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Taylor Mead (December 31, 1924 – May 8, 2013) was an American writer, actor and performer. Mead appeared in several of Andy Warhol's underground films filmed at Warhol's Factory,[1] including Tarzan and Jane Regained... Sort of (1963) and Taylor Mead's Ass (1964).

Key Information

Career

[edit]

Born in Detroit, Michigan and raised by divorced parents mostly in the wealthy suburb of Grosse Pointe,[2] he appeared in Ron Rice's beat classic The Flower Thief (1960), in which he "traipses with elfin glee through a lost San Francisco of smoke-stuffed North Beach cafés ..."[3] Film critic P. Adams Sitney called The Flower Thief "the purest expression of the Beat sensibility in cinema." Village Voice film critic J. Hoberman called Mead "the first underground movie star."[4]

In 1967, Taylor Mead played a part in the surrealistic play Desire Caught by the Tail by Pablo Picasso when it was set for the first time in France at a festival in Saint-Tropez, among others with Ultra Violet.

In the mid-1970s, Gary Weis made some short films of Mead talking to his cat in the kitchen of his Ludlow Street apartment on Manhattan's Lower East Side called Taylor Mead's Cat. One film of Mead extemporizing on the virtues of constant television watching aired during the first season of Saturday Night Live. He also appeared in films by Rosa von Praunheim, for example in 1979 in Tally Brown, New York. Mead was friend with both (the director and Tally Brown).

In 1995, Mead spent eight hours a day for a week at the Bon Temps bar, New Orleans, being documented in the photobooth costumed as a series of Warholian characters for Blake Nelson Boyd's documentary Photobooth Trilogy. Characters included Superman and Mickey Mouse from Warhol's Myth series and references to Mead's performances in Lonesome Cowboys and Nude Restaurant.

While living on Ludlow Street, Mead read his poetry regularly at The Bowery Poetry Club. His first book of poems, "Taylor Mead on Amphetamines and in Europe", was written in 1968 (Republished by the Taylor Mead Estate, September 2015)[5] His last book of poems (published by Bowery Poetry Books) is called A Simple Country Girl.[6] He was the subject of William A. Kirkley's documentary Excavating Taylor Mead, which debuted at the Tribeca Film Festival in 2005. The film shows him engaging in his nightly habit of feeding stray cats in an East Village cemetery after bar-hopping, and features a cameo by Jim Jarmusch, in which Jarmusch explains that once, when Mead went to Europe, he enlisted Jarmusch's brother to feed the cemetery cats in Mead's absence.

Mead appeared in the final segment of Jarmusch's 2003 film Coffee and Cigarettes. He has been "a beloved icon of the downtown New York art scene since the 60s."[7]

Mead appeared at the Yerba Buena Center for the Arts in San Francisco, from September 18 to 21, 2008, for a series of three films (The Flower Thief, Lonesome Cowboys, and Excavating Taylor Mead) .[8]

Death

[edit]

Mead was displaced from Ludlow Street in April 2013, receiving a settlement to move out, after many years of a dispute with his landlord.[9][10] He lived with his niece, Priscilla Mead, in Denver and was planning to return to New Orleans on May 21[11] to prepare for the opening of his exhibition at the Boyd Satellite Gallery on Julia Street in that city,[12] but he died on May 8, 2013, in Denver. He was 88.[13]

Filmography

[edit]

