The Art Los Angeles Contemporary Show was held here at the Barker Hangar, 3021 Airport Avenue, in Santa Monica, California, starting Thursday and going until Sunday the 31st. Santa Monica, to those who are not aware, is an amazing beach city on the West Side of Los Angeles noted for its great food, upscale shopping, hipsters, chill environment, beautiful hotels and beaches, film festivals including AFM, and art galleries including the great Bergamot Station which is a large cluster of over 30 art galleries.
Barker Hangar itself has evolved into an upscale show space right adjacent to the Santa Monica Airport, hosting many upscale VIP and celebrity events. This week, it was transformed into Art Los Angeles Contemporary (ALAC), an art show of nearly 70 galleries of contemporary art from around the world.
While I don’t know how many sales took place on this particular Saturday, if they were plentiful, it was certainly thanks due to the show itself, for the show was buzzing, elbow to elbow with affluent people of all ages, and plenty of young money. One area here includes art and indie literature, a nice outdoor sitting and smoking area for those smokers, and another nice outdoor patio dining area with food and drinks.
The art here ranged from works by what is known as the ‘emerging artist,’ to ‘outsider art.’ Most art seen here today was very safe and functional, and a good place to shop for the early collector. Around 10% of the art here was an exception to the norm, with some artists’ unique approaches pushing the edges conceptually, and with some very refined painterly techniques such as that by ‘Liam Everett’ at ‘Altman Siegel’ Gallery, who creates excellent work.
The main reason I was here was for none other than the legendary Kenneth Anger. One of the most influential filmmakers in the world, Kenneth Anger, remarkably today in great shape at a ripe young magical age of ‘88,’ has reportedly influenced all from Martin Scorsese to David Lynch among countless more. Actually painting right on the film frames he shot themselves, Anger has produced some of the most mystical, and magnificent images on film ever seen.
With a history rooted in America’s rich tradition of rebellion, counter-culture, and the occult, Anger’s work has featured members of the Rolling Stones, Church of Satan founder Anton LaVey, and former Charles Manson buddy Bobby Beausoleil, among more. Openly promoting his religious path as a Thelemite, Anger has for decades, been a proud proponent of famed occultist Aleister Crowley, who later headed the magical group; The Ordo Templi Orientis (O.T.O). While many call Anger a Satanist, due to his frequent use of the word and homage to ‘Lucifer’ in his work, along with his interesting cast of characters in his films and his life, which often imitate each other, he has reportedly called himself merely a Pagan, and a Thelemite, not a Satanist.
The O.T.O, incorporating a series of magical grades, similar to the Masonic Order, adheres to Crowley’s writings as their religious body of texts. Crowley, once called ‘The Wickedest Man that Ever Lived,’ popularized the slogan which became so prevalent with the Beat generation and later the hippies; “Do What Thou Wilt Shall be the Whole of the Law!” Along with the pagan precept; “An it Harm None, Do What Thou Wilt!”
As a film major at an avant garde film school in Chicago, and as a decades long student of counter-cultural movements, rebels, and misfits as a punk rocker, I was of course raised on Kenneth Anger since I was a teenager, yet had never before met him–until today.
The fact that The Art Los Angeles Contemporary show hosted Kenneth Anger, speaks volumes as to the great significance, intelligence, and power of this show. Only former MOCA director Jeffrey Deitch was, as far as I know, wise, daring, and hip enough to book Kenneth Anger any time recently in L.A. This fact alone puts ALAC over the top in terms of relevance as a cultural and arts institution.
The Alex Theater here at the Barker Hangar rapidly filled up to over capacity, with staff having to tell the young guests to stand up, not block the door, squeeze closer, etc. The theater was packed, and tension was mounting by the minute. Over a half hour before the start, no seat was empty. The crowd’s energy swelled from waves of nervous conversations in synchronicity, to a dulled silence, then conversation began again. A sinister looking model type lad glared at me against the wall, then smiled. A male staff walked by and looked like he was going to plow into me, bumping my leg.
Finally, a tall man with glasses walked to the front, telling us that Kenneth Anger had now entered the building! It was 3:45, and he was 15 minutes late. Some of the crowd clapped. A few minutes later, a distinguished looking man with long hair entered the side door–Brian Butler, Kenneth Anger’s confidant’ collaborator extraordinaire. Kenneth appeared next to him, and walked on to the stage. The crowd excitedly clapped.
