San Francisco Haight-Ashbury Footnotes
I seemed to see a ghostly, indistinct figure sitting in a whirling mass
of black and brass for a moment — a figure so transparent that the
bench behind with its sheets of drawings was absolutely distinct;
but this phantasm vanished as I rubbed my eyes. The Time Machine
High society in the Haight was based on cultural contribution as opposed to rhetoric*. The social playing field was 'equal opportunity' oriented - sunlight hours balanced in an ideal ratio with moonlight hours. Not to digress, it should be noted somewhere for the record that, although exhibitionism was not generally frowned on, it was rated. Nudity scored low on the 'rock 'em scale [since anyone could remove their clothing] though not considered totally déclassé. The UK played a role in hip wardrobe induction since the arrival of The Beatles and Rolling Stones, and Haight-Ashbury threads often reflected trends set our friends across the pond.
In nature there are neither rewards nor punishments; there
-Robert Green Ingersoll
San Francisco set itself apart from other psychedelic movements, not only in appearance but mainly in the philosophic "road less traveled." Conscious people were on to subtle avenues tracked by French artists from the 1800s, and Europe as a whole during the psychic revolution at the dawn of the twentieth century. Research in 'energy readings' of people, places, and things - traditional domain of the metaphysical elite - blossomed overnight to awaken pedestrians. Thorough, sophisticated, even technically measured observation skills evolved to a level of social science, with it's own local colour, fashion, and full, hip lexicon - still functional. Higher skull senses [ESP and radar] phased into systems previously dedicated to the standard five information harvesting agents. Physical and second sight, vital for forged locks on textural visual fields, still train attention on the microcosm as an infinitely rich and complex network.
Internet surfers unsnarl threads of confusion embedded in metaphysical topics: some sites compensate for bogus posts that are totally broken or tone lost. Newly spun threads or ancient formulae, unearthed to maintain the balance of macrocosm & microcosm in the Haight-Ashbury are rooted in sunlight and a morning rag. Fine-tuning [Lucas Sound - CGI] provides the awakened audience an audio-visual 'whole package.'
Influences from across the pond added spice to the creative cauldron, bluegrass and blues-influenced guitar players. Pete Prown wrote, "… everything changed in 1965. Among the U.K.’s leading guitar proponents, radicals like Jeff Beck and Eric Clapton were making bold new noises literally with the Yardbirds and John Mayall’s Bluesbreakers, respectively. Not far behind them were blues expatriates like Peter Green who later formed Fleetwood Mac, future Rolling Stone Mick Taylor, and Ten Years After’s guitar wizard, Alvin Lee. Within two years, Jimi Hendrix was on the rock scene, mesmerizing fans with his outrageous image and surreal, psychedelic guitar attack. Within the span of time from 1965 to the end of 1967, these players effectively created the role of the guitar hero in modern rock bands and forever changed the sound of rock ‘n’ roll guitar."
Link Wray, an early influence on guitar greats John Cipollina, and Jimmy Page [aptly demonstrated on air guitar in the recent rock doc, It Might Get Loud] is included in the band of minstrels that came up with Scotty Moore, Bo Diddley, James Burton and later guitar acts.
The annual Haight Street Fair meets the second Sunday of June. Drop by and visit the Upper Haight for a day of live music, great vittles, art & crafts, and warm memories. The Grateful Dead house still stands at 710 Ashbury, [on a hot chi or akasha line that runs toward Haight Street] channeling energy [solar] through the house into the street. Big Brother and The Holding Company's house at 1090 Page Street [magnificent pre-quake Victorian] has been replaced with a plain building that appears to be a residence. The 'Both And', once near Haight and Divisadero, appears to be erased or reborn in a different location.... the second Jefferson Airplane house, on Fulton Street near Stanyan, is elegant as ever, and faces a delightful entrance to the park.
note: check landmarks you're looking for online, before planning a tour of the Haight, just to be sure you're on the right track.
