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Interesting to note that a mainstream media source downunder (Herald/Sun) has drawn attention to the season 4 final. Particularly interesting since Lexx has NEVER been mentioned locally as far as I know, it certainly didn’t tell mainstream audiences about the season premiere and – as importantly – it is drawing attention to a show on cable televsion, which it rarely does. The FIRST PAGE article goes on to “urge anyone who has ever caught a few episodes of this entralling sexy sci-fi series to be there at the end”. Interesting because this Sunday television magazine never ‘urges’ anyone to watch anything.
[ 12-05-2002: Message edited by: bonnee ]
The new Flaming Lips album ‘Yoshimi versus the Pink Robots’ is great (sci fi related!) It is possibly as good as their ‘soft bulletin’, although I’m wavering on this one. Even better – we can now supplement cdr versions with ‘mixed’ tracks off the infamous ‘zaireeka’ album – originally released as four seperate cds that needed to be played on four seperate players and through eight speakers to get the ‘full’ effect. someone has made it easier for music lovers on AG – paticular amazing is ‘riding to work in the year 2005′(sci fi related!)
[ 12-05-2002: Message edited by: bonnee ]
Lexx initially followed Homicide: Life on the Street on Arena cable television, Sunday nights quite a few years ago. It was part of its cult television programming (8.30-9.30pm). Since I programmed my video as part of my weekly initiation into the cult of Homicide, I inadvertently caught 15 minutes or so of the first episode of season 2. Mantrid immediately made an impression, and I made a point of staying up VERY late for the repeat to see the episode in its entirety. Thankfully, Showtime was also screening the first four movies simultaneosly on different days, allowing me to catch up with the show retrospectively. Thereon I was in contact with Salter Street to keep me apprised of any other seasons in production, and they were kind enough to contact me with the screening details of seasons 3 and 4 prior to their listings in the local cable guide -not to mention, my constant hassling of Arena via email.
Interestingly, when Arena changed its format to ‘women’s television’ after season 3, Lexx 4 moved to TV 1 at a much later time slot. I found this displacement particularly interesting when discovering that the bulk of Lexx’s audience was reputedly female, and informed Arena about the tenabilty of its banishment elsewhere. They responded with the lame excuse that despite its popularity with women, Lexx was too unconventional for their notion of what might constitute female audiences. Doris Day festivals ensued.
[ 09-05-2002: Message edited by: bonnee ]
An excellent episode – despite all the self and genre referencing, this stood proud and tall on its own. Not sure about Lyekka indulging her carnivore appetites on metal helicoptors, but what the hey when almost everything else was so striking and successful on every other level. This still has me thinking about it 20 minutes after I watched it, which is more than can be said about the bulk of the other season 4 episodes I forgot about as I was watching them. Interesting that two directors were credited, although its not to hard to imagine who did what. Will want to watch this again (and possibly again) prior to the season final downunder next week. yo way yo.
I’m sorry to hear that Valdron – I was looking forward to your book to help clarify my own relation to Lexx as a whole. My feeling is that you would have brought distinctive, considered and affectionate insights to each of the episodes and their relation to each other. It is to your credit that you have decided not to deliver a book unworthy of you, the series and the fans. All we can do is wish you the best in your other writing endeavours, and I for one would like to see you contributing to the proposed spin off if possible. Good luck either way.
Its possible potential viewers were misled -and so discouraged – by the first twenty or so minutes. The Trip ended up being more imaginative and less stagey/set bound than first appearances – oh well, they missed a relatively decent episode. Presumably the final two ‘spectacular’ episodes would have attracted more than the diehard fans, and hopefully will readdress the lacklustre rating performance of season 4. I say hopefully because it is hoped that the variable ratings might incline the sci fi channel to want to invest in a more even tempered spin off.
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Why? Can’t a person have a differing opinion? I have a very close relative who pulls a similar sort of crap on me. Let me tell you, the fact that I have an opinion of my own, *does not* mean that my understanding is inferior. Nor is bombarding me with your opinion presented in many different lights multiple times until my ears bleed going to succeed. The kind of people who use this approach feel that if they can explain it in a way that I (with my obviously limited mental powers) can understand. Then eventually, I will make the right decision or have the right opinion. Theirs. In other words, when I *finally* agree with them, then, and only then do I *properly* understand the situation. Let me tell you what an unattractive behavior pattern this is. I do suggest it be avoided at all costs
thefrey, I’m not sure why you felt the need to parrot Aleck’s text, especially since i went to great lengths to address the misapprehension repeated in your own response. Not only am I not denying anyone the right to their own opinion, I ‘m sharing knowledge on differing viewpoints irrespective of the question of who should be thought ‘right’ or ‘wrong’ (The two opinions cited are not in agreement with each other, despite the similar use of the term ‘hypperreal’. Further, these viewpoints contain logical problems that I didn’t draw attention too for the simple reason that validity is not the issue here). In other words, I’m invoking the very principle you purport to be defending – regarding both the possibility and desirability of having and/or sharing different opinions. My belief – in so far as I can believe anything – is that having and/or sharing an opinion, whether it is similar or different to another – is what makes understanding anything really interesting and exciting. I can’t presume to speak for your close relative, but my aim is NOT to secure a consensus, make someone think like me, start an argument or invalidate alternate ways of seeing. It is simply to acknowledge the reality of other viewpoints – whatever I may or may not think of them – and encourage the possibility of alternating between them if so desired. As for your suggestion that such an approach is unattractive, I can’t be held responsible for the fact that you and Aleck may or may not be attracted to other viewpoints.[ 27-04-2002: Message edited by: bonnee ]
I have to confess to being puzzled by your response Aleck : suggestive was the operative term here. I wasn’t trying to convince you of anything other than the possibility of looking at something in a different light (other people’s convictions) – ‘parrotting’ texts (something you’ve accused me of before) is simply citing other ways of seeing, often in conflict with each other and not neccessarily endorsed by me (other than as offering another way of seeing something). I don’t think your ‘wrong’, just like I don’t the people I’m citing are ‘right’. Just sharing back, that’s all. The cited texts (hopefully) speak back to you in a way I wouldn’t presume to. Calling such approach ‘parroting’, though, is just odd – being a parrot (repeating what we’ve learnt) is how people broaden their horizons in so far as it encourages thinking about our own thoughts. Citing source material is simply an instance of drawing upon what passes for ‘knowledge’. I’ve stated previously that my background is the problem of knowledge – you should already know by now that it is not my aim to ‘convert’ you to any way of thinking, because ‘parroting’ (uncritical acceptance of something) is part of the problem.
