Towards Demons

I keep posting on deteriorating Western art. What this vacuum allows in is alien, foreign art. But more importantly, alien, foreign gods.

Western art has always had at its base the Bible and the Christian Weltanschauung.

When the West began to be discard this, in the very late 19th century and throughout the 20th, and viciously in the 21st, what we began to see was first a disparagement of God then finally His full-out rejection.

Man cannot live by art alone, so what we started to get was a slow incursion of alien deities. This of course found its perfect league with immigration and multiculturalism, which let in, with open arms, all those alien god practitioners.

We see it now our arts institutions, but of course this bleeds into our daily lives and environments.

Here is what I took yesterday at the Square One mall in Mississauga where one (of many) stores carefully exposes us to its godheads. At the very entrance, right next to the Canadian iconic department store, Hudson's Bay, we have this:























Of course Harry Potter is the black magic movie which was such a big hit amongst vulnerable young children, mostly white and of "Christian" families.





Where there is a void, the demons will fill in. The post-modern, anti-God, anti-life Western civilization, with its Urban Decay emblems and Harry Potter magic, has allowed that to happen.

More on the Creep Harvey Weinstein

Of course the pathetic actresses also whored themselves to this man are also to blame. Who lets any "unknown" man into one's room?



From James Perloff's tweet.

Feminists are the biggest cry-babies. When the going gets tough they scream "RAPE!!!!!"

Well the sad part is that these neophyte Hollywood actresses are hardly feminists. They are simply stooges, manipulated by bitter, hard-hearted, anti-men women who are mostly lesbians or lesbian-wanna-bes.

My Response to Art Gallery of Mississauga

(From The Thinking Housewife)

My belly laugh: courtesy of the AGM and The Libby Hague revered retrospective now showing at the AGM.

"Poor Artists. Poor You. Everyone's Picking on You!"

In case you didn't recognize it, this title refers to Stanley Stucci's put down of Anne Hathaway in the film The Devil Wears Prada. Hathaway thought she was way above the meticulous and sharp fashion magazine editor Meryl Streep (after VOGUE's Anna Wintour), and realizes she's NOT!

Stan Stucci, who has been ordered to train this neophyte, takes her to the stock room to pick out dresses to present to Mme. VOGUE for the magazine's next edition.

Do you want me to say, "Poor you. Miranda's picking on you. Poor you. Poor Andy"? Hmm? Wake up, six. She's just doing her job. Don't you know that you are working at the place that published some of the greatest artists of the century? Halston, Lagerfeld, de la Renta.

Poor Kendra. Poor you!

Here is Kendra Ainsworth (poor poor Kendra), curator of contemporary art at the AGM, standing in awe before the quack artist Libby Hague (well that is an oxymoron since all modern and post-modern artists are quacks) who herself looks like she needs some kind of consolation from some force higher than HER. I can fit that role! No. On second thoughts, one cannot wean decades of dependency on government grants: i.e. Free Money. And fakery.

Catherine Hernandez: The Lesbian Vs. God and Other Stories, Redux

I posted on Catherine Hernandez, the married lesbian Asian with one daughter from a former marriage to a white Canadian (man), about six months ago: Catch Them While They're Young, and Catherine Hernandez: The Lesbian Vs. God and Other Stories.

The Art Gallery of Mississauga hosted regular "story telling" sessions where she read her feminist/gay-sensitive story book M is for Mustache: A Pride ABC Book to toddlers. The AGM advertised her 2015 sessions thus:

AGM TOT SPOT!
with Guest Storyteller Catherine Hernandez
NEXT SESSION: FRIDAY, JUNE 16, 10 - 11 AM
Art Gallery of Mississauga | 300 City Centre Drive | FREE & Open to the Public

Monthly on Fridays, 10 - 11 AM, join us at the gallery for an hour of stories, movement and imagination!

Catherine Hernandez is a proud queer woman of colour, radical mother, activist, theatre practitioner and the Artistic Director of b current performing arts. Her one-woman show, The Femme Playlist, premiered at Buddies in Bad Times Theatre as part of the afterRock Play Series, co-produced by b current, Eventual Ashes and Sulong Theatre. Her children’s book, M is for Mustache: A Pride ABC Book was published by Flamingo Rampant in 2015.
The AGM recommends 1 parent for every 2 children at Tot Spot!

