My Boycotted Beauty

BCBGeneration

BCBGeneration

A week after Putin invaded Ukraine, Alina Timo was not talking on her tik-tok videos. She had complained someone had bullied her about her lips, saying she had shots. I could see she was assessing THE TROUBLE. She had admitted she sees a therapist. I admitted I had fallen in love with this Authentic Human Being. In one of the last videos she flared her nostrils in a close-up. It was totally wild! She opened them and closed them while giving you a totally superior look. I will use this in my book ‘The Royal Janitor’.

In her next video she spoke and said she wanted to be famous, then, she reprehended herself for asking that. This is a very intelligent person. Telling us she was back in New York after a Nike shoot, I suggested she go to the Improv and do a skit where she claims she is Marlon Brando’s daughter. I have her act down in my head.

“Hello! My name is Alina Timo. And…….I am Marlon Brando’s daughter. My mother was a Russian Spy. I know you have much doubt for me, so I’m going to prove it. Marlon had a talent he shared only with those he was close to. He could open and close his nostrils. You in the front row, come closer. Watch!

“How do we know Brando could do that?” asks a heckler.

“You can’t. Did you know him? Did he put you on his lap as a child – and make you laugh? No. So shut the fuck up!”

I’m sure most people in the room would want it to be true, because Alina looks like the daughter everyone thought he should have. And, now I have to boycott you – my lovely!

Like I told you, you are the best actor in the world, and I want you to play Miriam Starfish Christling – one day. I love you Alina. One day the war will be over!

John Presco

FLASH! Alina is still on tik-tok that SNL did a skit of. Here’s part of her video where she wonders if she is a sociopath because she likes to stay home, away from people, and entertain herself.

“Side-a!”

As part of her skit she will have the audience raise their hands if they believe she is Brando’s Daughter.

“You! You! – and – You! Come up on stage and be a Beautiful Brando Buddie. Sit with me and be a part of the inner-circle.”

https://www.vogue.com/slideshow/who-will-be-the-next-james-bond-17-contenders

Marlon Brando – Wikipedia

Method acting, known informally as the Method, is a range of training and rehearsal techniques, as formulated by a number of different theatre practitioners, that seeks to encourage sincere and expressive performances through identifying with, understanding, and experiencing a character’s inner motivation and emotions.[2][3] These techniques are built on Stanislavski’s system, developed by the Russian actor and director Konstantin Stanislavski and captured in his books An Actor PreparesBuilding a Character, and Creating a Role.[4]

1. Because his hair looks so good messed up.

A Streetcar Named Desire/Amazon
A Streetcar Named Desire/Amazon

2. Because the man knows how to undress.

A Streetcar Named Desire/Amazon
A Streetcar Named Desire/Amazon

3. Because he could rock a leather jacket.

The Wild One/Amazon
The Wild One/Amazon

4. Because dirt and grease never looked so good.

A Streetcar Named Desire/Amazon
A Streetcar Named Desire/Amazon

5. Because you could seriously lick his face all day long.

Flickr/sofi01
Flickr/sofi01

6. Because there’s always that bad boy lurking in him.

Liz, Brando, Jackson Movie

Posted on October 23, 2018 by Royal Rosamond Press

I’m almost ready to send out a few of my movie ideas. You can say I wasted my time on a bunch of NOBODIES, but, they have contributed to My Urban Myths with real psychedelic drugs and scenarios, such as I should be locked up for being a lunatic. I will be laughing like a lunatic – all the way to the bank!

‘Urban Myths’ Recap 1×04: ‘When Cary Grant Introduced Timothy Leary To LSD’

Paris Jackson says ‘Urban Myths’ wants to make her vomit.

John

Did Michael and Liz Consider Having Children?

Posted on October 19, 2018by Royal Rosamond Press

The story is irresistible: on 9/11, unable to fly, Elizabeth Taylor, Michael Jackson, and Marlon Brando jumped in a car together—the three of them, no entourage—and made it as far as Ohio in an attempt to escape New York City. The story was first revealed in a 2011 Vanity Fair story by Sam Kashner— with the caveat that Taylor’s representative insists she remained in New York City, which makes it possible the whole thing never happened. The story has now made the next inevitable step in evolution: it’s becoming a movie.

