhythmia was caused by improper care and water intoxication.^[41]

Warhol's grave at St. John the Baptist Byzantine Catholic Cemetery

Warhol's body was taken back to Pittsburgh by his brothers for burial. The wake was at Thomas P. Kunsak Funeral Home and was an open-coffin ceremony. The coffin was a solid bronze casket with gold plated rails and white upholstery. Warhol was dressed in a black cashmere suit, a paisley tie, a platinum wig, and sunglasses. He was posed holding a small prayer book and a red rose. The funeral liturgy was held at the Holy Ghost Byzantine Catholic Church on Pittsburgh's North Side. The eulogy was given by Monsignor Peter Tay. Yoko Ono, John Richardson, and Nicholas Love were speakers. The coffin was covered with white roses and asparagus ferns. After the liturgy, the coffin was driven to St. John the Baptist Byzantine Catholic Cemetery in Bethel Park, a south suburb of Pittsburgh.

Statue of Andy Warhol in Bratislava, Slovakia.

At the grave, the priest said a brief prayer and sprinkled holy water on the casket. Before the coffin was lowered, Paige Powell dropped a copy of Interview magazine, an Interview t-shirt, and a bottle of the Estee Lauder perfume "Beautiful" into the grave. Warhol was buried next to his mother and father. A memorial service was held in Manhattan for Warhol on April 1, 1987, at St. Patrick's Cathedral, New York.

Warhol's will dictated that his entire estate – with the exception of a few modest legacies to family members – would go to create a foundation dedicated to the "advancement of the visual arts". Warhol had so many possessions that it took Sotheby's nine days to auction his estate after his death; the auction grossed more than US$20 million.

In 1987, in accordance with Warhol's will, the Andy Warhol Foundation for the Visual Arts began. The Foundation serves as the official Estate of Andy Warhol, but also has a mission "to foster innovative artistic expression and the creative process" and is "focused primarily on supporting work of a challenging and often experimental nature."^[42]

The Artists Rights Society is the U.S. copyright representative for the Andy Warhol Foundation for the Visual Arts for all Warhol works with the exception of Warhol film stills.^[43] The U.S. copyright representative for Warhol film stills is the Warhol Museum in Pittsburgh.^[44] Additionally, the Andy Warhol Foundation for the Visual Arts has agreements in place for its image archive. All digital images of Warhol are exclusively managed by Corbis, while all transparency images of Warhol are managed by Art Resource.^[45]

The Andy Warhol Foundation released its 20th Anniversary Annual Report as a three-volume set in 2007: Vol. I, 1987–2007; Vol. II, Grants & Exhibitions; and Vol. III, Legacy Program.^[46] The Foundation remains one of the largest grant-giving organizations for the visual arts in the U.S.^[47]

Works[link]

Paintings[link]

By the beginning of the 1960s, Warhol had become a very successful commercial illustrator. His detailed and elegant drawings for I. Miller shoes were particularly popular. They consisted mainly of "blotted ink" drawings (or monoprints), a technique which he applied in much of his early art. Although many artists of this period worked in commercial art, most did so discreetly. Warhol was so successful, however, that his profile as an illustrator seemed to undermine his efforts to be taken seriously as an artist.

Pop art was an experimental form that several artists were independently adopting; some of these pioneers, such as Roy Lichtenstein, would later become synonymous with the movement. Warhol, who would become famous as the "Pope of Pop", turned to this new style, where popular subjects could be part of the artist's palette. His early paintings show images taken from cartoons and advertisements, hand-painted with paint drips. Those drips emulated the style of successful abstract expressionists (such as Willem de Kooning). Warhol's first pop art paintings were displayed in April 1961, serving as the backdrop for New York Department Store Bronwit Teller's window display. This was the same stage his Pop Art contemporaries Jasper Johns, James Rosenquist and Robert Rauschenberg had also once graced.^[48] Eventually, Warhol pared his image vocabulary down to the icon itself – to brand names, celebrities, dollar signs – and removed all traces of the artist's "hand" in the production of his paintings.

