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William George Linich (February 22, 1940 – July 18, 2016), known professionally as Billy Name, was an American photographer, filmmaker, and lighting designer.

Key Information

Billy Name was the archivist of The Factory from 1964 to 1970.[1][2] His collaboration with pop artist Andy Warhol included films, paintings, and sculptures. Linich became Billy Name among the clique known as the Warhol superstars. He was responsible for "silverizing" Warhol's New York studio, the Factory, where he also resided. His photographs of the scene at the Factory and Warhol are important documents of the pop art era.[3]

In 2001, the United States Postal Service used one of Name's portraits of Warhol when it issued a commemorative stamp of the artist.[4] Name was awarded the Dutchess County Executive's Individual Artist Award in 2012.[5]

Biography

[edit]

Early life and education

[edit]

William George Linich was born on February 22, 1940, in Poughkeepsie, New York. His mother was a telephone operator and his father was a welder before becoming a barber.[6]

Linich graduated from Arlington High School in LaGrange, New York, as an honors student.[7][6] Without a clear strategy, he set out for New York.[6] His aptitude test indicated that he may succeed in business, but despite his inability to draw, he was pulled to the arts.[6] Andy Gusmano, his great-uncle who owned a barbershop in Poughkeepsie, gave him a three-piece barbering kit, which he brought to New York.[6]

Career in theater

[edit]

His first apprenticeship was with Nick Cernovich, part of the Black Mountain College contingency in New York in the 1950s, who had won an Obie Award for best lighting.[citation needed] "It was the end of the period of the romantic avant-garde bohemia, when artists kept younger artists and a male artist would always have a young man around."[citation needed]

In 1960. Linich began his career as a lighting designer at New York Poets Theatre, American Poets Theater, and the Judson Dance Company in New York City.[5] Under the tutelage of Cernovich, he co-designed the lighting for the Spoleto Festival of Two Worlds in 1960.[citation needed]

He also played music in the group Theatre of Eternal Music under the direction of La Monte Young.[8]

The Factory years

[edit]

Linich had first met pop artist Andy Warhol fleetingly when he was a waiter at Serendipity 3. In 1963, artist Ray Johnson brought Warhol and art critic David Bourdon to one of Linich's haircutting parties in his East Village apartment.[5][9] Name later recalled his interaction with Warhol:

I was famous for giving haircuts, so he said, "Would you let me do a film of you doing haircuts?" [Haircut, 1963] I had covered my entire apartment in silver foil and painted everything silver. Andy said "Well, I just got a new loft [the Factory]; would you do to it what you've done to your apartment?" I said "Oh, sure, let's do it." So, I started doing it. I was a technician— I'd been a light designer for [Manhattan dance theatre] the Judson Church. I also worked for some off-Broadway theater and avant-garde dance companies. I installed all the lighting at the Factory, all the sound systems.[10]

In return for making over his loft, Warhol gave him a new role within the Factory. "I was into light and sound before, but not photography", he said. "Andy had a still camera, but he had gotten the Bolex. He was going to start to do films, and he gave me the Pentax and said 'Here, Billy, you do the still photography; I'm going to start making films.' I became the in-house photographer and was sort of like the foreman. Eventually I moved in."[11]

His presence evoked an atmosphere that led to the development of new techniques and a new kind of art studio where Warhol began making films and creating Warhol superstars. One day, while completing a form, Linich noticed the blank "Name:" field, he entered Name and thus became Billy Name.[9][12]

Name lived and worked at the Factory, having taken residence in a closet at the back of the studio at 231 East 47th Street. Name taught himself the technical aspects of photography. He converted one of the Factory bathrooms into a darkroom, where he learned to process film. This, combined with his background in lighting and experimental approach to his work, resulted in a body of work that captured the "silver years" at the Factory.[13]

Name and Warhol were briefly lovers in 1964, but the romantic aspect of their relationship dissolved into mutual loyalty and admiration.[14] Name later recalled, "He was an essential sexual entity. He was the essence of sexuality. It permeated everything. Andy exuded it, along with his great artistic creativity. Sexuality was part of the glamour—we expressed it like teenagers."[15] His close friendship with Warhol—and his role in creating Warhol's artistic environment—provided him with a unique perspective of the Factory, with a particular focus on a core group of superstars who largely improvised before the camera.

