Meher Baba and the Rose of the World

Beautiful and famous women were followers of Meher Baba, and are connected to him and his teaching. In 1992 I began my autobiography ‘Bonds With Angels’. It began with an account of the angel my sisters saw in their bedroom bathed in a blue light. Rosamond Pinchot acted in the movie ‘The Miracle’ as did Princess Norina Matchabelli. This movie was directed by Max Reinhnardt whose film ‘A Midsummer’s Night Dream’ shows Oberon coming for the Changling Boy who I associate with my grandson, Tyler Hunt.

In the movie Pan’s Labyrinth we behold Puck and Pan.

The Dukes of Athens were the De La Roche (La Rosa) family who were kin to the Rougeonts and were Knights Templar who owned the Shroud of Turin – that awakens atop Rose Mountain.

I will leave the rest up to you – the stringing of the beautiful pearls of the Rose Protection.

Jon Rosamond Presco

A Midsummer Night’s Dream (1935) is an American film of Shakespeare’s play, directed by Max Reinhardt and William Dieterle, produced by Henry Blanke and Hal Wallis for Warner Brothers, and adapted by Charles Kenyon and Mary C. McCall Jr. from Reinhardt’s Hollywood Bowl production of the previous year. Felix Mendelssohn’s music was extensively used, as re-orchestrated by Erich Wolfgang Korngold. The ballet sequences featuring the fairies were choreographed by Bronislava Nijinska.



In 1931 Matchabelli met Spiritual teacher Meher Baba and became a devotee. She introduced many notable figures of the day to Meher Baba including Gabriel Pascal, Mercedes de Acosta and Karl Vollmöller (her first husband). She also founded the periodical Meher Baba Journal in 1938.
In the early 1940s Matchabelli co-founded the Meher Spiritual Center with Elizabeth Chapin Patterson in Myrtle Beach, South Carolina, U.S.

Many a long year afterwards there came a King’s son into that
country, and heard an old man tell how there should be a castle
standing behind the hedge of thorns, and that there a beautiful
enchanted Princess named Rosamond had slept for a hundred
years, and with her the King and Queen, and the whole court. The
old man had been told by his grandfather that many Kings’ sons
had sought to pass the thorn-hedge, but had been caught and
pierced by the thorns, and had died a miserable death. Then said
the young man, “Nevertheless, I do not fear to try; I shall win
through and see the lovely Rosamond.” The good old man tried to
dissuade him, but he would not listen to his words.

The first duke of Athens (as well as of Thebes, at first) was Otto de la Roche, a minor Burgundian knight of the Fourth Crusade. Although he was known as the “Duke of Athens” from the foundation of the duchy in 1205, the title did not become official until 1260. Instead, Otto proclaimed himself “Lord of Athens” (in Latin Dominus Athenarum, in French Sire d’Athenes). The local Greeks called the dukes “Megas Kyris” (Greek: Μέγας Κύρης, “Great Lord”), from which the shortened form “Megaskyr”, often used even by the Franks to refer to the Duke of Athens, is derived.

A changeling is a creature found in Western European folklore and folk religion. It is typically described as being the offspring of a fairy, troll, elf or other legendary creature that has been secretly left in the place of a human child. Sometimes the term is also used to refer to the child who was taken. The apparent changeling could also be a stock or fetch, an enchanted piece of wood that would soon appear to grow sick and die. The theme of the swapped child is common among medieval literature and reflects concern over infants afflicted by as-then unknown diseases, disorders, or developmental disabilities.
A human child might be taken due to many factors: to act as a servant, the love of a human child, or malice.[1] Most often it was thought that fairies exchanged the children. Some Norwegian tales tell that the change was made to prevent inbreeding: to give trolls and humans new blood, humans were given children with enormous strength as a reward. In some rare cases, the very elderly of the Fairy people would be exchanged in the place of a human baby, and then the old fairy could live in comfort, being coddled by its human parents.[2] Simple charms, such as an inverted coat or open iron scissors left where the child sleeps, were thought to ward them off; other measures included a constant watch over the child.[3]
http://www.endicott-studio.com/rdrm/rrPuck.html