To him, part of defining a niche was defining his subject matter. Cartoons were already being used by Lichtenstein, typography by Jasper Johns, and so on; Warhol wanted a distinguishing subject. His friends suggested he should paint the things he loved the most. It was the gallerist Muriel Latow who came up with the ideas for both the soup cans and Warhol's dollar paintings. On November 23, 1961 Warhol wrote Latow a check for $50 which, according to the 2009 Warhol biography, Pop, The Genius of Warhol, was payment for coming up with the idea of the soup cans as subject matter.^[49] For his first major exhibition Warhol painted his famous cans of Campbell's Soup, which he claimed to have had for lunch for most of his life. The work sold for $10,000 at an auction on November 17, 1971, at Sotheby's New York – a minimal amount for the artist whose paintings sell for over $6 million more recently.^[50]

He loved celebrities, so he painted them as well. From these beginnings he developed his later style and subjects. Instead of working on a signature subject matter, as he started out to do, he worked more and more on a signature style, slowly eliminating the hand-made from the artistic process. Warhol frequently used silk-screening; his later drawings were traced from slide projections. At the height of his fame as a painter, Warhol had several assistants who produced his silk-screen multiples, following his directions to make different versions and variations.^[51]

In 1979, Warhol was commissioned by BMW to paint a Group 4 race version of the then elite supercar BMW M1 for the fourth installment in the BMW Art Car Project. Unlike the three artists before him, Warhol declined the use of a small scale practice model, instead opting to immediately paint directly onto the full scale automobile. It was indicated that Warhol spent only a total of 23 minutes to paint the entire car.^[52] Warhol produced both comic and serious works; his subject could be a soup can or an electric chair. Warhol used the same techniques– silkscreens, reproduced serially, and often painted with bright colors – whether he painted celebrities, everyday objects, or images of suicide, car crashes, and disasters, as in the 1962–63 Death and Disaster series. The Death and Disaster paintings included Red Car Crash, Purple Jumping Man, and Orange Disaster.

The unifying element in Warhol's work is his deadpan Keatonesque style – artistically and personally affectless. This was mirrored by Warhol's own demeanor, as he often played "dumb" to the media, and refused to explain his work. The artist was famous for having said that all you need to know about him and his works is already there, "Just look at the surface of my paintings and films and me, and there I am. There's nothing behind it."^[53]

His Rorschach inkblots are intended as pop comments on art and what art could be. His cow wallpaper (literally, wallpaper with a cow motif) and his oxidation paintings (canvases prepared with copper paint that was then oxidized with urine) are also noteworthy in this context. Equally noteworthy is the way these works – and their means of production – mirrored the atmosphere at Andy's New York "Factory". Biographer Bob Colacello provides some details on Andy's "piss paintings":

Victor... was Andy's ghost pisser on the Oxidations. He would come to the Factory to urinate on canvases that had already been primed with copper-based paint by Andy or Ronnie Cutrone, a second ghost pisser much appreciated by Andy, who said that the vitamin B that Ronnie took made a prettier color when the acid in the urine turned the copper green. Did Andy ever use his own urine? My diary shows that when he first began the series, in December 1977, he did, and there were many others: boys who'd come to lunch and drink too much wine, and find it funny or even flattering to be asked to help Andy 'paint.' Andy always had a little extra bounce in his walk as he led them to his studio.^[54]

Warhol's first portrait of Basquiat (1982) is a black photosilkscreen over an oxidized copper "piss painting".

After many years of silkscreen, oxidation, photography, etc., Warhol returned to painting with a brush in hand in a series of over 50 large collaborative works done with Jean-Michel Basquiat between 1984 and 1986.^[55][56] Despite negative criticism when these were first shown, Warhol called some of them "masterpieces," and they were influential for his later work.^[57]

The influence of the large collaborations with Basquiat can be seen in Warhol's The Last Supper cycle, his last and possibly his largest series, seen by some as "arguably his greatest,"^[58] but by others as “wishy-washy, religiose” and “spiritless."^[59] It is also the largest series of religious-themed works by any U.S. artist.^[58]

At the time of his death, Warhol was working on Cars, a series of paintings for Mercedes-Benz.^[60]

A self-portrait by Andy Warhol (1963–64), which sold in New York at the May Post-War and Contemporary evening sale in Christie's, fetched $38.4 million.^[61]

On May 9, 2012, his classic painting "Double Elvis (Ferus Type)" sold at auction at Sotheby's in New York for US$33 million dollars. With commission, the sale price totaled US$37,042,500, short of the $50 million that Sotheby's had predicted the painting might bring. The piece (silkscreen ink and spray paint on canvas) shows Elvis Presley in a gunslinger pose. It was first exhibited in 1963 at the Ferus Gallery in Los Angeles. Warhol made 22 versions of the "Double Elvis," nine of which are held in museums.^[62]

