Andy Warhol Hosts Frank Zappa on His Cable TV Show, and Later Recalls, “I Hated Him More Than Ever” After the Show

Had Andy Warhol lived to see the internet–especially social networking–he would have loved it, though it may not have loved him. Though Warhol did see the very begin­nings of the PC rev­o­lu­tion, and made com­put­er art near the end of his life on a Com­modore Ami­ga 1000, he was most­ly enam­ored, unsur­pris­ing­ly, of TV. “I love tele­vi­sion,” he once remarked, “It is the medi­um I’d most like to shine in. I’m real­ly jeal­ous of every­body who’s got their own show on tele­vi­sion. I want a show of my own.”

Warhol real­ized his dream in 1979, though in a venue that may not have lived up to his fan­tasies: a New York pub­lic-access chan­nel called Man­hat­tan Cable, “which showed local sports match­es and agreed to sell 30-minute slots to Warhol for around $75 a pop,” notes The Tele­graph. Warhol made a total of 42 episodes of his odd inter­view show. The pop art impre­sario “wasn’t exact­ly a nat­ur­al… when it came to the del­i­cate art of chat-show host­ing,” but “he didn’t let that stop him.” By 1983, one might have thought he’d have got­ten the hang of it, yet he seems espe­cial­ly awk­ward when cranky prog genius Frank Zap­pa appeared on his show that year.

Luck­i­ly for Warhol, he is joined by Zap­pa fan Richard Berlin, who serves as a buffer between the two super­stars. (Berlin is prob­a­bly the son of William Ran­dolph Hearst’s hand­picked suc­ces­sor, whose daugh­ter, Brigid, was one of Warhol’s film stars.) At least in the excerpt above, Berlin does all of the work while Warhol looks on, seem­ing­ly stu­pe­fied. But the truth is that Warhol hat­ed Zap­pa, and after the inter­view, he wrote in his Diaries, “I hat­ed Zap­pa even more than when it start­ed.” Part of what the show’s osten­si­ble host found so objec­tion­able was Zappa’s ego­ma­ni­a­cal per­son­al­i­ty. Though Warhol, like Zap­pa, con­trolled his own small inde­pen­dent empire, in tem­pera­ment, the two couldn’t have been more dif­fer­ent.

But there was also some per­son­al his­to­ry between them that went back to the ear­li­est days of the Vel­vet Under­ground. “I remem­ber,” Warhol goes on, “when he was so mean to us when the Moth­ers of Inven­tion played with the Vel­vet Underground—I think both at the trip, in L.A., and at the Fill­more in San Fran­cis­co. I hat­ed him then and I still don’t like him.” Zap­pa wasn’t sim­ply rude, how­ev­er; at a 1967 show in New York, he turned his tal­ent for ridicule into what Kalei­do­scope mag­a­zine writer Chris Dar­row called “one of the great­est pieces of rock’n roll the­ater that I have ever seen.”

The open­ing night was very crowd­ed and Zap­pa and mem­bers of the Moth­ers of Inven­tion showed up to show their sup­port. (…) Nico’s deliv­ery of her mate­r­i­al was very flat, dead­pan, and expres­sion­less, and she played as though all of her songs were dirges. She seemed as though she was try­ing to res­ur­rect the ennui and deca­dence of Weimar, pre-Hitler Ger­many. Her icy, Nordic image also added to the detach­ment of her deliv­ery. (…) The audi­ence was on her side, as she was in her ele­ment and the Warhol con­tin­gent was very promi­nent that night. How­ev­er, what hap­pened next is what sticks in my mind the most from that night. In between sets, Frank Zap­pa got up from his seat and walked up on the stage and sat behind the key­board of Nico’s B‑3 organ. He pro­ceed­ed to place his hands indis­crim­i­nate­ly on the key­board in a total, aton­al fash­ion and screamed at the top of his lungs, doing a car­i­ca­ture of Nico’s set, the one he had just seen. The words to his impromp­tu song were the names of veg­eta­bles like broc­coli, cab­bage, aspara­gus… This “song” kept going for about a minute or so and then sud­den­ly stopped. He walked off the stage and the show moved on.

