Wednesday, April 28, 2021

GAS Featured Poet: Igor Goldkind


 Igor Goldkind is an author, poet, and independent scholar. At the age of 14, Igor served as a volunteer Science Fiction Coordinator for the now wildly popular San Diego Comic-Con. It was in this capacity that he met Ray Bradbury, whom he asked for advice about becoming a writer. Through Comic-Con, Igor also befriended Theodor Sturgeon and Harlan Ellison, two of his major influences. He worked in the British comic publishing industry and is best known for having coined the Graphic Novel genre as a global publishing genre. In 2016, his award-winning multimedia novel published by Chameleon Publishing IS SHE AVAILABLE?, broke ground in combining Poetry, Comics, Jazz, and Animation setting a new bar in electronic publishing. He continued to blend poetry with art in his new work TAKE A DEEP BREATH, Living With Uncertainty, an illustrated collection of essays, poetry, and short stories confronting the pandemic in personal terms. Igor writes and lives in the San Diego, California but misses the UK.



Suicide Note

There are a still a few options open to you, apart from death.
Which is after all, inevitable and not so much an option as the fast forward to the point where there are no more options.
Living is dying anyway, so why speed up the process?
To avoid pain?
Many have endured much more than you and still clung to the delays to the inevitable.
Is it because you no longer feel of worth or of value?
To whom, yourself?

Perhaps your judge is drunk or wanting in discernment.
Perhaps your judge is just wrong and his judgement awaits over-ruling by a higher one.
Who are you after all, to judge yourself?
If you are so worthless then your judgement is suspect its certainly not worth acting upon. What if you went and saw a movie instead? or got drunk?
Or went to sleep?
Or made love until the dawn found another hanging judge to sentence you?

Do you want to die because life is absurd and void of meaning?
What took you so long to notice?
Does your slowness make you want to speed things up?
Trying to arrive sooner to the destination because you already know what’s there? Instead of death you could seek laughter,

which is really a form of dying;
a release from the known into the unknown by way of catching your breath in its own rhythm. Inward and outward.

What if you were about to hear a joke you had never heard before that made you laugh so hard that you woke up into the wide open world that contains this one?
If you die now, you might just die before hearing the joke that would wake you up
To a world where you no longer wanted to die because you had found yourself already here,

Where you belonged
where you were all along,
not living or dying but blinking and breathing like this, Like this, like t
his...

                                *****

The Line You Walked 

I am my father.
I am my father’s son.
I am my father’s father
I am my daughter’s son. 

I am the line that walks these dots
Connecting one Pole to another
One foot follows the other
From Lodz to Ellis Island to Brooklyn to Washington to Marseille, To the frozen thunder of L’Ardennes, 

Munchen, Salzbourg, Yale, San Pedro, Cham Kom, Chichin Itza Lansing, San Diego, Berkeley, Paris, Heidelberg, London
One arrow pointing to this hallowed ground
We stand on now. 

These dots, these stones, these memories We tread upon:
What you could not take with you,
You have left behind 

For me, for us
In the meaning you finally found 

Behind eyes glued shut
Behind my daughter’s eyes glued open
In wonderment, in curiosity
In the mind’s intrepid search for the reason in it all. 

Stepping forwards, stumbling backwards.
Looking up, looking down, looking sideways at the world.
Looking over your shoulder with a joke, with a laugh and a dimpled grin. Man makes plans while God laughs.
Student, soldier, teacher, brother, husband, father,
Grander father still. 

Between these dots
We can see the being of who we were, Who we become and who we are: One in the same. 

I am my father.
I am my father’s son.
I am my father’s father
I am my daughter’s son. 

Your work, my father, is not yet done.

    For my father, Dr. Victor Herchiel Goldkind 1924-2011

Saturday, April 24, 2021

GAS Featured Composer/Producer and Visual Artist: Frédéric Iriarte, presented by Matthew Bowers




Trying to catch Frédéric Iriarte  between sessions is a full time job. Working with four bands and countless projects, I wonder when he finds time to sleep. He is as real, and genuine, as he is gifted.