A British TV movie, to be specific, which means it may not be all that easy to watch in America. Given one of the casting choices, that may be for the best; Joseph Fiennes, the brother of Ralph best known for his role in Shakespeare in Love, has been cast to play Jackson. It’s inspired the expected round of “WTF?” headlines, and especially amid an uproar about the Oscars and recognition for black actors, isn’t necessarily the best look for an industry still trying to prove that it offers opportunity for actors of color. Then again . . . Michael Jackson’s appearance had changed pretty dramatically by 2001. It doesn’t eliminate the question of race, but it does make the

Urban Myths is a SKY comedy drama television series first aired on 19 January 2017 on the Sky Arts Channel. Each episode featured a story surrounding popular culture which may or may not be true, ranging from Muhammad Ali talking a man down from a ledge to Bob Dylan turning up on a stranger’s doorstep. A second series was announced featuring The Sex Pistols and Salvador Dali, which began airing on 12 April 2018.[1]

The series was most notable for a controversy surrounding the casting of Joseph Fiennes in the role of Michael Jackson, an episode that was pulled from transmission[2]

Contents

Controversy[edit]

After it was revealed that Joseph Fiennes was to portray Michael Jackson in the series, several members of Jacksons’ family objected, including his daughter, Paris Jackson, who wrote on Twitter, “I’m so incredibly offended by it, as i’m sure plenty of people are as well, and it honestly makes me want to vomit.” The tweet was later deleted.[3]. After widespread criticism following the release of the series trailer, the episode was pulled from broadcast indefinitely.[4]

Reception[edit]

Although stories surrounding the pulled episode overshadowed the rest of the series, the aired episodes attracted a positive response. The opening episode, featuring Eddie Marsan as Bob Dylan was described in newspaper reviews as “charming and hilarious”[5], “short, charming and light-hearted”[6] and “different and pleasing”[7]. The series drew over 600,000 viewers and charted in the top three programmes for Sky Arts each week it aired, save for the episode “Cary Grant and Timothy Leary”, which came seventh, largely due to broadcasts of the programme Portrait Artist of the Year.[8]

Sarah Moon – Silverstein – Marilyn

Posted on September 17, 2015 by Royal Rosamond Press

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Here is the testimony of Steven Silverstein who met and worked for the real Sarah Moon. Marilyn Reed was a friend of the Silverstein family and posed for a photographic shoot on Malibu Beach, where Steven honed his skills that would make him world famous. I did a painting from this image and gave it to my childhood sweetheart.

“I was broke when I returned but a month later got a call from Sarah Moon whom I had met while in Paris. She asked if I would help her crew with a production in Los Angeles. With the money I made, I bought a new 35mm Nikon and launched the testing I hoped would take me back to Paris. I worked hard at it, working twice a month with two models, Amy and Pam. To support myself I took a job as a waiter but was so bad at it I only lasted a week! As luck would have it, the very day I was fired, I got a call from Warner Bros. Records to do an album cover. I started picking up freelance jobs with more record labels and magazines – A&M Records, Capitol, Playboy and others.”

Here is the real SaraH Moon with the H put back in her name.

https://en.wikipedia.org/wiki/Sarah_Moon

Last night I discovered Steven has become an artist. His art resembles the work I did inspired by Stefan Eins. I am going to e-mail Eins – of FasHion Moda – this post and have him go to the June Bateman Gallery in New York.

http://www.silversteinphotography.net/

http://silversteinfineart.com/silverstein-fine-art-blog-1/

http://forums.thefashionspot.com/f71/steven-silverstein-photographer-260915.html

I suspect Red Baron publishing was founded by Ira Cohen who owned Ira Roberts Gallery. I believe 1979 was the year Christine went with Circle Gallery, and did very well. Was Ira jealous? Did he want revenge? After all, he claims he developed her style. Rosemary told me Ira wanted me in his stable of artists, before Christine sued him. Marilyn did take some of my work to his gallery, but, they were not what he was looking for. He wanted Fashion Portraits, like Christine and Sara Moon were cranking out.

So…..will the real Sara Moon, and Christine Rosamond…..please stand up!

Here is a photo of Rosemary with her doves. Throw some roses around her and you got the faux Sara Moon. The name – works! From Rosemary was born a world famous artist like Leonardo Da Vinci, and a pre-Brown solver of mysteries, as my letter to Lillian proves. But, here is the clincher.  Belle’s parents conducted Labyrinth rituals that are linked to the name Rosamond, thus the Legend of Fair Rosamond, who was the subject of several Pre-Raphaelite portraits, that can be linked to Grail Lore. Fair Rosamond has been making a fashion statement for hundreds of years. She is the archetype lineage of beautiful women, who suggest they have good genes. No one can handle a Ugly Jesus! Why? Because, he’s like a Muse – and the Republican party has got him.

The well-to-do Republican hands his wife a Gold Card and a pic of the blue-eye Chefon Jesus and bids her to go shopping. Gone is the wealthy Catholic feeling of worshipping Mary ‘Rose of the World’ Queen of Heaven with crescent moon.

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My plan was to have Belle Burch come to my home where several empty canvases await. But, on the way here a wicked witch and demonic fairy, captured her, put her under her spell, and she fell asleep! Right on que! Now there grow a mountain of thorns and roses, maintained by the Rose Baron.

http://www.mfa.org/exhibitions/leonardo-da-vinci-and-the-idea-of-beauty

Let us not forget about Marilyn, who makes a living sewing, and went to Paris to learn how to be a fashion designer. Rosemary wanted to be my muse, but, Marilyn would no let that happen. Why do artists and writers capture beautiful women and shut them away in a tower and labyrinth? Is it so their mothers can’t get at them?