Films[link]

Warhol worked across a wide range of media – painting, photography, drawing, and sculpture. In addition, he was a highly prolific filmmaker. Between 1963 and 1968, he made more than 60 films,^[63] plus some 500 short black-and-white "screen test" portraits of Factory visitors.^[64] One of his most famous films, Sleep, monitors poet John Giorno sleeping for six hours. The 35-minute film Blow Job is one continuous shot of the face of DeVeren Bookwalter supposedly receiving oral sex from filmmaker Willard Maas, although the camera never tilts down to see this. Another, Empire (1964), consists of eight hours of footage of the Empire State Building in New York City at dusk. The film Eat consists of a man eating a mushroom for 45 minutes. Warhol attended the 1962 premiere of the static composition by LaMonte Young called Trio for Strings and subsequently created his famous series of static films including Kiss, Eat, and Sleep (for which Young initially was commissioned to provide music). Uwe Husslein cites filmmaker Jonas Mekas, who accompanied Warhol to the Trio premiere, and who claims Warhol's static films were directly inspired by the performance.^[65]

Batman Dracula is a 1964 film that was produced and directed by Warhol, without the permission of DC Comics. It was screened only at his art exhibits. A fan of the Batman series, Warhol's movie was an "homage" to the series, and is considered the first appearance of a blatantly campy Batman. The film was until recently thought to have been lost, until scenes from the picture were shown at some length in the 2006 documentary Jack Smith and the Destruction of Atlantis.

Warhol's 1965 film Vinyl is an adaptation of Anthony Burgess' popular dystopian novel A Clockwork Orange. Others record improvised encounters between Factory regulars such as Brigid Berlin, Viva, Edie Sedgwick, Candy Darling, Holly Woodlawn, Ondine, Nico, and Jackie Curtis. Legendary underground artist Jack Smith appears in the film Camp.

His most popular and critically successful film was Chelsea Girls (1966). The film was highly innovative in that it consisted of two 16 mm-films being projected simultaneously, with two different stories being shown in tandem. From the projection booth, the sound would be raised for one film to elucidate that "story" while it was lowered for the other. The multiplication of images evoked Warhol's seminal silk-screen works of the early 1960s.

Other important films include Bike Boy, My Hustler, and Lonesome Cowboys, a raunchy pseudo-western. These and other titles document gay underground and camp culture, and continue to feature prominently in scholarship about sexuality and art.^[66][67] Blue Movie – a film in which Warhol superstar Viva makes love and fools around in bed with a man for 33 minutes of the film's playing-time – was Warhol's last film as director. The film was at the time scandalous for its frank approach to a sexual encounter. For many years Viva refused to allow it to be screened. It was publicly screened in New York in 2005 for the first time in over thirty years.

After his June 3, 1968, shooting, a reclusive Warhol relinquished his personal involvement in filmmaking. His acolyte and assistant director, Paul Morrissey, took over the film-making chores for the Factory collective, steering Warhol-branded cinema towards more mainstream, narrative-based, B-movie exploitation fare with Flesh, Trash, and Heat. All of these films, including the later Andy Warhol's Dracula and Andy Warhol's Frankenstein, were far more mainstream than anything Warhol as a director had attempted. These latter "Warhol" films starred Joe Dallesandro – more of a Morrissey star than a true Warhol superstar.

In the early 1970s, most of the films directed by Warhol were pulled out of circulation by Warhol and the people around him who ran his business. After Warhol's death, the films were slowly restored by the Whitney Museum and are occasionally projected at museums and film festivals. Few of the Warhol-directed films are available on video or DVD.

Factory in New York[link]

• Factory: 1342 Lexington Avenue (the first Factory)
• The Factory: 231 East 47th street 1963–1967 (the building no longer exists)
• Factory: 33 Union Square 1967–1973 (Decker Building)
• Factory: 860 Broadway (near 33 Union Square) 1973–1984 (the building has now been completely remodeled and was for a time (2000–2001) the headquarters of the dot-com consultancy Scient)
• Factory: 22 East 33rd Street 1984–1987 (the building no longer exists)
• Home: 1342 Lexington Avenue
• Home: 57 East 66th street (Warhol's last home)
• Last personal studio: 158 Madison Avenue

Filmography[link]

Music[link]

In the mid 1960s, Warhol adopted the band the Velvet Underground, making them a crucial element of the Exploding Plastic Inevitable multimedia performance art show. Warhol, with Paul Morrissey, acted as the band's manager, introducing them to Nico (who would perform with the band at Warhol's request). In 1966 he "produced" their first album The Velvet Underground & Nico, as well as providing its album art. His actual participation in the album's production amounted to simply paying for the studio time. After the band's first album, Warhol and band leader Lou Reed started to disagree more about the direction the band should take, and their artistic friendship ended.^{[citation needed]} In 1989, after Warhol's death, Reed and John Cale re-united for the first time since 1972 to write, perform, record and release the concept album Songs for Drella, a tribute to Warhol.

