Amazing Tent Revival

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I told Belle Burch I wanted to give her something, show her something while down on one knee. I thought she would be thrilled when I unrolled the Master Plan, but, she was utterly cold, totally disinterested, or, so she led me to believe.

“Look Belle, there is Joaquin Miller, the founder of the Bohemian Club, with a little girl that looks like Alice in Wonderland! And, what is this? That’s a tent. This is a tent city.”

I found this image at the Eugene History Museum. Joaquin looks like Gandalf, or Merlin. Is that a young Vivian, his protégé when she was young?

I told Belle about the Chautauquas, that were very popular at the turn of the century. People would pay a fee, pitch a tent, and get a mini-college education.

“This can be applied to the homeless sleeping downtown. Working people have a problem with humans doing…

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Return to the Dunes and Moy Mell

Originally posted on rosamondpress:


When I talked to Carol Williams we spoke between the lines, being, law firms have no spiritual base, and will bleach out all the spirituality they find in Creative People they handle so they can get down to what really matters to them – THE MONEY!

I am more than a Baba Lover. I have traced his families cosmology to the Kurds, as well as the Nazarites. I have been communicating with Kurds on facebook. One group is seeking to form a secular way of life to counter ISIS that is destroying art and selling artifacts.

Sydney Morris crushed my spiritual input in my family, along with the Family Sobriety that I begged him to protect in several letters. I will have to go to the Monterey Supreme Court and see how many of letters got filed in the probate of Christine Rosamond Benton.

Morris did not charge my family…

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The Voice of the Mountain

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This morning I went in search of Roy Reuben Rosamond’s story about Calvin and Nell that takes place in Montana. I am blown away.

“The sun climbed toward the zenith, up over the colossal Beartooth Mountain!”

It is high noon in Bozeman. Andre Artaud and Vincent Van Gough have gotten off the train so they can be witness to the Greatest Artistic Destiny in Creative History. The Ghosts of Creations Past all want to meet her, they summoned by the spirit of my grandfather – I never lay eyes on – to come behold her, Rena Destina, the cowgirl of our dreams. Destiny rides again!

It appears Rena was married to Rob Burda an architect for Beartooth builders! WHAT!!!! Rob built the house where in back is parked the White Ford Pickup, the Ghost Truck of Dreams Past. In Roy’s story ‘The Voice of the Mountain’ he talks about newly…

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Kesey Mural Passes Augur’s Test

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Work on the Ken Kesey mural in downtown Springfield came to a sudden halt while I registered the auspices of this grand undertaking. As Master Augur of the West Coast, I felt it was my civic duty to put Ken’s mural to the Augur’s Acid Test. I am happy to report this fine work of art passed with flying colors.

Jon ‘The Augur’

“Let the boundaries of my templa and the wild lands (tesca) be as I declare them with my words. That tree of whatever kind it is which I deem myself to have named, let it be the boundary of my templum and the wild land to the right. That tree, of whatever kind it is, insofar as I deem myself to have named it, let it be the boundary of my temple and the wild land on the left. Between these points I have established the templa and the wild lands by means of directing (conregione), viewing (conspicione), reflecting (cortumiones) as far as I have been most rightly aware of it within this limit.”

(Varro: On the Latin Language, VII.8)

The augur was a priest and official in the classical world, especially ancient Rome and Etruria. His main role was the practice of augury, interpreting the will of the gods by studying the flight of birds: whether they are flying in groups or alone, what noises they make as they fly, direction of flight and what kind of birds they are. This was known as “taking the auspices.” The ceremony and function of the augur was central to any major undertaking in Roman society—public or private—including matters of war, commerce, and religion.

The Roman historian Livy stresses the importance of the augurs: “Who does not know that this city was founded only after taking the auspices, that everything in war and in peace, at home and abroad, was done only after taking the auspices?”[1]

Augury sought the divine will regarding any proposed course of action which might affect Rome’s pax, fortuna and salus (peace, good fortune and wellbeing).[2] Political, military and civil actions were sanctioned by augury, historically performed by priests of the college of augurs and by haruspices on behalf of senior magistrates. The presiding magistrate at an augural rite thus held the “right of augury” (ius augurii).[3] Magistracies (which included senior military and civil ranks) were therefore religious offices in their own right, and magistrates were directly responsible for the pax, fortuna and salus of Rome and everything that was Roman.