Kenneth Anger is a cordial, polite man. He said he was sorry at least twice for making a minor error in a date or technicality of a name. He answered every question posed to him by the audience. He spoke of Crowley, and he called Lucifer his guardian angel. He mentioned that the thing he was most obsessed with and upset about these days was the destruction of art, and what he called, the ‘murder of art,’ in the Middle East, by idiots destroying beautiful, ancient civilization landmarks, artifacts, art, and temples there, including what was the original Temple of Baal. He mentioned how he is making film again, yet stated how it takes time with his process, as he paints on each frame. He stated how he liked Santa Monica, how he was born here, and considers it his home town.
After a little over a half an hour, Kenneth Anger left the stage, said thank you, and walked to the show booth where around a half a dozen of his collections’ works were displayed. He there sat at a table in front of his prized art works by Aleister Crowley, Marjorie Cameron, Rosaleen Norton, and Bobby Beausoleil, and signed autographs for the hundred plus crowd that followed him. I took a final photo, and departed.
I walked outside, and the sun was blazing behind some clouds, about ready to go down. A fire red bi-plane flew over, its engine blaring, soaring into the sun. The same color as Kenneth wore. The Solar Fire.
(Interview questions by subnormal along with a portion of the lecture will be published in a future issue of subnormal. visit back here to listen to that later this month).
This content is copyright, 2016, Bruce Edwin, The Hollywood Sentinel, all rights reserved. subnormal magazine
Be afraid! Be very afraid! subnormal magazine is now BACK online, WEEKLY! (With daily updates).
Jefferson Airplane’s Paul Kantner will be greatly missed. I had the honor to meet and hear this legendary guitarist with Jefferson Airplane live, many years ago, as a guest of Janis Joplin’s band Big Brother and the Holding Company. Paul Kantner was amazing. When I first heard his work on “White Rabbit,” and (Don’t you want) “Somebody to Love,” I was blown away with his bands phenomenal sound.
Glenn Frey, legendary guitarist, singer and songwriter who co-founded the Eagles, passed on Monday in NYC. His eerie hit song “Hotel California” placed him legendary, cult status, above the fray of other classic rock bands. He will be missed.
subnormal magazine’s tribute to David Bowie can be found on this site by clicking on the Letter From the Editor tab to the left on the table of contents. The icon will forever be remembered.
LIVE MUSIC REVIEW
CHRISTIAN DEATH, January 15th, 2016
The Whisky a GoGo, as anyone that knows rock and roll will recall, is a legendary venue that used to feature The Doors as the weekly house band back in the day. Most every major band of importance from rock and punk has played at the Whisky a GoGo, and you can read all about that and the venues history further online. The last time I saw a band at the Whisky a number of years ago, the sound system was awful, so that was the first thing I noticed when hearing sound check for this show, was the nice new sound system which finally captured all of the ranges needed. I was happily surprised and impressed. The house staff here are very cool, and treats the bands, managers, and promoters with decency and respect.
Unlike certain L.A. clubs, which have in house staff door people, and micro-manage every person through the door during load in before the doors are open, load in at The Whisky is very easy and relaxed. The only problem The Whisky has is their hired out help of bouncers. Consisting of about maybe four to six muscly to big and fat men of varying ethnicity’s, these guys have a long and ugly history of groping people at the door. Possibly moonlighting for the TSA on the side, these grope happy guys seem to get off on grabbing mens groins, and grabbing God knows what else on the ladies. So Whisky, unless you want to open yourself up to future claims of sexual harassment or sexual molestation, I suggest quickly replacing the Grope Squad.
The band ‘Dinner Whore’ was added to this bill the very last week before the show, evidently. At first, numerous people were making fun of their name, with people calling them different variations of their name, or in my case, simply; The Whores. While a ridiculous band name, I was actually very surprised to see that the band was actually quite good. Three of The Whores are chicks. The singer, who was nice when I met her, has a good stage presence, and a solid voice ranging from melodic to screaming in the style of Courtney Love. Musically, they are a bit like L-7 mixed with the Cramps. The Whores gave us dirty garage rock that was totally un-predictable and unique.
‘Maension’ played next, another name some people were having trouble with, but after they took the stage, proved that they are a major act with a really solid vocalist who was also a nice guy when I met him. They also featured a tall, pretty female on handheld keys who didn’t crack a smile the whole show. A bit of a cross between Tool and A Perfect Circle, also with a very powerful drummer, these guys rocked.
