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BEGIN LINE_NOIZ.25
void Header_info( char issue ) {
|>>LINENOIZ<<*>>LINENOIZ<<0>>LINENOIZ<<o>>LINENOIZ<<O>>LINENOIZ<<*>>LINENOIZ<<|
|version == public1; issue == @%; month == January; date == 01_30_011111001011|
|[LN-'95] [LN-'95]|
|[2][5][ Ll ii Nn NN EEEEEE N n oooo ii zZzZ \ ][2][5]|
|@#*$&% Ll II NNn NN E nn N O O i Z \ | |
|@#*$& Ll II NN nNN EEE /\/\ N nN O O i z \ | /|
|@#*$ Ll II NN NN E n N O O i Z - - - * -|
|@#* $$$$$$ !! ## ## ()()() # # **** !! &&&& / | \|
|@# / | |
|@ elEktroNic cYb3R-punk in4MatiOn e'zine / | |
+-----------------------------------------------------------------------------+
};
-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
- - - [*[*[*[*[*[*[ LiNe NoiZ issue 25 == January 30 / 1995 ]*]*]*]*]*]*] - - -
-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
: File - !
: Intro to issue @%
: Billy Biggs <ae687@freenet.carleton.ca>
: File - @
: Square One - Part Nine
: Kipp Lightburn <ah804@freenet.carleton.ca>
: File - #
: Hollywood Storms the Cyberpunk Fort
: Kipp Lightburn <ah804@freenet.carleton.ca>
: File - $
: Macworld Expo
: James Prickitt <csp94@netcom.com>
: File - %
: CD Reviews
: BB and JL
: File - CCB:4
: Chiba City Blues 4
: Joshua Lellis <joshua@server.dmccorp.com>
- FiLE - ! - - - - - - l - i - n - e - - n - o - i - z - - - - - - 2 - 5 - - -
Happy gnu year everybody.... expect better issues once we get a new mailing
list. We're still looking for a new system, preferably a majordomo server.
--me
- FiLE - @ - - - - - - l - i - n - e - - n - o - i - z - - - - - - 2 - 5 - - -
From: ah804@freenet.carleton.ca (Kipp Lightburn)
Subject: Square One - Part Nine
Square One - Pt.9
-----------------
The firm presence of steel presses against my forehead like
the cold caress of loneliness.
I look up into his eyes and see someone who has done this far
too many times before. His stance seems practiced, and the scowl
on his face sits like it had always been there.
I've come willingly so far. I let them push me. I wanted to
see what would happen if I let them surround me. I feed my
curiousity and let them corner me like an animal.
She never intervened. She never told them to go easy.
I can see her leaned up against a pale green dumpster, with
her gun at the ready. Just like all of them. Maybe she'll be the
one to kill me.
"This whole things been screwed. Do you know what I mean,
when I say this whole things been screwed?" He presses the gun
against me a little more.
My eyes survey them. In a semi circle behind him, all hefting
the same firepower. It's almost as if they're the clones and I'm
the unique one.
His weight shifts from one leg to the other. Impatience.
"I'm waiting." I can feel the vibrations of his voice echo
off of the alley's concrete walls. My skin itches with noise.
"I'm in no hurry."
He pulls the hammer back on the gun in response to my answer.
They all follow his lead and take aim. And I'm the copy?
"You let him live. He was nothing to you and you let him
live. Now they're expecting us."
His words crawl on my skin. He was nothing to me and I let
him live. I look up at her but she avoids my eyes.
Without her I'm nothing.
Nothing.
He's nothing to me.
I look at him straight. His words still drip off of my skin.
He's nothing to me. So I won't let him live.
My two hands fly free of control. One takes his wrist and
wrenches it away from my head, and the other locks into a fist and
careens upwards. There's a wet popping sound as his nose slides
inward.
I push myself into him as they start in with their weapons.
I can feel the bullets pummeling into his corpse. I grab him by
the belt and heft him up in front of me. Three bullets dig into my
new leg. They burrow until they find bone.
I pull his arm around him and slip my finger into the upside
down trigger guard. Another bullet takes the top off my ear off as
I begin to drop them with his gun.
Pain screams like a newborn child. It drowns out the
deafening rip of gunshots. I liked the gunshots better.
It seems that I have christened my entry into this world with
blood.
The strobe of muzzle flashes make the noise inside my head
double, and then double again.
Blood streams into the air triumphantly from a variety of
sources. I watch one of them lose his neck entirely as I put a
bullet into either side of it.
The stench of moistened gunpowder creeps into the air and
assaults the senses.
My ears beg for relief as the last one drops.