Before taking the auspicia impetrativa (“requested” or “sought” auspices; see below) the templum, or sacred space within which the operation would take place had to be established and delimited (it should be square and have only one entrance)[21][22] and purified (effari, liberare).[23]

The Roman form of augury was said to have begun with Attus Navius around 600 BCE. According to legend, Navius was a swineherd who owned a vineyard. One day when he lost one of his pigs, he prayed to the Lares that if they would assist him in finding the pig, he would sacrifice his choicest bunch of grapes to them. The next day the pig was found. Going to the center of his vineyard, Attus Navius used his swineherd’s staff to divide his vineyard into four quarters. He then noticed that the birds favoured one particular quarter. He went to the center of this quarter and again using his staff he divided it into another four quarters. Again the birds favoured one quarter, and so he again divided that section of his vineyard into four sections. Proceeding in this manner he discovered an enormous bunch of grapes, which he then sacrificed to the Lares. News of this spread to Navius’ neighbors who then began to consult with him. Thereby Navius gained a reputation as an augur. When news of Navius reached the king of Rome, Tarquinius Priscus, he was called upon to take the auspices for an important matter.


A spot is selected to mark out a templum on the ground, drawing out first the cardo running east and west, then the decumanus running north and south, according to astronomical observations. The same is described for laying out an estate, as Pliny mentions (NH XVIII.76-77), or a military camp, a colony or a city. The cardo is determined by the point on the horizon where the sun rises and sets, altering through the seasons, and not by determining the true east-west direction. The decumanus is determined by observing Polaris and not by employing a compass. Then two sets of parallel lines are drawn to form a rectangle in a proportion of 6:5. At the center of the templum the Romans would erect a tabernaculum, a square tent with its opening facing south.

The magistrate taking the auspices is referred to as an auspex, distinct from the augurs who interpret the signs (Cicero: On Divination 1.48; On the Nature of the Gods II.3; On the Laws II.13). The auspex sits out in front of the tabernaculum, usually near the edge of a hilltop, while his assistants and the tibicines and tibicinae will stand within. The purpose of the tabernaculum was to avoid the auspex from being distracted by auspicia oblativa, or naturally occurring omens, and that he might concentrate on the auspicia imperitiva being sought in the sky (see below).

Throughout the ceremony the tibicines and tibicinae are to play their flutes. Mention is made in the ancient texts that this was done to prevent the magistrate from being interrupted by the sounds of any ill omens. However there may have been more to this and the flute players might have also been present to draw birds to the templum. It was normal practice to have tibicnes and tibicinae play during any Roman ceremony, as a way of pleasing the gods. The first step in the ceremony would be to perform a libation to Jupiter, stating the reason that auspices are being taken and asking that He give his approval. Only Jupiter sends the birds to act as messengers of the gods in public auguries (Cicero: On Divination 2.34, Aves internuntiae Jovis; On the Laws II.8, Interpretes Jovis optimi maximi publici augures). For private auguries other gods or goddesses may be called upon and a sacrifice would then be offered to them. One emblem of an augur is the special earthen vessel (capis) used in making this libation. Incense and flute music are also offered as a part of this opening sacrifice.

Next the magistrate would employ his lituus to designate another templum in the sky. A lituus is a special wand of augury, made from a tree branch (possibly ash or hazel) without any knots and with one end naturally curled. With the lituus he would again draw out a templum by designating the cardo and decumanus. One formula has the auspex call out, “This shall be to my left is the East, and this to my right shall be the West. This before me is South, that behind me is North.” Then the enclosing sides are drawn. The boundaries of this celestial templum are designated by the auspex in calling out points of reference on the ground. Varro says that different formulas were used to designate a templum, and offers one such formula as was used on the Arx:

“Let the boundaries of my templa and the wild lands (tesca) be as I declare them with my words. That tree of whatever kind it is which I deem myself to have named, let it be the boundary of my templum and the wild land to the right. That tree, of whatever kind it is, insofar as I deem myself to have named it, let it be the boundary of my temple and the wild land on the left. Between these points I have established the templa and the wild lands by means of directing (conregione), viewing (conspicione), reflecting (cortumiones) as far as I have been most rightly aware of it within this limit.”

