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Chill E.B–Fearless, Defiant, and Resolute

Chill EB cover

Facing Reality

Before the Nazis started rounding up Jews and sending them to the gas chambers, they had the local police in Germany and Poland go around collecting guns and knives from all Jewish households. Today, a new branch of government you probably have never heard of, has suggested that all Americans forcibly be ‘tested’ for depression.  That fact should greatly alarm ‘every’ freedom loving American on the planet. Let me repeat that fact:

An Advisory Panel of the U.S. Government Wants to Force Every American to Have a Psychiatric Evaluation

That my friends, ‘is’ insanity, and the clear definition of the attempted creation of a psychiatric, totalitarian, police state. This should also be ‘headline’ news, and should be discussed by every major news outlet in America on a daily basis until the idea is stopped dead in its tracks for the fascist idea that it is, but unfortunately, it is largely not even a matter of public knowledge!

With the exception perhaps of, USA Today, which disturbingly reported the news in a favorable light, linking to a 10 question ‘depression survey,’ that ends by asking for the participants personal information, so they can be contacted by a psychiatrist, most mainstream media has not even properly covered this, save for those serving as a free mouthpiece to promote this disturbing plan. The early version of this creeping agenda, to attempt to forcibly screen every pregnant woman, was reported widely, including by The New York Times, which again, was favorable to the plan. This agenda is not a conspiracy theory, it is a fact, which you can research yourself.

Whether you believe in the use of psychiatry and psychiatric drugs or not, whether you like the music of the artist below, or the links to the persons or groups herein detailed or not, you must surely agree, as a freedom loving human being, that to attempt to ‘force’ any one to have a so called ‘depression screening’ is a tyrannical act, and has no place in a free society. We are not even talking about the individual who exhibits signs of insanity, such as one who is endangering the lives of the public, that they want to test. But rather, they want this new governmental mandate to be forced upon ‘all’ Americans. First, they began the forced introduction of toxic Genetically Modified Organisms they don’t want you to know about, and now, they are attempting to initiate forced psychiatric ‘tests’ which is the first step to forced psychiatric institutionalization, and forced psychiatric drugging among more.

Becoming Aware of the Threat is the First Step to Stopping Abuse

Friends, it has been said that those that do not speak up and fight for their freedom when they see it being taken away, do not deserve it. I am by no means suggesting that ‘you’ do not deserve your freedom. On the contrary, I suggest that you do. And so, we ask you to read on about one brave artist who is doing something about this trend, and how you can too.  So the good news is, we are aware, we are here, and we are standing up for our rights and the rights of all. Read on, visit the links, read the rest of this site, check back here often, contact us with ‘comments’ that we may choose to possibly publish via the ‘contact’ button at the left of this page, and share this article and site with everyone you know and everyone you are in contact with. Being aware of a threat is the first step to stopping abuse. Enjoy the new issue.

Chill E.B. Rocks the World with Message of Truth–An Exclusive Interview

–By Bruce Edwin

Chill EB. The Hollywood Sentinel

To those who say that music is unimportant to life, let them try live without out it. Music touches the soul. It is the heart of a nation, a city, a scene, or an individual. Nations have ‘National Anthems’ that lift up countries in efforts at patriotism. The most important landmarks of life or the remembrance of life are commemorated with music at marriages, funerals, peace marches and victory parades. Music can bridge colors, races, creeds and lands. It can lift up the soul and bring happiness like few art forms can. Music is the heart of worship among countless religions, the bond that binds groups in unity, victory, and love. Music is not merely important to life, music ‘is’ life, and without it, life itself would be near meaningless; a mute player, yearning to sing, stumbling through a silent land of light and shadows.

The Power of Rap

One of music’s greatest powers is the power of change through the message of ‘the word.’ The musical genre known as rap gave rise to its greatest stars when its artists were the bravest, speaking out against racism, poverty, discrimination, police brutality, slavery, and more. Of the small handful of rap pioneers that escaped the underpinnings of drugs, gang violence, and misogyny in their lyrics or life, perhaps only three such acts remain; Public Enemy, M.I.A., and Chill E.B.

