Edie Sedgwick is "The Girl of the Year"........(still).

Edie Sedgwick

~From Wikipedia, the free encyclopedia
en.wikipedia.org/wiki/Edie_Sedgwick

Edith Minturn "Edie" Sedgwick (April 20, 1943 – November 15, 1971) was an American socialite, debutante and heiress who starred in many of Andy Warhol's short films in the 1960s.

Edith Sedgwick was born at the Cottage Hospital in Santa Barbara, California to Francis Minturn Sedgwick (1904-1967), a sculptor, philanthropist and rancher, and Alice Delano de Forest. Edith was named after her father's sister, Edith Minturn Sedgwick, who died at birth. At St.Timothy's School in Stevenson, Maryland, she assumed the middle name of Minturn.

Family History:

Edie Sedgwick's family came from Stockbridge, Massachusetts where Edie's great-great-great grandfather Judge Theodore Sedgwick had settled after the American Revolution. Theodore Sedgwick was the first to plead and win a case for the freedom of a black woman, Elizabeth Freeman, Mum Bett, under the Massachusetts Bill of Rights that declared all men to be born free and equal. Edie's mother was the daughter of Henry Wheeler de Forest (President of the Southern Pacific Railroad, and direct descendant of Jesse de Forest whose Dutch West India Company helped to settled New Amsterdam).
Her paternal grandfather was Henry Dwight Sedgwick III, historian and acclaimed author. Sedgwick's family has been long established in Massachusetts history, with members having been painted by the artist John Singer Sargent. Her great-great-great grandfather, William Ellery, was a signatory of the Declaration of Independence.
She was a cousin of actress Kyra Sedgwick. Edie was preceded in death by the suicides of her brothers Mintie and Bobbie.

Modeling career:

Sedgwick pursued a brief career in modeling, appearing in Vogue on March 15, 1966. She also appeared in the September 1965 issue of LIFE and was featured in Vogue as a 'youthquaker" in 1965.
Although she appeared in magazines like Vogue, she never became an accepted part of the fashion industry. According to senior editor Gloria Schiff: "she was identified in the gossip columns with the drug scene, and back then there was a certain apprehension about being involved in that scene... people were really terrified by it... drugs had done so much damage to young, creative, brilliant people that we were just anti that scene as a policy". However, editor in chief of Vogue, Diana Vreeland, called her an exemplar of the era's youth culture.

The Warhol days:

In January 1965, Sedgwick met Andy Warhol at Lester Persky's apartment. She began going to the Factory regularly in March with Chuck Wein. During one of these visits, Warhol put her into Vinyl. She made short cameo appearances in Warhol's film, Horse, when she and Ondine entered the Factory toward the end of the film.
On April 30, 1965, Warhol took both Sedgwick and Wein (as well as Gerard Malanga) with him to the opening of his exhibit at the Sonnabend Gallery in Paris. Upon returning to New York City, Warhol told his scriptwriter, Ron Tavel, that he wanted to make Sedgwick the queen of the Factory and asked him to write a script for her: "Something in a kitchen. White and clean and plastic." The result was Kitchen, with Sedgwick, Rene Ricard and Roger Trudeau. It was shot at soundman Buddy Wirtschafter's studio apartment.
After Kitchen, Wein replaced Tavel, being credited as writer and assistant director for the filming of Beauty No. 2, in which Sedgwick appeared with "Gino [Piserchio], a hunk in jockey shorts". Beauty No. 2 premiered at the Cinematheque on July 17th and her onscreen appearance was compared to Marilyn Monroe's. During this time she became Warhol's Girl of the Year. The pair would often dress alike, and Sedgwick frequently called herself Miss Warhol. The friendship did not last beyond 1966 when Warhol and Sedgwick made an acrimonious public split. As a result of her popularity, she was getting a lot of advice from people to leave him and become a real actress.
Warhol filmed Sedgwick for The Chelsea Girls but when she left the Factory, he edited her out of the film, ostensibly at her request. Her footage was replaced with a shot of Nico with colored lights projected on her face with Velvet Underground music in the background.