(Varro: On the Latin Language, VII.8)

The plural form is used here, seemingly making each boundary line a templum. Varro goes on by quoting from Ennius’ play Medea, “Contemplate and see the templum of Ceres on the left…” to draw a parallel between the words contemplate (contempla) and templa. The formula also mentions the plural form tesca that is translated as “wild lands” but these are rural sanctuaries of gods. The area within the boundaries of the rectangular templum is divided into four quarters by the cardo and decumanus, and there were further divisions, to a total of sixteen, each division dedicated to a particular divinity. A similar practice is found in the Etruscan practice of haruspicy where the liver of a sacrificial animal is divided into sixteen sections, each associated with a particular divinity. This formula by Varro seems to indicate that other regions beyond the designated templum were also associated with divinities. The cardinal directions marked out above were associated with light and life in the East, darkness and death in the West, the abode of the gods was held to be in the North, while the South was associated with the lower regions of the earth and below.

Once the templum is established, the auspex would then pray, “Juppiter Optimus Maximus, and all You other gods and spirits whom it is proper to invoke, I ask that if it is good and right that (the proposed action) be done, that You will send clear and certain signs within the boundaries that I have marked.” Here the auspex may specify the kinds of signs he wishes to appear within the templum he has marked out. These become the auspicia impeeritiva that he must watch for. He may also designate other signs that he will ignore, whether within or outside the templum. These, together with all other omens, become auspicia oblativa, and while they may be noted and used in clarifying more details about the augury, they are not to be considered as omens specifically answering the question posed. The auspex then awaits the auspices by watching the sky (sevare de caelo) for signs (spectio). This was to be done without interruption (silentium; silentio surgere) and anything that might make the augury invalid was called a vitium. For the auspices taken for inaugurating an official, the templum that was drawn and established on the ground might be made after midnight, where the auspex would remain in contemplation and offering sacrifices to the gods. Just before dawn he would then draw the templum in the sky and begin to look for signs.


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Springfield Augurs Ken Kesey

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I am beginning to believe Springfield got it right! I went and looked at the un-finished mural of Ken Kesey. This is a much better job of Branding then the Homer Simpson Mural. It has a literary and historic theme. There are titles of books that Ken perhaps read and mentioned? ‘Grapes of Wrath’ is one.

When I moved to Springfield Oregon eight years ago, I ran into Virginia Hambley’s boyfriend at a city hall meeting. Afterwards Michael took me for a mini-tour downtown. We stopped in front of the Emerald Art Association that was closed. I came back the next day and talked to the director Cheyrl Liontino. I had a vision. I told her I saw Springfield surpassing Eugene in the Arts and it becoming a Mecca for European artists. As I headed out the door, Liontino held out her arms and blocked the door. I became a member of the EAA located on Main Street a block away from Odd Fellows Lodge building that is hosting the image of Ken ‘The King of the Bohemians’.

I went back to look at the finished chalk art and beheld a tribute to Alphonse Mucha the Bohemian Czech artist who inspired me when I rendered my painting of Rena Easton. I asked for and received a photo of her profile.

When I first mew of Stefan Eins, I suggested he talk to Austrian officials about the large canvas we have that might belong to the Austrian People. I ran into a member of my city government and we talked about the Kesey mural. I told her I would do a report and submit it to the City Council after I attend the unveiling on Friday. I am going to catalogue the murals of Springfield. The first one may have been on the side of the first Springfield Creamery building where I visited my childhood friend, Nancy Hamren. In 1987 Nancy got me on the bus, and an invite to the Dead and Dylan concert at Autzen Stadium. I hiked up Mt. Pisgah with Sue and Chuck Kesey. Nancy and I went to Ken’s reading of his book he co-wrote with students.  Nancy and I lived in a commune with the Zorthian sisters whose father was influenced by the famous muralist, Thomas Hart Benton. This statement brings all the creative elements together, and puts them on the wall that is now the compass point of a cultural milestone for Springfield.

