Elizabeth Monroe Katherine Graham

Each time we go virtual and slide into a seed which will sprout into an Earth-bound human being, we carry direct memory of the Eternal. As we leave early childhood, however, it gradually fades for most of us, in order to allow us to steadily become our virtual separated selves.
During this process, we are still filled with the freedoms of eternity, since we are not yet used to being locked into our bodies, much less our lives. For our first two years here, we feel no limits, as if we were still living beyond Time’n’Space. Everyone around us is us, pure and simple. About the age of two, an internal separation process begins, making that year in our development a particularly difficult one, because we suddenly start to see that we are separate from those closest to us. This unnerving realization ends our grace period from the Eternal, and heralds the beginning of our lives as self-aware beings.
Although the separation process begins at two, our childhood still keeps us plugged into eternity, through the energetic creativity we display in our games of pretend and make-believe. We remain lunar beings as children, and gradually become more and more solar as we reach adolescence. In this way, we mimic the whole collective process of humanity, just as we unconsciously do in almost any discipline we undertake.
We are, after all, dwelling in a heavily programmed virtual reality, where we are not only invisibly wired into one another, but into everything that has ever happened here. Someone can spend a lifetime over a single discovery, but as soon as it is established as a principle, it becomes part of everyone’s innate learning process. What took that person decades, can then subsequently be reduced down to a few minutes in everyone else’s life, because it is now part of our collective body of knowledge.
It is only our current sense of solar disconnection that keeps us from seeing how much a part of the Eternal we always are, and how wired we are into everything that did, does and will ever exist here. As we continue to explore artificial worlds in our ongoing Stellar Age, we will eventually come to realize, we, too, live in a highly encoded environment, where the variable of choice has been programmed in for everyone, to keep things eternally interesting here.

Toying with Our Feelings
Each time we enter into a designed life on our Earth, we set its dial at a specific emotional level, in accordance with how we need to play it out. ‘Out-of-control’ is one of the settings here, just as ‘extremely repressed’ is. All who choose to continue to explore themselves on the full circle of experience offered in Time’n’Space, will eventually do both, and all the variants in between.
While ‘out-of-control’ virtually guarantees a virtual life of continuous wall-banging, it seems to be a fairly popular choice among those who choose to play with their fears and self-loathing on our particular planet. Since our Earth specializes in emotional expression, exaggerated behavior is an integral part of its teaching method, which is why so many out-of-balance beings wind up here to try to work out their profound sense of disconnection.
In the eternal spheres, where actions are not restricted by Time’n’Space, acts of anger and rage can be released and quickly transmuted without permanent damage. In the virtual worlds, however, overt deeds cause permanent repercussions, an unfortunate side-effect which many of us have to experience over and over before it finally sinks in that whatever we do here eventually finds its way back to us.
The emotional pressures we feel in Time’n’Space can be dealt with in the same manner that we employ in eternity, transmuting them internally through thought and feeling, rather than impulsively acting them out. We have the freedom to destroy whole worlds in our fantasies, without suffering any consequences. It is only when we let them ooze out into the public trough, that we have to suffer for what we felt or imagined, for now they can fester in the unforgiving memory of our virtual world, and are part of everyone else’s discomfiting reality, as well as our own.
All of our art comes from this internal transmutation process, where the artist eventually learns to put his or her fantasies on paper or canvas or into the air as sweet sound, rather than littering the landscape with the foul aftermath of an exploded temper or a crazed act.
We have the continual choice here of using our feelings to stain the moment with spilled blood, or raise it to a whole other level by re-creating it as art. All of the writers, artists, musicians and performers who operate on Earth have made that choice to varying degrees, although many continue to hold onto self-destruction as the only means at their disposal to extract their pure creative essence. The archetype of the suffering artist is deeply imbedded in our collective psyche, and, like all other models available here, it is played out over and over again, until its adherent can finally get past it.
Having the gift of creativity in a particular discipline, does not necessarily mean it extends into other arenas, so that once we open up our imaginations, we also have to learn how to apply them to all aspects of our existence, which is another ongoing lesson of our peculiar planet. Although our Earth has produced its fair share of creative genius, it is the exception rather than the rule when its brilliance carries over into a soaring life to mirror its discovery or accomplishment.
During our Solar Age, an impressive pantheon of creative artisans have come to predominate and set the standards for the various arts & crafts that our collective global culture has produced. As in our political world, many of the masters of the various communication arts here are repeat performers, and are part of loosely connected families who repeatedly come in together and dominate the various cultural scenes of their times.
Like everyone else, sometimes they toil anonymously, sacrificing their gifts in order to experience less developed parts of themselves outside of the prying public eye, so that the succeeding lists reflect only a miniscule slice of the serial lives that have been lived out here in the arts.
Some of the listees focus on singular disciplines, such as writing, or art or music, while others move from one mode of expression to the other, but all leave recognizable signatures, allowing our masters and mystresses of the crafts of communication to be clearly seen by the threads they have left behind.