Sexy DJ Amanda Jones rocked the night between all the sets, spinning some great classics including Skinny Puppy, Bauhaus, Siouxsie and the Banshees, Echo and the Bunnymen, and more. They just need to turn up the volume for her next time. The volume for all of the bands was just right. Not to quiet, and not too loud. The crowd varied from old school goths and a few punk rockers, to metalheads, a few jocks, and even a couple of Mexican guys in top buttoned flannel with baseball caps on. While not a look a care for, I appreciate that the Whisky don’t have some fascist no hats rule like some stupid clubs, and I appreciated the one guy really seemed to be digging the show.
‘Christian Death’ finally played, taking the stage at 11:30pm. With Jason on drums, Maitri on bass and vocals, and Valor on vocals and guitar, the crowd this night was solid, at about 150 heads. The show opened slowly, with Valor talking over some pre-recorded tracks, and then following into their second track off of their new album. Newer songs followed, including my favorite new one, “Illuminazi,” which is not only a great title, but a great song.
Most of the Christian Death set was slow compared to the three opening bands, who are not even in the same genre as Christian Death, yet the crowd dug them all. With the economy of how the clubs are structured these days at least in L.A., the venues fill up the bill as fast as they can for headliners with bands that can either guarantee a draw that will pay their amount wanted at the door, or will take the financial responsibility for the amount they want themselves–essentially what they call ‘pay to play.’ Despite this challenge which often creates bills of genres that don’t fit together, the night was still a great success and all seemed to have a good time.
Some slower songs followed, until Christian Death treated the crowd to the searing “Church of No Return” which was great. The band then left the stage. Some silly person shouted, “Church of No Return!” As others of were clapping, or in my usual case, pounding the stage periodically for the band to return. Valor returned, humorously telling us that he was not coming back to play, but that he just needed to say something. “I heard someone shouting ‘Church of No Return?!” He continued, “What do you think that just was?! We just played ‘Church of No Return!’ He chidingly laughed a bit then started to walk off the stage then walked back. “OK, I’m here!” He said, and added, “I’m ready to sing more, but if you want those two to play, you need to call for Jason and Maitri! I don’t know what they’re doing! Who knows?! They’re probably getting drunk or having sex people or something. If you want them, you have to call them.” The crowd then started calling a bit for Maitri and Jason, and in less than a minute, they took the stage and everyone clapped more.
Valor then resumed his earlier talks about why he hated the Catholic Church, how the new pope just met with Obama, how 99 percent of the wealth is controlled by 1% of the population, how the elitists had us where they wanted us but it would not last, and how the 99 percent would rise to control all of the wealth, that would be controlled by just 5 people, and he said, he knew who those 5 people were. Maitri started drinking a beer, and Valor kept complaining that she just wanted to drink or get drunk. “No!” Maitri protested, “Your sitting here talking about the f-ing Pope, so I’m having a few sips!” This banter when on for a few minutes, when finally they led into the classic “Heresey.” Valor then announced they were not playing any more, it was over, but to be sure to come meet him, that he was going to meet everyone, at the merchandise table. The house turned on the stage lights. At least 50 if not 100 people rushed to the merchandise table and waited to by picture disc records with Gitane DeMone on the cover, t-shirts, black hoodies with the Christian Death logo, and more.
The always handsomely beautiful Valor looks as though he has not aged a day, sounded perfect, and did great guitar, working the crowd into repeated frenzies with newer and older classics. Maitri, who is equally incredibly hot, wearing sexy black fishnets and stiletto boots, played great bass and sounded divine. Jason on drums, who we could not really see for this show due to he and the drum kit being hidden way in the back of the stage, did a great job on percussion.
One of the pioneers of the so called Gothic genre, along with bands including 45 Grave, The Damned, Siouxsie and the Banshees, Bauhaus, and a small handful of others, Christian Death tore onto the scene in Southern California after being launched by then vocalist Rozz Williams and later taken over by Valor. Gitane DeMone and various other members rounded out the band including Rikk Agnew (The Adolescents), now performing with Gitane who earlier left the band to be replaced by Maitri. A soulful, unique voice in the world of music, Valor has made some of the most brilliant compositions in rock music. Maitri carries the reigns on vocals further with passionate power and a vocal beauty rarely seen in rock. It was, as always, a great pleasure to see this show with one of my favorite bands. I only wish they would have played longer. –Bruce Edwin
Happy New Year! subnormal magazine was the hard copy punk rock, avant-garde film and human rights magazine from the late 80’s, 90’s and early 2000’s that was a brave and defiant voice for freedom, and featured exclusive poetry from writers around the world, as well as exclusive interviews with some of the greatest and most creative and daring recording artists on the planet including Sonic Youth, Shadow Project, Marilyn Manson, Bauhaus, Lydia Lunch, and countless more. It returns back here now each week online here at The Hollywood Sentinel, until it launches back later this year on its own.