Benton fits the familiar mold of Jack London, John Steinbeck, Ernest Hemingway–the roughneck artist, the temperamental genius disguised as a Joe. But beneath the denim and swagger, there lurks something else: a soul, Benton said, ‘impregnated with a deep sense of the value of life, of the beauty of the basic human emotions and the sadness of the drama of human striving.’ -Verlyn Klinkenborg, Smithsonian, April 1989, p. 100.

As a Master of the New Augury, I found the auspices of this mural, to, augur well. One of the chalk entries was titled ‘It Started With A Crack In The Pavement’. What can I say?

Jon Presco

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Looked, viewed etc. at ‘Tale of Two Cities’ – amazing……Thank you for having put it together!!!


A hour ago I got off the phone with Stefen Eins who Christine said I conjured up and brought into her life when she really needed a friend. He told me his people are Bohemians who lived in the Czech Republic. I told him my grandfather, Wensel Anton Braskewitz (Prescowitz) was born there

What the chalk line is, is CONJURING. It may represent the coming together of the artistic ideas of two Bohemian Artists, they meeting on the edge of the two-dimensional cage that most framed artwork is, or isn’t in some rare cases. This is one of those rarities. With the suggestion of color, I experienced an optical illusion where I saw this plot covered in faint pastel colors, yellow, blue, green. My mind was filling in the blank area. It took some effort to stop my hallucinating and see what was really there. What I would eventually see, is that this work transcends, teleporting, telephoning, telescoping, and, teledesign, a word I just made up. It could be delayed-telepathy where the message has been sent, after the means to receive the message has been launched.

“Then he had the Japanese and Chinese artists living there. They built their beautiful little Japanese paper houses up through the woods. What beautiful country! It looks like a mess now, but it was beautiful then — a natural and wild landscape — and the Japanese had carefully created a meandering little stream, Japanese style, beautifully arranged with gardens and little rockeries near the poet’s. You know their expertness in creating beauty. They’d made this beautiful place where they had their barbecues. At that time the poet’s barbecues were always run by his Japanese friends. We’d have raw fish and soy sauce — really delicious. Then, always the particular barbecue for which the poet was famous — he had beautifully peeled willow switches on which were arranged rounds of onions and meat — which you held over the fire until cooked to your taste.

Then we’d go up to a little art colony scattered throughout the woods in their beautiful paper houses. These houses were well made, beautifully constructed, but all the doors and windows except the frames were made of paper. We’d go in, take our shoes off and sit down and we’d watch the artists work, or they’d display work to show us. Some were Chinese, most of them were Japanese.

In 1848 William Makepeace Thackeray used the word bohemianism in his novel Vanity Fair. In 1862, the Westminster Review described a Bohemian as “simply an artist or littérateur who, consciously or unconsciously, secedes from conventionality in life and in art”. During the 1860s the term was associated in particular with the pre-Raphaelite movement, the group of artists and aesthetes of which Dante Gabriel Rossetti was the most prominent:[2]

As the 1860s progressed, Rossetti would become the grand prince of bohemianism as his deviations from normal standards became more audacious. And as he became this epitome of the unconventional, his egocentric demands necessarily required his close friends to remodel their own lives around him. His bohemianism was like a web in which others became trapped – none more so than William and Jane Morris.[3]

Above is a very large painting at the University of Oregon museum, titled ‘The Last Audience of the Habsburgs’ whom all descend from Jeanne de Rougemont. This painting was discovered rolled up in a bank vault here in Eugene Oregon. It had been smuggled out of Austria when Hitler put a bounty on Empress Zita’s head. The Empress receives war orphans ushered into her presence by a famous Austrian women’s Liberationist.

Zita and her family were smuggled to America with the help of
Aristides de Sousa Mendes, whose kin owned the “Jews land” in South Carolina my kindred purchased. The Mendes are Sephardic Jews kin to King David. The Habsburgs held the title ‘King of Bohemia and Hungary, and fought a war with Louis Kosseth who was a good friend of Jessie Benton.

