User:Lindseybean27/Nico/Bibliography

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'''Simpson, Dave (2019). “Nico in Manchester. She loved the architecture - and the heroin”. The Guardian.'''

Simpson details the landing place for Nico, German model and folk rock singer, in the 1980s, during her later solo career. Settling in Manchester for the interest of their music and drugs and signing with executive and promoter of prominent record label Factory Records, Alan Wise. With her having lived in the same place a new show about her would soon be playing at the Manchester International Festival, Simpson spoke with a number of artists, acquaintances, friends, coworkers, and people who one way or another ended up spending time with Nico. This included her promoters, her managers, friends, strangers, and musicians she had performed with and/or befriended. Simpson’s article is referenced a total of five times throughout the Wiki article. The article is first cited in the Wikipedia article under Later Solo Career (1978-1988), correctly sourcing Nico living in Manchester throughout the early 80’s and having obtained a record deal with Factory Records at that time. It also accurately cites that most of Nico’s final years were spent on her music and her drugs in Manchester. Simpson is a music critic and journalist for The Guardian, who interviewed the individuals quoted in the article. I believe his article is definitely a key resource of information on Nico’s later life, and is applied accurately and contextually in the Wikipedia article in considering the stages of her life and career. However, the article represents only one small portion of Nico’s recorded life, and more key references are needed.

'''Perry, Kenny E.G. (2021). She’ll be your mirror: Who Was the Real Nico? The Independent.'''

The Independent’s Kenny E.G. Perry interviews Jennifer Otter Bickerdike, Nico’s biographer who had recently released a book on the famous musician. Opening with her anticlimactic death in Ibiza at age forty-nine, Perry follows up acknowledging her larger-than-life list of achievements. Modeling for Coco Chanel and singing with The Velvet underground only scraped the surface of her collaborations as well as solo talent. Nico is often perceived and portrayed through the context of the many famous men who had passed through her life, such as Bob Dylan, Alain Delon, Lou Reed, the list goes on, but it’s not essential to what made Nico such an interesting public figure. This is meant to be reaffirmed in the recent biography by Bickerdike, You Are Beautiful and You Are Alone, named after a line in Nico’s 1970 song, “Afraid”. Bickerdike began writing the book as a result of her own research, conducted to be able to herself determine the facts of Nico’s life from mythos. The article provides a history of Nico’s early life, which tends to be skimmed over in favor of her adventurous life in the spotlight, but does not shy away from her fantastical experiences as well, such as her tendency to inspire artists around her and her illustrious solo career.

'''Karr, Rick (2018). “Nico Biopic Sheds Light on Her Life Before and After the Velvet Underground”. NPR.'''

Rick Karr of NPR Interviews Susanna Nicchiarelli, director of the 2017 biopic, Nico, 1988. The article opens with a remark about how Nichiarelli discovered Nico through a friend showing her Nico’s 1967 musical collaboration with The Velvet Underground, which Nichiarelli credits as one of the defining moments of her young life at the time of listening. Nico, 1988, shines light on Nico’s later life, which is often eclipsed in media and mythology by her early career’s achievements. Her struggle for autonomy as an artist is acknowledged, as her frequent collaborations with famous faces of the sixties and seventies led to a lack in recognizability in her own right during her later career. The film moves back and forth in time, between this period of self establishment and her struggles with attempting sobriety and regaining custody of her son, Ari. Nico’s real name is Christina Päffgen, born in Germany just before World War II. She began to use the name Nico as a teenager, blossoming as a model. She was in Federico Fellini’s 1960 film, La Dolce Vita, and shortly after moved west and became a muse for Andy Warhol, though Nichiarelli’s film picks up toward the end of Nico’s life, when her evolution as an artist had already been heavily observed, and her heroin use had already been a known secret.

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