Hey! Where did Leonardo go? M – for Mother! We all got one!

Jon Presco

Copyright 2015

sarammmoo44

EPSON MFP image

http://campus.udayton.edu/mary/meditations/samaha9.html

http://www.corporationwiki.com/California/Chatsworth/red-baron-art-publishing-inc/40302324.aspx

Red Baron Art Publishing, Inc. filed as an Articles of Incorporation in the State of California and is no longer active. This corporate entity was filed approximately thirty-six years ago on Tuesday, May 1, 1979 , according to public records filed with California Secretary of State.

THE story of “Fair Rosamond” and her mazy Bower, though it cannot lay claim to that standard of authenticity which is generally required of historical data, has for so long occupied an honoured position in the realm of popular romance that, in a book professing to treat of mazes from a broad point of view, we cannot dismiss it quite as briefly as we might perhaps do in a book on English history.

Catherine brought Javanese gamelan music to Eugene in 1992 with the founding of Gamelan Nuju Laras, well known for accompanying labyrinth walks.

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http://coilhouse.net/2007/11/once-upon-a-time-with-sarah-moon/

http://www.junebateman.com/artists/silverstein/t00.html

http://www.junebateman.com/artists/silverstein/t10.html

http://forums.thefashionspot.com/f71/steven-silverstein-photographer-260915.html

Steven SILVERSTEIN has gained a significant reputation photographing fashion and beauty for over thirty years and began shooting abstract fine art in 2013. Known throughout his career for conceptual work, lighting and a graphic simplicity that allow for an instant read, his images – whether fashion or fine art – often draw the viewer in for a closer look.
Born in Los Angeles, SILVERSTEIN began his accomplished fashion photography career with help from photographer Sarah Moon and her husband, publisher Robert Delpire, who introduced his work to Peter Knapp, the legendary art director at French Elle in the 1970s. Based primarily in Paris, he went on to work with other major fashion magazines, advertisers and designers. In addition to shooting portraits of Catherine Deneuve, Carol Bouquet, Charlotte Rampling, Isabelle Adjani, Thierry Mugler, Christian Lacroix and many other luminaries, he has created over 50 covers and nearly a thousand editorial fashion pages for international publications such as Elle, Vogue, Marie Claire and Harper’s Bazaar.
SILVERSTEIN has also shot campaigns for some of the most prominent brands in the world including Yves St. Laurent, Givenchy, Ungaro, Carolina Herrera, Helena Rubenstein, Lancome, L’Oreal, among many others. His fashion photography has been in group exhibitions including Living the Bon Chic Life (BCBG) in Los Angeles (2014) and Moda in Italia, 150 Anni Di Eleganza (Vogue Italia) at the Venaria Reale in Turin, Italy (exhibition catalog, 2011), as well as published in numerous books including Elle Mode: 600 covers de 1945 à nos jours (Lagardère/Glénat, 2011), Style Elle: Nos Années 80 (Filipacchi, 2003) and Style Elle: Nos Années 70 (Filipacchi, 2002). One of his portraits was chosen in the top 200 from 200,000 images in People Magazine’s history for People: Favorite Pictures (Time Inc., 2000). In addition, SILVERSTEIN has been featured in NPA Pro Spotlight video (2011), Nikon World Magazine (2009) and PhotoArt – Hong Kong (1985), as well as garnering press in other art, design and mainstream media outlets.

http://silversteinfineart.com/artistbio/

Royal Rosamond Fashions

Posted on July 22, 2021 by Royal Rosamond Press

Ed Corbin introduced me to the Poet, Tom-Tom, who married into the Schlumberger family. Ed stayed in their estate in Texas. I hope Tom is at the Life Celebration. Katrine was married to a Rockefeller. I am kin to the Getty family, via Elizabeth Rosemond Taylor. I read Tom’s poetry in Springfield with Kenny Reed backing me up. Marilyn Reed was photographed by Silverstein who studied under Sarah Moon. I am going to become a Fashion Designer under the assumed name….John Rosamond Presco. I’m going to do the Hugo Gambler Line, named after my grandfather, Victor Hugo, the professional gambler of the Barbary Coast.

John Rosamond Presco

President: Royal Rosamond Press

Rosemond Getty | Rosamond Press

Victor Hugo of the Barbary Coast | Rosamond Press

The Getty Rosemond Bond | Rosamond Press

Schlumberger – Wikipedia

Schlumberger brothers – Wikipedia

Where there is oil and gas there is Schlumberger | Environment | The Guardian

Pierre Schlumberger was born in 1914, the son of Marcel Schlumberger, a mechanical engineer, and his wife Jeanne Laurans.[1] Marcel co-founded Schlumberger in the 1920s with his brother, Conrad, a physicist.[1] Pierre was the brothers’ only male heir.