     He has been working on Igor Goldkind's latest project - Take A Deep Breath.


It's an amazing collaboration of music and spoken word that is just brilliant! The collaboration of Igor and Frédéric  is as powerful as it is timely. 

    

His very recent recordings, that I have been privy to hear include Beat Poet Laureate, Carlo Parcelli  and his upcoming album on UNIC6's project Eurylochus (a fragment).

Here is an amazing adventure, where he has created the jazz inspired controlled chaos that enhances the poems and stories of Carlo as he recites in a heavy Cockney beautifully rich voice. Not just a musician, artist, but a brilliant producer with vision as well. 

     Frédéric is indeed an amazing composer. He has a unique, distinctive sound unto his own. He is able to record in his beautiful Home studio (his instruments are a collector's dream!) He's worked with a veritable who's who in the Modern Poetry Beat Scene.


Experimental Funky-


     Frédéric  has over 31 albums that he's produced under his belt, countless art projects, and several murals. Frédéric  is a very talented man, and has given much to the art community at large. As talented as he is, he's a humble, modest man. He does not see himself as a poet or feel that he has a story to tell. On the contrary, what he does with musical creation, electronic and organic, is indeed pure poetry in itself. Each song or musical poetry piece that he works on has its own story to tell. 


Amplified Heart of the Beat-


     I understand what he means by "I" don't have a story to tell though. Somehow not being able to take credit for messages, music, poems that come to us from the universe and the Muse itself. It feels like promptings leading us, and we feel like we're just following the direction of what a greater source has led us to. It is in some ways disrespectful, cheating in a way, to take such credit from inspiration.   

      Frédéric  has been doing art and music for forty years. He is a visual artist, designer, and composer. He lives in Stockholm Sweden and was part of the National and International Beat Poetry Foundation Festival, 2020 where this video was presented.

     Among the Great poets that Frédéric has worked with are:


Chris Vannoy

Paul Richmond

Bengt O Björklund

Ian Gibbins

Igor Goldkind

Dennis Renfors

Lefifi Tladi 

Rich Ferguson

Carlo Parcelli



People Dying in the Street


In Summary, I feel that it is best summed up in Chris Vannoy 's collaboration with Frédéric

In  "What is Beat."


Frédéric  Iriarte's You Tube Channel

and Band Camp site.


Frédéric  Iriarte's Art Page


Learn more about  Frédéric Iriarte on his Wikipedia page.



Friday, April 23, 2021

Prince: The Purple Reign by Kevin M. Hibshman


It was 1978. I was watching American Bandstand, the weekly dance show hosted by the once ubiquitous Dick Clark. Halfway through the episode, the musical guest, Prince was introduced.

It was clear to me this was an unusual artist. A young black man with a lascivious look playing a song that was two-thirds funk, one-third rock and delivered with one hundred percent attitude. When Dick Clark briefly interviewed the out of breath singer, Prince answered with flippant, one-word retorts. 

I later found out he'd been offended by Clark's opening line: “I can't believe you're from Minnesota!” 

        Not only was Prince from Minnesota, he would put his home state on the map by defining 80's pop and by becoming a living legend before his untimely death in 2016. 

        During his lifetime, Prince would release thirty-
two studio albums, four soundtrack albums, five live albums, nine compilation albums, star in five films and produce hit records for his notable proteges: The Time, Vanity/Apollonia 6, Jill Jones and Sheila E. among others. He worked with other musicians frequently including Kate Bush, Sheena Easton, The Bangles, Madonna and George Clinton. He seemed to be an endless creative force, inspiring many future pop stars. His talent was undeniable. He could sing, dance, act and play a multitude of instruments. I am going to play fan instead of critic and list my favorite albums from his vast catalog. I've enjoyed music from all of his releases but these are the records that remain must-haves for me decades after first becoming intrigued by his musical genius.