In 1967, Andy Warhol's Index (Book), published by Random House, was produced under Name's direction.[16] He was also responsible for choosing the book's texts.[16] In addition to Nat Finkelstein, Warhol stated that some of Name's photographs are included in the book.[17]

Name collaborated with Shepard Fairey on his photograph of Nico, singer with the Velvet Underground and part of the social circle of Warhol's Factory. His photographs appear in the gatefold sleeve for the 1967 album The Velvet Underground and Nico (in collaboration Nat Finkelstein). He also designed the cover for the Velvet Underground's 1968 album White Light/White Heat and his photograph was used for their 1969 eponymous third album.[18][19]

In 1970, Name moved out of the Factory. He left a sign on the door that read "Andy, I am not here anymore but I am fine. Love, Billy."[9]

Later life

[edit]

Name continued his photography and filmmaking endeavors at his Poughkeepsie home.[5]

In 1988, he became the associate director of the Mid-Hudson Arts and Science Center in Poughkeepsie.[7]

In 1989, Vassar College in Poughkeepsie hosted the exhibition "The Billy Name Collection from the Warhol Factory: The Silver Era."[20]

In 1994, he produced a short-lived (5-8 episodes) cable television series The Bunka Krunka Show on TCI Cable Channel 32. He worked with Emmy Award-winning video editor Nicholas Apuzzo as well as film and video editor Nick Stamper. No known archive recordings exist.[21]

In 1997, Billy Name: Factory Fotos 1963–1968 was exhibited at London's Institute of Contemporary Arts before traveling to The Andy Warhol Museum in Pittsburgh.[22][23] To coincide with the show, All Tomorrow's Parties: Billy Name's Photographs of Andy Warhol's Factory was published.[23]

In 2014, the Milk Gallery in New York hosted the photography exhibition "Billy Name: The Silver Age."[24]

Death

[edit]

Name died of heart failure on July 18, 2016, in Poughkeepsie, New York.[25]

Awards and honors

[edit]

In 2001, one of Name's portraits of Warhol was utilized by the United States Postal Service when they released a commemorative stamp of the artist.[4]

In 2012, Name was awarded the Dutchess County Executive's Individual Artist Award.[5]

In pop culture

[edit]

Name is mentioned in the Velvet Underground's song "The Story of My Life", in Lloyd Cole's song "Cut Me Down," and in the songs "Hello It's Me" and "Slip Away (A Warning)" by Lou Reed & John Cale.[5]

Bibliography

[edit]

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Billy Name

View on Grokipedia
from Grokipedia
Billy Name (born William George Linich Jr.; February 22, 1940 – July 18, 2016) was an American photographer, lighting designer, and poet renowned for his pivotal role in Andy Warhol's studio during the , where he served as the in-house photographer, archivist, and decorator, capturing the era's cultural milieu through thousands of iconic black-and-white images. Born and raised in , Linich attended Arlington High School from 1954 to 1958, where he was elected senior class president and awarded "Most Versatile." After graduating, he moved to in 1958, immersing himself in the downtown scene as a waiter, haircutter, and participant in performances alongside figures like and . In 1959, while working at , he met , initiating a brief romantic relationship and a lifelong collaboration that led Linich to adopt the name Billy Name and join Warhol's burgeoning circle. Name moved into Warhol's original Factory studio on East 47th Street in 1964, where he transformed the space by "silverizing" its walls, floors, and furniture with aluminum spray paint and foil, creating the legendary metallic aesthetic that defined the venue as a hub for artists, musicians, and superstars. As the self-described "foreman," he managed operations, contributed to Warhol's experimental films, and began photographing daily life at the using a camera gifted by Warhol, producing an extensive archive of portraits featuring luminaries such as , , and members of —images that appeared on the band's album covers and later in exhibitions and publications like Billy Name: The Silver Age (2014). He remained at the until 1970–71, following its relocation to Union Square, after which he withdrew into the studio's before departing. In his later years, Name relocated to and eventually returned to Poughkeepsie, pursuing interests in , , and while living reclusively; in 2012, he was named County's artist of the year. His photographs, preserved as vital cultural documents of New York, gained widespread recognition posthumously through museum shows, books, and his estate's ongoing management, which has faced a legal dispute culminating in a in September 2025 over the validity of his 2015 will; his work continued to be exhibited, including in WarholMania (2024) and at Art Omi (2025), underscoring his enduring influence on and visual history.

