One on One. Craig Brown

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СКАЧАТЬ a portrait of his namesake, the seventh President of the United States, Andrew Jackson, who is in a similar military uniform, though without the sequins.

      Afterwards, Jackson is to have a private meeting with the Reagans, along with one or two children of staff members. But when he is ushered into the Diplomatic Reception Room, he is confronted by seventy-five adults.

      He turns on his heels, running down the hall into the rest room off the Presidential Library. He locks the door, and refuses to come out. ‘They said there would be kids. But those aren’t kids!’ he protests to Frank Dileo, his manager.

      Dileo has a word with a White House aide, who immediately rounds on an assistant. ‘If the First Lady gets a load of this, she’s going to be mad as hell. Now you go get some kids in here, damn it.’

      Dileo shouts through the rest-room door, ‘It’s OK, Michael. We’re going to get some kids.’

      ‘You’ll have to clear all those adults out of there before I come out,’ demands Jackson.

      An aide runs into the Reception Room. ‘OK, out! Everybody out!’ A member of Jackson’s entourage arrives in the rest room. ‘Everything is OK.’

      ‘Are you sure?’ asks Michael.

      At this point, Frank Dileo grows edgy. ‘OK, Mike, outta there. I mean it.’

      Michael Jackson returns to the freshly vacated Reception Room. A handful of children are waiting. While he signs a copy of Thriller for the Transport Secretary, the Reagans arrive. They usher Jackson into the Roosevelt Room to meet a few more aides and their children.

      As Jackson talks to the children, Nancy Reagan whispers to one of his staff, ‘I’ve heard he wants to look like Diana Ross, but looking at him up close, he’s so much prettier than she is. Don’t you agree? I mean, I just don’t think she’s that attractive, but he certainly is.’

      Jackson’s employees are forbidden from discussing their employer, so he does not reply.

      ‘I just wish he would take off those sunglasses,’ continues Mrs Reagan, adding, ‘Tell me, has he had any surgery on his eyes?’

      There is still no reply. ‘Certainly his nose has been done,’ whispers Mrs Reagan, peering hard at Jackson, who is now talking to her husband. ‘More than once, I’d say. I wonder about his cheekbones. Is that make-up, or has he had them done too? It’s all so peculiar, really. A boy who looks just like a girl, who whispers when he speaks, wears a glove on one hand and sunglasses all the time. I just don’t know what to make of it.’ She lifts her eyes to the ceiling and shakes her head.

      The Jackson aide begins to think it may be rude to say nothing at all to the First Lady. ‘Listen, you don’t know the half of it,’ he says, with a conspiratorial smile. But the First Lady reacts as though she disdains such idle gossip.

      ‘Well, he is talented. And I would think that’s all that you should be concerned about,’ she snaps.

      NANCY REAGAN

      DISAPPOINTS

      ANDY WARHOL

      The White House, Washington DC

       October 15th 1981

      ‘The funny thing about movie people,’ says Andy Warhol to the First Lady over tea in the White House, ‘is that they talk behind your back before you even leave the room.’

      Nancy Reagan’s eyes, already preternaturally wide, grow still wider. She looks at Warhol as though he were unbalanced.

      ‘I am a movie person, Andy,’ she replies.

      The interview has been stiff throughout. Mrs Reagan never reacts well to criticism, and can spot it from a great distance. It is written in her stars. ‘Cancers tend to be intuitive, vulnerable, sensitive and fearful of ridicule – all of which, like it or not, I am,’ she explains in her autobiography. ‘The Cancer symbol is the crab shell: Cancers often present a hard exterior to the world, which hides their vulnerability. When they’re hurt, Cancers respond by withdrawing into themselves. That’s me all right.’

      Warhol himself has been notably crab-like in his advance on the Reagans. Two months before the 1981 presidential election, he befriended the Reagans’ son Ronald Junior, then their daughter Patti. Both sides are happy: the younger Reagans mix with the most famous artist in America, and in turn Warhol mixes with America’s imminent first family. Warhol likes Ronald Junior. ‘He turned out to be a really nice kid. God, he was so sweet … and he’s very smart. Lispy and cute.’ At their first lunch together, Warhol is tongue-tied. ‘I didn’t know what to talk to him about. I was too shy and he was too shy.’ Warhol finds himself asking an awkward question about whether or not his father dyes his hair. Ronald Junior tries to change the subject. His mother, Nancy, is, he tells Warhol, ‘very sweet and very adorable’.

      Warhol seizes the moment. ‘So then I got sneaky and brought Ordinary People up, and I told him how much I hated Mary Tyler Moore, that after I saw the movie if I saw her on the street I’d just kick her. And at that point he was almost going to say something about Nancy, but then somehow he got the drift of it and changed the subject. Because I think the mother in Ordinary People is just like Mrs Reagan. Really cold and shrewd.’

      They discuss what to order. Warhol tells Ronald Junior that he has never eaten frogs’ legs, ‘and he was so sweet he ordered them just so I could try it. He’s really sweet, a beautiful body and beautiful eyes. But he just doesn’t have a pretty nose. It’s too long.’

      Two weeks later, Patti Davis, Ronald Junior’s older sister, drops by the Interview office. ‘She looked sort of pretty to me, but then looking at her later on the video, how could these kids have missed their parents’ good looks? I mean, Dad was so gorgeous.’

      Between Ronald Reagan’s election and his inauguration, Andy Warhol goes out with Ronald Reagan Junior and his wife Doria to see the movie Flash Gordon. By the end of the evening, he has given Doria a job on Interview magazine.

      Warhol doesn’t encounter Nancy Reagan until March 1981, when, by chance, he spots her eating in the same restaurant. ‘We were leaving and didn’t want to go by the President’s table because it was too groupie-ish – everybody else was stopping at the table – so we went the other way, but then they called us over. Jerry Zipkin was yelling, and I met Mrs Reagan, and she said, “Oh you’re so good to my kids.”’

      The possibility of an interview with Nancy Reagan is mooted in September 1981. By now Nancy has taken to ringing Warhol’s sidekick Bob Colacello at the office, fussing about Ron and Doria, ‘causing no end of envy to Andy’. Colacello negotiates with the White House for an interview with Mrs Reagan: they give their approval, thinking it might lighten her imperious image. But, perhaps sensing Colacello has overtaken him on this particular social ladder, Warhol affects to pooh-pooh the idea. ‘I think she is too old and it’s old-fashioned. We should have younger people. What is there to ask her? About her movie career? Oh, it’ll never happen anyway.’

      But it does. A month later, Warhol and Colacello leave for Washington. Colacello warns Warhol not to ask her any ‘sex questions’. This upsets Warhol. ‘I just couldn’t believe him. I mean, I just couldn’t believe him. Did he think I was going to sit there and ask her how often do they do it?’

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