Bare-Faced Messiah: The True Story of L. Ron Hubbard by Russell Miller

By Russell Miller

New and up-to-date version of the vintage exposé of the lifetime of the founding father of Scientology

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Extra resources for Bare-Faced Messiah: The True Story of L. Ron Hubbard

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Although no longer “essential” to her, she said, he remained “very dear. ” Cage had a revelation for Xenia too. At the time he met her he was living with Don Sample. ” His relationship with Don Sample had become “promiscuous,” he added, both of them getting involved with other people. At some time during their stay in New York, Cage reportedly had a brief affair with the rising young architect Philip Johnson, who had organized an influential show of international architecture at the city’s Museum of Modern Art.

Cage composed some of his first percussion music when he and Xenia went to live in Santa Monica, probably late in 1937. They survived on only fifty dollars a month, he recalled, money he earned scrounging odd jobs and doing research for lawyers. The couple moved into a large house run by a bookbinder named Hazel Dreis, an artist at her trade whose covering materials included python. Cage and Xenia both learned to bind books—Xenia most actively, though he enjoyed designing the covers. The shop also supplied performers and instruments for his new percussion pieces.

Henry Cowell had composed a piece decades earlier in which he hit the keyboard with his whole forearm. Cage climaxed Construction in Metal by slamming it with a board that covered all the keys, and had a female performer, probably Xenia, smash a lime rickey bottle into a tin wash boiler half filled with broken glass. Cage capped his creations as a composer at Cornish by inventing a new musical instrument—the prepared piano. Surviving accounts of its birth and development differ. According to the dancer/teacher Bonnie Bird, the concept came to Cage around March 1939 by accident.

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