What Warhol took per­son­al­ly may have just been the irre­press­ible out­growth of Zappa’s dis­dain for vir­tu­al­ly every­thing, which he express­es to Berlin in the inter­view. Orig­i­nal Moth­ers of Inven­tion drum­mer Jim­my Carl Black spec­u­lat­ed that he may have hat­ed the Vel­vet Under­ground because “they were junkies and Frank just couldn’t tol­er­ate any kind of drugs.” The two bands were also, briefly, com­peti­tors at MGM.

But per­haps Zap­pa just couldn’t tol­er­ate any­one else tak­ing the spot­light, espe­cial­ly a tal­ent­ed female per­former. Warhol remem­bers Zap­pa’s response to a com­pli­ment about his daugh­ter, Moon. “Lis­ten,” he sup­pos­ed­ly told Warhol, “I cre­at­ed her. I invent­ed her.… She’s noth­ing. It’s all me.” In con­trast to the “pecu­liar” reply, Warhol writes “if it were my daugh­ter I would be say­ing ‘Gee, she’s so smart,’ but he’s tak­ing all the cred­it.” Zap­pa may have been a musi­cal genius with a spe­cial entre­pre­neur­ial flair and inci­sive crit­i­cal wit, but the “sex­ist auto­crat… with a scabrous atti­tude,” as Car­lo Wolff describes him, “was not a like­able man.” Cer­tain­ly the mild-man­nered Warhol didn’t think so.

Relat­ed Con­tent:

Andy Warhol Dig­i­tal­ly Paints Deb­bie Har­ry with the Ami­ga 1000 Com­put­er (1985)

Frank Zappa’s 1980s Appear­ances on The David Let­ter­man Show

When Andy Warhol Guest-Starred on The Love Boat (1985)

Josh Jones is a writer and musi­cian based in Durham, NC. Fol­low him at @jdmagness

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Comments (61)
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  • Justin Baard says:

    He hat­ed him because Frank called out Phonies like him.

  • Spinay says:

    Pitts­burgh is so lame, slimy Andy is actu­al­ly revered. So said. Wish Frank grew up here.

  • NumericanPi says:

    Zap­pa praised vel­vet under­grounds first album and had some input on their sec­ond. What he did I imag­ine more reflects his con­fronta­tion­al ways.

  • Michael says:

    Maybe Andy was afraid of his intel­li­gence

  • NumericanPi says:

    I imag­ine what Warhol and Zap­pa had in com­mon is what Warhol did­n’t like about Zap­pa.

    Both praised as genius­es by many, both seen as BS artists by the major­i­ty. I see a lot of sim­i­lar­i­ties in their approach to art and moti­va­tion yet huge dif­fer­ences in their Mey­ers-Brig­gs espe­cial­ly around the E or I in ways that I imag­ine would cause Andy the hate Frank but not the oth­er way around.

  • Dirk Johnson says:

    Andy Warhol was a fake who got rich and famous on gulli­bil­i­ty. Con men do well in the Unit­ed States, but it does­n’t mean they have val­ue. Who cares what he liked or did­n’t like?

  • Paul Tatara says:

    Zap­pa was FAR more of an ass­hole than he was a genius. But if ever any­body were con­vinced of his own sup­posed genius, it was Zap­pa. His Mr. Smug rou­tine even made John Den­ver and Don­ny Osmond look more intel­li­gent and mature than him dur­ing those ridicu­lous con­gres­sion­al hear­ings about rat­ing records. At least Warhol was in on his own joke. Zap­pa should have con­tin­u­al­ly placed the micro­phone clos­er to his own rear-end to bet­ter get his points across.

