LYCOS RETRIEVER 
Sade: La Coste
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In 1980, Sade became a member of the Latin-funk group Arriva. She began to write her own songs. Her first title was Kisses From The Kama Sutra. Together with the guitarist of Arriva she wrote Smooth Operator, which later became one of her biggest hits. In 1981, Sade switched to background vocal singer in the London funk band Pride. Rapidly, she became a fixed member of the band and began to compose together with the group's saxophonist Stuart Matthewman.
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Sade's philosophical influences can be traced directly to Voltaire and Jean-Jacques Rousseau. Voltaire, as proponent of individual liberty and champion of reason over religion, spent time (like Sade) both in and in jail. Rousseau argued against social structures, for they shunt man away from the "brute, primordial passions we had in a state of nature." Sade pays explicit homage to Rousseau by titling La nouvelle Justine (1801) after Rousseau's Julie ou la nouvelle Heloise (1761), one of the most celebrated novels of the eighteenth century. In his novel 120 Days of Sodom (1785), Sade explores the full range of human's "natural" existence by cataloguing the activities of a group that has willfully extricated themselves from society. Sade takes Rousseau's Émile (1762) to an extreme and finds not the noble savagery of Mowgli or Tarzan, but he leering beast of the luring unconscious.
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In what would prove to be a serious miscalculation, Sade concluded that it was high time for him to make amends with his in-laws and the King’s court. Against the advice of his lawyer, he set forth for Paris. Pelagie followed in a separate carriage, and the two adjourned to separate quarters upon their arrival. Sade’s ability to logically foresee the outcome of such a journey must have been seriously compromised, for his mother-in-law was in anything but a forgiving frame of mind. Quite to the contrary, she had been plotting his arrest for years, a fact that Sade himself was well aware. Therefore, it should have come to no surprise to the Marquis when, upon opening the door of his apartment on February 13, 1777, he found Inspector Marais holding an arrest warrant, signed by King Louis XVI himself.
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De Sade did not dally, and, realizing that trouble was close at hand, fled to Italy by sea. He hid under an assumed name (the comte de Mazan) with his sister-in-law, Anne, canoness of a Benedictine priory, whom he had met six months earlier on a family holiday.
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Artists of the Surrealist movement steadfastly refused Freud's reality principle and instead embraced the twilight, amoral, and natural world favored by Sade. The First Surrealist Manifesto, written by movement founder André Breton, calls for a return to innocence, to the very discovery of language and meaning — "natural man," before society. The goal is to "eliminate the mind's rational, conscious presence in order to eavesdrop on the unrehearsed murmur of the unconscious" — the seat of imagination, and where one's "natural" self is distilled. The tribute is tangible in many works of the movement, notably in Luis Buñuel and Salvador Dalí's film L'age d'Ôr, a reworking of 120 Days of Sodom. Sade ... makes an appearance in Félix Labisse's painting of prominent surrealists, La Matinée Poétique. While the surrealists attached themselves to the writings of Voltaire (their favorite Parisian hangout bore his name) and Rousseau, they took up Sade as a hero, glorifying his status as both a political and sexual outlaw.
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