Saturday, April 15, 2017

Harley's angels and Polanski's demons...

Mr. Flanagan with Debbie Harry in 1979. He grew up in the Lower East Side of Manhattan and was a founding father of the city’s hard-core punk scene, although he was just a child at the time

http://fourhorsesasses.blogspot.com/2017/01/ginsberg-punker.html  
For more on who put the punk in spunk visit that link above... I'm sure it's just coincidence!



This might be a little repetitive but were are going to look at Harley Flanagan once again...
As soon as I think the well is drying, we dig a little deeper to uncover the aquifer from which Harley sprung.
We end up revisiting Harley on a fluke.
I am doing research on a project I'm mapping called the Dialectices of Liberation Conference.   While researching the crazy cast of characters that assembled in London in 1967, I encounterd a question while digging into Julian Beck.   He is a odd addition when considering Huxley, Bateson, Laing, Gerassi, Marcuse, Ginsberg, and Thich Nhat Hanh were also speaking or in attendance. I was tunneling down Julian Becks rabbit tunnel...

Julian Beck

From Wikipedia, the free encyclopedia
Julian Beck
JulianBeck.jpg
BornMay 31, 1925
Washington HeightsNew York, United States
DiedSeptember 14, 1985 (aged 60)
New York CityNew York, United States
OccupationFilm actorstage actorstage directorpoetpainter
Years active1943–1985
Spouse(s)Judith Malina (2 children)
Julian Beck (May 31, 1925 – September 14, 1985) was an American actordirectorpoet, and painter. He is best known for co-founding and directing The Living Theatre, as well as his role as Kane, the malevolent preacher in the 1986 movie Poltergeist II: The Other Side. The Living Theatre and its founders were the subject of the 1983 documentary Signals Through The Flames.

Early life[edit]

Beck was born in the Washington Heights section of Manhattan in New York City, the son of Mabel Lucille (née Blum), a teacher, and Irving Beck, a businessman.[1] He briefly attended Yale University, but dropped out to pursue writing and art. He was an Abstract Expressionist painter in the 1940s, but his career turned upon meeting his future wife. In 1943, he met Judith Malina (born 1926) and quickly came to share her passion for theatre; they founded The Living Theatre in 1947.

Career[edit]

Beck co-directed the Living Theatre until his death. The group's primary influence was Antonin Artaud, who espoused the Theatre of Cruelty, which was supposed to shock the audience out of complacency. This took different forms. In one example, from Jack Gelber's The Connection, a drama about drug addiction, actors playing junkies wandered the audience demanding money for a fix. The Living Theatre moved out of New York in 1964, after the Internal Revenue Service shut it down when Beck failed to pay $23,000 in back taxes. After a sensational trial, in which Beck and Malina represented themselves, they were found guilty by a jury.[citation needed]
Beck's philosophy of theatre carried over into his life. He once said, "We insisted on experimentation that was an image for a changing society. If one can experiment in theatre, one can experiment in life." He was indicted a dozen times on three continents for charges such as disorderly conductindecent exposure, possession of narcotics, and failing to participate in a civil defense drill.[citation needed]
Besides his theatre work, Beck published several volumes of poetry reflecting his anarchist beliefs, two non-fiction books: The Life of the Theatre and Theandric and had several film appearances, with small roles in Oedipus Rex (1967), Love and Anger (1969), The Cotton Club (1984), 9½ Weeks (1986), and his role in Poltergeist II: The Other Side (1986). Beck also appeared in an episodes of Miami Vice.
In 1970 Beck's work was denounced alongside Eugène Ionesco and Samuel Beckett by Nëndori, the literary monthly of Albania, for supposedly being "inundated by mysticism and pornography."[2]

Personal life[edit]

Beck and Malina were life partners in an open marriage, and Beck had a long-term relationship with Ilion Troya, a male actor in the company. Malina and Beck shared a lover in Lester Schwartz, a bisexual shipyard worker who was the third husband of Andy Warhol acolyte Dorothy Podber.[3] Beck and Malina had "two offstage children", Garrick and Isha.

Death[edit]

Beck was diagnosed with stomach cancer in late 1983, and died two years later on September 14, 1985, at Mount Sinai Hospital in New York City, aged 60.[4] He was survived by his wife, their two children, Garrick and Isha, and a brother. He was interred at Cedar Park Cemetery, in Emerson, New Jersey.
In 2003, 18 years after his death, Beck was posthumously inducted into the American Theater Hall of Fame. Judith Malina was also inducted to the Hall of Fame that same year.[5]  
Not going to go into detail just show the route to Harley...

We see Beck is a founder of the Living Theatre...

The Living Theatre

From Wikipedia, the free encyclopedia
Beck (left) and Malina (right), founders of The Living Theatre
The Living Theatre is an American theatre company founded in 1947 and based in New York City. It is the oldest experimental theatre group in the United States.[citation needed] For most of its history it was led by its founders, actress Judith Malina and painter/poet Julian Beck; after Beck's death in 1985, company member Hanon Reznikov became co-director with Malina.[1] After Malina's death in 2015, her responsibilities were taken over by the anarchist company. The Living Theatre and its founders were the subject of the 1983 documentary Signals Through The Flames.

History[edit]

