Tenth Doctor (as played by the now infamous David Tennant) episode Tooth and Claw complete with (have to be) campy kung fu monks flipping about the place, wth master staves in hand, not a chance you Scottish blokes! these guys are stop-timing their way through the air as they flip, and charge, and slide over bars in the most action set-hero extravaganza you've ever seen on Doctor Who,,,, could one argue that this was, oh so American?
Directed by Euro Lyn, which was a surprise for methinks Euro did alot of episodes, none of which in recent memory were shot like this, as if BBC staff higher-ups demanded a typical Hollywood action setpiece for this screenplay (oh its got Queen Victoria in it, it just seems right doesn't it?)
Werewolves as alien, which brings to mind, all fairy-tales and myths as of alien origin...but why stop there? perhaps all human life, all life for that matter...alien? Just gives rise to the belief that ancient peoples could not have done anything on their own, that in fact, technology is not a product of man's ingenuity and imagination, but a gift from the heavens above, by that do I mean the gods? (aliens of course...)
The name "Torchwood" gets its name and beginnings here in this one, an interesting survey and peek into the culture and politics, from a British perspective of course, of 1879 United Kingdom (the episode's setting), ie: Rose's "nakedness", the crown jewel, and the lycanthropy of the British royal family, all of it imaginative outreaches and binges of thought on the presumed and explanations for the unexplained(?)
Tennant seems wide-eyed in these his earliest episodes, definitely sparked by his relations with his companion Rose, who also is the giddy one...life in adventure, life in time, is all a wide-eyed surprise for them both, in tandem, experiencing the World, nay, the universe together...Tennant's version of the Doctor is unique and contrasts well with Eccleston's Ninth Doctor characterization, his PTSD version, Tennant acts younger and with more ebullience than the Ninth, more at a comparison later...
This also seems to be the second in a running theme of religion within the screenplay, as if Davies was dawned with a new ideal and direction with Tennant's version, the previous episode and this one in particular so far, hold very distinct religious symbol and metaphor, (the laying on of hands and the baptism of New Earth, and the sacrifice of certain characters for the Doctor (which happens a lot), in Tooth and Claw giving the impression that these characters are giving their lives as "martyrs for the cause", indeed, for God...and the obvious Christ pose of the werewolf/host boy at the end, as a sacrifice for what? He is sacrificed so that...what? He has been persecuted, the alien and the boy host? Just the boy, for the werewolf-alien had nothing but delusions of grandeur...I just wonder at what point did Davies realize and begin to incorporate, other than the obvious, these religious metaphors into the storyline? Perhaps what is most intriguing is: why? The Doctor is a figure of hope, faith, action, saving, probably the impetus is written in because it was already there, and Davies wanted to bring it out, as if he were a god...
But this gives way to a interesting focus, of god as being a traveler, of having no roots but ones that were now long dead, a traveler of sorts who shows only to save the day, to be the hero, shining knight, then to leave, lessons taught, or not, then disappears just as quick as his entrance...the TARDIS being his reality, his connection, how powerful is he, really? without it? Who is the Doctor without his TARDIS? (pun not intended, but wincing now)
Thursday, August 12, 2010
Monday, July 5, 2010
Doctor Who, Dalek
Dalek is the first episode, in the revised and re-envisioned Doctor Who series that was profoundly good, the ones leading up to this one, have their strengths, and while contain great stories, this one, the sixth episode in this Season One, formally, to me, known as the Ninth Doctor, was superb. Contains the (re)introduction of the Dalek as the Time Lord's oldest and most cunning adversary, (would like to know more on this cosmology, this character relation, how it started, what kinds of stories have been developed containing this rivalry, etc. also has it been from the beginnings? the actual first season??)
EXTERMINATE!
And so, this episode, goes in depth with this newly planted story arc of the Last Great Time War, between the Daleks and the Time Lords, in which all perished, leaving, as he once thought, him the only survivor, and him being the reason for this genocide (on both ends)
This episode is so strong, because it pits these two last remaining remnants of a species, a Dalek and a Time Lord, face to face, mortal enemies, then develops their characters throughout the episode in a way that places them in each other's shoes,. ie: the Dalek is given feelings because Rose Tyler touched him ("touched" him, get it? with emotions?) allowing him to regenerate based on her time-traveling energy, which apparently is kept within her DNA, which is the fuel it uses to regenerate itself. And in this process, he is given feelings, and emotions, he begins to have an existential crisis, in which he ruminates and questions his existence, his purpose, if I do not kill, then what is my purpose, if I cannot take orders, then what is my purpose? Who can give me orders, when there is no other Dalek left in existence to give me any? Lo and behold, in later episodes, we find that there are indeed other Daleks, actual pure ones, who are not mutated as this one was, with "mangled" mutt emotions and the putrid filth of feeling.
On top of this is suicide and genocide, with the Dalek committing suicide at the end, based on Rose's orders, it places her above him, as some sort of savior, and takes his final command from her, to exterminate itself. It begins to feel fear...is this the basis of self questioning? The basis of all existential angst? Fear? Seems rightly so, seems obvious, however never connected the two. With the incorporation of human genes, it begins to question its own reality, place in the universe, asking proverbial questions as "What is a Dalek?" Violence and hatred. Genocide and ignorance. Intolerance. Tyranny. Injustice. These creatures are unmerciful and will not stop destroying anything that is un-Dalek. And in an ingenious move, the writer, Robert Shearman, places the Doctor in this context, as one who also has committed genocide on his enemy's race, who hates, and who will go to anything to destroy, who is the better?
