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I was a lump of meat left for too long in a freezer, a body trapped beneath the ice, sinking down into the dark. Pushing himself to new extremes, he embarks on his toughest climbs yet — on big walls in the Alps and Patagonia — in the depths of winter. Kirkpatrick has more success, but the savagery and danger of these encounters comes at huge personal cost. Questioning his commitment to his chosen craft, Kirkpatrick is torn between family life and the dangerous path he has chosen. Written with his trademark wit and honesty, Cold Wars is a gripping account of modern adventure.
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Himself - Actor. Himself - Interviewee. Himself - Narrator voice. Himself - Host. The Making of 'Flushed Away' Himself - Reader. Show all 14 episodes. Video documentary short Himself. Bit Chat Guest. Related Videos. Edit Did You Know? Personal Quote: I do feel incredibly liberated when I'm inside another's skin, basically, and so method does afford you that, hugely. Nickname: Gollum. Star Sign: Taurus. Edit page. Clear your history. IMDb Everywhere. Follow IMDb on. DPReview Digital Photography.
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Audible Download Audio Books. Being snubbed was traumatic. Moving was traumatic. Standing still was traumatic. To invoke his never-disappearing traumas is not to assert that a villain wounded him. After all, the earth is a traumatic place. Initially, she didn't want to marry Andy's father, the first Andy -- Andrej, born November 28, , also in Mikova. Her father beat her into accepting the proposal; she was further persuaded by candy that Andrej offered.
When interviewed by Esquire in the late s, she said, "My Daddy beat me, beat me to marry him I cry. I no know. Andy visit again. He brings me candy.
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I no have candy. He brings me candy, wonderful candy. And for this candy, I marry him. Julia loved candy, and so did little Andy. No wonder that the greatest drag queen in his eventual orbit should have named herself Candy Darling, in coincidental homage to his favorite drug. In his fanciful The Philosophy of Andy Warhol From A to B and Back Again ghostwritten by Pat Hackett and others, and called on its original title page THE Philosophy , the definite article -- like the indefinite -- a source of mystery to Andy , he recounts that his mother gave him candy bars as reward for every page completed in a coloring book.
As an adult, he continued to dote on sweets. Tom Wolfe reports Andy refusing food at society dinner parties and declaring, "Oh, I only eat candy"; after he was shot in , and could, for a time, only tolerate liquids, he would retreat to the restaurant Serendipity 3 on East Sixtieth Street and nurse a Frozen Hot Chocolate. Beaten into marriage, bribed by candy, Julia suffered a second trauma: in , after her husband left for the United States in search of work, leaving her in the old country, their first child, Justina, died; according to Victor Bockris, whose biography provides the fullest recounting of Warhol's early years, the infant died because "she had been unable to move her bowels.
Julia describes the death of her first child: "My husband leaves and then everything bad. My husband leaves and my little daughter dies. I have daughter, she dies after six weeks. She catch cold. No doctor. We need doctor, but no doctor in town. Oh, I cry. Oh, I go crazy when baby died. I open window and yell, 'My baby dies. My little girl. Little Andy might have been haunted by the dead infant girl left behind in her grave in Czechoslovakia, after Julia emigrated in to join her husband in Pittsburgh, where he'd found employment as construction worker; Mrs.
Warhola was a histrionic storyteller, particularly about her life in Eastern Europe, and she may often have discussed dead Justina with her other babies. She had three more. The first two -- Paul, born in , and John, born in -- grew into virile and sturdy lads. Andy, third and last, born in , was a different proposition. Masculinity was a subject he failed from the start.
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Indeed, masculinity, a discipline, grounds the elementary curriculum, and so Andy wanted to skip school and stay home with Julia, left alone with the kids while his father, Andrej, a stocky man who seems to have been neither spectacularly kind nor unkind, traveled to scattered construction sites. Andy's first documented trauma concerns school failure. The various studios and factories he later formed were compensatory pedagogical institutions, like reform schools or special-ed classes; through queer ateliers, he attempted to smash the template of mass instruction, and to impart knowledge differently.
