This is the cover on the rival book a hired ghost writer authored. I just got off the phone with Nisha Calkins-Godfrey’s mother, Marilyn. I told her I am going to seek a professional arbitrator because I still want Belle Burch to help me with my novel ‘Capturing Beauty’ because she is at the epicenter of this Labyrinth Tale. Any suggestions?
Things went south when Belle sent me her poem, and this e-mail asking me for more details about my life. I was puzzled, because I gave her the url to this blog, that are full of details. Also, at our meeting I explained how Bohemians put their tables out in the street and had dinner in defiance of the curfews occupiers put on them. Here was a perfect time to tell me SLEEPS had done the same thing in Ken Kesey Square. Because of the ten year legal battle over the legacy of Rosamond, I understood my detailed e-mails to Belle would constitute a intimate relationship, and she could use my e-mails as a means to take over my copyrighted material, and write her own biography. This is when I thought it best to put all this covert activity – in the light – and publish my relationship with Belle. Alley Valkyrie threatened to label me a sexual predator if I did not remove all mention of Belle.
Yes, those are my hands in the RG. That was the first time I had ever appeared in the news as an activist.
Yes, I got a misdemeanor along with 11 other people for trying to talk to a silent and (cowardly) hiding John RUIZ.
I LOVE Crouching Tiger. It’s one of my favorites. The scene where the two young warrior lovers are in the bath together in the desert is my favorite part I think.
Is Bohemian a language as well as a place? Or are you referring to Romani? Was Romani the language that was spoken in Bohemia?
I’d like to hear more of your personal life story. “When I got sober”, “When I was homeless”, “When I was fighting cancer”……. these are words you drop and then let flit by without much detail or explanation or storytelling. I want those details and stories. Please.
Tell me what you thought of my poem. Did it make you feel anything? Did it make you think? If so, what?”
I suffered from homelessness in 1997. In 2014, I paid to bury my homeless friend, and conducted a memorial service for him. I showed this to Belle, and she said nothing about being an advocate for the homeless, along with her boyfriend and his anarchists friends. I found this to be an egregious invasion of my privacy, and an assault on the memory of my late friend, who knew the names of most of the homeless folk. We could not find Hollis’ family, so I adopted him. He was a veteran. I showed Belle these two images. Silence!
Hollis was born in Kentucky. He was a Southern Gentleman. Half the folks who came to say goodbye, were homeless. We played An American Trilogy at the end. Noble man.
Christine drowned on her first sober birthday. Tom Snyder tried to trick me into signing a contract that would forbid me to finish my story. I forbid Mr. Snyder to use OUR sobriety in his lying biography because Rosamond and I were brother and sister in AA. He said he would not use our sobriety. He lied! That a hired ghost writer uses our recovery to make money for him and the outsider who hired him – is an outrage!
Tonight Marilyn recalled me telling her much of my information is being downloaded by a muse, my angel, a powerful and extremely intelligent woman. The Seers said I go each night to the Cathedral of the Souls. They also said my novels were being dictated to me.
When I read about Belle’s mother, I wonder if her play had come out of the confines of the theatre, and was being acted out on the Stage of Life. ‘The Field of Dreams’ comes to mind. Belle’s parents built the Labyrinth, and sounded the BELLS! The word Gamelan, describes the hammer to strike the BELLE.
Eugene lost one of its most creative artists last week. Cancer stole Catherine Vandertuin from us when she was far too young. In her too-short time here, Vandertuin, the founder and artistic director of Eugene Chamber Theatre, applied enormous energy, creativity and collaboration to the innovative theater/music productions of Dust and Dreams, Antigone, The Descent of Innana and Ice Cure, the last adapted from an original manuscript. She also collaborated in various puppet and mask theater productions. Her vision was to create multi-disciplinary works that explored themes of balance and wholeness. Catherine brought Javanese gamelan music to Eugene in 1992 with the founding of Gamelan Nuju Laras, well known for accompanying labyrinth walks created by her partner, Jeff Burch. Although her theater work and family obligations eventually forced her to give up the gamelan, Catherine’s contribution continues in Nuju Laras’s successor, Gamelan Sari Pandhawa, and the 90-piece Javanese gamelan Gamelan Kyai Tunjung Mulya, whose construction she commissioned and supervised. Gamelan Kyai Tunjung Mulya was ultimately donated to the UO where it is used to teach UO students and other community members. Through her teaching at LCC, collaborations with other community artists, and irrepressibly creative spirit, Catherine made Eugene a much more artistically vital place, and her legacy will live on in the audiences she touched and the artists she taught and inspired.
