Installment # 3, June 1999, New York

  How Research Becomes Image and Text...
The Anita Pallenberg Story
Laura Cottingham
Text. 3 for haus.0




A survey of the books published on the Rolling Stones offers one a fascinating excursion into considerations of authorial authority, journalistic ineptitude, public relations and the special twentieth century phenomena of the insatiable fan. In general, the published books we located--in libraries, bookshops, and on more than a few occasions, from sidewalk vendors in Manhattan--can be classified within the following categories:

The Celebrity Biography
The Celebrity Autobiography
The Journalist as Fan and Archivist
The First-Person Tell All Account

What follows is a survey of the primary printed documents we relied upon. For a two year period we assembled as much printed and filmed documentation of the Rolling Stones as we could find in New York and London. The following list features the materials we found the most useful to us.

Tony Sanchez, Up and Down with the Rolling Stones (New York: Da Capo, 1996).
Originally published: New York: William Morrow, 1979.

This is by far the best single book yet published on the golden years of the Stones. Written by the band's drug dealer, who also worked as Keith's 'personal assistant' for a few years, this book contains fewer factual errors than any of the other 'first person tell-all accounts'.
We were so impressed by Tony Sanchez, as he is revealed in this book, that we decided to create a role for him in our film: he is played by the art dealer Clarissa Dalrymple.
Sanchez also provided us with some central insights into the Stones inner circle, which we accepted as basic premises for The Anita Pallenberg Story, including the intense but ultimately destructive love between Brian and Anita, the heroin marriage of Anita and Keith, the rivalry between Mick and Brian, and the physical, emotional and creative sabotage of Marianne Faithfull by Mick.

NOTES from this book that became point of view and / or dialogue in our film:

"Brian was into orgies, lesbians and sadomasochism, while Jagger lived his prim, prissy, bourgeois life with his baroness' daughter and worried in case someone spilled coffee on his Persian carpets."
(from Up & Down, p.5)

RE: Anita and Brian- "Their sexual activities were extraordinary, and they took up astrology and magic." (from Up & Down, p. 26)

(About Robert Frank's Cocksucker Blues: ) "Well, it wasn't much of a film anyway, was it?" Mick Jagger (from Up & Down, p. 262)

"Sex, for Keith, has always lagged far behind music and drugs in the hedonism stakes." (from Up & Down, p. 267)

"Though the world of rock musicians appears enlightened and liberal, it is in fact one of the last bastions of total male chauvinism." (from Up & Down, p. 274)

Marianne to Mick re: Performance
"Whatever you do, don't try to play yourself. You're much too together, too straight, too strong. You've got to imagine you're Brian: poor, freaked-out, deluded, androgynous, druggie Brian. But you also need a bit of Keith in it: his tough, self-destructive, beautiful lawlessness. You must become a mixture of the way Keith and Brian will be when the Stones are over and they alone in their fabulous houses with all the money in the world and nothing to spend it on." (from Up & Down, p. 113)

"Anita was like a life-force, a woman so powerful, so full of strength and determination that men came to lean on her, to become as dangerously dependent on her as a heroin addict is on his drug supplier."
(from Up & Down, p. 116)

"I feel as though I'm rather like the sixth Rolling Stone. Mick and Keith and Brian need me to guide them, to criticize them and to give them ideas. Anita Pallenberg (from Up & Down, p. 10)

"You know, Tony, I'm certain that anyone of them would break up the band for me. It's a strange feeling."
Anita Pallenberg (from Up & Down, p. 116)

"I get a strange feeling on-stage.... I feel all this energy coming from an audience. They need something from life and are trying to get it from us. I often want to smash the microphone up because I don't feel the same person on-stage as I am normally... I entice the audience, of course I do. I do it every way I can think of... What I'm doing is a sexual thing. I dance, and all dancing is a replacement for sex. What really upsets people is that I'm a man and not a woman. I don't do anything more than a lot girl dancers, but they're accepted because it's a man's world. What I do is very much the same as a girl's striptease dance. I take my jacket off, and sometimes loosen my shirt, but I don't stand in front of a mirror practicing how to be sexy, you know."
Mick Jagger (from Up & Down, p. 47)

"The police see to think we're working for Che Guevara."
Keith Richards (from Up & Down, p. 60)