In English folklore, Puck is a mythological fairy or mischievous nature sprite. Puck is also a generalized personification of land spirits. In more recent times, the figure of Robin Goodfellow is identified as a puck.
The Old English “puca” is a kind of half-tamed woodland sprite, leading folk astray with echoes and lights in nighttime woodlands (like the German and Dutch “Weisse Frauen” and “Witte Wieven” and the French “Dames Blanches,” all “White Ladies”), or coming into the farmstead and souring milk in the churn.
Since, if you “speak of the Devil” he will appear, Puck’s euphemistic “disguised” name is “Robin Goodfellow” or “Hobgoblin”,[1] in which “Hob” may substitute for “Rob” or may simply refer to the “goblin of the hearth” or hob. The name Robin is Middle English in origin, deriving from Old French Robin, the pet form for the name Robert (which had cognates in the Old English Hrodberht and Old German Rodbert or Hrodebert, all derived from the Proto-Germanic hrôdberxtas. See Robert). The earliest reference to “Robin Goodfellow” cited by the Oxford English Dictionary is from 1531. After Meyerbeer’s successful opera Robert le Diable (1831), neo-medievalists and occultists began to apply the name Robin Goodfellow to the Devil, with appropriately extravagant imagery.
If you had the knack, Puck might do minor housework for you, quick fine needlework or butter-churning, which could be undone in a moment by his knavish tricks if you fell out of favour with him. “Those that Hob-goblin call you, and sweet Puck, / You do their work, and they shall have good luck” said one of William Shakespeare’s fairies. Shakespeare’s characterization of “shrewd and knavish” Puck in A Midsummer Night’s Dream may have revived flagging interest in Puck.[2]

Mercedes de Acosta (March 1, 1893 – May 9, 1968) was an American poet, playwright, and novelist. Four of de Acosta’s plays were produced, and she published a novel and three volumes of poetry. She was professionally unsuccessful but is known for her many lesbian affairs with famous Broadway and Hollywood personalities and numerous friendships with prominent artists of the period.[1][2]

She was born in New York City in 1893. Her father, Ricardo de Acosta, was Cuban and of Spanish descent while her mother, Micaela Hernandez de Alba y de Alba, was Spanish and reportedly a descendant of the Spanish Dukes of Alba. De Acosta had several siblings: Aida, Ricardo Jr., Angela, Maria, and Rita. Maria married socially prominent A. Robeson Sargent, the Harvard-educated landscape architect and son of Charles Sprague Sargent.[3][4] Rita would become a famous beauty best known as Rita Lydig. She was photographed by Adolf de Meyer, Edward Steichen, and Gertrude Käsebier, sculpted in alabaster by Malvina Hoffman, and painted by Giovanni Boldini and John Singer Sargent, among others.[5][6] She also wrote one novel, Tragic Mansions (Boni & Liveright, 1927), under the name Mrs Philip Lydig, a society melodrama described as “emotionally moving and appealing” by The New York Times. De Acosta attended elementary school at the Covenant of the Blessed Sacrement on West 79th Street in Manhattan where Dorothy Parker was a classmate.
De Acosta married painter Abram Poole (January 1883 Chicago, Illinois – May 24, 1961) in 1920. They divorced in 1935.
[edit] Personal life
De Acosta was involved in numerous lesbian relationships with Broadway’s and Hollywood’s elite and did not attempt to hide her sexuality, which was rare in her generation.[2] In 1916 she began an affair with actress Alla Nazimova and later with dancer Isadora Duncan. Shortly after marrying Abram Poole in 1920, de Acosta became involved in a five-year relationship with actress Eva Le Gallienne.[7] The two women vacationed and traveled together often. De Acosta wrote two plays for Le Gallienne, Sandro Botticelli and Jehanne de Arc. After the financial failures of both plays they ended their relationship.
Over the next decade she had romances with several famous actresses and dancers including Greta Garbo, Marlene Dietrich, Ona Munson, and Russian ballerina Tamara Platonovna Karsavina.[8] Additional unsubstantiated rumors include Pola Negri, Eleonora Duse, Katherine Cornell, and Alice B. Toklas.[8]
An ardent liberal, de Acosta was committed to several political causes. Deeply concerned about the Spanish Civil War, which began in 1936, for example, she supported the loyalist Republican government that opposed Franco and fascism.[9] She was also a tireless advocate for women’s rights and wrote in her memoir, “I believed…in every form of independence for women and I was…an enrolled worker for women’s suffrage.”[9]
[edit] Relationship with Greta Garbo
De Acosta’s best-known relationship was with Greta Garbo. In 1931, they were introduced by Garbo’s friend, author Salka Viertel, and quickly became involved.[10] Their relationship was erratic and volatile with Garbo always in control.[11] The two were very close sporadically and then apart for lengthy periods when Garbo, annoyed by Mercedes’ obsession, coupled with her own neuroses, ignored her.[12] It is thought that de Acosta remained in love with Garbo for the rest of her life but it is doubtful that Garbo shared these feelings. In any case, they remained friends for thirty years during which time Garbo wrote de Acosta 181 letters, cards, and telegrams.[13]
Although it has been argued that no proof of a romance between them exists, their involvement is discussed by all of Garbo’s and de Acosta’s recent biographers.[14][15][1][2][16] Because she was destitute in 1959, de Acosta sold her papers to the Rosenbach Museum & Library in Philadelphia and claims to have reluctantly included the love letters she received from Garbo.[17] “I would not have had the heart or courage to have burned these letters”, she wrote William McCarthy, curator of the museum. “I mean, of course, Eva [sic], Greta’s and Marlene’s who were lovers…. I only hope…they will be respected and protected from the eyes of vulgar people.[18] Per de Acosta’s request, Garbo’s letters were made available to the public in 2000, ten years after Garbo’s death, and did not include romantic letters. Garbo’s family, which controls her estate, has allowed only 87 of the letters, cards, and telegrams to be released.[19]
[edit] Interest in eastern spirituality
In the early 1930s de Acosta developed an interest in Hinduism and was encouraged to seek out Indian mystic Meher Baba when he arrived in Hollywood.[20] For several years she was captivated by his philosophy and methods and he often gave her advice about ways to address her problems.[21] Later, she studied the philosophy of Hindu sage Ramana Maharishi who introduced her to yoga, meditation, and other spiritual practices she hoped would help ease her suffering.[22] In 1938, she met Hindu dancer Ram Gopal in Hollywood. They immediately established a rapport and became close lifelong friends.[23] Later that year they traveled to India to meet Maharishi.[24]
When asked about religion, de Acosta once said that although she had grown up Catholic, she would be, if she had to be anything, a Buddhist.[25]

