All posts by Maintenance

Censors Are Cowards!

subnormal magazine was the punk rock magazine from way back when…when being a liberal and radical meant QUESTIONING AUTHORITY–not being the lap dog for authority. When being cool meant being smarter and having a BETTER argument than the enemy based on facts–not whining like a baby to get someone fired or censored because their words hurt their freaking feelings.  subnormal is BACK, and returns back SOON online with it’s own site AND hard copy to raise hell again–and to hurt your feelings if you are a cancel culture fascist–deal with it.

We are NOT your safe space….

punks NOT dead

One Dove Star Dot Allison Returns with Exquisite Solo Record 

Dot Allison  releases Heart-Shaped Scars, available July 30th on SA Recordings.  Upon the first few seconds of hearing Dot, I was happily stunned. Her voice is shockingly exquisite; a breathy, powerful whisper-like melody reminiscent of Tori Amos and Joni Mitchell. I will definitely be coming back to explore her work more fully, and I suggest you do as well.

Regarding the lead single “Long Exposure”, out today, Dot Allison  states, “One of the first songs I wrote on ukulele.  Last March I picked up the instrument and started composing, the fact I don’t play the ukulele was very freeing and I had to compose purely by ear, constructing my own chord clusters.”
Of the album Heart-Shaped Scars, It reportedly gathers many of Allison’s interests – music, literature, science and nature. “I wanted it to be comforting like a familiar in-utero heartbeat, a pure kind of album that musically imbues a return to nature,” she states.
Produced by Allison alongside Fiona Cruickshank, with Hannah Peel adding string arrangements to four songs, courtesy of a quintet of Scottish folk musicians, the album was recorded at Castlesound Studios in Edinburgh – Dot’s home town .  The sessions include new collaborations with singer songwriters Amy Bowman “The Haunted” and Zoë Bestel, “Can You Hear Nature Sing?”.
Field recordings of birdsongs, rivers, and the ambience of The Hebrides – where Dot has a cottage – also reportedly played their part in recordings.  A location for gatherings amongst folk musician pals (Sarah Campbell and Amy Bowman included), “sharing ideas and passing instruments between us all, amongst friends and the island community,” says Allison. “It’s where I first sang ‘Long Exposure’ in public at a folk house-concert. So, I can definitely hear some of the Hebrides in ‘Heart-Shaped Scars’.
The influence of folk-minded artists are in her record collection, including Karen Dalton, Gene Clark, Neil Young, Joni Mitchell, Carole King, Nick Drake and Brian Wilson,  as well as most  poignantly, the late Andy Weatherall.  Weatherall produced ‘Morning Dove White’, the album that launched Dot’s career with the outstanding band One Dove and who “championed, signed and mentored me… I hear his influence throughout all of my albums.” 
Since 1999’s Afterglow, Allison has striven to “keep the listener on a journey – and myself too.”   That journey has taken her from Afterglow’s broad church (trip-hop, Tim Buckley-esque ballads, chilled psychedelia) to the sultry synth-pop of We Are Science (2002), the baroque Exaltation of Larks (2007) and the roots drama of Room 7½ (2009).  She’s worked with an extraordinary roll call of talent – Kevin Shields, Hal David, Paul Weller, and Darren Emerson, Massive Attack, Scott Walker, Slam, Philip Shepard, The Babyshambles & Pete Doherty, underlining the huge respect her peers hold her in.
On Heart-Shaped Scars Allison mines a deeply emotive seam. “Love, loss and a universal longing for union that seems to go with the human condition. To me, music is a sort of tonic or an antidote to a kind of longing, for a while at least.”  

The Failure of Mainstream American Media

By Bruce Edwin

Throughout time, new technologies have changed the way we give and receive communication. With the advent of radio, and later film and television, the propensity to be influenced by “mass media” has exponentially grown. With the advent of the internet and now “smart phones,” the ability for the individual to be consumed with, persuaded by, and unknowingly or covertly influenced by mass media is at an all-time high. Yet, during the onset of Covid19 beginning a little over a year ago back in late 2019 and predominantly in 2020, we have shockingly seen an American media we once knew to have political bias and agendas go from the current status quo of covert bias to overt propaganda and censorship.  In this brief essay, we will discuss the most apparent nature of those facts and some of the impetus behind this dangerous new direction in mainstream American media.  More importantly, we will discuss what we can do about it. For discovering we have a problem is only the first step. The second step is solving it.

