When Marilyn told me her portfolia got burned up in a fire, I grieved, for she told me within were photographs of her friend, Maggie Thrett. She is posing in the dresses and outfits M made for this actress who was in ‘Mudd’s Women’ a Star Trek eposode.
M had gone to Paris when she was seventeen to study fashoin design. Like the Rosamond Women, she made her own clothes. M&M used to go to parties togethers, and the Reneisance Fair, with their mutual friend, Jane Marie Mandsfield, the daughter of the famous actress who was the other Blonde Hollywood Bobmshell. Mother and daughter both appeared in Playboy magazine that did a centerfold shoot at Moonfire last year.
When I reminded M she has one photo of just her and Jane in it, she asked me;
“Who do you think took the photo?”
When Maggie was invted to the Moonfire Ranch, she got M an invite. At this famous Bohemian house that overlooks the Paccific Ocean, M met McDonald who married Ertha Kitt. He took a liking to Marilyn who made it on the A list. Perhaps it was the modeling she did in this artist’s retreat that was in the movie Mondo Hollywood that starred Jane Mansfield. M said she posed against this mural an artist rendered in a out-of-this world home that Captain Kirk might dwell in on his days off.
Here again is that architectural theme that we find in the Big Sur, and the house designed by for Allan Fox. This is why I was shocked to learn Allan sold that home shortly after Christine drowned, it the kind of home you keep in the family for generations to come. Julie Lynch sold a movie script about Rosamond to the director who did ‘Scent of a Woman’. Will Hollywood be going out to Rocky Point?
At Mooonfire the rich and famous came to partake of the creative ambience and behold other beautiful people. George Harris and Andy Warhol have been guests. Manson and his women did a walk-on.
This Spot of Venus was the best America had to offer, at least on the West Coast. There was a need to say you were there. Here is The Supreme Stage where long white curtain like the hems of giant Greek Angels wave like flags in the ocean breeze. Here the Lost Angels are found keeping their secrets. Here, beautiful souls can have it all, all that was denied since the Pilgrims landed at Plymouth Rock and unleashed a broadside on the naked native, a bombardment of prudishness, a hatred of pagans and heathens. From these heights, there came a grand
Oly! Oly Ocean. Free!”
Marilyn lived in Latico Canyon up the coast. She and her boyfriend were going to raise Russian Wolf Hounds on a ranch they rented. M would walk on Santa Monica and Venice Beach with her two hounds wearing the scarves and dresses she made. The famous fashion photographer, Steven Silverstein did a shoot of M on Malibu Beach. The movie ‘Harper’ was shot at Moonfire. Consider Pynchon’s book ‘Inherent Vice’ that is being made into a movie. The Manson Murders lurk in the background. Marilyn walks out of a Icart on to the sands of Venice with her hounds, she hot on the trail of the Great Mystery of Life.
When Mary Ann Tharaldsen and I flew down to LA to get married, we slept in Marilyn’s bed. Mary Ann had a aversion to motels and hotels that I assumed was a hangover from her marriage to Thomas Pynchon. M let M wear one of her Train Dresses that was inspired by a pattern that Maggie found, she wanting M to make her a house robe. We got married in Topanga Canyon by a minister who went to Hollywood Boulevard in order to convert lost Hippie street urchins. Bryan MacLean sang ‘Amazing Grace’ at our wedding. He was converted to Christianity by the same minister that converted Bob Dylan.
The biography ‘Forever Changes’ says my friend, Bryan McLean lived at Vito Paulekas’ warehouse and practiced with the band that was once called ‘The Grass Roots’. There is a Laurel Canyon connection. Vito was a sculpture who surrounded himself with wild chicks and nude dancers, some who became the GTOs. Vito is in Mondo Hollywood, as is Lewis Mark, the owner of Moonfire.
In Forever Changes, Arthur Lee talk about the first time they saw Bryan and the Whiskey a Go-Go. He was surrounded by beautiful young women, his followers. It is alleged Arthur invited Bryan to join his band because these girls were Groupies of the Bryds, whom Bryan was a roadie for. But, Bryan was a Chick magnet in High School. He would take me on his rounds, usually on Friday night. He made dates with three girls. When we came thru the door, it was as if he was celebrity. The mothers swooned, and did all they could to get my Bryan to stay. While Bryan is at Vito’s warehouse, Andy Walhol is doing a similar scene in New York.