right, Thunder and Lightning duo, taken from Yi King Hexagram The Arousing, Shock, Thunder: John Cipollina and Nick Gravenites
Link Wray and John Cipollina in Mercury's Children, part 2
60s Sound Dept.: Quicksilver Messenger Service lived in Marin County, across the Golden Gate and through the rainbow tunnel. No surprise to anyone they set up a rehearsal hall just off Haight Street, near the Mercury Temple site that adheres to a frequency set for The Transparency Wave and Muses with a Mountain Lake Wave. Quicksilver lightning, akin to a St. Elmo's Fire effect, are Mercury's Children. The band includes Gary Duncan and John [RIP] Cipollina. John Cipollina lived in a Sausalito houseboat for a short but colourful slice of life, as did Varda and Alan Watts, the spiritual guru for many on the bridge between the beats and hippie whirl. Beats embraced the Buddha and were well known for their extravagant love of his wisdom teachings in Japan and India. Beat books, poetry, and stories pointed to Nirvana and Samadhi, the continued existence of being under different forms, and daily meditation as a way to self-realization.
Alan [RIP] Watts [combust Sun 14° Capricorn 51'and Mercury 15°13' Capricorn] eventually had his bones stolen, not atypical for a Buddhist with a compelling [Mars 11°Capricorn 28'] destiny aspect. His Moon 11°Virgo 36' trine his Capricorn stellium was partially responsible no doubt. Kerouac also had a Virgo Moon, exactly conjunct his Ascendant. [see BEAT] If you're interested in Mercurial placement in Star Charts, see Women Rock and Robert Redford and Mercury's Children] Some popular musician, literary, and film entertainment influences are also found on Artist Influences link up.
What’s happening? Ahhh, brings back memories… There were three readers in the Haight [Ophiel did no sessions] and they were cloistered near Straight Theatre Sun and Mercury Temple power sites at the corner of Haight and Cole. The reserved table for the palmist at I and Thou café was next door to an astrology room at Straight Theatre. My readings were given on week day afternoons in a store across the street from both; occasionally I read for Straight Theatre events and sometimes for people at Enrico's in North Beach.
Most tourist questions were about the big and little universe. Tourists were from all over the world, mainly the US and UK. Most of them asked for entry level guidelines. The little universe questions were often related to a personality symbolized by the order and ratio of the elements and vibrations of Zodiacal gemstones; the archetype I.D. could be easily explained, with modification an option. More inquisitive folk, determined to leave no stone unturned, had specific questions about bigger issues beyond feeling the pulse of the business world in an hour. Their curiosity extended to basic alchemical formulae and even concerning the seven ores.
Store fronts gave artists, metallurgists, and silkscreen art traders a cool set to sell a souvenir keepsake to take home. Love beads [necklace] also represented combined power themes expressed in gemstone, mineral and metal. I used to construct astrological necklaces that represent the planets, lights, and degrees of the star chart as an item of jewelry. Check the crystal-clear gallery, The Stone for details about zodiac gems and metals. In general, design jewelry with associations similar to the braided three metals: gold [Sun], silver [Moon], and copper [Venus]. Intuitively, the microcosm and the macrocosm usually line up spontaneously unless some outside force intervenes.
It was common for downtown nine-to-fivers from the financial district to try a 'pseudo-hip' mindset by wearing love beads, flower power jackets, or wigs from Market Street. The look was simple to copy from fanfare poster art – but could lose something in the translation. Everyone knew if guys were from the trading floor when they got on the dance floor - no one said anything. Tour buses began an invasion much less flattering - compared with the two waves of musical influx from across the pond. The mood changed in a dramatic sense as loudspeakers drowned out birdsong in the trees up and down the street. They were not 'disturbing the peace' according to 'authorities.'
"Are you yet ready to admit that what you will and what you won’t are one and the same process? …That as the recognition of a figure requires a background, the sense of being “oneself” requires the apprehension that there is something “other” and external, and that the achievement of any kind of power, success or control cannot be experienced apart from a perpetual contrast of failure, surprise, and unpredictability?… That, therefore, all our pretentious projects for power over circumstance are a sort of joke or game which, if taken seriously, lead to mayhem and violence—expressing sheer rage at being unable to solve a problem which was absurd from the beginning?"