"People talk about the riots that happen when we play. Of course, there is a certain violent element, and to a certain extent, the kids are conforming to what is expected of them. But there is more to it than that... I've seen this wild behavior in so many countries and the pattern is always the same. Because it is the same symptom. Frustration. And these are kids from all kinds of environments... You can't solve the problem by locking them up... That isn't the answer-- you have to find out why it is that the kids are discontented. They are not all morons just spoiling for a fight with the police."
Mick Jagger (from Up & Down, p. 61)

"I see a great deal of danger in the air. Teenagers are not screaming over pop music anymore, they're screaming for much deeper reasons. We're only serving as a means of giving them an outlet. Pop music is just the superficial issue... When I'm on-stage I sense that the teenagers are trying to communicate to me, like by telepathy, a message of some urgency. Not about me or our music, but about the world and the way they live. I interpret it as their demonstration against society and its sick attitudes. Teenagers the world over are weary of being pushed around by half-witted politicians who attempt to dominate their way of thinking and set a code for their living... This is a protest against the system. And I see a lot of trouble coming in the dawn.
Mick Jagger (from Up & Down, p. 62)

"We have got them on the run now and we have to finish what we started. The way things are run in Britain and the States is rotten and it is up to the young to change everything. The time is right now, revolution is valid. The kids are ready to burn down the high-rise blocks and those stinking factories where they are forced to sweat their lives away. I'm going to do anything that has to be done to be a part of what is about to go down."
Mick Jagger (from Up & Down, p. 82)

"Mick wasn't playing at revolution anymore. I realized then that he genuinely wanted to see society overthrown, that he really felt a revolution coming and that he saw the Stones as the vanguard of a historically, bloody period of change."
(from Up & Down, P. 62)

"OK. Let's get out there and give those bastards the best rock'n'roll show of their lives. We're gonna blow their fuckin' ears off......"
Mick Jagger backstage (from Up & Down, p. 159)

"The French didn't like the Rolling Stones. They were flash, they were brash, they were trouble and, worst of all, they were English. The French and the English have always made uneasy bedfellows. Both believe themselves to be the most cultured and sophisticated people in the world.... Yet the Rolling Stones not only had become France's most popular band but had also exerted more influence on fashion than Cardin and Dior put together."
(from Up & Down, p. 247)

"I don't like the people or the weather in France, and the food's greasy. They're all thieves down there too. They've had a 150 years living off tourists. All they try to do is steal from you. Never treat you as anything other than passing tourists."
Mick Jagger (from Up & Down, p. 252)

Andy Warhol, The Andy Warhol Diaries, edited by Pat Hackett (New York: Warner, 1989).

Warhol's diaries provided us with the perspective, tone, and emotional setting for The Anita Pallenberg Story.

Andy was, of course, the epi-center of Downtown Manhattan Cultural life throughout the sixties and the seventies. Although his diaries don't begin until 1976--and our film is fictional and loosely set circa 1968--the entries reflect Warhol's involvement with many of the same people and places from his life during the late 1960s.
Andy doesn't appear in our film: but he, like the gods in ancient Greek theater, is omnipresent. Anita Pallenberg just wants to meet him.

In life, they did meet.

The complete entries on Anita Pallenberg in the Warhol published diaries are:

Thursday, September 29, 1977-New York, p. 76: "....Mick arrived twenty minutes late in a really good mood--I was photographing the Stones. Then everybody started arriving-- Ron Wood and Earl McGrath and Keith Richards who I think is just the most adorable person, I love him. I told him I was the first person to meet his wife, Anita Pallenberg. In the sixties...."

Thursday, July 19, 1979-Paris, p. 227: "....Mick and Jerry arrived. Mick has a beard. Jerry's wearing some pearls that he gave her. And he's making a record. They were talking about Anita Pallenberg's seventeen-year-old boyfriend killing himself on the bed...."

Saturday, July 21, 1979-London, pp.228-229: "....Bianca had to wear all her Halstons while he [Halston] was in London, and she was unhappy because Mick had called her and had a fight about Jade. He said he can have more children and she can't, and she got insulted and said she could. They do use Jade as a prop, and they make each other really unhappy. He wanted Jade to come over for his birthday, but Bianca didn't want to let her, she said it was bad publicity with the Pallenberg boyfriend's suicide."