I drop the bullet riddled corpse that I carry. He hits the
ground with a dull splash. I turn his gun right side up in my
hand. I know nothing of the people in this world, but this
inanimate object knows everything of me. I don't hold it. It
holds me.
Sense.
Her.
She stands at the end of the alley, behind the dumpster. Her
arm stretches out over it's lid as she extends the barrel of her
weapon at me.
I don't want to kill her. She's something to me. She's the
only one who holds a piece of me.
Without her I'm nothing.
My gun lands on the ground next to me and I step forward
slowly. I have eye contact. I look inside of her to see if I'm
dead.
"Don't move!" Her hand shakes and the barrel shifts side to
side in response. "Stay right there."
She sees Kyle Raimi. She can't kill him.
She's something to me.
"I'll help you find him." My body is that of a killer but my
voice is that of a friend.
"Find who?"
"Me."
She steps out from behind the dumpster. Her gun still eyes me
with curiousity. In the distance sirens echo off of skyscrapers.
"You mean Kyle." She says quietly.
"Yeah." I limp forward, my palms turned upwards. "I'm his
shadow, I have as much reason to find him as you do."
"We're wasting time." I hear her say it, as blood fills one
of my ears entirely.
She's something to me. I make myself something to her.
--
Kipp Lightburn (ah804@freenet.carleton.ca)=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
"One ring to rule them all, One ring to find them, One ring to bring them
all, and in the darkness bind them. In the land of Mordor where shadows lie."
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
- FiLE - # - - - - - - l - i - n - e - - n - o - i - z - - - - - - 2 - 5 - - -
From: ah804@freenet.carleton.ca (Kipp Lightburn)
HOLLYWOOD STORMS THE CYBERPUNK FORT
By Kipp Lightburn
With the surge of cyberpunk ideas being pumped into the
mainstream consciousness it's not at all surprising that the movie
industry would see the whole concept as a sure fire money maker.
With Gibson's short story "Johnny Mnemonic" being adapted onto the
big screen, Hollywood has driven its stake through the ground that
has been here for over a decade. And those that have been here for
that decade aren't a little bit pleased with it.
For a few years now we have been seeing movie versions of
virtual realities, dark futures, godlike computers, hackers on the
edge, and corporations the size of governments, but how many of
them were made to tell stories, and how many of them were made to
pull in money?
The 80's showed us some early excursions into the genre with
movies like 'Tron' and 'Wargames', and these (whether you liked
them or not) were original for their time. "Cyber" was not exactly
a word dripping off of the mouths of every household, and very few
people who actually owned personal computers, knew what they could
accomplish with them.
It seems that the movie 'Blade Runner' must be addressed.
Based on Philip K Dick's story, it was a definite attempt to feed
the mind with challenging concepts. The cast was not so star
studded save the part played by Harrison Ford, and there had been
nothing like it made by hollywood. And it is one of the few
Cyberpunk movies to actually cater to an intelligent and perceptive
audience. The fact that it invokes endless conversation about
possible meanings, metaphors, and imagery is proven when one takes
a look at the seemingly endless 'BladeRunner FAQ'.
But for several years following these movies, there was
nothing really of note. And then, it seems, everything happened at
once. The world was let in on a world of challenging and
provocative sci-fi, that turned the english language on its ear and
gave a readership a future without FTL ships and aliens that spoke
english. It was something more tangible, with characters who
tended to be at the bottom of the pile yet managed to stand tall
and assert their uniqueness in a world that screamed 'Culture and
Corporation'.
And Hollywood caught the scent. Not just Hollywood though.
Corporate America. The six o'clock news sprayed out words like
'Virtual Reality' 'Cyberspace' and 'Internet' as if they were these
stunning new concepts that had just been invented the day before.
The clincher was when mini-malls would be home to VR
demonstrations. For six bucks you'd get two minutes in cyberspace.
For the price of a movie, you could spend two minutes with a five
pound helmet stuck to your head and a movement sensitive belt
strapped around your waist.
Everything became 'cyber'this and 'cyber'that. Connie Chung
would fumble the word 'Internet' as if trying to enunciate every
syllable, like a child learning to read.
Small movie companies began pumping out their versions of the
Cyberpunk ideas. Most of them went directly to video without even
visiting the theatres. Movies like 'Replikator' and 'Fortress' had
back covers that oozed terminology, as if the people writing had
tried to incorporate every word in 'The Hackers Dictionary' and
'Neuromancer'.
Most of them were films where the main character wore alot of
Tin foil and big floppy hats. Some of them were retro to the
concepts of the future that emerged in the thirties and forties,
only they now sported the titles of the nineties and were tinted
with the desire to look like 'Blade Runner' only not so dark.
