My Music

One thing I didn't want to do when I started this blog was insert my private life into it – this was supposed to be a semi-professional one.

Meh. Screw that.

So now I'm going to talk about music – what I like and suggest.

First, I like background music. BGMs. I also like Japanese hero-type songs, usually in the Sci-fi genre. This isn't to say that I don't like Western music at all, but it's close. I don't know how I got started in it, but I've always liked my genre. (A Japanese show will virtually always have enough music in it to put out a soundtrack – American ones don't, at least not at first. Example: the Power Rangers first season soundtrack is a joke, but one fans might buy for the nostalgia. The Zyuranger soundtrack is symphonic and runs the gamut from “heroic” to “tragic”. It could be run in a movie with little rescoring.)

So I finally got around to watching all three Megazone 23 OVAs. The music was pretty good for the first one, okay for the second, and not so much for the third. In particular, I like ROCK CAFE, which is the first thing you hear when you watch the first one – it's a natural “chase” theme – but not just because it's good. It has another context for me. See, Megazone 23 was also included in Super Robot Wars D for the GBA – and if you know anything about the SRW series, this a joke turned serious. But because the game focuses so much on dodging, the Garland is a surprisingly good unit – good dodge (it's not going to get hit on the ground, even before upgrading), cheap upgrades (it does good damage against anything with fully upgraded weapons, despite its SS size...), a cool pilot graphic (anime-hair dude on a bike, with a 'hisshou' bandanna...), and space for four upgrade parts (it's the smallest human-operated transforming mecha – where the HELL does it have space for four parts?!). But the best part is, the Megazone 23 unit theme is ROCK CAFE – or a GBA version of it – and this works out very well. There's a sort of desperation there that you can really only find in, say, “Gen ga Tobu” (the standard Ideon theme in the SRW series, Alpha 3 most recently).

And that's the sort of music I like – something you can battle to.

Ever see Gaoranger vs. Super Sentai? It's on YouTube, I think. You will not find a better explanation of the Sentai series anywhere else. It's basically a clip show in movie form – they got a couple of really good actors to do guest appearances, and a couple other actors as well, all in their original roles – but where the movie really shines is its hot-blooded approach to showing off 25 years of Sentai. They chose their clips well, but the accompanying music draws from previous shows are chosen carefully, to great effect. Thus, you have “Ore no Heart wa Yume-jikake” (“My Heart is a Dream-work” – 'work' here being like from 'clock-work', so “My Heart Runs on Dreams” might be better) playing over the 'power/strength fighters sequence', where it works to great effect. Red Falcon (from Liveman) gets the 'violins and brass duel theme' for his teaching duel, and Banba Soukichi (coolest character in Sentai history by the estimation of most fans, being played by the great Miyauchi Hiroshi) gets “Spade Ace, the Young Lion” (not written for his character, but suiting him VERY well) – that he also gets to throw off a disguise and beat down two commander-class enemies, WITHOUT transforming, is a plus. But as a mecha fan, the best moment comes when, after the enemy boss grows to giant size, he defeats the Gaoranger robo. Oh noes that can't be good. But wait... what's that on the horizon. It appears to be – yes, yes it is. A mecha from every prior Sentai show (with a little intro from Miyauchi's two other roles in the series – it's a younger version of him flying one of the planes), to the music-only version of “Itsutsu no Kokoro de Fiverobo” (“Five Hearts in Fiverobo”, with 'de' here giving a 'to make' implication). It's a bunch of strung-together clips, but it works – makes one wonder how good a Super Sentai Robot Wars game would be, in fact. (My favorite one, here, is the Denzi Tiger's 'really big missiles' – the boss turns to his right, and there's a giant tank sitting there. It aims and fires two huge herkin' missiles at him. They go boom, in a way CGs can't replace or replicate.) But yeah, that's it. I also like to imagine what if other Sentai characters came back for the movie – like, one of the women. Momoranger would have some bombs ready (“Are you ready? Here I go!” *boom* *BOOM* - most understated phrase ever), the Ohranger and Changeman ladies would bring artillery (or not bother with small potatoes, and just bring in their mechas), Ninja White would throw some shurikens and transform into a paper crane (while making Naruto characters look like pansies – yes, ALL of them), Houou-ranger would simply blow up a couple of ki-whirlwinds, etc. And Heart Queen? Remember Magneto, from Marvel Comics? Like him, but a cyborg with a cool phrase. Also, all the Sentai ladies get to show their stuff to two songs: “Hanasaku Goggle Pink” (a slower song, with hanasaku here meaning “flowering”) or “Sexual Lady” (from Bioman – a faster, dynamic song) – fun stuff.

But really, I like the older ones. Clarification: I like brassy or orchestral pieces. If they have an appropriate singer (Kushida Akira, Mizuki Ichiro, Kageyama Hironobu...), even better, but an instrumental works just fine. The best characters don't need lyrics to introduce them, and this applies in all cases. Superman (probably the best example - “dun daDAA”), Batman (the opening for The Animated Series doesn't just set up the show, it introduces the whole mythology!), Rocky (Gonna Fly Now and Eye of the Tiger are quintessential training montage themes now, even without the lyrics), Robocop (no other refrain better introduces a reborn cyborg), Captain Jack (the American version of Banba Soukichi), The Doctor (if everything has gone to hell and you hear the theme, you start looking for a Police Box...), the Powerpuff Girls (Dun dun dadada daa dun...), John Shaft (Theme from Shaft is great background music for everything. EVERYTHING!), and so on. If a ship can be a character, then the Star Trek theme/refrain counts. But yeah. Spider-man, oddly, doesn't have a memorable theme – several SONGS, yes, but not really a theme. The movie had an excellent soundtrack, but could you really put it on the radio and get a bunch of correct guesses about it? (Robocop – Rock Shop, specifically – is old enough to have died out as a leitmotif, but memorable enough to remember as a theme in general. Your crap has hit the fan, and then – Rock Shop – you hear footsteps. Heavy footsteps. You recall killing a cop way back when. Oh crap he's back from the dead. You are thrown through a window as he reads you your rights. ...Were there that many rights? You want your lawy- ow. This is tortu- ow. No, no it isn't... ow ow ow. Okay, you did it. ...Help?)

But a song is nice, too. It's hard to listen to Stan Bush's “The Touch” without imagining a certain Matrix of Leadership, and this is what a Opening Theme is supposed to do – the length not totally mattering. “Seinfeld” opened with a scat-like theme a few degrees above a cold open, and it worked better than the “Friends” theme in some respects – hard to duplicate, easy to identify, original even 15 years after the fact, and much more unlikely to annoy. A well-written original theme, of course, is meaningless if it is too much like everything else at the time – it should be ahead of its time and durable. Example: The Transformers theme, which was such that there were some 3 variations of it during its original run (not exactly par for the course at the time, and something quite a few long-running anime shows do nowadays), but beyond that is short and to the point. You know the show will involve robots and transforming (and likely Frank “voice o' God in the '80s” Welker *cough *).