Kossuth was a Freemason, as was Alphonse Mucha whose huge canvases were also smuggled out Nazi Germany that had claimed Austria and the Czech Republic. Drew’s great grandfather, Colonel Thomas Hart Benton, the nephew of the Senator of the same name, saved Albert Pike’s library during the Civil War.

“Among his many other accomplishments, Mucha was also the restorer of Czech Freemasonry.[12]”

I will now research if Kossuth and Mucha knew each other. The Hungarian Freemasons made up Jessie’s and John’s bodyguard.

The Habsburgs were great Patrons of the Art. The Fremont’s held a salon at Black Point where Mark Twain sent the night. Here is a Masonic artistic Legacy that has come down to my niece, Drew Benton, the daughter of the Getty Museum muralist, and cousin of the artist Thomas Hart Benton, the mentor of Jackson Pollack.

So much for Rosemary calling her four children “Bohunks” and chortling.

“He who laughs last – laughs best!”

Did you know Marie Antoniette was a Habsburg? I own a Habsburg lip. I now understand what the Seer meant, when she saw people coming into my being and “take! Take! Take!” I powerless to stop them for reasons unknown. Well, it appears much of my family history is a Masonic Secret – many partake of – but me, until, recently!

Mucha’s canvases look likes scenes out of Star Wars, they as big as a movie screen! Now, what does my kindred Carrie Fisher got, in regards to the screenplay about Christine Rosamond Benton – and her Artistic Legacy!

All’s well, that ends well!

Jon Presco

Copyright 2012

The year was 1970 and next door to the creamery, the Keseys opened the Health Food and Pool Store. A mural outside depicted a fun-filled utopia, complete with a rainbow, a man in the moon, a smiling sun and dancing milk jugs. Inside, not far from the pool table, bulk foods, whole grains, herbs, candles and, of course, Nancy’s Yogurt, filled the shelves.

Chuck Kesey smiles slyly and his eyes glint as he describes the store as “a real culture shock to Springfield.”

Healy, the fellow who bought the bakery next door, remembers that the place lit up whenever Ken Kesey, who died in 2001, rolled up in his Cadillac. He and a few of the Merry Pranksters, as those in his entourage were known, would hop out, shoot pool and raise the sort of high-energy ruckus that fueled their radical reputation.

That reputation and the impact Ken Kesey had on 1970s youth culture gave Nancy’s Yogurt a nudge, or, as Gilbert Rosborne puts it, “The Kesey name gave it hippie star power.”.

Rosborne was a University of Oregon graduate student who delivered Rolling Stone magazine in Portland and Seattle. He recalls sitting outside the creamery chatting with Chuck Kesey when he wondered aloud: Why not drive a truckload of Nancy’s Yogurt to that long-hair haven, the San Francisco Bay Area, and try to sell it?

He needed a partner and asked a Mill Valley, Calif., acquaintance — a guy as sharp at auto mechanics as he was with a harmonica — to join him. Rosborne and his new partner, Huey Lewis, called their venture Natural Foods Express.

They bought old delivery trucks and Lewis tuned them until they purred. The two men took turns driving the long slog between Springfield and the Bay Area, Lewis blowing tunes on the harmonica as they traveled. And the Bay Area devoured Nancy’s Yogurt.

“Rock’n’roll, natural foods, pot. We were gonna create a whole new world,” says Rosborne, who lives north of San Francisco, in a Larkspur, Calif., home he and Lewis once co-owned.

The men dissolved their business partnership around the time Lewis’ band, Huey Lewis and the News, hit it big in the 1980s.

These days, Rosborne delivers wine for a living, but he still fills his fridge with Nancy’s Yogurt.”The main thing I got out of it,” he says, “was good digestion.”

Nancy Van Brasch Hamren brought her grandmother’s recipe to Springfield Creamery in the late ’60s when she started as bookkeeper. She still works in 2010 as office manager.

Nancy Van Brasch Hamren had a recipe. Her health-conscious grandmother made yogurt, and so did she during the months she lived on Ken Kesey’s farm near Eugene.