Tree of Knowledge
[ 26-04-2002: Message edited by: bonnee ]
Aleck, obviously you’re not convinced by an ‘elitist’ like Eco. I’ll try another suggestive approach. Presumably your familiar with the name Baudrillard – if not from cultural theory, then certainy from the Matrix ( Reeves opens a hollowed out copy of Baudrillard’s Simulacra and Simulation early in the film, acting as a sign to the film’s own theme of Simulacra and Simulation ). He is a cultural critic who (amongst other things) collapses the distinction between high and low culture, truth and falsehood, etc via the notion of hyperreality. Disneyland is cited as simulacra, where the process of simulation may become simulacrum (matrix). To quote one of the articles cited below
Disneyland is Baudrillard’s perfect model, the ‘true’ profile of the United States:
“…a digest of the American way of life, panegyric to American values, idealized transposition of a contradictory reality.” (Baudrillard, p172)
Disneyland is the real America. (9)The image of Disneyland is presented to make us believe that the rest is real. Disney land represents the icons of a bygone America. These icons are represented as cartoons
and in caricature so that outside America can look real. America is no longer reality, it is the hyperreality, a substitution of the signs of the real
for the real itself. Disneyland is masking the absence of a reality. However, if Disneyland is the ‘real,’ then the real is being simulated.Baudrillard’s Adventures in Disneyland
http://www.uoregon.edu/~ucurrent/1.1.html
http://65.107.211.206/cpace/theory/rodwell/story.htmlhttp://www.victorianweb.org/cpace/politics/wodtk e/Baudrillard.html
[ 26-04-2002: Message edited by: bonnee ]
For the record : Umberto Eco on Disneyland – Hyperreality, or where the simulation surpasses (replaces, stands for) the truth
http://www.transparencynow.com/eco.htm[ 25-04-2002: Message edited by: bonnee ]
Mary Beth – LOL Lucky, most of the MIT articles are justabstracts.
The Stanford entry is possibly the best available overview of the philosophical problems, although it gets increasingly difficult. The opening paragraph is hilarious though – and a must read! The MIT ‘topics’ are therefore thought best as merely a preparatory for it, and are simply included for that reason. Meanwhile, nothing can prepare us for the following famous argument in philosophy regarding the non existence of time
http://dna2z.com/projects/time.html[ 25-04-2002: Message edited by: bonnee ]
Philosophical Perspectives On Time Travel
http://web.mit.edu/~bnickel/www/timetravel/%5B/url%5D
http://plato.stanford.edu/entries/time-travel-phys/%5B/url%5D
[ 25-04-2002: Message edited by: bonnee ]
The new Moby album ’18’ is pretty good. Don’t be misled by the godawful single ‘we are made of stars’ though – the album is NOTHING like it. Its a very soulful record almost entirely reliant on blues and gospel samples. ’18’, then, is pretty much a reprise of Play, and some fans are disappointed by its close resemblance to it. Personally speaking, I think its a better record than Play. Whilst there aren’t any comparable highlights, it strikes me as being more consistent in quality and tone. Lovely.
And 1 Giant Leap is an often excellent ‘world’ music record, featuring artists as diverse as Baba Maal, Robbie Williams, Michael Stipe, Kurt Vonnegut, Eddie Reader, Neneh cherry and Horace Andy. Works a treat in many places. You might already know the singles ‘braided hair’ and ‘my culture’ which – again- are not exactly represntative of the treats that lie within.
Mandara K
the ‘movie’ you are referring to is lars von trier’s ‘the kingdom’, a 1994 Danish television series that did the rounds on cinema screens across the world. Trier made two series of this show – to the best of my knowledge, only series 1 was shown in cinemas (as a five hour movie!) and series 2 screened in 1997/98 in 5 or 6 1 hour installments on select tv screens (i watched it on a local multi cultural station). Personally speaking, I thought the weirdness was a little forced, obvious and second hand – but many would disagree. Trier has since directed Breaking the Waves, The Idiots and Dancer in the Dark (with Bjork).
I would like to add to your list my own titles of ‘weird’ films, but I tend to find most so called ‘straight’ films bent beyond belief.
[ 21-04-2002: Message edited by: bonnee ]
Sorry Nosferatu – these are not my articles, but things I copied and pasted into the same ‘page’ for the sake (believe it or not) of easy access and brevity. I’m not sure I’d want to summarise other people’s points, if only because I might end up violating what was intended. if there is one thing I’ve learnt, its that people don’t so much take something away from an article or text (or pictures), but bring something to it (their own assumptions and concerns, etc.).
Please don’t feel the need to read what I’ve posted, let alone respond. My understanding of postings is that many of us ‘share’ just ‘for the record’ – and all I wanted to do was record the ‘fact’ that the notions of violence, innocence, guilt, etc are contested and problematic notions within history/society.
Personally speaking, I don’t have a view on these issues other than, historically speaking, civilisation has blood on its hands and on its historical tracks, however we want to wash/dirty our hands of this question.
An interesting Article
Politics of Terrorism http://www.iwanami.co.jp/jpworld/text/civilization01.html
[ 21-04-2002: Message edited by: bonnee ]
Resident Evil is horror/terror derived from a sci-fi premise (the abuse of science and technology). So, I would urge that it is sci-fi/horror or horror/sci-fi (depending on which part of the game you want to emphasise at a given time/state of play). Can’t wait to see the arguments Metal Gear Solid 1 and/or 2 might raise
Is it Evil or is it Dead?
[ 19-04-2002: Message edited by: bonnee ]
An Interesting Article
Dissecting the Meaning of Terrorism. Freedom Fighter or Terrorist? http://www.nonviolence.org/commentary/121.php
[ 21-04-2002: Message edited by: bonnee ]
thanks Tara. Much appreciated. I look forward to watching the entire series again ‘soon’. my best guess is that they’ll begin the repeats of seasons 1-3 once they complete the currently screening repeats of season 4, presumably 4 plus months away.