Rita Lydig (born Rita Hernandez de Alba de Acosta, October 1875[1]– October 27, 1929) was an American socialite regarded as “the most picturesque woman in America.” She was photographed by Adolf de Meyer, Edward Steichen, and Gertrude Käsebier, sculpted in alabaster by Malvina Hoffman, and was painted by Giovanni Boldini and John Singer Sargent, among others.[2][3] She also wrote one novel, Tragic Mansions (Boni & Liveright, 1927), under the name Mrs Philip Lydig, a society melodrama described as “emotionally moving and appealing” by The New York Times.

Acting career as Maria Carmi
Norina Gilli began her stage career at Max Reinhardt’s acting school at the Deutsches Theater and belonged to his company from 1907 to 1909. Under the stage name Maria Carmi, Norina played in Italian and German theater and later appeared in more than 25 silent films. Most notably she played the Madonna in the original spectacle-pantomime play The Miracle written by Karl Vollmöller whom she married in 1904. The play was originally produced in Germany. On 23 December 1911 it opened in London at the Olympia Arena.[1] On 23 December 1923 it was revived in New York on Broadway, then went on a tour of Detroit, Milwaukee and Dallas. In the New York version she alternated nightly, not too amicably, with Lady Diana Manners, another international beauty of the period.[2] In all Norina gave over 1,000 performances of the play.[3] After the second tour she left the stage and for a short while opened (with well-known set designer Frederic Kiesler) an acting school, International Theater Arts in Brooklyn, N.Y.; American Laboratory Theatre, in New York City, concentrating on mime.
[edit] Princess and perfume
Norina divorced Vollmöller and in 1916 married Prince Georges V. Matchabelli, the Georgian prince and diplomat in Stockholm, Sweden, 16 May 1917. He had been ambassador to Italy, and was living in Rome. A few years after the Soviet Georgia 1921 Bolshevik takeover of Georgia, Norina, who was then known as Princess Norina Matchabelli, immigrated to the United States on 11 December 1923 to perform in The Miracle on stage in NYC. Her husband immigrated on 21 December 1923 in time to see her opening on the NY stage. He was also an amateur chemist, and co-founded the now-famous perfume company Prince Matchabelli. Norina designed the perfume bottle after the family crown and in 1926 Georges dedicated the scent “Ave Maria” to her. In 1933 she and Georges divorced. Georges died in 1935 and in 1936 Norina sold the company to Saul Ganz for $250,000.00.[4]
[edit] Meher Baba
In 1931 Matchabelli met Spiritual teacher Meher Baba and became a devotee. She introduced many notable figures of the day to Meher Baba including Gabriel Pascal, Mercedes de Acosta and Karl Vollmöller (her first husband). She also founded the periodical Meher Baba Journal in 1938.
In the early 1940s Matchabelli co-founded the Meher Spiritual Center with Elizabeth Chapin Patterson in Myrtle Beach, South Carolina, U.S.
In the 1940s Norina Matchabelli gave a series of well-attended public talks in Carnegie Hall, New York City and other places in which she said she was delivering “thought-transmission” messages directly from Meher Baba. When speaking, the personal “I” switched to “I, Meher Baba.” This startled some of Meher Baba’s followers and they questioned Baba on it in India, but he did not appear concerned. [1] Thus Norina gained the reputation of a mystic or clairvoyant, an eccentric, and relatively occult in her thinking in comparison with other followers of Meher Baba at that time.