Dropping on the world a myriad of powerful new singles with a unified message, Chill E.B. infuses politics, social commentary, and human rights into his message to help galvanize a new generation to seek better education, take direct action, and institute positive change regarding one predominant culprit that he has chosen to bravely take on; The #1 Killer in the United States, according the The Los Angeles Times; The major pharmaceutical companies, otherwise known as ‘Big Pharma,’ and within them, the psychiatric industry, and these two institutions widespread and historic abuses of life, health, and human rights.

Human Rights Activist

Trailblazing rap artist, actor, humanitarian, community activist and youth advocate, Chill E.B. has the unique gift that a select few artists have; a powerful, galvanizing voice, a strong, poetic, lyrical creation, and a musical mastery of the songwriting field. With this unstoppable combination, he has been jet setting around the world, literally, for the past several years, tearing up stage after stage, in front of hundreds of thousands with his message of truth and hope.

Born in Jacksonville, North Carolina, Chill E.B. spent the majority of his early childhood in Germany. Just following high school, he served in the U.S. Army. At an intimidating 6 foot 5 inches tall, the United States Veteran later received a basketball scholarship to Lon Morris Junior College and East Texas State University, which he accepted.

Prove It!

While attending university, he had a role in a theatrical play called “Judgement Of The Troublemakers.” Screen legend James Earl Jones who was in attendance, and was moved by Chill E.B.’s performance. Mr. Jones encouraged him to continue to pursue the arts further, which he wisely did.

www.chilleb.com

After a few semesters Chill E.B. moved to California. Soon after, he released his first single “Freedom” on an independent label. He received national attention in 1992 with his video “Menace To Society”, which was played on rotation across American television screens (BET, Video JukeBox and California Music Channel).

Menace to Society

Chill E.B. was inspired to write his defiant song “Menace To Society,” when he heard a tragic story about a 13 year old boy who dealt drugs to help feed his mother and sister. In the year 1993, Punk rock legend Jello Biafra of the Dead Kennedy’s heard Chill E.B. at a gig Chill E.B. played at. Jello soon thereafter released Chill E.B.’s 1st EP, entitled “Born Suspicious,” on Alternative Tentacles Records. Chill E.B.’s songs were also placed in motion picture films and T.V. shows including “NBC movie of the week Father & Son,” “Dangerous Relations,” “Nash Bridges,” and “Harts of the West” on CBS, among more.

Chill E.B, also an accomplished voice over talent and screen actor, then recorded the theme song for the Golden State Warriors “Don’t Stop The Noise.” He appeared in the Warner Brothers movie “Mad City,” and on National commercials including those for Sega Genesis, The San Francisco Giants, Partnership For Drug Free America, Nike, Nickelodeon, and the National Basketball Association, (NBA), among more. He most recently was hired to create the hit “Oakland Raiders Theme Song,” titled ‘Raider Nation,” for the 2015-2016 season.

Y’all Busted!

In 1994, Chill E.B. took a break from recording to start a family, returning later, with a fury. In 2008, he created his own record label; Kathartic Music Group, and in 2010, he dropped on the world his controversial single titled “Y’all Busted,” a damning indictment of the psychiatric industries greed, corruption, and abuse.

Define Better

His next searing hit single, “Define Better,” continued his theme of confronting crooks, con artists, and killers in the psychiatric industry head on, challenging the billion dollar industry to explain mental labels and their so-called ‘cures,’ that are created anew each year. The undeniably great song commanded headlines around the world. A-List stars John Travolta and Kelly Preston even showed their support by putting Chill EB’s video on their websites. A flurry of newspapers around the country and world courted controversy, by covering Chill E.B’s daring new work, with slants of sensationalism.

www.chilleb.com

On a massive international world tour since 2010, Chill E.B. has impressively injected his music into the hearts and minds of countless crowds in over 25 countries, and growing. Due to his staunch activism to spread the truth and confront evil head on, he has received a growing list of commendations and humanitarian awards, including;

-Proclamation from the Mayor of Jacksonville, NC proclaiming August 14 as Chill E.B. Day

-California Peace Award, presented by The California Wellness Foundation, and

-CCHR Human Rights Award, for his “outstanding contribution through music to raising awareness about a child’s right to be label and drug free,” among more.