St. Stephen and Rosemary

Posted on December 13, 2014 by Royal Rosamond Press

      Yesterday I found this blog about the song ‘Rosemary’ by the Grateful Dead. It reads like this blog. I am amazed. In the video of my meeting of Belle Burch a Deadhead is singing ‘Saint Stephen’ who comes and goes in a garden. Rosemary is a song about a secret garden. Roses and the Dead go hand in hand. When I revealed Belle’s identity as a anarchist, her friends wanted to stone me. Now, they are part of Grateful Dead lore. At the end of my video I tell Belle there is a family legend around the name ‘Rosamond’. My mother was born Rosemary Rosamond.

My childhood friend, Nancy Hamren, dated Stanely Augustus Owsley who made the sound system for the Dead. I met Owsley on several occasions when he came over to our house.  We saw the Dead at the Fillmore in 1966. When they played at Autzen stadium with Dylan in 1987, Nancy got me a backstage pass. She also got me on Kesey’s bus in the Eugene Celebration. The Dead also played a benefit concert to keep the Springfield Creamery afloat. Nancy was aware Amalie was my muse, she a friend of Kevin who is a friend of Belle Burch and Ambrose Holtham-Keathley, the son of Anand Holtham-Keathley who is on the board of a the new Festival Eugene Celebration, headed by Krysta Albert who bid me to be on the board.

My friend and art patron made LSD with Owsley and Tim Scully, and worked on the Dead sound system. My sister Christine, the famous artist known as ‘Rosamond’ lived with us at the ‘Idle Hands’ commune in San Francisco and went on a double date with Nancy, Stanley, and Nick Sands. There is a Dead album titled ‘American Beauty’ which is the name of a rose. The attempts to silence me, ban me, and keep deny me public forums in the City of Eugene, are evil, full of bad vibes promoted by frauds and wanna-bes.  But, I own ‘The Rose’ and the ‘Key to the Garden of the Dead’.

Jon Presco

Copyright 2014

http://deadessays.blogspot.com/2012/02/rosemary.html

Gabriele Tergit also has quite a bit to say about rosemary:

“To wake the Sleeping Beauty, she had to be touched by rosemary, a plant of many legends and ancient beliefs, and of many uses– curative, ornamental, culinary, as a love potion and a symbol of mourning.” (p. 48)

“The name, Ros marinus, dew of the sea, was given to it because it was supposed to thrive best within sound of the ocean. …Where rosemary flourishes, so goes the tradition, the mistress rules.” (p. 301)

“Rosemary” is one of my favorite songs, even though it’s quite short and…odd.
I came across this poem, and it’s strikingly similar to the lyrics of “Rosemary”—-

“Rosemary” is one of my favorite songs, even though it’s quite short and…odd.
I came across this poem, and it’s strikingly similar to the lyrics of “Rosemary”—-

DEATH IS A DOOR
by Nancy Byrd Turner

Death is only an old door
Set in a garden wall;
On gentle hinges it gives, at dusk
When the thrushes call.

Along the lintel are green leaves,
Beyond the light lies still;
Very willing and weary feet
Go over that still

There is nothing to trouble any heart;
Nothing to hurt at all.
Death is only a quiet door
In an old wall.

St. Stephen” is a song by the Grateful Dead, written by Jerry GarciaPhil Lesh and Robert Hunter and originally released on the 1969 studio album Aoxomoxoa. The same year, a live version of the song was released on Live/Dead, their first concert album. Unlike the studio version, live versions usually included a section of the song called the “William Tell Bridge,” which was used to segue into “The Eleven.” After being played frequently in live concerts from the late 1960s to the early 1970s, the song fell out of regular performance; subsequent live performances of St. Stephen were thus considered a special event by Deadheads. The song also makes reference to the last days and trial of the 1st century AD saint, Stephen, the first martyr of the New Testament of the Bible, who was stoned to death.

“St. Stephen”

Saint Stephen with a rose, in and out of the garden he goes,
Country garden in the wind and the rain,
Wherever he goes the people all complain.Stephen prospered in his time, well he may and he may decline.
Did it matter, does it now? Stephen would answer if he only knew how.
Wishing well with a golden bell, bucket hanging clear to hell,
Hell halfway twixt now and then,
Stephen fill it up and lower down and lower down again.Lady finger, dipped in moonlight, writing “What for?” across the morning sky.
Sunlight splatters, dawn with answer, darkness shrugs and bids the day goodbye.Speeding arrow, sharp and narrow,
What a lot of fleeting matters you have spurned.
Several seasons with their treasons,
Wrap the babe in scarlet colors, call it your own.
Did he doubt or did he try? Answers aplenty in the bye and bye,
Talk about your plenty, talk about your ills,
One man gathers what another man spills.

Saint Stephen will remain, all he’s lost he shall regain,
Seashore washed by the suds and foam,
Been here so long, he’s got to calling it home.