My other absolute all-time favorite role was that of INANNA. Inanna was a Sumerian Goddess, the Queen of Heaven and Earth. Kinda the other end of the spectrum from SYLVIA!
INANNA was a project that called to many of us on a deep soul level. For nine months, Catherine Vandertuin, former artistic (director) of Eugene Chamber Theatre, Madronna Holden, (poet), Jeffrey Allen- fka Jeff Defty, (composer and musician), met with a handful of us (actors) to reinvent this age-old myth. It is the oldest recorded myth, discovered on stone tablets in Sumeria. In brief, the main storyline is this: in a world dangerously out of balance, Inanna, separated from her sister Ereshkigalwho has been cast into the role of Queen of Darkness, follows a deep, inner calling, courageously descending into the underworld in search of healing and unification for herself, and for her culture. (Many thousands of years later, this classic story remains remarkably relevant.)
The re-creating and retelling of this age-old myth was a process so profound that a professional video company asked to film “The Making of Inanna.” It was shown repeatedly on Oregon Public Broadcasting.
This was more than a play. It was….a theatrical offering that had elements of theater, opera, classical mask-work, stylized movement, original live and recorded music and poetic text. This was one of those once-in-a-lifetime sorts of experiences, and each of us who was blessed to be involved in this project was forever changed by it. We performed it in several venues over the next 18 months due to audience demand. During the final production run, I was diagnosed with uterine cancer. Playing the role of Inanna, descending into the underworld and ascending into the Light of wholeness every night, and “channeling” an immense amount of audience and Higher Energy in the process, was an indescribable part of my own healing journey. There is much more to be said of all this, but for now, let’s turn to what two reviewers had to say, first Janice, then, once again, Fred Crafts…
” …The story of Inanna and her sister is a story distilled through five millennia of retelling into intense images which link the common human experience of countless cultures. This exceptional production condenses timeless human tales of jealously, rejection and acclaim, exclusion and inclusion, power, romance, and sensuality. Inanna, played by Nancy Hopps, is radiant, sensual, and powerful. She moves gracefully through the world of light in flowing gossamer garments, representing status, marriage, family, achievement, possessions, civilization – all that humans value and take pride in….”
Since 1991, when Dr. Robert Kyr, professor of composition and music theory, created the Pacific Rim Gamelan, the UO has become known for its gamelan studies and performances, made possible through a gift of a beautiful set of Gamelan Suranadi Sari Indra Putra instruments donated to the school in 1986 by John and Claudia Lynn of Eugene. Closely translated as “Gamelan Holy Springs: Ascent of the Song of the God of Rai,” the instruments, in the Balinese tradition, have become an integral part of the composition program.
The myth of Inanna – or Ishtar as she was called in northern Sumeria – is the oldest known written myth, having been written piece-by-piece on clay tablets about 4,000 years ago. Burchard’s musical score is influenced by Middle-Eastern music and Sumerian modes, as recent research shows the Sumerians first wrote the seven-note modes, or scales, usually attributed to the Greeks. The orchestration includes music for piano, English horn and percussion, as well as Baroque instruments, including flute, viola da gamba, violin, and cello.
The Descent is drawn from the central episode in the Inanna myth, in which Inanna, Queen of Heaven and Earth, descends to the underworld to meet her dark sister Ereshkigal, Queen of the Underworld. During the descent, Inanna is stripped of the regalia of her office as she passes through the seven gates of the underworld on the way to her face-to-face encounter with Ereshkigal. Ereshkigal fastens on Inanna ‘the eye of death’ and for three days hangs Inanna like a carcass on a hook. Enki, the god of wisdom, sends two creatures to plead with Ereshkigal for Inanna’s release. Inanna is restored to life and ascends to assume her place once more as Queen of Heaven and Earth.
“The myth of Inanna opens a wide perspective on the origins of many key themes of the Judaic, Christian, and Islamic cultures that followed millennia later,” says Burchard.