Alan Watts, Chapter On Selecting Vibrations -DOES IT MATTER? Essay on Man’s Relation to Materiality [Vintage Books 1968]
Several of 'them' [set up the intentional break from Buber's desired I and Thou relationship] operated a highly publicized vocal group. 'They' didn't seem to read [or understand], in alphabetical order: Hans Christian Andersen [02 APR 1805 Aries Sun 11°50, ASC Sagittarius 18°01, Jupiter in Sagittarius], Joseph Campbell [probably because he opposed nuclear power plants], Cassady & Kerouac, Herman Hesse [Sun in Moonchild, Ascendant Sag 20°10, Jupiter in Sag], Carl G. Jung, or J.R.R. Tolkien [03 JAN 1892 Sun in Capricorn 12°59, ASC Virgo 6°00, Jupiter in Pisces.] 'They' didn't like or understand Ron Boise, Jackson Pollock [28 JAN 1912 Aquarius 7°31 Sun, Jupiter in Sag], Vincent van Gogh [30 MAR 1853 Aries 9°39 Sun, ASC Moonchild], or mystic beat Buddhist Alan Watts any better.
I'm sorry, Dave. This mission is too important for me to allow
you to jeopardize it. -Hal, 2001 A Space Odyssey
In the beginning, 'the neutral zone' read like a cooperative effort between Ian Fleming [28 MAY 1908 Gemini Sun @ 6°15, ASC Aquarius 12°11], Rosalind Russell's [04 JUN 1911 Sun @ 13°07 Gemini, ASC Scorpio 7°28] MAME, Jules Verne [08/02/1828 sign Aquarius 18°45 and ASC Gemini 6°44] 20,000 LEAGUES UNDER THE SEA, and Uncle Walt's Magic Kingdom [05 DEC 1901 Sun @ 12°27 Sagittarius, ASC Virgo @ 25°35] - there was no 'Gentleman's Agreement' in California.
Top of the Wish List most people composed: a time machine to go into a Hi De Ho Cotton Club, where the talent consisted of such incomparable entertainers as Lena Horne and Duke Ellington. Francis Ford Coppola's version of THE COTTON CLUB [Richard Gere], followed by stage and film variation with the same beat, CHICAGO [Richard Gere]. Flappers still in.
Some simply mingled with Beats, frequently in North Beach, and thespians in and around North Beach Actor's Workshop, A.C.T. & Magic Theatre for Madmen Only on Divisadero. Comedy raged on at the Purple Onion and Hungry i. The Committee was, of course, considered San Francisco's finest!
The Dinosaurs on stage in GG Park. [The film '68 catches a glimpse
of Quicksilver performing at a free concert in Golden Gate Park.]
Background and insight on the North Beach tour can be found at this location. Link with City Light Books for another illuminating tour of "The Coney Island of The Mind." Location in North Beach, at 261 Columbus Avenue, corner of Columbus Ave and Jack Kerouac Alley. see Allen Ginsberg Ashes & Blues
Instrumental characters outside the Haight-Ashbury include: Ken Kesey [Sun 24°Virgo 07' with Virgo stellium & Gemini Moon] - Virgo is the sign of Initiation Mysteries [Ceres-Demeter] on a traditional western calendar. L. Ron Hubbard [13 MAR 1911 Pisces Sun @ 21°38, ASC Sag 20°28, Jupiter in Scorpio], Uri Geller [20 DEC 1946 Sagittarius Sun @ 27°31, ASC Scorpio 4°15]; 'Meditation,' [HH The Dalai Lama XIV, 06 JUL 1935 Sun 12°56 Moonchild, ASC 9°56 Moonchild] and, 'Zen,' entered mainstream English as SUMMER OF LOVE roots took hold.