Then it became apparent that Hollywood would go for broke and
dump it's resources into a big budget adaptation of 'Johnny
Mnemonic'. The author, William Gibson (Whom some refer to as the
father of Cyberpunk) seemed to have given the movie industry the
ability to cater to a mainstream fad.
Through it all, the true nature of cyberpunk is trying to
persevere. Though Directors and producers slap their cold clammy
hands down on lingo and worlds that have been here for a while,
there is still the original concept. Underneath all the muck, the
glitz, and the spots on Entertainment Tonight, it's still there.
Baring a toothy grin at the corporations that try and corner it and
milk it. Not entirely unlike many of the genres own characters and
their struggles with 'Big Brother'.
It's very difficult to capture it all onto celluloid and reel
it through a projector, because while it might be a possible
future, it also tends to be something that only someone's mind can
encompass without losing the little important details. No matter
how 'in your face' you make a film, it can't compare to the words
put down on paper by the likes of Cadigan, Rucker, and Shirley.
No amount of Cameramen and big name actors hand truly get a
stranglehold on cyberpunk. Because you can't stifle something that
continues to shift and slide into new directions. And you can't
match something that you can't comprehend.
--
Kipp Lightburn (ah804@freenet.carleton.ca)=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
"One ring to rule them all, One ring to find them, One ring to bring them
all, and in the darkness bind them. In the land of Mordor where shadows lie."
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
- FiLE - $ - - - - - - l - i - n - e - - n - o - i - z - - - - - - 2 - 5 - - -
Subject: Macworld Expo
From: csp94@netcom.com
___________________________________________Review by James Prickitt
_____________________________________________________(INFOMANIAC)
___________________________________________constant synthesis project
The wave of the future is in the overlap- and overlap is what happened at
the Digital Art Be-In Number Seven, last Friday during the Macworld Expo
in San Francisco, CA. I saw a cross-section of personality types that
would be unrivalled in any other industry.
After bluffing my way past the pleasant door sentinels, I was overwhelmed by
the convergence of creativity and technological prowess shining forth- not to
mention the ubiquitous hard-marketers and promoters.
Banks of computers were lined up in the main chamber of the Maritime
Hall, SoMa, to demonstrate everyone's latest-and-greatest, and many were
diving into them head-first, unfazed by the fact that they had been doing
this for days at the Expo. Few were shy with the baton-generated music
system, drumming them into the open air, and squinting at the monitor to
see if the thing was working. The sound from the station was not drowned
out by the Be-In's cacophany, but it was hard to tell whether it was
responding to you, or it was just the random-sounding pre-programmed
techno backgound music. Either way, it was amusing, but not exactly a
chart-buster in the making.
Others were lining up to strap IBVA's brainwave headset to their skulls.
"Tap into someone's brainwaves - from anywhere on the Net!" said the
banner above. How could any self-respecting technophile resist?
Personally, I'd just settle for getting a grip on my own.
I must be truthful- yes, I did feel marketed-to, rather than artistcally
inspired- but where else would I feel more at home than having thirty
monitors glowing at me? If only my home could look like this comp.junkie
playground.
The press release of the Haight-Ashbury in the Sixties CD-ROM was a bit
long-winded and difficult to hear, but it seemed robust enough to merit
another look. I, as a twenty-something, did feel slightly embarrassingly
unknowledgeable about many of the references, but did feel appropriate
fascination when Timothy Leary took the microphone. Saying just a few
words, he restated the importance of the movements of that era- but I
couldn't help thinking that that spirit was a long-time past as I studied
his experienced countenance.
Later, my two other young friends tried to figure out that "Tune In,
etc." saying, and made quite a few eavesdroppers feel older. Finally, a
cheerful fellow clued us in, and it was a stretch to imagine his
corporate look exchanged for tie-dye.
Upstairs was an auditorium on whose stage played an over-decibeled
hippie-funk band. Nowadays, I give bonus points to any band who goes
beyond the typical guitar-bass-drums-vocals combo, but this was not
pleasing to the ear. Disjointed and boosted too loud by the
rock-concert-deafened sound man, I needed to escape.
Escape we did, through the howling rain and across the street to
Macromedia's bribe session, which was in full swing. Lively and
entertaining, it seemed more welcoming, and remarkably, less stuffy, than
the pretentious Be-In. Certainly, less creativity was involved, but
people were not straining to be 'artsier-than-thou' or treating their
newly-revived youth as sacrosanct.