What I love about this series, is that it takes more of a reasoning approach, almost empathic, that takes into consideration larger issues of things like, genocide, and gives more credit to the supposed "other", giving them a context and viewpoint, when so often, they are just painted black or white and given no gray area to swim about in. Enemies are that way for a reason, and it is not always so obvious or plain, it does not take a reductionist "kill all" mentality, as would a genocidal race, which has been seen from the context of the "good guys" perspective all too often, but not portrayed in this way (paradoxical perhaps?) its deeper than that, this show's perspective, and treats most of the monsters and aliens with at least some respect,although most do turn to be self-serving and "evil", or power hungry, or greedy, or gluttonous, etc.
And corporate interests and the artifactation and museumizing of the universe is also dealt with, in a pretty biased way, in which i agree, a great line is in this vein:
the Doctor:
"An old friend of mine, well, enemy...the stuff of nightmares now reduced to an exhibit...I'm getting old."
Definitely makes it clear that out and living in the universe, to see it firsthand, and to experience it is living, not containing it and keeping it within a museum, or burying it, and I guess a museum or archive is of this like, a burial, a coffin, it is placed to rest, for its context is then lost, left to the realm of thoughts and knowledge, the realm of memory and nostalgia, once entered into a museum, it is dead...life sucked right out, eh? Sure, people will be able to experience it, but I suppose, it is the act of experiencing something in ts habitat, its own context, or just out of categorization, or alphabetization that makes it alive...an archive is a graveyard is it not? A burial chamber, a Temple of the Dead? A pyramid? Waiting for that trip to the other World? That trip across Acheron? Styx?
Great direction and storytelling/writing and the performances were also quite good, although the van Statten character was a bit stereotypical, he nevertheless served his purpose. The slaughter of the soldiers by the lone Dalek was handled with a bit of sympathy and empathy, which served to embolden the main thesis/point of the episode, which was to characterize the feelings of murder and violence against another, to either be able to sympathize, or to be intolerant towards, the supposed "other". In ways such as this, one defines the other. They are in essence, connected, through their hatred and murder, their deaths...the lone of each, singularity, which is the Doctor's life at this point. Will he be nothing more than this emptied Dalek? Who must get his orders? Who, in the end, will commit suicide, as the lone Dalek did, to end his race in shame? Of course not, for the Doctor represents, in some ways, all that is good in humanity, or what could possibly be, an archetype of sorts, an alien's view of humanity yet imbued with the human condition in himself, so that we can relate, we can see the Doctor within us, and with his problems, we strive to see ours, and possibly gain inspiration from him, an answer perhaps?
The corporatizing of life. The sell of it. Why when you could be a participant? The Doctor told van Statten that the Dalek was more honest about what it was, and therefore better than him, nice. Honesty and truth seem to be valued over many things. Was he an actor of Sartre's "bad faith"? Was it truly him to act as the corporate pig? Or was it just "all the World's a stage?" Ignoring his essential being of having freedom for choice...too..."corporate-ly"?
Anyways, excellent episode, and the best one of the series so far, Donnie needs to watch this one, thought about him as I watched the Dalek struggle with his new-found "humanity" think he could definitely relate, he reminds me of a Dalek in some ways! Interestingly enough, it wasn't even written by Davies, however Davies is an excellent writer, no question there, kudos to Robert Shearman, though!
EXTERMINATE!
And so, this episode, goes in depth with this newly planted story arc of the Last Great Time War, between the Daleks and the Time Lords, in which all perished, leaving, as he once thought, him the only survivor, and him being the reason for this genocide (on both ends)
This episode is so strong, because it pits these two last remaining remnants of a species, a Dalek and a Time Lord, face to face, mortal enemies, then develops their characters throughout the episode in a way that places them in each other's shoes,. ie: the Dalek is given feelings because Rose Tyler touched him ("touched" him, get it? with emotions?) allowing him to regenerate based on her time-traveling energy, which apparently is kept within her DNA, which is the fuel it uses to regenerate itself. And in this process, he is given feelings, and emotions, he begins to have an existential crisis, in which he ruminates and questions his existence, his purpose, if I do not kill, then what is my purpose, if I cannot take orders, then what is my purpose? Who can give me orders, when there is no other Dalek left in existence to give me any? Lo and behold, in later episodes, we find that there are indeed other Daleks, actual pure ones, who are not mutated as this one was, with "mangled" mutt emotions and the putrid filth of feeling.
On top of this is suicide and genocide, with the Dalek committing suicide at the end, based on Rose's orders, it places her above him, as some sort of savior, and takes his final command from her, to exterminate itself. It begins to feel fear...is this the basis of self questioning? The basis of all existential angst? Fear? Seems rightly so, seems obvious, however never connected the two. With the incorporation of human genes, it begins to question its own reality, place in the universe, asking proverbial questions as "What is a Dalek?" Violence and hatred. Genocide and ignorance. Intolerance. Tyranny. Injustice. These creatures are unmerciful and will not stop destroying anything that is un-Dalek. And in an ingenious move, the writer, Robert Shearman, places the Doctor in this context, as one who also has committed genocide on his enemy's race, who hates, and who will go to anything to destroy, who is the better?
