Mary White Ovington was inspired by William Morris and the Pre-Raphaelites and became a Socialist. This led to he being a co-founder of the NAACP. Jane Morris was the Muse to several Pre-Raphaelites.
Elsie Whiteaker Martinez was a Muse to many of the Bohemian Artist and Writers of Oakland. Her daughter, Micaela, was a Socialist who studied art under Ralph Stackpole who befriended the Marxist Artist Diego Rivera, and his famous wife, Kahlo.
Michael Harkins was a very close friend of the Stackpole family. He told me a story how Ralph fed the rats in their hill home. Marilyn knew all about the legal problems my family was cursed wth when my famous sister, Christine Rosamond, died. Ms. Reed knew there was a battle coming over my copyright, involving Kathy Vrzak. Ralph was born in Williams Oregon. His father, Fremont Stackpole, may have been named after John Fremont.
When Michael saw the coroners report we ordered, he said “Your sister was murdered!” Later on he said; “I am dropping my investigation. This is not worth getting killed for.: Michael is dead. He was a Private Investigator who worked for Bill Linhart who was hired by Carl Chessman. I then sent our report to a freelance reporter for the Carmel Pine Cone, and he showed it to Jacci Belford who showed it to my family. I get a call from Shamus Dundon who says he is upset, and I accused him of murder. I added what Michael said to our report. “You have proven they lied at least once. You now have assume everything you have heard is a lie until you prove it the truth.
Anything could have happened at Rocky Point, including murder.” Lindhart had taught him the rudiments of PI work. One year later, Jon Detro is dead. Yesterday, while looking at the waves break on the rocks at Depoe Bay, I understood he asked my surviving, Vicki Presco, a very important question that solicited this answer; “I was helping her (Christine) overcome her fear of the water.” Why would anyone want to do that? I read in the Register Guard a young man did not have any fear of the ocean, and he got swept off rocks, taken out to sea, where he fought for his life for almost three minutes, then drowned. He was from Georgia. Christine lived in Carmel for twenty years. She saw the reports of many people who did not own a healthy fear of the Ocean.
I did not spend Christmas with any member of my natal family. This is a tradition that I thought would end when my daughter came into my life. My surrogate family, are all dead, including Michael Harkins, who helped me investigate Christine’s death. He also began to help me find my daughter two weeks before she found me. When Michael saw the painting of Rena I did at Peter Shapiro’s house, he suggested we try to find her. We talked about making a film about this search.
Eight years ago Michael’s good friend, Peter Stackpole Jr. drowned. Michael was very good friends of all the creative Stackpoles. He told me a story about Ralph feeding the mice in his studio. He took me to see the Stackpole home in ruins after the Oakland Fire. We saw piles of glass negatives, destroyed. Peter photographed my kindred, Elizabeth Rosemond Taylor for LIFE magazine, and Errol Flynn. who my mother and aunt dated. Ralph was good friends Diego Rivera and his artistic wife. These creative Bohemian souls were the compatriots of David Weston and his Muses. Ralph did a painting of Tina Modotti wearing pearls.
Marilyn Reed was my Muse until she began to covertly conspire to get around my copyright. She was going to be the centerpiece of my autobiography ‘Capturing Beauty’. She took herself out of the picture. Mary White Ovington has taken her place. I declare Mary a Bohemian Pre-Raphaelite.
Michael Harkins sent me this article while investigating the death of my sister. I sent a letter to Adrew Cuomo of HUD about attorney Lawrence Chazen’s attempt to take over my families creatives legacy. Marilyn Reed knew how traumatizing this was for my family, yet she allows Ms. Vrzak to bully me with a fake legal threat. There are two movie scripts out there. I will be doing a treatment for a reality show, and a movie. Christine and Stefan Eins have already read my idea for a play. I would like the Aikens family to be in my shows. I believe Mattie has been looking down on her family.
“I am a member in good standing of the State Bar of California and an attorney
on record for 50% interest in Shannon Rosamond. In my 16 years as a member of
the State Bar California, I have never experienced a more deliberate fraud on
any court or more reckless and calculated attempt to fraudulently take control
of a probate estate at the exclusion of the lawful heirs and total manipulation
of a tester’s intent that the present efforts of Attorney’s Robin Beare,
Lawrence J. Chazen and Garth Benton, the descendants former spouse.”