Fortune comes a crawlin’, calliope woman, spinnin’ that curious sense of your own.
Can you answer? Yes I can. But what would be the answer to the answer man?

Here’s the craziest story I have to go with “Saint Stephen.” At my first Dead show, in October 1976, when the band played the first, ringing, opening notes of the song, the sun blinked. I mean, there was a moment of complete darkness in the middle of an outdoor, sunlit Day on the Green show at the Oakland Coliseum, and then the sun came back on. Believe it if you need it…but I did go on to become a reference librarian, and what is a reference librarian if not an answer man?

A final connection to note here, although I am certain there are many more. Garcia’s memorial service was held at Saint Stephen’s Episcopal Church in Belvedere, Marin County, California, with Mathew Fox presiding.

http://www.dead.net/features/greatest-stories-ever-told/greatest-stories-ever-told-saint-stephen

And who was this martyr? He was the first deacon ordained by the apostles, one of seven deacons. “Stephen” is derived from the Greek for “crown,” (“country garland”?) and his career is documented in the biblical book of The Acts of the Apostles, chapters 6-8. (“And Stephen, full of grace and fortitude, did great wonders and signs among the people.”) He was stoned to death for preaching that Israel had deviated from God’s word, around the year 34. His feast day is celebrated on December 26.

An 1833 hymn, “Saint Stephen Was a Holy Man” (credited to “traditional”) contains this verse, bringing to mind the line: “Wherever he goes, the people all complain:

But when they heard him so to say,
Their hearts in sunder clave,
And gnashing on him with their teeth,
Like madmen they did rave;
And then they all so sharp and shrill,
With violence gan ran,
That there, without the city-walls,
They ston’d this holy man.

(This hymn’s chorus bears some resemblance to “Mason’s Children.” Hmmm….another time.)

Interestingly, both Stephens were preachers, in a way. I love the line, “Wherever he goes, the people all complain.” No one enjoys being told difficult truths. They can get you killed.

The music accompanying all of this imagery, all these questions without answers, can be at times grandiose, at times, rollicking in its initial verses, but then it melts into the bridge: “Lady finger, dipped in moonlight…” These lines were characterized by the writer Ed McClanahan, in his piece about the Dead in Playboy magazine, “Grateful Dead I Have Known,” “…the sweetest, tenderest, loveliest thing anybody had ever said to her, ever in her life.” (McClanahan was relating a speculative story about a young woman’s experience while in the act of conceiving a child she later claimed was Garcia’s own “true” child. You have to read the piece to get it.)

The artwork for the front and back covers of the album was created by John Van Hamersveld. The back cover depicts three men playing cards, with a globe in the center of the table. The futuristic Dymaxion car designed in 1933 by U.S. inventor and architect Buckminster Fuller is parked outside in the background. The three men appear as Marlon Brando from The Wild One, a long-haired bearded man in a graduation cap and gown and Cesar Romero as The Cisco Kid. The front cover features the Roman goddess of fertility, Venus, from the painting by Sandro BotticelliThe Birth of Venus.

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http://festivalofeugene.com/

https://www.facebook.com/FestivalofEugene

http://www.imagineweddingsandevents.net/#!aboutus/cjg9

http://www.kezi.com/county-to-address-sleeps-concerns/

  1. “The Golden Road (To Unlimited Devotion)” (Jerry GarciaBill KreutzmannPhil LeshRon “Pigpen” McKernan, and Bob Weir) – 2:07
  2. Truckin’” (Garcia, Robert Hunter, Lesh, and Weir) – 5:09
  3. “Rosemary” (Garcia and Hunter) – 1:58
  4. Sugar Magnolia” (Hunter and Weir) – 3:15
    • Originally released on the album American Beauty.
  5. St. Stephen” (Garcia, Hunter, and Lesh) – 4:26
    • Originally released on the album Aoxomoxoa.
  6. Uncle John’s Band” (Garcia and Hunter) – 4:42

http://en.wikipedia.org/wiki/Skeletons_from_the_Closet:_The_Best_of_Grateful_Dead

“Rosemary”

Boots were of leather, a breath of cologne
the mirror was a window she sat by alone.
All around the garden grew scarlet and purple and crimson and blue.
She came dead and she went, and at last went away, the garden was sealed when the
flowers decayed.
On the wall of the garden a legend did say, no one may come here since no one may
stay.

http://www.dead.net/features/greatest-stories-ever-told/greatest-stories-ever-told-rosemary

http://en.wikipedia.org/wiki/Owsley_Stanley

Stanley met the members of the Grateful Dead during 1965,[11] financing them and working with them as their first soundman.[12] Along with his close friend Bob Thomas, he designed the Lightning Bolt Skull Logo,[13] often referred to by fans as “Steal Your Face”, “Stealie” or SYF (after the name of the 1976 Grateful Dead album featuring only the lightning bolt skull on the cover, although the symbol predates the namesake album by eight years). The 13-point lightning bolt was derived from a stencil Stanley created to spray-paint on the Grateful Dead’s equipment boxes (he wanted an easily identifiable mark to help the crew find the Dead’s equipment in the jumble of multiple bands’ identical black equipment boxes at festivals).

guide

http://deadessays.blogspot.com/2012/02/rosemary.html

“It Must Have Been The Roses”

Annie laid her head down in the roses.
She had ribbons, ribbons, ribbons, in her long brown hair.
I don’t know, maybe it was the roses,
All I know I could not leave her there.