Early life

Childhood and family background

William George Linich, who later became known as Billy Name, was born on February 22, 1940, in . He was the son of Carleton Linich, a local barber, and Mary Gusmano Linich, in a working-class family rooted in the region. Linich had at least one brother, and the family maintained strong ties to Poughkeepsie throughout his life. Raised in this modest environment, young Linich showed early creative inclinations, developing a self-taught interest in and amid limited formal exposure to . As a boy, he was particularly fascinated by the silver paint and aluminum foil used by workmen to coat the nearby bridge, an image that sparked his lifelong attraction to reflective materials.

Education and early artistic interests

Billy Name, born William George Linich Jr., graduated from Arlington High School in Poughkeepsie, New York, in 1958, where he served as Senior and was recognized as "Most Versatile" in the yearbook, reflecting his honors status and diverse talents. After high school, he moved to in late 1958 at age 18, initially settling in the East Village and immersing himself in the bohemian scene of , frequenting spots like Café to connect with artists, poets, and musicians. In his late teens and early twenties, Name pursued self-taught interests in poetry, lighting, and , drawing inspiration from the environment. He developed a passion for literature, befriending poet and contributing to her publication The Floating Bear in 1962, including guest-editing issue no. 26 with experiments. For lighting, he apprenticed under designer Nick Cernovich, honing skills in experimental setups for performances at venues like the , while exploring through collaging and conceptual pieces, such as his participation in the 1962 Yam Festival with "The Billy Linich Show." Name's early experiments extended to , including drone vocalizing with composer and collaborations with figures like and , as well as immersion in and occult studies. He connected with avant-garde groups, including the movement and the , and by 1960, began lighting designs for the New York Poets Theatre, , and , marking his entry into the experimental theater scene without formal training. These pursuits in Greenwich Village's vibrant bohemian circles, including clubs and informal gatherings like his haircutting parties, laid the foundation for his artistic development. In 1964, while immersed in New York's avant-garde circles, Linich adopted the professional pseudonym "Billy Name" by playing on "Name: Billy" from an official form. This marked a deliberate reinvention from his given name, William George Linich Jr., aligning with his emerging artistic persona.

Professional career

Work in theater and lighting design

Billy Name entered the New York avant-garde theater scene in the late and early as an apprentice to lighting designer Nick Cernovich, where he learned innovative techniques for experimental performances that emphasized atmospheric and sculptural light effects rather than traditional stage illumination. Under Cernovich's guidance, Name assisted in lighting projects for groups including and James Waring's dance company, contributing to the development of environments that integrated light as a performative element in and experimental venues. By the early 1960s, Name had established himself as a principal lighting designer for the New York Poets Theatre and the , creating designs that supported the boundary-pushing aesthetics of poets and choreographers in the downtown scene. For the , he designed lighting for multiple concerts at , including events in 1962 and specifically Concerts #6, #7, and #10 in 1963, which featured works by performers such as Freddie Herko, Lucinda Childs, and Richard Stringer. These designs employed colored gels and projected light to enhance the improvisational and site-specific nature of the dances, honing Name's ability to collaborate with artists like , , and on productions between 1959 and 1962. A notable off-Broadway production under Name's lighting direction was the presentation in August 1963 at the 41st Street Theater, showcasing performances by Lucinda Childs, Deborah Hay, Freddie Herko, , and Arlene Rothlein, which exemplified the group's rejection of conventional theatrical hierarchies through integrated visual and movement elements. This work, along with his assistance on Cernovich's lighting for the 1960 Ball, refined Name's expertise in for performance, bridging theater, , and emerging forms. Parallel to his lighting career, Name contributed to the minimalist music scene as a vocalist in La Monte Young's from 1962 to 1964, where he sang sustained drones alongside , supporting Young's explorations in and eternal soundscapes during early 1963 sessions that included on violin. These musical experiments, performed in lofts and galleries, complemented Name's theatrical innovations by emphasizing endurance and sensory immersion, further developing his interdisciplinary approach to avant-garde arts before his involvement with .