Prince Georges V. Matchabelli or Giorgi Machabeli (Georgian: გიორგი მაჩაბელი) (July 23, 1885 – March 31, 1935) was a Georgian prince and diplomat, who fled Soviet Georgia and immigrated to the United States after the 1921 Bolshevik takeover of Georgia.
Matchabelli was a member of the noble family of Machabeli from Georgia, then part of Imperial Russia. He was one of the founding members of the Georgian Liberation Committee organized in Berlin in 1914. The Committee intended to garner the German support for Georgia’s struggle for independence from the Russian Empire.

Gabriel Pascal (4 June 1894 – 6 July 1954) was a Hungarian film producer and director.
A follower of the guru Shri Meher Baba, Pascal was the first film producer to successfully bring the plays of George Bernard Shaw to the screen. His most successful production was Pygmalion, for which Pascal received an Academy Award nomination as its producer. Later adaptations of Shaw plays included Major Barbara (1941) and Caesar and Cleopatra (1945).

n 1934, during a trip to Hollywood, Pascal was contacted by Princess Norina Matchabelli (wife of the perfume manufacturer) about a film project based on the teachings of her guru Shri Meher Baba. Pascal became very interested in this project, bringing writers Hy Kraft[4] and Karl Vollmöller into helping him work up treatments and even making a trip to India to discuss the project further with Meher Baba. By the time Pascal arrived in India, however, Meher Baba did not seem in any hurry to complete the film, saying it could wait and inviting Pascal to travel with him in India. Most ordinary men would have been discouraged, but Pascal took energetically to the austere life of an eastern ascetic, even shedding his western garb for eastern clothing.[5] He took a liking to Meher Baba and maintained a correspondence with him for the rest of his life. Meher Baba nicknamed Pascal his “Phoenix” and alternately his “Black Panther.”[6][7][8] Pascal was one of the few people Meher Baba named as a genius, a short list which included Friedrich Nietzsche and the Dutch filmmaker Louis van Gasteren.
Pascal remained in close correspondence with his guru Meher Baba right up to the end of his life and met with him for the last time in Scarsdale, New York in 1952.[9] Even in this final meeting there was talk of films that Pascal had planned to produce for Meher Baba. Thirty years before Richard Attenborough’s film Gandhi, Gabriel Pascal had a written agreement with the prime minister of India Jawaharlal Nehru to produce a movie of Gandhi’s life.[10]

Karl Gustav Vollmöller, usually written Vollmoeller (May 7, 1878 – October 18, 1948) was a German playwright and screenwriter.
He is most famous for two works, the screenplay for the celebrated 1930 German film Der Blaue Engel (The Blue Angel), which made a star of Marlene Dietrich, and the elaborate religious spectacle-pantomime Das Mirakel (The Miracle), which he wrote in collaboration with Max Reinhardt, the famous director, and in which he cast his own wife Maria Carmi in the leading role. “The Miracle” retold an old legend about a nun in the Middle Ages who runs away from her convent with a knight, and subsequently has several mystical adventures, eventually leading to her being accused of witchcraft. During her absence, the statue of the Virgin Mary in the convent’s chapel comes to life and takes the nun’s place in the convent until her safe return. The play opened in Germany in 1911 and subsequently in London and on Broadway in 1924. Filmed twice as a silent movie, it was filmed once again in a much-altered version (with dialogue) in widescreen and Technicolor in 1959.