One character in our cast--Francois de Menil--is drawn completely from Warhol's mentions of him in the Diaries. Francois is the son of the Dominique de Menil, the most influential art patron in the post-War United States. Her legacy lives on in her museum in Houston, The de Menil Collection, and in the foundation established by one of her daughters: the DIA Foundation in New York. Francois himself is an architect. still active now in New York. He was a close friend of Andy's. We have no evidence that Francois ever met the Stones, backstage or anywhere else; although he might have. In our script, Francois offers to drive Anita to the Hamptons to meet Warhol.
Warhol's diaries claim, more than once that: "Francois is such a safe driver." This observation by Warhol is incorporated into our script, but put into the mouth of Anita who says:
"Francois is such a safe driver. Not like Brian or Keith. They always get into wrecks. The last time I got into a car with Keith is going to be the last time. He wrecked and I broke my shoulder."

The comments on the driving records of Brian and Keith--including the broken shoulder-- are taken directly from published interviews with Anita Pallenberg.

A sizable portion of our fictional script is composed, like the citation above, from actual words and actions attributed in published documents, films and videos to the characters from which we formed a cast.

Francois de Menil's lecture on Warhol's Shadows featured in our film is taken nearly word-for-word from the 1999 DIA Foundation brochure that accompanies their current installation of Shadows. .... It SOUNDS like a parody of art criticism; but it is in fact their 'legitimate' text... .IN FACT, while DIA claims these Warhol canvases establish him as 'a serious abstract artist," blah, blah, blah, how 'transcendent' they are blah, blah, blah...according to the Warhol Diaries, the inspiration for this series--somehow not mentioned in the DIA Foundation's so so serious art historical text -- was photographs of Men's Dicks:

Monday, November 7, 1977---New York, p. 87: "Jed [Johnson] came by the office and was in the back in my working area and when he saw the stacks of Polaroids of all the 'landscapes' I photographed for the Shadow paintings---all the close-ups of cocks and things--he began screaming that I had degenerated so low...."

Marianne Faithful with David Dalton, Faithful: An Autobiography (New York: Little Brown, 1994).

"Feminism is the best thing to come out of the '60's."--- Marianne Faithfull

"All you rockers just want us women to be junkies. That way you have the control." - ---Marianne Faithfull

Like so many 'celebrity autobiographies', this one is co-authored by a journalist, in this case, by the 'official' Stones chronicler (see David Dalton, below).
Our original script included many lines for Marianne Faithfull, who we intended to have backstage with Mick, Keith and Anita. We had also written a nice girl-talk exchange between Anita and Marianne as they are getting dressed at the New York Hilton.
We had to put Marianne in the hospital when we lost our player in the role. For a few months, Sue Williams was slated for the role of Marianne, and then too many other commitments forced her to withdraw. Then I tried to get Cady Noland, whose name had come up for Marianne's part at the beginning of the project--but I never thought Cady would do it. But when Sue backed down in early January 1999, she suggested Cady (Cady looks like Marianne more than Sue does). So I thought I'd give Cady a try. Cady was really sweet, she always is--she even considered doing for a few days or more. But then she said no.
Either Sue or Cady would have been perfect as Marianne.
But nobody else would be.
So when we didn't get either of them, we rewrote the script to put Marianne in the hospital.
From Faithfull's autobiography what interested us most was her accounts of the inner circle's sexual liaisons and activities:
First, that Marianne slept with Keith before she went with Mick--in fact, she wanted Keith but only got a one-night stand. Her autobiography was published in 1994, over 25 years after her one night with Keith: she still refers to it as the best sex of her life. (Which is amazing. given that all other accounts claim Keith is not much of a lover.)
Marianne also confirms her sexual involvement with Anita Pallenberg and other women.
Additionally, she offers evidence for one of our pet theories--that the real love in the Stones entourage was and is between Mick and Keith. According to Marianne, in at least one of her sexual interactions with Mick, Mick told her that his fantasy was to suck Keith's cock.
Sorry to be so crude but this is Rock and Roll--and sexual history is political and cultural history, after all.