In the 1950s, the group was among the first in the U.S. to produce the work of influential European playwrights such as Bertolt Brecht (In The Jungle of Cities in New York, 1960) and Jean Cocteau, as well as modernist poets such as T. S. Eliot and Gertrude Stein. One of their first major productions was Pablo Picasso's Desire Caught By the Tail; other early productions were "Many Loves" by William Carlos Williams and Pirandello's Tonight We Improvise.[2] Based in a variety of small New York locations which were frequently closed due to financial problems or conflicts with city authorities, they helped to originate Off-Off-Broadway and Off-Broadway as significant forces in U.S. theater. Their work during this period shared some aspects of style and content with Beat generation writers. Also during the 1950s, the American composer Alan Hovhaness worked closely with the Living Theatre, composing music for its productions. In 1959, their production of The Connection attracted national attention for its harsh portrayal of drug addiction and its equally harsh language. In the early 1960s the Living Theatre was host to avant-garde minimalist performances by artists including Simone Forti and Robert Morris.[3]
The Brig (1963), an anti-authoritarian look at conditions in a Marine prison, was their last major production in New York before a disagreement with the IRS led to the closure of the theatre space and the brief imprisonment of Beck and Malina. Judith defended Julian at the IRS hearing dressed like Portia from The Merchant of Venice.[4] For the rest of the 1960s, the group toured chiefly in Europe. They produced more politically and formally radical work carrying an anarchist and pacifist message, with the company members creating plays collectively and often living together. Major works from this period included the adaptations Antigone and Frankenstein, and Paradise Now, which became their best-known play. Paradise Now, a semi-improvisational piece involving audience participation, was notorious for a scene in which actors recited a list of social taboos that included nudity, while disrobing; this led to multiple arrests for indecent exposure. The group returned to the U.S. in 1968 to tour Paradise NowAntigoneMysteries and Smaller Pieces, and Frankenstein. "That madman who inspires us all, Artaud, does have some advice," Beck said in an informal address at Yale University after his return, "and I think he is the philosopher, for those of us who work in theatre, whom we can reach toward most quickly, of whom we can say, yes, here is one man since Rousseau who does uphold the idea of the non-civilized man." [5] He added: "Our work had always striven to stress the sacredness of life."[6] In 1971 they toured in Brazil, where they were imprisoned for several months, then deported.
The Living Theatre has toured extensively throughout the world, often in non-traditional venues such as streets and prisons. It has greatly influenced other American experimental theatre companies, notably The Open Theater (founded by former Living Theatre member Joseph Chaikin) and Bread and Puppet Theater.[7] The Living Theatre's productions have won four Obie AwardsThe Connection (1959), The Brig (1963 and 2007), and Frankenstein (1968). Though its prominence and resources have diminished considerably in recent decades, The Living Theatre continues to produce new plays in New York City, many with anti-war themes.

Actors rehearsing at The Living Theatre
In 2006, The Living Theatre signed a 10-year lease on the 3,500-square-foot (330 m2) basement of a new residential building under construction at 21 Clinton Street, between Houston and Stanton Streets on Manhattan's Lower East Side. The Clinton Street theater is the company's first permanent home since the closing of The Living Theatre on Third Street at Avenue C in 1993. The company moved into the completed space in early 2007 and opened in April 2007 with a revival of The Brig by Kenneth H. Brown,[8] first presented at The Living Theatre at 14th Street and Sixth Avenue in 1963. The re-staging, directed by Judith Malina won Obie Awards for Direction and Ensemble Performance.
In October 2006, the company opened a revival of Mysteries and Smaller Pieces, the 1964 collective creation that defined the interactive and Artaudian style for which the company became famous.
In late 2007 / early 2008 the company founder Judith Malina performed in Maudie and Jane, a stage adaptation, directed by Reznikov, of the Doris Lessing novel, The Diary of Jane Somers.
In April 2008 Hanon Reznikov suffered a stroke. He died on May 3, 2008.[9]
In 2010, the company presented Red Noir, adapted and directed by Judith Malina. In 2011, the company presented "Korach", by Judith Malina, and a revival of "Seven Meditations on Political Sado-Masochism", directed by Judith Malina and Tom Walker. Also in 2011, the company created "The Plot Is The Revolution", starring Judith Malina and Silvia Calderoni, a co-production with the Italian group, Motus. In 2012, the company presented "The History of the World", written and directed by Judith Malina. In 2013, the company presented "Here We Are", written and directed by Judith Malina. The company also vacated its Clinton St. space.
In 2014, Judith Malina's play No Place to Hide premiered at the Clemente Soto Velez Center on the Lower East Side. The production later took to the streets of New York for Underground Zero Festival, and traveled to Burning Man in a legendary theatre festival. No Place to Hide is the current production that is being performed. Judith Malina was writing Venus and Mars when she died in April 2015. A production of Venus in Mars is in the works.

Goals and influences[edit]

From its conception, The Living Theatre was dedicated to transforming the organization of power within society from a competitive, hierarchical structure to cooperative and communal expression. The troupe attempts to do so by counteracting complacency in the audience through direct spectacle. They oppose the commercial orientation of Broadway productions and have contributed to the off-Broadway theater movement in New York City, staging poetic dramas.
The primary text for The Living Theatre is The Theatre and its Double, an anthology of essays written by Antonin Artaud, the French playwright. It was published in France in 1937 and by the Grove Press in the U.S. in 1958. This work deeply influenced Julian Beck, a bisexual painter of abstract expressionist works. The troupe reflects Artaud's influence by staging multimedia plays designed to exhibit his metaphysical Theatre of Cruelty. In these performances, the actors attempt to dissolve the "fourth wall" between them and the spectators.
There is a lot to digest and many pieces to flip over but we are here to look at the highlighted name Jean Cocteau. 
In the 1950s, the group was among the first in the U.S. to produce the work of influential European playwrights such as Bertolt Brecht (In The Jungle of Cities in New York, 1960) and Jean Cocteau, as well as modernist poets such as T. S. Eliot and Gertrude Stein

Jean Cocteau

From Wikipedia, the free encyclopedia
Jean Cocteau
Jean Cocteau b Meurisse 1923.jpg
Jean Cocteau in 1923
BornJean Maurice Eugène Clément Cocteau
5 July 1889
Maisons-Laffitte, France
Died11 October 1963 (aged 74)
Milly-la-Foret, France
Cause of deathHeart Attack
Other namesThe Frivolous Prince
OccupationNovelist, poet, artist, filmmaker
Years active1908–1963
Partner(s)Jean Marais (1937–1963)
Websitejeancocteau.net
Signature
Jean Cocteau signature.svg
Jean Maurice Eugène Clément Cocteau (French: [ʒɑ̃ kɔkto]; 5 July 1889 – 11 October 1963) was a French writer, designer, playwright, artist and filmmaker. Cocteau is best known for his novel Les Enfants Terribles (1929), and the films Blood of a Poet (1930), Les Parents Terribles (1948), Beauty and the Beast (1946) and Orpheus (1949). His circle of associates, friends and lovers included Kenneth AngerPablo PicassoGertrude SteinJean HugoJean MaraisHenri BernsteinYul BrynnerMarlene DietrichCoco ChanelErik SatieAlbert GleizesIgor StravinskyMarie LaurencinMaría FélixÉdith PiafPanama Al BrownColetteJean Genet, and Raymond Radiguet.