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Flamegrape (I posted this in a thread on Lexx.Com. I thought it would make for an interesting thread here.)
I think there’s something that needs to be made clear and put into perspective. I believe the basic premise of this show is simple. Stan, Xev, and Kai are looking for a home even though they possess the Lexx. You see, possesing the Lexx is bad for them. People are always trying to kill them for possession of it. As long as the show is called Lexx, then it will always return to this theme. Since everyone is always trying to trick or even kill Stan and Xev, it’s very hard for them to fulfill the most basic human needs (food and happiness). If it wasn’t for Kai, their chances would be slim. If you’ll forgive the cliches, Kai is the “hero”, Xev is the “love interest”, and Stan is the “comic relief”. But they balance each other out because each one of them have equal capabilities of comedy and tragedy.Kai’s story is the one most of the fans seem to pay attention to. There’s no need to restate it here. But I’ve noticed that many people seem to only focus on his conflicts with the bad guys. As a result, Xev and Stan’s stories are ignored and episodes focusing on them are branded as “filler”.
Xev’s story is tragic. She was an ugly duckling. And when she was turned into a beautiful swan, she was no better off. She is a woman that was engineered to drive men mad with desire. And because of that, men react to her in extreme ways. And her enhanced and unfocused libido is no help, either. She would have been programmed to love only one person, but that didn’t happen. This all adds up to endless unhappiness. P4X actually breaks my heart. You can see it in Tina’s eyes when she reacts to Xev’s story.
Stan’s story is of redemption. He failed to be a hero and because of that, millions died. But he is captain of the Lexx! However, stealing the Lexx and helping to defeat His Shadow and the Divine Order doesn’t make up much of his past mistakes. And he continues to make mistakes. He’s always struggling with whether or not to do the right thing. And that’s very hard to do when everone is always trying to trick or kill him.
The basic premise of the show and each one of the main character’s themes are explored in each and every episode of the fourth season. Sometimes just one, sometimes two, sometimes all three. These themes can also be viewed as story arcs. I’ve listed below all of the fourth season episodes and which of the major themes are covered.
LEXX = the basic premise of the show, control of the Lexx
KAI = Kai’s story
XEV = Xev’s story
STAN = Stan’s story4.01 Little Blue Planet…..LEXX
4.02 Texx Lexx…………..KAI, XEV
4.03 P4X………………..KAI, XEV
4.04 Stan Down…………..LEXX, STAN
4.05 Xevivor…………….XEV
4.06 The Rock……………LEXX, XEV, STAN
4.07 Walpurgis Night……..KAI, XEV, STAN
4.08 Vlad……………….LEXX, KAI, STAN
4.09 Fluffdaddy………….XEV, STAN
4.10 Magic Baby………….KAI, XEV, STAN
4.11 Midsummer’s Nightmare..XEV, STAN
4.12 Bad Carrot………….LEXX
4.13 769………………..LEXX, KAI, XEV, STAN
4.14 Prime Ridge…………XEV, STAN
4.15 Mort……………….LEXX, KAI, XEV
4.16 Moss……………….KAI, STAN
4.17 Dutch Treat…………LEXX
4.18 The Game……………KAI
4.19 Haley’s Comet……….LEXX, XEV, STAN
4.20 Apocalexx Now……….LEXX, STAN
4.21 Viva Lexx Vegas……..KAI, XEV, STAN
4.22 Trip……………….LEXX, KAI, XEV, STAN
4.23 Lyekka vs. Japan…….STAN?, XEV?
4.24 Yo Way Yo…………..LEXX?, KAI?, XEV?, STAN?There are many other major and minor themes of Lexx, especially in season four. I just mentioned probably the four biggest themes of them all. But even so, all of the episodes are covered. There are no “filler” episodes.
You may have noticed that I didn’t include the Insect Civilization’s story as one of the major themes of the fourth season. That’s because it isn’t there. That story was over at the end of season two. Some fans insist that this isn’t the case. But this, along with the focus on Kai’s story, only adds to their detraction from the other themes. Nothing has occured in season four to indicate that the end of this season will relate to the Insects at the beginning of season one. No cycle of time. If I’m wrong, I will be suprised.
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On top of the guilt of the holocaust, there was this Cold War fear that Egypt was going commie. When Egypt nationalized the Suez Canal, seized the Sinai Penninsula, and blocked Israeli access to the Gulf of Aqaba, the West was terrified. (Can you think of anything worse than fundamentalist Islamic communists?) Eventually the conflict with Israel and Egypt was resolved. But not before massive Western support was given to the Israelis.
Flamegrape, it is to your considerable credit that you appear to understand Muddle East politics better than most middle easterns. Unfortunately many of us – Arab and Jew alike – tend to understand everthing through the here and now, rendering history selectively ir/relevant.
I’d just like to supplement your comments with some further observations.One of things that tends to get understated by Western commentary is the eschatological element of Middle East politics (the religious goal/purpose of each’s historical relation to the land). This element directly involves all three religions emenating from the holy land, and in some ways runs deep in allegedly secular cultures as well. By secular, I just mean those Western nations that have purported to seperate religion from politics (as opposed to being irreligious). Bush’s crusade remark inadvertently tapped into this historical un/well, indicating that religious practice or identity can operate at a historically unconscious level. It is for this reason that I view the situation as intractable, irrespective of what is said or done.
The thing that needs to be stressed is that Islam may be monotheitic, but it is hardly a monolith. It is internally divided and these divisions occur across nation states. The terrorist issue is an indicator of these many divisions, not only bringing many different muslims together but helping to tear apart Islam from within.
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One thing that has dramatically improved is the Arab view of Israel. At first, they vowed the destruction of Israel. Now they are actually recognizing their right to exist. But the Palestinian issue remains.