What I love about this series, is that it takes more of a reasoning approach, almost empathic, that takes into consideration larger issues of things like, genocide, and gives more credit to the supposed "other", giving them a context and viewpoint, when so often, they are just painted black or white and given no gray area to swim about in. Enemies are that way for a reason, and it is not always so obvious or plain, it does not take a reductionist "kill all" mentality, as would a genocidal race, which has been seen from the context of the "good guys" perspective all too often, but not portrayed in this way (paradoxical perhaps?) its deeper than that, this show's perspective, and treats most of the monsters and aliens with at least some respect,although most do turn to be self-serving and "evil", or power hungry, or greedy, or gluttonous, etc.
And corporate interests and the artifactation and museumizing of the universe is also dealt with, in a pretty biased way, in which i agree, a great line is in this vein:
the Doctor:
"An old friend of mine, well, enemy...the stuff of nightmares now reduced to an exhibit...I'm getting old."
Definitely makes it clear that out and living in the universe, to see it firsthand, and to experience it is living, not containing it and keeping it within a museum, or burying it, and I guess a museum or archive is of this like, a burial, a coffin, it is placed to rest, for its context is then lost, left to the realm of thoughts and knowledge, the realm of memory and nostalgia, once entered into a museum, it is dead...life sucked right out, eh? Sure, people will be able to experience it, but I suppose, it is the act of experiencing something in ts habitat, its own context, or just out of categorization, or alphabetization that makes it alive...an archive is a graveyard is it not? A burial chamber, a Temple of the Dead? A pyramid? Waiting for that trip to the other World? That trip across Acheron? Styx?
Great direction and storytelling/writing and the performances were also quite good, although the van Statten character was a bit stereotypical, he nevertheless served his purpose. The slaughter of the soldiers by the lone Dalek was handled with a bit of sympathy and empathy, which served to embolden the main thesis/point of the episode, which was to characterize the feelings of murder and violence against another, to either be able to sympathize, or to be intolerant towards, the supposed "other". In ways such as this, one defines the other. They are in essence, connected, through their hatred and murder, their deaths...the lone of each, singularity, which is the Doctor's life at this point. Will he be nothing more than this emptied Dalek? Who must get his orders? Who, in the end, will commit suicide, as the lone Dalek did, to end his race in shame? Of course not, for the Doctor represents, in some ways, all that is good in humanity, or what could possibly be, an archetype of sorts, an alien's view of humanity yet imbued with the human condition in himself, so that we can relate, we can see the Doctor within us, and with his problems, we strive to see ours, and possibly gain inspiration from him, an answer perhaps?
The corporatizing of life. The sell of it. Why when you could be a participant? The Doctor told van Statten that the Dalek was more honest about what it was, and therefore better than him, nice. Honesty and truth seem to be valued over many things. Was he an actor of Sartre's "bad faith"? Was it truly him to act as the corporate pig? Or was it just "all the World's a stage?" Ignoring his essential being of having freedom for choice...too..."corporate-ly"?
Anyways, excellent episode, and the best one of the series so far, Donnie needs to watch this one, thought about him as I watched the Dalek struggle with his new-found "humanity" think he could definitely relate, he reminds me of a Dalek in some ways! Interestingly enough, it wasn't even written by Davies, however Davies is an excellent writer, no question there, kudos to Robert Shearman, though!
Sunday, July 4, 2010
Doctor Who, The End of the World, The Unquiet Dead
Am beginning from the beginning here, with the Gallifrey expatriate, Doctor Who, (so does that make the Master, Master Who?) and so on, beginning here with the Ninth Doctor, (played by Christopher Eccleston), some thoughts...
The End of the World - (Location: Earth's space, 5 billion years in the future) speaking of pop culture, try Soft Cell's "Tainted Love" and, oh so worse, a Britney Spears dance hit being played in a classic "relic"- a jukebox. The skinny: 5 billion years in the future is where the Doctor takes Rose on their first excursion "date", the Sun is collapsing and explodes outward, to dishevel the Earth, or in more obtuse language, totally destroy it...the Doctor gets emotional when the subject of "who he is" and "where he comes from" comes about, which is perfectly understandable to want to know, from Rose's viewpoint, brings him to tears as a matter of fact, when the Tree-creature (who is sacrificed in doing well for the Doctor) (a martyr for the "cause"? the "cause" of the Doctor?) finds out about him. Yet things get crazy when Cassandra gets involved wanting ransom money, to keep her "skin" alive, debacles and questions over what is human are raised, Casandra, as a sheet of skin, is self-touted as the "last human", versus Rose, who, probably at that moment in spacetime, is the last human, totally regularized and pure (a little racist perhaps?) all this against the backdrop of the destruction of the Earth, what is human? questions raised at the point of homeworld being brought to its destruction...a jukebox, a couple classic hits, no more than 2 decades apart from each other, versus the 5 billion years it took for culture to evolve and survive, how cheeky, 2 songs, 20 years apart, at the most...
Rose is faced with a plumber, who is alien, her character faces another "blue collar" typeset in the next episode The Unquiet Dead.
This seems to be used to develop her character, this facing of herself throughout the Ages, because back home, thats what she is, a worker in the shops, to show that this lower class has always been evident serves to strengthen her character in that, through time, she has had forebears and those who succeed her in this role, by the way, these two blue collars are both killed...(perhaps a shunning of this stigma?)