Bodies of Knowledge
As each of us develops in Time’n’Space over the course of our many jousts with the ‘game over’ powers of death, we follow programs designed to gradually open us up to our true potential on this level of limited existence. Our bodies are symbolic reflections of our development, and as we learn how to live in the limited dimensions, we move up them, through our centers of survival, procreation, socialization, power and heart, which translate into our elimination systems, our genitalia, our solar plexuses, our arms and our hearts. Until we start playing above our hearts, however, we remain on an animal level, no matter how much influence or wealth we accrue.
In a sense, we are headless through much of our long early going in Time’n’Space, for it is our creativity which truly distinguishes us as human, and it is not until we open ourselves up above the shoulders that we begin to realize our unlimited potential here. Creativity is everything we do with our conscious designs as well the choices we make around all the elements in our lives, including our relationships, our realities and our realizations.
When we finally activate our symbolic throats and the space between our eyes, where an invisible third orb sits, we take the next step in claiming our humanity. Those two areas hold our basic programs of communication and imagination, and allow us to unleash them as such upon the world.
All of us show our innate creativity when we are very young, via the imaginary spheres we conjure in our play, but for many of us, those worlds wither and die as we move out of childhood, despite being at our disposal throughout our lives.
Developing our creativity and skills of expression is a long, slow process that helps us become complete here, so that our virtual lives eventually reflect our eternal energy states in far more direct manner. Since both our minds and our hearts extend into eternity, we build stronger and stronger bridges through them the longer we are here, in order to more directly mirror our free-flying, unfettered, eternal selves.
Because ours is a waterworld designed around the display and expression of our emotions, it also offers a creative climate of unusual depth, inspiring the full house of feeling from grand passion to icy intellectuality. This is why our collective achievements in the higher spheres of the arts far outstrip the more mundane imaginative efforts that we have conceived and maintained in our political, economic and social institutions.
Although our great artistic works have a temporal immortality to them, the lives connected with them have been, for the most part, far less lofty in expressing themselves in realms outside their expertise. But that is precisely why they are amusing and abusing themselves here, and not on some higher level in the endless universes available to them.