But a show where an incidental piece works better than an OP Theme? How about... Big O. As a show, it looks like Batman with Giant Robots, with the sort of overarching mysteries that have only been emulated by the first few seasons of X-Files and Life over here. There actually were two OPs, one for each season. The first famously sounds like Queen's “Flash” (“He'll save every one of us!”), and the second was edited over in favor of the first when the show came over here (it was originally a homage to the theme from Gerry Anderson' UFO...). But it isn't a terribly heroic theme, and doesn't work too well as a battle theme – doesn't work at all, in fact, and they wisely never used it – but like the Transformers theme, introduces a Giant Robot and calls it good. In this respect, it works. After listening to it, no one will walk away thinking they heard the theme song to a cutesy girl's anime (to which something like . Instead, they came up with a track called “Sure Promise” that rounds the bases – perfect for a sudden heroic entrance (Big O is delivered to the scene through an underground/subway system, and crashes up from the ground upon arrival) of epic proportions with nigh-indestructible armor, while also pulling a second duty as the “final attack” theme in the last episode (“Final Stage” - as appropriate an ultimate attack to Big O as the Goldion Hammer was to GaoGaiGar). When it plays, you know Roger's gonna win.

As for overall memorable music, GaoGaiGar takes the cake among mecha fans. A number of the pieces were full-orchestra sorts – or rather, there are some pieces of music that only sound right when played by a small group, say a quartet, and the exact opposite is true with certain GaoGaiGar BGMs. Namely, there are some pieces of music in GGG that wouldn't sound right until a sports arena's worth of musicians played them in unison – scale is another thing, then. An epic movie score, in the space of a half-hour show, makes all kinds of difference. Anything else for GGG's final attacks – well, example: GaoGaiGar makes an appearance in SRW Alpha 2 and 3. He has a final attack called “Goldion Hammer”, and the unfortunate problem is, the accompanying theme had to be rewritten for the game, so it pretty much sounded like a MIDI. While it was a good enough BGM to work without the scale, not having it made a difference, robs it of some of its effect. It renders the attack not sounding like something that, unchecked, could easily destroy a planet, and more like a handy attack to use on boss units.

So what was I talking about in the beginning? Oh. Music. Um... The Megazone 23 soundtrack is good. There.

I wonder if it's possible to cancel a holiday?

No, seriously. I know I'm not the first person to think this about X'mas, but to me it seems to bring out the worst in everyone - more so than any other holiday.

I live in Seattle, right? Fairly tech-y city with a port, not that this means much. I live a stone's throw from a mall, also – apparently not that far from the Penny Arcade office, either, if their posts are true – and consequently I get to hear sirens practically every day. (This is not so bothering – I came from a smaller town, but I lived in the U-District for a couple of years – and they are almost always fire trucks or ambulances.)

But I also work in the mall (or 'worked', depending on how things turn out). Working in retail is always fun the three or four days before X'mas, but my place of employment attracted a higher breed than, say, Nordstrom or JC Penny – usually. I went back for a pay stub yesterday, and the first thing I see is an irate customer telling first the Head Cashier, then the Manager, that he wants his money back – the shoe apparently not fitting. (I obviously walked in on the tail end of a conversation, and it wouldn't surprise me if the HC exasperated the situation somewhat – it nearly happened before.) So, they can't refund his money – something that can only be done with credit purchases – and would he like a gift card or store credit in its place? But no. This guy insists on getting his money back. “You have my card number in your computer! Look it up!” “What am I supposed to do with a credit! He's already gone back to college!” (by this point, I'm guessing why 'he' left so soon after X'mas – wish we could send 'him' the video, it'd get a few laughs in a frat) He'd gotten so worked up, that as he leaves and passes me, he spits out that I shouldn't buy anything from them (I get a discount, as long as I work there...) and that he'll never shop there again.

Sigh. I can't quite put into words just how far 'gone' this guy went; I'm just not that good a writer, and my memory is foggy besides. But in retrospect, there are a few things seriously wrong with his reasoning. First, if we can look up his card number so easily, what's to keep us from committing massive credit fraud? Second, gift cards (ours, at least) work online – and we have many things amusing things online that, for space reasons, we can't put up in the store. (Not to mention that, in a smaller college town, it's often easier to buy online – and if he went as far away as to make gift sending difficult, say Pullman, it's preferable.) Finally, the guy was trying to return a pair of 'shoes' that were more expensive than a pair of surprisingly comfortable slippers we sell – no trade, no store credit, not a whole lot of thought for the recipient, just 'gimme gimme gimme'.

Is this typical? I don't act like this – if I can only find one thing in a store, I don't bother – and it confuses me why someone would. So now I wonder if the dude was a Christian – and if so, to what extent. Agnostic? Bible in the house? Bible in the bedstand? Church, per wedding/funeral? Per 'every now and then'? Per month? Per week? Per X'mas? Or not at all?

Yeah, I know I have no readers, so I'm just asking the empty air. Or God, or Jesus (“What Would Jesus Blog” – heh). Cyberspace Jesus, fresh from being Sweet Zombie Jesus or Robot Jesus – no, I'm not trying to mock the dude, and I think he might chuckle besides. (I keep wondering if this is the difference between Christianity and Islam – Jesus can be treated quite a bit more lightly than The Prophet...) But I digress.

This all reminds me of that old argument: “Guns don't kill people, bullets/people kill people.” Wonderful. This would crack Spock up – have we seen a Spock “LOL” meme yet? – with its bizarre logic. So a dude with a bullet doesn't need a gun? Great! Let's take away the guns, save some metal for more meaningful projects, and see what happens. (Knives – the use of which leave far more identifiable traits and material at a crime scene – might take over in violent crime, or blunt trauma. The medical fees might go up or down...) Same thing with X'mas, I think. It's so much an excuse to spend and show that it ought to be separated from the celebration of the birth of Christ. No, correction: NEEDS to be. Call it X'mas (or maybe just 'Love Day').

...Now that I think about it, given that so much emphasis is placed on the DEATH of Christ (specifically, how he died), why isn't it just represented as t'mas, or T'mas? There are enough crucifixes brandished about anyway – why not? I also have an idea for a story: The Three Wise men are actually aliens from other planets, and couldn't make it in time for the original birth – they arrive NOW (cue Bill Murray's “Only a Carpathian...” lines) and are greatly mystified/annoyed by the modern world's take on a single birth.

But yeah, back to my original point. We should ban Christmas, as it is commonly understood, from being a public holiday. I hold enough respect for Christianity to say this, as much as some Christians will hold for my opposing viewpoint (when they find out), and banish me to their private (ie: subjective – where do the masochists go?) hells.

...Wow. I was sipping English Breakfast tea near the beginning, and I was on message. By now, I've moved onto Slim-Fast (not a meal replacement, but as healthy as anything else I eat nowadays), and you can tell. Maybe I do have ADD...

What the cat does...

So, I live with a cat now (moved in late September). And one of the things she's started doing is using the bath as a source of water – we run it a little so she can see it moving, since cats like drinking from moving water. This means that I sometimes have to pick her up and out when I need to crap, and she waits just outside the door while I finish my business. As I open the door, I am greeted with a “what the f**k do you do in there that takes so long, human?” look.

Ah, the pitfalls of living with a woman, and her cat named Princess.

What? _TWO_ posts in a month??? un-HEARd of!!