The Unquiet Dead - (Location: Earth, 1869, Cardiff) What is noteworthy about this episode is that tis the first to showcase an historical personality, Mr. Charles Dickens, (a la in other episodes featuring such greats as Shakespeare and Vincent van Gogh) And, as in the van Gogh episode, he is shown, or told, that his books will live on forever, (whereas in Vincent's, he did not "ask", he was shown deliberately, as a means to boost his spirits, his bipolar, depressive episodics would nevertheless continue however...(as it should be (?))
Rose, as before mentioned, meets a lower class, who sacrifices herself to maintain the good, and the lively, herself to save the World and its culture...Christian thematics here, as Davies is wont to do, and can be traced quite deliberately, as I am now wont to do...
Cool horror aspect in the storyline, would be nice to whip this one out for another viewing 'round All Hallows Eve...
Builds on the mythos of the TARDIS, how it is Time Lord technology, bigger on the inside, (which put in this way, makes it seem like a moral, or an allegory...) how Rose was told to change into something more "period" in terms of her clothings...and told to go down so many hallways and turns, past so many doors, and there on your right...would be a dressing room, the Eleventh Doctor's TARDIS looks larger, and appears to show more, whereas the Ninth and Tenth versions of the TARDIS do not show more, as is believed to be there.
The End of the World - (Location: Earth's space, 5 billion years in the future) speaking of pop culture, try Soft Cell's "Tainted Love" and, oh so worse, a Britney Spears dance hit being played in a classic "relic"- a jukebox. The skinny: 5 billion years in the future is where the Doctor takes Rose on their first excursion "date", the Sun is collapsing and explodes outward, to dishevel the Earth, or in more obtuse language, totally destroy it...the Doctor gets emotional when the subject of "who he is" and "where he comes from" comes about, which is perfectly understandable to want to know, from Rose's viewpoint, brings him to tears as a matter of fact, when the Tree-creature (who is sacrificed in doing well for the Doctor) (a martyr for the "cause"? the "cause" of the Doctor?) finds out about him. Yet things get crazy when Cassandra gets involved wanting ransom money, to keep her "skin" alive, debacles and questions over what is human are raised, Casandra, as a sheet of skin, is self-touted as the "last human", versus Rose, who, probably at that moment in spacetime, is the last human, totally regularized and pure (a little racist perhaps?) all this against the backdrop of the destruction of the Earth, what is human? questions raised at the point of homeworld being brought to its destruction...a jukebox, a couple classic hits, no more than 2 decades apart from each other, versus the 5 billion years it took for culture to evolve and survive, how cheeky, 2 songs, 20 years apart, at the most...
Rose is faced with a plumber, who is alien, her character faces another "blue collar" typeset in the next episode The Unquiet Dead.
This seems to be used to develop her character, this facing of herself throughout the Ages, because back home, thats what she is, a worker in the shops, to show that this lower class has always been evident serves to strengthen her character in that, through time, she has had forebears and those who succeed her in this role, by the way, these two blue collars are both killed...(perhaps a shunning of this stigma?)
The Unquiet Dead - (Location: Earth, 1869, Cardiff) What is noteworthy about this episode is that tis the first to showcase an historical personality, Mr. Charles Dickens, (a la in other episodes featuring such greats as Shakespeare and Vincent van Gogh) And, as in the van Gogh episode, he is shown, or told, that his books will live on forever, (whereas in Vincent's, he did not "ask", he was shown deliberately, as a means to boost his spirits, his bipolar, depressive episodics would nevertheless continue however...(as it should be (?))
Rose, as before mentioned, meets a lower class, who sacrifices herself to maintain the good, and the lively, herself to save the World and its culture...Christian thematics here, as Davies is wont to do, and can be traced quite deliberately, as I am now wont to do...
Cool horror aspect in the storyline, would be nice to whip this one out for another viewing 'round All Hallows Eve...
Builds on the mythos of the TARDIS, how it is Time Lord technology, bigger on the inside, (which put in this way, makes it seem like a moral, or an allegory...) how Rose was told to change into something more "period" in terms of her clothings...and told to go down so many hallways and turns, past so many doors, and there on your right...would be a dressing room, the Eleventh Doctor's TARDIS looks larger, and appears to show more, whereas the Ninth and Tenth versions of the TARDIS do not show more, as is believed to be there.
Sunday, May 2, 2010
English Beat: I Just Can't Stop It 1980
"Whine and Grind/Stand Down Margaret" has got to be one of my fav songs (of all time!) This ska 2 tone (?) band from England mixes ska/punk/pop into songs well-crafted and genuine (most of them) read lyrics for most of the songs as i listened, have not done this in quite while due to the fact that lyrics have ruined perfectly good songs to me in the past, but whats the problem? if the lyrics suck, then you make critical judgments and move on, no need to hack away the words anymore, must find more in this vein, seems to be a musics that blends and vibrates with me, a la Police, these two similar in reggae/ska skirmishes however Police has more rock roots and punk flourishes, more obvious, but The Specials seem to be a band in this genre, did not realize that ska had been round since the 1960s! what about reggae? has been round since?... So for the most part this album was a pleasure for a listen, got more weak after "Whine and Grind", yet maybe will rub off after repeated listens? not perfect, but close..."Mirror in the Bathroom" is another gem, very good topic, personal, vanity on the sheer surface of it, perhaps a deeper message? Also, i like the sociopolitical musings of the band's lyrics, this is another venue i want to explore, i have liked the clash's lyrics when dealing with these themes, as well as some of the Police's, soooo i think i may be interested, at least, in politics in this aesthetic realm, need MORE!
more research as well into the clash's leanings, this delves into punk as well, hmmmm the trappings of a muse, now leaned towards a sociopolitical realm for me, would this have been a greater risk and channel for me expressively? too technical was the thing that ruined, too introspective? thats what lyrics that deal with these themes seem to counteract, the selfish propensity for inward obsession and vanity, its an outer man, an outer...