It doesn’t get much better than that when it comes to making the world a better place, through the art of music. And with that, we are very pleased to bring you here our second rare, exclusive interview with rap star Chill E.B.

Listen to that now, here, by clicking on the left arrow in the link here below. Users of Firefox are encouraged to listen via Chrome or i.e. if delay occurs.

Visit the official website of Chill E.B. at:  www.chilleb.com

Psychiatric Abuse

On his official site, Chill E.B. reminds us that, “Planet wide, psychiatrists have hooked over 100 million people on psychotropic drugs that bring in over $80 billion per year.

Psychiatrists receive over $20 billion a year prescribing powerful psychotropic drugs to children for ADHD-just one of over 300 so-called “diseases” and “disorders” which have never been clinically proven to exist.

Insurance companies pay out more than $69 billion dollars every year for psychiatric services, doubling the cost of medical insurance premiums. Meanwhile, psychiatry contains the highest incidence of fraud of all the “healing” professions.

Psychiatrists electroshock 2 million people a year, killing 10,000. For $12 worth of electricity, American psychiatrists rake in $5 billion a year. Nearly twice as many Americans have died in government psychiatric hospitals alone in the past four decades than in ALL U.S. wars since 1776. While raking in over $2 trillion dollars every year, psychiatrists cannot point to a single cure.

Education

The attack on education was essential to psychiatry’s future because in the schools, psychiatrists and psychologists could turn the next generation into lifelong customers of their psychiatric drugs. Today, teachers are required to evaluate their students not on academic performance, but against a checklist of behaviors based on psychiatry’s diagnostic manual. In the past 40 years, money doled out to psychiatrists and psychologists to improve literacy in American schools has soared to more than $28 billion dollars, while through those same 40 years functional literacy rates have plunged.” (source: CCHR)

For more information on the truth about the psychiatric industry, visit www.CCHR.org

U.S. Government Panel Wants to Force Psychiatric Screening on All Americans

According to politician Ron Paul, “The United States Preventive Services Task Force recently recommended mandatory depression screening for all Americans. The task force wants to force health insurance companies to pay for the screening.”

Freeze! You Look Unhappy!

Mr. Paul further states, “If the preventive task force has its way, Americans could lose their Second Amendment, and possibly other, rights simply because they happened to undergo their mandatory depression screening when they were coping with a loved one’s passing or a divorce, or simply having a bad day. As anyone who has been mistakenly placed on the terrorist watch list can attest, it is very difficult to get off a government database even when the government clearly is in error. Thus, anyone mistakenly labeled as depressed will have to spend a great deal of time and money in what may be a futile attempt to get his rights back.”

Forced Drugging

Ron Paul adds, “Mandatory depression screening will endanger people’s health by increasing the use of psychotropic drugs. These drugs often have dangerous side effects. Their use has even been linked to suicide. The fact that almost every mass shooter was on psychotropic drugs is another good reason to oppose any policy that will increase reliance on these medicines.”

An Industry of Opinion

Mr. Paul continues, “The Preventive Services Task Force’s mandatory depression screening mandate is based on the fallacy that diagnosing mental health problems is analogous to diagnosing cancer or diabetes. Even mental health professionals acknowledge that there is a great deal of subjectivity in mental health diagnosis.”

The Politics of Social Control

Ron Paul adds, “Consider that until 1973 homosexuality was considered a mental disorder by the American Psychiatric Association. Today, some mental health professionals think that those who believe in limited government, free-market economics, or traditional values suffer from mental disorders. If mandatory depression screening becomes a reality, it is likely this mental health screening will be expanded to cover screening for other mental illnesses. This could result in anyone with an unpopular political belief or lifestyle choice being labeled as ‘mentally ill.'”

Attempting to Destroy a Free America

Lastly, Ron Paul reminds us, “Even if mandatory health screening could be implementing without increasing costs or threatening liberty it would still be a bad idea. Government health care mandates undermine the basic principles of a free society. If it is legitimate for government to tell us what types of health care we must receive, then it is also legitimate for the government to tell us what to eat, when to exercise, and even how to raise our children. To paraphrase C.S. Lewis, a tyranny imposed for our own good is the worst form of tyranny because it is a tyranny without limits. All who love liberty must therefore oppose mandatory depression screening, or any other health care mandate.”