Dirty Mind,1980. This is Prince's third album and it's one of his most adventurous both musically and lyrically. Clearly influenced by new wave, this is his most daring album lyrically as he sings about incest, oral sex and threesomes in his falsetto voice, enhancing the androgyny of the album cover where he is clad only in a trench coat, black briefs and thigh high boots. As with the previous two albums, Prince plays all the instruments except for two synthesizer parts provided by long-term band member, Dr. Fink and a backing vocal from Lisa Coleman also a main stay as part of The Revolution, the band he would rocket to fame with. This record is a thirty-minute thrill ride and paved the way for sexually explicit subject matter as well as updating the sound of 80's rhythm and blues music.


1999, 1982. This was Prince's breakthrough album and set the stage for the enormous success of Purple Rain which would follow it two years later and catapult Prince into super-stardom. Originally released as a two-record set, it produced five singles. “International Lover” was his first Grammy nomination and the album was inducted into the Grammy Hall of Fame in 2008. The salacious lyrics continued as did the new wave influence with most of the songs based on synthesizer arrangements. Prince once again, played most of the instruments. This maybe my very favorite Prince release as it's a showcase of his ability to adapt any musical style and make it his own. He also debuts the piercing screams he would begin using on the records that followed. 


Purple Rain,1984. Prince had been gearing up for world domination and in 1984, the double-whammy of Purple Rain, the film featuring his acting debut and the enormously successful soundtrack brought it home. This album featured full band performances courtesy of The Revolution and some of Prince's most memorable songs. It was the hardest rocking album he would make and united black and white music fans around the world. I'm not going to say much about this one because if you're reading this, I'm certain you own this or have at least heard it a few times. It sold 25 million copies world wide and is one of the most commercially successful albums of all time. Prince had arrived in style and now the whole world knew his name. 



Parade,
1986. Like Madonna, Prince's movies often fell flat but he did turn out some great soundtracks. This album accompanied his film: Under The Cherry Moon. It traded his rock approach for a string-laden psychedelic sound. There are also subtle jazz elements sprinkled throughout. It's one of his most experimental records yet still produced the number-one single, “Kiss.” The French accents are due to the fact that the movie was based in France. Prince began referring to his music as “The Avant-Purple” during this period. Prince can still be as funky as it gets here and the pop melodies keeps the listener engaged.

        Prince broke the rules, pushed the boundaries and lived by his credo which he spelled out in a song from 1999: “D.M.S.R.: Dance, Music Sex, Romance.” For a time, he painted the entire world purple.

Wednesday, April 21, 2021

GAS Featured Artist: Dixie Denman Junius, by Sylvia Van Nooten


Dixie's career took her from Boston to Southern California, where in the early 90s, she left her consulting practice to become a full-time artist. She studied paper-making at UCLA under Harriet Germain, who became a dear friend and mentor. She took further private instruction in Japanese paper-making with Yoshio Ikezaki.

Tight studio space has brought opportunities to explore working small, extending her art in new and exciting directions and employing an array of materials, tools and techniques: watercolors, inks, pastels, brushes and pens, bits and bobs, things and stuff. These days, her eclectic work spans asemic writing/art, painting, drawing, paper-making  mono printing, mixed media, paper cutting, and photo- glitching.



Dixie Denman Junius’ work caught my attention immediately as I was scrolling through a Facebook art page.  The delicacy of her lines and color, the perfect layering of dark and light tones—I stopped and studied her paintings.  Each work evokes a poem, asemic writing as a ‘wordless’ expression of her thoughts and ideas.  When seen together there is a profundity in the form and great self expression.  

~Sylvia Van Nooten 



The artist in her own words:


Though I still travel along many eccentric, eclectic, convoluted creative directions, these days my artmaking is increasingly influenced by and happily entwined with asemic writing. Last year was when I discovered that there was a name for the form I had been doing all along: Asemic writing and asemic art resonated so strongly, reinvigorating my art making completely. The light went on, bells ringing! Yes to all of this! 



As I am less enthralled and less apt with words, asemics has opened up new ways of expression. A path I was already on seemed to grow ever wider. I am now obsessed and addicted, and keep coming back to this form throughout my work. Asemic work can look like writing but it's not. Detached from language, the characters and patterns express ideas in ways that written words cannot. Intuitive, free; there is meaning and there are ideas but one must find them. 