Hernandez maintained her lesbian performance art theater through her salary from a "home"-based day care, as well as, of course, with multitudes of government grants for her books and theatrical performances. Her daycare was also run on government funds.

Here is one example of a $10,000 grant for a Playwright Residency in which she participated through funding from the Ontario Arts Council.

And she was a co-winner of the Emerging Writers Award in 2015 with her manuscript Scarborough, a book on the Toronto suburban town of Scarborough where she has lived for most of her life. The award is presented by

The Asian Canadian Writers' Workshop Society (ACWW).

the Emerging Writer Award (EWA) was established in 1999 to help authors of Pacific Rim Asian heritage be published with an established publishing house [Source].

The Society is a not for profit organization and is governed by a board of directors and executive team.

More about the ACWW:

The Asian Canadian Writers’ Workshop (ACWW) began as a writing collective in the early 1960s, by dedicated Asian Canadian writers: Rick Shiomi (playwright), Sky Lee (novelist), Paul Yee (children’s author), Jim Wong-Chu (poet) and Sean Gunn (poet). In 1995, ACWW was incorporated as a non-profit society which started publishing Ricepaper Magazine, originally as a newsletter to showcase the work of emerging Asian Canadian writers is now a nationally recognized web-based magazine with a global audience.

And the purpose of the Society is:

- to organize, sponsor, stage and otherwise promote cultural arts activities and events including festivals, presentations, demonstrations, exhibits, workshops and seminars involving Pacific Rim Asian Canadian literary arts, themes and interests conducted in the English language;

- to encourage public appreciation of the above through educational activities including cultural exchange and scholarship

- to foster public appreciation, awareness and community development through cultural events.

On Catherine Hernandez:

The ACWW is so proud to see Catherine Hernandez complete her first novel...The novel's name is a tribute to the community of Scarborough, a low-income, culturally diverse neighbourhood east of Toronto, which is also the fourth largest city in North America. Like many inner-city communities, it suffers under the weight of poverty, drugs, crime, and urban blight. Scarborough the novel employs a multitude of voices to tell the story of a tight-knit neighbourhood under fire: among them, Victor, a black artist harassed by the police; Winsum, a West Indian restaurant owner struggling to keep it together; and Hina, a Muslim school worker who witnesses first-hand the impact of poverty on education.

Hernandez' book Scarborough is newly released in 2017 by Arsenal Pulp Press, with a cover photo by Matthew Henry.



There is no way to verify where photo was taken, or even if it is a station in Scarborough. It might be Victoria Park station from the white tiles, which is a a stop before the Warden station where Hernandez stands posing in the photo below. Or a station in New York.



And there is no title for the photo. It is a major error for a book which purports to be "site specific" to have an unidentified picture on its cover page. But it is the usual generic and slack attitude of multi-cultists who are simply out to set an agenda rather then expose truth through accuracy. A little black girl running in an empty subway station stands for all those little brown and yellow girls abused by The System.

Hernandez' book sale went so well that she has abandoned her subsidized child care "small business" for the bigger bucks of a multicultural minor literary celebrity. Scarborough was a finalist in the 2017 Toronto Book Awards, but did not win.

She discusses all this on Steve Paiken's "The Agenda" program on TV Ontario on Wednesday.

The full interview is here, but what is outstanding is her presentation of herself.

On her easily google searchable website (the web address is her own name), she has her S&M Lesbian pose for all to see, as well as pornographic poses in other (easily viewable) websites.

But in more "polite" society (such as TVO) she presents herself as the convivial Filipina single mother (she calls herself a "single mother"). Although she can't help expose her tattooed cleavage.


Screenshot from TVO interview, Tuesday November 1 2017

Now that her book is published and she'll be done with the tours and interviews, she has a new project ready for the public:

“It is so refreshing to see a woman celebrate her sexuality on stage while actively resisting the oppressive gazes that would objectify her doing so.” —Jeremy Gardiner, Mooney on Theatre

Hernandez has her own company, amongst other projects, a theatre company she calls "b current", whose financial information is as follows:



62%, or a whopping 2/3, of b current's budget is from government sources. And this is for her company. We have no information on her other financial sources for her own artistic practices.

Here is the 2016/2017 season schedule for b current, which Hernandez calls A Season of Rebirth:

Trace
Nov 16 -Dec 3
Factory Studio Theatre
by Jeff Ho

trace follows three generations of mother and son from the Japanese occupation of Hong Kong to Canada in the 21st Century. Combining virtuosic original piano compositions with an incredible performance, and a lyrical text, this exquisite and stimulating one man chamber play offers a new look into what we give up to thrive under duress.