Cue the Beautiful Gypsy Bandit who with her gang of Bohemian Ragamuffins, the next generation Hippie-chic that tried to hijack this blog, that may contain a Murder Mystery.
About 1,800 feet above the Pacific Ocean, atop a steep mountain overlooking Topanga Canyon, sits a compound with a storied past and some of the biggest views in the city.
From the property’s 60 acres, nearly all of Los Angeles—a city known for its expanse and fragmentation—comes together in one frame. The Valley, downtown, the Westside, the South Bay, Catalina and the entire Santa Monica Bay are visible.
The driveway is a 2-mile-long small dirt road of hairpin turns and steep cliffs. The nearest neighbor is about 3 miles from its large, rusting wrought-iron gate. Solar panels and a backup generator provide power, and a cistern collects rainwater for showers and cooking.
Known as Moonfire Ranch, the compound was the brainchild of Lewis Beach Marvin III, the New York-born heir to the S&H Green Stamps fortune who loved animals and pursued an eccentric search for enlightenment.
Drawn by the property’s remoteness, Mr. Marvin III bought the property for about $15,000 in 1957. Over the next two decades, Mr. Marvin’s estate became part-salon, part-muse for his motley crew of artistic friends.
The Doors played private concerts here; George Harrison of the Beatles was a visitor. Andy Warhol, Tommy Chong and Paul Newman filmed movies on the property.
The home’s living spaces are spread out into three separate buildings, some better maintained than others. There is a temple that overlooks Santa Monica Bay. There’s a geodesic dome, connected to a trailer housing a kitchen next to one of the home’s two bedrooms. The home has one bathroom.
No living space of the home is as stunning as the Round House, a two-story living room built inside a water tank-like building whose interior includes porous rainforest-wood walls, a giant chandelier and 20-foot tall windows looking out on the Santa Monica Bay far below.
Note 3: I’ve also discovered that another member of Vito’s dance troupe, Lewis Beach Marvin III, was the heir to the S&H Green Stamp fortune, as well as the leader of the ‘Moonfire’ family commune which preached a militant, fire and brimstone mantra of “Love Animals, Don’t Eat Them” from makeshift tents along the Sunset Strip.
The Doors had hooked up with Marvin in 1966 when they agreed to perform a benefit concert at Will Rogers State Park in California to raise money for Marvin’s campaign to ban weapons-related toys during the height of the Vietnam War. Marvin continued to press his activism, helping to establish the Animal Freedom Fighters in Venice, California, and addressing the throngs at Woodstock with an anti-meat message, again carrying a lamb on stage, and telling the masses, “The killing of animals causes the killing of men.”
Louis Icart was born in Toulouse, France. He began drawing at an early age. He was particularly interested in fashion, and became famous for his sketches almost immediately. He worked for major design studios at a time when fashion was undergoing a radical change-from the fussiness of the late nineteenth century to the simple, clingy lines of the early twentieth century. He was first son of Jean and Elisabeth Icart and was officially named Louis Justin Laurent Icart. The use of his initials L.I. would be sufficient in this household. Therefore, from the moment of his birth he was dubbed ‘Helli’. The Icart family lived modestly in a small brick home on rue Traversière-de-la-balance, in the culturally rich Southern French city of Toulouse, which was the home of many prominent writers and artists, the most famous being Henri de Toulouse-Lautrec.
Icart fought in World War I. He relied on his art to stem his anguish, sketching on every available surface. It was not until his move to Paris in 1907 that Icart would concentrate on painting, drawing and the production of countless beautiful etchings, which have served (more than the other mediums) to indelibly preserve his name in twentieth century art history. When he returned from the front he made prints from those drawings. The prints, most of which were aquatints and drypoints, showed great skill. Because they were much in demand, Icart frequently made two editions (one European, the other American) to satisfy his public. These prints are considered rare today, and when they are in mint condition they fetch high prices at auction.