The above abridged information from Mr. Paul is taken with permission, from the official Ron Paul website, and is copyright, 2016, Ron Paul. All world rights reserved (‘Headlines’ are copyright, 2016, The Hollywood Sentinel. To read the full article, and learn more about Mr. Paul, visit the Official Ron Paul Website at: http://ronpaulinstitute.org/

Visit back issues of The Hollywood Sentinel at www.TheHollywoodSentinel.com

Who Killed Elvis?

Big Pharma and an unethical doctor, that’s who. The Dr. who helped kill Elvis has died. 88 year old Dr. George C. Nichopoulos, Elvis’ doctor when he overdosed in 1977, and years prior, died Wednesday in Memphis. He lost his medical license for over-prescribing addictive drugs for years to numerous patients. Good riddance.

To advertise on The Hollywood Sentinel, reaching some of the biggest stars and VIP’s in the world, contact us at 310-226-7176.

This entirety of this content (excluding citations by Ron Paul, which is copyright, 2016, Ron Paul),  is copyright, 2016, The Hollywood Sentinel, USA, all world rights reserved. No part of this written, recorded or visual content may be produced in whole or in part without express written permission from The Hollywood Sentinel and the office of Bruce Edwin. The Hollywood Sentinel, subnormal magazine, Chill E.B., and affiliates are not responsible for any real or alleged physical, mental, psychological, emotional, spiritual, educational, philosophical, epistemological, or any other possible claimed damage or damages from reading, watching, or listening to this content which are the express viewpoints of the artist(s). Prove it! –subnormal magazine

How to Succeed As A Screenwriter

trumbo image

Trumbo

A blacklisted Hollywood screenwriter fights back after being jailed for his political beliefs in Trumbo, now on DVD and Digital HD, from Universal Pictures Home Entertainment. Inspired by the colorful life and legacy of the brilliant Oscar®-winning screenwriter Dalton Trumbo (Roman Holiday, Spartacus), Trumbo is an astonishing portrait of an often forgotten chapter of American history. A sharp and timely true Hollywood story, the riveting biographical drama is directed by Emmy Award® winner Jay Roach (HBO’s “Recount,” “Game Change”) and features Emmy and Tony®-winning actor Bryan Cranston.

In 1947, Dalton Trumbo (Bryan Cranston) was Hollywood’s top screenwriter until he and other artists were jailed and blacklisted for their political beliefs. Trumbo (directed by Jay Roach) recounts how Dalton used words and wit to win two Academy Awards and expose the absurdity and injustice of the blacklist, which entangled everyone from gossip columnist Hedda Hopper (Helen Mirren) to John Wayne, Kirk Douglas and Otto Preminger. The film also stars Diane Lane, John Goodman, Louis C.K., Elle Fanning, and Michael Stuhlbarg.

Corporate Prophet Ad

Trumbo is a critically acclaimed film, nominated for an Academy Award® for Best Actor (Bryan Cranston), as well as two Golden Globes®, three SAG Awards, and three Critics Choice Awards.

ELITE AD 2016

Star Wars

Star Wars: Episode VIII, began principal photography at Pinewood Studios in London on February 15, 2016. Star Wars: Episode VIII, which is written and directed by Rian Johnson and continues the storylines introduced in Star Wars: The Force Awakens, welcomes back cast members Mark Hamill, Carrie Fisher, Adam Driver, Daisy Ridley, John Boyega, Oscar Isaac, Lupita Nyong’o, Domhnall Gleeson, Anthony Daniels, Gwendoline Christie, and Andy Serkis. New cast members will include Academy Award® winner Benicio Del Toro, Academy Award® nominee Laura Dern, and talented newcomer Kelly Marie Tran.