NOTE: The English Beat was supposedly part of the "Second Wave" of Ska (that entered Britain in mid-70s?)
more research as well into the clash's leanings, this delves into punk as well, hmmmm the trappings of a muse, now leaned towards a sociopolitical realm for me, would this have been a greater risk and channel for me expressively? too technical was the thing that ruined, too introspective? thats what lyrics that deal with these themes seem to counteract, the selfish propensity for inward obsession and vanity, its an outer man, an outer...
NOTE: The English Beat was supposedly part of the "Second Wave" of Ska (that entered Britain in mid-70s?)
Friday, April 23, 2010
February 2010: Best Animated Films
According to Rotten Tomatoes, (their fifty best animated films of all time) i selected nine from this list to watch, all great choices i think, in the end, aesthetic value depending on film
LIST:
1) Paprika (2006) Satoshi Kon - this one needs another watch, (dense, with psychoanalytic symboletry) but definitely has harbored in my mind some of the most iconic images of dreams/insanity i've ever seen.
2) Akira (1988) Katsuhiro Otomo - I am Tetsuo. Anime at its finest, dark, surreal, techno-religious underpinnings, epic, nice
3) Bambi (1942) Walt Disney Classic - Mythological, symbolic of the cycle of Life/Death, nature and its cycles of youth, love, death, metamorphosis, didnt realize that Bambi was a prince! along with iconic characters as Thumper and Flower, attributing a most heart-wrenching scene where Bambi makes it back to safety harbor,with cries of "we made it momma!" to no reply, and from there on in, the father, absent as he was, nopw speaking to him from behind a wall of gently falling snow (which you could taste the blood on each little flake) that now he was to become a "man" a "deer" all grown, and this could only happen with his safe surroundings, his maternal force, ripped away
4) Yellow Submarine (1968) George Dunning - Beatles' flair, dry Liverpudlian humor, blue meanies and such, all with a decent and thoughtful appraisal including philosophy, loneliness, and a sublime sect of sadness harbored at within the screenplay, there might be more here than meets the eye, perhaps a second viewing will reveal more? funny cameo by band at the end
5) Dumbo (1941) Walt Disney Classic - great animation, creative use of the "drunken" scene (what else was in that champgane those hoodlum clowns were drinking?) liquid LSD! crows were characterized as black, the elephantess older cows you just wanted to whip and beat with all their judgments, a stereotypical look at females btw, great story of coming round despite character flaws, physical abnormality and due stress because of each, thanks to that mouse, timothy, they were able to rise above states of despair, together, poor dumbo and his mother, but freak show turned hero, you know the story
6) Spirited Away - (2001) Hayao Miyazaki - great story, children's story, liked the hog motif, the place of the dead, of spirits, showcasing japanese culture and folklore here, the stuff of great legend and myth, No Face has become a greatest character of all time to me, what he represents, that malleable consistency within each of us, the force of environment, that all one needs, is that right puissance in your surroundings, thanks no face, go have some more cake
7) Fantasia (1941) Walt Disney Classic - a masterwork, really shows the tightly knit ties between visuals and audio, the forerunner of the modern music video, Disney's dream to incorporate all the sense dates back some time, probably 19th century? after developments of opera, therefore incorporating even touch and smell, taste even, this was Disney's dream too, too far beyond his time, has withstood the test of it, night on bald mountain/ave maria was brilliant and the firebird suite, all of it was inspired and creative, one of my favs
8) Pinocchio (1940) Walt Disney Classic - just now realized how heavily I relied on Disney movies for my list, anime as well, and there is still so much more Disney to watch, this was grand, a real mythos capture, the fox as "evil seed", the island with all boys who sinned turning into asses, neatly opposes the wish motif, something that against common belief, one must work for, conflicts involved, one must strive for the wish to come true, as opposed to the mode of everything handed to you on silver platter as in the Pleasure Island motif, where once given and slackened, one is transformed to gruel, physically, morally and spiritually
9) Snow White (1937) Walt Disney Classic - there is a god in this version? is there one in the grimm's? must see...only problem i had with this one was the music, and that only in certain parts, they dated it by using some jazz instrumentation (namely muted horns) dated it to the era, late thirties, yet most of the rest of musics were mythical and worked well in this fairy tale complex, violent, the evil witch with her dagger, remember this distinctly when younger, this mixed with baptist blood imagery, the daggers, the blood, the hearts pierced, the man upon the cross! it goes on, yet twas the need to puncture her virginity, her purity, ) a jesus theme as well?) so that she would be tainted, polluted, like the mature and evil witch, her vanity sought to destroy her, and off her off the side of a cliff she was, right to the depths of her self-loathing, corruption of the pure, a very old story eh?
