In this episode we continue with the second half of our conversation about Warhol’s anti-films. We talk about lonesome cowboys, sexploitation, screen tests, and how the Factory scene was ripped off for a much more mainstream Oscar-winning movie — which didn’t make Andy very happy.

The Factory scene produced all sorts of art, including films. We start with Warhol’s anti-film Sleep and dive into underground movies from the period and The Factory’s influence on them.

Andy Warhol elevated music album art to a new level. Building on our last episode, we talk about Andy’s influence on other "special" treatments of albums that make having the real thing worth the effort. The Rolling Stones make an appearance.

Beginning with the backstory of one of the most iconic albums of all time, 1967’s “The Velvet Underground and Nico,” we return to The Factory scene as it was becoming commercially successful—but no less of a sideshow—as musicians come calling for new ideas or simply hipster art cred.

We reached out to Kate Christensen after reading an article she wrote about marketing and nostalgia. We talk toys, food and childhood memories among many, many topics. So grab your favorite feel-good drink and join us in the bar.

This episode wraps-up the chronicle of The Factory’s downward slide. Drella has made the scene at The Factory and there has been some fallout. A script entitled “Up Your Ass” led to Andy Warhol barely cheating death at the hands of its author, Valarie Solanas.

This episode begins the chronicle of The Factory’s downward slide. If you work with and entertain people living on society’s fringes, things happen…some good, some not so good.

We wrap-up the second of our two episodes by talking about just how high (pun intended) the Silver Factory could get.

We begin with the first of two episodes talking about the rapid and unprecedented success of Andy Warhol’s Silver Factory. It was part studio, part party palace and part crash pad for tripping pop stars, street gurus and suicidal Superstars.

Easily New York’s most successful commercial illustrator, Ambitious Andy wanted to be accepted in the hoity-toity fine art world. Unfortunately, he found that would take a little time and the right moment.

We begin our fourth season with an introduction to the cultural chaos of the mid-1960s, when Warhol found himself in the right place at the right time.

Pepsi announced it’s moving forward by moving backwards (sort of), returning to more of a traditional look for their logo and cans. But as they kick their last logo to the curb, we go back in time to discuss how they became saddled with this burdensome brand look in the first place.

In this episode we take a step back from our typical subject matter to answer questions submitted by you, our listeners.

Turns out we’re not quite ready to let The Beats go! Sticking with our topic of separating myth from reality, we wrap-up our dive into mainstream interpretations with a quick conversation about the Sinatra movie The Man with the Golden Arm.

For our final episode about The Beats, we touch on the TV debut of The Many Loves of Dobie Gillis and the introduction of a character named Maynard G. Krebs.

For our final illustration episode, we wrap-up our jazz album conversation by sharing the story and work of Jim Flora.

Building on our last episode, we continue talking illustrators and jazz albums by sharing the story of S. Neil Fujita.

Records have always featured mood-setting illustrations in addition to more standard photographs. In this episode we share the story of the fun and idiosyncratic illustrator David Stone Martin finding jazz music.

Any conversation about art will involve Andy Warhol sooner or later. Today we jump in and discuss album illustration from early in his career for Count Basie, a group called Trombone By Three and a duet with Thelonious Monk and Sonny Rollins.

The jazz label Blue Note Records existed before Reid Miles was hired, so we talk about the guy who set the stage for him: John Hermansader.