“Over the specific argument of Ms. Beare, Judge Silver refused to appoint Mr.
Chazen. Neither Ms. Beare nor Mr. Chazen disclosed to the court the very
critical fact that Mr. Chazen has the largest single creditor’s claim against
the estate and is a former business partner and business associate of Garth
Benton who the court had removed as Special Administer just moments before.”
Elsie Whitaker Martinez (1 March 1890 – 31 January 1984) was renowned for her beauty in youth and old age, a muse of many famed writers and artists and an associate of most people in Northern California’s Bohemian community.
Whitaker met painter Xavier Martinez at Coppa’s Restaurant in San Francisco. Finding her a perfect subject, he sketched her and began his Elsie series. After the earthquake of 1906, Martinez moved to Piedmont. Months later, he proposed to an 18-year-old Whitaker, who had already promised to marry at least four other men, who were friends of her father. Choosing Martinez, she said, “I decided to pick the one who would give me the most interesting life.” Martinez, at 37, was only two years younger than Elsie’s father Herman Whitaker. The couple married in October 1907.
Xavier Martínez and Elise Whitaker Martinez had a daughter on August 13, 1913, Micaela Martinez (1913-1989) became a fine artist. Micaela studied with Victor Arnautoff and sculpture with Ralph Stackpole; she later studied stone cutting with Ruth Cravath. In 1944 she married artist Ralph DuCasse and changed her name to Micaela Martinez DuCasse.
In 1962 and 1963, Elsie was interviewed extensively for the Regional Oral History Office as a part of a series on San Francisco Bay Area artistic and cultural history. The interview was undertaken at the request of James D. Hart, Professor of English, who served as faculty advisor.
She moved to San Francisco in 1981, after living for many years in Carmel. She died on January 31, 1984 at St. Anne’s Home in San Francisco following a brief illness. She was 93. She is buried at San Carlos Cemetery in Monterey, California.
When you look back at the roots of this sound it’s clear manifestation started with the Trips festivals that were spear headed by local pols, promoters and musicians. There was a fascination with fusing pure psychedelics with masses of humanity in dance halls saturated with wood brass and steel.
My guest today was the leader of the Loading Zone. One of these bay area incarnations whose sound crossed over several musical idioms.
My guest had jazz leanings but knew as a pianist that he needed to expand sound with the blues and rock drenched make-up of the region. He also wanted to grab some of the east bay grease that combined soul and funk/punk lyrics and rhythms.
This desire led to a serendipitous connection with Linda Tillery whose gut bucket style and swagger helped catapult the Band to commercial relevance.
The Loading Zone was one of the original test cases of the Bay Area Psychedelic Movement. They were often times on the same bills as many of the more recognizable acts such as Big Brother, Country Joe, GD, Sly and the Family Stone and the Airplane. They played winterland and the Fillmore West the Family Dogg and the Louisiana House.
Micaela Martinez DuCasse
Born in San Francisco, CA on Aug. 26, 1913, the daughter of painter Xavier Martinez. Micaela began drawing at age three under her father’s supervision. At nine she traveled to Paris where she studied art for one year and at nineteen graduated from the CCAC. In 1938 she did post-graduate study at the CSFA where she studied fresco painting with Victor Arnautoff and sculpture with Ralph Stackpole; she later studied stone cutting with Ruth Cravath. In 1944 she married artist Ralph DuCasse; the marriage ended in divorce. From 1955 to 1978 she taught at San Francisco College for Women. The artist maintained a studio in her home in Piedmont where she lived from the time she was a small child until her death on May 5, 1989. In: Set of Stati
Ralph Ward Stackpole (May 1, 1885 – December 13, 1973) was an American sculptor, painter, muralist, etcher and art educator, San Francisco‘s leading artist during the 1920s and 1930s. Stackpole was involved in the art and causes ofsocial realism, especially during the Great Depression, when he was part of the Public Works of Art Project, Federal Art Project of the Works Progress Administration, and the Treasury Department’s Section of Painting and Sculpture. Stackpole was responsible for recommending that architect Timothy L. Pflueger bring Mexican muralist Diego Rivera to San Francisco to work on the San Francisco Stock Exchange and its attached office tower in 1930–31. His son Peter Stackpole became a well-known photojournalist.