  • Paul Tatara says:

    What, pray tell, did Frank Zap­pa have to do with the sec­ond Vel­vet Under­ground album??!

  • Paul Tatara says:

    Either that or his misog­y­ny, homo­pho­bia, racism, and malig­nant self-regard. I guess it’s a toss-up.

  • Dennis Anthony says:

    Zap­pa called out bull­shite, Andy, so it’s not sur­pris­ing that you did­n’t like him. Don’t feel spe­cial, tho, he did­n’t like too many ppl and he was rude to poseurs, like you. Den­nis (Carnegie Mel­lon U — like you, Andy)

  • Who says:

    Zap­pa was a dick and most of his music garbage parady. Warhol about the same.

  • David Houston Villalobos says:

    They say that peo­ple despise most what they see in them­selves

  • Janice says:

    Maybe it took one to know one

  • Gavin Elster says:

    Andy Warhol exploit­ed and ruined a lot of young, impres­sion­able lives. “Fac­to­ry” folk called him “Drel­la” Com­bin­ing Drac­u­la with Cin­derel­la. How apt.

  • Bradley Benshoff says:

    Zappa’s noise is garbage. Use­less noise mak­ing fools out of his sup­port­ers

  • Guillermo says:

    What Zap­pa and Warhol have in com­mon is that after hear­ing the “music” or look­ing at the art most hon­est peo­ple say, “I don’t get it.” Oth­ers who don’t hold that opin­ion are most­ly liars or lunatics.

  • Al of Edgewater says:

    I liked both of their artis­tic pro­duc­tion, but I could not real­ly care at all about who was the big­ger ass­hole.

  • Baba Round says:

    Zap­pa ful­la Cra­pa was the turd in Twinkletoe’s punch bowl . Though both were huge­ly nar­cis­sis­tic medi­oc­ri­ties, But for mean­ness (nam­ing his kids Moon Unit and Dwee­vzil ) the per­verse and cranky Frankie def­i­nite­ly takes the cake. How­ev­er in posit­ing this some­what cyn­i­cal cri­tique, I must acknowl­edge the fact that I gen­er­al­ly, and almost always hap­pi­ly applaud zani­ness, so these two larg­er (or small­er) than life char­ac­ters com­ing togeth­er and bounc­ing off of each other’s inflat­ed egos, I find to be strange­ly appeal­ing, in a David Lynch kin­da way.

  • Donnie Anderson says:

    I think they both were great in there par­tic­u­lar medi­ums

  • Büübchekr says:

    “Misog­y­nist, homo­pho­bia, blah blah.…” Yawn.… G.…A.…F.…L

  • IHM says:

    The typ­i­cal homo­pho­bia and misog­y­ny low­er mid-wit squawk­ing is to be expect­ed but peo­ple say­ing that Frank was a hack or a mediocre composer/musician, that’s next lev­el stu­pid­i­ty. Next time just say, “I don’t know a sin­gle thing about music, I don’t care to and here I am on the inter­net show­ing every­one how stu­pid I am.”🤣 The guy had the great­est musi­cians in the world com­pet­ing against each oth­er to be in his band for his entire career and prac­ti­cal­ly every sin­gle musi­cian who ever worked with him regard­ed him as one of the most cre­ative, tal­ent­ed musi­cians and com­posers they ever knew, even the ones who weren’t very friend­ly with him, even the ones he kicked out of the band for using drugs. Your opin­ions are sub­jec­tive but your igno­rance is pure­ly objec­tive.

  • QuentinRobertDenameland says:

    Well said, IHM.

  • Chris says:

    Sure, Zap­pa was arro­gant. But he had the goods. If you don’t know his work on more than a super­fi­cial lev­el, lis­ten more & type less.