Welp, I'm bored. So I think I'll just write about The It Crowd, a full year and then some after the premiere of the first series. But I won't even talk about the first series. Go find it for yourself – it's good, and very available on the major torrenting circuit.

First, my favorite episode of the first series has always been “Yesterday's Jam” - the second episode. It had a sense of complete, utter surrealism about it the other five in the season couldn't match. So I'm very happy to see that the second series is an extension of that, not allowing such petty things as Continuity and Good Sense to get in the way.

I've never seen so many sacred cows trotted out, and then ritualistically slaughtered in a way that would never pass on American TV – not even on the new cable drama, “American Abattoirs”. The three are brought out to a musical, simply titled “Gay: The Musical”, and things go downhill from there, taking Disabilities along for the ride.

Then the boss dies, the son (resembling, to my eyes, the Fifth Doctor in outfit) takes over, and the concept of a “pimped out” cell phone powerful enough to give a man an orgasm is, for the first time I am aware of, introduced to the viewing audience.

The third episode opens with the best anti-piracy ad yet made by man (only God could do one better, against geneticists), involves a surprisingly polite German cannibal with a cello, and a bootleg Korean DVD – one of which leads to a mobilization of the police.

And the most recent episode, which I have just finished watching, is a dinner party with the people from work. And it just takes off from there. I felt a sense of shark-jumping right around the time the woman Richmond gets paired with makes her first appearance.

So far, the theme of this series appears to be, “The (blank) From Hell” - “Work Outing”, “Boss(es)”, “Cooking Class/Police Priorities”, and “Dinner Party/Name”. The IT office has been revamped (likely a result of Jen's addition to the TEAM!!!!) and there is a feeling that more screen time has been given to the main characters than before – it's probably about the same, but their presence in the stories feels more concrete. Feels like Moss and Roy are actively (that is, accidentally in-story) causing the events to come about and suffering the not-always-obvious consequences, rather than get swept along by them as they would do in the first series, and as Jen seems to do this year.

So do I like it? Yes. It's the geekiest comedy ever made. There's going to be an American version of it, but I can think of a couple of good prior examples for it working out or not: The Office and Red Dwarf. You may recall that they passed and failed on how well the localization process went – this kills the best-known joke of Yesterday's Jam (the new number for Triple-9). I am optimistic, as the writers of IT Crowd are clearly aware of the international nature of the show, and even the surrealism of the Triple-9 joke works out without an understanding of the events that lead into it (there actually was a number change, but more along the lines of the addition of a 411 line).

Find this show online or from a local video shop, and watch it. If you haven't downloaded it already – aaah! FBI dude with a silenced pistol! *spills jam on keyboard*

Hey, I'm still alive.

RFID implants linked to animal tumors

This amuses me, of course, and I penned a little reply... but I couldn't get the comment thingy to work properly - had to turn off Page Style to get the text box at the bottom to even show up. Plus, hey, might as well post sometime, right?

"Huh. An implanted RFID might just be the next Myspace, then - one you wear and walk about with. Want to avoid the irritating need to introduce yourself to someone? Get an RFID, allow them to scan you (you know how dogs sniff other dogs? kinda like that) and boom - you've saved yourself a couple of years of fascinating conversation.

Imagine, once ten thousand people call you a friend, you can have your very own tumor, and people who pester you to be their friend in public (remember that recent Candorville?) will die off all the quicker.

And remember, as with smoking, drinking, and various other things that are fairly hazardous to your health, there are only two things that matter with the latest craze: approval (or lack of disapproval) from a government agency that ought to be watching it, and influential people who swear by it."

UW is no longer in my Top 8

...but I think MySpace is a joke anyway, so that's a moot point. And now for my annoyed rant:

What the hell!?

This could easily be an opportunity for another school (I think Wisconsin was the first? Could be wrong) to tell the RIAA to "[four letter word or any other favored explicative] off" and go start picking on people who actually profit from such alleged theft. But no, what does the UW and its overpaid administration do? (WARNING: INVOCATION OF GODWIN'S LAW AHEAD... sorta)

Yeah, full cooperation. Appeasement and FULL COOPERATION. Vichy France, meet your 21st-century equivalent.

This is ridiculous, and I, a lowly "blogger" with a T20 getting ready to suffer from Sudden T20 Death Syndrome, should not be the only one saying so. But what really pisses me off is that the article is in _THE NEWS TRIBUNE_. Not MyUW, The Seattle Times, or any other easily-accessible news source. The F'ing News Tribune.

Of course, I'm also annoyed by the high-minded assholes (who aren't getting served or sued, of course) that seem to believe that the RIAA is justified in this - "You broke the law, and now you're just paying for it, so stop yer whining" - without noting that a) the fees ($3K ~ $5K settlements) are ludicrously overpriced given that the songs aren't (and can't be) identified in any realistic way (the fees don't go to the actual singers and writers, who, in theory, are the ones most hurt by illegal downloading as it, in theory, leads to lower album sales and royalties) and b) the methods used by the RIAA to sniff out evildoers are pathetic, enough so that the government probably wouldn't use them as evidence in terrorist trials for fear of the case being thrown out over it.

Luckily for anyone who has the sense to not download and yet still got prosecuted for it, someone had the guts and balls to go after them. "...negligent and illegal investigation and prosecution" doesn't cover it all - there ought to be a "malicious" or two tossed in there as well. I'm not sure how the laws are different in Washington, but given that they're invoking the RICO Act (federal law) I don't see why it can't be done here. I'm also surprised it isn't class-action, either, as I can recall a few other cases along these lines.

Yes, there is illegal file-sharing on the UW campus - no doubt about that. If any UW students are reading this, I suggest that you stop and browse Amazon.com more, or rent movies - for free! - from Odegaard. And yes, the UW would be aiding the illegals (I'm going to start using this word to apply to any lawbreaker in the US, as it seems strange to simply use it in reference to illegal immigrants) but we're not talking about a political or national security issue here - this is simply an industry trying to make a few extra bucks off of people who are culturally not likely to be able to afford it. Of course, if the targeted students/staff happen to be the most well-off on campus... the UW would ignore it, the news media would ignore it, and it might come up in a footnote to the above suit or a leaked memo from the RIAA main office.

So in summary: I'm very disappointed in you, UW. Very disappointed. And you still haven't sent me my diploma!

Favorite Mac Hall strip

Here it is. Now that it's back up again, I popped by to see if I could find it. And there it was.

...It's even funnier if you can imagine X-Men II's Wolverine saying that as he jumps down from a balcony onto some soldiers.

CLASS: "Final Essay" - The Remixing of Language

Here's my final paper for ENGL 349-A. Came out about as well as I expected.