Asemic Ryhthm


Asemic journaling is a routine for me, and often leads to a new direction in my work. Sometimes a journal page is just strong enough to stand on its own and be seen." Asemic Rhythm" came from a journal page I was writing and is rendered in brush and ink. "Sound and Rain" happened in the same fashion but was a less literal translation. I employed brush and ink for the first layers and then added writing in gold using a dip pen. 


Sound of Rain



Dream Upon Awakening


“Dream upon Waking" and "Note to Self" are asemic circles. I have created over 100 pieces in this form in the past year or so. And I shall keep going I think. The circle is perhaps my favorite shape and appears in much of what I make, including some Enso-inspired pieces. 

The asemic circles are meditations for me that allow me to indulge my fascination with revealing and concealing or obscuring and transforming an image. They often start as experiments with using certain colors together to see how they dance and what they have to say. The media and instruments vary; often brush and ink or watercolor to lay down a first layer and second or third. Sometimes oil pastels mixed with water media. The final meditative layer: usually pen and ink, perhaps metallic ink. The repetition is both soothing and hypnotic. The final piece is always surprising, as the layers underneath are changed, often amplified in contrast or color. 


Note to Self

Pillars and portals represent another meditative path in my art. I love the rectangle almost as much as the circle; rectangles give a certain structure that seems strong and contains the meditative ink or paint lines perfectly. This process of partially masking the original image transforms it. There is much wonder and delight when the piece works. When it doesn't, I've had a nice meditation. 


"Meditation: Dream Artifacts" is a gel plate monoprint with metallic gold 

and dark red ink layered on. 


Meditation:  Dream Artifacts



With "Portals: Past" I used a masking agent to define white spaces with inks creating the base for the metallic gold ink lines.


Portals:  Past



Tuesday, April 20, 2021

GAS Featured Artist: Dawn Nelson Wardrope by Sylvia Van Nooten


Dawn Nelson Wardrope’s art is amazing and original.  She celebrates absurdity with beautiful Dada collages, each one a short story or poem unto itself.  She never ceases to surprise me with her imagination and talent.  Hers are the types of images that hint at a person with one foot in this world and the other in worlds most of us cannot access.  For this reason I am always delighted to see her new work.  She reminds me that life is not a concrete depiction or shared reality, but a process of discovery and invention. 
                                         ~ Sylvia Van Nooten 



The artist in her own words:


Making art makes me happy. I do it for myself but if someone else enjoys it then that is a wonderful thing. I had my two children very young and I focused all of my energies into them. I loved being a young mum and now they are fully grown, loving and kind. 


So for the past five years I have been enjoying experimenting with collage, digital art and concrete poetry. I am interested in looking deeply into myself and finding out who I fully am, what I love and what I find beautiful and why I think such and such is beautiful. I find this exploration of myself fascinating. I feel privileged to see beauty the way I do and to feel things the way I feel them. I can take great pleasure in a small scrap of paper, finding it quite beautiful and that interests me.



I find connecting with the part of myself which is fun loving and playful has helped me deal with some traumatic experiences I have had including with the educational system although I still have regular nightmares relating back to my unhappiness at school. Art, and in particular Dada art, has helped me make peace with my dyslexia and dyscalculia. I have managed to connect with this essential art movement and all it’s ridiculousness and it has opened a door for me and people like me to be a channel of creativity. My brother Stephen Nelson who is a brilliant writer has played a vital role in my life. He introduced me to these alternative art forms and I would be nowhere without him. I am forever grateful to him. My dad also encouraged me greatly and I think he would have been very happy at how things have played out in my life. I am not an intellectual, I am a seer and I feel everything deeply. I believe we all have creative gifts and I love when humans thrive and develop these gifts. Which leads me on to the next question...