Hamren, a lanky, soft-spoken Californian, ran in circles simply psychedelic with history. She lived in San Francisco’s Haight-Ashbury district from 1966 to 1968, the bookends to 1967’s Summer of Love. Her boyfriend’s sister was married to Jerry Garcia, the Grateful Dead’s shaggy-haired lead guitarist. And they all knew Ken Kesey — from his books, “One Flew Over the Cuckoo’s Nest” and “Sometimes a Great Notion,” and from the infamous, drug-juiced parties known as Acid Tests, which he hosted and promoted.

When Ken Kesey traveled to Britain to work with the Beatles in 1969, Hamren and her boyfriend moved to Oregon to look after his farm. When Kesey and his family returned, she needed a new pad and a job. Down at the creamery, his brother, Chuck, needed a bookkeeper. He and Sue hired Hamren, and they started talking yogurt.

The time was right. The place, too.

Eugene and Springfield brimmed with hippie bakeries, granola makers, co-ops and natural-food stores. College kids and others living there moved beyond white bread long before the mainstream pondered crafting diets around fresh, local, organic food

In 1972, when the company was struggling, Chuck Kesey asked his friends in the Grateful Dead if they would play a benefit concert. Hand-drawn posters advertised the event for $3 in advance or $3.50 at the gate. The creamery turned Nancy’s Honey Yogurt labels into concert tickets. On August 27, more than 20,000 free-spirited Deadheads rocked the sweltering afternoon away in Veneta, west of Eugene. The creamery raised from $12,000 to $13,000, enough to stay in business.

Now immortalized for posterity as Sunshine Daydream, the Grateful Dead’s August 27, 1972 concert in Veneta was one for the history books on many fronts — especially because it kept the Springfield Creamery alive.

So we’re delighted that the Creamery is celebrating this epic event with a classic T-shirt, celebrating the day A Rock Band Saved A Yogurt Company, with the proceeds going to Rex. (Order yours here!)

Explains Sheryl Kesey Thompson, “The T-Shirt evolved out of a longtime desire to offer a ‘give back’ to the Grateful Dead of some type, as we honor and remember the fork in the road that the ’72 concert had for the Creamery. We also  looked for something to offer when folks, intrigued by the Nancy’s/GD connection,  asked, ‘Do you have a copy of that Nancy’s label/ticket from the Sunshine Daydream Show?’ or ‘Can I get a copy of the poster?’” They didn’t, but last year’s Sunshine Daydream release led to creative thinking, and voila.

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Species 4 ‘Bad Hair Day’

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It’s mating season over at Fox, and the bitch is back! Trump’s nasty hair was all over Megyn’s you know what. Now she can’t wear a bikini to the beach because they are in a love-lock for the rest of the political season, and, perhaps all the way to the White House where they will spawn Rug Rats and Rancor Babies.

Jon Presco

Natasha Tony Henstridge (born August 15, 1974) is a Canadian actress and former fashion model. In 1995, she came to prominence with her debut movie role as the genetically engineered human-alien hybrid Sil in the science-fiction thriller

Then he tweeted another one, suggesting Kelly goes back on vacation: “I liked The Kelly File much better without @megynkelly. Perhaps she could take another eleven day unscheduled vacation!”

He even retweeted a tweet calling her a “bimbo” and another that says “she came back looking like Nancy Grace.”

This comes after the real estate mogul was under fire for escalating a feud with Kelly when he told CNN’s Don Lemon earlier this month that Kelly “had blood coming out of her eyes, blood coming out of her wherever.”

Trump drew swift condemnation from conservatives and was uninvited from the RedState Gathering, a conservative event featuring GOP presidential hopefuls earlier this month in Atlanta. Trump and Fox News president Roger Ailes had reportedly cleared the air after the fight began, but it’s not clear what his most recent comments might mean for his relationship to the channel.

Species is a 1995 American science fiction horror film directed by Roger Donaldson, and starring Natasha Henstridge, Ben Kingsley, Michael Madsen, Alfred Molina, Forest Whitaker and Marg Helgenberger. The film is about a group of scientists who try to track down and trap a killer alien seductress before she successfully mates with a human male.

The film produced one theatrical sequel in 1998, Species II, which had Henstridge, Madsen and Helgenberger reprise their roles. It was followed by the direct-to-video Species III in 2004 and Species: The Awakening in 2007, which stands as a stand-alone film, not as an official follow-up to the previous three films.