Bob Dylan and Bob Neuwirth:

Following her departure from Warhol’s circle, Sedgwick began living at the Chelsea Hotel, where she became close to Bob Dylan. There is , however, no evidence that Segwick had a romantic relationship with Dylan, and he denies it. She is rumoured to be one of the inspirations behind Dylan's seminal 1966 opus Blonde on Blonde, in particular, the acidic put-down song "Just Like a Woman" and the raucous stomper "Leopardskin Pillbox Hat". It was also claimed that the phrase "your debutante" on the track "Stuck Inside of Mobile With the Memphis Blues Again" referred to her. Dylan’s friends eventually convinced Sedgwick to sign up with Albert Grossman, Dylan's manager.
Their relationship ended when Sedgwick found out that Dylan had married Sara Lowndes in a secret ceremony - something that she apparently found out from Warhol during an argument at the Gingerman Restaurant in February 1966.
Paul Morrissey: "She [Sedgwick] said, 'They're [Dylan's people] going to make a film and I'm supposed to star in it with Bobby [Dylan].' Suddenly it was Bobby this and Bobby that, and they realized that she had a crush on him. They thought he'd been leading her on, because just that day Andy had heard in his lawyer's office that Dylan had been secretly married for a few months - he married Sara Lowndes in November 1965... Andy couldn't resist asking, 'Did you know Edie that Bob Dylan has gotten married?' She was trembling. They realized that she really thought of herself as entering a relationship with Dylan, that maybe he hadn't been truthful."
In 1966, Sedgwick continued a tumultuous relationship with Dylan's "right hand man" Bob Neuwirth. During this period, she became dependent on heroin and barbiturates. Neuwirth eventually parted ways with Sedgwick in early 1967, unable to deal with her drug use and erratic behaviour.

Later Years:

Sedgwick auditioned for Norman Mailer's play The Deer Park, but Mailer thought she "wasn't very good... She used so much of herself with every line that we knew she'd be immolated after three performances".
In April 1967 she began shooting Ciao! Manhattan, an underground movie in which she starred. After initial footage was shot in New York, work on the film was abandoned due to budget and legal problems. Sedgwick’s rapidly degenerating health saw her return to her family in California and spend time in several different psychiatric institutions.
In August 1969, she was hospitalized in the psychiatric ward of Cottage Hospital after being busted for drug offenses by the local police. While in the hospital she met another patient, Michael Post, whom she would later marry on July 24, 1971. Sedgwick was in the hospital again in the summer of 1970 but was let out under the supervision of two nurses, and aimed to finish Ciao! Manhattan.

Her Death:

When she married Michael Post on July 24, 1971, she supposedly began drinking and taking pills until October when pain medication was given to her to treat a physical illness. She remained under the care of Dr. Wells who prescribed her barbiturates, but she would demand more pills or say she had lost them in order to get more, often combining them with alcohol.
On the night of November 15, 1971, Sedgwick went to a fashion show at the Santa Barbara Museum, a segment of which was filmed for the television show An American Family. After the fashion show, she attended a party and was supposedly attacked by a drunken guest who called her a heroin addict. She phoned Post, who arrived at the party and saw that she was unwell.
He eventually left the party and took her back to their apartment. Before they both fell asleep, he gave her the medication that had been prescribed for her. When he awoke the following morning at 7:30, she was dead, aged 28. The coroner registered her death as "Accident/Suicide" due to a Barbiturate overdose.
She was buried in the small Oak Hill Cemetery in Ballard, California. The family attended her memorial service.
[edit]In popular culture

Sedgwick has been referenced in popular music, numerous times in addition to the works of her contemporaries described above.
The Cult wrote a song about her life called "Edie (Ciao Baby)" which was on their Sonic Temple album released in 1989.
James Ray and the Performance wrote a song about her called "Edie Sedgwick" on the b-side of the 12" version of their first single, Mexico Sundown Blues. A remake was recorded on the James Rays Gangwar LP, Psychodalek, titled "Edie".
Edie Brickell & New Bohemians wrote a song about her called "Little Miss S" which was on their Shooting Rubberbands at the Stars album released in 1988.
The Velvet Underground song "Femme Fatale" (on the album The Velvet Underground and Nico) was written about her at Warhol's request.
Just as Dylan's "Just Like a Woman" and "Leopard-Skin Pill-Box Hat" were purportedly written about Sedgwick, some believe that the song "Like a Rolling Stone" was also inspired by her, with "Napoleon in Rags" or the "Diplomat" on his "Chrome Horse" being Andy Warhol.
English indie band The Long Blondes mention Edie Sedgwick in the chorus of their song Lust In the Movies.
Philadelphia's bard of South Street, Kenn Kweder, recorded an homage, Edie Sedgwick, on his 1995 self-titled release.
The alternative rock band Dramarama used a photograph of Sedgwick on their album Cinéma Vérité.
[edit]On Film
In the 1980s, Warren Beatty bought the rights to her life story and was planning to make a movie with Molly Ringwald starring as Sedgwick. In 1988, Vogue reported a film entitled The War at Home was set to be loosely based on her life during the factory years. Linda Fiorentino was to portray her. It was to be based on John Byrum's fictionalized account of a working-class man who becomes enamored with her. It was never produced.
Sienna Miller is to play Sedgwick in Factory Girl, along side Guy Pearce playing Andy Warhol and Hayden Christensen as Billy Quinn, a biopic about her life and times due out December 29, 2006.