Citations and insights from Faithfull's Autobiography:

RE: Anita Pallenberg "Then there's that line between put-on and reality, which is never quite clear in these situations. That one got crossed by our Anita a great deal. Early afternoon there'd be 'Darling, sometimes when I am at Cinecitta I really do believe I am the Black Queen.' As a joke, naturally. Then eight hours later and a lot more stoned: 'But you know what? I really am the Black Queen;' and then another eight hours later a scary: 'I AM THE QUEEN OF ALL I SURVEY!'"
Marianne Faithfull, from Faithfull, p. 129

"One of the funniest things in talking to Allen Ginsberg-- and a cautionary lesson for us all-- is that Allen thinks that nearly all Dylan's songs are about him. Well, I never say anything. I just hold my peace. 'Yes, I'm sure that one is Allen! It's very sweet, isn't it? And there is one that really is about Allen. 'Just Like a Woman.'"
Marianne Faithfull, from Faithfull, p. 48

"I can go anytime I damn well please. I've got cab fare and my hash and that's all I need."
Marianne Faithfull, from Faithfull, p. 86

"'Between the Buttons' was for the most part an extension of the manic-paced acerbic social criticism of 'Mother's Little Helper' and 'Have You Seen Your Mother, Baby.' Songs about bitchy models, bored housewives and derailed heiresses. The kind of vituperative and misogynistic songs that Andrew favored."
Marianne Faithfull, from Faithfull, p. 87

"I never have liked sleeping with people. I much prefer to have sex and then leave and go to my own bed. I've always been like that."
Marianne Faithfull, from Faithfull, p. 143

"They'd [Brian and his girlfriend] cooked dinner, but Mick is fussy about his food and drink. Everything has to be perfect. A Leo and a star!"
Marianne Faithfull, from Faithfull, p. 169

David Dalton, The Rolling Stones (London: W.H.Allen, 1975).
David Dalton, Rolling Stones In Their Own Words(London: Book Sales, 1980).
David Dalton, The Rolling Stones: The First Twenty Five years (London: Thames and Hudson, 1981).

British rock and roll writer David Dalton is to the Rolling Stones what Boswell is to Johnson: their definitive chronicler. Okay: not as studious, erudite, expansive or definitive as Boswell, but this is Rock and Roll, the Stones are still alive---and so the record remains partial, biased, and well, promotional. Much of what Dalton has assembled consists of reprints of reviews, news articles and other items from the mainstream and music press.
For the press interview Mick and Keith make with Julie Burchill (Stephanie Theobald) and a reporter from Rolling Stone magazine (Ghada Amer), the journalist's questions and the Glimmer Twins' answers are patch-worked from actual questions and answers that have been reprinted in Dalton's anthologies.
One Q & A exchange is, however, taken from Jim Morrison, as given in Oliver Stones' movie, The Doors. We give the line to Mick, because we couldn't resist using it:
Rock and Roll Reporter: "Why are all these teenage girls so crazy about you?"
Morrison/Mick/Laura: "They want my dick, not my words."

Some selections from David Dalton's work that went into our script:

[When asked why he didn't sing more songs...] "What the hell would Mick do?" Keith Richards (from In Their Own Words, p. 38)

"You know, during World War II the number of junkies in American dropped to almost zero because they just policed the fucking ports properly. In wartime everything just snaps into action, right? You can't get anything into that country unless they want it in. Which means they can do it if they want to, if they really wanted to stop it. But you can make more money out of heroin than you can out of anything else."
(Keith, from In Their Own Words, p. 66)

"America? Their way of thinking can be as antiquated as our standard of living."
Keith Richards (from In Their Own Words, p. 70)

"I'm bored with rock'n'roll."
Mick Jagger (from In Their Own Words, p. 39)

"My ego comes across quite nicely on the telly, don't you think." - Mick Jagger (from In Their Own Words, p. 42)

"I'm, along with the Queen, y'know- one of the best things England's got- me and the Queen." - Mick Jagger (from In Their Own Words, p. 65)

"I absolutely draw the line at elephants, man. Even with trousers on. I am not working with animals.. It's not in the bleeding contract and it's not gonna be in the gig either. Go on stage with a bloody elephant. Are you mad? I've paid me dues and I'm not working with no animal act. I worked with Elton and that's enough."
Keith Richards (from In Their Own Words, p. 43)

"You actually go down to Kentucky, Louisville, and they've got bourbons that make Old Granddad and Jack Daniel's look like Schweppes Bitter Lemon... There's one called, ah, Rebel Yell and that's dynamite shit."
Keith Richards (from In Their Own Words, p. 65)

"America was a real fantasyland. It was still Walt Disney and hamburger dates and when you came back in 1969 it wasn't any more. Kids were really into what was going on in their country. I remember watching Goldwater-Johnson in '64 and it was a complete little show. But by the time it came to Nixon's turn two years ago, people were concerned in a really different way."
Keith Richards (from In Their Own Words, p. 65)

