Eternal Muses and Culture Wars

There are people who I was close to who are threatening my Copyright – as usual! They want to come in with their butcher knife and carve off a big hunk of money for themselves. Like my daughter, they think they have struck THE JACKPOT! I have worked very hard, in almost total isolation. I have been titled “INSANE” in the hope money pour in the greedy fists of morons who have not read one book. Andy Warhol got tons of support and mounds of money, and he threatened to quit. With the election of Trump, my WILD PROPHECIES – are spot on! Reality as Warhol knew it, is………FINIS! The value of life is disappearing. Western Culture is being undermined by Brexit and the End Time Lovers of Donald who waged war on the NEA and NPR. Tim and Beverly LaHaye are powerful Whack-jobs who have made a billion dollars scaring Americans half to death. And they love it! It gives them power over fellow Americans who do not buy the Left Behind Jesus!

Last night I ended my long friendship with Christine Wandel. She went over to the Dark Side in the revived Culture Wars. She listens to Hate Radio and lectured me on the End Times. She believes she is vastly more superior to me, and more meaningful. She is well on her way to being a Supernaturally Raptured Co-God.  When she quoted line from Dylan’s album ‘Love and Trust’, I suggested we make a recording of us tripping to Dylan – for prosperity! When I discovered this album came out on 911, all of a sudden Christine wanted all the money for herself, and her house, that is falling apart. She insisted I not put her name in my blog, and remove her initials CW from the poem I wrote ‘Ava Is On Something’ that was inspired by the many conversations we had about her and Stefan Eins – and the New York Art Scene. We talked about I authoring a book on these two Knickerbockers. Then, she is seeing this writer (Winston Wickford?) who she tells me is a White Nationalist.

For almost thirty years I have been preaching against the LaHayes and their Culture War. No one listened. They won BIG TIME – with Von Trump – who stiffed Andy Warhol. I have stated you got to rerun your information every five years as young people come of age.  I don’t have time to put my book together and on the market, because – it is EXPLODING!

I am a Newspaper Man. Let us begin this Long Battle with the top image. Warhol’s portrait of Elizabeth Rosemond Taylor is being hung next Edvard Munch’s ‘Madonna’. The Da Vinci Code’ was fiction. Here begins………..THE REAL DEAL!

I was going to New York in ten days, but, what for? Stefan Eins has put all his stock in Brook McGowen, who along with Amy Oles, pretend they are part alien creatures. CW couldn’t quite get on board with this, so, she is has joined forces with White Beverly. These polar opposites subscribe to an amazing event, where millions are Raptured, or, amazed by a landing of Alien Craft come just for them!

“Come my wee nutty ones! Time to go home!”

However, the Wolves of New York, have arrived, and, are in place. Liz’s ancestors come from Holland.

“Another neat little fact about Elizabeth is she was born covered in hair! She was born suffering from the condition hypertrichosis, a rare disease that leaves the victim with a thick, dark coat of hair covering their entire body. A la the famous Wolfboys. Luckily for her though the hair fell off shortly after her birth.”

The wealthy art collector, Paul Mellon, is in my family tree. I was evicted from several Templar Mary Magdalene groups when I reasoned any lineage born of Jesus and Mary would be Paramount Players in the Art World. This is years before Dan Brown. Of course I pointed out my Creative Rose Line that was deliberately destroyed by the law firm of Robert Brevoort Buck. Why? They knew I was the Creative Heir that was founding  a dynasty that could hurt the rich, powerful, and destructive, like the Trump family.

Liz married well. I have found evidence these marriages were arranged by powerful men who were for the restoration of a Judaic State and Zion.

Jon Presco

Copyright 2017

With the death last Wednesday of Hollywood legend Elizabeth Taylor – who converted to Judaism in 1959 – Israel lost an advocate who matched her unwavering support for the Jewish state, with genuine pro-Israel action.

In 1977, Israel’s ambassador to the United States, Simcha Dinitz, revealed that Taylor wanted to swap herself for Jewish and Israeli hostages held by Palestinian and German terrorists at Entebbe Airport in Uganda.