Footnotes

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References

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Taylor Mead

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Taylor Mead (December 31, 1924 – May 8, 2013) was an American actor, poet, and underground performer best known as a pioneering figure in experimental cinema and a key collaborator in 's scene. Born in , Mead emerged in the bohemian circles of 1950s San Francisco's Beat scene before moving to , where he became a fixture of the arts community. His breakthrough came as the star of Ron Rice's The Flower Thief (1960), often credited as the first underground movie star, which launched his career in . Over his lifetime, Mead appeared in approximately 130 films, including eleven directed by between 1963 and 1968, such as Tarzan and Jane Regained … Sort Of (1963) and (1967), where his improvisational style and elfin persona defined the era's countercultural aesthetic. He also featured in mainstream works like (1969) and Jim Jarmusch's (2003). Beyond film, Mead was an accomplished poet and writer, publishing journals such as The Anonymous Diary of a New York Youth (1961) and On and in (1968), which captured his nomadic, bohemian lifestyle across the U.S. and . He earned an in 1964 for his performance in the play The General Returns from One Place to Another and remained active in theater with groups like the Playhouse of the Ridiculous. Known as "the of the 1960s underground," Mead's legacy endures as a symbol of artistic rebellion, with his work influencing generations of experimental artists. He died of a stroke in , , while visiting family.

Early life

Family background

Taylor Mead was born on December 31, 1924, in , into a prominent family of means. He spent much of his upbringing in the wealthy suburb of , where his parents, Harry H. Mead and Priscilla Wood Mead, had divorced when he was very young. Mead's father was a key political figure in , serving as chairman of the state Democratic Party and exerting influence in local society. His mother, a from , played a significant role in his early exposure to , sharing her admiration for Hollywood stars and films that captivated young Mead. Mead's childhood unfolded in this privileged yet constraining environment, marked by family instability after his parents' separation and his mother's death from cancer when he was 13. Following the divorce, he was briefly sent to live with grandparents in , from which he attempted to flee by stowing away on a bus. After his mother's death, he attended the Loomis School in , graduating in 1942. Attending local schools like University School in , Mead developed an early fascination with performance, earning the nickname "Star" in junior high school. These experiences, amid the expectations of his , hinted at his emerging bohemian inclinations through his love of cinema and performative expression.

Move to New York

In the late , at the age of 22, Taylor Mead quit his position as a broker trainee at the Merrill Lynch brokerage firm in , seeking escape from the constraints of his privileged upbringing and the city's conservative social environment. He began across the , embarking on multiple cross-country journeys that exposed him to diverse subcultures and transient lifestyles. After brief studies at the in , Mead hitchhiked to in the mid-, where he immersed himself in the North Beach neighborhood's burgeoning Beat poetry scene, associating with figures like and experiencing the era's avant-garde literary circles before police crackdowns forced him to leave. By the late 1950s, he arrived in , drawn to the expanding network of coffeehouses and artistic communities that echoed the freedoms he had tasted on the West Coast. Upon settling in , Mead quickly integrated into the bohemian milieu, forging connections with early Beat poets, performers, and intellectuals who gathered in the area's vibrant, countercultural hubs. This period marked his transition to a full-time artistic life, as he began sharing his writings and engaging in informal performances amid the Village's underground cafes during the late 1950s and early 1960s. These early recitations, often laced with provocative and whimsical verse, helped establish his presence in New York's experimental poetry scene.

Career

Early performances and poetry

In the late 1950s, Taylor Mead became associated with key figures of the in , where he immersed himself in the bohemian scene of North Beach. After studying acting with in New York during the decade, Mead began performing his in 1959 at the Epitome Café in , a hub frequented by luminaries such as and . These readings marked his entry into the East Coast's vibrant circles, aligning him with the defiant spirit of the Beats amid the cultural ferment of the era. Mead's early poetry was characterized by its scatological, defiant tone infused with sharp humor, often exploring themes of rebellion and sexual liberation in a raw, unfiltered style. Self-described as such, his works challenged conventional norms and resonated with the Beat ethos of spontaneity and authenticity, earning him initial notoriety in underground readings along the East Coast. He performed these pieces in informal settings like cafés and bars, building a reputation through their irreverent wit and accessibility, which captivated audiences seeking alternatives to mainstream literature. Mead's debut in underground theater followed closely, featuring spontaneous and improvisational performances that solidified his status as a bohemian icon in New York's avant-garde community. These early acts, often devoid of formal scripting, showcased his and playful athleticism, drawing comparisons to silent-era performers. This groundwork led to his first film role in Ron Rice's The Flower Thief (1960), a 16mm black-and-white feature shot in San Francisco's North Beach Beat enclave, where Mead portrayed a joyful vagabond in a series of picaresque vignettes. Critics, including P. Adams Sitney, hailed the film as "the purest expression of the Beat sensibility in cinema," praising its improvisational essence and Mead's embodiment of Zen-like whimsy.