"Our generation is growing up with us and they believe in the same things we do. Our followers have moved with us-- some of those we like most are the hippies in New York, but nearly all of them think like us and are questioning some of the basic immoralities which are tolerated in present day society-- the war in Vietnam, persecution of homosexuals, illegality of abortion, drug-taking.
All these things are immoral. We are making our own statement-- others are making more intellectual ones. Our friends are questioning the wisdom of an almost blind acceptance of religion compared with total disregard for reports related to things like unidentified flying objects which seem more real to me. Conversely I don't underestimate the power of influence of those, unlike me, who do believe in God. We believe there can be no evolution without revolution. I realize there are other inequalities-- the ratio between affluence and reward for work done is all wrong. I know I earn too much but I'm still young and there's something spiteful inside me which makes me want to hold on to what I've got. I believe we are moving on to a new age in ideas and events. Astrologically we are at the end of the age called the Pisces Age- at the beginning of which people like Christ were born. We're soon to begin the age of Aquarius, in which events as important as those at the beginning of Pisces are likely to occur. There's a young revolution in thought and manner about to take place."
Brian Jones (from Rolling Stones in Their Own Words , p. 29)

"Censorship is still with us in a number of ugly forms. But the days when men like comedian Lenny Bruce and artist Jim Dine are persecuted are coming to an end. Young people are measuring opinion with new yardsticks and it must mean greater individual freedom of expression. Pop music will have its part to play in all this. When certain American folk artists with important messages to tell are no longer suppressed maybe we'll arrive nearer the truth."
Brian Jones (from In Their Own Words, p. 66)

"They come up to me in the street in Switzerland and say 'Hey, you're a Rolling Stone! I'm in a band. How do we get to be really big and earn lots of money? What do you have to do to make a good group?' And I say, 'Well, look, why don't you try starving?' They can't even comprehend that, man, they're so rich. I mean, have you ever heard of good Swiss musician, a good Swiss painter or writer? England gets fooled by the newspapers and TV that if it doesn't have the best standard of living in the world at least it's got the second best. England doesn't even know, man! They're being fooled all along the line. People in Switzerland, France, and Germany live twice as good as anybody in England. They're twice as bourgeois, twice as rich."
Keith Richards (from In Their Own Words, p. 70)

"How come all the teenies ever wanna do is tongue my diamond tooth."
Mick Jagger (from In Their Own Words, p. 73)

"There was nothing about love, peace and flowers in 'Jumping Jack Flash.'" Mick Jagger (from In Their Own Words, p. 82)

Victor Bockris, Keith Richards (New York: Da Capo, 1998).
Originally Published: New York: Poseidon Press, 1992.

What most interests us here are the words and anecdotes attributed to Keith's ex-wife: Anita Pallenberg, such as:

"Loads of people were scared of me. I guess it was all that savoir-vivre that I had, and I was from Rome and I had traveled and been in New York and I knew all these people, and I was pretty reckless as well."
Anita Pallenberg (from Keith Richards, p. 116)

"After 'Barbarella' I got to do 'Candy' in Rome, so I got to meet Marlon Brando. So Keith heard that Marlon Brando and I had a scene, so he took the first plane and he was out there. Brando was on the set, but I didn't actually work with him, I worked with James Coburn. But Brando whisked me off back to his country house. And he started to do his Brandoish seduction and I got completely intimidated. I remember he was lying in bed reading his poetry and I ran away. So I went and hid and they were playing music and I went and put on '(I Can't Get No) Satisfaction' and it was kind of blasting and he comes in and said, ' It's really a load of shit, it's the drums that count,' and all that Brandoish kind of stuff. And eventually I didn't end up in bed with him but I ran away. He fell asleep and I sneaked out. And then the next morning he was eyeing me and all that. And somehow it got to Keith really quickly, and in the afternoon he came. And while Keith was there Brando was, like, really wicked. He was sitting there putting his arm around me and smiling at Keith and playing all these silly little games and eventually I thought, 'Well, he fancies Keith.' That's how I solved the whole kind of thing, by thinking Brando was gay and that he actually fancied Keith. but it was the story [as with Brian], so eventually I tried to time it to work out where Keith was working. But [Keith]'d always stand me up. so eventually I gave up. Being the lady of those kind of guys was always like being set on the side. The girls were always looked down on."
Anita Pallenberg (from Keith Richards, pp. 130 & 13)

