|Kitchen Table Kibitzing is a community series for those who wish to share a virtual kitchen table with other readers of Daily Kos who aren’t throwing pies at one another. Drop by to talk about music, your weather, your garden, or what you cooked for supper…. Newcomers may notice that many who post in this series already know one another to some degree, but we welcome guests at our kitchen table and hope to make some new friends as well.
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For the past few months I’ve been bingeing BBC-America’s broadcast of the entire TV series Star Trek DS9, so naturally it serves as a metaphor for the dystopia in which we are embedded.
Star Trek: Deep Space Nine (DS9) is an American science fiction television series created by Rick Berman and Michael Piller. It originally aired from January 1993 to June 1999, in syndication, spanning 176 episodes over seven seasons. The fourth series in the Star Trek franchise, it served as the third sequel to Star Trek: The Original Series. Set in the 24th century, when Earth is part of a United Federation of Planets, it is based on the eponymous space station Deep Space Nine, located adjacent to a wormhole connecting Federation territory to the Gamma Quadrant on the far side of the Milky Way galaxy.
Following the success of Star Trek: The Next Generation, Paramount Pictures commissioned a new series set in the Star Trek fictional universe. In creating Deep Space Nine, Berman and Piller drew upon plot themes developed in The Next Generation, namely the conflict between two alien species, the Cardassians and the Bajorans. Deep Space Nine was the first Star Trek series to be created without the direct involvement of franchise creator Gene Roddenberry, the first set on a space station rather than a traveling starship and the first to have a person of color—Commander (later Captain) Benjamin Sisko (Avery Brooks)—as its central character.
While its predecessors tended to restore the status quo ante at the end of each episode, allowing out-of-order viewing, DS9 contains story arcs that span episodes and seasons. One installment often builds upon earlier ones, with several cliffhanger endings. Michael Piller considered this one of the series' best qualities, allowing repercussions of past episodes to influence future events and forcing characters to “learn that actions have consequences.” This trend was especially noticeable toward the series finale, by which time the show was intentionally scripted as a serial.
Unlike Star Trek: The Next Generation, interpersonal conflicts were prominently featured in DS9. This was at the suggestion of Star Trek: The Next Generation's writers, many of whom also wrote for DS9, who felt that Roddenberry's prohibition of conflicts within the crew restricted their ability to write compelling dramatic stories. In Piller's words, “People who come from different places—honorable, noble people—will naturally have conflicts”.
Here’s a video from art ah zen’s diary, reminding me of other genres, as we will have to entertain ourselves with less sports in the coming months.
Then there’s other favorites in different genres like brass band techno
I have a new favorite group: Quä-Quäger Triengen because Swiss bands playing live metal outside in the winter, and because I like big bands playing other genres, especially ones where the drum major wields a bicycle pump.
Two versions of Iron Maiden’s Fear of the Dark. In another life, I would be a university chancellor and this would be the sports teams’ fight song.
The latest version
in case you wanted to hear the original, paradigmatic version:
or the orchestral version:
And then I came across various treatments of the same song, recalling Caravan with a drum solo (Frank Zappa)
Then there’s space, deep space.