Diego María de la Concepción Juan Nepomuceno Estanislao de la Rivera y Barrientos Acosta y Rodríguez, known as Diego Rivera (Spanish pronunciation: [ˈdjeɣo riˈβeɾa]; December 8, 1886 – November 24, 1957) was a prominent Mexican painter. His large frescoes helped establish the Mexican Mural Movement in Mexican art. Between 1922 and 1953, Rivera painted murals among others in Mexico City, Chapingo, Cuernavaca, San Francisco, Detroit, and New York City. In 1931, a retrospective exhibition of his works was held at the Museum of Modern Art in New York City. Rivera had a volatile marriage with fellow Mexican artist Frida Kahlo.
In the autumn of 1922, Rivera participated in the founding of the Revolutionary Union of Technical Workers, Painters and Sculptors, and later that year he joined the Mexican Communist Party (including its Central Committee). His murals, subsequently painted infresco only, dealt with Mexican society and reflected the country’s 1910 Revolution. Rivera developed his own native style based on large, simplified figures and bold colors with an Aztec influence clearly present in murals at the Secretariat of Public Education inMexico City begun in September 1922, intended to consist of one hundred and twenty-four frescoes, and finished in 1928.
Kahlo and Rivera worked and lived at the studio of Ralph Stackpole, who had suggested Rivera to Pflueger. Rivera met Helen Wills Moody, a famous tennis player, who modeled for his City Club mural. In November 1931, Rivera had a retrospective exhibition at the Museum of Modern Art in New York City; Kahlo was present. Between 1932 and 1933, he completed a famous series of twenty-seven fresco panels entitled Detroit Industry on the walls of an inner court at the Detroit Institute of Arts. During the McCarthyism of the 1950s, a large sign was placed in the courtyard defending the artistic merit of the murals while attacking his politics as “detestable.”
|“The Blessed Damozel” is perhaps the best known poem by Dante Gabriel Rossetti, which was first published in 1850 in the Pre-Raphaelite journal The Germ. Rossetti subsequently revised the poem twice and republished it in 1856, 1870 and 1873. Rossetti also used the same title for some of his best known paintings.|
The poem was partially inspired by Poe’s “The Raven“, with its depiction of a lover grieving on Earth over the death of his loved one. Rossetti chose to represent the situation in reverse. The poem describes the damozelobserving her lover from heaven, and her unfulfilled yearning for their reunion in heaven.
The poem also was the inspiration of Claude Debussy‘s “La damoiselle élue” (1888), a cantata for two soloists, female choir, and orchestra.
The first four stanzas of the poem are inscribed on the frame of the painting.
Mary “May” Morris (25 March 1862 – 17 October 1938) was an English artisan, embroidery designer, jeweller, socialist, and editor. She was the younger daughter of the Pre-Raphaelite artist and designer William Morris and his wife andartists’ model Jane Morris.
In 1886, May fell in love with Henry Halliday Sparling (1860–1924), Secretary of the Socialist League. Despite her mother’s concerns about her future son-in-law, they married 14 June 1890 at Fulham Register Office. The marriage broke down in 1894 as a result of her affair with a former lover, playwright George Bernard Shaw. The Sparlings were divorced in 1898, and May resumed her maiden name.
She edited her father’s Collected Works in 24 volumes for Longmans, Green and Company, published from 1910 to 1915, and, after his death, commissioned two houses to be built in the style that he loved in the village of Kelmscott in the Cotswolds.
Jane Morris (née Jane Burden; 19 October 1839 – 26 January 1914) was an English artists’ model who embodied the Pre-Raphaelite ideal of beauty. She was a model and muse to William Morris (1834 – 1896), the English textile designer, poet,novelist, translator, and socialist activist, whom she later married, and to Dante Gabriel Rossetti.