The written word has a power that transcends time. The daykeepers and storytellers of old eventually saw that they could achieve equal, if not greater status, than the kingly subjects of their records and tales, when their own names began to be echoed by future generations long after the rulers they wrote about were forgotten.
Those who came to see the power of the written word as a means of influence and authority have followed very similar paths as the political figures here, by repeating their singular focus down through the centuries. Unlike their ruling confreres, who are usually looking outward, they are forced to explore their interiors, for that is where their true realms now lie.
Hereditary kingships allowed political groupings to be genealogically entwined, while in the world of the arts, families usually manifest as cultural cliques who continually reappear and explore the same major artistic movements together. The worlds of music and art have produced many notable bloodlines, but writers are largely a solitudinous crew, since their craft demands they wrestle alone with their interior sense of language and idea, and then do further battle to allow it articulate exit.
Many writers have been the very kings and queens that others have recorded, and have moved up from the throne to the pen, as a means of opening themselves up to their greater potential, as well as transcending the restrictive limitations of outer rule. The draw towards gaining renown remains with them, but self-expression, rather than personal will, becomes their overall goal, despite competitive confusions aplenty around their true role here. The larger-than-life characters who have headed our storyteller honor roles have the identical inflated solar sense of self as their political confreres, for they mirror the same desire to etch their names firmly in the firmament of Earthly achievement.
In the same way that certain families have been given the run of our Earth to act out their power fantasies, so have certain groups been given the cultural mantle to set the standards for each of our literary epics, so, in a sense, this is their planet, too, for they are the ones who create the foundations and forms for our classical literary canons.
The literary genius of a William Shakespeare (1564-1616), the English language’s foremost classical bard, seems less isolated when it is hooked up with his British predecessors, the poet Edmund Spenser (c1552-1599) and the poet & taleteller Geoffrey Chaucer (c1343-1400). All three kept their interiors completely hidden, despite leaving clear records of their comings and goings, and it is not until modern times, in the elitist person of the Irish poet and playwright, William Butler Yeats (1865-1938), that this figure finally reveals himself to the public-at-large, while leaving an exquisitely lyrical trail behind him that has been the envy of the English-speaking world.
Western literature in our Solar Age began to recognize individual writers en masse with the ancient Greeks and Hebrews, those twin primal citadels of secular and religious solardom. With a focus on those who ultimately adopted English as their chosen tongue, 4D Bios threads some of the ancients through their Italian Renaissance equivalents, and then follows them as they drift north and westward in the succeeding centuries to rediscover themselves via medieval and modern tongues. All are grouped either geographically or according to their specific form of expression, be it poetry, novelizing, play-writing, philosophizing or journalism. The stories they tell and the songs they sing to paper often reflect ongoing obsessions that continue from life-to-life, and the support groups around many are consistent from go-round to go-round as well.
Language empowered many women well before they achieved success in other spheres, and many have chosen to continue to explore themselves in the same gender via the written word, so that the writers’ lists reflect far more women of power over a longer period than any other realm here does. Numerous couples have also taken pen in hand, while serially walking arm-in-arm down the centuries, and they, too, run the gamut from inspiration to desperation together.
As we move into our Stellar Age, it will probably animate a whole new crew to reflect it upon paper. Many of the ancients-turned-moderns of our Solar Age who set the earlier standards, will no longer feel our Earth provides them with the environment and audience they need for their own personal evolution, and will move on to other worlds still in their ancient and medieval phases. Others have and will continue to abandon the more rarified esthetic realms to see how they fare in the popular domain, trading in their lutes and troubadour songbooks for electric guitars and eclectic voices to limn the mass experience in far more accessible vernacular terms.
Nothing here, after all, is written in stone, and those who make language their weapon of choice in discovering themselves, do so because it is such a potent instrument, with its ability to rewrite reality. For the rest of us, it is a tool of learning, teaching and self-discovery, as we await our own turns, with pen eagerly in hand, to become voices that transcend both Time’n’Space.