Trivia:

Mystery Science Theater 3000 referenced her in their "Master Ninja 1" episode. Upon seeing a burning building, Joel Robinson and the robots comment: "Looks like Edie Sedgwick fell asleep again." This pertains to an instance in October 1966 where Sedgwick fell asleep with candles burning in her apartment on East 63rd Street, causing a fire. She was rushed to Lenox hospital with burns on her arms, legs and back.
The Andy Warhol Story is considered one of Warhol's lost films that has been mentioned in a few sources, but generally unknown and unseen. Although Lupe is usually credited as Sedgwick's final Warhol film, The Andy Warhol Story is actually the last film that she made for Andy Warhol - almost a year after Lupe.
Warhol was often blamed for Edie Sedgwick's descent into drug addiction and mental illness. However, before meeting Warhol, she had been in mental hospitals twice and came from a family with a history of mental illness (or more accurately, a history of solving emotional conflicts through institutionalization.) She was only close to Warhol for about a year, from approximately March 1965 to February 1966.

Filmography:

Kitchen (film) (1965)
Space (1965)
Screen Test #2 (1965)
Vinyl (1965)
Restaurant (film) (1965)
Poor Little Rich Girl (1965)
Beauty #2 (1965)
Outer and Inner Space (1965)
**** aka the Four Star Movie (1965)
Chelsea Girls (1966)
Diaries, Notes and Sketches (1970)
Ciao! Manhattan (1972)

External links:

Edie Sedgwick at the Internet Movie Database:
www.imdb.com/name/nm0781291/

Information about Edie Sedgwick:
www.warholstars.org/stars/edie.html

Edie Nation:
www.edienation.com/

Edie Sedgwick myspace:
www.myspace.com/ediemsedgwick

Edie: Girl on Fire:
www.myspace.com/ediegirlonfire


Bibliography:

Victor Bockris and Gerard Malanga: Uptight - The Velvet Underground Story
Victor Bockris: Andy Warhol
Michael Opray: Andy Warhol. Film Factory.
Jean Stein: Edie: an American Biography.
Andy Warhol: The Philosophy of Andy Warhol
Melissa Painter and David Weisman: Edie: Girl on Fire Book and Film.


CIAO! Edie,

oxo
~confetta

Anita Belle Colton O'Day

Anita Belle Colton O'Day
(October 18, 1919 - November 23, 2006)


OBIT:
Anita O'Day, the last surviving member of the pantheon of great jazz singers (whose ranks also include Billie Holiday, Ella Fitzgerald, and Sarah Vaughan), passed away Thanksgiving morning at the age of 87. Born in Chicago, O'Day gained national attention as the girl singer with drummer Gene Krupa's orchestra on the hit record "Let Me Off Uptown." After two tenures with Krupa and one, inbetween, with Stan Kenton and his Orchestra, O'Day became a solo star and, along with Fitzgerald and Vaughan, a founding fore-mother of modern jazz vocals. Known for her inventive scatting as well as her touching balladeering, O'Day recorded several dozen classic albums, mostly for the Verve label in the 1950s. Ms. O'Day was often as flamboyant visually as she was innovative vocally, evidence of which can be found in the films "The Gene Krupa Story" and "Jazz On A Summer's Day. A survivor of both heroin and alcohol addiction, she was also the author of one of the great jazz memoirs, "Hard Times, High Times" and the subject of a full-length documentary film, 'Anita O'Day - the Life of A Jazz Singer' which is currently in the final stages of completion.

"ANITA O'DAY - THE LIFE OF A JAZZ SINGER" WATCH the DOCUMENTARY
www.anitaoday.com/documentary.html

MORE: 1919 Anita Belle O'Day, Vocalist, b. Chicago, IL, USA. nŽe: Anita Belle Colton. Raised largely by her mother, While still a teenager, she was on the road participating in dancing contests and later moving from dancing to singing at the contests. In 1941, after brief tenures with Benny Goodman (she toured Europe Oct '59 with Benny Goodman) and Raymond Scott, she landed a place in Gene Krupa's band. (best record: 1941s "Let Me Off Uptown" -with Roy Eldridge on trumpet and vocal) Left Krupa to briefly play with Woody Herman's band and then returned to Krupa who disbanded in 1943. Then joined Stan Kenton ('44-5) (best record with Kenton "And Her Tears Flowed Like Wine"). During the 1950s and '60s, she recorded over a dozen LPs for the Verve label. During her most productive period, O'Day was hampered by heavy drinking and, later, drug addiction, but happily overcame it and has continued singing into the 1990s. O'Day has appeared in two films, the 'biopic' 'Gene Krupa Story' and 'Jazz On A Summer's Day'. The impact of her vocal style can be heard in the work of such other vocalists as Chris Connor and "The Misty Miss" June Christy.