- FiLE - % - - - - - - l - i - n - e - - n - o - i - z - - - - - - 2 - 5 - - -
( . ) Cd RevIeWz ( . ) : Billy Biggs & Joshua Lellis : )*( cD rEViEwZ )*(
CD: 1,039 Smoothed Out Slappy Hours Artist: Green Day
Date: 1990 Length: 19 tracks
Reviewer: Joshua Lellis (joshua@client.dmccorp.com)
You've probably heard of Green Day from their smash hit album "Dookie"
from 1994. You've probably heard Basketcase and Longview, and by now have
connected everything they sing with masturbation.
Well. This review is about their album "1,039 Smoothed Out Slappy Hours",
which was released in 1990. Maybe you've heard of it. Maybe you haven't.
I'm pretty sure you haven't heard of it.
1,039 Smoothed Out Slappy Hours contains 19 songs on it. The first 10
songs (At the Library, Don't Leave Me, I was There, Disappearing Boy,
Green Day, Going to Pasalacqua, 16, Road to Acceptance, Rest, and the
Judge's Daughter) are from the album 39/Smooth. Paper Lanterns, Why do
you Want Him?, 409 in Your Coffeemaker, and Knowledge are from the Slappy
EP. 1,000 Hours, Dry Ice, Only of You, and The One I want are from the
1,000 Hours EP. Song #19, I want to be Alone, is a flipside from "the big
one" compilation.
While not that impressive when it comes to the cover, which has three
colours in it (black, white, and green), the actual high point of the cd
is the music. The guitar, bass and drums are all clearly heard, and for
the most part are well played. None of the songs are very slow, save
Knowledge, which is probably the slowest one on the album.
There are, however, two low points in this album. The first one is
that Billie Joe's voice is not clearly heard all too much. Many times it
seems as though he's without a microphone, and just screaming the best he
can over the other instruments.
The second low point is this CD is not too widely found. Lookout Records,
the label on which this was recorded, is not a big name label. Dookie was
recorded on Reprise Records, a Time Warner Company.
Yet the two low points work out better, in the end. Dookie sold many
copies because it seemed as though Billie Joe broke down and bought a
microphone since Kerplunk (another album of theirs) and 1,039 Smoothed
Out Slappy Hours. That, and the fact that Warner did the album.
So how does this work out better? Well, Lookout Records obviously isn't
going to charge US$16 for a CD from a relatively unknown band (especially
when the CD is five years old). I got my copy of 1,039 Smoothed Out
Slappy Hours for US$8. Well worth it, considering I like the greater
number of songs on the CD. Yes, some of them are about masturbation. But
hey, it's Green Day!
--
Hate your enemies Joshua Lellis -- Jacob Latter -- Stauf
Save your friends joshua@client.dmccorp.com
Find your place Stauf @ CE (telnet 204.156.18.1 5000)
Speak the truth
CD: Snivilisation Artist: Orbital
Date: 1994 Length: 10 trks 75:09 Quick Review: 5/10
Reviewer: Billy Biggs (ae687@freenet.carleton.ca)
While alot of magazines are claiming Orbital's latest construction a
masterpiece and the best techno CD of the year, I wonder what the hell they
are talking about. I expected my money to be well spent, I like most of
Orbital's previous stuff, at least what I had heard of it, and since I had
decided to buy an Orbital CD I though I might as well buy what people say is
their best. It's not. Maybe it's just that I don't like ambient that much,
but I can't truly say that because most ambient I am really into. Maybe this
just isn't the right type of ambient. I'm not sure. But what I can say is
that alot of the stuff on here is a bit annoying to listen to. It's not fast
or strong enough for dance, yet maybe a bit too fast for mellow listening.
The CD seems to have little point, and it's audience isn't very well defined
by the music.
Maybe this is what Orbital souds like, or maybe I should fork out the cash
to find out if I really like Remind as much as I thought I did.
My advice is to buy something else by Orbital, because this CD sucks.
CD: Telekinetic Artist: Sect
Date: 1994 Length: 10 trks 56:18 Quick Review: 8/10
Electronic music at it's peak. Almost. This is definately one of the best
CDs I bought in the last few months. Very electronic, fairly analogue,
fast, slow, mellow, hard, this is a damn good CD and I recommend it highly.
- C C B 4 - - - - - - l - i - n - e - - n - o - i - z - - - - - - 2 - 5 - - -
From: joshua@server.dmccorp.com (Joshua Lellis)
CHIBA
CITY
BLUES
ed. by joshua lellis
I guess I'm going to take today's column to talk about censorship for a
bit. Most of you probably realize by now what a powerful thing this
internet is. I was reading in Wired about a man who was arrested for
threatening to kill the president. He emailed it to the Big Guy, by the
way. Another example, Bill Gates' email address was published in a
magazine and he was flooded with 5,000 + email messages a day. Probably
hate mail from people like me who think windows is too god damn slow on a
486. Anyhow... back to the subject. The InterNet is a powerful thing, and
does the internet win or lose by this?