The Prieuré de Sion (French: IPA/API:[pʁijœʁe də sjɔ̃]), translated as Priory of Sion, is a fringe fraternal organisation, founded and dissolved in France in 1956 by Pierre Plantard as part of a hoax. In the 1960s, Plantard created a fictitious history for that organization, describing it as a secret society founded by Godfrey of Bouillon on Mount Zion in the Kingdom of Jerusalem in 1099, conflating it with a genuine historical monastic order, the Abbey of Our Lady of Mount Zion. In Plantard’s version, the Priory was devoted to installing a secret bloodline of the Merovingian dynasty on the thrones of France and the rest of Europe.[2] This myth was expanded upon and popularised by the 1982 pseudohistorical [3] book The Holy Blood and the Holy Grail[1] and later claimed as factual in the preface of the 2003 novel The Da Vinci Code.[4]

In 1957, Warner married banking heiress Catherine Conover Mellon, the daughter of art collector Paul Mellon and his first wife, Mary Conover, and the granddaughter of Andrew Mellon. By his marriage, Warner accrued substantial capital for investing and expanding his political contacts. The Warners, who divorced in 1973, have three children: Virginia, John Jr, and Mary. His former wife now uses the name Catherine Conover.[2]

John Warner married actress Elizabeth Taylor on December 4, 1976 at the Second Presbyterian Church in Richmond, Virginia. They divorced on November 7, 1982. Warner and Larry Fortensky were the last living former spouses of Elizabeth Taylor at the time of her death in 2011. Warner is the last of Taylor’s husbands to survive. Larry Fortensky died July 2016, at age 64.

Paul Mellon (June 11, 1907 – February 1, 1999) was an American philanthropist and an owner/breeder of thoroughbred racehorses. He is one of only five people ever designated an “Exemplar of Racing” by the National Museum of Racing and Hall of Fame. He was co-heir to one of America’s greatest business fortunes, derived from the Mellon Bank created by his grandfather Thomas Mellon, his father Andrew W. Mellon, and his father’s brother Richard B. Mellon. In 1957, when Fortune prepared its first list of the wealthiest Americans, it estimated that Paul Mellon, his sister Ailsa Mellon-Bruce, and his cousins Sarah Mellon and Richard King Mellon, were all among the richest eight people in the United States, with fortunes of between 400 and 700 million dollars each (around $3,400,000,000 and $6,000,000,000 in today’s dollars).

Mellon’s autobiography, Reflections in a Silver Spoon, was published in 1992. He died at his home, Oak Spring, in Upperville, Virginia, on February 1, 1999. He was survived by his wife, Rachel (a.k.a. Bunny), his children, Catherine Conover (first wife of John Warner) and Timothy Mellon, and two stepchildren, Stacy Lloyd III and Eliza, Viscountess Moore.

Because Trump-Trickster stiffed Andy Warhol after he commissioned him to paint Trump Tower, I add TOWER NO.5 to my tale. On April 24, 1981, Trump visited Warhol’s studio, known as “The Factory,” after a mutual colleague set up a business meeting. In his posthumous “The Andy Warhol Diaries,” the late artist wrote:

“He told Donald Trump that I should do a portrait of (Trump Tower) that would hang over the entrance to the residential part. …

“Donald Trump is really good-looking. … It was so strange, these people are so rich. They talked about buying a building yesterday for $500 million or something.”
Warhol notes that Trump’s party “didn’t have drinks,” and:

“He’s (Trump’s) a butch guy. Nothing was settled, but I’m going to do some paintings, anyway, and show them to them.”

Warhol ended up painting eight portraits, “in black and grey and silver which I thought would be so chic for the lobby. But it was a mistake to do so many, I think it confused them.”

This exhibition poster features the portrait of the hugely successful actress, Elizabeth Taylor. Warhol first painted her portrait in 1963 when she was at the height of her career. Yet she was also severely ill with pneumonia. This highlights Warhol’s fascination with celebrity and death that began with his painting of Marilyn Monroe following her suicide in 1962 and continued throughout his oeuvre. In this portrait Warhol used a publicity photograph for Taylor’s film ‘Butterfly 8’ as the basis for the screenprint. It is typical of his 1960s Pop style with vibrant, flat blocks of colour. This poster was made for an exhibition held in 1965, the same year Warhol famously announced that he was ‘retiring’ from painting.

“For young people to be watching, not only here in our country, but around the world, someone of this mentality as president of the United States is something that is I think debasing to our country,” said Corker, who spent the morning lambasting Trump in media interviews.

“You would think he would aspire to be the president of the United States and act like a president of the United States. But that’s just not going to be the case, apparently,” Corker said.

Trump returned fire, insulting “liddle” Corker on Twitter ahead of his visit to the Senate to address Republicans at their weekly policy luncheon. The gathering was billed as a chance for Trump to discuss the GOP’s effort to cut taxes, but his back-and-forth with Corker and his penchant for veering from one subject to another could lead to an unpredictable afternoon.