Early life[edit]

Cocteau was born in Maisons-Laffitte, Yvelines, a town near Paris, to Georges Cocteau and his wife, Eugénie Lecomte; a socially prominent Parisian family. His father was a lawyer and amateur painter who committed suicide when Cocteau was nine. From 1900–1904, Cocteau attended the Lycée Condorcet where he met and began a physical relationship with schoolmate Pierre Dargelos who would later reappear throughout Cocteau's oeuvre.[1] He left home at fifteen. He published his first volume of poems, Aladdin's Lamp, at nineteen. Cocteau soon became known in Bohemian artistic circles as The Frivolous Prince, the title of a volume he published at twenty-two. Edith Wharton described him as a man "to whom every great line of poetry was a sunrise, every sunset the foundation of the Heavenly City..."[2]

Early career[edit]


Portrait of Jean Cocteau by Federico de Madrazo y Ochoa, ca. 1910-1912
In his early twenties, Cocteau became associated with the writers Marcel ProustAndré Gide, and Maurice Barrès. In 1912, he collaborated with Léon Bakst on Le Dieu bleu for the Ballets Russes; the principal dancers being Tamara Karsavina and Vaslav Nijinsky. During World War I Cocteau served in the Red Cross as an ambulance driver. This was the period in which he met the poet Guillaume Apollinaire, artists Pablo Picasso and Amedeo Modigliani, and numerous other writers and artists with whom he later collaborated. Russian impresario Sergei Diaghilev persuaded Cocteau to write a scenario for a ballet, which resulted in Parade in 1917. It was produced by Diaghilev, with sets by Picasso, the libretto by Apollinaire and the music by Erik Satie. The piece was later expanded into a full opera, with music by Satie, Francis Poulenc and Maurice Ravel. "If it had not been for Apollinaire in uniform," wrote Cocteau, "with his skull shaved, the scar on his temple and the bandage around his head, women would have gouged our eyes out with hairpins."[citation needed] He denied being a Surrealist or being in any way attached to the movement.[citation needed]Cocteau wrote the libretto for Igor Stravinsky's opera-oratorio Oedipus rex, which had its original performance in the Théâtre Sarah Bernhardt in Paris on 30 May 1927.
An important exponent of avant-garde art, Cocteau had great influence on the work of others, including a group of composers known as Les six. In the early twenties, he and other members of Les six frequented a wildly popular bar named Le Boeuf sur le Toit, a name that Cocteau himself had a hand in picking. The popularity was due in no small measure to the presence of Cocteau and his friends.[3]

Friendship with Raymond Radiguet[edit]


Marie LaurencinPortrait de Jean Cocteau, 1921
In 1918 he met the French poet Raymond Radiguet. They collaborated extensively, socialized, and undertook many journeys and vacations together. Cocteau also got Radiguet exempted from military service. Admiring of Radiguet's great literary talent, Cocteau promoted his friend's works in his artistic circle and arranged for the publication by Grasset of Le Diable au corps (a largely autobiographical story of an adulterous relationship between a married woman and a younger man), exerting his influence to have the novel awarded the "Nouveau Monde" literary prize. Some contemporaries and later commentators thought there might have been a romantic component to their friendship.[4] Cocteau himself was aware of this perception, and worked earnestly to dispel the notion that their relationship was sexual in nature.[5]
There is disagreement over Cocteau's reaction to Radiguet's sudden death in 1923, with some claiming that it left him stunned, despondent and prey to opium addiction. Opponents of that interpretation point out that he did not attend the funeral (he generally did not attend funerals) and immediately left Paris with Diaghilev for a performance of Les noces (The Wedding) by the Ballets Russes at Monte Carlo. Cocteau himself much later characterised his reaction as one of "stupor and disgust."[citation needed] His opium addiction at the time,[6] Cocteau said, was only coincidental, due to a chance meeting with Louis Laloy, the administrator of the Monte Carlo Opera. Cocteau's opium use and his efforts to stop profoundly changed his literary style. His most notable book, Les Enfants Terribles, was written in a week during a strenuous opium weaning. In Opium: Journal of drug rehabilitation (fr), he recounts the experience of his recovery from opium addiction in 1929. His account, which includes vivid pen-and-ink illustrations, alternates between his moment-to-moment experiences of drug withdrawal and his current thoughts about people and events in his world. Cocteau was supported throughout his recovery by his friend and correspondent, philosopher Jacques Maritain. Under Maritain's influence Cocteau made a temporary return to the sacraments of the Catholic Church. He again returned to the Church later in life and undertook a number of religious art projects.

The Human Voice[edit]

Cocteau's experiments with the human voice peaked with his play La Voix humaine. The story involves one woman on stage speaking on the telephone with her (invisible and inaudible) departing lover, who is leaving her to marry another woman. The telephone proved to be the perfect prop for Cocteau to explore his ideas, feelings, and "algebra" concerning human needs and realities in communication.
Cocteau acknowledged in the introduction to the script that the play was motivated, in part, by complaints from his actresses that his works were too writer/director-dominated and gave the players little opportunity to show off their full range of talents. La Voix humaine was written, in effect, as an extravagant aria for Madame Berthe Bovy. Before came Orphée, later turned into one of his more successful films; after came La Machine infernale, arguably his most fully realized work of art. La Voix humaine is deceptively simple — a woman alone on stage for almost one hour of non-stop theatre speaking on the telephone with her departing lover. It is full of theatrical codes harking back to the Dadaists' Vox Humana experiments after World War One, Alphonse de Lamartine's "La Voix humaine", part of his larger work Harmonies poétiques et religieuses and the effect of the creation of the Vox Humana ("voix humaine"), an organ stop of the Regal Class by Church organ masters (late 16th century) that attempted to imitate the human voice but never succeeded in doing better than the sound of a male chorus at a distance.
Reviews varied at the time and since but whatever the critique, the play represents Cocteau's state of mind and feelings towards his actors at the time: on the one hand, he wanted to spoil and please them; on the other, he was fed up with their diva antics and was ready for revenge. It is also true that none of Cocteau's works has inspired as much imitation: Francis Poulenc's opera La voix humaineGian Carlo Menotti's "opera buffaThe Telephone and Roberto Rossellini's film version in Italian with Anna Magnani L'Amore (1948). There has also been a long line of interpreters including Simone SignoretIngrid Bergman and Liv Ullmann (in the play) and Julia MigenesDenise DuvalRenata ScottoAnja Silja and Felicity Lott (in the opera).
According to one theory about how Cocteau was inspired to write La Voix humaine, he was experimenting with an idea by fellow French playwright Henri Bernstein.[7]