Home Page
www.anitaoday.com/

BIO
www.ddg.com/LIS/InfoDesi...940/oday.html

Wiki Bio
en.wikipedia.org/wiki/Anita_O'Day

All About Jazz Bio
www.allaboutjazz.com/php/article.php

VERVE BIO
www.vervemusicgroup.com/artist.aspx

Jazz Profiles from NPR Anita O'Day
www.npr.org/programs/jaz.../o'day_a.html


"Thanks for the Boogie Ride."
~Anita O'Day

RIP ANITA!
OXO ~Confetta

carrier pigeon

carrier pigeon 
1. one of a breed of domestic pigeons having a large wattle around the base of the beak.
2. a homing pigeon trained to carry messages.
[Origin: 1640–50]



carrier pigeon
n.
A homing pigeon, especially one trained to carry messages.
Any of various large domestic pigeons having a prominent wattle.


carrier pigeon

n : a homing pigeon used to carry messages

Telephonophobia

Tel‧e‧phon‧o‧pho‧bi‧a Pronunciation Key [tel-uh-foh-no-foh-bee-uh]
–noun

1. Fear of telephones.
2. Fear of an apparatus, system, or process for transmission of sound or speech to a distant point, esp. by an electric device.
3. Fear of speaking to or summoning (a person) by telephone.
4. Fear of sending (a message) by telephone.

<psychology> Excessive worry regarding telephones.

Origin: tricho-+ G. Pathos, suffering, + phobos, fear

urophobia

ur‧o‧pho‧bi‧a  Pronunciation Key [yoor-o-foh-bee-uh]
–noun

1. Fear of urine or urinating.
2. Fear of a flushable wall fixture, as in a public lavatory, used by men for urinating.
3. Fear of a building or enclosure containing such fixtures.
4. Fear of a receptacle to receive the urine of a person with urinary incontinence or that of a bedridden person.

[Origin: 1225–75; ME < OF < LL ūrīnāle, neut. of ūrīnalis of urine. See urine, -al2]

Urophobia:
www.youtube.com/watch

venustraphobia

ve‧nus‧tra‧pho‧bi‧a - [Vee‧nuh-struh-foh-bee-uh]

1.Fear of beautiful women
2. An abnormal and persistent fear of beautiful women
Pronunciation Key - Show IPA Pronunciation
–noun

[Middle English, from Old English, from Latin, love, Venus. See wen-1 in Indo-European Roots.]

walloonphobia

wal‧loon‧pho‧bi‧a  [wo-loon] Pronunciation Key Wal‧loon‧pho‧bi‧a [wah-loon-foh-bee-uh]
–noun
1. Morbid Fear of the Walloon Twins.
2. the French dialect spoken by the Walloon Twins.
–adjective
3. of or pertaining to the Walloon Twins or their language.
[Origin: < F Wallon, equiv. to wall- (≪ Gmc *walh- foreign; see walnut) + -on n. suffix]

xylophobia

xy‧lo‧pho‧bi‧a [zahy-luh-foh-bee-uh] Pronunciation Key - Show IPA Pronunciation
–noun
1) Fear of wooden objects. 2) Forests.
2) Extreme fear of hearing wooden mallets striking wooden blocks.
"She could not attend Lionel Hampton's concert since she suffered from xylophobia. ..."
[Origin: 1900–05; xylo + -phobia]
Dictionary.com Unabridged (v 1.0.1)
Based on the Random House Unabridged Dictionary, © Random House, Inc. 2006.

yoikesophobia

yoikes‧o‧pho‧bi‧a  [yoy-eeks-eauh-foh-bee-uh] Pronunciation Key - Show IPA Pronunciation
–interjection? noun? adjective? adverb? Who can be SURE?
1. Abnormal fear of the word yoikes.
2. Abnormal fear of the TRIBE "YOIKES"
3. Morbid fear of not knowing what "yoikes" MEANS.

[Origin: 1765–75; cf. earlier hoick(s) < ?]
*probably from an obscure Dravidian Ferret kau, lump).]
Dictionary.com Unabridged (v 1.0.1)
Based on the Random House Unabridged Dictionary, © Random House, Inc. 2006.

zoophobia

zo‧o‧pho‧bi‧a  [zoh-uh-foh-bee-uh] Pronunciation Key - Show IPA Pronunciation
–noun

abnormal fear of animals.
[Origin: 1900–05; zoo- + -phobia]
Dictionary.com Unabridged (v 1.0.1)
Based on the Random House Unabridged Dictionary, © Random House, Inc. 2006.