I live in Houston, Texas, and a month or so ago there was a new
alternative rock station (107.5 FM, for all y'all down here :) ) that
came into being. The first slogan I heard of it was "107.5 FM, the
Rocket. No rules."
This theory was tested.
First, most listeners of Zrock (106.9 here) or gasp... the appropriately
named 104 KRBE (at... ohmigod 104.1 FM) have heard the song Closer by
NIN. The refrain goes something like this:
I wanna fuck you like an animal....
I wanna feel you from the inside....
I wanna fuck you like an animal....
You get me closer to god....
Anyhow... the radio version is.. of course:
I wanna *...* you like an animal...
etc.. etc...
Just fine, right?
ok.. song #2... Green Day's Longview:
I've got the lyric sheet right here... so hold a moment...
Sit around and watch the tube but nothings on/change the channels for an
hour or two/twiddle my thumbs just for a bit/i'm sick of all the same old
shit/in a house with unlocked doors/and i'm fucking lazy
bite my lip and close my eyes/take me away to paradise/i'm so damn bored
i'm going blind/and i smell like shit
peel me off this velcro seat and get me moving/i sure as hell can't do it
by myself/i'm feeling like a dog in heat/barred in doors from the summer
street/i locked the door to my own cell/ and i lost the key
i got no motivation/where is my motivation/no time for motivation/smoking
my inspiration
sit around and watch the phone but no one's calling/call me pathetic call
me what you will/my mother says to get a job/but she don't like the one
she's got/when masturbation's lost its fun you're fucking broken
bite my lip and close my eyes/take me away to paradise/i'm so damn bored
i'm going blind/and loneliness has to suffice/bite my lip and close my
eyes/slipping away to paradise/some say "quit or I'll go blind"/but it's
just a myth
beauty, ain't it?
They censored the greater part of that too.
I'm going to raise a question here. Why do they censor these words and
not the following song by Nirvana, maybe you've heard of it:
Rape me my friend..
Rape me again...
I'm not the only one...
Hate me...
Do it and do it again...
Waste me...
Taste me my friend...
My favorite inside source...
I'll kiss your open sores...
Appreciate your concern...
You'll always stink and burn...
Maybe that's a bad example... Rape Me was meant to be a sort of.... how
do I put it?... it wasn't to be taken seriously as someone who wished to
be raped. There is the song Polly which, according to some FAQ somewhere,
was about a 14 year old girl who was raped. Nirvana has had a history of
songs that deal with rape, and never once have they glorified it. I hear
they played Rape Me at an AIDS benefit, got into a bit of trouble.
Anyhow, another song they play on the radio, same band's Heart Shaped
Box, an excerpt:
Meat-eating orchids forgive no one just yet
cut myself on angel's hair and baby's breath
broken hymen of your highness i'm left black
throw down your velcro noose so i can climb right back
now how can you censor that? The way that I see the censorship system for
music in the US works is that they search the text for curse words,
probably normal text. The Green Day lyrics sheet has plenty of cuss words
I can see and read. Nine Inch Nails' Pretty Hate Machine has a lyric in
it from the song Something I Can Never Have:
in this place it seems like such a shame
though it all looks different now
i know it's still the same
everywhere i look you're all i see
just a fading fucking reminder of who i used to be
come on tell me
and if you've ever seen a copy of NIN PHM you can tell that that type is
nothing special or re-done.
so let's think for a moment why I'm talking about music lyrics when the
subject of this article is censorship of the internet.
What one needs to ask now is why are they censoring this music?
For the sake of freedom of thought, the internet is a community based on
trust, understanding, and respect. there is no censorship.
hopefully there never will be. But let's ask ourselves this, why should
there be censorship? If there is no need for censorship, there would be
none.
;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;
\ Ishue 26 kneeds submissions! SEND! /
\ Gnu mailing list (this one WORKS!) comming soon! (Majordomo) /
\ All that Zippy stuph I promised! /
\ Review: RMI CD # 2 (first impression: BUY IT!) /
- - - - - - * - We kneed yor submissions! Write! Submit! - - - - - * - - - - -
Commentz, Submissions, etc : ae687@freenet.carleton.ca
--
+ Billy Biggs Ottawa, Canada | =itwouldbetheultimatetriumphofhumanreason=
+ ae687@Freenet.carleton.ca | =forthenwewouldknowthemindofGOD= S.Hawking
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