Maturity[edit]


Tribute to René Clair: I Married a Witch, Jean Cocteau (1945), a set design for the Théâtre de la Mode.
In the 1930s, Cocteau had an affair with Princess Natalie Paley, the daughter of a Romanov Grand Duke and herself a sometime actress, model, and former wife of couturier Lucien Lelong.[8] Cocteau's longest-lasting relationships were with the French actors Jean Marais and Édouard Dermit (fr), whom Cocteau formally adopted. Cocteau cast Marais in The Eternal Return (1943), Beauty and the Beast (1946), Ruy Blas (1947), and Orpheus (1949).
Biographer James S. Williams describes Cocteau's politics as "naturally Right-leaning."[9] During the Nazi occupation of France, Cocteau's friend Arno Breker convinced him that Adolf Hitler was a pacifist and patron of the arts with France's best interests in mind. In his diary, Cocteau accused France of disrespect towards Hitler and speculated on the Führer's sexuality. Cocteau effusively praised Breker's sculptures in an article entitled 'Salut à Breker' published in 1942. This piece caused him to be arraigned on charges of collaboration after the war, though he was cleared of any wrongdoing and had used his contacts to his failed attempt to save friends such as Max Jacob.[10]

Éric Satie Parade, théme de Jean Cocteau
In 1940, Le Bel Indifférent, Cocteau's play written for and starring Édith Piaf, was enormously successful. He also worked with Pablo Picasso on several projects and was a friend of most of the European art community. Cocteau's films, most of which he both wrote and directed, were particularly important in introducing the avant-garde into French cinema and influenced to a certain degree the upcoming French New Wave genre.
Cocteau is best known for his novel Les Enfants Terribles (1929), and the films Blood of a Poet (1930), Beauty and the Beast (1946), Les Parents terribles (1948), and Orpheus (1949). His final film, Le Testament d'Orphée (The Testament of Orpheus) (1960), featured appearances by Picasso and matador Luis Miguel Dominguín, along with Yul Brynner, who also helped finance the film.
In 1945 Cocteau was one of several designers who created sets for the Théâtre de la Mode. He drew inspiration from filmmaker René Clair while making Tribute to René Clair: I Married a Witch. The maquette is described in his "Journal 1942–1945," in his entry for 12 February 1945:
I saw the model of my set. Fashion bores me, but I am amused by the set and fashion placed together. It is a smoldering maid's room. One discovers an aerial view of Paris through the wall and ceiling holes. It creates vertigo. On the iron bed lies a fainted bride. Behind her stand several dismayed ladies. On the right, a very elegant lady washes her hands in a flophouse basin. Through the unhinged door on the left, a lady enters with raised arms. Others are pushed against the walls. The vision provoking this catastrophe is a bride-witch astride a broom, flying through the ceiling, her hair and train streaming.
Cocteau was openly bisexual. His muse and lover for over 25 years was actor Jean Marais.[citation needed]

Death[edit]

Cocteau died of a heart attack at his chateau in Milly-la-Forêt, Essonne, France, on 11 October 1963 at the age of 74. His friend the French singer Édith Piaf died the day before but that was announced on the morning of Cocteau's day of death; it has been said that his heart failed upon hearing of Piaf's death. According to his wishes Cocteau is buried beneath the floor of the Chapelle Saint-Blaise des Simples in Milly-la-Forêt. The epitaph on his gravestone set in the floor of the chapel reads: "I stay with you" ("Je reste avec vous").

Honours and awards[edit]

In 1955 Cocteau was made a member of the Académie française and The Royal Academy of Belgium.
During his life Cocteau was commander of the Legion of Honor, Member of the Mallarmé Academy, German Academy (Berlin), American Academy, Mark Twain (U.S.A) Academy, Honorary President of the Cannes film festival, Honorary President of the France-Hungary Association and President of the Jazz Academy and of the Academy of the Disc.
He was an alleged Grand master of the Prioy of Sion along with other notables...

Alleged Grand Masters[edit]

The mythic version of the Priory of Sion first referred to during the 1960s was supposedly led by a "Nautonnier", an Old French word for a navigator, which means Grand Master in their internal esoteric nomenclature. The following list of Grand Masters is derived from the Dossiers Secrets d'Henri Lobineau compiled by Plantard under the nom de plume of "Philippe Toscan du Plantier" in 1967. All those named on this list had died before that date. All but two are also found on lists of alleged “Imperators” (supreme heads) and “distinguished members” of the Ancient Mystical Order Rosae Crucis which circulated in France at the time when Plantard was in touch with this Rosicrucian Order. Most of those named share the common thread of being known for having an interest in the occult or heresy.[22]

Leonardo da Vinci, alleged to be the Priory of Sion's 12th Grand Master
The Dossiers Secrets asserted that the Priory of Sion and the Knights Templar always shared the same Grand Master until a schism occurred during the "Cutting of the elm" incident in 1188. Following that event, the Grand Masters of the Priory of Sion are listed in French as being:
  1. Jean de Gisors (1188–1220)
  2. Marie de Saint-Clair (1220–1266)
  3. Guillaume de Gisors (1266–1307)
  4. Edouard de Bar (1307–1336)
  5. Jeanne de Bar (1336–1351)
  6. Jean de Saint-Clair (1351–1366)
  7. Blanche d'Évreux (1366–1398)
  8. Nicolas Flamel (1398–1418)
  9. René d'Anjou (1418–1480)
  10. Iolande de Bar (1480–1483)
  11. Sandro Filipepi (1483–1510)
  12. Léonard de Vinci (1510–1519)
  13. Connétable de Bourbon (1519–1527)
  14. Ferrante I Gonzaga (1527–1575)
  15. Ludovico Gonzaga (1575–1595)
  16. Robert Fludd (1595–1637)
  17. J. Valentin Andrea (1637–1654)
  18. Robert Boyle (1654–1691)
  19. Isaac Newton (1691–1727)
  20. Charles Radclyffe (1727–1746)
  21. Charles de Lorraine (1746–1780)
  22. Maximilian de Lorraine (1780–1801)
  23. Charles Nodier (1801–1844)
  24. Victor Hugo (1844–1885)
  25. Claude Debussy (1885–1918)
  26. Jean Cocteau (1918–1963)
 Then I started to remember a podcast I listened to by Tracy Twyman.   I figured I would look at her material because I find her and her story interesting...
(Including the drummer for The Dwarves getting married in her basement in Denver)
You see, Tracy has a podcast and has authored a number of interesting books that fall into the fringe realm of material I love to ponder.   She is the only one however to communicate with Baphomet, Cain, and Jean Cocteau....through a Ouija board.