Role at Andy Warhol's Factory

Having met Warhol in 1959 while working at , Name moved into Warhol's studio at 231 East 47th Street in 1964 after Warhol visited his silver-decorated apartment and commissioned him to decorate the new space. Applying his prior experience in theater , Name transformed the space by "silverizing" it—covering walls, ceilings, furniture, and even a trunk with aluminum paint and foil to create a reflective, industrial aesthetic that defined the Silver Factory era. This renovation not only elevated the studio's visual identity but also contributed to its nickname, "," which Name helped establish as a nod to its mass-production vibe. As the in-house photographer and archivist from 1964 to 1970, Name documented the Factory's vibrant scene, capturing intimate black-and-white portraits of Warhol's superstars such as , Nico, and , as well as key events and daily activities. He coined the term "Factory Foto" to describe his distinctive style of spontaneous, insider imagery, becoming the primary visual chronicler of the era. Among his notable contributions were the photographs for (1967), where his images of the band and Nico were featured in the under art direction by Dick Smith, and the cover for (1968), featuring an enlarged, distorted detail from one of his tattoo photographs. In his role as unofficial foreman, Name managed props, maintained the space's operational flow, and lived in a converted closet, immersing himself in the Factory's creative chaos. Name was present during pivotal moments, including the June 3, 1968, shooting of Warhol by ; emerging from the darkroom after hearing gunfire, he discovered Warhol wounded on the floor alongside others in the studio. The trauma of this event, combined with the intensifying pace of life, led to his departure in 1970 amid burnout, after which he left a farewell note for Warhol and relocated to .

Later artistic endeavors

After leaving Andy Warhol's Factory in 1970, Billy Name spent the subsequent decade in , engaging in poetry writing and amid a phase of personal withdrawal from the frenetic New York cultural milieu. He returned to his hometown of , in the early 1980s, where he recommenced artistic production, emphasizing sculpture and photography while also pursuing . Name displayed his works in several local Poughkeepsie venues, such as the Luckey Platt Building, Beacon Federal Savings Bank, and Barrett House. In 1988, he assumed the role of Associate Director at the Mid-Hudson Arts and Science Center, contributing to the curation of the annual Hudson Valley juried art exhibition from 1988 through 1993. That same year marked the beginning of renewed interest in his earlier photography, with Vassar College mounting the exhibition The Billy Name Collection from The Warhol Factory "Silver Era" in 1989, showcasing his Factory-era images and related ephemera. During the 1990s, Name delved into astrology, providing readings at community gatherings in the . He attended the 1994 opening of in and later curated programs featuring his photographs there. A major highlight occurred in 2014, when Milk Gallery in presented Billy Name: The Silver Age, his most extensive retrospective, displaying nearly 100 black-and-white photographs from alongside projections of Warhol films in which he appeared. In his final decades, Name sustained independent filmmaking efforts from his Poughkeepsie home, capturing personal narratives and locales until deteriorating health curtailed his activities in the mid-2010s. Following Name's death in 2016, his estate has continued to promote his work through exhibitions, including a display of his vintage Factory photographs at Art Omi in 2025.

