Joe Dallesandro, Firstbase
(Born 1948). Dallesandro met Warhol by accident in 1967 during the filming of The Loves of Ondine. Stars in Lonesome Cowboys (1967) and in Paul Morrissey's films Flesh (1968) and Trash (1970), Andy Warhol's Frankenstein (1974) and Andy Warhol's Dracula (1974).

Henry Geldzahler, Catcher
In the 1960s Geldzahler was curator of 20th Century art at the Metropolitan Museum of Art. In 1978 he was appointed Commissioner of Cultural Affairs for the City of New York. He is the subject of Warhol's 1964 portrait Henry Geldzahler, filmed during the first week of July in 16mm, it is 100 minutes long.

Rod La Rod, Thirdbase
A young member of the Warhol entourage. It's not clear if La Rod was in any films. According to Warhol, when La Rod met Paul McCartney in London in the Spring of 1967 the youngster leapt onto the Beatle's lap. Warhol writes, "that's what I liked about Rodney-- he did all those things you felt like doing but knew you shouldn't."

Gerard Malanga, Leftfield
While a student in 1963 at Wagner College on Staten Island Malanga gets a job as an assistant to Warhol. Malanga helps Warhol with the silkscreen process (which Warhol started in 1962.) Malanga would go on to have a major impact at Warhol's Factory. He appears in the following Warhol films: Kiss (1963), Couch (1964), Harlot (1964), Bitch (1965), Beauty #2 (1965), Camp (1965), Hedy (1965), Bufferin also known as Gerard Malanga Reads Poetry (1966), The Chelsea Girls (1966); Gerard Has His Hair Removed With Nair (a section of ****, 1966).

Paul Morrissey, Rightfield
(Born 1939). Morrissey had been involved in independent filmmaking for a number of years before he met Warhol during the summer of 1965. Morrissey became Warhol's chief collaborator on such films as Chelsea Girls (1966), **** (1966-1967), Bike Boy (1967), Nude Restaurant (1967), Lonesome Cowboys(1967), Blue Movie(1968), Women in Revolt (1972), L'Amour (1973). Morrissey also made Flesh (1968), Trash (1970), Andy Warhol's Frankenstein (1974) and Andy Warhol's Dracula (1974).

Billy Name, Secondbase
(Originally Billy Linich). Joined the Warhol entourage in 1963 after a life on the street. He was the interior decorator of the first Factory. He put up the silver paper and brought in the big couch. It is Billy's hair that gets cut in Warhol's 1963 film Haircut. He also appears in Couch (1964), Lupe (1965). He contributes out-of-frame dialog in Harlot (1964), and provides the strobe lighting in a section of Chelsea Girls ("Their Town") (1966).

Lester Persky, Pitcher
A television advertising innovator, Persky specialized in the "hard sell" technique. By 24 he was president of his own advertising agency. He met Warhol in the early 1960s. Persky is a self-described "big party-giver" and Warhol with his entourage was a frequent guest at his friend's East 59th street penthouse. Warhol's 1964 film Soap Opera is also known as The Lester Persky Story. Persky later became a film producer. His producing credits include the film version of Hair (1979).

Chuck Wein, Centerfield
Chuck Wein was part of the Cambridge/Harvard crowd that "infiltrated" the Warhol entourage in 1965. He is listed as "codirector" for some of the 1965 Warhol sound films, Beauty #2, Poor Little Rich Girl, Restaurant and as the "director of" My Hustler.

Andy Warhol, Manager
Born in Pittsburgh Warhol attended the Carnegie Institute of Technology as a graphic design student. He went to New York City to pursue a carrer as an illustrator and became one of the most well known members of the emerging Pop art movement. He began making his famous silkscreen portraits in 1962 and took up filmmaking in 1963. Warhol observer and analyst Stephen Koch writes, "Warhol craved fame with a thirsty, calculated desperation, as if it were the very metaphor for life itself. And in a sense his career [was] about being a celebrity." That Lester Persky, a successful advertising executive, was an early New York influence on Warhol is not surprising. Warhol's aesthetic was essentially based on a meditation about the relationship between image and reality. Warhol's succession of so-called "superstars" was an ironic mimicry of the exploitative and disposable nature of the American culture. Warhol appeared to have intuitively understood what the German philosopher Hegel discovered a century earlier: that man's basic desire is the quest for recognition.

Andrea Feldman, Firstbase
A New York City native she met the Warhol entourage at Max's Kansas City, a bar described as the "ultimate hangout." Feldman became part of the Warhol scene in 1967. She was notorious for jumping on a table at the bar and ripping open her shirt to expose her breasts. She appeared in Morrissey's film Heat (1972) and shortly afterwards in the Fall, while clutching a bible she jumped from her parents' 17th story apartment and died.

Ingrid Superstar, Catcher
(Originally Ingrid von Scherven). Described as a "perfectly conscious comedienne forever varying on the theme of the dumb blond," Ingrid, a native of New Jersey joined the Warhol entourage in 1965. She appears in Hedy (1965); The Chelsea Girls (1966); **** (1966-1967); I, A Man (1967); Bike Boy (1967); Nude Restaurant (1967). Ingrid disappeared in 1986.

Nico, Thirdbase
(Originally Christa Paffgen, 1939-1988). Nico came to New York from Germany and entered the Warhol vortex in 1966. Her voice has been has been compared to an "IBM computer with a Garbo accent." She had had a record produced by Andrew Oldham of the Rolling Stones and through her association with Warhol she began singing with the Factory's resident band, The Velvet Underground. She appears in I, A Man (1967),

Valerie Solanis, Leftfield
(1936-1988). Founder of S.C.U.M. (the Society for Cutting Up Men) and the author of its Manifesto. Sometime in 1967 Solanis gave a script to Warhol entitled Up Your Ass which Warhol found too disgusting and he eventually lost it. As compensation Warhol invited Solanis to appear in the film I, A Man (1967). On June 5, 1968 for some inexplicable reason Solanis went to the Factory and tried to kill Warhol by pumping several bullets into his body. Warhol survived.

