By Jan Greenberg, Sandra Jordan
“IN the longer term every body can be international recognized for 15 minutes.”
The Campbell’s Soup Cans. The Marilyns. the electrical Chairs. The vegetation. The paintings created through Andy Warhol increased daily photographs to artwork, making sure Warhol a reputation that has a long way outlasted the quarter-hour he estimated for everybody else. His very identify is synonymous with the Nineteen Sixties American paintings stream often called Pop.
But Warhol’s oeuvre was once the sum of many elements. He not just produced iconic paintings that mixed excessive and pop culture; he additionally made debatable movies, starring his entourage of the attractive and outrageous; he introduced Interview, a slick journal that keeps to promote this present day; and he reveled in prime the forefront of latest York’s hipster way of life. The manufacturing facility, Warhol’s studio and den of social happenings, used to be where to be.
Who may have estimated that this eccentric boy, the Pittsburgh-bred son of jap ecu immigrants, may catapult himself into media superstardom? Warhol’s upward thrust, from poverty to wealth, from obscurity to prestige as a Pop icon, is an soaking up tale—one within which the yankee dream of repute and fortune is performed out in all of its luck and its extra. No artist of the overdue twentieth century took the heartbeat of his time—and ours—better than Andy Warhol.
A Robert F. Sibert Honor Book
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Additional resources for Andy Warhol: Prince of Pop
The group was “discovered” at a New York City nightclub by Gordon Jenkins, the managing director of Decca Records, and between 1950 and 1954 they placed eleven records in the Top 40. It is difficult to gauge what impact the Weavers might have had on pop music had they been allowed to sustain their early success. ) Decca Records, unwilling to withstand the heat, dropped their contract, and the Weavers never again appeared on the pop music charts. a. Leadbelly, 1889–1949), was the most successful of their recordings, reaching the Number One position on the pop charts in 1950.
By the early 1950s these pop stars had been joined by a younger generation of vocalists, who specialized in sentimental ballads, novelty numbers—cheerful, disposable songs that often resembled advertising jingles—and crooner-style cover versions of country and western and rhythm & blues hits. These vocalists were promoted to the expanding teenage audience. The musicians’ union recording ban of 1942–44—which had banned instrumentalists from recording but did not apply to even the most musically gifted vocalists—encouraged a number of big-band singers to begin recording under their own names, sometimes with choral accompaniment.
It too is a strophic song with three verse-chorus strophes; see the accompanying listening chart. The fact that both of these songs share this basic form illustrates how useful and flexible a formal conception the strophic song with verses and a chorus can be. The listening chart for “Choo Choo Ch’ Boogie” is our first example of the fully detailed charts that will be presented regularly throughout this book to facilitate in-depth discussion of some particularly significant recordings. The reader is urged to refer to the chart to reinforce and supplement the discussion that follows, and also to use the chart as a visual aid when listening to the record.