The Remixing of Language

Language is an important part of human culture – this line has greeted many a reader to a high-school-level exam essay – but the fact is, culture cannot survive without a language of some sort, and in this way it might be simplest to say that language is culture, making for disappointing moments when a popular work of science fiction does not remember and exploit this to its fullest. It goes without saying, then, that language is an especially important thing to have in mind when discussing or writing an Afrofuturism sort of text, and that, in theory, everything should follow from it. To use Kodwo Eshun's words, cut for space:

“Afrofuturism may be characterized as a program for recovering the histories of counter-futures created in a

century hostile to Afrodiasporic projection and as a space within which the critical work of manufacturing

tools capable of intervention within the current political dispensation may be undertaken.” (Eshun 301)

Of course, “tools” here can only be quickly explained as “things by which to manipulate ideas and their distribution” – with “manipulate” being in the very literal sense and encompassing both the complimentary and pejorative usages, and “ideas” being just about anything that can arguably fall under the phrase “intellectual property”. In short, the “tools” he refers to can be just about anything that can be said, sung, written, composed, copied/appropriated, and in certain cases thought, among other things – Eshun's “tools” are a means by which communication of ideas with a constructive purpose¹ can occur. Language obviously falls under these categories, but as my convoluted way of coming to this point has hopefully made clear, to simply ask how language works inside of Afrofuturism on its own would be (somewhat) selfishly limited in scope, as the movement, or “program” as he refers to it, may be thought of as² essentially being an Afrocentric offshoot of futurism, itself an offshoot of Science Fiction – in the sense that futurism tends to work best in the realm of Sci-fi and the possible. Thus, it is better to ask questions of Afrofuturism (a topic-system relatively small in scale) as it relates to language (a mind-bogglingly vast topic for a non-linguist), rather than the other way around. Switching gears slightly, the most important question one can ask with all this in mind, of course, is a reply to Audre Lorde's comment, that massa's tools will never dismantle massa's house (Hopkinson 7).

Before going any further, the idea of a “hybrid language” must be either struck down or further explained. Under one way of thinking, “hybrid language” is obviously a good way to describe a language that has evolved from the contact between, let's say, two “parent” languages – and under another way, it is an oxymoron. The idea basically is, to have a hybrid of something, the original parents must be clearly defined, and while this works on paper for a number of things that can be clearly defined, it does not work as cleanly for something as nebulous as a language. To keep things more or less simple, English will be the example³ here, and the thought experiment here will be research-paper simple – that is, very simple in scope, to the point that we will ignore the effects of race for the time being. Let us say that, Parents (A) and (B) both speak a particular dialect⁴ and that their Child (ab) grows up learning to speak a hybrid of that language. Given the way the public school system works in America, (ab) will probably be taught in American English – but will hear around her whatever regional dialect/accent is prevalent in the area. As she grows up, she will, unless she takes specific steps to speak otherwise, speak and write in a “peculiar” way – let us say that she uses her verbs in a particular way that would, to some outsiders, seem a bit odd – but will otherwise stay within the certain boundaries of American English. Assuming that she has the good sense not to go into linguistics in college, she goes about her life not really noticing the difference, and then has two children with a guy named (cd). These children cannot possibly both be (abcd), for two reasons. First, they would have to grow up in the exact same environments, under the exact same conditions, and come out to be exactly the same as far as their minds are concerned – anyone with more than one child knows that this, for all intents and purposes, simply never happens, although if it did it would make gift-giving much easier. Second – and this comes from the first – they would both have to speak the exact same language, the exact same dialect and accent of American English. This would require not only the exact same life experiences – friends, preferences in TV, music, lifestyles, literature, games, courseload when it becomes relevant, and so on, but mostly the sorts of things that both the child and the parents do not have complete control over under reasonable circumstances – but the same awareness of their language and how they use it. As the first is impossible, the second is as well – there will always be a minute difference somewhere in their lives, and so there will always be some minute difference somewhere in their language. Now take the second half of this situation, multiply it by the current number of families in America alone, keeping in mind the restrictions of a “local language”, and suddenly the word “hybrid” does not quite account for the fact that there are many hybrids coming out from all walks of life. Now toss the concept of race back into the experiment like a pin-less grenade – we didn't consider it, remember? – and attempt to come to the conclusion that a cacophony can be tuned. Finally, and for more entertainment, apply it to all English-speaking families on Earth, or write a book about it that confuses Samuel Delany. As this simplified and possibly flawed thought experiment should show – considering that English isn't even the most widely-spoken language, for example – everyone has a different set of Eshun's “tools” that are only similar in broad terms, that they are all “tools”.

But back to the “real” topic: Audre Lorde, who once stated that “massa's tools will never dismantle massa's house” (Hopkinson 7). There are a few ways to answer it, and for the most part, Nalo Hopkinson sums up the question by noting two answers: the tools themselves are in the public domain and now anyone with the skill can build a house, or they have been re-appropriated for other uses and so the size and style of the houses that pop up in the neighborhood no longer matters (Hopkinson 8). They are not mutual exclusive overall, but there is a small error here: note that neither actually solves the main problem of a house that, in the opinion of some, needs dismantling. This is actually a very silly question to ask at all – if “massa's tools” happen to be the best for the job, or are considered to be the best for the job, from a house-dismantling perspective this question wouldn't come up in the first place. But it has. This means that “massa's tools” cannot be the best for the job of taking the house and reducing it to not-house status – if it isn't “true”, it has to be “false” and not “maybe”, the latter of which isn't an option in a True-or-False question. As anything that can make can also be used to unmake – a hammer can drive in a nail, or break apart the two-by-four around it with some work – the question is really more of how one might go about it. In terms of construction, time and effort is spent to make something well, but most demolition jobs do not even reuse the same tools and are more likely to involve large tractor-driven hunks of metal with pistons or some explosive materials designed to very efficiently break things apart⁵, more so than the hammer. However – and the two answers Hopkinson gives are only possible with an awareness of this – there is little point in tearing something apart if it still has productive use, and as unpleasant as the phrasing of the metaphor is, “massa's house” and “massa's tools” are not without use. If the house is read to be the body of work produced by the language of the “massa”, then there is no problem at all with reusing the house in some way, as the “tools” here cannot be discussed in any fashion without an understanding of them – the problem lies in the understanding. While a description along the lines of “hammer goes whack” would be the simple, quick-and-dirty understanding of how the one particular tool is to be used, in the wrong context it might invite accusations of insensitivity – but it is an accurate foundation on which to build an understanding of how it can be used, and how other tools can work in conjunction with it. Gradually creating from scratch an understanding of how everything in the toolbox works and interacts with the building materials – which would be along the lines of experiences, dialogue, and other things the reader actually sees on a book page – the newly-minted builder finds that he or she is inside the house, figuring out how it all comes together. From there, it is a simple action of dropping “massa's tools”, running to the empty lot next door where the new builder's “tools” are, and building a new house – maybe not getting it right the first time, but eventually.