LIST:
1) Paprika (2006) Satoshi Kon - this one needs another watch, (dense, with psychoanalytic symboletry) but definitely has harbored in my mind some of the most iconic images of dreams/insanity i've ever seen.
2) Akira (1988) Katsuhiro Otomo - I am Tetsuo. Anime at its finest, dark, surreal, techno-religious underpinnings, epic, nice
3) Bambi (1942) Walt Disney Classic - Mythological, symbolic of the cycle of Life/Death, nature and its cycles of youth, love, death, metamorphosis, didnt realize that Bambi was a prince! along with iconic characters as Thumper and Flower, attributing a most heart-wrenching scene where Bambi makes it back to safety harbor,with cries of "we made it momma!" to no reply, and from there on in, the father, absent as he was, nopw speaking to him from behind a wall of gently falling snow (which you could taste the blood on each little flake) that now he was to become a "man" a "deer" all grown, and this could only happen with his safe surroundings, his maternal force, ripped away
4) Yellow Submarine (1968) George Dunning - Beatles' flair, dry Liverpudlian humor, blue meanies and such, all with a decent and thoughtful appraisal including philosophy, loneliness, and a sublime sect of sadness harbored at within the screenplay, there might be more here than meets the eye, perhaps a second viewing will reveal more? funny cameo by band at the end
5) Dumbo (1941) Walt Disney Classic - great animation, creative use of the "drunken" scene (what else was in that champgane those hoodlum clowns were drinking?) liquid LSD! crows were characterized as black, the elephantess older cows you just wanted to whip and beat with all their judgments, a stereotypical look at females btw, great story of coming round despite character flaws, physical abnormality and due stress because of each, thanks to that mouse, timothy, they were able to rise above states of despair, together, poor dumbo and his mother, but freak show turned hero, you know the story
6) Spirited Away - (2001) Hayao Miyazaki - great story, children's story, liked the hog motif, the place of the dead, of spirits, showcasing japanese culture and folklore here, the stuff of great legend and myth, No Face has become a greatest character of all time to me, what he represents, that malleable consistency within each of us, the force of environment, that all one needs, is that right puissance in your surroundings, thanks no face, go have some more cake
7) Fantasia (1941) Walt Disney Classic - a masterwork, really shows the tightly knit ties between visuals and audio, the forerunner of the modern music video, Disney's dream to incorporate all the sense dates back some time, probably 19th century? after developments of opera, therefore incorporating even touch and smell, taste even, this was Disney's dream too, too far beyond his time, has withstood the test of it, night on bald mountain/ave maria was brilliant and the firebird suite, all of it was inspired and creative, one of my favs
8) Pinocchio (1940) Walt Disney Classic - just now realized how heavily I relied on Disney movies for my list, anime as well, and there is still so much more Disney to watch, this was grand, a real mythos capture, the fox as "evil seed", the island with all boys who sinned turning into asses, neatly opposes the wish motif, something that against common belief, one must work for, conflicts involved, one must strive for the wish to come true, as opposed to the mode of everything handed to you on silver platter as in the Pleasure Island motif, where once given and slackened, one is transformed to gruel, physically, morally and spiritually
9) Snow White (1937) Walt Disney Classic - there is a god in this version? is there one in the grimm's? must see...only problem i had with this one was the music, and that only in certain parts, they dated it by using some jazz instrumentation (namely muted horns) dated it to the era, late thirties, yet most of the rest of musics were mythical and worked well in this fairy tale complex, violent, the evil witch with her dagger, remember this distinctly when younger, this mixed with baptist blood imagery, the daggers, the blood, the hearts pierced, the man upon the cross! it goes on, yet twas the need to puncture her virginity, her purity, ) a jesus theme as well?) so that she would be tainted, polluted, like the mature and evil witch, her vanity sought to destroy her, and off her off the side of a cliff she was, right to the depths of her self-loathing, corruption of the pure, a very old story eh?
Monday, April 12, 2010
A Certain Ratio (part of the "Guardian's 1000 albums to hear before you die" list)
A Certain Ratio - Early (2002) - punk-funk fathers? post-punk? cool energy and synergy of funk (leaning heavy on disco at times) mixed with punk, in certain instances/songs not really clear where the punk lay, yet others is clear and distinct, usually when vocals are present, no typical funk slogans here, energetic like punk, seems only natural the two would pair, much like the punk/reggae fusion of ska, the Police, etc. This record comps up all singles (I suppose?) from their heyday which seems to be primarily from the late 1970s to the early 1990s (?) also fused latin within their mash-ups, dark at times and aggressive, danceable and unique, nice...