FRANCESCA

Star Wars: Episode VIII is produced by Kathleen Kennedy and Ram Bergman and executive produced by J.J. Abrams, Jason McGatlin and Tom Karnowski. Joining the production crew will be some of the industry’s top talent, including Steve Yedlin (Director of Photography), Bob Ducsay (Editor), Rick Heinrichs (Production Designer), Peter Swords King (Hair and Make-Up Designer), and Mary Vernieu (US Casting Director). They will be joining returning crew members Pippa Anderson (Co-Producer, VP Post Production), Neal Scanlan (Creature & Droid FX Creative Supervisor), Michael Kaplan (Costume Designer), Jamie Wilkinson (Prop Master), Chris Corbould (SFX Supervisor), Rob Inch (Stunt Coordinator), Ben Morris (VFX Supervisor), and Nina Gold (UK Casting Director).

Star Wars: Episode VIII is scheduled for release December 15, 2017.

How to Succeed In Hollywood

Bruce Edwin is CEO of the A-list firm Starpower Management LLC, publisher of The Hollywood Sentinel, and also a film producer. His services, based on his years of expertise and success in the music and film industry are sought out and used by some of the most powerful companies and stars in entertainment. This ongoing article series, a precursor to his upcoming book, is his way of giving back to models, actors and bands, with free education- that in its totality and with its unabashed honesty- cannot not be found anywhere else. Free.

How to Succeed As A Screenwriter

1, Know your place and pay your dues by showing respect until you make it big. Until you are an Oscar nominated or Golden Globe nominated or winning screenwriter, realize that the production companies and producers, directors don’t need you, you need them. Don’t act like you are doing them a favor by sending your material or trying to get them to receive it.

2, Be prepared and follow directions given. When a producer or production company has agreed to look at your work, don’t argue or delay. Have ready exactly what they want, which may include a logline, a 1 page synopsis, a 10 page or more treatment, or the full script. Don’t ask them if you can send more than what they ask for, and definitely do not send something not asked for without the OK. This is a good way to get rejected before you even get your material read. Have everything ready right away, so that when they ask for it, you are prepared to send it and send it quickly. I had one screenwriter send me a full script, after I told him to only send me a one page synopsis. That is a quick way to get rejected. If one cannot follow directions on a simple document to send, one can not be expected to follow directions on a more serious and detailed matter like revising a script to someone’s specifications that is paying them. Follow directions.

3, Don’t ask questions before you are hired. After they are looking, or even before they agree to look, don’t ask them questions, which could waste their time and annoy them. A writer recently asked me– when I was going to read some of his work, what the difference was between an agent and a manager, in addition to about a half a dozen other questions, which I simply had no time for. Had he actually researched The Hollywood Sentinel ‘Archives,’ section, or even done a search to this answer online, he would have found the answer to this first question without attempting to waste our time. This is not a question to bother a producer, agent, or manager with. We don’t work on commission for no money down to educate people for free. Although I do educate people for free, when one is trying to get us to rep them, that is not the time to ask questions that one can easily find out on their own. Until you have a contract offer, don’t even hit people up with questions or you could kill the deal.

Can you imagine a guy meeting a girl, and wanting to ask her out, and then saying to her, so, “Will you make out with me a lot?” “Are you a good cook?” “Are you going to treat my children well?” No, she has not even said she will go out with him yet! Don’t do that! it’s too early.

So, when someone is looking or considering looking at your deal, it is not the time to ask them about their percentages, films funded, etc. If you don’t trust their expertise, don’t contact them to begin with, and when you do contact them, asking money questions prior to them even saying they are interested in not appropriate, unless again, you are already a top winning or top nominated screenwriter, in which case you will already have a top agent or top manager, which would mean you would not be asking the wrong questions, the agent or manager would be asking the questions for you, in the right manner.

4, When opportunity knocks, answer the freaken’ door and don’t send them running. One writer had a handful of scripts I was strongly considering representing. I sent him a short contract, and he told me that he needed over month to get back with me to ‘consider’ our deal. He claimed he needed several weeks for his attorney to look it over, and at least several weeks for him to film a webisode, which would include an extra week or so for camping. I told him that was fine, but that I would probably not be interested in giving him more than 10 business days, and that if he considered our business a priority, he could rush his attorney a bit, get a faster one, or cut his camping trip short, if he got no reception in the woods. He refused, and so I rescinded any and all future interest since he did not jump at the huge opportunity we were giving him. He was shocked, even though I gave him ample time to change his mind and move quicker. Over a year has passed, and no one has heard of this guy since, and my guess is, probably never will. When you have an A-list deal fall on your lap, do all you can to make it happen as fast as you can, and show them that you are eager, and appreciative. If you delay, you may delay your success for ever.