Andy Warhol collaborations

Taylor Mead joined 's Factory scene in 1963, introduced through art curator , and quickly became one of the artist's earliest collaborators. That September, Mead accompanied Warhol on a cross-country to for the opening of Warhol's exhibition at the Ferus Gallery, where the two began filming Mead's debut Warhol project, the experimental short Tarzan and Jane Regained... Sort of..., in which Mead portrayed a whimsical, improvised Tarzan amid the California landscape. This marked Mead's entry into Warhol's burgeoning circle of underground filmmakers and performers, solidifying his role as a key figure in the Factory's creative output during the mid-1960s. In 1964, he earned an for his performance in Frank O'Hara's play The General Returns from One Place to Another. Mead's contributions to Warhol's cinema were characterized by his exuberant, spontaneous style, which emphasized poetic and raw physicality over scripted dialogue, aligning perfectly with Warhol's interest in unpolished, voyeuristic depictions of everyday eccentricity. He starred in several landmark films, including the 16mm short (1964), a minimalist study of Mead's posterior that exemplified Warhol's fixation on bodily fragments and celebrity aura; (1964), where Mead lounged and interacted casually with other denizens; and later works like (1967) and (1967), in which his campy, effusive presence added layers of humor and to the director's static, endurance-testing aesthetics. These performances helped define Warhol's experimental underground style, blending Beat-era whimsy with detachment to capture the hedonistic pulse of 1960s New York bohemia. As a Factory regular, Mead immersed himself in the studio's vibrant social milieu, forging connections with fellow "superstars" such as Viva, Ultra Violet, and , often joining Warhol on travels and impromptu gatherings that blurred the lines between art production and excess. His presence infused the scene with a playful, irreverent energy, as he participated in , poetry readings, and casual vignettes that Warhol documented obsessively, contributing to the 's reputation as a hub for camaraderie and boundary-pushing experimentation. In 1967, Mead extended his Warhol-influenced network into theater, taking a role in the French premiere of Pablo Picasso's surrealist play Desire Caught by the Tail during a festival in , alongside other affiliates like Ultra Violet. This production, the first staging of the script in , showcased Mead's impish, in a cast of international eccentrics, further bridging Warhol's cinematic provocations with European avant-garde traditions.

Later film roles and publications

Following his prolific output in the , Taylor Mead sustained a long career in independent and underground cinema, accumulating over 100 film credits across decades that underscored his enduring presence in and low-budget productions. Transitioning from experimental shorts, he took on a small but memorable role in the 1969 drama , directed by , portraying "The Man" in a film that bridged underground aesthetics with mainstream recognition. In the ensuing years, Mead appeared in diverse indie projects, including the No Wave-era feature Underground U.S.A. (1980), directed by Eric Mitchell, where he played himself in a raw depiction of New York City's scene. Mead's roles in the and further highlighted his versatility in and experimental films, such as Frogs for Snakes (1997), directed by , in which he embodied a character known as the Man in the Black , and Citizen Toxie: The Toxic Avenger IV (2000), directed by , appearing as The Teacher in the satirical superhero comedy. A standout later appearance came in Jim Jarmusch's Coffee and Cigarettes (2003), where Mead appeared as Taylor in the "Champagne" segment opposite Bill Rice, contributing to the film's mosaic of quirky, dialogue-driven vignettes. These works exemplified Mead's shift toward more eclectic, often humorous supporting parts in indie cinema, maintaining his reputation as a bohemian fixture. Parallel to his screen work, Mead continued to publish , blending confessional and whimsical styles reflective of his nomadic life. His 1968 collection Taylor Mead on Amphetamines and in : Excerpts from the Anonymous Diary of a New York Youth, Volume Three, a drug-infused diary-like volume originally issued by Boss Books, saw a faithful reprint in 2015 by his estate, reviving interest in his early literary voice. In 2005, Mead released A Simple Country Girl, his fourth book and first in over two decades, published by YBK Publishers; the collection featured bright, ephemeral verses drawing from personal anecdotes and East Village observations. That year also marked the debut of the documentary Excavating Taylor Mead at the Tribeca Film Festival, directed by William A. Kirkley; the 98-minute film intimately interviewed Mead in his cluttered apartment, exploring his artistic journey, relationships, and survival in New York's indie scene through archival footage and personal reflections.