Jorma has a 22 Soul Urge, the indication of someone who wants to be the perfect builder, for the good and securitiy of all. This is linked with a powerful Mars and Pluto combination. Jack has a 7 Soul Urge - someone on the road to the ideal 'zone consciousness'; desire for silence and peace to live his inner life, wants to meditate upon his dreams of perfection. Number 7 signifies mastery in the chosen profession, when developed; also, possible ambassadorial station, oratory, poise, internal centering and a desire to expand the universe.
Return San Francisco introduction
Kesey page ‘further’ on yahoo tdn now history
highlighters from NEW AGE JOURNAL
KEN KESEY RAVES AGAIN
By Alan Reder
NEW AGE JOURNAL, November/December 1992
On the August day on which I begin reading Ken Kesey's new book, Sailor Song (Viking, 1992) - his first in nearly three decades - it's 107 degrees outside my southern Oregon home and I can see the withered patches in the nearby forest canopy, scars from an eight-year drought. In Portland and Seattle, they're rationing water. Meanwhile, this novel, by a man who was one of the true Buddhas of my generation, portrays a near future in which climatic catastrophes, ozone depletion, resource rape, and land development have advanced to the absolute precipice of irreversible apocalypse, and probably beyond. With typical Kesey magic, the marvelously bent characters climb right off the page and dance their whacked-out drama in front of me. But the future he augurs is too dismally believable and I'm shaken to my soles. Has Ken Kesey given up?
Ken Kesey, whose '60s novels One Flew Over the Cuckoo's Nest and Sometimes a Great Notion rang like great rock 'n' roll in my ears, in millions of our ears, while we were storming the barricades?
In my profession, you sometimes get to explore these things firsthand. A few weeks later, I've secured an interview with the '60s high-priest himself and I'm headed north on Interstate 5 to the Kesey farm just south of Eugene.
The landscape I'm rolling through, the Williamette Valley, is Kesey country all the way, and not just because marijuana has sometimes rivaled timber as an Oregon cash crop. Kesey's family moved here from Colorado when he was nine years old. He got his undergraduate degree at the University of Oregon in Eugene (he went on a wrestling scholarship), then moved south to enroll in Stanford University's creative writing program in 1958, where he studied with Larry McMurtry, Robert Stone, and Wendell Berry under mentors Wallace Stegner and Malcolm Cowley. After two novels, the legendary LSD-crazed cross-country bus trip with the Merry Pranksters 1964, and a marijuana bust for which he served time in 1967, Kesey came home to this valley to raise a family with his high school sweetheart, Faye.
I'm following Faye's directions now. They guide me off the freeway, down winding roads through sun-scorched pastureland, and past other farms until I reach the Kesey spread, a mostly flat, seventy-acre parcel where he writes, raises beef cattle, and launches occasional hell-raising excursions with old Prankster pals. On a telephone pole by the farm's entrance there's a yellow road sign with the black silhouette of a kangaroo and the words NEXT 5 KM. I decide this must be the place.
I've waited nearly a month for my spot along the Sailor Song publicity gauntlet, a long one because most media pundits doubted this writer had another novel in him. The spot is a narrow window between noon and 2:30 P.M., at which time Kesey has to disappear, so you can bet my heart sinks when - after my three-hour drive, the kind-faced man who greets me says my appointment is sleeping. But he reassures me - I am expected - and invites me in while he goes to rouse the subject matter.
As one might suspect, the house I enter varies somewhat from the traditional bucolic décor. The basic structure - an old red converted barn - is ordinary enough for these parts, but up where the hay loft used to be there's a big white star painted inside a blue circle that makes the building look like a fat cargo plane ready for takeoff. Inside, Kesey's home is appointed like a rustic version of Pee Wee's Playhouse. Across from the round wooden table where I take a seat, one living room wall is painted highway-construction-ahead fluorescent orange. Beneath several couches in the sitting room, the floor is covered in large swatches of primary colors, while a rainbow of Day-Glo hues coats the stairs at one end of the room. Only the kitchen wall of unfinished, aged lumber, and the pole-and-plaster ceiling mute the effect.
