Very few of Andy Warhol's anointed "superstars" managed a long shelf-life. They simply were too wild, too beautiful, and too damned. There were the poor little rich girl Edie Sedgwick, the transgender icon Candy Darling, and the husky, glacial, heroin-swamped charm of Nico. All gone, along with a cavalcade of others; too soon and in the 20th century. Ultra Violet survived into this one, and originally arrived as a somebody already in the anybody everybody world of The Factory.