The National Endowment for the Arts (NEA) is an independent agency of the United States federal government that offers support and funding for projects exhibiting artistic excellence.[1] It was created by an act of the U.S. Congress in 1965 as an independent agency of the federal government. The NEA has its offices in Washington, D.C. It was awarded Tony Honors for Excellence in Theatre in 1995, as well as the Special Tony Award in 2016.[2] In March of 2017, a proposal to eliminate all federal funding for the program was put forward by the Trump administration


In 1989, Donald Wildmon of the American Family Association held a press conference attacking what he called “anti-Christian bigotry,” in an exhibition by photographer Andres Serrano. The work at the center of the controversy was Piss Christ, a photo of a plastic crucifix submerged in a vial of an amber fluid described by the artist as his own urine.[14] Republican Senators Jesse Helms and Al D’Amato began to rally against the NEA, and expanded the attack to include other artists. Prominent conservative Christian figures including Pat Robertson of the 700 Club and Pat Buchanan joined the attacks. Republican representative Dick Armey, an opponent of federal arts funding, began to attack a planned exhibition of photographs by Robert Mapplethorpe at the Corcoran Museum of Art that was to receive NEA support.

Left Behind is a series of 16 best-selling religious novels by Tim LaHaye and Jerry B. Jenkins, dealing with Christian dispensationalist End Times: the pretribulation, premillennial, Christian eschatological interpretation of the Biblical apocalypse. The primary conflict of the series is the members of the Tribulation Force, an underground network of converts, against an NWO-esque organization, Global Community, and its leader Nicolae Carpathia—the Antichrist. Left Behind is also the title of the first book in the series. The series was first published between 1995–2007 by Tyndale House, a firm with a history of interest in dispensationalism.

The series has been adopted into four films to date. The original series of three films are Left Behind: The Movie (2000), Left Behind II: Tribulation Force (2002), and Left Behind: World at War (2005). A reboot starring Nicolas Cage, entitled simply Left Behind, was released in 2014 through Cloud Ten Pictures.[1][2] The series also inspired the PC game Left Behind: Eternal Forces (2006) and its several sequels.

The books are written from a Protestant viewpoint. As a result, some believe the books are anti-Catholic, noting that many Catholics were not raptured concluding that no religion is free of false converts[12] and that the new pope establishes a false religion.[13] While the fictional Pope, John XXIV, was raptured, he is described as having embraced some of the views of the “Father of ProtestantismMartin Luther and it is implied that he was raptured for this reason.[14] His successor, Pope Peter II, becomes Pontifex Maximus of Enigma Babylon One World Faith, an amalgamation of all remaining world faiths and religions. Catholic Answers describes the series as anti-Catholic.[12][15]

The co-author of the book, Jerry B. Jenkins, as well as LaHaye, stated that their books are not anti-Catholic and that they have many faithful Catholic readers and friends.[16] According to LaHaye, “the books don’t suggest any particular theology, but try to introduce people to a more personal relationship with Jesus.”[16]

In 1950, LaHaye received a Bachelor of Arts from Bob Jones University in Greenville, South Carolina. LaHaye held the Doctor of Ministry degree from Western Seminary[4] and a Doctor of Literature from Liberty University.[5] He served as a pastor in Pumpkintown, South Carolina, and after that he pastored a congregation in Minneapolis until 1956.[4][6] After that, the LaHaye family moved to San Diego, California, where he served as pastor of the Scott Memorial Baptist Church (now called Shadow Mountain Community Church[5]) for nearly 25 years.[4] In 1971, he founded Christian Heritage College, now known as San Diego Christian College.[4]

In 1972, LaHaye helped establish the Institute for Creation Research at Christian Heritage College in El Cajon, California, along with Henry M. Morris.[7][8]

LaHaye started numerous groups to promote his views, having become involved in politics at the Christian Voice during the late 1970s and early 1980s.[citation needed] In 1979, he encouraged Jerry Falwell to found the Moral Majority and sat on its board of directors.[3][9] LaHaye’s wife, Beverly, founded Concerned Women for America, a conservative Christian women’s activist group.[10]

Then in 1981, he left the pulpit to concentrate his time on politics and writing.[11] That year, he helped found the Council for National Policy (CNP) a policy making think tank[12] in which membership is only available through invitation; it has been reported “the most powerful conservative organization in America you’ve never heard of,”[13] and should not be confused with the liberal Center for National Policy.[9]