International Velvet, Rightfield
(Originally Susan Bottomly). Daughter of a Boston district attorney she was only 17 when she met Warhol in 1966 while living in the Chelsea Hotel pursuing a career in modeling. She appears in The Chelsea Girls (1966) and in **** ("International Velvet" section, 1967).

Ultra Violet, Secondbase
(Originally Isabelle Collin Dufresne. Born 1935). Born in France she came to the United States as a young girl and became associated with the New York art scene. She met Warhol in 1965. Warhol describes her as "popular with the press because she had a freak name, purple hair, and incredibly long tongue, and a mini-rap about the intellectual meaning of the underground movies." She appears in **** ("High Ashbury" section, 1966) and I, A Man (1967). She is the author of Famous for Fifteen Minutes: My Years with Andy Warhol.

Viva, Pitcher
(Originally Janet Susan Mary Hoffman. b. 1942). She was on the periphery of the Warhol scene until 1967 when she became the latest in a series of "superstars." She appears in The Loves of Ondine (1967); Lonesome Cowboys (1967), and she's the featured female lead in Paul Morrissey's Fuck (also known as Blue Movie, 1968). She also had a role in the John Schlesinger film Midnight Cowboy. Viva wrote of her experiences with the Warhol vortex in her book Superstar.

Mary Woronov, Centerfield
She first heard of Warhol in 1964 while attending Cornell University. She says, ""I was interested in art, and he was an artist. I did not think of it as acting. They had just started doing what's now called 'performance art'­ then they were called 'happenings.' I thought of it in that way. I was an object that was being used ­ not an actress giving a performance. He went for that. That's why everybody thinks of all of us that were in the films as being freaks." Woronov appears in Chelsea Girls (1966) and performed as a dancer with The Velvet Underground. In 1995 she wrote Swimming Underground: My Life in the Warhol Factory. She continues to write and paint; she also maintains an interesting biographical website.

Edie Sedgwick, Manager
(1943-1971). Edie Sedgwick, daughter of a wealthy family, had already been in and out of a couple of mental institutions by the time she met Warhol in January 1965. She became his second superstar and recognized as 1965's "girl of the year." She appears in the following Warhol films all made in 1965: Poor Little Rich Girl, Vinyl, Bitch, Restaurant, Kitchen, Prison, Face, Afternoon, Beauty #2, Space, Outer and Inner Space, Lupe. But by 1966 Andy and Edie had a falling-out and Nico replaced Edie as the superstar du jour. Eventually Edie went back home to Santa Barbara and in November 1971 she died from an overdose of barbiturates. Edie is both the star and subject of the film Ciao! Manhattan released in 1972.

The image of Warhol is that of the aloof, disengaged observer. Ondine, one of the Factory regulars, called Warhol "the queen of passivity." Truman Capote said, "If I had to make a really good guess, I'd say that his thing is being a voyeur." Stephen Koch, a keen observer himself of Warhol calls the artist the "tycoon of passivity."

As a reaction to the emotional excesses of the painters associated with Abstract Expressionism, Warhol's aesthetic was profoundly cool and unemotional. There are plenty of reasons to think that this overt passivity was simply cover for a much less stable and far more insecure personality. The cold logic of machinery, devoid of opinion and emotion found a comforting home inside the Factory. Of course much of the testimony from the participants of this world is fraught with the detritus of failed human relationships.

In some very specific ways Edie Sedgwick, the spoiled, maladjusted "trust fund speed queen" got run over by the machine. In all likelihood Edie simply substituted the tyranny of her father for the tyranny of another. Her emotional configuration was on fire and significantly out of kilter. These were however the qualities of personality that Warhol found attractive in other people.

Not long after Warhol met her father Francis Sedgwick at the River Club on November 22, 1965 a rift between Edie and Andy began to develop. There are a number of reasons offered for this, none of which hold her father directly responsible.

Some suggest that Edie wanted to emerge from underground film stardom and try her luck in Hollywood. Others point out that Edie had met Bob Dylan and wanted to work out something with him professionally and romantically. Some conclude that with the appearance of Nico at the Factory scene, Warhol shifted his attention from Edie to the new German-born underground superstar-to-be.

By 1966 Warhol was replacing Edie's section of the film Chelsea Girls with footage of Nico. Viva notes that Edie's departure "must have had an effect on Andy-- Edie leaving him for Dylan, or whoever. He was probably in love with Edie, with all of us-- a sexless kind of love, but he would take up your whole life so that you had no time for any other man. When Edie left with Grossman [Dylan's manager] and Dylan, that was betrayal, and he was furious...a lover betrayed by his mistress."

Warhol himself makes enough catty and disparaging comments about Edie (especially in POPism his 1980 memoir published nine years after Edie's death) to reveal that he must have been hurt by the demise of his relationship with Edie. And for her part Edie claimed Warhol was a "sadistic faggot." In truth, her life, disturbed before she met Warhol, never really straightened out after she knew him.

This cosmic baseball game was played with the hope that it might reveal more about the nature of the unfortunate relationship between Andy Warhol and Edie Sedgwick. However, despite the fact that the Sedgwiccas won the game we do not feel that we can come to any definitive conclusions. Perhaps a series of games needs to be played.

NOTE: Andy Warhol is a thirdbaseman for the Bhutan Vanguards, CBA's team of artists in the Middleleague. Edie Sedgwick is a rookie pitcher for the Vestal Virgins, CBA's team of interesting women in the Overleague.