The four greatest, and most important new recording artists of the past decade are not surprisingly, all female. Anyone that knows subnormal, knows that we have a great love for female vocalists; from punk legends including The Slits, Fuzzbox, and Patti Smith, new wave legend Blondie, so called no wave pioneer Lydia Lunch, Kim Gordon with Sonic Youth, Gitane Demone and Eva O. with Christian Death, Shadow Project, and The Superheroines, and later Diamanda Galas, PJ Harvey, and of course, so called gothic legend Siouxsie Sioux, among hundreds more. There is nothing like the female voice, and female artists. This past decade has brought us at least four particular brilliant legends of our own time; Karen O. with the Yeah Yeah Yeahs, Warpaint, Lana Del Rey, and Grimes. We will focus on the aforestated artists later on, but for now, we give here a quick blurb on a young singer / songwriter, producer from the Toronto area, who counts none other than fellow Canadian’s Skinny Puppy as one of her many diverse influences. She’s already been around over six years, and she just keeps getting better and better.
Undoubtedly one of the most brilliant artists to emerge in the past decade, is none other than GRIMES. Light years ahead of her time, Grimes merges her genius songwriting, other worldly voice, excellent production, and beautiful look and video imagery to give us some of the best new creative works of our time. Influenced by punk, new wave, industrial, pop, experimental, and the coolest of the cool, GRIMES is in a class by herself, deftly hip, and like none other. With a vocal range similar to Bjork, Grimes knows her limitations as an artist, and they are few. Constantly progressing, experimenting, and mastering her craft, GRIMES, aka Claire Boucher, is stunningly beautiful, looking like a fashion model, yet her sex appeal is beyond physical, with her sweetly cool persona and dynamic artistry, GRIMES does not need sex or cheap gimmicks to sell, for her talents dominate. From the dancey to the ethereal, GRIMES single handedly catapults pop music into another plateau for this generation. With her innovative mixes, minimalist producing, and her lovely voice that is really, truly exceptional, this young, beautiful, and artistic mastermind has in a few short years, implanted herself forever into the music worlds’ history of true greatness.
From the clever ‘Rosa,’ ‘Oblivion,’ and ‘Genesis’ to the legendary trancy, pop ‘Vanessa,’ among many more, GRIMES conquered with her cross-over hit ‘Blood Diamonds’ that sears, and proved her further grace with the retro brilliance of ‘Be a Body.’ If all this wasn’t enough, she made one of the best electronic, pop, dance songs of all time with her timelessly perfect ‘Realiti.’ Gothic, pop, rave, raw, part DJ, producer, sound artist, and avant-garde chanteuse, GRIMES is about as perfect as music can get, and we love her.
UPDATE: Grimes is now on tour! L.A. dates include Lightning in a Bottle, Coachella, and The Shrine.
IGGY POP is also touring soon.
Sweet Bronco, a relatively new band led by Chris Horgan is worth hearing. It doesn’t matter that they don’t look like models, or that they are even off key and out of sync during their harmonizing. It doesn’t matter because what this band has is superior to all of that. This band has very strong songwriting by Chris; who has a good voice. They also have decent musicianship, and best of all, a unique sound with some exciting guitar. These guys (and their backing female vocalist which is another strong suit) reminds me of early bands including Eleventh Dream Day. Check em’ out.
Keznamdi, who just got picked up by Sony, has released his latest single, the cut “Champion.” Keznamdi co-wrote “Champion” with Justin Bieber’s writing partner, multi-platinum Grammy winner Poo Poo Bear. (Just kidding, actually poo bear). This very sparsely yet well mixed and well produced track reminds me of the nice, rare occasion I’d go to the Ethiopian Restaurant for injari and vegan cuisine on Belmont, and then pop next door to the Reggae club for some dancing hanging with the brothas and sistas to some Bob Marley and more back in the day in Chicago. Spread the love.