  • jeb roe says:

    Jim­my Carl Black would know bet­ter than any­one. i knew him. He was great drum­mer and good peo­ple. Most prob­a­bly Frank hat­ed the Velevets cause of their drug use.
    Fz doing a key­board impromp­tu vocal pieceimatat­ing Nico is, to me, a huge com­pli­ment not a dig
    Maybe he want­ed show her how to call any veg­etable by name.
    Maybe so Nico to could know how sexy veg­eta­bles can real­ly be?
    FZ was the real deal. And he could be a real ass hole too.
    He wrote it
    ” You’re an Ass­hole”
    That makes him an expert Maybe .
    Regard­less he was a great com­pos­er, gui­tarist, leader, artist etc.
    Google say jt pro­duc­tions
    “Zap­pa Beef­heart “or
    ” She Dances in the wind”
    I wrote those.
    FZ inspired me to com­pose music

  • Nicolas says:

    Wow, this name drops a truck­stop’s worth of tal­ent­less mis­fits.

  • Nicolas says:

    The great­est musi­cians in the world. That works if you have a remark­ably atten­u­at­ed knowl­edge of musi­cians. Zap­pa was, above all, a mas­ter of pre­ten­sion. It’s dubi­ous to even call his prod­uct music.

  • Nicolas says:

    Almost right, but Zap­pa does­n’t make fools of them, he sim­ply exploit­ed their nat­ur­al dis­po­si­tions.

  • Nicolas says:

    Speak­ing of pre­ten­tious.

  • Nicolas says:

    The best post; rich with irony.

  • Nicolas says:

    In the 18th cen­tu­ry it was the cus­tom to cap­i­tal­ize nouns such as “Phonies.” It’s nice that you are keep­ing archa­ic Eng­lish alive.

  • David Wells says:

    Do mean ole Frank hurt you?

  • Manney says:

    I like both bands but of all the peo­ple quot­ed I trust Jim­my Carl Black’s state­ments as true . Frank Zap­pa recy­cled a lot of his music, reti­tled it and passed it off as “new”. He was a gift­ed com­pos­er and musi­cian but he hat­ed any type of author­i­ty ( deserved­ly) and cur­rent com­peti­tors such as The Vel­vet Under­ground which Andy Warhol pro­duced label­ing them as “phonies “. Both bands couldn’t be more far apart. The root cause of Zappa’s hatred is most like­ly his love­less upbring­ing, his phys­i­cal ugli­ness, and the crit­i­cal suc­cess of TVU which he didn’t achieve at the time. TVU’s debut album was far more appeal­ing and to this day loved than Frank’s “Freak Out”, poor­ly record­ed and pro­duced with 90% crap music sold as “art”. In lat­er years Zappa’s suc­cess and pop­u­lar­i­ty was at best mar­gin­al and not main­stream as Warhol has achieved although in entire­ly dif­fer­ent mar­kets. Zap­pa was a bit­ter, angry and nasty man. Very intel­li­gent but his ugli­ness was from both inside and out. The guy in Eng­land who pushed him off­stage for being a jerk went basi­cal­ly unpun­ished, and Zap­pa suf­fered phys­i­cal pain for the rest of his life. Warhol died after a rou­tine gall blad­der oper­a­tion due to a Typ­val New York med­ical mal­prac­tice, while Zap­pa died of his own stu­pid­i­ty: lack of self care and per­pet­u­al chain smok­ing crates of cig­a­rettes per day for decades. The prostate can­cer didn’t come from thin air. While Andy Warhol’s death was mourned by bil­lions around the world, Zappa’s death was mourned by the freaks he sur­round­ed him­self with from cap­tain beef­heart to con­vict­ed pedophile bassist Roy Estra­da to Wild Man Fis­ch­er. All garbage, as was 75% of Zappa’s music. A very sick lit­tle man. He didn’t fare bet­ter on SNL either. An ass­hole. Good rid­dance to Frank. We still miss you, Andy.

  • rechill says:

    It’s telling that the worst writ­ing and spelling in this thread comes from peo­ple attack­ing Zap­pa. That and those bend­ing over back­wards to do the wokey pokey.