Personal life

East Village residence

Taylor Mead maintained a long-term residence in a rent-stabilized apartment at 163 Ludlow Street in Manhattan's Lower East Side, an area often synonymous with the East Village, beginning in 1979. This modest fifth-floor walk-up, where he paid approximately $380 per month, became a symbol of his enduring bohemian roots amid the neighborhood's evolving landscape from gritty artistic enclave to gentrified district. The cluttered space, filled with paintings, trash, and remnants of his creative life, reflected the unpretentious ethos of the downtown scene he helped define. Mead's daily routines embodied the neighborhood's informal, communal spirit. He regularly fed stray cats in the East Village's Second Avenue cemetery and along nearby Eldridge Street, often purchasing cat food from a local and making these outings after midnight or in the early morning hours following bar visits. In his earlier years, he walked up to 80 blocks a day through the area, frequenting spots like the Poetry Club for Monday readings, though mobility issues from minor strokes later limited these excursions. As a neighborhood fixture, Mead fostered interactions with local artists and residents, drawing on his status as a Warhol-era veteran to connect with the community's creative undercurrents. He was recognized and greeted by longtime locals during meals at nearby bistros like on First Avenue, and even received assistance from incoming yuppies, whom he appreciated for their courtesy in helping him with cabs. These exchanges underscored his role as the "last holdout" in a changing East Village, where he observed the shift from a haven for outlaws and artists to upscale developments. In April 2013, Mead faced displacement from his Ludlow Street home due to severe building issues during a gut renovation initiated by landlord Ben Shaoul, who had purchased the property and adjacent tenements for $16.5 million the previous year. The apartment deteriorated with falling plaster, rampant roaches, non-functional heat and plumbing, and incessant construction noise from 7 a.m. onward, creating unlivable conditions. After a prolonged battle, he agreed to vacate in exchange for a buyout, leading to a temporary relocation while the building was converted for market-rate units.

Interests and relationships

Mead's identity was central to his , having been disinherited by his family for it during his early years in America. As an openly man, he embraced in the 1960s, often wearing wigs and dresses, which contributed to his defiant, self-awareness infused with mischief. His affiliation with the Beat poetry scene in 1950s further shaped this style, fostering a bohemian sensibility that emphasized uninhibited expression and countercultural . This blend of and Beat influences manifested in his flamboyant, theatrical demeanor, marked by expressive gestures and a playful, magnetic presence in social settings. Beyond professional circles, Mead maintained close personal friendships with figures from the Warhol Factory scene, including and , sharing eccentric lifestyles in . He also formed enduring bonds with Beat poets such as and , as well as and filmmaker Ron Rice, bonding over poetry readings in bars and a shared sense of bohemian camaraderie. These relationships highlighted his role in New York counterculture, where personal connections revolved around mutual support in anonymous, vibrant urban life. Mead's hobbies reflected his spontaneous and compassionate nature, including impromptu street performances where he would yell or engage in amid city crowds. He was particularly devoted to animal care, nightly feeding stray cats in the East Village's Second Avenue cemetery and around Eldridge Street, a ritual that endeared him to neighborhood locals despite his reclusive tendencies. Details on Mead's romantic relationships remain limited, as he guarded his private life while projecting an exuberant, joyful persona in public interactions. This duality allowed him to navigate New York's underground scene with a sense of , prioritizing personal freedom over documented intimacies.