Take D Milk, Nah?
Apr 12-22 2018
Theatre Passe Muraille Backspace

A Pandemic Theatre and b current performing arts Co-Production with the support of Theatre Passe Muraille
Written and Performed by Jivesh Parasram
Directed by Tom Arthur Davis
Dramaturgy by Graham Isador

Jiv is “Canadian.” And “Indian.” And “Hindu.” And “West Indian.” “Trinidadian” too. Or maybe he’s just colonized. In Take d Milk, Nah?Parasram blends personal storytelling, ritual, and academic lecture to walk an audience through the Hin-do’s and Hin-don’ts at the intersections of these cultures. The show is a refreshingly candid and delightfully funny look at race, religion and nationalism(s): What divides us – and what we’re willing to accept in the desire to belong. Oh, and there’s a cow.
Generously funded in part by the Wuchien Michael Than Foundation​

Rock, Paper, Sistahz Development Series
Ongoing

rock.paper.sistahz festival has been reimagined into an in-depth development series where curated artists are invited to explore, play and present their work throughout the season, all within our newly renovated 50 seat studio theatre.

This year's works in residence are:
OUR FATHERS, SONS, LOVERS AND LITTLE BROTHERS​
Written and Performed by Makambe K Simamba
Directed and Dramaturged by Audrey Dwyer

February 26, 2012, Florida. A 17 year old black boy wearing a hoodie leaves a 7/11 carrying a bag of Skittles and an iced tea. He never makes it home. Our Fathers, Sons, Lovers and Little Brothers invites us to enter the world of an infamous teen, relive his last moments, and face the intricacy of his dance into the afterlife. Makambe's residency is supported in part by Alberta Theatre Projects in Calgary where she is a member of the ATP Playwrights Unit.

Bite Hard: The Justin Chin Project
The Bite Hard Collective consists of: Jasmine Chen, Jeff Ho, Michael Man and Jonathan Tan

Bite Hard: The Justin Chin Project is a no holds barred performative exploration of queerness, love, sex, culture clashing and community, through piano and poetry. One of the first slam poets in America, Justin Chin was a force to be reckoned with. His performance style was uncensored, unapologetic and startlingly unique. Before his death in 2015, Chin was a poet who gave voice to his own intersectional identity, which served as his lens on the world. In his poetry, one-man shows and essays, he had the deft skill of delivering searing anger through sharp wit and cynicism.

The Bite Hard Collective seeks to use Justin’s writing as a launching pad to explore the intersectionality of Queer and Asian identities. Inspiring piano composition and spoken text, the collective will examine the complexities of this intersection and how it affects all aspects of life: family, religion, relationships, social status, body image, discrimination, etc. It is largely felt that the Queer lens in Canada is by default a White lens. White is accepted as ‘neutral’ in the gay community and Asianness exists outside of the dominant narrative. The intersection of Queer and Asian can sometimes feel like a violent collision; where two cultures often fail to accept or make room for the other. Yet, there is the popularized term ‘Gaysian’ - a loaded word that for some people is a reclamation and for others is an ill-fitted label. Bite Hard is a wild debate, a subversion, a piano-drag-burlesque, and a celebration of Asian Queerness.

Hernandez grandiosely tells us on her b current website:

b current is the hotbed for culturally-rooted theatre development in Toronto. Originally founded as a place for black artists to create, nurture, and present their new works, our company has grown to support artists from all diasporas. We strived over two decades to create space for diverse voices to be heard, always with a focus on engaging the communities from which our stories emerge. As a result, these communities hold our company in trust and respect the work that we do. Whether our audiences identify with our work through ethnic experience, social values, or political awareness, these groups are loyal to our programming because they recognize the high level of cultural authenticity and integrity we foster in our artists and their works.

So perhaps there lies the root behind the photograph of a black girl on the cover of Scarborough: to carry on the legacy she feels she's been left by her black neighbors in Scarborough, and her fellow black artists in Toronto. It is a condescending look at race: blacks are the most oppressed and therefore we (browns) have to stand in solidarity with them.

Her October 25, 2017 twitter message explains:



So there you have it, a post-modern, multicultural, brown, Asian, post-gender Canadian, with a pretty nice governmental financial package.