Personal life and death

Relationships and later years in Poughkeepsie

Billy Name maintained a romantic relationship with during the mid-1960s, serving as his boyfriend while contributing to the early environment as a key collaborator and live-in presence. He also developed enduring friendships with prominent Factory members, including poet and performer , with whom he shared a lifelong connection rooted in their shared experiences at the studio. As an openly gay artist in the pre-Stonewall era, Name embodied the era's underground queer creativity, navigating personal and professional ties within New York's clandestine LGBTQ+ circles before the 1969 riots marked a shift toward greater visibility. By 1970, Name had become overwhelmed by the relentless pace of Factory life, leading him to withdraw from the New York scene due to personal exhaustion and a desire for renewal. He left a poignant note for Warhol on his door, signaling his departure to explore life beyond the silver walls, and briefly traveled, including time in the West Coast art communities. In the 1980s, he returned to his hometown of , seeking proximity to family and a more serene existence away from the urban intensity. During the 2000s and 2010s, Name engaged with the arts community, participating in regional juried exhibitions and earning recognition such as the 2012 Dutchess County Executive's Individual Artist Award for his contributions to local culture. He contended with ongoing health issues, including and severe that necessitated hospitalizations, which underscored the physical toll of his earlier years. In later interviews, Name often reflected on his Factory tenure with a sense of enduring , integrating those experiences into his post-Stonewall identity as a quieter, more introspective figure in .

Death and immediate aftermath

Billy Name, born William George Linich, died on July 18, 2016, at the age of 76 in his hometown of . The cause of death was , following a period of declining health attributed to recurring illnesses, including . Name was survived by five siblings and their families. In accordance with his wishes, no formal funeral was held; instead, a gathering took place on October 15, 2016, from 11:00 a.m. to 7:00 p.m. at Mapleknoll Lodge in Bowdoin Park, Poughkeepsie, allowing friends and community members to pay respects. His death prompted immediate tributes in major publications, with obituaries in , , and the Poughkeepsie Journal emphasizing his pivotal role as photographer and archivist at Andy Warhol's during the . These accounts highlighted his silvering of the space and his documentation of its iconic figures, underscoring his contributions to history. The announcements were facilitated by his agent and executor, Dagon James, who confirmed the passing and began initial oversight of Name's estate. In the short term following his death, efforts focused on preserving Name's photographic , with James managing the estate's assets, including thousands of Factory-era images and negatives that Name had safeguarded throughout his career. This included preparations for the continued representation and potential publication of his work through established channels. As of September 2025, control of Name's estate remains under dispute in a New York court, with a determining whether James or Name's niece will manage it.

Legacy

Awards and recognitions

In 2001, the selected one of Billy Name's iconic silver-gelatin photographs of for inclusion in its set honoring the artist, thereby acknowledging Name's essential contributions to documenting the 's silver aesthetic and cultural milieu. This recognition underscored the enduring impact of Name's photographic archive on Warhol's legacy, as the image captured the reflective, metallic essence that defined the early environment. In 2012, Name was honored with the Dutchess County Executive's Individual Artist Award, presented for his lifetime achievements in photography, sculpture, and community involvement in the Hudson Valley arts scene. The award specifically celebrated Name's Factory-era innovations in silver artistry and his later regional exhibitions, affirming his role as a bridge between history and local creative traditions.