Here is a link to a very long essay by Tracy.   I will cut and paste the relevant stuff.  This essay is about Jean Cocteau.
http://quintessentialpublications.com/twyman/?page_id=26
As I read this portion I had to pause.   You see, me and the asses have had a conversation in which I jokingly come up with a plot similar to Rosemarys Baby.   Totally just kidding around because her name up until now has been Rose "Rosebud" Filiu Pettit.   After I read this I had to revisit the Harley saga and dig a little deeper to confirm her name... As I',m digging I hit pay dirt while wringing data from google books...
HOLY SHIT!!!!!!

I was floored.... Rose Marie Feliu!!!!
I threw the name Feliu in the googler and this is what came up...




Feliu Name Meaning




Catalan: from the Catalan form of the personal name Felix,
born by several saints
 or perhaps a nickname from feliu ‘happy’, ‘fortunate’.
WOWOWOWOWOW!   My heart was pounding...
I started to read the material I was picking apart when the paragraph made me start asking more questions...

The Keristas????    I now have the name of the commune in San Francisco Rose was apart of AND where and how she met Ginsberg.   There is a ton of info on this but I have to skim it for brevity. 

Kerista

From Wikipedia, the free encyclopedia
Kerista was an utopian community that was started in New York City in 1956 by John Peltz "Bro Jud" Presmont. Throughout much of its history, Kerista was centered on the ideals of polyfidelity[1] and creation of intentional communities. Kerista underwent several incarnations that later became known as the "Old Tribe," which was associated with a fairly large, but fluid membership. What was called the "New Tribe," a period of more stable membership and ideology, began in 1971 based in the Haight Ashbury district of San Francisco.[2]

History[edit]

From 1971 until 1991, the community was centered at the Kerista Commune (not a single physical building), founded in the Haight Ashbury district of San Francisco, California. The Keristans maintained a very high profile which included publication of a popular free newspaper and several national media appearances.[3]
Kerista also produced zines that included drawings and comics. Some concerned day-to-day life. Others presented a lighthearted polytheistic mythology which revolved around a pantheon of benevolent and technologically adept goddesses and gods. Kerista adopted singer Joan Jett as the "Matron Saint" of their community. Features presented in the zine included articles and essays concerning life within the community and their proposed World Plan to establish a functional Utopian society on a larger scale. The volume of publications and art work produced by Kerista Commune was quite a bit greater than other groups that were active in the Haight Ashbury during this period.
The official website lists 42 people as having joined Kerista at various times during the community's history, though more than this number passed through briefly. The commune also maintained a very active program of social events and Gestalt-o-rama rap groups. The number of people that spent significant time interacting with the commune members was much larger. The commune functioned a lot like a religious order and was an important focal point for a larger community of people in San Francisco interested in alternative lifestyles. The events sponsored by Kerista were almost always free and non-commercial. In 1979 and 1980, two children were born in the community. In 1983, the adult male Keristans had vasectomies, officially as a means to deal with birth control in the group and address global population issues. All male applicants subsequently had the requirement of having a vasectomy within a set period of time after joining the community. This and many other rules or "standards"—as well as its members being exclusively heterosexual in a city well known for its large and influential LGBT community—were in part responsible for keeping the size of the community small.
In 1991, the community experienced a major split, the founder going on to create The World Academy of Keristan Education. The residential commune dissolved. Several former members of the commune still live in the San Francisco Bay Area — a number moved to Hawaii and purchased a block of adjoining parcels of land.
When it was active, Kerista was a major focal point for people interested in alternative and non-monogamous lifestyles. The terms polyfidelity and compersion were coined at the Kerista Commune. The commune developed an entire vocabulary around alternative lifestyles—for example their term polyintimacy in their literature was similar to the term popularized as polyamory years later. Entrance to the commune was extremely selective and included a 6-month waiting period and a screening for STDs including HIV.[citation needed]
John (Bro Jud) Presmont died on December 13, 2009 in San Francisco.[4] In his last years, Jud had been seen regularly on 'The Bro Jud Show' on San Francisco public-access television cable TV. One of the children raised in the commune graduated from medical school in 2010 and volunteered for the relief effort in Haiti. A former member of the commune was nominated for a local Emmy in 2006 and is an active film producer.[5] One former commune member is an active, performing musician.[6]

Kerista, Robert A. Heinlein, and Stranger in a Strange Land[edit]

Science-fiction author Robert A. Heinlein, in a 1966 letter to his agent Lurton Blassingame, mentioned Kerista in connection with his 1961 novel Stranger in a Strange Land:
"I recently learned that it (Stranger in a Strange Land) was considered the "New Testament" - and compulsory reading - of a far-out cult called 'Kerista.' (Kee-rist!). I don't know exactly what "Kerista" is, but its L.A. chapter offered me $100 to speak. (I turned them down.)" [7]
Further reference to the influence of Heinlein's Stranger in a Strange Land on Kerista, as well as the Church of All Worlds (which took its name from the fictional church created by Stranger's protagonist Michael Valentine Smith), and Discordianism is made by Carole M. Cusack in her book Invented Religions: Imagination, Fiction and Faith :[8]
"Kerista's polyamorous sexual practice was influenced, as was that of the Church of All Worlds, by Robert A. Heinlein's (1907-88) science-fiction novel Stranger in a Strange Land (1961), in which the Martian-raised human Michael Valentine Smith founded The Church of All Worlds, preached sexual freedom and the truth of all religions, and is martyred by narrow-minded people who are not ready for freedom."
Cusack speculates that the person who invited Heinlein to speak at Kerista's Los Angeles chapter may have been co-founder of Discordianism Kerry Thornley, who lived in Watts. Thornley had joined Kerista in 1966 and was known to be a lifelong science-fiction fan.
Now were rolling!!!
KERISTA COMMUNE TIMELINE 
1923:  John Presmont (formerly Jake Peltz, possible birth name Jacob Luvich, aka “Brother Jud”) was born.
(1953?):  Susan Furchgott (aka Eve Furchgott aka “Even Eve”) was born.
1956:  Brother Jud had a vision in which he was told to found a sexually experimental intentional community. “Old Tribe” Kerista began.
1962:  Brother Jud had a vision of an island called Kerista and henceforth that name was used by the community.
1965:  Robert Anton Wilson visited Kerista in New York and published an article on the group in Fact magazine.
1966:  Kerry Thornley, co-founder of Discordianism, joined the Los Angeles chapter of Kerista.
1970:  The “Old Tribe” Kerista ended.
1971 (February):  “New Tribe” Kerista was founded in San Francisco, after Brother Jud and Even Eve met.
1991:  Kerista disbanded.
2002:  The Kerista Commune website was launched, devised and managed by Susan (Eve) Furchgott and her husband Thomas (Kip) Winegar.
2009:  Jud Presmont died. 