Art Deco, a term coined at the 1925 Paris Exposition des Arts Decoratifs, had taken its grip on the Paris of the 1920s. By the late 1920s Icart, working for both publications and major fashion and design studios, had become very successful, both artistically and financially. His etchings reached their height of brilliance in this era of Art Deco, and Icart had become the symbol of the epoch. Yet, although Icart has created for us a picture of Paris and New York life in the 1920s and 1930s, he worked in his own style, derived principally from the study of eighteenth-century French masters such as Jean Antoine Watteau, François Boucher and Jean Honoré Fragonard.
In Icart’s drawings, one sees the Impressionists Degas and Monet and, in his rare watercolors, the Symbolists Odilon Redon and Gustave Moreau. In fact, Icart lived outside the fashionable artistic movements of the time and was not
completely sympathetic to contemporary art. Nonetheless, his Parisian scenes are a documentation of the life he saw around him and they are nearly as popular today as when they were first produced.
In 1914 Icart had met a magical, effervescent eighteen-year-old blonde named Fanny Volmers, at the time an employee of the fashion house Paquin. She would eventually become his wife and a source of artistic inspiration for the rest of his life.
Icart’s portrayal of women is usually sensuous, often erotic, yet always imbued an element of humor, which is as important as the implied or direct sexuality. The beautiful courtesans cavort on rich, thick pillows; their facial expressions projecting passion, dismay or surprise, for the women of Louis Icart are the women of France as we have imagined them to be Eve, Leda, Venus, Scheherazade and Joan of Arc, all wrapped up into an irresistible package.
The film presents a series of vignettes of the more extreme aspects of life in Hollywood – and Los Angeles as a whole – of the period, focussing on “the Hollywood the public does not know”. Personalities who appear in the movie include proto-hippie Gypsy Boots, stripper Jennie Lee, S&H Green Stamps heir Lewis Beach Marvin III, celebrity hair stylist Jay Sebring (later murdered by the Manson gang), psychedelic pioneer Richard Alpert (later known as Ram Dass), singer Bobby Jameson (with his then-girlfriend Gail Sloatman), housekeeper Estella Scott, actors Margaretta Ramsey, Theodore Charach and Valerie Porter, fashion designer Rudi Gernreich, artist Vito Paulekas, surfer Dale Davis, skydiver Jim Arender, and beautician Sheryl Carson. Each personality provides a narrative for their own scenes. The film also shows various social and political gatherings, including an anti-communist crusade, Grauman’s Chinese Theatre, a visit to Universal Studios by Princess Margaret, the aftermath of the Watts riots, a UCLA peace rally, and a children’s fashion show. Other individuals shown briefly in the movie included Frank Zappa, Sonny and Cher, Bobby Beausoleil, Alfred Hitchcock, Brigitte Bardot, Jayne Mansfield, Ronald Reagan and several transsexuals.
The film was promoted as “starring Jayne Mansfield”, who had recently died, even though she only appears in it very fleetingly. It was first shown at the Mannheim Film Festival in 1967, and was then scheduled to be shown at the Avignon Festival. However, the French government banned it from being shown, stating:
“This film, in the opinion of certain experts of the Commission [of Control], presents an apology for a certain number of perversities, including drugs and homosexuality, and constitutes a danger to the mental health of the public by its visual aggressivity and the psychology of its editing. The Commission proposes, therefore, its total interdiction.”
The ban was later lifted. In 1978, when Mike Curb was running for election as lieutenant governor of California, his opponent, the incumbent Mervyn M. Dymally, claimed that the film was “pornographic” and that Curb “sang falsetto in a bath tub scene with two lesbians” (which Mike Curb denied).  After the film was completed, Curb provided music for the film and he agreed that he sang on some of the music, but that he did not participate in the making of the film, or any scenes in the film. Curb won the election. Mike Qualls editor of the Los Angeles Herald Examiner stated that “Nothing in the entire 88 minute film could be described as pornographic”. 
The film was later described as a “cult classic… [which] captures the underside of Hollywood by documenting a moment in time… when an inquisitive trust in the unknown was paramount, hope for the future was tangible and life was worth living on the fringe.” A re-edited and expanded “director’s cut” version was premiered at the Moondance Film Festival on 10 June 2006.