As suggested in Edward S. Herman and Noam Chomsky’s 1988 book “Manufacturing Consent,” mass communication largely operates within a propaganda model fueled by various means, of which I will here speculate upon from a current, modern perspective.

According to “Business Insider” and “Fortune” magazine several years ago, just six corporations today control 90% of the news that Americans consume, headed by 15 billionaires.  Today, 100% of American mainstream media is controlled to some degree by The The United Nations, of whom China is their Security Council President.

The World Health Organization for example–now dictating Americans freedoms or rather lack thereof through “forced” posts on private social media accounts of all U.S. citizens–is under the umbrella of the U.N.

Fact Checking In Decline

Since the ever-increasing popularity of the internet, with news stations and newspapers now online in addition to their other platforms, fact-checking has declined. This is largely the result not of incompetency, but more-so the result of greed.

Rush For Speed with Internet Makes Work Sloppy

The unbridled urge for one news outlet to get the “scoop” faster than their competitor, or if they fail to originate the story, then the urge to get it at least right after their competitor—whether that story is fact checked or not–is the new impetus for online media, which has replaced professional standards that formerly were upheld.  Speed of publication seems senior to accuracy, with many news outlets.  Thus, their failure to deliberately fact-check, results in them putting out a story that falls below the professional standards of journalism they know to be true; a story they never fact-checked. Never mind that countless typographical errors can be found on a regular basis in any mainstream media’s online work. The real problem is an “error of ideas.”

When ideas are misrepresented, distorted, or put across as true when they are not; lies result, and a culture is harmed.

Calling Opinions Facts

The second failure of today’s journalism is their propensity to posit stories as being true, when in fact they are merely opinion.   And that is an extremely dangerous thing, when a false narrative or false story propagated or reinforced by media is put across to society as true.

Conversely, many media and news outlets aim to discredit truths and facts as being “false,” “fake,” or propaganda,” when they are not. In actuality, the words they use to describe their opponent is the very thing that they themselves are guilty of.

Whereas such as story may be a great story on the opinion page, large percentages of the news outlet’s content are now opinion, without stating they are.  As such, viewers and readers are left to wrongly conclude that the story is a fact, when in actuality, it is not necessarily.

And while some readers or viewers are sophisticated enough to know when they are being lied to by media, many are not.  One can often hear well intentioned, fairly educated people posit their argument of why they are “right” based on an article or news story they saw on their favorite news program or publication. These often well–intentioned persons abandon reason, investigative research, and fact checking what they read themselves, and blindly “assume” that their preferred source of news is telling them the truth. In reality, we can no longer safely assume that the media is accurate.

Facts are checked against multiple credible, un-biased sources until one can unequivocally state and know that it is fact. Facts are tested. Facts are true and don’t change. They are proven. President Kennedy was shot and killed. Fact. Why? Millions saw it on live TV. They were not “crisis actors.”  Yet countless times in today’s so called “news,” mainstream media tells us things that are not true, that are true. Or they tell us things that are a lie, that are fact. Or—they simply tell us that one is bad, or a “conspiracy theorist” if one attempts to question what they are being told. The very nature of a free society is the freedom to question what we are told. Without that freedom of individual inquiry, democracy and freedom are dead.

Glenn Greenwald, former publisher of the scholarly liberal online publication “The Intercept,” stated this week in his blog,  “(…) the prevailing mentality in left-liberal politics is that even grave life-destroying accusations are to be treated as true without the need for any evidence.” Referencing that trend that began with the “Me Too” movement, Greenwald–who incidentally is a minority as a gay man–continues;  “They casually and with apparent glee ruin people’s reputations and lives without batting an eye the second someone utters an allegation of sexual misconduct. ” He continues, “And one is required to mindlessly accept such accusations as truth — never ask for evidence if it is true — if one wishes to remain in good standing in those circles and to avoid being smeared oneself as an apologist for sexual misconduct.”  Further, we see the same media mindset applied not only to allegations of sexual misconduct, but to allegations motivated by political rivalry, whether one is in the political arena or not.

(note: This in no means references factual, court proven cases of criminals such as Harvey Weinstein or Bill Cosby, and in no way demeans the important and factual cases that have gained attention thanks to the Me Too movement).

Indeed, we are ALL in the political arena today, whether we like it or not. And that political arena is a mud filled slop house of lies, trickery, and treachery, where truth is buried, and evil chicanery reigns supreme.