Call the décor Contemporary Kesey, by the man who also helped interior-decorate the craniums of much of my generation. I'm still trying to figure out just how to greet a living legend when it wanders out in a sleeveless tie-dyed shirt and loose-fitting white pants and offers me a meaty hand. Maybe six-foot-three, he has the heft and stature of an ex-tight end. Except for curly hair and sideburns that have gone white, Kesey at fifty-six looks much the same as he did in Prankster-era photos.
The previous six months have been so tumultuous, (Kesey says) largely because of local fears about invasion by the Great Unwashed - tens of thousands of migratory Grateful Dead fans. "The community [nearby Veneta] where [first proposed site of the original 'The Sea Lion' show] was going to happen tried to stop it," Kesey says in soft, measured tones, "and the way they talked about 'these people,' about these Deadheads, about all the problems they'll cause, and the theft that would happen and all the violence, they might have been Germans talking about gypsies." When Kesey shifted the location to his own farm, he persuaded folks that no security arrangements were necessary, and the crowd's behavior justified his confidence. People parked where they should, stayed away from the house, and kept their inebriant intake to manageable levels. "It was the same seedy, wild-looking bunch," he says, "but they understood."
Kesey asks a young couple passing through the kitchen if they'll favor him by throwing some hay at his cows, and then suggests that we go survey the site of Saturday's performances. A short walk from the house and we're in a grassy area big enough for a serious touch football game, surrounded on three sides by narrow stands of trees. And right here among these trees, its coat of many colors faded by time and weather, rests - and rusts - The Bus. The most famous '39 International Harvester ever, this vehicle had been christened Further [sic] by Kesey and the thirteen other neutrochemical astronauts who called themselves the Merry Pranksters.
"The Smithsonian called me about two weeks ago," Kesey reports as we pass it. "They still want it, the crazy fuckers. There's no way I'd move that." I'm confused, having heard on National Public Radio a couple of years ago that Kesey had restored the bus, loaded it with former Pranksters, and toured the country to promote A Further Inquiry, his nonfiction account of that fabled trip of trips. Clearly, this glorious automotive carcass hasn't touched asphalt in ages and probably never will again. "Oh, yeah," Kesey remarks casually, "NPR's still suspicious of us."
Kesey's got something to show me, he says, so we make our way toward a large lean-to outbuilding with hay for his cattle stacked against one side. Inside is a precise replica of the original Further, ready to roll, its LSD-peak paint job as bright and unblemished as if still wet. So THIS was the bus that toured. "Yeah," Kesey confirms, grinning.
Buena Vista Park begins the Haight Street stretch to the park at Stanyon. Timeless ambiance, like the surreal garden designed by Edward Scissorhands [Johnny Depp from the movie], has a hauntingly beautiful deep grey diamond or smoky quartz crystal vibration. Atmospheric conditions support the prevailing quest for self-realization, prevalent in the Haight during early alternative culture years.
CERES and The Mystery Play
'Ceres' her name can be translated as, 'Growth.'
A gilt statue of Ceres stood alongside one
of Mercury in the Forum.
CERES YOKED HER PAIR OF DRAGONS TO HER CHARIOT ...
AND BROUGHT THE CHARIOT TO TRIPOLEMUS AND
GAVE HIM SEED AND BADE HIM SCATTER IT
PARTLY IN VIRGIN LAND AND PART IN FIELDS ...