Aside from the poor-but-accurate choice of metaphor, there is something else wrong with the metaphor of dismantling a house with tools, or rather, it implies something that is more disturbing than the idea of “massa's house” by itself. The exact wording of the first answer Hopkinson gave⁶ was:

“He looked over at me and said (I'm paraphrasing), “We've been taught all out lives how superior European

literature is. In our schools, it's what we're instructed to read, to analyze, to understand, how we're taught to

think. They gave us those tools. I think that now, they're our tools, too.” (Hopkinson 8)

This ought to bring many things to mind, anywhere from the idea of forcing one culture to assimilate by disallowing education in the native or local language – basically, the not-the-colonizers' language – to a conservative school board with an irritatingly low budget for new books and no tolerance for controversial ones. In any case, it hints at censorship. Censorship in itself is not always a bad thing, in the same way that a five-year-old should probably not have access to an actual hammer and breakable things. But after it has been allowed to creep up past a certain point, it becomes a problem, and intellectuals everywhere bear arms of ink. There is a moment in the Star Trek: Deep Space Nine episode “Far Beyond The Stars” where Comdr. Benjamin Sisko faces it – for most of the episode, he finds himself as a black writer, ending with his story of a Black spaceship captain rejected even after changes – and refuses to give up his idea nonetheless. But a better, perhaps even frightening example would be the “authenticity rules” in Evie Shockley's “Separation Anxiety”, which are exactly as they sound – rules designed to keep protagonist [P]eaches' preferred form of art, dance, “authentic” and “black”. In her words: “all these authenticity rules! gotta have eighty percent historical content in each program. can't change not a step in performing some nineteenth or twentieth century dance. it's like we're fossils, walking around.” (Shockley 60) Specifically, if dance – a somewhat minor “tool” in the toolbox, all things considered – can only be performed in a specific way, what's to say that other, more widely used “tools”, are not under similar controls? Nothing – it isn't confirmed or denied, and the only hint of this possibility is in her pluralization of “authenticity rules”, which could quite easily be referring to something else. There is some irony here, in that they have absolutely nothing to do with “massa's house” and “massa's tools” in the “ghetto” and are using their own “tools” – but aren't allowed to change the “house” too much, or else something happens. That [P]eaches is the only one to really complain about it is also bothering, but there is only so much that can be read into.

If censorship is one way to keep certain “tools” from ever getting anything new done, what would be another way? Assuming the materials and the tools cannot be destroyed or intercepted⁷, the only other option would be to remove the builder – and that is where Derrick Bell's “The Space Traders” comes in. Since simply publicly killing all users of a particular “tool” would usually be fairly illegal under most America laws, the solution would be to accept a trade for them all, from aliens who speak in the “familiar comforting tones of former President Reagan” (Bell 327) – for some reason, this never sets off alarm bells in anyone. (Why Reagan? The simplest answer, from a writer's perspective, is that he was the most recent President at the time of writing.) It should have been cause of great worry from the American perspective in the story, as it would mean that the Space Traders knew a great deal about them without explaining why - “sinister” is not strong enough a word – and, in a more ironic sense, likely have better-established “tools”. Regardless, in the end – and despite all sorts of effort to prevent it – virtually all Black citizens of America are forced to leave with the Space Traders. Various “tools” are employed, but the right ones evidentially were not – Golightly, the current President's “unofficial black cabinet member” (Bell 330) attempts to suggest that they all pull a “trickster” on the rest of the population, but it does not go through the wall of prideful integrity at the “Anti-Trade Coalition” (Bell 342). There is no conformation that careful and judicious use of language would have turned the tide, but Golightly gets the last laugh, sort of:

“ “I wonder,” he murmured, half to himself, half to his wife, as they rode in a luxury limousine sent, in some

irony, by the Secretary of the Interior to convey them to the nearest roundup point, “how my high-minded

brothers at the conference feel now about their decision to fail with integrity rather than stoop to the bit of

trickery that might have saved them.” ” (Bell 354)⁸

If there is something to be learned from this, it is that it is probably better to carefully compare “houses” before committing to one – pay less attention to the craftsmanship and builder than the location and safety of it.

As mentioned before, “hybrid” is not the best word to use when referring to languages, and a “tools and houses” metaphor for expression in one is not foolproof – most of the preceding two paragraphs is an excellent example of this. Despite its simplicity, it actually is a difficult question to answer, as it is possible to both agree and disagree with it depending on what context it is placed in. The best to answer it, as hopefully shown, is to not assume that the answers are limited to a simple yes or no, but to remember that there are two components to it: the end and the means, the actual expression and the roads that actually lead to it. There are really three answers, in this case, wherein one or the other is more important, or they are both of equal importance. In other words, “massa's house” (the body of literature) can be kept while the “tools” are destroyed and a new “house” is built across the street, or “massa's tools” (the methods which can be used to create it) can be kept and used to dismantle the “house” while another is built across the street, or both can be kept while another “house” is built across the street. It almost does not matter, as another house is eventually going to get built anyway – the only difference is whether there will even be a neighbor, an annoyed neighbor, or a neighbor who comes by twice a week to the new house to study and criticize it for years until it is accepted.

At any rate, “hybrid” is not the proper word to attach to “tools”, but in keeping with Eshun's attention to the sonic medium, perhaps “remixed” might make more sense when the “tools” are language. It certainly seems to fit within the boundaries of Afrofuturism.

Works Cited:

Bell, Derrick. “The Space Traders.” Dark Matter. Ed. Sheree R. Thomas. Aspect, 2001. 326-355.

Eshun, Kodwo. “Further Considerations on Afrofuturism.” CR: The New Centennial Review 3.2

2003. 287-302. University of Washington, Seattle, WA. 27 Mar. 2007

<http://muse.jhu.edu/journals/new_centennial_review/v003/3.2eshun.html>

“Far Beyond The Stars.” Writ. Ira Steven Behr and Hans Beimler. Perf. Avery Brooks. Star Trek: Deep Space

Nine. 2 Feb. 1998

Hopkinson, Nalo. “Introduction.” So Long Been Dreaming: Post-Colonial Science Fiction. Ed. Nalo Hopkinson,

Uppinder Mehan. Arsenal Pulp Press, 2004. 7-9.

Shockley, Evie. “Separation Anxiety.” Dark Matter. Ed. Sheree R. Thomas. Aspect, 2001. 51-68.

1A debatable way of putting it: simply imagining a world in which everyone is Black will not do it along

2This is a highly limited reading, of course, but to keep a longish paper under control, it will do.

3English, lacking a governing body as a language, is notoriously unreliable in cases.

4Dialect refers to a particular syntax and vocab, often with its own accent (pronunciations) in practice.

5Related and fun, but ultimately pointless, example: in the original Transformers, the six “Constructicons” are each good at a particular construction job and transform from/into a related heavy vehicle – they build things. They can also combine into Devastator , who does exactly what his name implies, not uncommonly to things recently built by the Constructicons. It's like this, in a way.

6This person is described as a friend of Zainab Amadahy, and a recent recipient of a PhD. (Hopkinson 7).

7I'm sure they could, and that perfectly good books and movies have been written about forced memory loss...

8There is no question mark or tone – he likely expected it.

CLASS: HIST 290 Essay #4

I'm posting it here so that, just in case WebPine fails me again, I can prove that I finished it on time... Huh. I guess the footnotes weren't that big a problem...