Bias Due to Advertising

The third problem in todays’ media, is media letting corporate or political interest groups or entities persuade themselves to soften, change, censor, or release a biased story. If you own a news outlet, and an advertiser offers to give you a million dollars to advertise their product, you happily may take the money. Then one day may come along hundreds or even thousands of people who claim they have been injured by that very product. But let’s say you already spent half the money, and really want the rest of the money. What do you do? If you are the mainstream media, you would generally tend to ignore the stories that came to you of those injured persons, at the peril of not only those very victims harmed by the product, but of future, potential victims that the product may harm who may see it from your ad. This is not only against the professional standards of journalism, but also reckless and immoral.

And yet, this is exactly what happens with regards to the pharmaceutical industry, and why many throughout the world are understandably concerned about potential adverse effects of vaccines, when particularly:

A, Major pharmaceutical manufactures have a less than ethical history in terms of dealing with their consumers and communicating risks of their products usage to their consumers, and  

B, The National Childhood Vaccine Injury Act of 1986 (NCVIA) and its subsequent reinforcement by Supreme Court Justice Scalia argued in 2010, shamefully deciding in 2011 that vaccine makers are essentially “above the law,” and cannot be sued.

 Corporate Bias

Additionally, when a media outlet is owned by one person or a corporate group whose most powerful member(s) supports one side of a story, but not another, they may literally set the agenda for the news outlet, and literally forbid anything that goes against the narrative they believe in or support. Major news outlets have had phone calls “leaked” in which their top CEO tell their newsrooms how to attack one person or side of a story, and to ignore another side. Another news organization just had a leaked phone call in which one of their top producers admitted that the agenda of the organization was to defeat a politician and do whatever necessary to make that happen. This is not so much journalism, as it is propaganda.

Mainstream Media as a Propaganda Weapon

The other overt act of propaganda perpetrated by media is when it is consensually or at times unknowingly infiltrated by members of foreign political or intelligence agents, or U.S. political or intelligence agencies. Not only has this happened before, but it is happening right now. The “leak” of internationally based Chinese Communist Party (CCP) members, as reported in the Daily Mail (December 12, 2020) among other newspapers, indicates how Chinese Communist leaders have infiltrated nearly every top echelon of American power as well as much of mainstream American media. This is shocking, and dangerous to this country and any free society. Naturally, the infiltrated groups generally do not admit such a thing, and do not report on it. If they do, it’s a tiny item that passes into the history of endless articles and clips. When instead, this should be among the top news every day in American media, until the communist infiltrated persons are defeated.  Meanwhile, mainstream media reports the new trend of what they like to label as “conspiracy theorists” who demonstrate “racism” by being “against China.”

And so, mainstream media and the press, has largely over the years taken a justifiable blow to their image. Their reputations are for many–shot. They are no longer trusted by close to or even more than half of all Americans. And it is their own fault.

To attempt to alleviate or handle this problem, instead of doing the right thing and getting honest and ethical in their news reporting, they take the lower moral ground. They blame the public. More particularly, they blame the segment of the public that calls them out on their failures and untrustworthiness, attacking “their” credibility, and labeling them with everything from political smears to conspiracy theorists, to uneducated, or even mentally ill.

Concurrently, media reinforces the supremacist view they seek to indoctrinate into their readers, listeners and viewers, that “they,” the purveyors of the alleged “factual” media are good, “normal,” and right, while their alleged “enemy” (those who they disagree with) are bad.

Mainstream Media As Enemies of Freedom and Liberty

Some mainstream news outlets have disgustingly called for the “cancelling” and “de-platforming” of opinion leader bloggers and alternative news or opinion sites who they feel ideologically threatened by. And they have succeeded in these morally bankrupt moves. These condemnable actions by certain news outlets reveal their true colors. They do not support the free flow of ideas, freedom of speech, or a free nation. They are antithetical to everything that a free America or free country stands for. Instead, they care only about power and about the perpetuation of the “myth” that they are right, good, democratic, and noble in their propaganda. And let’s face it—when one media outlet attacks the free speech of another less powerful outlet, demanding their censorship, they are no longer journalists or reporters, they are indeed propagandists.