I am yet to meet an Arab who recognises Isreal’s right to exist. Public avowals resemble a smoke screen, and where there’s smoke there remains fire. The public support is merely tied into their desire for the West to support more regional or internal issues (investment, development, international recognition, etc). The Isreali presence in the Middle East remains an affront to the Arab identity on many levels. It is a reminder of how ineffectual pan Arabism really is – of the muslim worlds own inability to bring about God’s perceived will on Earth . The palestinian issue acts as a lighning rod, and the Christian West is seen to be complicit in the local displacement/delay of an Islamic eschatology. So whilst some Arab nations may recognise Isreal’s right to exist, they still think that their existence is wrong. One way to illustrate this is by wondering who actually finances the Palestinian cause? (The American’s have drawn up a list that includes wealthy supporters from Syria, Iraq, Egypt, Iran, Sadui Arabia, Lebanon, etc) An incredibly poor people whose lives are dependent upon their marginal status on Isreal’s economy somehow manage to secure/import arms regardless. Another way to illustate it is to note how many muslims travel from diferent Islamic countries that won’t publicly endorse terrorism, but always manage to find a host nation to privately support training and allow funds from various sources into their own country.
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The West has always been stuck between a rock and a hard place.
So is the middle east, hence the muddle alluded to above.
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I’m forced to agree with the Western view that the terrorism must end. If I only understood what the Muslims expect to happen as a result of the terrorism. Yes, it draws attention to the issues. But there are other ways of accomplishing the same thing.
We need to be particularly careful here. The term terrorism is a political term, and is relative to the question of one’s politics/situation. It not only means the use of terror for political ends, it also means feeling terrorised by another’s ends or politics. It may not only apply to groups of people who fly planes into buildings, it could also apply to a nation’s policy of indifference or another’s active presence on a land. Implict within the use of these terms are obviously the notions of guilty or innocent parties, but these are in in return, relative to the question of cultural heritage or belonging. Cultural critics within the West like Chomsky or Hitchen’s (amongst many) view the West’s food embargo on Iraq as a form of terrorism , and Isreal’s policy to level the homes of the suspected terrorists is experienced by Palestinians as terrible in its own right, and only confirms their own sense of helplessness.
The point I’m trying to draw attention to is that the use of term ‘terrorism’ is relative to the question of where each person/nation stands in relation to their own politics or political involvement, and is viewed as in/defensible accordingly. Consequently, the phrase ‘war on terror’ could be construed as an oxymoron – it involves the use of terror on those that use terror.
Note that I’m NOT saying they are the same thing, merely that questionable actions ARE invariably relativised to the ‘fundamental’ question of one’s own political context and involvement. Personally speaking, if someone is not prepared to view the reality of another person because of the perceived relevance or primacy of their own concerns, then they are on their way to being a terrorist in one form or another.
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But I also think that Israel needs to back off. Sharon’s ultra-rightwing government is becoming dangerous. Their extreme actions work against them because it’s generating Western sympathy for their hated foes, the Palestinians.
Neither side can back off or back down. It is part of the cultural DNA to have everyone’s backs up against the wailing wall. Suppose a compromise or truce was managed – this would only defer the problem of each’s bequathed relation to the land. If we maintain your historical view, all that can result is a constant process of give and take that threatens to undermine each and every one of them down the road. And if we observe that history is viewed as a form of eschatology within the Middle East (and possibly still outside it), part of the problem is that the solution requires each to invalidate the other in God’s (perceived) eyes. Isreal is a battle ground because it is viewed as a testing ground – as a test or measure of one’s true faith as the true faith. The fact that there are three faith’s competing for legitimation via a covenant with God in one way or another indicates that the situation will remain as terrible as it is terryfying.
[ 13-04-2002: Message edited by: bonnee ]
I’m an Arab married to a Jew – note how I refer to myself by way of cultural identity and to my partner by way of religious orientation. Within the Middle East, its the same difference: your cultural background determines your historical relation to/claim upon the land. Attempting to ‘explain’ the dispute between Arabs and Jews is part of the historical problem – there is no disentangling ourselves from the question of what a piece of land means to a people whose cultural identity is connected to an antecedent claim upon a land thought ‘promised’ to each of them in different ways (it is all part of the covenant that each claims to have entered into).
One of the most shocking ways to illustrate the appalling mess of lineage and legitimacy is via the Holocaust. There is a strain within Judaic thought that urges the final solution was God’s way of resolving the problem of the Jews relation to a historical homeland. It helped – a rabbi tells me – precipitate their return to a homeland (Isreal was established again in the aftermath of world world two, and is said to be partly the result of the West’s guilt/shame in allowing the Holocaust to occur on its own soil). In so doing, the historical persecution of the Jews by one religion (Christianity) historically vindicated Zionism as a form of prophesy/fullfillment of a religious promise, leading to the displacement of the Palestinian people on (so called) Arab/Muslim soil, allowing the West to be seen to play another role in the religious persucution of a different people (the breaking of their promise). Consequently, the Arabs view the West as being involved in a dispute that doesn’t (alledgely) concern them, and it is believed that if it wasn’t for Western support, Isreal would not be there in the first place. The fact that all this occurs against a background of pan Arabism (resulting from Western colonialism of the previous century) complicates the issue even further. The Arabs imagine themselves to be the Jew of the middle east, living in diaspora on a soil that has been divided into false boundaries and nation states. ( this is of course bogus – all boundaries are artificial, including those between people) When Islamic fundamentalists try to bring the Middle east together, it is an appeal to pan arabism (as a way of uniting a religion that has been divided against itself by way of a perceived cultural imperialism and spiritual weakness).
Racism – of course – is part of our collective cultural heritage. One of the interesting side effects of my partner’s background is that her family fled the perscution of Jews in eastern europe, and settled (of all places) in South Africa. She has to contend with the fact that her family history played its role in bringing about and holding in place the atrocity of apartheid. It is bizzare to meet Jews who claim – without shame or irony – that the ‘solution’ to South Africa’s problems is gassing the kaffirs as they work in coal mines. Naturally many South African Jews are offended by this, but many others couldn’t agree more. Cultural imperialism rears its ugly hydra head in unexpected ways.
Finally, racism can run deeper in unexpected ways. Because my partner and I both reside in Australia ( a country which has managed to displace and vilify its indiginous population), we have encountered an interesting situation coinciding with the birth of our daughter . Family and friends alike couldn’t be happier that her blonde hair and blue eyes incarnate the Ayran ideal, helping to efface the sense of worthlessness that ALL middle easterns can experience way out west.