When you are an artist it’s basically full disclosure. What you create is who you are on the inside, your secret self so to speak. So you are communicating with the world and you feel vulnerable. The world might not want to communicate back. But as I said I mainly do my art for myself. I enjoy revisiting and exploring my inner child. I had a very lovely childhood with the most attentive parents imaginable. I was a dreamer, a deep thinker, a romantic but going through the educational system was traumatic and a very negative experience for me and did indeed crush my spirit and affected the whole course of my life. I got married and had my children very young and from a place of woundedness but through absolute adoration and devotion to my beautiful children,  Samuel and Suzannah, years do speak and I am happy and content at how life has helped me heal and grow. It’s been a very eventful and interesting journey for me. So I guess art has indeed helped me communicate back to life and with the world. It has softened the blow and enabled me to shine a little, maybe...



I was introduced to Facebook by my brother and my mum. I joined a lot of groups and through time developed many fine friends. I respect and love a lot of them and I must name a few, Maralena Howard from the USA, Kimm Kirriako from Canada, Nicola Winborn from England, Sabine Remy from Germany, Cal Wenby from England and there are many more. I have been inspired and encouraged greatly by these artists and I am thankful for their friendship. My life is richer because of them. There is one woman who I feel a special affinity with in fact I think everyone loves and looks up to her. Her name is Laurence Gillot~Ecrivain. She has given me the confidence to be myself and has shown me that I am not alone in the things I love. She is from France and I would love to meet her. There are some people in the world who are not afraid to be tender and sweet. They are poetic and are willing to dream and to participate in such and such things...



Bio: 

Dawn is a dada/collage artist and a concrete poet. Dawn hopes her work is touching to the beholder, fun loving and cheerful. She is the author of Fisherwoman, The Penman, a Serious Writer, and Remnants of the Red Ribbon Sect. She has been published in many magazines including: Otoliths, Utsanga, Angry Old Man, Marsh Flower Gallery, Experiment ~O, Timeglasset 6, Renagade, Sonic Boom (cover artist also), and Ragged Lion Press. Dawn posts regularly on Instagram and Facebook. 





Monday, April 19, 2021

WHAT MAGICK MAY NOT ALTER by JC Reilly, reviewed by Su Zi


Every now and then, a book comes along that is pure joy to read.


As experienced readers, we might be a bit jaded, a bit prone to preference; nonetheless there’s also the euphoria of finding a talented voice, a voice that is adept, even to a classically educated ear. The experienced reader may or may not be a professional artist of language, but certain elements are prosaic in any communication: the line of thought and how that line becomes calligraphed. Even in the children of language as common as television, there are still classical structures: character, plot, setting – and if the setting is historical, we get to witness the test of the research in play before us.


Historical fiction, as a product of industrial publishing, has been packaged as a women’s read, mostly. Overtly feminist works, unless they are the products of those produced to be famous, require the reader to be familiar with hunting university or small presses, or astute independent bookstores. If the work’s text concerns ancestral religious practices, the volume might find some proximity to the shelf of tarot decks. The reader might expect to find perhaps instructions on dancing naked, or a narrative with unusual character names. What might be egregiously overlooked is the work’s setting and how faithful it might be regarding authentic regionalism. Of course, the experienced reader is familiar with those in the canon who used their settings as righteous influence on the characters, ever better when the setting is carefully researched. The reader might even have favorites for repeat readings, narratives of resonance, a beloved novel. 


But in poetry?


Yes. Here in What Magick May Not Alter  (Madville, 2020) are seven chapters of poems, researched from sources as varied as newspapers and The Mabinogion, which comprise a full length volume , a narrative structure of the coming of age of twin sisters, Tallulah and Vidalia. The book opens with a vision the two sisters repairing a quilt, as a single introductory chapter told in prose sections that bloom into prose poetry. The first poem in the work is about a photograph, a family portrait that introduces the characters “[…] The twins,/tall for their age and fluffy as meringues/in yards of white, ruffled lawn, hold hands before her”(6)” The work continues through the family saga, with notable inclusions of spirit practice and of place, that give the reader the experience of this family as if through scrapbook and legend.       