Conspiracy Theory

When two or more people secretly collude to do something nefarious against another, that is called a conspiracy. When it’s theoretical, and not proven, then it is a conspiracy theory. When the conspiracy is factual, and proven, it is no longer theoretical, it is a conspiracy of fact. Today, mainstream media, new-left politicians, and their followers malign anyone who opposes them or their beliefs by labeling them as conspiracy theorist, or similar. In actuality, many so-called conspiracy theories are not theories at all, they are fact.  And if they actually are theories, then they are not necessarily false, they are just not yet proven to be true. Yet the tyrants against freedom and freedom of thought know that most Americans are unfortunately careless or lazy when it comes to knowing the basic factual definitions of words. To call someone a conspiracy theorist in reality, does not even make sense when used in the context that the tyrants use it.  A conspiracy theorist technically is simply just a person who reads and / or hears about the conspiracy of events that are theoretical, and that could actually be true,  and relays that information in some manner, suggesting its consideration.

In reality, most mainstream media have become theorists, and not fact finders. That is, they engage in the reporting of things that could be true, but that they have not yet proven to be true. They often also cross the line, and themselves create theories, positing them as true, when they are not. This is of course, a conspiracy against the American public. As such, the majority of mainstream media are the actual conspirators pushing conspiracy against the public.

Take for example, the alleged “weapons of mass destruction” that the mainstream media told us Saddam Hussein had, and was going to use against us in the United States, as was the false narrative dictated by the Bush Administration at that time around 2002.  As Noam Chomsky reminds us in “Hegemony or Survival: America’s Quest for Global Domination,” Bush and the mainstream media further perpetuated the lie that Saddam was responsible for the 9-11 attack and was “planning others.” (pg3). More lies.

After weapons inspectors found no so-called weapons of mass destruction, the propaganda campaign had yet been carried out so successfully by the George Bush / Tony Blair alliance in consort with the mainstream media propaganda machine, that they had the political power to invade Iraq, kill scores of innocent women, men, and children, and kill Saddam Hussein anyway.

J.D. Maddox, a national security consultant and an adjunct professor at George Mason University, who led intelligence and national security activities in the Army,  Homeland Security, and CIA among more, states in the January 9th, 2020 issue of The New York Times Magazine;

“The time-tested tropes of war for freedom and war of liberation had been used masterfully, and had been enabled by false claims of the Hussein regime’s involvement with Al Qaeda. We were fighting in a fantasy and our leaders knew it, even while we were there, yet we persisted.”  Mr. Maddox added, “I was repulsed by the idea that we could have been so easily manipulated.”

This several part essay will be continued with its next segment here May 10, 2021.

Bruce Edwin is founding publisher of The Hollywood Sentinel, CEO of Starpower Management, and screenwriter and producer with Bruce Edwin Productions.  Bruce’s work has been published worldwide,  and he has interviewed countless rock stars, movie stars, and intellectual leaders.  An environmental activist, vegetarian, and human rights activist since he was a teenager, today Bruce is an avid mountain hiker, martial arts enthusiast, and vegan.

Visit: www.BruceEdwin.com  

//Press Release Below//

Disco Donnie Presents the notorious Freaky Deaky talent announcement for Friday October 29 and Saturday October 30, 2021 bringing electronic music fans the largest and most incredible dance music festival in Texas this Halloween weekend – Freaky Deaky. You don’t want to miss this chance to escape earthly inhibitions with the most ghoulish in the game.