[ 12-04-2002: Message edited by: bonnee ]
I’m not sure what point you think you’re making Stupid Muslim Terrorist, but posting that image is an instance of the rhetoric you purport to be rendering reduntant. Each and every side has a story to tell, and this merely sets out to priveledge one hiSTORY over another. Taking the moral high ground may be thought to be justified, but that is what causes everyone to behave so immorally. Notions of innocence and guilt are used to justify each and every act of violence, with each party somehow imagining themselves to be one or the other. With every image or story we chose (not) to share, the other side has one it has chosen to tell or withold to justify their own actions – making us all complicit in one another’s actions, and implicating everyone equally.
Your timing is particularly odd – look at what is happening in the Isreal right now. The cycle of violence and hatred is consuming both sides, fueling each’s anger and resentment in accordance with some moral distinction along the lines of ‘innocence’ and ‘guilt’ and ‘right’ or ‘wrong’. Right now each side is circulating pictures and accounts of what the other has done in order to do more of the same to each other. Sooner or later the respective stories and picures could quite easily pass into the other hands and mouths and be mis/taken for each other –but only because such accounts invariably tell the same moral difference. As soon as we start demonising someone we (also) become the demons. How can you talk about the impossibility of reasoning with someone not like ‘us’, given your own reasoning? Despite your own disavowal, you’ve just indicated that ‘we’ are just like ‘them’ by claiming that we’re not.
[ 10-04-2002: Message edited by: bonnee ]
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Once again, I don’t get it. Bonnee went out of her way to qualify every part of that statement, presumably not to step on anybody’s toes, mine included. It was as far away from rude as one could get in describing the situation.
Who knew there could be so much drama on a LEXX fan page?
Thanks Warsaw, but the post you’re defending was deleted by me before you saw it. It was posted in the last couple of hours, and not to be mistaken for the other post (I think) you’re referring to from a week or so ago. Apologies if you DID see the offending post, and didn’t find it offensive (although I suspect you haven’t).
The most recent post was an attempt to make light of the situation mentioned by N by way of an explanation that JJ found rude. Although I maintain my reading of the situation is accurate, the playful tone could be viewed as me having fun at FG expense ( I was hoping he would be in on the joke though).
PS
Bonnee is not a girl – but don’t let that prevent you from still being nice to me! (Bonnee is my doggy).
(not really her, but it could be).
[ 10-04-2002: Message edited by: bonnee ]
theFrey, the post JJ was referring to was (naturaly) something posted by me in response to a question raised by Nosferatu. Its tone was (I thought) playful and provided information/commentary on something that Flamegrape had kindly did in response to my other posts, indicating that although HE was no longer posting, he was still reading our posts.
I was surprised by JJ’s reaction and followed it up with a question as to why he thought I was being rude or patronising. On reflection, though, I thought if the original post COULD so readilly be construed by JJ in this way, then perhaps FG might have taken exception to it as well. So I decided to delete both posts to prevent any possible further offence – not to mention, be involved in another public brawl. If and Aleck and I can set aside our differences (no offense intended Aleck, and thanks for not mentioning me by name or getting upset as well) in the music thread, then I think it should be possible for me to maintain an even temper here as well.
To cut a long story short – when in doubt, blame Bonnee (sometimes for good reason). To paraphrase Mantrid
TIMES
[ 10-04-2002: Message edited by: bonnee ]
Thought this might interest you Aleck.
“Fans of Ryan Adams and The Strokes have flooded NME.COM with emails and letters calling for Adams to release his Strokes cover album – and NME is backing the call by offering to release it.
Since Adams told NME.COM two weeks ago that he had recorded ‘Is This It’ on his four-track recorder, the response has been overwhelming. Strokes guitarist Albert Hammond Jnr added to the debate last week saying that he was dying to hear it.
NME.COM contacted Adams’ spokesperson and offered to release the album as a special one-off cover-mount on the NME newspaper. However, Adams management refused, claiming there was no album. While Adams could not be reached for further comment, it is known that he has vaults full of material, both solo and with his bands including the Pink Hearts and the ****ing Virgins, that the label are reluctant to release.
Nonetheless, fans are calling on the label to let them hear Adams version of ‘Is This It'”
Who is Jim Steinman?
(Clue: He is the ‘brains’ behind Bat out of Hell, parts 1 and 2. He wrote the music and lyrics, AND produced the records. Meatloaf was his prefered interpreter)
Jim has written, produced, performed and arranged music for Meat Loaf, Boyzone, Air Supply, Tina Arena, Barbra Streisand and Celine Dion as well as many other artists.
Newcomers might know him best as the creator of Meat Loaf’s mega hit album “Bat Out Of Hell”, and Bonnie Tyler’s hit single “Total Eclipse of the Heart”.
Jim Steinman is renowned throughout the industry for the incredible depth (lol) of his lyrics and musical arrangements, and his bravely grandiose rock-opera productions. In 1981, he also recorded his own album “Bad For Good” which featured the #1 Australian phenomenon “Rock and Roll Dreams”. Jim is the co-creator of two recent smash-hit stage productions that took Europe by storm, with Andrew Lloyd Webber in “Whistle Down The Wind”, and with Roman Polanski in “Tanz Der Vampire”. His latest projects are “Batman the Musical” with Warner Bros which is rumoured to hit the stage in 2002, and the English-language production of “Tanz”.
[ 09-04-2002: Message edited by: bonnee ]
quote:
What record collection (jazz or otherwise) would be complete without those two seminal recordings?
As you and I both know, no record collection could ever be complete
Some of us might be completists – postively need to have whatever we can get our hands (or internet connections) on – but music has that amazing capacity to reinterpret and reintegrate itself, be it within our minds or within the lineage everything derives from or relates to. Its always wonderful to meet someone who attempts to contexualise their own exerience as such (which, of course, you just did).Some people, however, imagine their experience of alt.country to be incomplete without 16 Horsepower.
Have you managed to download anything yet, Aleck? Please share your thoughts if and when you do.
[ 09-04-2002: Message edited by: bonnee ]
A carrot goes up someone’s bum.
Seriously, I’ve been toying with the idea that the series somehow ends the way it began – with a soul possesing Kai attacking his divine shadow’s forces sent to destroy brunnen g (present day earth?), ‘dying’ and stan ‘waking up’ reincarnated in the light zone. Probably an untenable suggestion, and not exactly supported by the way the series has been panning out. Either way, there can be no closure, and the cycle of time should be posited as an enclosure on its way to enabling the cycle all over again.