Of fascinating placement in the work are three poems "The Colonel’s Last Stand", "Blue Moon" and "Old Wives’ Oak", Again, with the Colonel poem having seen literary publication. The Colonel , “this sage magnolia […] dubbed ‘the Colonel’ after her papa,/ planted on a rise overlooking/the lake when her parents wed (33)” is a landmark for the family; the lake is the Caddo, is named in the text, and the poem both recenters the setting to a specific, authentic place, and foreshadows the curve of the narrative. The following poem, "Blue Moon" asserts, “so the Blue Moon is Judas’ Moon:/ the Old Church would grieve its arrival/ in Lent as the Betrayer, In 1901, (35)”  gives a tone to the work reminiscent of the Greek chorus’s function in Sophocles. The reader is gently wafted with the narrative complication in the assonantly titled "Old Wives’ Oak", Again when one of the twins remarks on the suitor to her sister,


 “ I could not spare/

 her, once the Old Wives’ magick//


 struck; as dumb love clouded her eyes, 

/fate’s yellow trumpet resounded/

through somber-bare branches, like a sigh (37)”.


The poems continue through the lives of these sisters and their family, and the time, and the place. The reader is as swept into this world as if a novel, except that this is a poem sequence of over 70 poems.


Epic poetry is rare in literature overall, with the archetypical journey employed as a way of advancing the text into parable. This text is a history-based journey, but here, the protagonist, the mythic hero, is a Louisiana girl; her challenges are genuine, but of a different realm than the physical battlefields of life.  What Magick May Not Alter is more than a verse novel, although it can be read with that ease; in this work, researched history becomes poetry instead of academic essay, and the lives of women in a family become both testament to region, to their time, and to an unacknowledged heroism.


What Magick May Not Alter  is available through Madville Publishing.


The author is on twitter @aishatonu

and has a blog  JC Reilly: Poeta Venum



TYPESCENES by Rodney A. Brown, reviewed by Hex’m J’ai





  • Publisher : Unlikely Books (September 11, 2020)
  • Language : English
  • Paperback : 70 pages
  • ISBN-10 : 1733714359
  • ISBN-13 : 978-17337143




Typescenes by Rodney A. Brown

 was a finalist for the Medal Provocateur, but did not win. It is still a finalist for the Eric Hoffer Grand Prize, which will be announced around May 10.

 

Typescenes  is an Experiment:


Through

The

Poet’s

Wielding

Of

One

(1)

Word

“_________”.


Typescenes is an experience.  


The author has, through the medium or vehicle of prose poetry, invited us to participate in both….the Experiment and the Experience which are essentially one and the same, though not identical.  Are you intrigued yet?  Are you confused?  Have I lost you yet?


Excellent!


To clarify, once you crack open Typescenes you, the audience, have agreed to participate in the endeavor.  Whether you are an active or passive participant is irrelevant.  Whether you are aware of participating is also irrelevant.  This is an experiment in the application of language and its effect on the human psyche.  Particularly, the application of one word, “_______” to create solid connections or divisions in meaning through subtle and obvious direction.  It is the use or application of “_________” in a similar fashion to the “one thing” of the Thrice Great Hermes.  

The author’s execution of this endeavor is at once simple, precise and enveloping.  Through the author’s wordsmithing we are invited to enjoy a work of avant-pop sensibility that is smart, interactive and is still readily accessible to all.


To paraphrase the publisher of this work, the Forward, Preface, Acknowledgements and About the Author are not required to engage in this work.  You could just jump directly into the poetic density unassisted.  That said, by partaking in these peripheral items your experience is thoroughly enhanced as they are deftly crafted and execute the perfect preparation for the work itself.  This creates an experiment that is therefore collaborative.  


In conclusion, I implore you to “_________” Typescenes.  By “________”ing Typscenes you will not just add it to your physical or digital library, it will also be a volume for ever in your psychic library. 



Typescenes is available on Amazon.


(Excerpt From Author’s Bio: )


Since this Author grew up being held up and also having to hold themselves down while colliding with separate and unequal educational and social service systems_ waves of culturally ignorant national drug policies on crack and opioid epidemics_ United States Veterans lives_ Black bodies with AIDS_ Black bodies on Black bodies violence_ federal surveillance of poor and woke bodies_ especially legalized brutality including government legislation leading to the murder and forced migrations of peoples This author knows miracles_