“This is a sad day for rock n roll. At the dawn of glam rock, Motorhead tore up the scene in 1980 with a brutally classic cut, ‘Ace of Spades’ which was better than most anything we’d ever heard. Lemmy made rock unpredictable, dangerous and raw again. Even the hardcore punk rockers, who mostly quit listening to metal, dug Motorhead. Lemmy was a legend, and there was and never will be another quite like him. He will be missed.” – subnormal magazine
Hollywood Hot Spot
31st, Morrissey, Galen Center at USC
Insomniac Count5down, with Kaskade, etc., San Bernardino
Belinda Carlisle, Sierra Ballroom, Universal City
28-31, Motley Crue, Staples Center
3, Merle Haggard, Saban Theatre
6, Todd Rundgren, Saban Theatre
7, Autograph, Whisky a GoGo
8, 9, Patti Smith, The Wiltern
9, Metal Allegiance, Whisky a GoGo
15, Christian Death, The Undead Hearts, Whisky a GoGo
Van Morrison, The Shrine
19, Panic at the Disco, The Tower Theatre
21, Venom, Glass House; Pamona
22, The Muffs, echoplex
Chuck Negron of Three Dog Night, Saban Theatre
28, Killing Joke, The Regent
12, Lamb of God, Anthrax, Palladium
13, Dweezil Zappa, The Regent
20, At the Gates, Glass House; Pamona
27, Reagan Youth, Viper Room
Judy Collins, Saban Theatre
28, Megadeth, Suicidal Tendencies,
Children of Sodom, Palladium
9, Unwritten Law, Glass House; Pamona
21, K’s Choice, Viper Room
24, Michael Graves, The Undead Hearts, The Whisky a Go Go
Ra Ra Riot, Teragram Ballroom
26, Greg Duli, Teragram Ballroom
15, Dokken, Whisky a Go Go
21, Prong, Whisky a Go Go
17, Agent Orange, Motorcycle Boy, Whisky a Go Go
subnormal Christmas Playlist, currently spinning, in no particular order:
1, Reagan Youth
2, Suicidal Tendencies
3, Sisters of Mercy
4, Killing Joke
5, Christian Death
6, The Cure
7, Misfits (with Danzig)
8, Yeah Yeah Yeahs
9, Sonic Youth
14, Ill Repute
15, Death In June
16, Siouxsie and the Banshees
17, Patti Smith
18, The Doors
19, Escape the Fate (early)
20, Empire of the Sun
21, David Bowie
CHILD ABUSE REPORT
Mark Salling, formerly of the hit show ‘Glee,’ has been arrested for possession of child porn. Also in 2015, director Jace Alexander was arrested for ‘possessing and file-sharing illegal and obscene performances of sexual conduct by children less than 17 years of age.’ Former Subway spokesman Jared Fogle was arrested on charges that he received and distributed child pornography, and engaged in sexually explicit acts with children after drugging them. He was sentenced to fifteen years in prison. (source: Deadline Hollywood dot com) Pedophile scum that abuse and rape children must be stopped!
Kashi Foods has settled a class action suit against them in Florida, in which they have allegedly lied about not having GMO ingredients in their food. Needless to say, we will be avoiding food by Kashi.
Vitamin Water has been sued with a class action for fraudulent advertising, as has Red Bull.
This content is anti-copyright, 2015, 2016, subnormal magazine. Material may be freely copied as long as you do not add to or alter our text, and provide a link back to this page.
When life was longer
When days were righter
When wrong was wronger
& I remember
or was it March
when life seemed cleaner
grass was greener
now mean is meaner
& I remember
before they kidnapped
in orange jumpers
flew to Cuba
and hired humpers
for unillateral mind controlling
militarial sell your souling
Before the Catholics
raped little boys
before school shootings
made such noise
before big pharma killed the stars
before the psychs had passed up cars
in greatest deaths
in the land of the free
lost her liberty
And I remember
when I was younger, meek and tender,
when I gave my money to every bum I’d see,
When I lost my car, when I’d lose my keys,
when I’d settle for no,
when I’d always say please
when I’d fall down hard
when I bloodied my knees
when I’d tolerate abuse
when I used to get teased,
But now like the world,
I’m a different man
I stand up tall
I do the best that I can
I look at the bright side
I learn more each day
I master my mind
I think before I say
the words in my head
and the fire in my soul
I follow my bliss
without leaving a hole
I learn from my mistakes
and preferably theirs’
I made peace with myself,
I recited some prayers.
I finally learned
what life was for
to leave this place
better than before
it was when I
was without form
to make it better
because I was born
and because I lived
some others live too
ending their pain
and stopping the abuse