http://www.newyorksocialdiary.com/node/136306

Master to Meher Baba
In May 1913, Merwan Sheriar Irani, then nineteen years old, was riding his bicycle on the way to class at Deccan College, when he looked up and saw an old woman sitting under a neem tree surrounded by a crowd. He had cycled past on previous occasions but had never paid much attention to her, though he was aware that she was regarded by some as a Muslim saint; yet others thought her “a mad woman or a witch or sorceress”.[20] His father, Sheriar Irani (Shahr-yar Moondegar Irani), held Babajan in high regard. Born into a Zoroastrian family, Sheriar Irani had been an itinerant dervish for a number of years[21] before finally settling in Pune and marrying. Babajan beckoned the boy, who in turn was drawn towards her. For several months thereafter Merwan Irani would visit the saint; they would sit together yet seldom spoke. One night during January 1914, he was about to leave, and before doing so kissed Babajan’s hands, and she in turn held his face in her hands. She then kissed him on the forehead,[22] during which he received her spiritual grace (barakah).[23] The event subsequently left Merwan Irani in an enraptured state in which he remained abstracted from his normal surroundings for nearly nine months.[24] The young man would later become known as Meher Baba.

The earliest recorded account of Hazrat Babajan, who was named at birth Gulrukh, “Face like a Rose”, states that she “is the daughter of one of the ministers of the Amir of Afghanistan”.[1] Later accounts report that Babajan “hails from Afghanistan … and was the daughter of a well-to-do Afghan of noble lineage”;[2] “born to a royal Muslim family of Baluchistan”.[3][4] The precise date of Babajan’s birth is unclear. Biography variants range from 1790[5] to c. 1820.[6] Her education was in keeping with her family’s social status of that time, and well-educated, she was fluent in Arabic, Persian and Urdu, in addition to her native Pashtu, becoming a hāfiżah, one who learns the Qur’an by heart. An introspective child, and spiritually inclined, from “early life she developed mystical tendencies, and unlike girls of her age, she used to pass a good deal of her time in prayers, meditation and solitude”.[7]

The Miracle (German: Das Mirakel) is a 1911 play written by Karl Vollmöller and directed by Max Reinhardt, from which three movie versions were later adapted. The play first appeared as a spectacle-pantomime in Germany in 1911.
The play opened in London in 1912 and was revived on Broadway in 1924 after a tour of Detroit, Milwaukee and Dallas. The New York version, which opened January 16, 1924 at the Century Theatre was produced by Morris Gest, and starred Rosamond Pinchot as the Nun and Lady Diana Cooper and Maria Carmi alternating nightly in the role of the Madonna.[1] Max Reinhardt also directed the first film version which used an early sound-on-disc process to provide a limited soundtrack for the film. [2][3] The English socialite Lady Diana Cooper toured England and the Continent for two years as the Virgin in a 1920s revival again directed by Max Reinhardt.
The Miracle re-told an old legend about a nun in the Middle Ages who runs away from her convent with a knight, and subsequently has several mystical adventures, eventually leading to her being accused of witchcraft. During her absence, the statue of the Virgin Mary in the convent’s chapel comes to life and takes the nun’s place in the convent, until her safe return. The play launched the career of Maria Carmi who went on to star in 25 silent films.
The play has its origins in a twelfth-century legend which Spanish writer José Zorrilla y Moral turned into a dramatic poem entitled Margarita La Tornera (Margarita the Gatekeeper). The poem differs from The Miracle in resetting the story in nineteenth-century Spain, as the 1959 film would do, and in not letting the reader know that the statue has taken the nun’s place in the convent until nearly the very end. Zorrilla’s poem was made into an opera by Spanish zarzuela composer Ruperto Chapí It was his last work before his death. The poem was also loosely adapted into a Spanish film, Milagro de amor, in 1946. [4]