In 1857, Rossetti and a small group of artists that included William Morris and Edward Burne-Jones were working in Oxford, painting the Union Murals. One night, they attended a show at the Theatre Royal Drury Lane. Seated in the gallery below were Jane Burden and her sister. Rossetti, struck byJane’s appearance, asked her right away to pose for the murals. She did not show up, probably being wary of Rossetti’s proposal. After later seeing Burne-Jones by chance, she agreed to model and a Pre-Raphaelite star was born.
Jane posed mainly for Gabriel at first as his main model and muse, Lizzie Siddal, was away at the time. Gabriel was soon called away to join Lizzie, who had possibly heard through the grapevine about Rossetti’s new model. Jane then began to sit for William Morris. Morris was a great admirer of Rossetti’s – he looked upon him as a mentor and it seems hero worship may have been a dynamic of their friendship.
The home of William and Jane Morris, The Red House, is famous for its architecture and for the collaborative efforts used to decorate it –decorations which led to the Arts and Crafts movement. Both William and Jane, as well as Rossetti, Burne-Jones, Elizabeth Siddal and others worked together painting murals, creating furniture, tapestries, and other artistic masterpieces.
Linda Tillery – vocals; Paul Fauerso – keyboards, vocals; Pete Shapiro – guitar; Steve Dowler – guitar; Bob Kridle – bass; George Newcom – drums; Todd Anderson – saxophone; Pat O’Hara – trombone
The Loading Zone was one of the first Bay Area bands to incorporate a horn section into the emerging psychedelic sound emanating out of San Francisco. Formed in Oakland in 1967 by keyboard player and vocalist, Paul Fauerso, the Loading Zone opened many a show at the Fillmore, supporting acts like Cream, Big Brother & The Holding Company, the Grateful Dead, and many others. From the Berkeley psychedelic-rock band, the Marbles, Fauerso recruited both guitarists, Pete Shapiro and Steve Dowler. The rhythm section of Bob Kridle and George Newcom held down the bottom end, forming the core group. Though rooted in R&B, the group also veered off into psychedelia, rock, jazz, and electric blues initially. Adding horns to the mix, they paved the way for bands like Tower Of Power. In early 1968, Fauerso placed an ad in the San Francisco Chronicle seeking a new lead vocalist, resulting in Linda Tillery joining the band just prior to them signing with RCA Records. Tillery was the key ingredient; a charismatic singer who became the focal point on stage and her powerful voice provided much of the band’s identity.
However, the group’s self-titled album failed to capture the onstage excitement, receiving poor reviews and the group was soon dropped from the label. They did soldier on to record another album, but after internal problems and the failure to gain support of radio, the band broke up in 1969. Fauerso and Tillery revived the group with new members in 1970 before breaking it up for good less than a year later. Shortly afterwards, Tillery began pursuing her own path, releasing her solo debut album, Sweet Linda Divine, on CBS in 1970 to enthusiastic reviews and high praise, becoming a prominent musical figure on her own throughout the next several decades.
This performance, recorded on the final night of a three-night stand at the Fillmore Auditorium supporting Arlo Guthrie and John Mayall, captures what the Loading Zone was all about. In early 1968, when Tillery had just joined and the group, they had serious potential and were unquestionably powerful onstage. Although this recording features none of the material soon to be recorded for their debut album, it does contain thoroughly engaging performances of two remarkable covers that were often highlights of their early live performances. The meat of this recording is a highly extended take on “Cold Sweat,” an infectious cover of the Pee Wee Ellis song released by James Brown the previous year. One of the precursors of funk, this classic song gets a thorough workout here, with Tillery belting out the vocals and the band providing a relentlessly propulsive backing. The Fillmore Auditorium was geared toward dancing and this performance proves beyond a shadow of a doubt that the Loading Zone knew how to get those audiences moving. The set concludes with a soulful rendition of “Try A Little Tenderness,” a song dating back to the 1930s. Recorded by countless artists over the years, including Frank Sinatra, Percy Sledge, Nina Simone, and Three Dog Night, to name but a few, here Tillery makes it her own. Starting off slow and with plenty of soul, this continues to build into an explosive frenzy that delights the Fillmore audience and brings their set to a memorable close.