In the 1980s, LaHaye founded the American Coalition for Traditional Values and the Coalition for Religious Freedom. He founded the Pre-Tribulation Research Center along with Thomas Ice in 1998. The center is dedicated to producing material that supports a dispensationalist, pre-tribulation

interpretation of the Bible. He and his wife had connections to the John Birch Society, a conservative, anti-communist group.[14]

LaHaye also took more direct roles in presidential politics. He supported Ronald Reagan‘s elections as United States president.[6] He was a co-chairman of Jack Kemp‘s 1988 presidential bid but was removed from the campaign after four days when anti-Catholic views which he had expressed became known.[3][4] LaHaye played a significant role in getting the Religious Right to support George W. Bush for the presidency in 2000.[3][9] In 2007, he endorsed Mike Huckabee during the primaries[15] and served as his spiritual advisor.[16]

In mid-2009, the NEA came under controversy again when it was revealed on a website run by conservative commentator Andrew Breitbart that then-Communications Director Yosi Sergant had participated in an August 10, 2009 conference call that allegedly directed artists to create works of art promoting President Barack Obama‘s domestic agenda.[19][20] “I would encourage you to pick something, whether it’s health care, education, the environment, you know, there’s four key areas that the corporation has identified as the areas of service,” Sergant said on the call, making reference to the four areas of focus earlier outlined by Nell Abernathy, Director of Outreach for United We Serve. Suggested areas of focus mentioned in the call included preventative care, child nutrition, community cleanups, trail maintenance, reading tutoring, and homelessness. At another point he said, “This is just the beginning. This is the first telephone call of a brand new conversation. We are just now learning how to really bring this community together to speak with the government. What that looks like legally. We’re still trying to figure out the laws of putting government websites of Facebook and the use of Twitter. This is all being sorted out. We are participating in history as it’s being made, so bear with us as we learn the language so that we can speak to each other safely. And we can really work together to move the needle to get stuff done.”[21][22]

The NEA countered the allegations by asserting that Sergant had acted unilaterally and without the approval of then-Acting Chairman Patrice Walker Powell, and that the call was not a means to promote any legislative agenda but rather to inform members of the arts community of an opportunity to become involved in volunteerism through the United We Serve program. They also noted that the call had nothing to do with grantmaking.[23]

This exhibition poster features the portrait of the hugely successful actress, Elizabeth Taylor. Warhol first painted her portrait in 1963 when she was at the height of her career. Yet she was also severely ill with pneumonia. This highlights Warhol’s fascination with celebrity and death that began with his painting of Marilyn Monroe following her suicide in 1962 and continued throughout his oeuvre. In this portrait Warhol used a publicity photograph for Taylor’s film ‘Butterfly 8’ as the basis for the screenprint. It is typical of his 1960s Pop style with vibrant, flat blocks of colour. This poster was made for an exhibition held in 1965, the same year Warhol famously announced that he was ‘retiring’ from painting.

Although it is a highly unusual representation, this painting might be of the Virgin Mary. Whether the painting is specifically intended as a representation of Mary is disputed. Munch used more than one title, including both “Loving Woman” and “Madonna”.[1] Munch is not famous for religious artwork and was not known as a Christian. The affinity to Mary might as well be intended nevertheless, as an emphasis on the beauty and perfection of his friend Dagny Juel-Przybyszewska, the model for the work, and an expression of his worship of her as an ideal of womanhood.


Color lithograph from Ohara Museum of Art. 1895–1902. 60.5 × 44.4 cm (23.8 × 17.5 in).

Werner Hofmann suggests that the painting is a “strange devotional picture glorifying decadent love. The cult of the strong woman who reduces man to subjection gives the figure of woman monumental proportions, but it also makes a demon of her.”[3] Sigrun Rafter, an art historian at the Oslo National Gallery suggests that Munch intended to represent the woman in the life-making act of intercourse, with the sanctity and sensuality of the union captured by Munch. The usual golden halo of Mary has been replaced with a red halo symbolizing the love and pain duality. The viewer’s viewpoint is that of the man who is making love with her. Even in this unusual pose, she embodies some of the key elements of canonical representations of the Virgin: she has a quietness and a calm confidence about her. Her eyes are closed, expressing modesty, but she is simultaneously lit from above; her body is seen, in fact, twisting away from the light so as to catch less of it, even while she faces it with her eyes. These elements suggest aspects of conventional representations of the Annunciation. Robert Melville states that the image portrays “ecstasy and pain in the act of love”. Commenting on the lithograph version, he says that the “decorative border [is] composed of sperms trailing long wriggly filaments which meander round three sides of the image and end in a foetus-like pendant.”[4] Feminist critic Carol Duncan is inclined to interpret the figure as a femme fatale,

Other critics have also seen the portrayal of the woman as implicitly paradoxical. According to Peter Day, it is a potentially vampiric figure.