chot was born in New York City, the daughter of Amos Pinchot, a wealthy lawyer and a key figure in the Progressive Party and the niece of Pennsylvania Governor Gifford Pinchot. Mary Pinchot Meyer was her half sister, and her cousin was Edie Sedgwick.[1]
At the age of nineteen, Pinchot was discovered by Max Reinhardt while traveling on an ocean liner with her mother. Reinhardt cast her as a nun who runs away from a convent in the Broadway production of Karl Vollmoller’s The Miracle.[2] Pinchot’s appearance in the play caused a sensation and led to her receiving considerable attention from the press.[3] He later cast her in productions of William Shakespeare’s A Midsummer Night’s Dream and Franz Werfel’s The Eternal Road. She made her only film appearance in the 1935 adaptation of The Three Musketeers, as Queen Anne.
[edit] Personal life and death
Pinchot married William “Big Bill” Gaston (who was previously married to Kay Francis), the grandson of William Gaston, on January 26, 1928.[4] The couple had two children.[5]
On January 24, 1938, Pinchot committed suicide by carbon monoxide poisoning in the garage of her family’s home in Old Brookville, New York.[5]

Edie Sedgwick was born in Santa Barbara, California, to Alice Delano de Forest (1908–1988) and Francis Minturn Sedgwick, (1904–1967, known as either “Duke” or “Fuzzy”), a philanthropist, rancher and sculptor.[5] She was named after her father’s aunt, Edith Minturn, famously painted with her husband, Isaac Newton Phelps-Stokes, by John Singer Sargent.
Sedgwick’s family was long established in Massachusetts history. Her seventh-great grandfather, English-born Robert Sedgwick,[6] was the first Major General of the Massachusetts Bay Colony settling in Charlestown, Massachusetts in 1635.[7] Edie’s family later originated from Stockbridge, Massachusetts where her great-great-great grandfather Judge Theodore Sedgwick had settled after the American Revolution. Theodore married Pamela Dwight of the New England Dwight family[8] who was the daughter of Abigail (Williams) Dwight, which means that Ephraim Williams, the founder of Williams College, was her fifth-great grandfather.[9] Theodore Sedgwick was the first to plead and win a case for the freedom of a black woman, Elizabeth Freeman, under the Massachusetts Bill of Rights that declared all men to be born free and equal.[10] Sedgwick’s mother was the daughter of Henry Wheeler de Forest (President and Chairman of the Board of the Southern Pacific Railroad and a direct descendant of Jessé de Forest whose Dutch West India Company helped to settle New Amsterdam).[11] Jessé de Forest was also Edie’s seventh-great grandfather.[12] Her paternal grandfather was the historian and acclaimed author Henry Dwight Sedgwick III; her great grandmother, Susanna Shaw, was the sister of Robert Gould Shaw, the American Civil War Colonel; and her great-great grandfather, Robert Bowne Minturn, was a part owner of the Flying Cloud clipper ship and is credited with creating and promoting Central Park in New York City.[13] And her great-great-great grandfather, William Ellery, was a signatory of the United States Declaration of Independence.[10]

In March 1965, Sedgwick met artist and avant-garde filmmaker Andy Warhol at Lester Persky’s apartment. She began going to The Factory regularly in March 1965 with her friend, Chuck Wein. During one of those visits, Warhol was filming Vinyl, his interpretation of the novel A Clockwork Orange. Despite Vinyl’s all-male cast, Warhol put Sedgwick in the movie. She also made a small cameo appearance in another Warhol film, Horse, when she entered towards the end of the film. Although Sedgwick’s appearances in both films were brief, they generated so much interest that Warhol decided to create a vehicle in which she could star.
The first of those films, Poor Little Rich Girl, was originally conceived as part of a series featuring Sedgwick, called The Poor Little Rich Girl Saga. The series was to include Poor Little Rich Girl, Restaurant, Face and Afternoon. Filming of Poor Little Rich Girl started in March 1965 in Sedgwick’s apartment. The first reel shows Sedgwick waking up, ordering coffee and orange juice, and putting on her makeup in silence with only an Everly Brothers record playing. Due to a problem with the camera lens, the footage on the first reel is completely out of focus. The second reel consists of Sedgwick smoking cigarettes, talking on the telephone, trying on clothes, and describing how she had spent her entire inheritance in six months.
On April 30, 1965, Warhol took Sedgwick, Chuck Wein and Gerard Malanga to the opening of his exhibition at the Sonnabend Gallery in Paris. On returning to New York City, Warhol asked his scriptwriter, Ronald Tavel, to write a script for Sedgwick, “something in a kitchen – something white, and clean, and plastic”, Warhol is to have said, according to Ric Burns’ Andy Warhol: A Documentary Film. The result was Kitchen, starring Sedgwick, Rene Ricard, Roger Trudeau, Donald Lyons and Elecktrah. After Kitchen, Chuck Wein replaced Ron Tavel as writer and assistant director for the filming of Beauty No. 2, in which Sedgwick appeared with Gino Piserchio. Beauty No. 2 premiered at the Film-Makers’ Cinematheque at the Astor Place Playhouse on July 17.