5, Thank the person! If you get an call or visit or e-mail from a top producer, agent, manager, or director, thank them for their time! My first test of whether or not I will deal with someone, is their manners or lack thereof. I have major investors– worth millions to sometimes even billions of dollars, that graciously thank me for my time, simply because they are classy ladies and gentleman, and are highly cordial and polite, when in fact, I should be the one thanking ‘them,’ and I always do. So when a writer hears from me, and does not thank me for my time, or show gratitude, I automatically lose all respect and interest.

6, Use the persons name, and address them as Mr. or Ms. unless they tell you to otherwise. Show respect. Just when I think I’ve seen it all, I often experience some other scenario that tops the rest in all manners of ridiculousness. As an example, another writer recently contacted me with no thank you, and actually instead of calling me by any part of my name, addressed me as the letter ‘B’! Not only is this lazy, it’s foolish. Pretend you are communicating with the person face to face. Show respect, and use their name.

7, Don’t give orders. If you are trying to get someone to do something for you, or to communicate with you, or return your communication, ask them, don’t order. Most rich or powerful people have worked very hard to get where they are at, and a part of that freedom they enjoy is not having to take orders from anyone. So, if someone gives them an order, especially when that person is trying to get a favor out of ‘them,’ they can generally forget a deal ever happening. Ask, don’t demand! And that’s an order! (LOL).

8, Answer your phone, and answer blocked calls. Any time someone that wants me to do something spends their time telling me about how they did not answer my call, because they don’t answer blocked calls, not only wastes my time, but sends me the signal that they are either A, control freaks, B, paranoid, or C, have bill collectors after them. I have told this story over and over, but unfortunately, it is one that needs repeating. Atlantic Records called me one time from New York, and the publicist there told me, “Bruce, record labels and film studios, we all call from private, blocked, or even dummy numbers. So if you want to be successful working in Hollywood in the music and film biz, answer private calls!”

I told this story about the blocked line and dummy number to an actress I represented once who was not answering our blocked line, and she asked me if I was calling her a dummy. I had to think about that one. I thanked this person at Atlantic Records for that advice, and always took it, and it was true. Every film studio lot I have had an office at, has phones that we had to use through the studio that had automatically programmed private or dummy numbers. The record labels are no different. This has been this way for ages, and is to protect producers and top level industry people from stalkers, and is also so we can better control our communication and ‘roll calls’ without interruptions we don’t want, controlling communication on our terms. So, answer your phone, and always answer private calls or numbers you don’t know and don’t complain about it. Complaining about this does not impress anyone, on the contrary, it will only show that you have no experience in dealing with the entertainment industry.

9, Don’t describe your film as a cross between one film and another, unless you are asked to compare it. One writer I know just emailed me a synopsis and described his film as when one title meets another certain film. The first film he mentioned I had never even seen, not liking the actor in the film, and the second film he compared his script to, I had seen, and after reading his script, found this comparison totally wrong, being nothing like the film mentioned. Further, why be ‘like’ another film anyway? Be original, and don’t compare your script to anything else unless you have to.

10, Don’t send producers you are working with or want to work with countless re-writes! One writer I am dealing with is constantly sending me revised versions of his script, which I simply have no time to read. Then, one funding source will have one version, and another funding source ends up with another version, then when we go back to discuss it, it has totally changed, and is a complete mess. This is a sign of an unprofessional screenwriter. turn in a final draft, and stick to it, unless you are asked to change it otherwise.

11, Proofread! I got another writer that sent me a script in with a ton of typographical errors. He had the audacity to tell me I could clean them up. No! That is not a producers job, it’s the screenwriters. Make sure that your script is perfect, and error free.

12, Don’t try to act like a producer on a film when you are not the producer, and are the screenwriter only. Your job is essential and important. I am not demeaning that job whatsoever. Just don’t try to overstep your boundary and act like a line producer or producer unless you actually are one, and have been retained by the owner or producer of the deal to work in this additional capacity.