I don’t know, it must have been the roses,
The roses or the ribbons in her long brown hair.
I don’t know, maybe it was the roses,
All I know I could not leave her there.

Ten years the waves roll the ships home from the sea,
Thinkin’ well how it may blow in all good company,
If I tell another what your own lips told to me,
Let me lay ‘neath the roses, till my eyes no longer see.

I don’t know, it must have been the roses,
The roses or the ribbons in her long brown hair.
I don’t know, maybe it was the roses,
All I know I could not leave her there.

One pane of glass in the window,
No one is complaining, no, come in and shut the door,
Faded is the crimson from the ribbons that she wore,
And it’s strange how no one comes round any more.

I don’t know, it must have been the roses,
The roses or the ribbons in her long brown hair.
I don’t know, maybe it was the roses,
All I know I could not leave her there.

Annie laid her head down in the roses.
She had ribbons, ribbons, ribbons, in her long brown hair.
I don’t know, maybe it was the roses,
All I know I could not leave her there.

http://en.wikipedia.org/wiki/Rosa_’American_Beauty

https://archive.org/details/gd87-07-19.sbd.fishman.13023.sbeok.shnf

Rosemary

Rosemary is one of the simplest, shortest songs to appear on a Grateful Dead album. A graceful tune, accompanied by only a couple acoustic guitars, it tells the mysterious, atmospheric tale of a solitary lady in an ominous garden.
The actual narrative is left out, and we’re left with a few lines that allude to some unknown story. Rosemary herself is only indirectly described – “boots were of leather, a breath of cologne” – as she sits by her mirror and leaves her garden. She’s given the name of an herb that was long associated with mourning and remembrance, strewn on people’s graves, but was also a love charm worn at weddings. (Hunter very likely had these folkloric associations in mind when he wrote the song.)
http://www.ourherbgarden.com/herb-history/rosemary.html
The song has a wistful, lonesome setting, starting with one person “quite alone” and ending with an empty sealed garden where “no one may stay;” but nothing is explained. We’re left only with questions – is she waiting for someone? pining for a lover? in mourning? – that the song doesn’t answer.
Blair Jackson wrote that “lyrically, Rosemary feels almost fragmentary, as if it’s just a part of some larger song.” This was deliberate. As a song consciously written in ‘the folk tradition’ (though not, as far as I know, based on any particular song), ambiguity was key to Rosemary for its writers.
Garcia told Jackson in an ’88 interview, “I love it when a song is ambiguous… Hunter is able to leave just enough out… He actually writes more clearly than I let him; he explains things if I let him… Sometimes it doesn’t have to mean anything and it can still evoke a great something.” Jackson observed that Garcia would even “deliberately cut out verses of songs if they seem to be explaining things too much.”Hunter told Jackson in ’88, “Jerry favors a certain type of folk song. He loves the mournful death-connected ballad, the Child Ballad stuff. This is a venerable source which has always spoken to him, and to me as well, which is one reason we got together writing songs – because of that haunting feel certain traditional songs have… I’m generally deep-sea diving in imagery and getting things that sometimes, as in folk music, you don’t know quite what it means, but it’s resonant. Like that line in that folk song, ‘ten thousand was drownded that never was born.’ It makes the hair stand up on your arms.”
In a 1991 interview with Garcia, Hunter brings up the same line: “You know, Jerry, you once said something to me about a lyric that really impressed you when you were young, and it impressed me the same way, and I almost feel that line is where we took off.” Garcia agrees: “That line really scared me. It’s from a tune called ‘The Mummer’s Song,’ that Jean Ritchie used to sing. It’s an a capella song with only two verses, and they’re nonsense insofar as that if they have any sense, it’s so deeply symbolic we don’t know what it’s actually about… Not knowing, though, is part of what makes it so evocative. The mystery is part of what makes it interesting to me.”
(Garcia was slightly off: the tune was Nottamun Town, which was sung in medieval English mummers’ plays.)
http://blog.allmusic.com/2008/06/27/when-down-is-up-2/
 (the story of Nottamun Town)
“Sat down on a hard hot cold frozen stone
Ten thousand stood round me and yet I’s alone
Took my hat in my hand for to keep my head warm
Ten thousand got drownded that never was born.”
Hunter & Garcia brought this sensibility to Rosemary: what Hunter called “the notion of evocativeness,” or Garcia, “the lack of specificness, the power of the almost-expressed. It seemed to speak at some level other than the most obvious one, and it was more moving for that reason., since you don’t know what it’s about.”