Get your spook on this Halloween and celebrate with friends to a sinister soundtrack provided by the world’s most devious DJs including, tech-house favorite Claude VonStroke and a Dirtybird Stage Takeover, the deathly talented Deadmau5Green VelvetExcisionZeds Dead and More.
You will be sure to get the zombies moving and dancing on the dark side with massive exclusive B2B sets from the fiercist in the underground with DJs J. Worra B2B Vnssa, plus Sage Armstrong B2B LucatiFreddy Todd B2B Mr Bill and 12th Planet B2B Riot Ten.
For the first time at this historic event, Disco Donnie Presents is offering camping on site.  Fans have the opportunity to choose from many camping packages including Tent Camping, Car Camping,  RV Camping, Premium RV Camping, and Max RV Camping.
More information on camping options will be announced soon.
Camping is for 18+ years and older.
LINEUP (MORE TBA)
12TH PLANET b2b RIOT TEN
ADVENTURE CLUB
BAWLDY
BIG CHOCOLATE
BLOSSOM
BOOGIE T B2B DIRT MONKEY
CHAMPAGNE DRIP
CHOMPPA
CID
CLAUDE VONSTROKE
CRIZZLY
DABIN
DANCES WITH WHITE GIRLS
DEADMAU5
DION TIMMER
DREZO
ESSEKS
EXCISION
FREDDY TODD b2b MR BILL
GALANTIS
GOLF CLAP
GREEN VELVET
INFECTED MUSHROOM dj SET
INZO
JSTJR
JVNA
KAIVON
KAYZO
LADY FAITH
LSDREAM
LUCII
MAHALO
MATRODA
PROSECUTE
SAGE ARMSTRONG B2B LUCATI
SAID THE SKY
SHIP WREK
SIDEPIECE
SULLIVAN KING
SULLY
THE SPONGES
TIMMY TRUMPET
TROYBOI
VINI VICI
VNSSA B2B J.WORRA
WALKER & ROYCE
WAX MOTIF
WRECKNO
ZEDS DEAD
ZIA
Textual content by Bruce Edwin is © 2021, Bruce Edwin, music related content is partly courtesy of press releases from the publicity departments. SeX pIsToLs video is courtesy of the label. Ads or commercials are NOT endorsed by us.
12xu!

Nomadland Sweeps The Oscars

Frances McDormand accepts the Oscar® for Actress in a Leading Role during the live ABC Telecast of The 93rd Oscars® at Union Station in Los Angeles, CA on Sunday, April 25, 2021. Photo Credit: Todd Wawrychuk / A.M.P.A.S.

One of the greatest actors of our time, Frances McDormand won the Oscar® for Best Actress in a leading Role in Nomadland, directed by Chloe’ Zhao, who also won the Oscar® for Best Director.  In Nomadland, Frances McDormand plays a widow, who after losing her job, departs on a journey across the American West, living as a modern-day nomad in her van.  The film also won the Oscar® for Best Picture.

How to Succeed

By Bruce Edwin

I recently read a quote from an unknown author that states, “Don’t go for what you know you can get. Go for what you really want.” I like this, but I would also add, make it so that what you really want, IS what you know you can get—and then get it.

I don’t believe in a plan B. I believe that if you have a plan B, you will usually settle for plan B. I never have a back up plan. This doesn’t mean not to be prepared. It also doesn’t mean not to plan for an emergency. I suggest you always plan for an emergency, set things in place for that preparation, such as emergency savings, an emergency backup of data, an emergency food supply, etc. So, prepare for the emergency, but then forget about it after you have the preparation done. Put it in a closet, bank, or safe or wherever applicable, and forget about the potential emergency, and then PLAN for the best, and make that happen.

Sure, you can run a scenario of IF there is an emergency, what will you do, how will you execute THAT plan, such as a natural disaster, etc. That’s a good idea. Maybe do that once or twice a year—but not every week. Not every day. Don’t obsess over potential disaster, and don’t obsess over failure or a second-best scenario. PLAN and GO FOR the BEST. Plan out the steps needed to get there so well, that you believe it is true because it CAN be true if you follow the plan. And then do it—follow your plan and make it happen.

When people settle for second best or settle for less than the best of what they want or dream of, then they get what they settle for. If you see a person working at a job they hate, you can know they basically settled for that job. They have not yet pushed themselves harder to get something better.

If you are not self-employed and you work for people, or ever have, have you ever been without a job, and could never find a job for the longest time? Then when you got a job, and were not really that serious about getting a job, all kinds of job offers came your way? This is not because the universe is cruel, and fate is playing a cruel trick on you. Rather, it is because when you have a job, you are not desperate for another. Desperation does not show in your face or energy vibe that you are desperate. You have more confidence. You are more self-assured. Yet when you don’t have a job, you may put off a desperate vibe. Your energy may be off. People see and read in your words, tone, or demeanor that you are a desperate man or woman. Employers are not charity case workers. Good, top employers typically do not want to hire weak, desperate people. They want to hire winners.

When you have what you need, then you can more easily get what you want. And beyond the basic things of food, water, clothing, and shelter; most of what you think you need is a matter of your personal opinion.

I may need a big house, a fast new car, a lot of money in the bank, and to live in one of the most expensive, famous cities in the world. You may need two houses, two cars, your own private jet airplane, and to live in two cities on both coasts. Or you may need far less. Our wants are determined by what we think we need, and what we think we need is based on what we will settle for.