-Ovid, Metamorphoses  v 646
The Seven Hills of San Francisco
Temple of the Sun - intersection Haight & Schraeder where the Straight Theatre and I and Thou cafe were, location of band and primary display for the street festival and free concert
Temple of Jupiter - Lone Mountain [campus of USF now] - once an observatory
Temple of Venus - vicinity Alamo Park, overlooking The City [probably an early gathering place for people when they migrated west] - ideal post card photograph
Temple of Mars - southwest of Lone Mountain
Temple of Saturn - Buena Vista Park, facing Corona Heights
Temple of Uranus - edge of SF Presidio, upper end of Mountain Lake
Temple of Neptune - Golden Gate Park, Strawberry Hill outlook to the Pacific Ocean [this was a possible earthquake monitoring garden, with ancient horses and deer]
Temple of Mercury - probably Quicksilver Messenger Service rehearsal hall, one block up from Haight Street - also near Gabriel's spaghetti feed
Overlooking the Golden Gate from the Presidio are three hills understood to symbolize and end the Bridge of Kinvat, the etheric bridge extending from the Dog Star Sirius to Earth. The dog Sirius, alpha Canis Major, is one of the watchmen of the Heavens, fixed in one place at the bridge of the Milky Way, keeping guard over the abyss into incarnation. See faq page about the star Sirius and Harry Potter godfather Sirius Black. (according to one source, Tishtrya is the angel (Yazad) of the star Sirius.)
S T A R T M E U P
Master of the Latin Rock Sound
one of the best to emerge in the 60s community by Santana
Everything's Coming Our Way lyrics
Open your eyes. Let it begin with me.
Brand new day. Fresh new way to live,
The mornin' is callin'
Walk with me into the sun.
Everything is comin' our way.
Everything is comin' our way.
Everything is comin' our way.
Here's my hand, reaching out to you,
Take it, darlin', and lead me on, yeah.
Everything is comin' our way.
Everything is comin' our way.
Everything is comin' our way.
I can feel it in my bones. No man stands alone.
Sister, Brother, from all the same seed.
Everything is comin' our way.
Everything is comin' our way.
Everything is comin' our way.
G A M E C H A N G E R
On a steamy July 20 morning in 1968 Eunice Kennedy Shriver stepped up to the microphone at Soldier Field in Chicago and convened the first Special Olympics Games. It was only seven weeks after her younger brother Robert had been gunned down in the kitchen of the Ambassador Hotel in Los Angeles and about five weeks before the Windy City exploded in violent confrontations between police and protestors at the Democratic National Convention.
The assassination and the violence in the streets profoundly altered the American political landscape… and, in a much different way, so did the Games at Soldier Field.
With a crowd of fewer than 100 people dotting the 85,000-seat stadium, about 1,000 athletes from 26 states and Canada, all of them routinely classified in those days as mentally retarded, marched in the opening ceremonies and followed Shriver as she recited what is still the Special Olympics oath:
Let me win,
But if I cannot win,
Let me be brave
In the attempt.
Chicago mayor Richard Daley, who would become a polarizing figure at the convention that August, attended the four-day event and told Shriver, "You know, Eunice, the world will never be the same after this." While skeptics shook their heads and most of the press ignored the unprecedented competition, Shriver boldly predicted that one million of the world’s intellectually challenged would someday compete athletically. She was wrong. Today, three million Special Olympics athletes are training year-round in all 50 states and 181 countries. They run races, toss softballs, lift weights, ski moguls, volley tennis balls and pirouette on skates…
-Jack McCallum, Small Steps, Great Strides - Special Olympics
Sports Illustrated 12-08-08
Haight-Ashbury Panhandle Allen Cohen-The Oracle Bands-Musicians ~ The Beat Goes On
"George Harrison's music and his search for spiritual meaning is a story that still resonates today and I'm looking forward to delving deeper," Scorsese said.
Scorsese to direct Harrison film
Docu to cover artist's music, movie careers
By MICHAEL FLEMING
Posted: Wed., Sep. 26, 2007, 7:30pm PT
Martin Scorsese has committed to direct an untitled documentary about the life of George Harrison. [click George for information about his home]
Scorsese will produce with Harrison's widow Olivia and Nigel Sinclair in a co-production between Scorsese's Sikelia Prods., Harrison's Grove Street Prods., and Sinclair's Spitfire Pictures.