John "Jud" Peltz Presmont, January 9, 1923 ~ December 13, 2009
Alice Kay "A.K." or "Kay" Tucker, November 28, 2009

"Don't be afraid to cry, don't be afraid to try, we'll get there
by and by, step by step, step by step"


John Peltz Presmont, commonly known as "Jud" (an acronym for "Justice Under Democracy") was born on January 9, 1923 to Rose Prisment and Joseph Luvish, who were Russian immigrants from the Ukraine. He was adopted by his maternal aunt and uncle, Lena and Max Peltz, who were Orthodox Jews, and grew up as Jacob Peltz, in Brooklyn, New York. He attended Boys High School in Brooklyn and worked as a sales manager, selling encyclopedias.

At the tender age of 17, Jud enlisted in the military and later entered active duty in the Army Air Corps on January 13, 1943. He attended Army Air Force Intelligence School and Combat Observer School. He served as a Combat Liaison Officer and fought battles and campaigns in the Philippine Islands, New Guinea, and the Bismarck Archipelago.

Jud was awarded the Bronze Star Medal (twice), Air Medal, American Campaign Medal, Asiatic Pacific Campaign Medal, and the World War II Victory Philippine Liberation Medal. He was relieved from active duty on February 21, 1946.

After his military service ended, Jud became an advocate for veterans. He formed the Veterans' Housing Service, which was located at 56 Beaver Street in the Delmonico Building in New York City. This service helped hundreds of veterans find housing in the New York City metropolitan area after World War II.

A beatnik, a New York bar owner, and a bohemian in the 1950s, Jud was a hippie in Dominica, Honduras, and San Francisco. He was an advocate for social change and a scene builder in San Francisco. In 1971 he co-founded the successful Kerista Commune that lasted until 1991. At one time the commune was one of the largest Apple Macintosh Computer distributors in Northern California.

Now we are getting some steam!!!!!
Susan Furchgott, well,  we will just post about her father...

Robert F. Furchgott

From Wikipedia, the free encyclopedia
Robert F. Furchgott
Drfurchgott.jpg
BornRobert Francis Furchgott
June 4, 1916
CharlestonSouth Carolina
DiedMay 19, 2009 (aged 92)
SeattleWashington
CitizenshipAmerican
NationalityUnited States
Fieldsbiochemistry
InstitutionsSUNY Downstate Medical Center 1956–2009
Washington University in St. Louis 1949–1956
Cornell University 1940–1949
Notable awardsNobel Prize in Physiology or Medicine in 1998
SpouseLenore Mandelbaum (1941–1983; her death; 3 children)
Margaret Gallagher Roth (?–2006; her death)
Signature
Robert Francis Furchgott (June 4, 1916 – May 19, 2009) was a Nobel Prize-winning American biochemist who contributed to the discovery of nitric oxide as a transient cellular signal in mammalian systems.

Early life and education[edit]

Furchgott was born in Charleston, South Carolina, to Arthur Furchgott (December 1884 – January 1971), a department store owner, and Pena (Sorentrue) Furchgott.[citation needed] He graduated with a degree in chemistry from the University of North Carolina at Chapel Hill (1937),[citation needed] and went on to earn a Ph.D in biochemistry at Northwestern University (1940),[citation needed] immediately joining a medical faculty thereafter.

Career[edit]

Furchgott was faculty member of Cornell University Medical College from 1940 to 1949,[citation needed] of Washington University School of Medicine from 1949 to 1956,[citation needed] and State University of New York Downstate Medical Center from 1956 to 2009, as professor of pharmacology.[citation needed]
In 1978, Furchgott discovered a substance in endothelial cells that relaxes blood vessels, calling it endothelium-derived relaxing factor (EDRF).[citation needed] By 1986, he had worked out EDRF's nature and mechanism of action,[citation needed] and determined that EDRF was in fact nitric oxide (NO),[citation needed] an important compound in many aspects of cardiovascular physiology.[citation needed] This research is important in explaining a wide variety of neuronal, cardiovascular, and general physiologic processed of central importance in human health and disease.[citation needed]
In addition to receiving the Nobel Prize in Physiology or Medicine for the discovery of nitric oxide as a new cellular signal—shared in 1998 with Louis Ignarro and Ferid Murad [1] [2] [3][4] [5] [6] [7] —Furchgott also received a Gairdner Foundation International Award (1991) for his groundbreaking discoveries,[citation needed] and the Albert Lasker Award for Basic Medical Research (1996), the latter also with Ferid Murad[8]

Personal life[edit]

Furchgott, who was Jewish,[9] lived for most of his married and career life in Woodmere, NY (Long Island). He was married to Lenore Mandelbaum (February 1915 – April 1983)[10]from 1941 until she died aged 68. They had three daughters: Jane, Terry and Susan. His daughter, Susan, was a prolific artist in the San Francisco counter culture and a co-founder of the Kerista Commune (she was also known as "Even Eve" and "Eve Furchgott"). Robert Furchgott spent his later years with Margaret Gallagher Roth, who died March 14, 2006.[11]He served as a professor emeritus at the State University of New York Downstate Medical Center. In 2008 he moved to Seattle's Ravenna neighborhood. Furchgott died on May 19, 2009[12] in Seattle. He is survived by his three daughters, four grandchildren, and three great-grandchildren.