The Face of Evil and Modern Eugenics

When a layperson is asked “what is eugenics?”, the immediate answer will be anywhere between one of confusion (“is that some kind of cologne?”¹) or something along the lines of controls on birth for the sake of the future (“...yeah, that”) – ultimately, it tends to mean exactly what the user wants it to mean, neither more nor less. As Diane Paul puts it in “Eugenic Anxieties, Social Realities, Political Choices”, it “is a word with nasty connotations but an indeterminate meaning” (Paul 99), and is generally understood to be so. She also notes that:

“Eugenics has been variously described as an ideal, as a doctrine, as a science (applied human genetics), as a set of practices (ranging from birth control to euthanasia), and as a social movement. The word has been applied to intentions and to wholly unintended effects. It has been defined expansively, to incorporate medical genetics, and narrowly, to wholly exclude it.” (Paul 95)

What she fails to mention² is that eugenics has a life outside of the scholarly analysis she gives the word, especially in science fiction, a genre notorious for running on ideas more than careful characterization³, and what better media form than television to showcase it? Of course, once the conversation switches to TV and Sci-fi, there are only a few logical examples, chief among them the ever-popular “Doctor Who”, designed to be a show enjoyable by both adults and children yet also equipped with a built-in depth to the stories⁴ that not only allowed it to stand up to the test of time, but also justifies picking them apart as with fine literature. It even had a few turns with eugenics – for example, the Daleks religiously believe in any brand of “negative eugenics” that involves EX-TER-MI-NATing. Of the 26 original seasons, the Fourth Doctor serial “The Face of Evil”⁵ stands out for a few reasons, not the least of which being the portrayal of a mildly “successful” eugenics experiment. More than anything else, the word “successful” is extremely important, as eugenics as a whole has always been virtually impossible to implement on a wide scale, owing to human nature.

To summarize the story, the Doctor finds himself alone on an unnamed planet, where two tribes – the “savage” Sevateem and the “refined” Tesh – survive with the ultimate goal of freeing Xoanon, who each tribe believes to be their own god, all the while surrounded by technology neither can use to their full advantage. As it turns out, Xoanon is a sentient computer, formerly a colonization ship's main computer, gone “insane” (Dicks 101), described as having “acute schizophrenia”⁶ (Dicks 88) – the cause of which was a small error in assistance rendered by the Doctor years ago. As a result of its insanity, Xoanon began an experiment in eugenics, and split the colonizers into two tribes: the Survey Team became the Sevateem and grew a culture of strength and courage, while the Techs became the Tesh, adhering to a code of denying the flesh and gaining “paraphysical” powers⁷. It goaded the tribes, which had apparently never seen the other – the “invisible other” – into conflict in order to speed up the process, with bloody results. Had the Doctor not come back, it would have proceeded to somehow unite the two into a perfect race⁸ – but because he did, it set the colonization ship to self-destruct to kill him. When this is stopped in the nick of time, and the two tribes realize what has happened, a truce is finally set up and testy “peace talks” begin, with the ultimate goal of uniting.

The story, badly summarized above, is actually a canny satire of religious extremism – and beyond that, appears to draw on the Israel-Palestine debacle⁹ – more than it is a story of eugenics, but it does not ignore the issue. And it is eugenics – the Doctor suddenly realizes it as such at one point in the show, with a look of horror¹⁰, and later, a sane Xoanon confirms it. While it does not add anything scholarly to the debate – at least, nothing Diane Paul et al. would be able to use in all seriousness - it does give one method of bringing about a “successful” eugenic “end”. The biggest point The Face of Evil drives home, however, is that, given human nature, it really would take the daily presence of an omniscient god – albeit one who only speaks to a specified person in a specific setting¹¹ – existing somewhere beyond a group of colonists to really get an eugenic society going, rather than a government attempting to do so in a large population, and even then cultural control would be required. Culturally, both tribes are based around Xoanon, which would allow for greater population control – the nature of their beliefs is not gone into, but the Sevateem can be thought of as more “promiscuous” than the Tesh for the simple reason that the latter's culture specifically revolves around physical denial¹². So in the end, it is probably not a question of voluntary or coercive genetic control so much as it is a question of who or what is doing the controlling. Similarly, there is no objective standard for what counts as “successful eugenics” or not: the Sevateem and Tesh can survive as races of people, and they are successful in that respect only, but their past and origins have become a sort of religious story, even a myth – they are not the race, perhaps not even the species, they once were, and do not know it.

Bibliography

Paul, Diane. “The Politics of Heredity.” Eugenic Anxieties, Social Realities, Political Choices. Ed. Diane Paul. State University of New York Press, 1998. 95~115.

Dicks, Terrance. Doctor Who and The Face of Evil. London: Target Book(s), 1978

“The Face of Evil.” Doctor Who. BBC, UK. 1 January ~ 22 January 1977. (End-of-credits copyright is MCMLXXVI, apparently owing to a airing delay.)

Sullivan, Shannon Patrick. “The Face of Evil”. Online. <http://shannonsullivan.com/drwho/serials/4q.html> Accessed 4 June 2007.

1“Eau de Genics for Men and Women”: guaranteed to attract the best possible mate for the best possible offspring. $24.95 at Wal-Mart.

2“A host of television programs, trade books, and scholarly and popular articles express their authors' alarm at the prospect of a eugenics revival.” (Paul 97) – this is as close as she comes.

3Not an inaccurate description of eugenics, actually.

4Helped by the serial format – 4 episodes to a story seemed to be the average, with some far longer and more epic than that.

5All references will be to the televised version, available on video as well as YouTube: search for “face of evil part” (including quotes), and look for the ones posted by “ange728” - active as of 6/4/07.

6While the insane part is obvious – Xoanon believes itself to be the Doctor, having gotten a copy of his personality within it, and refers to him as “us” or “we” – both the show and the novelization describe it as “schizophrenia” and have in encompass both the delusions and the split/multiple personality disorder.

7This is the word used in the show; the book changes this to “mind control” and “telepathy” (Dicks 121). And in addition to all this, the Sevateem are portrayed as tan and muscular, while the Tesh are pale (from living inside the colonization ship?) and on the slender side – the somewhere-in-the-middle Tom Baker thus sticks out, but is amusingly identified as “The Evil One” by the former and “The Lord of Time” by the other.

8Physical appearances aside, they are never described as biologically incompatible, but how it would have done so is unknown.

9That Leela, the Sevateem woman who joins the Doctor after this story, is named for a Palestinian hijacker famous at the time, is one hint... (Web: Sullivan)

10The weight of this realization is not in the book – it would be on page 82 – even though he likely realizes just how mad Xoanon is at this point, and his actions become more frantic afterwards in the show. Additionally, in the book, the Doctor also refers to it as “selective breeding” before the realization – this is likely because the book was specifically written for a young audience, and paraphrases in general besides.

11Because of this, not everyone believes in Xoanon or the power the shaman Neeva wields over the Sevateem, as Xoanon only talks to him when he is in his Inner Sanctum – that Xoanon really does talk to him isn't obvious at the beginning, where it appears Neeva is doing whatever he wants under the guise of religion.

12The Tesh live on the colonization ship, and would be more likely to face issues with overpopulation – their self-denial beliefs would a) help to keep it from happening and b) make it more bearable if it did.

Piled Higher and Deeper

BWA HA HA HA HA HA HA~!

The Trouble With Theses...

Thank GOD I'm not going into the Grad Program... Cool comic, though.

CLASS: What I might just do for my final essay...