Sil tries first to mate with a man she meets at a nightclub, but after sensing that he is diabetic, she rejects him. Unsatisfied, he tries to forcibly initiate sex, prompting her to kill him by puncturing his skull with her tongue. She then tries to mate with a man she meets after a car accident. They swim in the man’s pool where Sil forces him to open his swimming trunks in order to mate, but he refuses. This act is interrupted by Press and Laura. She kills the man and flees naked into a forest without being seen by the team. She pretends to be a rape victim and then proceeds to kidnap a woman. She fakes her death by crashing the woman’s car into a high voltage transformer during a high-speed chase.

After cutting and dyeing her hair, she takes an attraction to Press. Arden, who is upset at not having found himself a woman, walks into his room to find Sil waiting there. She has intercourse with Arden, then kills him when he realizes who she is. Dan senses that Sil is in the hotel and he alerts Press, Laura, and the rest of the team. She escapes and they follow her into the sewers where Fitch is subsequently killed. Sil gives birth and Dan finds her offspring, it attacks him and he destroys the child. Sil, angered, attacks the trio and tries to kill Press and Dan. Press uses a grenade launcher on her, blowing her head off. The trio leaves the area. The last scene shows a rat chewing on one of Sil’s severed tentacles; it starts to mutate into a vicious beast and attacks another rat.

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Our Dirty Dee-Dee

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When I saw the movie Sexy Beast it was like a home movie. One never knew when the shit was going to hit the fan. Above is Vic pretending to throw his wife Dee-Dee under a train. They look like the stars of this great movie. For doing this to her, Dee-Dee chased my father around the house emptying his gun at him. Vic ran out the back door, and a bullet ricocheted off the frame of the window into his back and lodged near his spine. He showed me the x-ray of the bullet that they left inside, and the dent in the frame – a year after it happened. It was part of the tour of his Lafayette home.

Before Vic made a killing in the real estate loan shark business, he lived in downtown Oakland on Alice street. Here he is with his partner whose brother ran the Mexican Mafia in San Quinton. The other dude is a smuggler of just about everything, and may have brought Vic’s third wife across the border in a marijuana shipment.

Vic was always in his bathrobe. I am not sure if he knew bout Vinnie ‘The Chin’ the Mafia boss of the Village where many artists came to dwell, including myself in 1965.  This family was in the Art Business. Eat your heart out Mrs. Eastwood. We never put on airs, or had to fake a scene like the one where you spy on your daughter, because, nothing really happens at your house. Your husband has a conversation with a chair.

Note the big pot on the stove. It might be squid soup, a dish Captain Vic fed his young secretaries that worked at the Ponderosa, who would not let Vic ‘The Nazi’ (as they called him) get away with wearing his old bathrobe while they were there. This would have made a great reality T.V. series. ‘Bohemian Loan Sharks’. Vic and Ernie are playing chess.

“BOHUNKS! They created a artistic and literary dynasty, but you wouldn’t know it, thanks to ‘The Caretaker’ who brought in a bevy of outsiders, ghosts writers, to make it all work for her. Or, so she led many to believe. Somebody pulled off the biggest art heist in history. Was it ‘Little Vicki’?”

It was very threatening for members of my family to accept the truth Victor was mentally ill. Rosemary could not handle the truth she had four children by a sociopath. It was much easier for my family to title me “INSANE”.  The head of Serenity Lane said this;

“Have you considered the truth you might be the only sane member of your family?”

“How did they do it? They never got out of their bed, or their bathrobes! BOHUNKS! Look out Ken Kesey! They are coming for your crown!”

“They lay claim to the old Rancho Las Mariposa land grant in order to make a poet’s retreat for family members. But, what are they really up to? BOHUNKS!”

Jon Presco

Copyright 2015

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Dubbed “The Oddfather” and “The Enigma in the Bathrobe” by the press, Gigante often wandered the streets of Greenwich Village in his bathrobe and slippers, mumbling incoherently to himself, in what Gigante later admitted was an elaborate act to avoid prosecution

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