Garcia talked about the Lord Randall ballad as an instance: “The versions that made it to Appalachia were two hundred years after the fact for those English ballads – they got sung from father to son or mother to daughter so much that eventually nobody remembered who Lord Randall was, but they did remember the guy’s head rolling down the stairs in that verse. (Hunter added, “You’ve got all those incredibly evocative lines like ‘black eel and black broth, mother’ and ‘I fain would lie doon.’”) You get these little hunks of good stuff and you don’t need all 29 verses to get the feeling of it. You only get three or four verses, but they’re so rich in weirdness because they’re the ones that made enough of an impression that they could last…through the generations.”Though it has the timeless feel common to many of Hunter’s songs, Rosemary has a particularly medieval tone. The lyrics seem reminiscent of ancient Arthurian ballads: “On the wall of the garden, a legend did say, ‘No one may come here, since no one may stay.’” (The acoustic setting and medieval-inspired lyrics are also shared by Mountains of the Moon, which is kind of a sister song to Rosemary.)The annotated GD lyrics site speculates on some of the literary influences that may have been floating around Hunter’s head:
http://artsites.ucsc.edu/GDead/agdl/rosemary.html
The lady in her private walled garden is a staple of medieval literature, for instance in the famous Romance of the Rose and many of Chaucer’s poems:
http://englishhistoryauthors.blogspot.com/2011/10/boundaries-medieval-women-in-medieval.html
http://www.teamsmedieval.org/scientia_scholae/0308/garden.html
One historical reference is Rosamund, the mistress of Henry II in the 12th century, who became famous in English romance and folklore. The story goes that Henry hid her in a bower garden surrounded by a forest labyrinth, so only he could find the way in; but his jealous queen Eleanor used a thread to discover the path, and poisoned Rosamund. This is one old ballad on the subject:
http://www.sacred-texts.com/neu/eng/boeb/boeb06.htm
One possible inspiration for Rosemary is Hawthorne’s story “Rappaccini’s Daugher,” about an alluring but toxic young lady in a garden of poisonous plants:
http://www.shsu.edu/~eng_wpf/authors/Hawthorne/Rappaccini.htm “All around her the garden grew scarlet and purple and crimson and blue.”
(This story was also featured in a Vincent Price movie, Twice-Told Tales, in 1963.)
Another parallel is Tennyson’s poem “Lady of Shalott,” about a lady who pines alone in her walled isle while gazing in a mirror, and comes to a solitary end:
http://charon.sfsu.edu/tennyson/tennlady.html “Her mirror was a window, she sat quite alone.”
(Hunter in the 1991 interview even mentions that the British folk tradition he admires “reaches its culmination with Alfred Lord Tennyson, things like Morte d’Arthur. Certainly I liked that sort of writing.”)
There may also be an echo of Shelley’s poem “The Sensitive Plant,” about a lady who tends a garden – when she dies, the garden dies with her:
http://www.kalliope.org/digt.pl?longdid=shelley2003060601 “She came and she went and at last went away; the garden was sealed when the flowers decayed.”
And so on. There are many such literary pieces about women in gardens that could be found; but which exactly Hunter might have been thinking of, is uncertain. It’s possible he had particular old folk songs in mind, though in general Hunter seemed to take inspiration more from poetry and literature than from older songs.
(Oddly enough, he had recently written another song with a prominent garden: “Saint Stephen with a rose, in and out of the garden he goes.” But Hunter’s later songs would tend to leave English gardens for more American themes.)

http://www.oregonlive.com/O/index.ssf/2010/03/sometimes_a_great_yogurt_nancy.html

One lean year, 1972, the Grateful Dead played a benefit concert, which helped keep the creamery in business.

The result: one of those quintessential Oregon events that fueled the state’s happy hippie reputation and cemented its place in the budding natural foods movement. Springfield Creamery, whose practices and products epitomized the pure, healthy goodness the movement yearned to spread, survived, thanks in part to the $12,000 to $13,000 raised that day.

Without it, the business that grew to symbolize a nation’s evolving food tastes might not have stuck around long enough to celebrate its 50th anniversary this year.

Nancy Van Brasch Hamren brought her grandmother’s recipe to Springfield Creamery in the late ’60s when she started as bookkeeper. She still works in 2010 as office manager.

Nancy Van Brasch Hamren had a recipe. Her health-conscious grandmother made yogurt, and so did she during the months she lived on Ken Kesey’s farm near Eugene.