Sunday, April 4, 2010
A Winter of Industry
And so, January 2010 was all things industrial month, 9 new albums i've never heard (well except for two, wanted to revisit those) So what is the ethos/aesthetic behind industrial musics? From sources they list things of transgression, punk provocation, totalitarianism, futurism, also been called brash, repetitive, melodic, noisy, it focuses on transgressive themes and polemics but this only focuses on one side and really embodies the early movements...it has split into many sub-genres as genres are wont to do, which include, as ive learned, death industrial, EBM, industrial metal, industrial rock, dark ambient, among others...the vocals can be harsh or melodic, could be bubble gum pop or abrasive authoritarian slogans...ive found that it embodies similar themes that cyberpunk conveys and the two seem to be comfortable bedfellows because of this, the use of certain aesthetic, technological techniques such as electronic instrumentation, beat loops, synths etc, give rise to a repetitive discourse, (and a synthos (as synthetic ethos, ethics of syntheticism) at times even seeming as perfect propaganda, and i think all these seemingly controlling aspects are but a ideology and social outcry against such mainstay ideas of status quo and hegemony, that in fact through what seems as adherence is undermined as rebellion (the "noise" aspect is also regarded as retaliation against what music is, or at least considered to be) it seems that although some groups implement a fascist tendency in their music, only rarely is it meant in regular and should otherwise be seen as discourse and criticism...
as stated in regen's article, (which i consulted for my list: top 10 best industrial albums ever ) industrial has spawned so many offshoots that it is incredibly difficult to pinpoint what it is exactly, so therefore has become a state of mind, sitting firmly within a modern and better yet post-modern ideology, which the cyberpunk film/literature genre is also comfortably placed. this attitude of dystopian futures, cold atmospheres, technology, control, authority, rebellion, very indicative of current psychological/political climates, esp of the past 30 years
learned much (and still much more to go) about industrial genre, esp the fact that it has grown to be an overarching ethos and that, at least in its earlier days, was combined with other forms of artistic expression and culture including but not limited to performance art and tape trading (mail art), also learned of its history from throbbing gristle and its own industrial records (hence name of genre) and even this name is multilayered in many interesting ways...
SO here's the list of what i absorbed (based on regen's results (except the skinny puppy which i added myself))
1) Ministry - The Mind is a Terrible Thing to Taste (1989) excellent. one of the first, if not the first, industrial albums i ever owned, still great after 2 decades Breathe, Thieves, Cannibal Song oh the list goes on...ministry helped bring metal to the genre, more guitar driven, cool that electro and live percussion was used
2) Nine Inch Nails - The Downward Spiral (1994) u have to give reznor (along with ministry) the credit for introducing industrial to the masses, he also brought (according to wiki) more standard song structure formats to the genre (hence, or at least attributing to, its appeal) also didnt realize that this was a concept album, nice
3) Haujobb - Solutions for a Small Planet (1996) this was the first album in this series that i listened to that i had never heard and has instantly placed itself among my favs, according to regen it is a more subdued album for them and more beat heavy, i see this, excellent use of atmospheres and textures heard some electronica in there, vocals were a bit weak at times, couldve been more meaty, a la skinny puppy, had 3 instrumentals (actually 4 but the 3 aforementioned seemed to be of a running exposition) liked it, gave breathing room and nuance to the tracks/track order, upon hearing it i instantly saw the progression that industrial had made since my initial experiences of the genre, which were limited to late eighties/early nineties recordings - mainly skinny puppy and ministry
4) VNV Nation - Empires (2000) regen says vnv nation is a hybrid mix of industrial, trance, synthpop and EBM i saw this right off, liked the vocalist's timbre and the pounding beats, instantly saw the trance influence in the synth lines and appegiator, only used a couple samplers and the access virus synth to produce the record which is another feat, very lyrically driven, liked and the begin/end duo of Firstlight and Arclight, also enjoyed Fragments ... had a knack for repetitive sloganeering in Fragments ("all great things to come"), the whole album is very apocalyptic and dark even given the trance-y mood
5) Nitzer Ebb - That Total Age (1987) should have been called total ENERGY, it truly seems to be driven by a drum machine and the vocalist whose energy works to keep the album going, very punk provocative, sloganeering at its finest, Join in the Chant is a fav (Books Books, Books, Books, Burn , Burn, Burn etc...) gives more weight and power to the word when used in this way, also (where is the youth?) (now dont be lazy!) great energy, still relevant today, can see how this album spawned many dance floor hits
6) KMFDM - Angst (1993) prob my least fav overall out of this whole list yet can still see how it was included on regen's list, an extension of ministry's use of guitars, bringing metal to the genre (at least on this record) Blood Evil and Glory were my favs, another sloganeering attitude on this record, with all the KMFDM self-referencing involved, which from what i understand is something they do all the time anyways, which according to wiki is them satirizing themselves in a bit of lampoon
7) Einstürzende Neubauten Zeichnungen des Patienten O.T. / The Drawings of Patient O.T. (1983) apparently the fathers of dark ambient, very abrasive, what i think of when i think pure industrial, since they did use jackhammers and metal objects for the recording, disturbing, dark, cold, Armenia is a def fav
8) Front 242 - Front By Front (1988) first front 242 album ive heard, although i had seen them live - lollapalooza 1993 and remembering twas one of the most energetic/aggressive parts of the event, circling overland is a fav, lyrically and musically, great theme, from the planes perspective - supposedly vnv nation has done a cover must check this out, regen says front 242 are the fathers of EBM could see this in headhunter and several other songs, Agony (Until Death) was charged, regen also put this album at the top of their list, which was curious to me, nto sure why, but perhaps this album has more influential/historical effects that i am not considering, also perhaps the album succinctly displays the industrial ethos, in its purest sense? overall great album, still resonates today over 20 years later
9) Skinny Puppy - Mythmaker (2007) awesome, was wondering about this one, as so many bands seem to lose energy and edge with age, this album was a complete surprise esp for an act that has been active for so long, still seems relevant (as a group) and still has teeth, a perfect example to me of growth in an artist's career, an example of how a group can grow, within its own set framework, without having to resort to genre switches, seems to be a perfect evolution in their career, pedafly, politikil, and ugli are all dynamic, groove-centered, dark skinny puppy as i have known them yet with a sensibility that shows even more strength in their songwriting and production. instant classic!