Kerry Wendell Thornley

From Wikipedia, the free encyclopedia
Kerry Thornley
Kerry Wendell Thornley.jpg
From Open City, ca. 1970
BornApril 17, 1938
California
DiedNovember 28, 1998 (aged 60)
Atlanta
Pen nameLord Omar Khayyam Ravenhurst
Ho Chi Zen
Alma materUniversity of Southern California (no degree)
Period1950s–1990s
GenreCounterculture
SubjectReligion, politics, satire
SpouseCara Leach (1965-?)
ChildrenKreg Thornley
Kerry Wendell Thornley (April 17, 1938 – November 28, 1998[1][2]) is known as the co-founder (along with childhood friend Greg Hill) of Discordianism,[1][2] in which context he is usually known as Omar Khayyam Ravenhurst or simply Lord Omar.[1] He and Hill authored the religion's seminal text Principia Discordia, Or, How I Found Goddess, And What I Did To Her When I Found Her. Thornley was also known for his 1962 manuscript, The Idle Warriors, which was based on the activities of his acquaintance, Lee Harvey Oswald, prior to the 1963 assassination of John F. Kennedy.[3]
Thornley was highly active in the countercultural publishing scene, writing for a number of underground magazines and newspapers, and self-publishing many one-page (or broadsheet) newsletters of his own. One such newsletter called Zenarchy was published in the 1960s under the pen name Ho Chi Zen.[1] "Zenarchy" is described in the introduction of the collected volume as "the social order which springs from meditation", and "A noncombative, nonparticipatory, no-politics approach to anarchy intended to get the serious student thinking."
Raised Mormon, in adulthood Kerry shifted his ideological focus frequently, in rivalry with any serious countercultural figure of the 1960s. Among the subjects he closely scrutinized throughout his life were atheismanarchismObjectivismautarchism (he attended Robert LeFevre's Freedom School), neo-paganismKerista,[4] Buddhism, and the memetic inheritor of Discordianism, the Church of the SubGenius.

Personal life[edit]

Kerry Wendell Thornley was born on April 17, 1938 in Los Angeles to Kenneth and Helen Thornley. He had two younger brothers, Dick and Tom.[5]
On Saturday, December 11, 1965, Kerry married Cara Leach at Wayfarers Chapel in Palos VerdesCalifornia. They had one son, Kreg Thornley, born in 1969. They later divorced. Kreg is a photographer, painter, musician and film maker.[5][6]

Military life[edit]

Having already been a U.S. Marine Corps reservist for about two years, Thornley had been summoned to active duty in 1958 at age 20, soon after completing his freshman year at the University of Southern California.[7] According to Principia Discordia, it was around this time that he and Greg Hill—alias Malaclypse the Younger or Mal-2—shared their first Eristic vision in a bowling alley in their hometown of Whittier, California.
In early 1959, Thornley served for a short time in the same radar operator unit as Lee Harvey Oswald at MCAS El Toro in Santa Ana, California.[7] Both men had shared a common interest in societycultureliterature and politics, and whenever duty placed them together, had discussed such topics as George Orwell's famous novel Nineteen Eighty-Four and the philosophy of Marxism, particularly Oswald's interest in the latter.[8]
While aboard a troopship returning to the United States from duty in Japan (some time after the two men parted ways as a result of routine reassignment), Thornley read of Oswald's autumn 1959 defection to the Soviet Union in the US military newspaper Stars and Stripes.[9]

1960s[edit]

In February 1962, Thornley completed The Idle Warriors,[10] which has the historical distinction of being the only book written about Lee Harvey Oswald before Kennedy's assassination in 1963.[1] Due to the serendipitous nature of Thornley's choice of literary subject matter, he was called to testify before the Warren Commission in Washington, D.C. on May 18, 1964.[1][10][11] The Commission subpoenaed a copy of the manuscript and stored it in the National Archives, and the book remained unpublished until 1991.[11] In 1965, Thornley published another book titled Oswald, generally defending the "Oswald-as-lone-assassin" conclusion of the Warren Commission, which met with dismal sales. In his later years, Thornley became convinced that Oswald had in truth been a CIA asset whose purpose was to ferret out suspected Communist sympathizers serving in the Corps.[citation needed]
In January 1968, New Orleans district attorney Jim Garrison, certain there had been a New Orleans-based conspiracy to assassinate John F. Kennedy, subpoenaed Thornley to appear before a grand jury, questioning him about his relationship with Oswald and his knowledge of other figures Garrison believed to be connected to the assassination.[1][11][12]Thornley sought a cancellation of this subpoena on which he had to appear before the Circuit Court.[13] Garrison charged Thornley with perjury after Thornley denied that he had been in contact with Oswald in any manner since 1959. The perjury charge was eventually dropped by Garrison's successor Harry Connick Sr.
Thornley claimed that, during his initial two-year sojourn in New Orleans, he had numerous meetings with two mysterious middle-aged men named "Gary Kirstein" and "Slim Brooks". According to his account, they had detailed discussions on numerous subjects ranging from the mundane to the exotic, and bordering sometimes on bizarre. Among these was the subject of how one might assassinate President Kennedy, whose beliefs and policies the aspiring novelist deeply disliked at the time. Later, the former Marine came to believe that "Gary Kirstein" had in reality been senior CIA officer and future Watergate burglar E. Howard Hunt, and "Slim Brooks" to have been Jerry Milton Brooks, a member of the 1960s right-wing activist group "The Minutemen". Guy Banister, another Minutemen member in New Orleans, had been accused by Garrison of involvement in the assassination and was allegedly connected to Lee Harvey Oswald through the Fair Play for Cuba Committee leaflet.[14][15] Thornley also claimed that "Kirstein" and Brooks had accurately predicted Richard M. Nixon's accession to the presidency six years before it happened, as well as anticipating the rise of the 1960s counterculture and the subsequent emergence of Charles Manson and what became his cult following. This led Thornley to believe that the US government had somehow been involved, directly or indirectly, in creating and/or supporting these events, personages and phenomena.

