#valerie solanas
In actual fact, the female function is to explore, discover, invent, solve problems crack jokes, make music – all with love. In other words, create a magic world.
-S.C.U.M. Manifesto (Society for Cutting Up Men) by Valerie Solanas 1967
Mary Harron (CA, 1953)
I Shot Andy Warhol ( 1996) a Kinetic Look at 1960s New York. You only get one shot at fame…poster
Valerie Solanas entered Warhol’s sixth-floor office on June 3, 1968, shot with a .32 Beretta both Warhol and Mario Amaya, a London art gallerist, and left the building.
She thought he was was going to steal her manuscript, he ignored her calls…
Beginning in late 1965, she repeatedly tried to get Warhol to produce a play she had written called Up Your Ass…
S.C.U.M Manifesto, Olympia Press, 1971
Calling on “civic-minded, responsible, thrill-seeking females” to “overthrow the government, eliminate the money system, institute complete automation and eliminate the male sex.”
https://www.history.com/news/andy-warhol-shot-valerie-solanas-the-factory
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“No genuine social revolution can be accomplished by the male, as the male on top wants the status quo, and all the male on the bottom wants is to be the male on top. The male ‘rebel’ is a farce; this is the male’s ‘society,’ made by him to satisfy his needs.”
SCUM Manifesto — Valerie Solanas
“In actual fact, the female function is to explore, discover, intent, solve problems, crack jokes, make music—all with love. In other words, create a magic world.”
SCUM Manifesto — Valerie Solanas
“What will liberate women, therefore, from male control is the total elimination of the money-work system, not the attainment of economic equality with men within it.”
SCUM Manifesto — Valerie Solanas
With a brilliant intro from poet Rachel Zavecz, my interview with Aase Berg is now live at FANZINE! Her new book, HACKERS (trans. by Johannes Göransson) is also available from Black Ocean)
AASE BERG: My view on horses has developed through the years. When I wrote With Deer, it was merely an intellectual image, but later on I started riding and had my own horses and I realized that the practice of communicating with a horse is poetry without words. You have to grow into the horse’s body to be able to ride. It’s like dancing, or sex. But the horse is also a symbol of the oppressed. It’s oppressed in itself—the humans control the horses completely—we control their reproduction, their food, their space. And the horse is always protesting in some ways—destroying the fence, running away, sometimes refusing to do what you ask them to do. But it’s a mild protest. If they wanted, they could easily kill you. It’s a communicative protest, not an aggressive one. That fascinates me.
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