nico discusses andy warhol…

…among other things, while severely intimidating this interviewer, lol.

interviewer (I): ahh…do you think, do do ah andy warhol do you think that he was responsible for setting up your career as a musician or…? do…with the ahh Exploding Plastic Inevitable…do you think he was uhh do do you still think he was responsible for setting up your settin’ you up in a musical career or…?
nico (N): ahhhhh yes.
(I): yeah *laughs* ahh what was ah your major influences in music?
(N): well he’s uh mainly responsible that i started writing my songs because i didn’t want to be in his movies anymore.
(I): ah what would you say were your major musical influences? if any…
(N): pure music?
(I): ah well no just tell me any influences..
(N): well it’s a range from classical to oper..opera or and uh………… to free jazz.
(I) yeah..uh.. on “Chelsea Girls” you did uh “Keep You In Mind,” it was said that Dylan wrote it for you, i don’t know if that’s true… uh did you ever do any other work with Dylan or…?
(N): no he just sang me a few songs that i could pick from…
(I): …yeah…
(N) demos…
(I): …yeah…
(N): ..then he sent me a demo with just him on piano fo..for me to know it.
(I) uh did did you teach yourself…piano? or do they…
(N) ohh i don’t know how to play piano.
(I) well you know, your…harmonium.
(N) yeah, and harpsicord. no i just, taught myself.
(I) yeah. apparently it was stolen several times…
(N) two times.
(I) two times? uhh…and do you plan on doing any more work with Brian Eno, who did uh “June 1st” and uh “The End”…was involved with “The End,” wasn’t he? do you intend to…
(N): possibly. i wouldn’t be on his coming one though.
(I) yeah. okay then, and you’ve got a new LP coming out. uhh…we know you’ve got “Drama in… Of Exile” *mumbling* …opera (?)… ton of things more…
(N) sure.
(I): okay, right. those are all the questions covered. alright thanks very much for your time.
(N) thank you… *giggles as interviewer stands up*
(man off-camera): see…what occurs to you now.
(I) *taps own forehead, mumbles again* …right, thanks very much. ‘k see ‘ya again…
(N) byebye.
(man off-camera): see ‘ya.
(I): see ‘ya next time you’re tourin’


Edie Sedgwick – ‘Beyond God & Edie’ by The Silver Brazilians

A garage-psych rendering of Andy Warhol’s factory scene starring his greatest and most beautiful creation Edie Sedgwick.

Now available on Cheremoya Avenue Takedown – The Complete E.Ps…

The Silver Brazilians – ‘Cheremoya Avenue Takedown’ – The Complete E.Ps

The Silver Brazilians released their Complete E.P’s in June 2017 to coincide with the tenth anniversary of their debut gig, supporting The Charlatans. It was at this show that the Brazilians met Joe Strummer’s daughter Jazz, resulting in the band’s appearance at The Strummerville Charity bash at Safari Sam’s in Hollywood the following year.

The Silver Brazilians received heavy rotation on ‘Sopranos star and Springsteen guitarist’ Little Steven Van Zandt’s New York radio show ‘Little Steven’s Underground Garage’ on which their track ‘Kate Winslet’ was deemed ‘Coolest Song in the World!’

The band released four E.P’s, gigged extensively in the U.K and Europe and played their final show at Alley Cats in Denmark Street, London in 2012.

The Complete E.Ps is available on iTunes and Amazon and includes bonus tracks.

There may also be a vinyl release. Watch this space. ;}

Get it here!
And here…


Andy Warhol

Provided to YouTube by The Orchard Enterprises

Andy Warhol · Strung Out

Agents of the Underground

℗ 2009 Fat Wreck Chords

Released on: 2009-09-29

Auto-generated by YouTube.


Hara Rojas/Lorenzo Suárez – Andy el artista

Letra: Hara Rojas,
Música: Lorenzo Suárez,
Fotografía: Virginia Romero



Soy un pintoresco
Personaje impostado
Hoy muy reconocido
Marginado en el pasado


Me gustan los modelos
Y la ropa muy cara
También los drogadictos
Eso no es una desgracia


Dicen que soy un Gurú
De la modernidad
En un apartamento
Todo lleno de pop art


Parece decadente
Una broma pesada
Un billete de un dólar
La sopa en una lata


Voy a todas las fiestas
Y salgo en las revistas
Con cantantes y famosos
Soy como Andy, el artista


Y dicen que soy el Gurú
De la modernidad
En un apartamento
Todo lleno de pop art


Miro sensaciones,
A través de un cristal,
He soñado con ser
Una celebridad


Si un día quiero filmar
Cosas que nadie entiende
También puedo copiar
Los retratos de la gente


Y dicen que soy un Gurú
De la modernidad
En un apartamento
Todo lleno de pop art


Sleep – 1963 – 5H20 (Full) – Muet/Noir & Blanc – Expérimental/Andy Warhol – Film complet

Sleep est un film américain en noir et blanc réalisé par Andy Warhol de 1964 qui consiste en un montage de segments représentant le poète John Giorno dormant. Le film était initialement prévu pour durer huit heures, soit la durée d’une nuit de sommeil normale, et donne l’illusion d’un plan séquence, alors qu’on peut voir à la projection que certains passages reviennent plusieurs fois. Le montage final dure cinq heures et 21 minutes (321 minutes) lorsque projeté à 16 images par seconde et 4 h 45 projeté à 18 images par seconde.

Le tournage eut lieu en juillet 1963 dans l’appartement de Giorno, alors amant d’Andy Warhol. Warhol filme à l’aide d’une caméra Bolex en format 16 mm (bobines noir et blanc de 30 m) des plans fixes de son modèle dans des axes de prise de vue différents, ces plans muets étant ensuite dupliqués au montage.

La première eut lieu à New York au Gramercy Arts Theater le 17 janvier 1964. D’après le New York Post, seuls neuf spectateurs étaient présents, deux ont quitté la salle dès la première heure de projection1.

Le film était une des premières expérimentations de Warhol dans la réalisation cinématographique, et a été créé comme un « anti-film ». Warhol étendra cette technique à son film suivant, Empire, d’une durée de 8 heures.


The Velvet Underground and Nico ’66

Title: The Velvet Underground and Nico
Director: Andy Warhol
Language: English
16mm, black and white

Even ardent fans of the velvet underground will probably move uneasily in their chairs during this picture. The movie includes everything, except for a VU performance. The band IS there, and they are playing, but it is an incoherent jam session from hell rather then something familiar. Warhol accompanies the music with repeating focus shifts, lighting experiments, bizarre camera movements, etc., all of which combined create an hypnotic trance-like effect, not to be forgotten soon. Warhol also chooses to let only the diegtic sound from the amplifiers be heard, and thus whole sequences, such as the cops who arrive to stop the show on account of various complaints from neighbors, remain unheard and eluded to instead of crudely “shown”. This is a revolutionary experiment in rock videos, even in today’s standards.