Later life and death[edit]

For the next 30 years, Thornley traveled and lived all over the United States and was involved in a variety of activities, ranging from editing underground newspapers to attending graduate school. He spent most of the remainder of his life in the Little Five Points neighborhood of Atlanta.[1] During this time he maintained a free series of fliers titled "Out of Order." This single page, double sided Xeroxed periodical was distributed in the Little Five Points area. In 1994, he and Malaclypse the Younger were inducted into the Order of the Pineapple.[16] Thornley became increasingly paranoid and distrustful in the wake of his experiences during the 1960s, both by his own accounts and those of personal acquaintances. For a time Thornley wrote a regular column in the zine Factsheet Five, until editor Mike Gunderloy stopped publishing the magazine. Struggling with illness in his final days, Kerry Thornley died of cardiac arrest in Atlanta on November 28, 1998, a Saturday, at the age of 60.[1] The following morning, 23 people attended a Buddhist memorial service in his honor. His body had been cremated and the ashes scattered over the Pacific Ocean. Shortly before his death, Thornley reportedly said he'd felt "like a tired child home from a very wild circus", a reference to a passage by Greg Hill from Principia Discordia:
I feel the pressure in my skull building so here's one more tasty treat for you to think about...
The Keristas also had a little business.   I sense a farmers market, or a head shop.   They could do some minor hippy stuff to get by but they went HUGE...
During the late 1980s, the biggest dealer of Apple computers in Northern California wasn't a computer megastore. It was a free-love commune in San Francisco's hippie Haight-Ashbury district.
Founded in the 1970s, the Kerista commune had about 30 members who practiced "polyfidelity." Members would sleep with a different person each night, but only with someone in their group. Every day, the sleeping schedule was drawn up on a Mac.
The Kerista commune was not just promiscuous, it was extremely industrious.
In the span of about five years, the commune transformed a modest house-cleaning business into the biggest Macintosh dealership and consulting firm in Northern California. For three years in a row, the company, called Abacus, was featured in Inc. magazine's annual list of the fastest-growing enterprises in America.
At its height, Abacus generated $35 million in sales, employed 125 people, and serviced dozens of blue-chip corporations like Pacific Gas & Electric, United Airlines and Pacific Bell.
The company ran a pair of plush training centers in San Francisco's financial district and in Santa Clara. It operated three big repair facilities and a giant warehouse. It had consulting divisions for networking and publishing, and even ran a computer temp agency.
"It was a fascinating company that people couldn't put their fingers on, for good reason," said a former commune member who asked to be referred to by his commune name, Love. "It was run by flamboyant, hippie types, who tended to be young and good looking. But they were very good at evangelizing the Mac."
Kerista was founded as a scientific utopian community, according to another former member, "Sun," who was attracted by, among other things, the commune's sexual freedom.
"There were lots of guys who were into polyfidelity. That sounded good to me," she said, laughing.
Now in her 40s, Sun is an attractive woman with long brown hair. She lives in Boulder Creek, California, a rural enclave of Silicon Valley and home to a lot of "redwood nerds." She was disinherited from her wealthy family for joining Kerista.
The commune had four "families," or "Best Friend Identity Clusters." Commune members could sleep only with the six or seven other people in their cluster. There were equal numbers of men and women in each cluster. Everyone was in their 20s or 30s, except for the founder, known as Bro Jud, who was in his 60s.
There was also a "seduction squad": attractive girls who recruited new members at parties. Men were invited to sleep with them, but only if they first joined the commune, which meant having a vasectomy.
"The commune already had two kids," Sun said. "Like any family, we decided two is enough and no more kids. Too many diapers. The favorable form of contraception was vasectomy. You had to be really committed."
The commune rented about half-a-dozen buildings and apartments in the Haight. Everyone had a key to each apartment. "Everyone had a giant key ring," Sun said. "One woman had a 2-pound key ring."
Members donated their income to the communal purse. Everyone had $200 in their pocket at all times. If they spent any money, they had to submit a carefully categorized receipt to claim the money back.
"No one worried about money at all," Sun said. "It was all being accounted for on the community level. It seemed like an inexhaustible bank account. You made $15,000 a year, but you lived like you made $50,000. But we weren't extravagant. We lived comfortable middle-class lifestyles."
When Sun joined the commune, members were cleaning houses, fixing up gardens, and publishing a free advertising newsletter.
Sun introduced them to Macintosh computers. The reception was very enthusiastic and people immediately started small desktop publishing sideline businesses. Soon, the commune was offering publishing services and advice to other small businesses, and opened a computer-rental store on Frederick Street called Utopian Technology.
The commune's big break was getting a dealer's license from Apple, then the biggest personal computer maker in the world. Demonstrating its commitment to feminism, the commune had incorporated Abacus in the names of four female commune members: on paper, it was a women-owned business.
The head of sales, known as EvaWay, approached then-CEO John Sculley and told him Apple looked bad because it didn't have any women-owned dealers in its reseller network. Sculley agreed and lobbied to get them a license.
The commune bought about 10 Macs and quickly sold them. Business took off like a rocket. First year revenues were $1 million and quadrupled every year. The women-owned status of the company was a big bonus, helping to land so-called "preference" contracts with big corporations and government agencies.
"Not bad for a bunch of hippies," said EvaWay, who is now an executive at a Bay Area startup. "All we wanted to do was change the world."
Love attributed Abacus' success to its hippie business ethic: The commune wanted to help create a utopian technological society, so they made sure people knew how to use their new machines. The company had a motto: "Abacus: A vision with a business."
"All of our competitors were just dropping off boxes," said Love. "We had everything, training, support, repairs. We were a one-stop shop for business folks."
Love, now in his early 40s, still lives communally with three other adults in a house on the San Francisco peninsula. He works as an investment banker.
"We were total nerds," added Sun. "We were very cool nerds."
Eventually, Abacus also started selling Compaq computers. Ironically, the success of the business took its toll on the commune, which folded under the pressure of running such a fast-growing enterprise.
"We weren't professional managers," said Love. "There were many, many mistakes we made that created a business that did not run very efficiently."
While computer prices plummeted, Abacus found itself sitting on a huge inventory no one wanted.
The commune disbanded in 1991, and a year later Abacus merged with Ciber, a Denver corporation that was going around the country consolidating failing dealers.
The merger allowed 50 people to keep their jobs; some are still employed by Ciber. But there was no money: All the proceeds went to pay off debt.
"We went from being an artist community to a computer business," Sun said. "The whole culture changed. It became workaholic, yuppie cyberculture.
"(We were) like a mom and pop computer shop, but with 30 people as the mom and pop. There was no real management, and the majority of people wanted to do something else with the affluence the business bought them. It allowed them to do something else, like moving to Hawaii."
"It bought huge amounts of wealth into a tribal community, which had never been seen before," said Allan Lundell, Sun's partner and with her, the co-founder of Virtual World Studio. "This allowed them to build their dreams of a functional utopian culture and live in it."
More to come, we will put together a time line or something because WE ARE STILL NOT DONE!


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