Okay. I'm thinking, "Remixing of Music, Remixing of Language". That's it. I'm just shift+home ctrl+c ctrl+v it, then ctrl+a ctrl+c ctrl+v it... 13, maybe 14 times - it's been a while since math. I believe the formula is something like n + 2n + (2n)^2 + (2n)^3... + (2n)^x < 10 pages, but I can't quite remember how to show it in the blogger editor... Basically, my premise will be that you cannot remix music w/o remixing (reappropriating, if you like) language in the process. And here, remixing/reappropriating will be defined as twisting another word around for your own use. As soon as I remember which story it was that actually referred to the necessity of a language to separate a colonized people from the colonizers, I'll be golden like the shower that shows up on porn sites as a fetish (which is one example of what I'm talking about - "fetish" is, in this context, actually a misnomer, though understandably so: hit "Sexual Fetishism" and "Paraphilia" at Wikipedia to see what I mean - though the second definition sorta describes all porn as well. Scroll down to "List of Paraphilias" to see what happens when psychologists meet up with etymologists...).

No, I won't actually use that example in the real essay. But it's along these lines. I know that Separation Anxiety made use of this - actually suggested the possibility of a world that prevented it from happening - and The Pretended includes some rap(?) lyrics in addition to the "remixing" of black people.

I suppose, since no one reads this anyway, I can also note the whole nigger/nigga thing (it amuses me that Firefox's dictionary add-on recognizes the former, but not the latter - and suggests variations of "niggardly" as corrections). I suppose, since, again, not a single damn person reads this thing, now that there's no class to force it, I can rail on and on about it in the most violently profane terms that, were I to continue on at the UW, would likely get me kicked out with extreme prejudice - as in, with a literal boot. And I would... but I'm too tired to get all riled up. Meh.

Oh, and I'll definitely include Brother From Another Planet - but not the DS9 episode, as a) I can't get hold of it in any meaningful manner and b) I don't recall it doing anything to really prove my point. Yeah. Time for bed for me... no sleep for the weary.

CLASS: "Blog Post #8 - The Dreamer and the Dream"

Let's see. Looking at it simply, Deep Space 9 is itself a Afrofuturistic entity, especially by 1950s terms – I can't remember the exact wording, and it isn't posted in full on YouTube, but the necessity of turning the story into a dream, and Sisko's pleas near the end, drive this point home very nicely. It's his “THERE! ARE! FOUR! LIGHTS!” moment, I think. I am also reminded of the line from Eshun's essay: “Science fiction might better be understood, in Samuel R. Delany's statement, as offering “a significant distortion of the present” (Last Angel of History 1995)” - in this light (har har I made a funny) it's all the more amusing to see the crew of DS9 take on the roles of various denizens of Benny Russell's New York. Because, see, there are two ways of looking at the episode: 1) the “proper” way, which assumes that it's all in Sisko's mind (a dream?), and is a “significant distortion of the present” in the opposite of its intended sense, or 2) the “St. Elsewhere” way in which Benny Russell is the real and Benjamin Sisko is the imagined, also as a “significant distortion of the present” but in its intended (although virtually dissimilar, even inappropriate, in context – Delany wasn't thinking of 1950s NYC) meaning. According to the Wiki page for the episode this might have at one point been the ending for DS9... But nah, that would've made it all too easy (although it would have explained the painful train wreck of a series that was Enterprise...). This brings up an important question, though – especially if considering that it worked retrospectively, back to the original Star Trek – in that, if the entire series was a dream or a fictional work on paper, would the impact of it change? Would it be better to have the whole series represented as a work of fiction rather than a possible future, or would the need for hope (and a brighter future with a captain whose shirt falls apart with a cough – thank god Shatner doesn't feel the need to “recreate” that part of the show at conventions) outweigh it? This is along my usual lines of rhetoric, and is generally similar to what I start thinking whenever I hear/see/sense someone over-analyzing a work of “art” in the broad sense (“Can't we just enjoy it?” “No. We English Majors do not enjoy art – that is reserved for the Math Majors.”).

I had something witty to say, but I can't remember it – so this is the post.

CLASS: "Blog Post #7 - (too much work to come up with a witty title?)"

“Behind the mask with its plastic shapes a-bob, the man was saying: “It's a decision many men, not to say women, make. ...Indeed, I read a report last week that said almost three times as many women as men on our world make this decision, though it doesn't seem my experience. The men – and women – who've made the decision we're asking of you include some fine folks, too: artists, scientists, politicians, well-respected philosophical thinkers. Some very rich and powerful people have decided to abandon their worldly acquisitions and come to the Institute here. They feel, I suppose, we have something to teach them. And though we certainly would never claim such a thing – our method is much too simple – perhaps we do.” ”

-- Stars in My Pocket Like Grains of Sand

(page 5, 20^th Anniversary Edition, 2004)

First of all, I like how the guy does and says everything, say, a used car salesman would – he's trying to make the sale, and this makes his insistence on the character's saying 'yes' sound a lot like repetition of 'just sign on the dotted line here...'. In this light, he has no reason to be telling the truth about the report – this actually turns out to be likely, or even true, later on – and is covering his ass with “though it doesn't seem my experience”. I also see similarities between the process and a few things, like sterilization (castration/vasectomy – which he's had – or hysterectomy, both of which had supposed health and behavior/social benefits at the turn of the 20^th century or so) and asceticism (it's in there, particularly at the “abandon their worldly acquisitions” point – as opposed to “possessions”, which implies a different culture to me: think Ferengi).

Form-wise, it's a conversation – again, kinda like one between a used car salesman and a patsy: saying “all these famous people have bought this car” while pointing to a Dodge Aries. As such, the sentences are short and within standard breath-length, unlike some of the later, more descriptive sentences, and the paragraph itself is also on the short side – compare it with the one describing the effects and aftereffects of the procedure, just before this one, on page 4. Legality – concern for liability – plays some role here, I suppose, particularly in his last line, and it's clear that he can't force him to submit to the procedure. I suppose there's something to be said about the gender bit here, but due to the... peculiar emphasis placed on gender in the story, it's probably best to ignore it here.

CLASS: "Blog Post #6 - The machines in the machine..."

The one thing that stuck out to me in “The Space Traders” was the idea that gold would be an appropriate thing to trade a race for. In retrospect, the validity of this is questionable, as it appears that the average price of gold was gradually falling when it was written – and was in fact lower in 2000 than in 1990-92. I can think of several reasons for this – the best appeal is to a person's greed/desire, and the Traders do both with gold for Blacks – but if it were me, I would write out a leap in technology instead of gold. Remember Terminator 2 (Miles Dyson ought to look familiar...)? Something along those lines. Frankly, Bell either takes seriously Moore's Law – stating that computing power doubles every 2 years – and doesn't think we need the help from aliens, or he is not giving it enough concern, assuming that computers were powerful enough as is (I remember someone once telling me of a computer salesperson assuring them, in the early 1990s, that a 486 processor – this is before RAM became more important than processor speed in the public eye – with a 40 Mb hard drive were all they would ever need). Oh, and the general story greatly resembles “V”. ...which very few people my age remember, unfortunately. Should never have been canceled... Also, my theory is that the Traders enjoy the taste of melanin-heavy human flesh.

So now that I've given my two cents about “The Space Traders”, I should probably get around to doing the assignment.