At the early age of four, Andy matriculated at Soho Elementary School -- for one day only. Apparently, a girl hit him; he burst into tears and was so traumatized that he didn't return to school for two years. He would retain an aversion to school's harness or to any dogmatic confinements. His refusal of school, in , was his first anarchic act -- a revolution without a context. Tears later changed to calculated dissensions.
When he returned to school two years later, he made friends with girls, not boys.
Quickly he realized that boys' life was anathema, that boys would fail him; that only girls were amusing, useful, and sympathetic. Mother was a girl, a candy purveyor, and an artist -- she scissored tin cans into floral shapes and sold them door to door for twenty-five cents. She offered him treasures: flowers, cans, candy, chatter. Andy's next trauma, after the failure to enter school, was the disease, St. Vitus' Dance, or chorea, that struck him when he was eight.
In the quixotic Philosophy , he calls it a nervous breakdown. One should remember, when trying to take his books at face value, that he didn't entirely write them, and that he was a liar. Biographer Bockris reports that Andy came down with St.
Vitus' Dance in the autumn of , and that illness kept him away from school, an invalid at his mother's side; he occupied a bed off the kitchen for a month. Symptoms of chorea included skin blotches and uncontrolled shaking. Both echoed in Warhol's future, and though he left no direct verbal commentary about what it felt like to shake or to endure dermatological disfigurement, in his mature artworks he refracted these experiences, letting stigma reverberate in painting, film, and performance.
I will digress -- or zoom chronologically ahead -- to describe these later artistic recastings of St.
Andy's War Hole - Imgur
Vitus' Dance, for they represent childhood trauma's consummation, cancellation, and vindication. By the time Andy became famous, in the early s, the blotches had gone away, but they marked his face in adolescence and early adulthood, and he had bad skin his entire life; bad skin links him to Dorian Gray's pustular portrait, hidden by the smooth-skinned cheat. Films and paintings were dermatological cures and fountains of youth: canvas allowed Warhol to feel thick-skinned, as celluloid's transparency gave him a scarless skin of air and light.
Few snapshots fully reveal Andy's blotches, but one set, taken by his friend Leila Singleton Davies, shows him cavorting in New York, in the late s, with friends, and the discolored patterns on his face and neck resemble jigsaw ovoids. Facial blotches reappeared in his series of s paintings that copied military camouflage patterns -- the style used in Vietnam, a war that he didn't go out of his way to protest, except indirectly, through films in which his improvising actors wanly offered pacifist sentiments. He also made self-portraits in which he superimposed camouflage protozoa -- boomerangs, squiggles -- onto his face: these protective designs, meant to give soldiers a lizard's adaptability, resembled the skin blotches that made Andy feel exposed and reptilian.
Blotches recurred in the colored gel projections cast on members of the Velvet Underground the rock band he sponsored in the s in multimedia presentations that traveled under the name Exploding Plastic Inevitable , and also in his movie The Chelsea Girls : Pop colors streak the face of chanteuse Nico and the dancing body of faunlike Eric Emerson, Andy's Nijinsky, and suggest that beauty consists in adulterated skin, scarified by blotches that resemble peninsulas, islands, or rocks, and that lack human referent.
Finally, let me float the hypothesis that Warhol's two primary artistic methods, the "blotted line" technique an inked image blotted onto another sheet, like lipstick on a tissue and silkscreening, are elaborate forms of blotching, in compensatory mimicry of his skin -- correcting the flaw by imitating it mechanically and making it seem expensive and attractive.
We are leaping ahead of our story. Andy hasn't yet discovered silkscreening or the blotted line. Not yet an artist, he is eight years old, dreaming of Shirley Temple and writing away for her autographed picture, and he is covered with blotches. To boot, he is shaking -- not like Martha Graham, but like a spastic.
His original aspiration was to be a tap dancer, like his first idol, Shirley Temple.
Coming down with chorea, he became a sort of dancer. The uncontrolled shaking, at first undiagnosed, leading others to think him clumsy and febrile, took the Shirley fantasy somewhere dark: tap is conscious, while St. Vitus' Dance is hapless.