I hope this has helped many of you. As always, if you have any questions, you are invited to contact me at the front page of this site.

The office of Bruce Edwin and Starpower Management accepts screenplays from Academy Award or Golden Globe winning or nominated screenwriters only.

This content is © 2016, The Hollywood Sentinel, Bruce Edwin, all rights reserved. Special thanks to Universal Studios and Skywalker Ranch.

Diversity, Professionalism, and Inclusion

By Moira Cue

Does your organization practice diversity, professionalism, and inclusion? I would argue that each of these values represents a level of commitment to the same core principal, in ascending order of ethical strength and subtlety. While each value has its place in the contemporary work world, I believe that inclusion is the most important goal to strive for.

Diversity and professionalism can be stepping stairs on the upward path to inclusion, but only if leadership is self-motivated to engage in constant questioning of the status quo. The danger in the “step-by-step” approach is that each step can become a plateau, wherein the organization becomes comfortable at one level and doesn’t go any farther.

Title: "Sojourner Truth," Other Title, "I sell the shadow to support the substance" Summary: Photograph shows Sojourner Truth, head-and-shoulders portrait, facing slightly left. Created / Published c1864. Subject Headings - Truth, Sojourner,-- 1799-1883. Format Headings, Albumen prints--1860-1870. Cartes de visite-- 1860-1870. Portrait photographs--1860-1870. - Copyright 1864 by Sojourner Truth. - Purchase;--William A. Gladstone;--1995;--(PR 13 CN 1995:113)
Title: “Sojourner Truth,” Other Title, “I sell the shadow to support the substance.”  Summary: Photograph shows Sojourner Truth, head-and-shoulders portrait, facing slightly left. Created / Published c1864. Subject Headings – Truth, Sojourner,–1799-1883. Format Headings, Albumen prints–1860-1870. Cartes de visite–1860-1870. Portrait photographs–1860-1870. – Copyright 1864 by Sojourner Truth.-Purchase;–William A. Gladstone;–1995;–(PR 13 CN 1995:113)

An organizational commitment to diversity often focuses on hiring and retention statistics and avoiding legal liability. Adopting policies such as mandatory sexual harassment training for managers, hiring targets for minorities, participation in surveys, and official diversity committees out of fear reduces diverse people, including women, to statistical targets at best; and potential fires to be handled with caution, at worst. It seems true that you can’t improve what you don’t measure. It is also true that quantifiable results, such as the number of African-Americans on your Board of Directors, or the presence or absence of discrimination lawsuits, are the fruits of a particular work culture, leadership attitude, and environment. The root of the problem is deeply held, even subconscious, beliefs of not only the people “in charge,” but the people who come to work for your organization with prior experiences of victimization or discrimination based on their identity. If the main reason you or your leadership engage in a particular course of action is to not get sued, or to decrease future financial loss after a successful suit, than that action is reactive rather than proactive, and your organization should consider moving up the ethics ladder to review and address matters of professionalism from a more holistic vantage point.

On the other hand, there are cases wherein a formal investment in diversity programs signifies progress. Is if your organization refuses to review its own diversity metrics (at least internally); has been the subject of an EEOC disciplinary action or investigation; or has problems retaining women and diverse people at upper levels or with retention in general, then looking at the metrics is a good place to start. If there is no prominent member of your organization who is not white and male and/or from an Ivy League school, certainly you might want to bring in a consultant to ask why that is, and keep an open mind. Don’t assume there is a lack of qualified people applying for jobs with your organization. Upper management or HR may not realize that compared to other organizations of your same size and industry, you have a higher or lower percentage of various ethnicities, so when you analyze the numbers you might see patterns that lead to more important questions. Is diversity not only a product of the organization, but of the industry itself? If so, what factors favor parity in one industry and not another?