  • Cliffy B says:

    I know music is sub­jec­tive, but to say 75% of Frank’s music was crap, is an igno­rant state­ment, he released dozens of albums, with a wide vari­ety of songs and com­po­si­tions, with extreme­ly tal­ent­ed musi­cians, includ­ing Steve Vai, one of the great­est gui­tarists on Earth, Freak Out was only one album, not a very seri­ous record, lis­ten to oth­er of his releas­es, he was absolute­ly a musi­cal genius, an amaz­ing gui­tarist and com­pos­er, don’t be a hater, keep it real

  • Gary Gomes says:

    I saw those hear­ings (and a sub­se­quent dis­cus­sion on rock cen­sor­ship that was aired as a des­per­ate attempt to make Tip­per Gore’s hys­te­ria look legit­i­mate) and Zap­pa was cool, calm, col­lect­ed and intel­li­gent.
    I don’t get a lot of the anti-Zap­pa posts I am see­ing unless it is based on the atten­tion Zap­pa had dat­ing back to the 1960s as some­one who was intel­li­gent, artic­u­late, tak­en seri­ous­ly and had a per­son­al inter­est in free­dom of speech.
    Warhol was con­tent to bask in the glow of admir­ers; Zap­pa actu­al­ly put him­self out there as a con­sis­tent advo­cate for free speech and was con­sis­tent­ly anti-cen­sor­ship. He was will­ing to take risks. Warhol real­ly nev­er did.
    Zap­pa was­n’t per­fect but at least he put him­self on the line. He was­n’t pro­tect­ed by the arts com­mu­ni­ty as Warhol was.

  • Gary Gomes says:

    Inter­viewed by Mojo Mag­a­zine Lou Reed revealed that dur­ing the record­ing of The Vel­vet Under­ground’s album White Light/White Heat (1968) Zap­pa and the Moth­ers were record­ing at the same stu­dio. Reed said that the sound effect of a knife stab­bing through the pro­tag­o­nist’s skull in the song The Gift from that album was actu­al­ly sug­gest­ed by Frank Zap­pa: “You’ll get a bet­ter sound if you do it this way.”, he said. Accord­ing to Reed Zap­pa also said: “You know, I’m real­ly sur­prised by how much I like your album.” [3]
    Not a big assist, but some­thing.
    A few folks trace the ani­mos­i­ty between the bands to Zap­pa get­ting his debut released before the VU’S debut(and they were in com­pe­ti­tion for PR sup­port) and, at least in the word of Jim­my Carl Black, Frank did­n’t like drug use and the VU were pret­ty much addict­ed to hero­in.
    Zap­pa once cit­ed “All Tomor­row’s Par­ties” as one of his favorite songs. The Vel­vets were also jeal­ous of the Unit­ed States of Amer­i­ca (Nico want­ed to join the group) and knocked over all their equip­ment at a show.
    Reed lat­er soft­ened in his assess­ment of Zap­pa, too.
    I was a big Moth­ers’ fan but nev­er warmed to the VU, prob­a­bly because I thought they took them­selves far too seri­ous­ly, a com­mon prob­lem with rock groups of the time. Zap­pa was seri­ous, but nev­er came across that way to me.
    The inter­est in stir­ring up con­tro­ver­sy over a minor encounter that hap­pened 50 years ago between two dead peo­ple is fas­ci­nat­ing to me.
    Even if I were SOMEBODY in that world, Warhol’s opin­ion of me would be fair­ly irrel­e­vant.
    How any­one feels about Zap­pa or Warhol is their busi­ness; I was just point­ing out Zap­pa’s “assis­tance” on the 2nd VU album.

  • Gary Morris says:

    Lots of fas­ci­nat­ing info here that shows the com­plex­i­ties of Xap­pa and the VU. Appre­ci­ate your com­ment and the nod to the bril­liant group the Unit­ed States of Amer­i­ca. Thanks.