Art was originally used as a tool of magic in our long ago. It was ceremonially painted on the walls of caves in order to manifest food for the hunt, or tattooed onto faces and bodies to empower people. Like music, it has been with us since lunar times as a means of shamanic expression, and it is a gift we all potentially carry.
Art celebrates the eye as the primary organ of sensation, and attempts to reduce the multi-dimensional world around us into representational icons of color and form
The ancient world recognized its artisans and architects, and gave them name, so that the western artistic canon stretches back into Greek, Roman and even Egyptian times.
It was the Italian Renaissance of mid-medievalia, however, that occasioned a grand reunion of many of the figures who would predominate in Europe and then America in the subsequent centuries. The Renaissance introduced loosely connected clique-families who would then swerve in and out of the various currents the subsequent art world would produce, as it, too, would move from idealized depiction to the abstract over the centuries.
Although art can be as intensely cerebral as writing in its creation, it also holds the immediate emotional force of music, so that it is a bridge between the two disciplines, exhibiting expressive traits of each. Those who pursue art as their own magical touchstone play the divinely-inspired role of re-creator, and many come to focus their attention on specific subjects over the centuries, be it portraiture, landscapes or storytelling.
Three of the greatest sculptors of the Italian Renaissance, Donatello (c1386-1466), Michelangelo (1475-1564) and Gian Bernini (1598-1680) were the same serial master, with chisel-in-hand, directly expanding on his own oeuvre, and occasionally completing work begun a previous life, allowing him a virtually uninterrupted run in that mode for nearly three centuries. This master of form would ultimately come down to the 20th century as that master of color, Henri Matisse (1869-1954). His crisp, clear cerebrality would be balanced in the western canon by his emotional counterpart, Pablo Picasso (1881-1973), who appears often with him, and accurately recognized himself in his direct predecessor life as Dominque Ingres (1780-1867).
One of the earliest manifestations of the Stellar Age, was film, which was born a full half century before the War-to-End-All-Wars, Part II officially ushered in the former. With its bona-fide stars and its ability to meld all the arts into a universal whole, cinema has been a natural stellar outgrowth of the static artistic traditions which have preceded it. Many of the masters of canvas and brush, have shown themselves to be equally facile behind the camera, and have naturally gravitated towards it as their preferred form.
Our more notable film directors appear alternately from the worlds of writing and music as well as art, and their hidden training and earlier focus usually come through in their films, so that those who have arisen to prominence from an artistic background, generally concentrate on the visual, while those whose development is based on the play of words, concentrate more on the verbal.
Because of the differing traditions in the various countries that have supported artistic milieus, many artists, like writers, continue to pursue the same culture over and over. 4D Bios divides the artists, like everyone else, into geography and discipline, be it painting, sculpture, photography or cartooning.
Of all the expressive forms, art still holds onto its medieval ways more than any other, in its simple equipment of paint and brush, so that the Stellar Age will continue to be populated by many traditionalists operating in ancient modes redesigned to fit modern times, as well as those willing to readopt themselves to the electronic atmosphere now prevalent, in anticipation of new forms and means of expression to come.
Those who are eager to join the public pantheon of renowned artists and shamanic conceptualists of the future will probably utilize the moving pictures of the Stellar Age as their primary arena of mass awareness. The others who wish to pursue more avant-garde and less accessible avenues of expression will have to depend on a willingness of their larger societies to support it, as we move more and more into a time where video and celluloid are the primary canvases of choice, and computers are the color-splashed palettes that most spectacularly fill them.
The artists who can see their way into our collective future as standard-bearers, will be staring at themselves through thick camera lenses, but that same desire for recognition and renown will link them with their predecessors and make the Age to come as rich in their re-creations as any time in the past, for the magic of art remains in the vision of its creators, no matter how complex the tools are that they employ.

On one level, our universe exists as pure sound, which we have come to call the music of the spheres. There are those whose ears have been developed to the level where they are totally attuned to it, and they have become the standard-bearers and classical masters of our musical canon, as well as the audiences and critics who support and challenge them.
Unlike writing, which is solely a product of our Solar Age, music has been with us since lunar times, as a means of group communication, ceremony, ritual and release. Our bodies and our voices are instruments in themselves, so we need nothing but a sense of melody and rhythm to express ourselves through them. Almost everyone here is musical to some degree, even if it is only as an appreciative listener, so that musical expression is both a universal trait at the disposal of one and all to develop, and a universal language which transcends all worlds here, thanks to its eternal nature. Each of our continental cultures have developed their own unique sounds and instruments and most of our world-class musicians have explored them all repeatedly, for making music can be an unending pursuit here, since it is such a natural and integral part of our make-up on both sides of our reality divide.
The western musical canon does not really begin until the Middle Ages, when the instrumentation for it was technologically fine-tuned to give full throat to the orchestrated outpourings of its composers. As with writing and art, patronage from the Church and the nobility provided both subject matter and audience for the early medieval masters, who would then go on to explore the various forms and movements available to them, as they continued to whistle while they worked down through the centuries.
While some operated in classical mode up through current times, taking it into its abstracted forms, much as the modern artists did, numerous others used their symphonic foundations to enter the pop realm, so as to explore their own voices as instruments. Although the amplified singular sound they produced may be far thinner than their earlier multi-stringed harmonies to the heavens, it is a far more direct expression of themselves, and has allowed many of the former short-lived classical composers to live out longer and fuller lives, because they are far more in tune with the music they are making.
The thundering passion and unique musical sensibilities of a Ludwig van Beethoven (1770-1827) translates easily into the quirky Irish bard, Van Morrison (1945), who bears more than a passing resemblance to his earlier life on numerous levels. The short-lived prodigy genius of Wolfgang Amadeus Mozart (1756-1791) and his succeeding go-round as Franz Schubert (1797-1828) works itself out in the pop prodigy career of Stevie Wonder (1950), where he is finally able to integrate his life around his art.
The theatrical grandeur of opera has proven to be a training ground for 20th and 21st century film, with several masters of one form turning successfully to the moving stage of the screen to better capture their large-visioned view of life.
American jazz harbors numerous masters who were educated in the European mode during the last several centuries, before returning to their African root to better explore both the jazz life and the hip-hop one that later claimed many of the former’s practitioners.
The 20th century would also see a return of the early medieval troubadours, with guitar-in-hand and story to tell, while its pop singers often had crypto-classical roots in opera and concert, before reshaping their voices to embrace simpler sounds.
As in other art forms, there have been those who see music as the only beauty in their lives, and when they are not engaged in it, they self-destruct, for they recognize little esthetic grace in themselves without it. The rock’n’roll life, in particular, attracted many musical moths who lost complete sight of themselves in the blaze of their fame, showing the double-edge of trying to play with the eternal power of music on a world as temporal and illusory as our own.
4D Bios highlights many of the major figures who operated out of the European medieval musical traditions as well as those who emerged with 20th and 21st century American pop culture, and, once again divides them both geographically and according to their disciplines, be they composers, instrumentalists or singers. A whole new host of Stellar Age performers and virtuosos are waiting to join them, as the 21st century promises to be one where our planet will probably unite around its common and uncommon music before anything else, and many a new voice will be added to the ever-expanding pantheon of those who make it their business to insure that everyone else listens carefully to them.