Maggie Thrett, born Diane Pine, was a singer and stage, movie and television actress in the 1960s. Aged fifteen, she made her Off-Broadway debut in 1962 in Out Brief Candle. By the age of eighteen she was regularly performing as a dancer at Trude Heller’s in Greenwich Village, New York, as noted in the January 1965 edition of Harper’s Bazaar.
As a vocalist, Maggie Thrett recorded a single (under her birth name) entitled “Lucky Girl” for Take 3 Records in 1964, and had a minor US hit (as Maggie Thrett) in 1965 with “Soupy”, produced by Bob Crewe and issued on the DynoVoice (formerly Dyno-Vox) label. Billboard journalist Aaron Sternfield, reviewing a live Maggie Thrett performance at Basin Street East, New York, on July 15, 1965, wrote that she “has a magnificent range, her phrasing and timing are near perfect, and she blends the right combination of sex and satire.”
In 1966 Maggie Thrett went to Hollywood to further her acting career. As an actress, she is probably best remembered for her roles in a 1966 Star Trek episode (“Mudd’s Women”) and the 1968 comedy movie Three in the Attic. She also appeared as a prostitute in the 1970 movie Cover Me Babe. Having signed to Universal Studios, she is reported to have used her life savings to buy out her contract prior to appearing in Three in the Attic  for American International Pictures.
In May 1970, Maggie Thrett was involved in a road accident while a passenger on singer/songwriter Gram Parsons’ motorcycle. Although she was apparently unharmed (Gram Parsons, meanwhile, suffered significant injuries), it was soon after this that she disappeared from the entertainment business having tired of continual auditioning and producers’ unwanted advances. Within two years of leaving Hollywood, Maggie Thrett had met and married her husband, Alex, with whom she has had three children.
Olly olly oxen free (and variants: ollie ollie umphrey, olly-olly-ee, ally ally in free, Ollie Ollie in come free, ally alley ocean free, etc.) is a catchphrase used in such children’s games as hide and seek to indicate that players who are hiding can come out into the open without losing the game, that the position of the sides in a game has changed (as in which side is in the field or which side is at bat or “up” in baseball or kickball), or, alternatively, that the game is entirely over. It is thought[by whom?] to derive from the phrase “All ye, all ye ‘outs’ in free,”,”All the outs in free” or possibly “Calling all the ‘outs’ in free;” in other words: all who are “out” may come in without penalty. Various calls used for such purposes have gone by the collective name of “ollyoxalls” in some places.
The phrase can also be used to coordinate hidden players in the game kick the can, in which a group of people hide within a given radius and a “seeker” is left to guard a can filled with rocks. The seeker has to try to find the “hiders” without allowing them to sneak in and kick the can. In many areas the phrase used is “All-y all-y in come free”, to tell the remaining hidden players it is time to regroup in order to restart the game. The phrase is announced by a hider who successfully
The film pays homage to the Humphrey Bogart private-eye films by bringing Bogart’s wife Lauren Bacall into the story. She plays a wounded and woeful wife, the person most concerned with a missing husband, a role similar to the character of General Sternwood in the Bogart-and-Bacall 1946 movie The Big Sleep.
Harper goes looking for Betty and the money in Castle Beach, where she and Taggert had their love nest, and locates the cottage by finding her white convertible parked outside. He hears Betty being tortured inside by Troy, Claude and Fay. She tells them the money is hidden in a deep freeze storage locker. Harper bursts in, shoots Troy, slugs Claude, locks Fay in a closet and, after he retrieves the key to the locker, helps Betty to escape. After he says that he knows she double-crossed and killed her brother, she reveals that Sampson is being held in an abandoned oil tanker. Harper calls Graves to tell him to meet them there. Harper is hit over the head from behind while searching the ship, knocking him unconscious. Some time later Graves revives Harper. They find Sampson dead, presumably murdered by whoever hit Harper over the head. They also discover that Harper’s car is gone, driven off by Betty. When she sees them looking for the car, she flees at high speed along a narrow winding hillside road and is killed when the car swerves off the road.
https://rosamondpress.com/2012/05/11/tom-snyder-and-the-rowdy-girls/sneaks in and kicks the can.