Influence in pop culture and exhibitions

Billy Name's photographs and persona have left a lasting imprint on pop culture, particularly through musical references by artists tied to Andy Warhol's circle. In The Velvet Underground's 1969 track "That's the Story of My Life" from their self-titled album, Lou Reed references Name in the lyrics: "But, Billy said, both those words are dead," nodding to Name's reclusive period locked in the Factory's darkroom. Similarly, Lloyd Cole's 1986 song "Cut Me Down" evokes Name's enigmatic image with the line "I've been Billy Name and filled my pockets with sand," capturing his symbolic role in the 1960s underground scene. Lou Reed and John Cale further honored Name on their 1990 collaborative album Songs for Drella, a tribute to Warhol; in "Hello It's Me," they recall a personal anecdote: "When Billy Name was sick and locked up in his room, you asked me for the key." Name's visual documentation of the Factory has been celebrated in prominent exhibitions, cementing his status as a key chronicler of Warhol's world. The Andy Warhol Museum in Pittsburgh presented "Kronk! Selections from the Billy Name Collection" from March 19 to June 2, 1997, featuring numerous examples of early 1960s reprographs by Factory photographer Billy Name that captured the raw energy of the Silver Factory era, including portraits of Warhol, Edie Sedgwick, and The Velvet Underground. In 2014, Milk Gallery in New York hosted "Billy Name: The Silver Age," curated by Dagon and Anastasia James, featuring nearly 100 photographs alongside projections of Warhol films to immerse viewers in the Factory's silver aesthetic. Posthumously, Name's work has continued to appear in institutional shows, reflecting sustained interest in his archive. The 2024 exhibition "WarholMania" at the Warhol Kennedy Residence in incorporated Name's black-and-white photographs of Warhol and Factory figures, juxtaposed with paintings and to explore the artist's social orbit. In 2018, Vassar College's Frances Lehman Loeb Art Center presented "Billy Name: Inside Warhol's Silver " (January 26 – April 15), including selections from Name's Factory images and drawing on his local ties to Poughkeepsie. These displays highlight how Name's images serve as primary sources for understanding 1960s and . In media, Name's voice and visuals have shaped narratives of the Warhol Factory. He provided key interviews for the 2008 documentary Andy Warhol's Factory People, directed by Catherine Shorr, where he recounted silvering the Factory and managing its chaotic daily operations. His photographs appear in films like Billy and the F Catalogue (2022), an archival exploration of the Silver Factory produced by Planet Group Entertainment. Name also featured in PBS's series, offering oral histories on Warhol's milieu in episodes from the early 2000s. Books on the 1960s New York art scene, such as those chronicling , frequently reproduce his images as essential visual records. As of 2025, Name's estate has facilitated renewed access to his oeuvre amid legal proceedings over its management, including digital initiatives to preserve and share his negatives and prints online. This ensures his photos remain influential in contemporary discussions of history.

Published works and bibliography

Billy Name's published works primarily consist of photographic monographs documenting his time at Andy Warhol's , along with editorial contributions to Warhol-related books and collaborative projects. His output reflects his role as a key visual chronicler of the 1960s New York underground scene, often featuring high-contrast black-and-white images that capture the silvered interior of the and its inhabitants. Themes across his publications emphasize the raw, ephemeral energy of Warhol's milieu, including portraits of superstars like , Nico, and members of , as well as stills from experimental films. One of his earliest contributions was to Andy Warhol’s Index (Book) (1967, Random House), which Name co-designed with Akihito Shirakawa and ; the publication includes pop-up elements and photographs primarily taken by Name, featuring Factory regulars in a playful, interactive format that mirrored Warhol's ethos. In the same year, Name collaborated on Screen Tests/A Diary (1967, Kulchur Press), a volume blending 54 poems by with stills from Warhol's , including one of Name himself; this work highlights his dual interests in photography and poetry. He also edited a: A Novel (1968, ), a transcription of unfiltered conversations between Warhol and Ondine, preserving typographical errors to evoke the spontaneity of Factory dialogue. Name's photographs appeared extensively in the catalog for Warhol's 1968 retrospective at Moderna Museet in (Moderna Museet), comprising around 200 images that provided visual context for the exhibition. Later, his images were incorporated into Warhol's memoir POPism (1980, Harcourt Brace Jovanovich), illustrating anecdotes from the era and underscoring Name's archival importance to Warhol's legacy. In 1992, published Stills from the Warhol Films, a collection of film stills and contact sheets from Warhol's cinematic output, offering an intimate glimpse into the production process and the performers involved. The 1996 monograph Factory Foto (Parco, Tokyo) showcased Name's signature high-contrast photographs of the Factory, emphasizing the metallic sheen and chaotic creativity of the space during its silver period. This was followed by All Tomorrow’s Parties: Billy Name’s Photographs of Andy Warhol’s Factory (1997, frieze/D.A.P.), which reproduced rediscovered color images from 1968 alongside essays by Dave Hickey and Collier Schorr; the book was praised for revealing lesser-known aspects of the Factory's vibrancy and social dynamics. Name's most comprehensive photographic collection, Billy Name: The Silver Age (2014, Reel Art Press), edited by Dagon James with an introduction by , compiles black-and-white images from 1964 to 1968, portraying visits from figures like , Nico, , and ; it received acclaim as a definitive visual record of Warhol's most influential years. Posthumously, following Name's death in 2016, an updated edition of Screen Tests/A Diary was released in 2024 by The Waverly Press, incorporating additional context from his estate to revisit the original collaborative spirit. Name also contributed photographs to album covers, including White Light/White Heat (1968, Verve) and The Velvet Underground (1969, MGM) by the Velvet Underground, as well as design elements for the Rolling Stones' Sticky Fingers (1971, Rolling Stones Records). While Name wrote poetry throughout his life, including during his time in San Francisco in the 1970s, no standalone self-published poetry volumes or major exhibition catalogs under his name have been documented beyond these integrated contributions.