A homeless person may not settle for “not” having a tent to sleep in, taking a shower every day, and hustling for money on the corner. He will always find a way to get a shower, have a tent, and be out on that corner every day with a legible sign he makes to ask people passing by for money.

Another man will always have a roof over his head, with a toilet and running water and power. He may struggle and have little else more, but he will never settle for less than that.

A woman may always have a new model Mercedes. She may struggle to get it some years, but every year, no matter what, she will find a way to get the latest model of that new car. She will settle for nothing less.

What we settle for is what we get. And what we settle for is what we BELIEVE we can get. And what we BELIEVE we can get is what we feel we DESERVE. To settle for something, you have to believe you deserve it. And if you don’t yet have what you want, then you don’t yet fully feel that you deserve it. If you did feel you deserved it, then you would logically do the steps necessary to get it and you would have it. If you don’t yet have a billion dollars, then you don’t yet believe you can, because you don’t feel you deserve it. And factually, if we don’t yet have what we want, then we don’t yet deserve it. For the marketplace is generally pretty fair, and only rewards us with what we deserve. If one produces enough goods or services to warrant netting a billion dollars, then one generally deserves it. And the billionaire believed they could do it because they did it.

So, you see, these two areas, of what we want and what we need are intricately connected. And they are also closely connected to what we FEEL. The part of your brain that causes you to feel emotions heavily controls what actions you will take or not take if you are one who is controlled by your emotions. And let’s face it–we all generally are—to a greater or lesser degree.

When you increase your positive belief in yourself; your self-esteem, then your expectations can increase. When your expectations increase, then your goals and targets to match reaching those expectations can be more easily reached. They are more realistic.

HOW TO SUCCEED?

Your job is to:

1, increase your self esteem

2, determine what your needs are

A, a part of this is determining what you do NOT need and getting rid of and avoiding that

3, determine what your wants are

A, a part of this is determining what you do NOT want and getting rid of and avoiding that

4, make a strategic plan to always have your needs met, no matter what

A, include an emergency plan you prepare for, go over once or twice a year, then forget about it

5, make a strategic plan to reach what you want

A, break the major goals into monthly, weekly, and daily targets and objectives and take steps on them DAILY

B, always be learning new skills that more quickly help you reach your goals

C, delegate when possible

D, track your progress with statistics and

E, write down and review your goals at least twice or more daily including when you wake up and before you go to sleep

F, never make excuses

  1. put your attention ONLY on what you want—not on what you don’t want
  2. Have positive expectations in all your thoughts, words, and actions; assume the best from yourself and from others

iii. if you are in a bad mood and have bad expectations, do NOTHING, and come back to work when you HAVE positive expectations. Sometimes, you can be your own worst enemy and when your mind and your mouth is your enemy, the best thing is to DO NOTHING and SAY NOTHING until you are back on track

iv: As Zig Zigler would say, don’t allow anyone with “stinkin’ thinkin” around you. Tend your mind as if it were a delicate garden that could be destroyed by weeds. In fact—it is like that, and the weeds are negative people and a negative mental attitude. Don’t let losers and pessimists pollute your mind, destroy your goals, and ruin your life.

G, never settle for second best.

G, Look around you and improve your conditions of the scene around you and improve yourself and your life every day. If you walk into a room, something should be better about it when you leave the room. If you walk down the street, it should be better for you having done so—whether you pick up a piece of trash or whatever. When you go to sleep, you should be some more steps closer to your top goal and dream every day.  You should also improve ALL areas of your life daily; spiritual, emotional, intellectual, financial, and physical.

6, When you reach your top goals, help others along the way—pay it forward

A, give thanks to those that helped you along the way including

  1. the creator of the universe who made you—if you believe in that
  2. help others less fortunate; charitable help

7, Increase your goals and start all over again with new dreams

About Bruce Edwin:

Bruce Edwin is publisher of Hollywood Sentinel, manager of Hollywood Sentinel Public Relations, and CEO of Starpower Management. A writer and producer, he also heads Bruce Edwin Productions, a production company for feature film and streaming television.

For questions or comments to the author, contact Bruce at StarpowerManagementLLC at gmail dot com or call 310-226-7176. Your questions or comments MIGHT be published for the world to see or hear.

The Hollywood Sentinel publishes ONLY the good news. Explore our pages, and check back often for new content each week on our various pages.