I have a soft spot for big fluffy lamingtons
in the form of Alaskan Malamutes. My dog Bonnee is one, and spends twenty three hours of the day lying down on a couch in front of a warm heater, despite being bred to pull a sled in the snow. The other hour of the day she eats, makes wees, poos, and goes for a walk in the hope of getting a pussy cat. Quite bizzare to watch a lazy, placid – and incredibly friendly – dog go feral in the presence of a cat.
Here Comes Bonnee!!
[ 09-04-2002: Message edited by: bonnee ]
quote:
and “Rock and Roll Dreams Come Though”
Mary Beth, I’m not sure if you’re familiar with the original version of this. When Jim Steinman originally wrote the intended sequel to Bat out Hell, Mr Loaf decided to pass and so he recorded the song (and album) himself. The album ‘Bad for Good’ is good for a laugh or two , and the original song is preferable to the ‘remake’ that accompanied the official follow up in IMAO.
Bad for Good was accompanied by the bonus single “Rock and Roll Dreams Come Through”, which oddly didn’t feature on the album itself (and yet, somehow remains Steinman’s most popular solo song). If you can, try and track down this version on audiogalaxy (assuming you missed it the first time around. apologies if you already know about it in its original incarnation). Although it has been officially ‘blocked’, you can still access an unblocked version via Jim Steinman’s artist page (by searching according to song name instead of song popularity).
[ 07-04-2002: Message edited by: bonnee ]
I’m struck by the fact that two of the most self conscious and atypical episodes – one’s drawing attention to and celebrating their own artifice in quite different ways – are cited as pinnacles within the series. I certainly like both episodes, but I’m not sure I understand their particular high regard. I agree that both episodes deserve to be singled out and esteemed, but the Game struck me as being much less worthwhile. It hardly gets Seven Seals of approval from me, and it often felt as if two seals were swimming on the sidelines congragulating Lexx for its own audacity. Aar! Aar! clapping sounds could have easily figured on the soundtrack to this episode.
Unlike Brigadoon, a largely expository episode seemed to be entirely self referencing and self motivating. Its almost as if every move needed to be explained and mapped out as a result. The exposition was clumsy to the point of being eye rolling in places. The conversation on the Moth, for example, was lame in the extreme. I have to agree with Prince : what’s the other zone? Talk about a sudden and inexplicable setting up of the episode’s premise in order to render it servicable in some way. The scenes on the bridge with Stan and Xev literally disappearing were plain awful.
The Game constantly walked a fine line between being utter crap and sheer genius. Part of the fun was wondering which side it was going to invariably fall on. The shifting landscapes mirroring the psychological state of play below were obviously quite beautiful, and the special effects were wonderfully and seamlessly integrated into the actual playing of the game. I’m not sure if the Mantrid images were intended or inadvertent – the floating head pieces making their way across the chess board were striking regardless. I particularly liked the way that despite all the banal and innane talking heads (the episode’s manifest weakness), the game was itself quite suspenceful and effortlessly rendered. I was grateful for the chance to want to watch a season 4 episode many times over, acting as a constant reminder as to what can be so great about Lexx in the first place. We have to give full credit to Lexx for being so audicious (again), but I found the handling too awkward and self conscious in places to merit a full seal approval.
[ 07-04-2002: Message edited by: bonnee ]
A great interview frey. You managed to get some surprisingly candid and serious (relatively speaking, of course) remarks from him. The editor’s notes supplemented things nicely. Great reading and much appreciated
[ 06-04-2002: Message edited by: bonnee ]
Its good to see that you’re both still around Jason and Flamegrape. Nifty record collections, too.
Beethoven’s pastoral symphony is also a favorite of mine, although I’m a lttle surprised to not see Coltrane’s Love Supreme and Davis’ Kind of Blue figure in your list (probably on rotation or a little obvious for your tastes).
[ 06-04-2002: Message edited by: bonnee ]
quote:
I’ll give 16 HP another shot. I think I’ve only listened to their second album (Low Estate? I think that’s the title?) and wasn’t that blown away by it, but it’s been a while. I was just curious as to your Gun Club comparison as I’d had them on rotation a week or two ago.
Low Estate is pretty ordinary, but Sackcloth n Ashes and Secret South are quite marvellous in places. If you have access to audiogalaxy, download now! (they also did a cover of GC’s Fire Spirit to acknowledge their debt on their live Hoarse album. A little too reverential perhaps, but mandatory listening nonetheless).
I promise you won’t be disappoined – in fact, I dare you not to be hoarse with excitement.
Sackcloth
1. I Seen What I Saw
2. Black Soul Choir
3. Scrawled in Sap
4. Horse Head
5. Ruthie Lingle
6. Harm’s Way
7. Black Bush
8. Heel on the Shovel
9. American Wheeze
10. Red Neck Reel
11. Prison Shoe Romp
12. Neck on the New Blade
13. Strong ManSecret
1. Clogger
2. Wayfaring Stranger
3. Cinder Alley
4. Burning Bush
5. Poor Mouth
6. Silver Saddle
7. Praying Arm Lane
8. Splinters
9. Just Like Birds
10. Nobody ‘Cept You
11. Straw Foot[ 06-04-2002: Message edited by: bonnee ]
quote:
Not a problem. Just wanted to help people find the album. It’s a good ‘un.
The album certainly is good, but hardly the masterpiece some like the usually reliable pitchfork.com have been urging. 10/10?! Still, I’m pleased you know about it and quickly corrected my lazyiness. don’t want to send anyone off on a wild goose chase and would encourage those that dont know about it to give it a listen. Its been a while since I downloaded and burnt it to disk, but there’s no excuse for not correcting my own mistake when I just knew I was making one. So thanks Aleck.
quote:
I’d hesitate to condemn the new Neil Young to suckage too early.
Probably best you give it more time before you condemn it to suckage
Apart from two or three songs, this just doesn’t gell for me. I can’t imagine that it ever will. Life’s just too short to want listen to another crappy Neil Young record, but you and I both know that he’s probably working on his next masterpiece as we speak.quote:
I’d also take issue with 16 Horsepower being the best alt.country band around, but that’s just me. Don’t hate ’em, just prefer others.