  • L Clifton says:

    He sug­gest­ed (record­ing in the same stu­dio as them) they hit a can­taloupe mel­on to emu­late a blade hit­ting a head for the track called The Gift.….not much I grant you .…but a con­tri­bu­tion none the less!

  • Jacques Auff says:

    Frank hat­ed the VU because they were bad at play­ing their instru­ments.
    Iron­ic that it was Reed who induct­ed Frank into the R&RHOF.

  • Mikee says:

    Thank you !

  • Howland Bickerstaff says:

    I believe Rick Berlin was a found­ing mem­ber of the Boston band Berlin Air­lift. He was from the Philadel­phia and,if I remem­ber cor­rect­ly, his giv­en name was Kin­scherf.

  • Howland Bickerstaff says:

    I believe Rick Berlin was a found­ing mem­ber of the Boston band Berlin Air­lift. He was from the Philadel­phia area orig­i­nal­ly, and,if I remem­ber cor­rect­ly, his last name was Kin­scherf. We attend­ed the same prep school there. He was a year or two ahead of me.

  • MaybeSo says:

    I’m with Don­nie.

  • Delling says:

    This is a lot com­ing out of a guy who played a bicy­cle.

  • Moore says:

    Musi­cal­ly very tal­ent­ed, but even I, as a progress nev­er real­ly got into him. I did see his ‘Shut up and Play Your Gui­tar’ tour in about 1983 I think. It was one con­tin­u­ous jam, until some­one thru the rub­ber chick­en on stage, as wa a tra­di­tion at his con­certs. He stopped the music, made some remarks, and on they con­tin­ued.

  • Melissa says:

    Oh. Because the Chelsea Hotel scene was­n’t a sex­ist pit of a place to exist as a woman. Andy Warhol belit­tled women on the reg­u­lar. Get your facts straight before you start fling­ing accu­sa­tions.

  • Rod Stasick says:

    Today’s tech­nol­o­gy offers the won­der­ful option of remov­ing vocals from Zap­pa (as well as Grate­ful Dead) record­ings.

  • ale brecht says:

    We’re full of admi­ra­tion. For how the US ele­vates. All that is mediocre (almost all).

    Like Zap­pa we left Bal­ti­more, Mur­der­land, but we went east, not west.

    Andy was born in 1928, same as Fats Domi­no, Serge Gains­bourg and Don­ald Judd.

    Zap­py in 1940, same as Mic­ki Har­ris (Shirelles), Smokey Robin­son, Al Jar­reau, Her­bie Hancock,same as a Bea­t­les, and the Right­eous Broth­ers (Bill Med­ley, Bob­by Hat­field, John and Ringo).

    Like Zap­pa we left Bal­ti­more, Mur­der­land, but we went east not west. It seems to have a lot to do with why I’m almost always think­ing, won­der­ing, yad­da, yad­da, yad­da. No way these anglo-celebie-clowns will stand the test of time. Esp when I think of 500 years ago (Eras­mus), 300 years ago (Ver­meer), 100 years (Debussy).

    Come the year 2150, these two will be on Wikipedia, but just can’t see folks, esp out­side Killsville, being very deeply inter­est­ed in their whin­ing.

  • Captain Cheese-Beard says:

    I can under­stand that peo­ple don’t like Zap­pa’s music but any­one who don’t recog­nise his musi­cal genius actu­al­ly knows noth­ing about Zap­pa’s music or noth­ing about musi­cal com­po­si­tion. Zap­pa was as far as I am con­cerned the great­est com­pos­er the 20th cen­tu­ry had to offer. Also Zap­pa was not racist at all, he was not homo­pho­bic and actu­al­ly pret­ty pro­gres­sive in regard to women.
    He just liked to pro­duce rude com­e­dy about every demo­graph­ic. . Was he a nice guy? Depend­ing who you talk to you get dif­fer­ent answers. I per­son­al­ly have spo­ken and played with some musi­cians who played with him and they described him as pret­ty laid back and respect­ful.
    In oth­er words, your com­ments are as grotesk as they are igno­rant.

