Dylan pulled up at the Factory in a station wagon with his friend, Bob Neuwirth. From the beginning, according to Scherman and Dalton, it was clear that Dylan was determined to demonstrate his superior cool. “As for Andy’s motives,” they write, “he was clearly star-struck, in awe of Dylan’s sudden, vast celebrity. He had a more practical agenda, too: to get Dylan to appear in a Warhol movie.”
After the sullen Screen Test, he walked over to a large painting of Elvis Presley that Warhol had already set aside for him as a gift and, by one account, said “I think I’ll just take this for payment, man.” He and Neuwirth then lifted the painting, which was nearly seven feet tall, carried it out of the studio, down the freight elevator and into the street, where they strapped it–with no protection whatsoever–onto the roof of the station wagon and drove away.
Postscript: Dylan never liked the painting, Double Elvis, so he traded it with his manager, Albert Grossman, for a sofa. It’s now in the Museum of Modern Art. (The painting, that is. Not the sofa.)