Warhol designed many album covers for various artists starting with the photographic cover of John Wallowitch's debut album, This Is John Wallowitch!!! (1964). He designed the cover art for the Rolling Stones albums Sticky Fingers (1971) and Love You Live (1977), and the John Cale albums The Academy in Peril (1972) and Honi Soit in 1981. In 1975, Warhol was commissioned to do several portraits of Mick Jagger, and in 1982 he designed the album cover for the Diana Ross album Silk Electric.^{[citation needed]} One of his last works was a portrait of Aretha Franklin for the cover of her 1986 gold album Aretha, which was done in the style of the Reigning Queens series he had completed the year before.^[68]

Warhol strongly influenced the New Wave/punk rock band Devo, as well as David Bowie. Bowie recorded a song called "Andy Warhol" for his 1971 album Hunky Dory. Lou Reed wrote the song "Andy's Chest", about Valerie Solanas, the woman who shot Warhol, in 1968. He recorded it with the Velvet Underground, and this version was released on the VU album in 1985.

Books and print[link]

Beginning in the early 1950s, Warhol produced several unbound portfolios of his work.

The first of several bound self-published books by Warhol was 25 Cats Name Sam and One Blue Pussy, printed in 1954 by Seymour Berlin on Arches brand watermarked paper using his blotted line technique for the lithographs. The original edition was limited to 190 numbered, hand colored copies, using Dr. Martin's ink washes. Most of these were given by Warhol as gifts to clients and friends. Copy No. 4, inscribed "Jerry" on the front cover and given to Geraldine Stutz, was used for a facsimile printing in 1987^[69] and the original was auctioned in May 2006 for US $35,000 by Doyle New York.^[70]

Other self-published books by Warhol include:

• A Gold Book
• Wild Raspberries
• Holy Cats

After gaining fame, Warhol "wrote" several books that were commercially published:

• a, A Novel (1968, ISBN 0-8021-3553-6) is a literal transcription– containing spelling errors and phonetically written background noise and mumbling– of audio recordings of Ondine and several of Andy Warhol's friends hanging out at the Factory, talking, going out.^{[citation needed]}
• The Philosophy of Andy Warhol (From A to B & Back Again) (1975, ISBN 0-15-671720-4)– according to Pat Hackett's introduction to The Andy Warhol Diaries, Pat Hackett did the transcriptions and text for the book based on daily phone conversations, sometimes (when Warhol was traveling) using audio cassettes that Andy Warhol gave her. Said cassettes contained conversations with Brigid Berlin (also known as Brigid Polk) and former Interview magazine editor Bob Colacello.^{[citation needed]}
• Popism: The Warhol 1960s (1980, ISBN 0-15-672960-1), authored by Warhol and Pat Hackett is a retrospective view of the 1960s and the role of pop art.
• The Andy Warhol Diaries (1989, ISBN 0-446-39138-7), edited by Pat Hackett, is a diary dictated by Warhol to Hackett in daily phone conversations. Warhol started the diary to keep track of his expenses after being audited, although it soon evolved to include his personal and cultural observations.^[71]

Warhol created the fashion magazine Interview that is still published today. The loopy title script on the cover is thought to be either his own handwriting or that of his mother, Julia Warhola, who would often do text work for his early commercial pieces.^[72]

Other media[link]

Although Andy Warhol is most known for his paintings and films, he authored works in many different media.