Death and legacy

Final years and death

In his later years, Taylor Mead experienced a decline in health that compounded challenges from his long-standing residence in New York City's East Village. After years of disputes with his landlord over his rent-stabilized apartment on Ludlow Street, Mead was displaced in April 2013 and accepted a buyout settlement, prompting his relocation to the home of his niece, Priscilla Mead, in Denver, Colorado. Mead, who turned 88 in December 2012, had been planning to return to New Orleans for an art exhibition but remained in amid his health issues. On May 8, 2013, he died at Priscilla Mead's home from a , as confirmed by his niece. His death marked the end of a life deeply embedded in bohemian artistic circles, though details of his final days were kept private by family.

Cultural impact and tributes

Taylor Mead is widely regarded as a pioneer of underground cinema and Beat performance, whose uninhibited and spontaneous style profoundly influenced and experimental artists in the postwar era. His lead role in Ron Rice's The Flower Thief (1960) exemplified the anarchistic spirit of the , blending childlike innocence with overt sexuality in a manner that hailed as "the craziest film ever made," setting a template for filmmaking that prioritized personal expression over narrative convention. This work, along with his appearances in early -themed films like Passion in a Seaside Slum (1961), contributed to a comic vocabulary rooted in silent-era clowning, fostering a sensibility that bridged mainstream Hollywood influences with underground experimentation and inspired subsequent filmmakers exploring identity and nonconformity. Mead's literary legacy as a Beat poet received posthumous tribute through the inclusion of his work in the 2015 anthology Sensitive Skin #12, a Poetry Month celebration featuring 30 poets that highlighted his enduring voice in American counterculture literature. This publication underscored his quixotic contributions to , often delivered in rambling oratorios at events like the annual Poetry Project Marathon, where his wry observations captured the essence of downtown New York's bohemian spirit. In 2024, LA Filmforum organized the centennial event "The First Underground Movie Star: Taylor Mead at 100" to honor his multifaceted career, featuring screenings of The Flower Thief and his personal home movies at the Philosophical Research Society, with an introduction by filmmaker William Kirkley. Described by critic as the inaugural star, Mead's bridging of Beat , performance, and cinema continues to draw archival interest, particularly in his collaborations with , ensuring his influence persists in explorations of queer iconography and experimental art as of late 2025.