This textual content is © Bruce Edwin, Hollywood Sentinel, all world rights reserved. Image with kind courtesy of AMPAS, all rights reserved.

 

 

 

 

The Art of Seda Saar

 

Seda Saar, 1 Spheres V 20 x 36 in. Mixed Media on Canvas 2019  © 2019, 2021 Seda Saar 

By Moira Cue

I never would have met Seda Saar (the second time) if I hadn’t joined the Los Angeles Art Association. I never would have joined the Los Angeles Art Association if I hadn’t been trying to help a friend, an attorney, find work with an arts-related nonprofit.

I met Peter Mays, executive director of the LAA, at the 2019 LA Art Show VIP Gala. (Peter’s impressive creds include serving as co-chair on the Education Committee for the Board of Directors for the MOCA Contemporaries.)

The lone attorney on their advisory board had just stepped down and they needed occasional help. I wound up on their email list and checked out a couple of events before I decided to join.

What stood out to me at the first LAA event I went to was that the social vibe was totally different. No social climbers or Hollywood shallow types. No one asked me “what do you do?” in a way that immediately read “what can you do for me?” Instead, I met an older gentleman who cradled his “anxiety dog,” and other introverts—people you can count on to be kind. It was truly endearing. So, when I got the call for artists, I thought, what the heck, why not?

I made it to about two LAA art events before the pandemic hit. At one event, the 2019 Open Show, I noticed one woman who caught my eye, Louisa Miller. Tall, lean, angular, with cropped hair, in her seventies, she stood statuesque, hawkishly staring at a painting. She was so immersed in the work; it was as if no one else was in the room. I immediately wanted to talk to her.

Louisa would introduce me to Frederika Roeder, the moderator for the 2020 Pasadena Critique Group. One of the best things about being in LAA is the critique groups where you get to meet with very nice people who are interested in sharing each other’s art. Our group included Louisa, a serious landscape painter; Olyessa Volk and Viktoria Romanova, both Russian immigrants with two totally unique styles; Frederika, a Southern California surfer girl down to her roots; Katherine Murray-Morse, who’d been in banking and had started painting two years prior; and Richard M. Blanchard, who also has a stunning interior finishing portfolio and celebrity clientele list (http://www.atom-zu.com/).

But THIS article is about Seda.

I first met Seda around 2012 or 2013 when she was running the MLY Gallery at the Malibu Lumberyard, which was particularly well known for a star-studded, much talked-about exhibition of a private buyer’s entire Warhol collection.

We met for the second time in Louisa’s spacious, high-ceilinged loft near a trendy Pasadena shopping district for Louisa’s critique (before Covid made in-person meetings unfeasible). Seda carried herself with confidence and authority, declaring certain paintings “successful,” and others “less successful” with an aura of finality. I was lured in by a series of works that amounted to some flirtation that Louisa had made with child-like abstraction. Everyone else was on a different wavelength. During and after the critique, I really connected with Richard and I hoped we’d become good friends.

I didn’t really start to get to know Seda until her one-person show Refractions – a Lens Through Time at the Neutra Museum Gallery (2020). She was gracious enough to make time to give me a personal tour. This was during the autumn wildfires of 2020. My friends in San Francisco and Portland filled their social media feeds with apocalyptic images of a sunless sky, a blood red moon, stories of struggling to breathe in AQI readings that were off the charts. In my own neighborhood, we were under evacuation warning. The entire city of Los Angeles was blanketed in soot and smelled like campfire. The few minutes outdoors between the car and the museum’s front door, even in a KN95, left my eyes stinging, my head pounding, and my throat sore.

 

Seda Saar, Spheres II 20 x 36 in. Mixed Media on Canvas 2019 (Private Collection San Diego) ©2019, 2021, Seda Saar. 

The Nuetra is a Silverlake nonprofit, designed by eponymous architect Richard Nuetra, renowned for his influence on Southern California modernist vis-à-vis crisp, steel and glass geometric forms. I can’t imagine a better fit for Saar’s work, which is informed by her study of interior architecture. (Saar holds a BA from London Metropolitan University.) In one area of the exhibition, near a seating area of mid-century Modern sofas and chairs, earlier, smaller, black-and-white renderings on paper of Nuetra-esque architectural forms in nature seamlessly fused Seda’s work with the museum’s purpose.