Day identifies a “dichotomy” between the haunting image of a monstrous mother and of female subjectivity and self-sufficiency.[6]

Painting materials[edit]

The painting in Munch Museum Oslo was investigated by British and Norwegian scientists.[7] They were able to identify the following pigments: chrome yellow, Prussian blue, yellow ochre, charcoal black, artificial ultramarine and vermilion.[8]


On March 29, 1990 a version of Madonna and three other artworks were stolen from the Gallery Kunsthuset AS in Oslo. On June 22, 1990 the police located three of the artworks in a private home in Drammen, Norway. The fourth had been located the previous day in a private home in nearby Sande.[9] During the court trials, Ole Christian Bach was suspected of having organized both the theft and the handling. In September 1992, Bach was sentenced to prison for seven months for handling stolen goods.[10]

On Sunday, 22 August 2004, the Munch Museum‘s versions of Madonna and The Scream were stolen by masked men wielding firearms. The thieves forced the museum guards to lie down on the floor while they snapped the cable securing the paintings to the wall and escaped in a black Audi A6 station wagon, which police later found abandoned.

Both paintings were recovered by the Oslo Police on 31 August 2006. The following day Ingebjørg Ydstie, director of the Munch Museum, said the condition of the paintings was much better than expected and that the damage, including a 2.5 cm hole in the Madonna, could be repaired.

Beverly LaHaye: The Right’s Favorite Mother Figure & Spiritual Warfare Activist

Quote:Today instead of protecting our right to freely exercise our religious faith in public places, publicly honoring our God and Creator as our forefathers did, we are forbidden to speak, to pray aloud, to read the Bible, to even teach Judeo-Christian values in our public schools and other public places because of an imaginary ‘wall of separation’ conjured by non-believers.

Quote:I am aware that America is and must always be a land of freedom including freedom of speech. But there is a right time and place for everything

Quote:Yes, religion and politics do mix. America is a nation based on biblical principles. Christian values dominate our government. The test of those values is the Bible. Politicians who do not use the bible to guide their public and private lives do not belong in office.”

Founder and President of Concerned Women for America and wife of Tim LaHaye (founder of the scary Council for National Policy and co-author of the popular Christian book series Left Behind), Beverly LaHaye has been pushing a Right-Wing Fundamentalist Christian agenda for a long time.

Among the many things that have alarmed me about this woman and her activities, perhaps the most revealing is that she testified before the Senate Judiciary Committee in favor of Justice Antonin Scalia’s, Judge Robert Bork’s, and Justice Clarence Thomas’ nominations to the Supreme Court. I don’t think anything else can really illustrate why this woman is so dangerous. She and her husband are perhaps at the vanguard of the politicalization of Christianity, and have long worked behind the scenes to push a Fundamentalist Christian agenda onto the American social landscape by way of law.

LaHaye’s favored weapon in this “culture war” has been Concerned Women for America. For example, during the 1987 Robert Bork Supreme Court nominee hearings controversy, CWA led a national petition drive, sponsored a “Women for Bork” rally and organized 350 people to lobby senators on Bork’s behalf. In 1994 CWA filed suit on behalf of an anti-abortion protester, who was arrested during a protest, against the federal Freedom of Access to Clinic Entrances Act (FACE), which banned protesters from blocking clinic entrances. CWA has also been active in supporting teaching creationism and “intelligent design” theory in science classrooms. CWA fights against sex education curricula that is not completely abstinence based and opposes anti-drug and alcohol abuse programs that emphasize self-esteem. Many challengers to books and curricula in public schools use CWA’s materials. Beverly LaHaye, alongside many other conservative leaders, has lobbied to de-fund the National Endowment for the Arts (NEA).

There really is not room here to even get started on the activites and danger of Beverly LaHaye. Suffice it to say that if anyone ever wanted to two post an image of a face that could represent the agenda and push of the Christian Religious-Right, Beverly LaHaye certainly has the credentials to be that person. She certainly is no strange to Conservative talk shows and media.


About Royal Rosamond Press

I am an artist, a writer, and a theologian.
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1 Response to Eternal Muses and Culture Wars

  1. Reblogged this on Rosamond Press and commented:

    Why aren’t THE RICH who hobnob woth Bohemians and Artists, objecting to this evil tac cut for the rich? We should boycott them.

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