The docu is being constructed as a theatrical release, and the Harrison family will supply materials from its extensive archive. Interviews and early production will begin later this year, and the film will take several years to complete.
See full article
George Harrison born on February 25th, 1943, at home at 12 Arnold Grove, Wavertree, Liverpool, England
check star chart comparison for John, Paul, George, and Ringo & Friar Park
comparison for Eric Clapton, George Harrison, and B.B. King -- The Fab Four IMAGINE
t h e b u z z
Fortissimo Sells Scorsese's Stones Doc to Fox for UK,
Australia, New Zealand
Documentary coverage presented by the Full Frame Documentary Film Festival
According to IndieWire:
Twentieth Century Fox International has announced a deal for UK, Australia and New Zealand rights to Martin Scorsese's new untitled Rolling Stones documentary, in a pact with Fortissimo Films. Scorsese began making the doc in October at the Beacon Theater in New York City where the Stones performed a show in front of former U.S. president Bill Clinton and other notables. Cinematographer Robert Richardson supervised the camera team and Scorcese is currently in post-production with David Tedeschi editing the film (the two also worked together on "No Direction Home: Bob Dylan"). The project will include historical and current behind-the-scenes footage and interviews. Fortissimo's co-chief Michael J. Werner negotiated the deal with Fox Filmed Entertainment Chairman and CEO Jim Gianopulos and company SVP of acquisitions and co-productions Tony Safford. "Many years ago, in film class in college, I watched Robert DeNiro saunter into a bar to the tune of 'Jumping Jack Flash', in a movie called 'Mean Streets' made by some guy named Martin Scorsese. It blew me away, and both Marty and the Stones have done that to me for decades since," said Gianopulos, in a statement. "The chance to be a part of them working together is a dream come true." Shangri-La Entertainment and Concert Promotions International are financing the doc, which is produced by Victoria Pearman, Michael Cohl, Zane Weiner and Steve Bing. Executive Producers are Rolling Stones members Mick Jagger, Keith Richards, Charlie Watts and Ronnie Wood, with Jane Rose as co-executive producer. Paramount will distribute the film in the United States later this year. Fortissimo is handling international sales. [Eugene Hernandez]
The Last Waltz 1978
Although it simply records a concert, The Last Waltz is a wonderful movie because no image is reduced to its informative value: frame, light, distance, and movement are contrived to give each and every shot its meaning. Movies are not made for recognizing things: they must bring out those differences through which beings manifest themselves. Such is Martin Scorsese’s artistic lesson; it might also be a lesson of morals, the flight from one’s likeness being a definition of liberty.
- Alain Masson, American Directors, Volume II
The Saragossa Manuscript
Official site of the current theatrical release of the original, directors' cut of this film seems to be offline at this time. The restoration of The Saragossa Manuscript, presented by Martin Scorsese and Francis Ford Coppola, is dedicated to the memory of Jerry Garcia (it was his favorite film).
MRQE Review page
Martin Scorsese worked on the 1989 reconstruction and restoration of David Lean's masterpiece, Lawrence of Arabia (uncredited) - angels are at work on TDN Peter O'Toole
Oscar win for The Departed (2006)
No Direction Home: Bob Dylan
Concert for New York City
and others, including Lightning in a Bottle (2004), Woodstock (1970),
and video "Bad" on the Michael Jackson: Number Ones presentation.
most chilling moments in cinematic history
Son of Spooky
art Objects On The Go
G O R E D !
Art ~ artist influences
of the Haight-Ashbury
Cool photo page featuring Phil Lesh and Bobby Weir
San Francisco Haight-Ashbury
Golden Gate Panhandle - Digger Space
Santana, Everything's Coming Our Way ABRAXASSANTANA time: 3:17
10 Forward Star Trek galley, Colour Us Inn, Indiana Jones Menu, Innholders' Company, It's All In The Sauce
Jupiter Table, magic spice, Mercury Table, Oracle's Lab, shrmx, Star Inn -Star Wars, Tangerine, vittles
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