as stated in regen's article, (which i consulted for my list: top 10 best industrial albums ever ) industrial has spawned so many offshoots that it is incredibly difficult to pinpoint what it is exactly, so therefore has become a state of mind, sitting firmly within a modern and better yet post-modern ideology, which the cyberpunk film/literature genre is also comfortably placed. this attitude of dystopian futures, cold atmospheres, technology, control, authority, rebellion, very indicative of current psychological/political climates, esp of the past 30 years
learned much (and still much more to go) about industrial genre, esp the fact that it has grown to be an overarching ethos and that, at least in its earlier days, was combined with other forms of artistic expression and culture including but not limited to performance art and tape trading (mail art), also learned of its history from throbbing gristle and its own industrial records (hence name of genre) and even this name is multilayered in many interesting ways...
SO here's the list of what i absorbed (based on regen's results (except the skinny puppy which i added myself))
1) Ministry - The Mind is a Terrible Thing to Taste (1989) excellent. one of the first, if not the first, industrial albums i ever owned, still great after 2 decades Breathe, Thieves, Cannibal Song oh the list goes on...ministry helped bring metal to the genre, more guitar driven, cool that electro and live percussion was used
2) Nine Inch Nails - The Downward Spiral (1994) u have to give reznor (along with ministry) the credit for introducing industrial to the masses, he also brought (according to wiki) more standard song structure formats to the genre (hence, or at least attributing to, its appeal) also didnt realize that this was a concept album, nice
3) Haujobb - Solutions for a Small Planet (1996) this was the first album in this series that i listened to that i had never heard and has instantly placed itself among my favs, according to regen it is a more subdued album for them and more beat heavy, i see this, excellent use of atmospheres and textures heard some electronica in there, vocals were a bit weak at times, couldve been more meaty, a la skinny puppy, had 3 instrumentals (actually 4 but the 3 aforementioned seemed to be of a running exposition) liked it, gave breathing room and nuance to the tracks/track order, upon hearing it i instantly saw the progression that industrial had made since my initial experiences of the genre, which were limited to late eighties/early nineties recordings - mainly skinny puppy and ministry
4) VNV Nation - Empires (2000) regen says vnv nation is a hybrid mix of industrial, trance, synthpop and EBM i saw this right off, liked the vocalist's timbre and the pounding beats, instantly saw the trance influence in the synth lines and appegiator, only used a couple samplers and the access virus synth to produce the record which is another feat, very lyrically driven, liked and the begin/end duo of Firstlight and Arclight, also enjoyed Fragments ... had a knack for repetitive sloganeering in Fragments ("all great things to come"), the whole album is very apocalyptic and dark even given the trance-y mood
5) Nitzer Ebb - That Total Age (1987) should have been called total ENERGY, it truly seems to be driven by a drum machine and the vocalist whose energy works to keep the album going, very punk provocative, sloganeering at its finest, Join in the Chant is a fav (Books Books, Books, Books, Burn , Burn, Burn etc...) gives more weight and power to the word when used in this way, also (where is the youth?) (now dont be lazy!) great energy, still relevant today, can see how this album spawned many dance floor hits
6) KMFDM - Angst (1993) prob my least fav overall out of this whole list yet can still see how it was included on regen's list, an extension of ministry's use of guitars, bringing metal to the genre (at least on this record) Blood Evil and Glory were my favs, another sloganeering attitude on this record, with all the KMFDM self-referencing involved, which from what i understand is something they do all the time anyways, which according to wiki is them satirizing themselves in a bit of lampoon
7) Einstürzende Neubauten Zeichnungen des Patienten O.T. / The Drawings of Patient O.T. (1983) apparently the fathers of dark ambient, very abrasive, what i think of when i think pure industrial, since they did use jackhammers and metal objects for the recording, disturbing, dark, cold, Armenia is a def fav
8) Front 242 - Front By Front (1988) first front 242 album ive heard, although i had seen them live - lollapalooza 1993 and remembering twas one of the most energetic/aggressive parts of the event, circling overland is a fav, lyrically and musically, great theme, from the planes perspective - supposedly vnv nation has done a cover must check this out, regen says front 242 are the fathers of EBM could see this in headhunter and several other songs, Agony (Until Death) was charged, regen also put this album at the top of their list, which was curious to me, nto sure why, but perhaps this album has more influential/historical effects that i am not considering, also perhaps the album succinctly displays the industrial ethos, in its purest sense? overall great album, still resonates today over 20 years later
9) Skinny Puppy - Mythmaker (2007) awesome, was wondering about this one, as so many bands seem to lose energy and edge with age, this album was a complete surprise esp for an act that has been active for so long, still seems relevant (as a group) and still has teeth, a perfect example to me of growth in an artist's career, an example of how a group can grow, within its own set framework, without having to resort to genre switches, seems to be a perfect evolution in their career, pedafly, politikil, and ugli are all dynamic, groove-centered, dark skinny puppy as i have known them yet with a sensibility that shows even more strength in their songwriting and production. instant classic!
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