Seda’s work fits into two-dimensional and three-dimensional categories that enhance each other. For example, Saar recently won a Juror’s Award of Excellence for her sculpture, Prismatic, 2019, as part of the California Sculpture SLAM at the San Luis Obispo Museum of Art in 2020. The piece is created with acrylic plastic and mirror in a pyramid shape refracting various jewel-toned colors of light, like a prism.

 

These sculptural works dealing with geometry, color, and light refraction are plastic, three-dimensional versions of paintings and mixed media two-dimensional work that addresses the same formal concerns of space, light, and color. In both cases, one could argue that more is more, and be right; the moreness of three-dimensional objects in space versus the moreness, the meta-ness of a cosmic, or planetary schemata seen in pieces like Genesis.

But what made me excited enough to write about Seda’s work was the added insight that I gained through this private touring.

Seda Saar, Prismatic 12 x 12 x 18 in. Acrylic and Mirror Sculpture, ©2021, Seda Saar

Here’s where I disclose my biases: I not only write about art, but I make art too. And while I have gone through phases like any artist who has been working several decades, my own work never relies on draftsman’s tools or clean lines. I love work that is childlike, expressionistic, and primitive. Typically, or historically, I’ve found work that was very crisp less interesting. The first exception to this generalization was Agnes Martin; had I not seen the work in person at LACMA, however, its delicacy would have escaped me. The work of Donald Judd’s and Carl Andres of this world still leaves me cold, while the work of the Cy Twomblys and Howard Hodgkins makes my heart sing.

As with Martin and other women working in an oeuvre descended from minimalism or post-minimalism, post-identity, and masculinity, a closer inspection of Saar’s lines and glyphs reveals their fail to establish a machine-like detachment. Her lush, indulgent use of color breaks all the rules of “seriousness” more generally associated with East Coast, rather than West Coast, artists.

And yet I had to get over my own bias of–oh this is geometry, so this is not about nature. And when we talked about the fires, global warming, and cycles of nature, and she insisted that the work was in fact, about nature, my first reaction was dismissive–that she just didn’t know how to talk about her work.

And that’s when the interesting thing happened. As I mentioned, during this discussion the whole city was blanketed in smoke. I’ve lived through fire seasons before, but nothing like 2020. The fires of 2020 taught me how primordial our fear of fire is. Because my reaction was physical and ancient: the one thing we fear as animals is fire, and the one thing that makes us human is that we tamed fire. But the animal fear is deep inside of us, ready to hatch, ready to return us to our instincts: RUN! And a few days later, I would; albeit on an airplane, rather than with my two legs.

When Seda started to talk about chakras, my chakra energy was off, I was in fear mode (well duh, we were worried our house was going to burn down). Honestly, I forget which chakra was the culprit. But she told me that she studied shamanism in Peru, and she decided to walk me through a series of breaths, orations, and gestures intended to rebalance my chakras. I’m not sure I “believe” in chakras, but I’m pretty accommodating, so I went along with it. I don’t know if it changed my chakras or not. I know that something transformed in Seda while she was acting as a shamanic leader. Her voice changed, her presence changed, and we addressed the directions and certain elements of nature. At one point I closed my eyes.

And when it was over, and I opened my eyes, for a second her work came to life. It was no longer just formalism, or what I initially saw as a confused hodgepodge of various movements and thoughts that didn’t “line up” with the finished product. (Why does she keep talking about nature when these are so—quasi hard edge?) She had had a hard time explaining the work. (And why should artists be expected to write their own jingoistic marketing blurbs is beyond me.) But experiencing the work was totally different. I realized that Nature—the nature that I see as wild, as expressionistic, as opposed to geometric forms and straight lines—that Nature at the macro level (galaxies) and micro level (cells) can be very precise, very linear, very geometric.

Seda Saar, Genesis 36 x 48 in. Mixed Media on Canvas 2020 ©2020, 2021, Seda Saar 

And so, I had a shamanic experience of opening myself to another vision, another version, of reality. While it required the physical presence of the artist to pull it off, it is, undoubtedly, the highest and rarest achievement in art to break through unseen preconceptions and pull the viewer into the world of the artist.

Moira Cue is an award winning multi-media artist and art critic for The Hollywood Sentinel.  She attended the Masters Program of the School of the Art Institute of Chicago.  Learn more about her and contact the author at www.MoiraCue.com 

Textual content is  © 2021, Hollywood Sentinel. Images provided courtesy of the artist.  All world rights reserved.