References

  1. https://www.billynameestate.com/about
  2. https://www.theguardian.com/artanddesign/2016/jul/18/billy-name-andy-warhol-factory-photographer-dies-76
  3. https://www.artsy.net/article/artsy-editorial-dead-at-76-billy-name-captured-warhol-s-factory-in-its-prime
  4. https://www.newyorker.com/culture/photo-booth/billy-names-factory-photographs
  5. https://www.nytimes.com/2016/07/22/arts/design/billy-name-dead.html
  6. https://fadmagazine.com/2024/09/07/warholmania/
  7. https://www.instagram.com/p/DLh-FcNsKj4/
  8. https://petapixel.com/2025/09/25/jury-trial-will-finally-decide-fate-of-andy-warhol-photographers-billy-name-estate/
  9. https://www.findagrave.com/memorial/261766048/william-george-linich
  10. https://poklib.org/billy-name-from-life-in-the-warhol-factory-and-beyond/
  11. https://www.timesunion.com/hudsonvalley/news/article/billy-name-warhol-factory-photographer-estate-21059783.php
  12. https://www.thetimes.com/uk/article/billy-name-z7ps0r3h7
  13. https://www.theguardian.com/artanddesign/2016/jul/21/billy-name-obituary
  14. http://planetgroupentertainment.squarespace.com/the-billy-name-interview/
  15. https://www.imdb.com/name/nm0620637/bio/
  16. https://www.sleek-mag.com/article/billy-name-silver-factory-warhol/
  17. https://www.dbdoty.com/Words/LMYInterview_01.html
  18. https://dsps.lib.uiowa.edu/downtownpopunderground/people/affiliation/theater-of-eternal-music/
  19. https://legsville.com/andy-warhol-billy-name-how-the-factory-became-the-factory/
  20. https://www.theguardian.com/artanddesign/2015/sep/27/billy-name-andy-warhol-factory-photographer-pop-art
  21. https://www.interviewmagazine.com/culture/factory-workers-warholites-remember-billy-name
  22. https://www.artnews.com/art-news/news/billy-name-legendary-photographer-of-andy-warhols-factory-dies-at-76-6686/
  23. https://www.si.edu/object/siris_sil_1045313
  24. https://www.poughkeepsiejournal.com/story/news/2016/07/20/poughkeepsie-artist-icon-billy-name-dies/87355672/
  25. https://www.billynameestate.com/exhibitions
  26. https://www.instagram.com/p/DHbro0LxWZp/?hl=en
  27. https://glreview.org/article/the-factory-from-the-inside/
  28. https://www.artforum.com/columns/glenn-obrien-on-billy-name-1940-2016-230533/
  29. https://www.legacy.com/us/obituaries/poughkeepsiejournal/name/william-linich-obituary?id=20717450
  30. https://static1.squarespace.com/static/607737d89beecf6bcb2caa77/t/645e823e1601ed40fc77c1ff/1683915326964/Dutchess%2BArts%2BAwards%2BAlpha%2BAward%2Blist%2B%25281%2529.pdf
  31. https://songmeanings.com/songs/view/148860/
  32. https://genius.com/Lloyd-cole-cut-me-down-lyrics
  33. https://www.azlyrics.com/lyrics/loureed/helloitsme.html
  34. https://carnegiemuseums.org/magazine-archive/1997/marapr/hilight2.htm
  35. https://www.vassar.edu/theloeb/exhibitions
  36. https://videolibrarian.com/reviews/documentary/andy%25C2%25A0warhol-s%25C2%25A0factory%25C2%25A0people/
  37. https://www.youtube.com/watch?v=Poe0cNRRLLw
  38. https://www.pbs.org/wnet/americanmasters/archive/interview/billy-name/
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