Filmography

1950s–1960s films

Taylor Mead emerged as a pivotal figure in the scene of the late and , beginning with roles in Beat-influenced experimental works that showcased his improvisational acting style and bohemian persona. His early appearances emphasized absurd, low-budget narratives drawn from countercultural life, establishing him as an icon of spontaneous cinema before his prominent collaborations with . These films, often shot on 16mm or 8mm with minimal scripts, highlighted Mead's expressive physicality and humor, contributing to his reputation as the "first underground movie star." Mead's debut feature was in Too Young, Too Immoral (1962), a sexploitation B-movie directed by Raymond Phelan, where he portrayed a drug pusher in a gritty, low-budget tale of urban vice. This role marked his entry into experimental filmmaking, blending exploitation tropes with underground authenticity. In 1960, he starred as the titular flower thief in Ron Rice's The Flower Thief, a landmark Beat film shot spontaneously in , featuring Mead in whimsical, non-narrative vignettes that captured the era's poetic anarchy and earned praise as the purest expression of Beat cinema. That same year, Mead led Vernon Zimmerman's Lemon Hearts, an experimental short set in the Beat community, where his portrayal of a quirky outsider underscored themes of alienation through improvised dialogue and surreal encounters. By the early 1960s, Mead's work expanded to include shorts like Robert Chatterton's Passion in a Seaside Slum (1960–1962), a silent 8mm depiction of Venice Beach bohemia in which he played "the faggot," a flamboyant queer archetype that highlighted his unapologetic performativity in the pre-Stonewall underground. In Ron Rice's Senseless (1962), Mead contributed to a travelogue-style narrative infused with wild poetry, wandering through American landscapes in a haze of absurdity that epitomized the nomadic spirit of Beat filmmakers. Similar improvisational energy appeared in Vernon Zimmerman's To L.A... With Lust (1962) and Chatterton's The Hobo and the Circus (1962), where Mead embodied transient, eccentric characters in low-fi vignettes exploring desire and marginality. His role in Adolfas Mekas's satirical Hallelujah the Hills (1962–1963), screened at the New York Film Festival, brought his deadpan charm to a mock-epic tale of romantic pursuit, bridging underground experimentation with arthouse recognition. Rice's unfinished Queen of Sheba Meets the Atom Man (1963) featured Mead in a fantastical confrontation, though critics noted its departure from the director's usual spontaneity; Mead later edited and scored a 1981 version. Mead's transition to Andy Warhol's in 1963 amplified his underground stardom through a series of minimalist, screen-test-like films that prioritized raw presence over plot. In Tarzan and Jane Regained... Sort of... (1963), shot during Warhol's trip, Mead played in a campy, dialogue-free of adventure tropes, using his lithe physicality to subvert in Warhol's early static-shot aesthetic. (1964) captured Mead lounging and interacting at the , embodying the scene's languid hedonism in extended, unedited takes that documented improvisation. Warhol's (1964) consisted solely of close-ups of Mead's buttocks, a provocative minimalist piece that celebrated bodily autonomy and visibility, showcasing Mead's willingness to push boundaries in underground provocation. Later in the decade, Mead appeared in Warhol's (1967), a with improvisational antics; Nude Restaurant (1967), featuring casual nudity and in a voyeuristic setting; and (1968), a Western filmed in where Mead's role added undertones to the film's homoerotic humor. These collaborations, totaling over a dozen Warhol credits by the late , solidified Mead's "" status by blending his Beat roots with Pop Art's ironic detachment. His sole mainstream venture in this era was a brief party scene role in (1969), directed by , which nodded to his underground notoriety amid the film's gritty New York underbelly.

1970s–2000s films

Following his breakthrough roles in the underground cinema of the , Taylor Mead maintained a prolific presence in throughout the 1970s to 2000s, often taking on versatile character parts in low-budget, experimental, and satirical productions that underscored his bohemian . His work during this era reflected a shift from the improvisational, style of his earlier career to more concise cameo and supporting roles in indie features, contributing to his self-reported total of over 130 film appearances across decades. Mead's 1970s roles included multifaceted performances in satirical comedies, such as playing the Viewer, President, Minister, and Nurse in , a mock television anthology directed by Wynn Chamberlain that parodied media tropes. He also portrayed a in , a experimental drama exploring themes of poverty and spirituality. Later in the decade, he appeared in international genre films like Brothers Till We Die (1977), an Italian action thriller, and (1978), a crime drama set in New York's underworld. In the 1980s and 1990s, Mead's indie appearances often featured him as eccentric supporting characters, such as the Uncle in Underground U.S.A. (1980), a gritty drama about New York's counterculture scene directed by Eric Mitchell. He continued with roles in films like Last Supper (1992), a surreal ensemble piece, and Frogs for Snakes (1998), a quirky crime tale by Amos Poe that blended theater and noir elements. By the 2000s, his cameos included the eponymous Taylor in the "Champagne" segment of Jim Jarmusch's Coffee and Cigarettes (2003), an anthology of vignettes featuring celebrity conversations over drinks. He also had a part in the cult horror-comedy Citizen Toxie: The Toxic Avenger Part IV (2000), playing a minor role in its over-the-top superhero satire. A poignant late-career highlight was the documentary Excavating Taylor Mead (2005), directed by William A. Kirkley, which offered an intimate portrait of Mead's life, art, and East Village apartment, reflecting on his enduring legacy in through interviews and archival footage. This film served as a reflective capstone to his decades-long contributions to indie cinema.

References

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  37. https://www.harvardfilmarchive.org/calendar/couch-2004-02
  38. https://www.rottentomatoes.com/celebrity/taylor_mead
  39. https://www.fandango.com/people/taylor-mead-445362/film-credits
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  41. https://www.rottentomatoes.com/m/underground_usa
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