I have to confess to resisting an urge to comment on your choices of alt.country. They tend towards the New Traditionalists, to paraphrase Devo. Not that there is anything wrong with preserving and extending musical tradition of course. I really like Uncle Tulpo, Wilco, Beachwood Sparks et al but draw the line at Ryan Adams. It seems to me that he wears/bears the Emperor’s New Clothes, although I expect I’m reacting more to the way the media has jumped onto him as offering the best of a given lineage. When i listen to him, I hear a fine songwiter who is too enthralled (possibly even intimidated) by a musical past to want to actually take it further in (say) the way Lambchop, Califone or I6 Horsepower do. And please – listen to the latter again. The first and third records are especially fine, and deserve to be celebrated for trying to carve their own niche across disparate musical traditions (punk, country, rock, goth, etc). When they hit their stride, they are untouchable (I can suggest a list of tracks to try and convince you if you like).
quote:
When you say that the new Wu-Tang is their biggest flop, do you mean commercially or artistically? Because, man, some of their stuff of late has *really* been scraping the barrel bottom. But I liked the single I’ve heard, and thought it was the best cut of theirs I’ve heard since 36 Chambers.
Iron Flag has been a critical success but a commercial flop. They are currently touring to salvage the situation. The interesting thing about the record, though, is its accessbility. They have attempted to address the complaint that the W was too ‘out there’, but to little avail (so far). Two singles were released within a month of each other to desperately render album sales more buoyant, but – most fans seem to have deserted them in droves. The current killa bees release must surely be the final nail in the coffin – 22 tracks, and barely a redeemable track or discernible sale. Although Iron Flag is a little too accessible for my (and probably your) tastes, it is still worth hearing. Especially check out One of these Days – a track not produced by RZA (incidentally)
quote:
I will have to check out the new DJ Shadow, as I didn’t know he’d come out with anything since UNKLE. Any DJ Shadow’s better than no DJ Shadow, though, right?
The album hasn’t been released yet, and won’t be for a couple of months. Nonetheless, if you have access to p2p, you’ll find it easy enough. Unfortunately, it is a bit of a damp squid of a record, and neither fish or fowl. If it hasn’t been produced within an inch of its life, it seems to contain little in the way of ideas or songs. half the record seems to be interludes and sketches in the form of ‘letters’. the last (live) track is an obvious afterthought derived from elsewhere. Although I wasn’t expecting or wanting Entroducing part 2, Private Press is oddly underwhelming , irrespective of who might bear its name. Approach with extreme caution. Check out in particular : 6 Day War, Fixed Income and Blood on the Motorway.
PS
Beachwood Sparks Work with Dntel on New EP
So much for that suburban hillbilly rendition of “The Sweetest Taboo”
Will Bryant reports:
Los Angeles’ own post-rock Burrito Brothers on helium, Beachwood Sparks, are back with a new EP, Make The Cowboy Robots Cry, out May 21st on Sub Pop. The six-cut EP promises a much different approach than last year’s trippy, dippy Once We Were Trees, as the Beachwood boys are breaking in a new drummer (Jimi Hey of Strictly Ballroom and The Rapture) and collaborating with ex-Strictly Ballroom bassist/current Dntel mainman Jimmy Tamborello.Beachwood Sparks’ Chris Gunst, Tamborello, and Hey (who prior to joining the Beachwoods spelled his name “Jimmy Hay”) comprise three-fifths of the original Strictly Ballroom lineup, who still occasionally play and plan to record under the band name Arca. Hey even sat behind the kit at the first two Beachwood Sparks shows back in 1997 before being replaced by Tom Sanford (who played on the Beachwoods’ demo tape and first singles) and later The Lilys’ Aaron Sperske (who played on Beachwood Sparks and Once We Were Trees). Tamborello also included his former Strictly Ballroom bandmate Gunst on “Umbrellas,” the opening track of Dntel’s Life Is Full Of Possibilities.
According to Sub Pop, Make The Cowboy Robots Cry clocks in at over thirty minutes and features all-new Beachwood Sparks material (i.e. no Sade covers). The echo-drenched, trebly haze of Once We Were Trees is now replaced by a sleeker, cleaner sound enhanced by Tamborello’s “artfully placed bleeps and squeaks.” Tracklist:
01 Drinkswater
02 Hibernation
03 Ponce de Leon Blues
04 Sing Your Thoughts
05 Galapagos
06 Ghost Dance 1492[ 06-04-2002: Message edited by: bonnee ]
yes, sorry for my mistake. i was vaguely aware that i might have got it wrong but was thinking ahead instead of looking back. thanks for noticing it and correcting me. I’ll correct it immediately.
[ 06-04-2002: Message edited by: bonnee ]
My whole life is on rotation, with each minute being soundtracked by music ranging from alt.country to underground hip hop. Even when I’m watching tv or sleeping the stereo is on, much to the chagrin of my partner. I intend to have my decomposing corpse fitted with headphones, whiling away eternal damnation listening to Marvin Gaye’s What’s Going On?, Curtis Mayfield’s Superfly and Mercury Rev’s All is Dream. What a way to sweeten the deal! Anyway, currently listening (up to 3 times a day) to
Deepsky – In Silico (progressive trance)
Aeosop Rock – Labor Days (hip hop)
And You Will Know Us By The Trail of Dead -Source Tags and Codes (rock)
Lambchop – Is A Woman (formely known as country, but something else entirely now. and if you haven’t heard their previous Nixon, track it down now!. A marvelous fusion of curtis mayfield and hank williams).
Notwist – Neon Golden (genre hopping rock, previous a thrash metal band, although you would hardly know it now. lovely sounds).
DJ Shadow – Private Press (underwhelming follow up to a masterpiece, but still good in places).
Wu Tang Clan – Iron Flag (their most commercial record is their biggest flop!)
Way Out West – Intensify (progressive trance)
16 Horsepower – a self made compilation of three wonderful albums (the best alt.country band in my book, sort of goth meets gumbo by way of gun club. they rock!! they roll!!)
Clouddead – Self Titled (indefinable hip hop)
Clinic – Walking with Thee (an update of late 60’s/early 70’s garage rock).Trying to force myself to like the new neil young record, but it sucks despite my best efforts and his best intentions. should have taken his cue from lambchop instead of booker t. wrong Decade, budweiser.