• Drawing: Warhol started his career as a commercial illustrator, producing drawings in "blotted-ink" style for advertisements and magazine articles. Best known of these early works are his drawings of shoes. Some of his personal drawings were self-published in small booklets, such as Yum, Yum, Yum (about food), Ho, Ho, Ho (about Christmas) and (of course) Shoes, Shoes, Shoes. His most artistically acclaimed book of drawings is probably A Gold Book, compiled of sensitive drawings of young men. A Gold Book is so named because of the gold leaf that decorates its pages.^[73] In April 2012 a sketch of 1930s singer Rudy Vallee thought to be drawn by Andy Warhol was found at a Las Vegas garage sale. The image is believed to have been drawn when Andy was 9 or 10.^[74]
• Sculpture: Warhol's most famous sculpture is probably his Brillo Boxes, silkscreened ink on wood replicas of Brillo soap pad boxes (designed by James Harvey), part of a series of "grocery carton" sculptures that also included Heinz ketchup and Campbell's tomato juice cases.^[75] Other famous works include the Silver Clouds– helium filled, silver mylar, pillow-shaped balloons. A Silver Cloud was included in the traveling exhibition Air Art (1968–69) curated by Willoughby Sharp. Clouds was also adapted by Warhol for avant-garde choreographer Merce Cunningham's dance piece RainForest (1968).^[76]
• Audio: At one point Warhol carried a portable recorder with him wherever he went, taping everything everybody said and did. He referred to this device as his "wife". Some of these tapes were the basis for his literary work. Another audio-work of Warhol's was his "Invisible Sculpture", a presentation in which burglar alarms would go off when entering the room. Warhol's cooperation with the musicians of The Velvet Underground was driven by an expressed desire to become a music producer.^{[citation needed]}
• Time Capsules: In 1973, Warhol began saving ephemera from his daily life– correspondence, newspapers, souvenirs, childhood objects, even used plane tickets and food– which was sealed in plain cardboard boxes dubbed Time Capsules. By the time of his death, the collection grew to include 600, individually dated "capsules". The boxes are now housed at the Andy Warhol Museum.^[77]
• Television: Andy Warhol dreamed of a television show that he wanted to call The Nothing Special, a special about his favorite subject: Nothing. Later in his career he did create two cable television shows, Andy Warhol's TV in 1982 and Andy Warhol's Fifteen Minutes (based on his famous "fifteen minutes of fame" quotation) for MTV in 1986. Besides his own shows he regularly made guest appearances on other programs, including The Love Boat wherein a Midwestern wife (Marion Ross) fears Andy Warhol will reveal to her husband (Tom Bosley, who starred alongside Ross in sitcom Happy Days) her secret past as a Warhol superstar named Marina del Rey. Warhol also produced a TV commercial for Schrafft's Restaurants in New York City, for an ice cream dessert appropriately titled the "Underground Sundae".^[78]
• Fashion: Warhol is quoted for having said: "I'd rather buy a dress and put it up on the wall, than put a painting, wouldn't you?"^{[cite this quote]} One of his most well-known Superstars, Edie Sedgwick, aspired to be a fashion designer, and his good friend Halston was a famous one. Warhol's work in fashion includes silkscreened dresses, a short sub-career as a catwalk-model and books on fashion as well as paintings with fashion (shoes) as a subject.^{[citation needed]}
• Performance Art: Warhol and his friends staged theatrical multimedia happenings at parties and public venues, combining music, film, slide projections and even Gerard Malanga in an S&M outfit cracking a whip. The Exploding Plastic Inevitable in 1966 was the culmination of this area of his work.^[79]
• Theater: Andy Warhol's Pork opened on May 5, 1971 at LaMama theater in New York for a two-week run and was brought to the Roundhouse in London for a longer run in August 1971. Pork was based on tape-recorded conversations between Brigin Berlin and Andy during which Brigid would play for Andy tapes she had made of phone conversations between herself and her mother, socialite Honey Berlin. The play featured Jayne County as "Vulva" and Cherry Vanilla as "Amanda Pork".^{[citation needed]} In 1974, Andy Warhol also produced the stage musical Man On The Moon, which was written by John Phillips of the Mamas and the Papas.
• Photography: To produce his silkscreens, Warhol made photographs or had them made by his friends and assistants. These pictures were mostly taken with a specific model of Polaroid camera that Polaroid kept in production especially for Warhol. This photographic approach to painting and his snapshot method of taking pictures has had a great effect on artistic photography. Warhol was an accomplished photographer, and took an enormous amount of photographs of Factory visitors, friends.^{[citation needed]}
• Computer: Warhol used Amiga computers to generate digital art, which he helped design and build with Amiga, Inc. He also displayed the difference between slow fill and fast fill on live TV with Debbie Harry as a model.^[80] (video)