The Progressive convention and platform
Despite these obstacles, the August convention opened with great enthusiasm. Over 2,000 delegates attended, including many women. In 1912, neither the other Republican candidate, President W. H. Taft, or the Democrat Woodrow Wilson, endorsed women’s suffrage on the national level.[8] The famed suffragette and social worker Jane Addams gave a seconding speech for Roosevelt’s nomination. Roosevelt insisted on excluding black Republicans from the South, whom he regarded as a corrupt and ineffective element, but included black delegates from all other areas.[9] Roosevelt went so far as to further alienate southern white supporters on the eve of the election, by publicly dining with blacks at a Rhode Island hotel.[10]
Roosevelt was nominated by acclamation, with Johnson as his running mate.
The main work of the convention was the platform, which set forth the new party’s appeal to the voters. It included a broad range of social and political reforms advocated by progressives.[9][11]

16-page campaign booklet with party platform of the Progressive Party
In the social sphere the platform called for
A National Health Service to include all existing government medical agencies.
Social insurance, to provide for the elderly, the unemployed, and the disabled
Limited injunctions in strikes
A minimum wage law for women
An eight hour workday
A federal securities commission
Farm relief
Workers’ compensation for work-related injuries
An inheritance tax
A Constitutional amendment to allow a Federal income tax
The political reforms proposed included
Women’s suffrage
Direct election of Senators
Primary elections for state and federal nominations
The platform also urged states to adopt measures for “direct democracy”, including:
The recall election (citizens may remove an elected official before the end of his term)
The referendum (citizens may decide on a law by popular vote)
The initiative (citizens may propose a law by petition and enact it by popular vote)
Judicial recall (when a court declares a law unconstitutional, the citizens may override that ruling by popular vote)
However, the main theme of the platform was an attack on the domination of politics by business interests, which allegedly controlled both established parties. The platform asserted that
To destroy this invisible Government, to dissolve the unholy alliance between corrupt business and corrupt politics is the first task of the statesmanship of the day.[12]
To that end, the platform called for
Strict limits and disclosure requirements on political campaign contributions
Registration of lobbyists
Recording and publication of Congressional committee proceedings
Besides these measures, the platform called for reductions in the tariff, limitations on naval armaments by international agreement and improvements to inland waterways.
The biggest controversy at the convention was over the platform section dealing with trusts and monopolies such as Standard Oil. The convention approved a strong “trust-busting” plank, but Roosevelt had it replaced with language that spoke only of “strong National regulation” and “permanent active [Federal] supervision” of major corporations. This retreat shocked reformers like Pinchot, who blamed it on Perkins (a director of U.S. Steel). The result was a deep split in the new party that was never resolved.[9]
In general the platform expressed Roosevelt’s “New Nationalism”: a strong government to regulate industry, protect the middle and working classes, and carry on great national projects. This New Nationalism was paternalistic in direct contrast to Wilson’s individualistic philosophy of “New Freedom”.
Roosevelt also favored a vigorous foreign policy, including strong military power. Though the platform called for limiting naval armaments, it also recommended the construction of two new battleships per year, much to the distress of outright pacifists such as Jane Addams.

The Progressive Party of 1912 was an American political party. It was formed by former President Theodore Roosevelt, after a split in the Republican Party between himself and President William Howard Taft.
The party also became known as the Bull Moose Party when former President Roosevelt boasted “I’m fit as a bull moose,” after being shot in an assassination attempt prior to his 1912 campaign speech in Milwaukee, Wisconsin.
Inspiration for the party’s beginnings may have come from Roosevelt’s friend and supporter, U.S. Senator Thomas Kearns of Utah, who in October 1906 broke off from the Republican Party and started the American Party in that state. Kearns was a Roman Catholic, and this was a direct response to the influence of the leadership of The Church of Jesus Christ of Latter-day Saints on the Senatorial elections between 1902 to 1905.[1]

About Royal Rosamond Press

I am an artist, a writer, and a theologian.
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