I like The Brother From Another Planet. If nothing else, it's an amusing(?) look at human culture circa 1984 – at once an auspicious and ominous date, and I shouldn't have to explain why (judging from the way England currently is, though, here it is). And the biggest difference between it and “The Space Traders” is the tone, hopeful to Bell's pessimism and disillusion. It takes place almost a generation before “Traders”, of course, and I assume this is part of the reason. (That Sayles is white might also have something to do with it, but in the absence of better evidence I don't believe so.) It is interesting to think of how The Brother, technically an illegal alien, would be treated by the Traders – as, being an alien, there shouldn't be many official documents noting him to be Black, much less part of the official US population. I like how they specifically ask for “American citizen(s)” but then the question of immigrants (green card or otherwise) is not even raised. I really can't think of an excuse for this, as the Immigration Act of 1990 was fairly recent, and would have been difficult to avoid, especially for someone in Derrick Bell's position. I don't think he should quit his day job to write sci-fi, basically. In contrast, “Brother” specifically brings it up: an irate Fly, in my favorite part of the movie (the third Bar scene) notes how his ancestors built the country – how long ago did the aliens' (appearing to all the world as White INS agents) ancestors arrive?

I think that's all. Yeah.

Kinda Story - (unnamed) 2

I have the story mostly plotted out, but here are some Characters (it's looking to be a Teen-class story, too). There are supposed to be 8 but I only have 7 just yet.

T. Walter Garrand - main character. Never tells what the T stands for, but he prefers "T.G." to "Walter". The only person on the _Mary Proctor_ with AR (Armored Researcher) experience, having tested them as a summer job. Geology background, but hired for his AR skills. Generally in good spirits and tenacious. Curious about the GeoPhantoms. Rides the Mirage Hound AR, and is the best rider of the _MP_ staff. Believes the GeoPhantoms to be the planet lashing out at undeserving humans.

Matt "Doc" Hu - medic and biologist on the _MP_. Doesn't hold a doctorate - the nickname is an obvious joke. A deskwork sort of guy, but rides the Observer Cougar when necessary. Believes the GeoPhantoms to be a spontaneous mutation of Life (doesn't believe in "God" - believes in "Life"), and thus not particularly willing to attack one. Good relations with Acey.

A.C. "Acey" Stoll - Animal psychologist, which generally doesn't get used. Cooks and rides the Surging Bear on the _MP_. The most athletic person of the 8, and leads the others in morning warmups. Originally believed the GPs to be animals running on instinct, and wanted to investgate them as such, but this is disproved on their first assignment. Agnostic Christian. Good relations with Doc.

Bess "Lady" Duncan - Pilot and commander of the _MP_, and is charged with making sure that a) everyone is alive at the end of an assignment and b) the _MP_ is usable - in that order. Formerly a supply officer in the military - which is somewhat incongruous with her current position - but forced to leave after an unspecified incident, and picked up by GESSeR. Generally outspoken and blunt. Consciously does not think about the GPs unless it is necessary, and considers them targets then.

Will Johnson - Copilot of the _MP_, and the relay between it and GESSeR HQ. Has more affinity for the sciences than Lady, but lacks her authority. Files reports regularly, but still has to ask the staff for better data. Actually the highest-ranking member in GESSeR on the _MP_, and often ends up acting in a managerial capacity. Tends to see the GPs in a second-source sort of way, as words on a sheet and images on a monitor.

Phillip Coats - Reporter for Conglomerated News, installed on the _MP_ in exchange for a sizable donation to GESSeR. Has some Anthropology training for some reason, but is first and foremost a reporter. Somehow gets drafted into working as an operator (as GESSeR is a private company and not the military, they are allowed to do so) and doing odd jobs. Though the _MP_ staff is essentially on-call the whole time, he still manages to get in some private interviews (which are slipped into the book as in-between chapters). Ambivalent towards the GPs - almost objective.

Jenifer "Spike" Doorman - Engineer/Programmer/Tech Geek assigned to the _MP_, and apparently involved in every step of its construction. (Something along the lines of ST's Scotty and Xabungle's Kotosetto.) Basically in charge of making sure everything runs the way it should, and has no problem with customizing things until they run better. Curious about the engineering side of GPs, and would like to reverse-engineer it given the chance. Nickname comes from her personality and habit of carrying around rubber spanners to throw at people (and a mishearing of her name). When she needs to ride an AR, she kicks Acey out of the Surging Bear.

Kinda Story - (unnamed) 1

I'm at the UW right now, and I forgot my USB stick at home, so I'm going to type some stuff here.

A strange anticapatory hush fell over the crowd, a thankful change from the nervous chatter of a few minutes ago, as the HR executive manager stepped up to the podium.
"Congratulations . Now I'd like to say that you were all accepted, but that'd be a cruel joke. And we're all about cruel at HR, so..." Nervous laughter from the already shaking applicants. "But one of you made it. One of you has the chops to join our newest project. The rest of you came close, very close - the only reason we chose the person we did is because he happened to have some Ei-Ar experience. Otherwise, you are all very qualified, and you've all demonstrated yourselves very nicely - come find me or my flunkies afterwards and we'll make sure to be the 'good word' for your next interview, and I have no doubt that you'll get another job. That said, Walter Edwards, please stand up. You are the newest member of the Mary Proctor."
The 30 or so people in the room clapped out of relief as a youngish man in a red and white jacket stood up.

This is going to be the first part of a story I'm working on. It'll have monsters and giant robots. Ei-Ar refers to AR - Armored Researcher; I'm playing with the idea that there are very few giant robot series in which they actual realize that a 20-meter tall behemoth (1) is a big target (2) has to be concerned about how much it can carry (3) and is not likely to be very agile for its size and weight as the Gundam series would have you believe. So, the military uses the weapons it uses now (tanks, machine guns, helicopters, jets, ground troops, etc.), but GESSeR (Geo-Emergency Special Search and Research, pronounced "Guesser") Inc. will use ARs to allow its staff to safely investigate the emergence of GeoPhantoms.
GeoPhantoms are born of GeoPlasm (a real term, apparently, but I haven't pinned down the meaning yet), which appear somehow from faultlines that, in this reality, have begun to spontaneously appear going 10 years back - so the world is constantly wracked by small earthquakes (<3.0 magnitude). At first, the GeoPhantoms were small, just above human size (initially mistaken for Sasquatch and such), and attacked nearby humans without provocation, but turned out to be weak to proportionally-sized firearms. 5 years prior, they grew large enough to require tank fire to destroy, and have stayed at this size, though they have gained the ability to dodge tank rounds somewhat. For insurance purposes, they have been considered natural disasters (if large) or animal attacks (if smaller). They almost never appear in cities, but in more outlying areas where nature and urbanization meet.
GESSeR Inc. was formed as a contractor to the government (I'm not going to use a specific country unless I need to...) to specifically research the origins and possibilities of GeoPlasm - a recent discovery was the confirmation that GeoPlasm is a natural product, but is only formed with the strange faultlines - the idea for the first part of the story is that they (the crew of the Mary Proctor) find out what causes it to rapidly form together and attempt to deal with it along with their own theories as to what it is.
I think this story has some merit to it. I can paint a picture of the society in the background, and bring up various theories about the environment, as well as force me to improve my characterization-ing (if you, solitary reader, scroll down, you'll note that my last story is in first-person, and is basically me rambling).