SCUM Manifesto

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Fahs records that Solanas then traveled to producer Margo Feiden's (then Margo Eden) residence in Crown Heights, Brooklyn, as she believed that Feiden would be willing to produce Up Your Ass. As related to Fahs, Solanas talked to Feiden for almost four hours, trying to convince her to produce the play and discussing her vision for a world without men. Throughout this time, Feiden repeatedly refused to produce the play. According to Feiden, Solanas then pulled out her gun, and when Feiden again refused to commit to producing the play, she responded, "Yes, you will produce the play because I'll shoot Andy Warhol and that will make me famous and the play famous, and then you'll produce it." As she was leaving Feiden's residence, Solanas handed Feiden a partial copy of an earlier draft of the play and other personal papers. [47] [48] With them in the elevator was new Factory assistant (and Warhol's future boyfriend) Jed Johnson. In the studio, meanwhile, was the artist's business manager Fred Hughes; in-house photographer Billy Name; curator Mario Amaya; and Morrissey.

There were moments when... ["Solanas"] disclaimed the acronymization of her title, refuting that it stood for 'Society for Cutting Up Men.' A mere 'literary device' and belated add-on...." [97] Up Your Ass was rediscovered in 1999 and produced in 2000 by George Coates Performance Works in San Francisco. The copy Warhol had lost was found in a trunk of lighting equipment owned by Billy Name. Coates learned about the rediscovered manuscript while at an exhibition at The Andy Warhol Museum marking the 30th anniversary of the shooting. Coates turned the piece into a musical with an all-female cast. Coates consulted with Solanas' sister, Judith, while writing the piece, and sought to create a "very funny satirist" out of Solanas, not just showing her as Warhol's attempted assassin. [13] [89] Rich (1993), p.16 (Solanas, perhaps in a Swiftian tradition of satire, "believed that men... should be retrained or eliminated.")Morrissey recounts what happened next in Blake Gopnik's biography of the artist: "She puts the gun next to his [Hughes'] head and says, 'I'm gonna shoot you!'...and the elevator door opened...And Fred said, 'Oh, there's the elevator. Why don't you get on Valerie?...And she said, 'Oh–that's a good idea.' And she went on the elevator." Ghomeshi, Jian, host, Q: The Podcast, from CBC Radio 1". Archived from the original on November 5, 2012 . Retrieved July 7, 2009. , as accessed November 18, 2012 (interview of Margo Feiden overall approx. 1:14–18:56 from start) (fragment approx. 5:06–5:45 from start) (based on cbc.ca link before archive.org link provided here). Drake, Temple; Kerekes, David (2004). Headpress Guide to the Counterculture: A Sourcebook for Modern Readers. Manchester: Headpress. ISBN 1900486350. Beauvallet, Ève. "Prise de Houellebecq autour d'un manifeste". Libération (in French) . Retrieved 2023-05-15. English professor Dana Heller argued that Solanas was "very much aware of feminist organizations and activism," [72] but "had no interest in participating in what she often described as 'a civil disobedience luncheon club.'" [72] Heller also stated that Solanas could "reject mainstream liberal feminism for its blind adherence to cultural codes of feminine politeness and decorum which the SCUM Manifesto identifies as the source of women's debased social status." [72] Solanas and Warhol [ edit ]

Harding, James Martin (2010). "Forget Fame. Valerie Solanas, the Simplest Surrealist Act, and the (Re)Assertion of Avant-Garde Priorities". Cutting Performances: Collage Events, Feminist Artists, and the American Avant-Garde. Ann Arbor: University of Michigan Press. ISBN 978-0-472-11718-5. Watson, Steven (2003). Factory Made: Warhol and the Sixties (1sted.). New York: Pantheon Books. ISBN 978-0-679-42372-0. The shooting of Warhol propelled Solanas into the public spotlight, prompting a flurry of commentary and opinions in the media. Robert Marmorstein, writing in The Village Voice, declared that Solanas "has dedicated the remainder of her life to the avowed purpose of eliminating every single male from the face of the earth." [33] Norman Mailer called her the " Robespierre of feminism." [66]Writing for Spin in September 1996, Charles Aaron calls the SCUM Manifesto a "riotous, pre-feminist satire". [84] Film director Mary Harron called the manifesto a "brilliant satire" and described its tone as "very funny". [g] According to Rich of The Village Voice, the work possibly was "satire" [13] and could be read as "literal or symbolic". [45] Winkiel said, "The humor and anger of satire invites women to produce this feminist script by taking on the roles of the politically performative SCUM females." [86] Paul Krassner, who was a personal acquaintance of Solanas, called the manifesto a "dittoed document of pathological proselytization with occasional overtones of unintentional satire". [87] I do not think Valerie Solanas was crazy — not for writing SCUM Manifesto, and certainly not for depositing those three infamous bullets into Andy Warhol (facts: the gunshots, though not fatal, essentially sliced up Warhol's abdomen, and 'SCUM' is an apronym for 'Society for Cutting Up Men'). Solanas was consistently wronged and marginalised throughout her life, and was (some may argue inconsistently) radicalised because of it — after all, radical ideas never come from the comfortable. Her work was purposeful, born of rage, belief, and an understanding of systemic subjugation of women.