"I only know that Brian did break up a lot of things by actually going to bed with Mick. And I think Mick always resented him for having fallen for it. In later years there have always been rumors about Mick being gay, but then it was as if Brian violated Mick's privacy by revealing his weak side so that was probably why he resented him."
Anita Pallenberg (from Keith Richards, p. 52)

"Anita's influence on Keith was instant. He started wearing her scarves, blouses, jackets and jewelry. 'There's a photograph of them in '67 after he's with Pallenberg,' said English rock critic Nick Kent. 'Brian Jones is out of the picture and Keith Richards has got the look. Keith has got his hair finally together.'.......Anita encouraged Keith to apply black kohl underneath his eyes and wear lipstick and fingernail polish."
(Keith Richards, p. 137)

"Mick wanted to do another movie with me and for us to be a couple, and other people made offers for us to make films together, but I just didn't want it. Mick just wanted to walk around and show me off like he did with all his women, and I felt Keith needed a more human kind of attention and care and love."
Anita Pallenberg, (from Keith Richards, p. 155)

"Keith can be in a room with fifty other people and he won't notice anything but the guitar. To live with a rock star, a woman must find her ways of independence."
Anita Pallenberg, (from Keith Richards, p. 207)

Christopher Sandford, Mick Jagger (London: Cassell, 1993).

Lost of fascinating but misleading (aka, wrong) anecdotes in this one. My favorite: that Mick met Charles Manson at a bonfire on the grounds of Altamont. (Not true, but rich nonetheless.)
Still, much that is useful, especially regarding the sexual liaison that remains to this day one of Rock and Roll's most enduring sex legends: Mick and David Bowie at the Hotel Pierre, New York. While heterosexual society hopes and likes to assume that the Mick and Bowie tryst was a one-night drunken stand: it wasn't. With so much glittering ego involved, how could it have been?

James Karnback and Carol Bernson, It's Only Rock 'n' Roll: The Ultimate Guide to the Rolling Stones (New York: Facts on File, 1997).

To get (most of) the facts, and in chronological order too--this is the book.

Laura Jackson, Heart of Stone: The Unauthorized Life of Mick Jagger (London: Smith Gryphon, 1997).

Not so interesting, this one. The author is too invested in playing the cry baby for all the bimbos Mick did wrong. Of course Mick is an asshole---but who can really give a fuck about Bianca, Jerry Hall or any of the others. After Marianne Faithfull, love has been all over now for Mick

Bill Landis, Anger: The Unauthorized Biography of Kenneth Anger (New York: Harper Collins, 1995).

Badly written--and by a straight guy, who doesn't have any understanding for homosexuality, so is handicapped here to understand Kenneth Anger. Still, some useful stuff on how much anger and envy and competition Kenneth Anger directed against Andy Warhol.

Alice Echols, Scars of Sweet Paradise: The Life and Times of Janis Joplin (New York: Henry Holt, 1999).

Published after we had already scripted The Anita Pallenberg Story, this biography of Janis provides additional evidence in support of our general theory: that Rock and Roll refused to accept women as equals--even a woman as talented, amazing, ambitious, and star risen as Janis. Or rather: especially if a woman is as talented, amazing, ambitious and successful as Janis: the boys will bring her down. And they did.

Yvonne Sewall-Ruskin, High on Rebellion: Inside the Underground at Max's Kansas City (New York: Thunder's Mouth Press, 1998).

This book also came into our library after we had finished shooting. Although our interest in Max's Kansas City focuses on it's art and rock intersection--especially around Warhol's entourage--this author doesn't know enough about culture to properly comprehend who is who or what is what. However, the compilation of quotes from nearly a hundred alcoholics and others presented here paint a picture of a dingy place with bad food where the dominant scene is controlled by drunken egotistic asshole white men who think they are geniuses and the women who give them blow jobs at the bar.
That's what we thought.
Additionally, further evidence for our script--which features Anita Pallenberg intent on going to Max's to meet Andy Warhol so she can get into one of his films--is provided here. Our fictional scenario for Anita Pallenberg is, according to this book, the actual scenario that Viva utilized to become one of Warhol's Superstars: she went to Max's and met Andy and asked to be in one of his movies.



  GOSSIP   4. GOSSIP: What people think they know and are happy to tell you about Mick Jagger and the Rolling Stones