There are entire industries that need to start with diversity: Look at the overall numbers in engineering (http://www.nsf.gov/statistics/wmpd/2013/tables.cfm). Or, closer to home for this author: Look at the numbers of contemporary (i.e. living) female artists exhibiting solo shows in major museums globally compared to the number of women who go through art schools (http://www.artnews.com/2015/05/26/taking-the-measure-of-sexism-facts-figures-and-fixes/). Worse yet, look at a historical list of the highest sales prices for paintings. There are no women artists represented in the top 65 individual sales, and only two men who are not European or American descent (both are Chinese). The most obvious answer to this question could be that one of these industries (engineering) enculturates its own with so called “left-brain,” solutions-based, rational thinking that tends to emphasize the calculating areas of our brains over the care and connectivity centers—so “leveling the playing field” is an alien concept when participants are less aware of the “field” as a sphere of human interaction and more aware of direct, concrete objectives. But art, which traditionally engages the “human story,” is simply a field (much like Hollywood) wherein there is no traditional employer-employee relationship for the makers of individual works of art (or music or entertainment), hence a field wherein threat of litigation plays little to no deterring role for exploitation, and individual personalities battle for “celebrity” status.

A culture that thrives on professionalism (or civility, if you prefer) would exclude cultural appropriation at the expense of the minority. It isn’t professional to boost yourself over others while trampling them under your feet. It isn’t professional to take credit for others accomplishments, pay a person less than she is worth because she lets you get away with it, use racial or sexual slurs, or make someone so uncomfortable that she drops out of your school or company. I’ve had the pleasure of working in organizations led by men, who happened to be white and well compensated, who had this kind of class. Because these leaders saw their subordinates as professionals first, it was easier to do my best work than in other environments where unprofessional and gendered comments were the norm.

But there’s still a higher plane of organizational virtue: inclusion. I often hear the words “diversity and inclusion” brandied about as painter Hedda Sterne famously heard the phrase “great artist,” as if one word. To me this is a pity, as I feel we lose so much of the value of inclusion when we look for diversity reductively or mechanistically. When we strive for diverse work forces, or to give diverse voices cinematic exploration, rather than inclusive work forces or works of art, we only go skin deep. There is an assumption that if a person isn’t a member of a protected class, he or she has never experienced discrimination. There’s an assumption that you can take a snapshot or run your metrics, and know if you are certifiably diverse. There’s an assumption that traditionally excluded people are being “let in” that smacks of paternalism. An inclusive approach throws all assumptions about identity out the window. It’s not management that defines the beingness of their employees by checking off boxes. An inclusive approach is one where real differences, as experienced by the Self, rather than culturally or politically constructed sociology of difference, are given room to be. A progressively inclusive workplace, for example, might create dim, quiet spaces for employees who are disturbed by bright lights or too much noise or accept an introvert’s desire to avoid the company picnic (regardless of disclosure or existence of a formal autism diagnosis). A progressively inclusive workplace would hire art school graduates or creative consultants and ask “how can we be more creative” during Board meetings. You would see not just different skin colors or sexual orientations, but different personalities, different politics, different religions, working together.

My personal working hypothesis regarding inclusion, perhaps due to indoctrination in, first, empiricism, and secondly, a “post-” everything ethos, is that the differences we don’t see—arbitrary epistemological boundaries—are more individualistic and profound than differences attributed to diverse variables. Though there is so much overlap that diverse variables become the simplest way of pre-judging others. By “arbitrary epistemological boundaries” I mean the invisible hierarchy of values which are unique to every field of knowledge as historically defined, without elimination of Western or ‘civilized’ bias. (Two excellent books exploring gender and nature, Carolyn Anne Merchant’s The Death of Nature, and Leonard Shlain’s The Goddess Versus the Alphabet, were key to my early inspiration in this regard as well.) Historical divisions between commercial activity and the academy, art and science, ethics and all other fields of endeavor, have created poly-fragmentated dissociation en masse. We go to work exclusively to make money. We go to school exclusively to learn. We make art exclusively to express ourselves. If we question the impact of any of these activities on non-human life, we have stepped outside of all -ologies other than ecology. Competition and cooperation have prescripted dominant-subordinate relationships in various settings.

Both in your individual success and the success of the organizations you influence, identifying the “invisible walls” more clearly and including ideas, modalities, and people “outside” those boundaries can yield adventure, discovery, and original ideas and combinations.

This story is ©2016, The Hollywood Sentinel, Moira Cue, all world rights reserved.