Solanas proceeded to the Factory and waited outside. Morrissey arrived and asked her what she was doing there, and she replied, "I'm waiting for Andy to get money." [53] Morrissey tried to get rid of her by telling her that Warhol was not coming in that day, but she told him she would wait. At 2:00p.m. Solanas went up into the studio. Morrissey told her again that Warhol was not coming in and that she had to leave. She left but rode the elevator up and down until Warhol finally boarded it. [44] Davis, Debra Diane (2000). Breaking up [at] Totality: a Rhetoric of Laughter. Carbondale, IL: Southern Illinois University Press. ISBN 0809322285. According to Village Voice reviewer B. Ruby Rich, "SCUM was an uncompromising global vision" that criticized men for many faults including war and not curing disease; [13] many but not all points were "quite accurate"; [13] some kinds of women were also criticized, subject to women's changing when men are not around; [44] and sex (as in sexuality) was criticized as "exploitative". [45] According to Janet Lyon, the Manifesto "pitt[ed]... 'liberated' women... against 'brainwashed' women". [46]Marmorstein (1968), p.9 ( "'SCUM thing '" interviewer Marmorstein's words (who also asked if it was "'a put on '") & "'Of course I'm serious. I'm dead serious '" interviewee Solanas' words). Solanas, while advocating for anarchic militant disobedience, also makes some more claims that are vitriolic misandry at worst and hyperbole at best — such as eliminating all men, moving beyond generational reproduction, or achieving complete automation of non-creative labour. These are part of the grey area of SCUM, likely satirical of similar ideas proposed every day by misogynists, but they do not, by any means, invalidate her other theories and observations. This is a work of such powerfully impatient and well-worked writing that it makes hard to draw hard lines and interpretations, something which Solanas was also against. Fahs states that "the more likely story ... places Valerie at the Actors Studio at 432 West Forty-Fourth Street early that morning." [46] Actress Sylvia Miles states that Solanas appeared at the Actors Studio looking for Lee Strasberg, asking to leave a copy of Up Your Ass for him. [46] Miles said that Solanas "had a different look, a bit tousled, like somebody whose appearance is the last thing on her mind." [45] Miles told Solanas that Strasberg would not be in until the afternoon, accepted the script, and then "shut the door because I knew she was trouble. I didn't know what sort of trouble, but I knew she was trouble." [45]

Life" in this "society" being, at best, an utter bore and no aspect of "society" being at all relevant to women, there remains to civic-minded, responsible, thrill-seeking females only to overthrow the government, eliminate the money system, institute complete automation and eliminate the male sex. Castro (1990), p.101 ("certainly" "the feminist charter on violence", "legitimiz[ing]... hysteria as a terrorist force"). Marks, Peter (July 19, 2011). "Theater review: 'Pop!' paints bold portrait of Warhol and his inner circle". The Washington Post. Washington DC: Nash Holdings LLC . Retrieved November 27, 2011. Kaufman, Alan; Ortenberg, Neil; Rosset, Barney, eds. (2004). The Outlaw Bible of American Literature. New York: Thunder's Mouth Press. ISBN 978-1-56025-550-5. Dunbar and Ti-Grace Atkinson considered the Manifesto as having initiated a "revolutionary movement". [78] Atkinson (according to Rich) called Solanas the "'first outstanding champion of women's rights'" [13] and probably (according to Greer) having been "radicalized" by the language of the Manifesto to leave the National Organization for Women (NOW), [47] and (according to Winkiel) women organized in support of Solanas. [113]

Dates

Tract for Valerie Solanas". Archived from the original on July 26, 2006 . Retrieved August 5, 2006.