The Stellar Age has given us the perfect medium, film and video, to celebrate its potential for ultimately uniting the solar and lunar. The symbolic stars who fill giant screens with their rough-hewn and well-manicured presences are all incipient creatures of this Age, and serve as fantasy archetypes for the rest of us, as we commune with them in the dark of our theaters or in the muted light of our living-rooms or bedrooms.
Performance art has been with us since lunar times, and like art and music, it is shamanic, for it re-creates realities through mimicry and interpretation, and opens its audience up to their own greater imaginations. Like art and music, performance is an innate gift just about all of us carry, so that many of us grow up harboring fantasies about being stars of the Stellar Age, or come to closely identify with them.
Those who have emerged as luminaries of the silver screen, have taken many pathways to get there. Some are product of centuries on the stage, and have threaded their way through all the performance venues available to them since ancient times, from traveling road shows to set stages to street art. They are the ongoing masters and mystresses of their craft, for it has been the thread they have most closely followed, as a means of understanding themselves.
Although actors and actresses have been much maligned as cheap and loose people during much of the evolution of our classical theater, the exhibitionistic draw of drawing all eyes towards them, has been irresistible throughout the weave of western civilization, and their names, too, would be noted and recorded from ancient times. Performing is a mode of self-investigation through being someone else, a seeming contradiction, and yet, a key to why many choose this pathway.
By finding common ground with even the most distant characters, performers learn about themselves through giving play to the most dangerous as well as sublime tides of their emotions. As instruments dedicated to the purest of human expression, that of portraying their fellow sentient denizens here, those who set the standards have been doing so for a long time. Many are probably part of extended invisible clique-families who have continued to play off one another both supportively and competitively, while some are part of direct bloodline traditions, where almost all their members pursue applause as their primary public gratification.
The chance to become a 20th and 21st century star has also attracted numerous people who have sat on thrones or risen through the royal courts, so that the magical kingdom of Hollywood is, indeed, a ghostly reflection of past European aristocracies, with many a former monarch finding his or her own empire amidst its gloss. Many a general has also made the transition from sword-in-hand to script-in-hand, finding that their manly sense of self translates well into the action-adventure genre, while the only wounds and bruises they suffer is to their own self-esteem.
Hollywood celebrates not only those upon the screen, but those who make movies happen, the producers. They, too, are threaded through the courts and the thrones of the past, where all of them were highly supportive of the arts, so that they could make the successful transition from the political to the cultural and still retain their sense of kingdom and empire. The de’ Medici family of the Italian Renaissance, which was extremely supportive of the arts, reappeared en masse in early Hollywood as MGM, the studio that claimed more stars than the heavens, and then reincarnated again in late 20th century Hollywood as SKG Dreamworks, with members of the same hidden medieval family at the helm.
The aristocrats who acted in the court masques sponsored by the various thrones, found their training for Hollywood there as well, so that both stage and screen have attracted everyone from itinerant performing gypsies to lords and ladies of the realm. Some have even played themselves on screen, distilling their past lives down to a multi-week shoot, while unconsciously reviewing their past selves through actorly eyes.
A goodly number of movie figures have come from the world of crime, particularly America’s legendary Old West, bringing an unconscious authenticity to their blank cartridge re-enactments of earlier violent display, while using their creativity to transmute their ongoing sense of alienation.
Numerous young Hollywood stars of the late 20th and early 21st are repeats of the early days of Hollywood, when they did not take their craft particularly seriously, and instead relied on the power of the projection of their personality. Many of the males returned smaller, far more expressive, and far more vulnerable, in accordance with the man-boy archetype that came to replace the husky heavily male stars of the first half of the century.
Those actors and actresses who were typecast on their first run-through with Hollywood, have also worked on expanding themselves the second time around. All inhabit different bodies, but there is often a similar design element to their screen projections, so that the movies can show us directly how we superficially change from life-to-life.
Some Hollywoodians command public attention without having developed the requisite skills to do so. They are beginners here, newly arrived for the Stellar Age to come, but operating in a ‘hey dig me’ mode, much as a child would, so that they instinctively become archetypes and models for those who are new here, and accordingly act out their confusion and ignorance.
Comedians are a special group who find their purpose in delighting or shocking others, and they, too, seem to congregate in generational groups. The singular person in the old courts who was allowed a semblance of the truth was the jester, and this tradition has been passed down to modern times, so that those who can make people laugh over the injustices and imbalances of life, are given considerably more critical leeway than those who cannot.
Comics come in a wide variety of stripe, from the clownish to the cerebral, and, though it is a most tenuous life, the outpouring of love and laughter that is given to those who know how to massage an audience’s risible heart is worth the risk to those who choose this particular pathway. A great sadness dwells in many comedians, making comedy a circular antidote in itself, and a merciless vehicle for self-examination.
In its delineation of the entertainment world, 4D Bios focuses on Hollywood, and begins with the hidden royalty who have created their own empires here, as well as those who have directly turned in their crowns for a chance to display themselves directly to their eager realm of fans. It follows with the families who repeatedly interconnect, and then limns actors and actresses, dividing them by the decades in which they were born. It continues with the criminals who have made the choice to act out their volatility in more acceptable fashion, and then limns the martial artists turned performance artists, before concluding with the comedians of the last two centuries, with a main focus throughout on American performers.
Since the frozen performance media of video and film are still in their relative infancy, with the future threat of completely artificially created performers some day populating it, performance art remains a tricky vehicle for those who wish to enter it, for it may soon devolve back down to live theater and street art for its practitioners. For the moment, however, we remain entranced with the first real stars of our early Stellar Age, and give them an import far out of proportion with who they really are, which is in perfect keeping with our own secret yearnings for the Eternal, where everyone is a star, whether they realize it or not.