Snooklepie – track down And You Will Know Us By The Trail of Dead via the net if you can. its seems to be what you might like if you don’t already know about it, and everyone has been waxing lyrical about it.
[ 06-04-2002: Message edited by: bonnee ]
quote:
Many of the best episodes are stand-alones in their seasons (Eating Pattern, Woz, and Garden to name a few).
I can’t say I agree with you. I regard these episodes as amongst the worst the series has produced. I would go so far as to urge that such episodes are the kind of television fodder so ably parodied in Lafftrack, tending to render audiences per se into disembodied minds.
quote:
I agree with Bonnee on this one, and I recently played into a post that was totally OTT, the so called bitchin’ here is non-existent and some people are exagerrating things (I did as well, but I saw that it wasn’t as bad as I thought).
I appreciate you saying that Squish. I’m not really sure what to make of much of the misunderstandings, although I acknowledge that certain of my posts have encourcouraged misreadings. Part of me suspects – hopes – that its either a cultural or trust thing. Vodacircle, for example, laughed at a joke I made at Dudley Moore’s expense because (I think) we both come from a land downunder and share a certain sensibility. Ryan laughed at another joke I made corncerning Lexx’s ratings because (I think) he recognises and trusts me as fan. He’s pivately indicated that he doesn’t view me as a troll. Which sort of makes me wonder why many of us – myself included – feel inclined to misjudge one another at times. I’m not sure why trust is such an issue.
For the record Squish: I’m sorry for upsetting you in the past, however unintentional.
I’m a little hurt for Flamegrape though – I don’t understand why he felt himself being attacked by either Warsaw or myself. Most of his posts are very funny, good natured and most appreciated – I would argue that he, Lee, JJ and Valdron offer the most in the way of developing and sustaining Lexxian dialogue (no disrespect to anyone else, seriously!!). The board won’t be the same without him, but it needs us all to keep it viable, ongoing and non cliquey. He just striked me as being a little overprotective about it in this thread, even if he was being (apparently) playful. Posting that he was biting his tongue only led him to biting his tongue off though. I think many of us are surprised to see him react in this way. Then again – it is difficult to gauge someone’s intent on the Internet most times, so obvously he felt himself being attacked in this instance ( I know the feeling, and it isn’t nice).
I need to track down a song to entice him back. Hopefully this will do for now. (The love I’m talking about is his obvious love for the show, as exhibited here).
Always Come Back To Your Love
Written by Mikkel S.E/Hallgeir Ruston
Yeah, check it out
What, what, what, what
Uh, you like that? Uh
Come on yeah
Uh, no doubt
Break itI’ve been up and down (uh, what)
Been going round and round (uh)
I’ve been all over town (wha-what,uh)
But I’ll never ever find somebody new for sure
(Yes, yes you are, left to right, yes
Yes you are and rock you all night)Show me where I belong tonight (all night)
Give me a reason to stay
No matter if I go left or right (left to right)
I always come back to your loveI’ve been high and low (uh)
I don’t know where to go (no, baby)
Because I love you so (you like that)
And I’ll never ever find someone like you for sure
(Yes, yes you are, left to right, yes
Yes you are and rock you all night)Show me where I belong tonight (all night)
Give me a reason to stay (I need a reason, yeah)
No matter if I go left or right (left to right)
I always come back to your love
(Back to your love, yeah)
Woah
No matter if I go left or right (left to right)
I always come back to your love (yeah)
WoahShow me love tonight
I’m going left to right
No matter where I go
I always find your loveShow me where I belong tonight (all night)
Give me a reason to stay
No matter if I go left or right (left to right)
I always come back to your loveShow me where I belong tonight (all night)
Give me a reason to stay
No matter if I go left or right (left to right)
I always come back to your love(Left to right, you like that?)
Woah
(let’s go)
Woah
(Show me)
I always come back to your love (all night)
Woah
(Uh)
Woah (uh)
(Left to right)
I always come back to your love[ 02-04-2002: Message edited by: bonnee ]
Flamegrape, it is possible the passive-aggresive remark wasn’t directed at you , and even if it was, why be petulant to prove the point? Please don’t go away, just try not to be Lexx’s advocate as if it needs advocating: its srong enough to withold any complaint levelled against it, and there is no need to take certain diappointments/remarks personally. I’ve been guilty of that of course, but you helped me see the light (and lightheartedness of it all)
Sorry Flamegrape (and Warsaw)- I thought the faces indicated that I was playfully acknowedging your admitted restraint. Its to your credit that you have allowed yourself to NOT take exception to my remarks again, as well as the more moderate objections. Please forgive what could have been read either way. I thought we had finally brokered some kind of truce, and that was what I was joking about. I should have known better. You get my particular respect for just showing someone else the respect and restraint we privately discussed. I sincerely apologise for appearing to violate the cease fire. Please forgive me again.
[ 01-04-2002: Message edited by: bonnee ]
*Spoil Sport Alert*
I can’t subscribe to the notion that the arc factor should be factored into the equation. Unless we’re talking about Noah’s Ark, then most of season 4 can sink without a trace as far as I’m concerned. I have misgivings about the way things have been set up, extended and developed. Relevance is only a criterion in so far as it doesn’t constitute a degradation of what I regard to be relevant to Lexx in the first place (uniqueness, distinctiveness, want to tell others about, etc). Season 4 has not only not being good Lexx (its been playing to its weaknesses rather than its strengths), it has even given credence to the suggestion that it is the worst show on television. Nonetheless, I’ve liked episodes which contributed very little in terms of the overall story. I’ve only seen up to (but not including) the Game so far. I’m also very encouraged by reports that it has been regaining its footing thereon. So here is my director’s cut ( or rather, what I won’t be watching second time around and will do by best to prevent others from watching a first time by way of introduction). Like Noah’s Ark, a lot of the bad episodes tended to come in pairs. Get rid of
Little Blue Planet- 4.01
Texx Lexx- 4.02
Stan Down- 4.04
Xevivor- 4.05
The Rock- 4.06
Walpurgis Night- 4.07
Magic Baby- 4.10
A Midsummer’s Nightmare- 4.11
Bad Carrot- 4.12
769- 4.13
Prime Ridge- 4.14