  • Fred says:

    Tell every­one where Frank touched you.

  • James says:

    Zap­pa had tal­ent. Warhol took pic­tures of soup cans

  • Grateful Garth says:


  • Bats says:

    Look up the word ‘philis­tine’. You might see your pho­to there.

  • Danny says:

    Zap­pa is a typ­i­cal Cal­i­for­nia hip­ster ass­hole, Warhol is a typ­i­cal New York hip­ster ass­hole. Both were vying for the posi­tion of the author­i­ty on what is cool, but they couldn’t agree on what it is. Zap­pa was on the supreme lev­el of tech­ni­cal abil­i­ty and mas­tery of one’s craft, yet prac­ti­cal­ly unlis­ten­able and not appeal­ing to the mass­es to say the least, Warhol prac­ti­cal­ly the reverse, fine art dumb­ed down to the sim­plest form yet mass appeal for days. I actu­al­ly like Warhols approach more and I am a musi­cian.

  • Julio says:

    Any­one who says “I don’t get it” about Zap­pa’s music either has­n’t lis­tened to it or has nev­er both­ered to learn the first thing about com­po­si­tion. It’s ok to say “I don’t like it”, that’s pure opin­ion and every arse­hole has one, but claim­ing some­one is a liar because they don’t say “I don’t get it” is dis­play­ing igno­rance of the high­est order.

  • Richard says:

    Heck, I know I am!

  • Frank says:

    Frank dis­plays a sort of Mid­west­ern type of com­mon sense
    to tell it like it is,except with genius-like con­fi­dence. It’s some­thing that can irri­tate some people.Sort of like George Car­lin with­out the moniker of being a come­di­an

  • Cara Lundgren says:

    Um, he cre­at­ed an entire Art move­ment and a scene, he had ideas and tal­ent to back it. He wrote books, had a great sense of humor, was extreme­ly intel­li­gent, cre­at­ed a fash­ion move­ment, dis­cov­ered bands and actors, and pret­ty much tried a lot of stuff good and BAD. Oh I for­got he start­ed Inter­view Mag­a­zine and coined the phras­es “super­star” and said “in the future every­one will be famous for 15 min­utes” and he was right. Who care what he thinks? Any­one with style.

  • Cara Lundgren says:

    Andy cre­at­ed an entire Art move­ment and a scene, he had ideas and tal­ent to back it. He wrote books, had a great sense of humor, cre­at­ed a fash­ion move­ment, dis­cov­ered bands and actors, and pret­ty much tried a lot of stuff good and BAD. Oh I for­got he start­ed Inter­view Mag­a­zine and coined the phras­es “super­star” and said “in the future every­one will be famous for 15 min­utes” and he was right. Who cares what he thinks? Any­one with style.

  • ChuckZ says:

    Zap­pa is one of, if not the most, over-rat­ed musi­cal artists in mod­ern his­to­ry, and that’s con­sid­er­ing his rel­a­tive­ly mid stand­ing among crit­ics.

  • There are those who call me...Tim says:

    Can’t argue that Warhol absolute­ly used every woman who passed through his “col­lec­tive” in the most belit­tling way, but to be fair? Warhol built his entire career upon the arro­gant use and abuse of EVERYTHING in his world…his great­est tal­ent was his abil­i­ty to spot poten­tial in oth­ers, then exploit­ing the liv­ing hell out of them until the 15 min­utes Warhol grant­ed them were used up.

    And in the name of com­plete fair­ness, Frank Zap­pa did the exact same thing with the musi­cians in his cir­cle. Main dif­fer­ence is, Frank nev­er lied about being a pre­ten­tious ass­hole.

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