4D Bios
4D Bios begins with the symbolic Camelot families and some of the personalities of the XVIIIth dynasty, breaking them down to their tight cadet units, to show how they continually play off one another.
They are then followed through the thrones of Rome, the Holy Roman Empire, France, England, Scotland and the presidency of the U.S., as well as several other ruling houses of the past. All the people who are listed have their stories briefly limned and the names of their fellow players are followed in parenthesis by their latest or best know incarnations.
The Camelot section is followed by the kings of England and Scotland and the presidents of the U.S., and it concludes with the royals of Europe, which holds some of the other families who have sat upon the European thrones mentioned above, as well as those who have worn the icy crown of Russia, from its duchy days to the present.
The writers, artists, musicians and performers are all subsequently limned in their respective sections, to further show how much everyone repeats here until they are finally and thoroughly satisfied with their performance.
Welcome, then, to 4D Bios, and their breakdown of some of the major and minor players who have been here, and wanted, in no uncertain terms, for people to ever forget it.



1- Rulers-Ancient Kingdoms
2 - Rulers-Modern EuroAmerica

3 - Camelot Lists
4 - AngloAmerican Lists
5 - Euroroyalty Lists

6 - Show Biz Royalty Lists
7 - Show Business Lists
8 - Writers Lists
9 - Artists Lists
10 - Musicians Lists

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