Hamren, a lanky, soft-spoken Californian, ran in circles simply psychedelic with history. She lived in San Francisco’s Haight-Ashbury district from 1966 to 1968, the bookends to 1967’s Summer of Love. Her boyfriend’s sister was married to Jerry Garcia, the Grateful Dead’s shaggy-haired lead guitarist. And they all knew Ken Kesey — from his books, “One Flew Over the Cuckoo’s Nest” and “Sometimes a Great Notion,” and from the infamous, drug-juiced parties known as Acid Tests, which he hosted and promoted.

When Ken Kesey traveled to Britain to work with the Beatles in 1969, Hamren and her boyfriend moved to Oregon to look after his farm. When Kesey and his family returned, she needed a new pad and a job. Down at the creamery, his brother, Chuck, needed a bookkeeper. He and Sue hired Hamren, and they started talking yogurt.

The time was right. The place, too.

Eugene and Springfield brimmed with hippie bakeries, granola makers, co-ops and natural-food stores. College kids and others living there moved beyond white bread long before the mainstream pondered crafting diets around fresh, local, organic food.

http://www.oregonlive.com/O/index.ssf/2010/03/sometimes_a_great_yogurt_nancy.html

https://rosamondpress.com/2014/09/14/stalkers-and-baby-knappers-2/

One historical reference is Rosamund, the mistress of Henry II in the 12th century, who became famous in English romance and folklore. The story goes that Henry hid her in a bower garden surrounded by a forest labyrinth, so only he could find the way in; but his jealous queen Eleanor used a thread to discover the path, and poisoned Rosamund. This is one old ballad on the subject:

http://www.sacred-texts.com/neu/eng/boeb/boeb06.htm

Yea Rosamonde, fair Rosamonde,
Her name was called so,
To whom our queene, Dame Ellinor,
Was known a deadlye foe.

The king therefore, for her defence
Against the furious queene,
At Woodstocke builded such a bower,
The like was never seene.

Most curiously that bower was built,
Of stone and timber strong;
An hundered and fifty doors
Did to this bower belong:

And they so cunninglye contriv’d,
With turnings round about,
That none but with a clue of thread
Could enter in or out.

http://deadessays.blogspot.com/2012/02/rosemary.html

http://www.dead.net/features/greatest-stories-ever-told/greatest-stories-ever-told-rosemary

http://en.wikipedia.org/wiki/Owsley_Stanley

Stanley met the members of the Grateful Dead during 1965,[11] financing them and working with them as their first soundman.[12] Along with his close friend Bob Thomas, he designed the Lightning Bolt Skull Logo,[13] often referred to by fans as “Steal Your Face”, “Stealie” or SYF (after the name of the 1976 Grateful Dead album featuring only the lightning bolt skull on the cover, although the symbol predates the namesake album by eight years). The 13-point lightning bolt was derived from a stencil Stanley created to spray-paint on the Grateful Dead’s equipment boxes (he wanted an easily identifiable mark to help the crew find the Dead’s equipment in the jumble of multiple bands’ identical black equipment boxes at festivals).

guide

http://deadessays.blogspot.com/2012/02/rosemary.html

“It Must Have Been The Roses”

Annie laid her head down in the roses.
She had ribbons, ribbons, ribbons, in her long brown hair.
I don’t know, maybe it was the roses,
All I know I could not leave her there.

I don’t know, it must have been the roses,
The roses or the ribbons in her long brown hair.
I don’t know, maybe it was the roses,
All I know I could not leave her there.

Ten years the waves roll the ships home from the sea,
Thinkin’ well how it may blow in all good company,
If I tell another what your own lips told to me,
Let me lay ‘neath the roses, till my eyes no longer see.

I don’t know, it must have been the roses,
The roses or the ribbons in her long brown hair.
I don’t know, maybe it was the roses,
All I know I could not leave her there.

One pane of glass in the window,
No one is complaining, no, come in and shut the door,
Faded is the crimson from the ribbons that she wore,
And it’s strange how no one comes round any more.

I don’t know, it must have been the roses,
The roses or the ribbons in her long brown hair.
I don’t know, maybe it was the roses,
All I know I could not leave her there.

Annie laid her head down in the roses.
She had ribbons, ribbons, ribbons, in her long brown hair.
I don’t know, maybe it was the roses,
All I know I could not leave her there.

http://en.wikipedia.org/wiki/Rosa_’American_Beauty

https://archive.org/details/gd87-07-19.sbd.fishman.13023.sbeok.shnf

The Bob Dylan and the Grateful Dead 1987 Tour was a concert tour by Bob Dylan and the Grateful Dead taking place in the summer of 1987 and consisting of six concerts.[1][2] Each concert began with a lengthy set by the Grateful Dead of their own material (sometime broken into a first and second set, per the Dead’s own practice), followed by a roughly 90 minute set of the Dead acting as Dylan’s backup band. The Dead had long performed many Dylan songs in their own concerts, so they were well-versed in Dylan’s repertoire. However, some Dylan fans were not happy with the Dead playing the songs in their own style, or with Dylan going along with it.

About Royal Rosamond Press

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