People of Mildesta the People of Mildesta are a group of people that originate within the sacred mermaid village underwater - a village known as Mildesta. Below will be a list of various important characters that belong within this categorical article.
People of Mildesta
Flemia, the Queen of Mildesta
Flemia is renowned as the Queen of Mildesta -- thus being the highest head of the village. Flemia is also the older sister of Celia, a young beautiful mermaid that assists Haru and his allies temporarily. Flemia is first personally shown within volume 13, in which she was at a rather ill state - emotionally and physically. Haru, Celia, and the others had all found her at this point amongst the ruins of the once beautiful village, Mildesta. Flemia soon spouts the truth to Celia's ears -- all the mermaids had been stolen for their innate magic abilities and will be used as a power source for a large weapon known as the Mermaid Cannon. After Flemia then pleads with her sister and the Rave Master to retrieve their fellow people of Mildesta, Flemia would return to her ruined palace and remain at a depressed state. After Celia and the others finally return to Mildesta within volume 18 after all the mermaids had been well rescued at the time, Mildest is rebuilt and returns to its original beauty.. When Flemia then welcomes Haru and the others to the Star Song Festival, she first introduces herself and utters the words, "I hereby welcome the heroes who saved our kind. We are eternally grateful. Thanks to you, our people are free from the Onigami." After the ending of the Star Song Festival, Flemia personally gives Haru and the others a Sea Fairy - a boat that is powered and protected by ancient mermaid magic, and says one last farewell to the people who restored her village.
Bony the Starfish
Bony is a rather small starfish that has been serving loyally under Flemia for many years. Bony is generally seen as your average starfish, but with a mustache and two small curly hairs on each side of his head. During the beginning of the Star Song Festival, Bony would be the one to introduce the Queen of Mildesta, Flemia; this would also be the first time Bony was shown in the series. Throughout the Star Song Festival, Bony would generally be seen resisting death while Plue continuously tried to eat him. After Haru and the others effectively say their final farewells to the people of Mildesta, Elie would hand a present to Haru as to celebrate his 17th birthday. Haru opens the present and his rather surprised to find Bony within it. Bony steps out of the present and tells Haru that he will be their guide throughout their journey to the Iima continent -- Bony will elaborate every safe passage throughout the Eastern Sea. Following this point, Bony would remain as a party member of Haru and the others (generally as a joke character). However, Bony would be confronted with many personal conflicts throughout his journey with the Rave Master such as being continuously eaten by the sleeping Lazenby.
Uni, the Cheff
Uni is a creature that completely resembles Griffon in appearance. However, Uni is seen wearing a large chef hat, green skin, and a small yellow horn on his forehead. After both Griffon and Plue head secretly throughout the Onigami Syaoran base - as to find a deactivational source for a certain trap, they run into Uni. After first meeting Uni, Uni is in a state of shock after seeing his "splitting twin" before him - Plue. Even though Uni "is the same" race as Plue, he has no choice but to throw him in a frying pan and put him on the stove -- it is his duty as the Onigami Forces Chef to cook any intruder that may appear. After Griffon then tells Uni to not kill one of his "own kin", Uni spouts the words, "I've spent years searching for myself and now I've finally found my answer! All this time I've mistaken myself for an oni -- all because of this horn. I just assumed I had to be an oni. I was certain of it. But now, thanks to you, I've been able to finally find the real me! If there is anything I can do for you, tell me! MY STRENGTH IS YOURS!" Thus, thanks to the help of their new ally, Uni, Griffon and Plue effectively were able to take control of the Onigami's main submarine and use it to transport the stolen mermaids back to Mildesta. Throughout Uni's companionship with Haru and the others, he would not truly do any more than the minor supporting characters such as Griffon. After Haru and the others effectively say their final farewells to the people of Mildesta, Uni jumps off and tells the tear stricken Plue and Griffon that he is simply not cut out for adventure and will greatly miss them on their journey. Thus, Uni would stay with Celia and the people of Mildesta to the end of his days.
People of Mildesta
Flemia, the Queen of Mildesta
Flemia is renowned as the Queen of Mildesta -- thus being the highest head of the village. Flemia is also the older sister of Celia, a young beautiful mermaid that assists Haru and his allies temporarily. Flemia is first personally shown within volume 13, in which she was at a rather ill state - emotionally and physically. Haru, Celia, and the others had all found her at this point amongst the ruins of the once beautiful village, Mildesta. Flemia soon spouts the truth to Celia's ears -- all the mermaids had been stolen for their innate magic abilities and will be used as a power source for a large weapon known as the Mermaid Cannon. After Flemia then pleads with her sister and the Rave Master to retrieve their fellow people of Mildesta, Flemia would return to her ruined palace and remain at a depressed state. After Celia and the others finally return to Mildesta within volume 18 after all the mermaids had been well rescued at the time, Mildest is rebuilt and returns to its original beauty.. When Flemia then welcomes Haru and the others to the Star Song Festival, she first introduces herself and utters the words, "I hereby welcome the heroes who saved our kind. We are eternally grateful. Thanks to you, our people are free from the Onigami." After the ending of the Star Song Festival, Flemia personally gives Haru and the others a Sea Fairy - a boat that is powered and protected by ancient mermaid magic, and says one last farewell to the people who restored her village.
Bony the Starfish
Bony is a rather small starfish that has been serving loyally under Flemia for many years. Bony is generally seen as your average starfish, but with a mustache and two small curly hairs on each side of his head. During the beginning of the Star Song Festival, Bony would be the one to introduce the Queen of Mildesta, Flemia; this would also be the first time Bony was shown in the series. Throughout the Star Song Festival, Bony would generally be seen resisting death while Plue continuously tried to eat him. After Haru and the others effectively say their final farewells to the people of Mildesta, Elie would hand a present to Haru as to celebrate his 17th birthday. Haru opens the present and his rather surprised to find Bony within it. Bony steps out of the present and tells Haru that he will be their guide throughout their journey to the Iima continent -- Bony will elaborate every safe passage throughout the Eastern Sea. Following this point, Bony would remain as a party member of Haru and the others (generally as a joke character). However, Bony would be confronted with many personal conflicts throughout his journey with the Rave Master such as being continuously eaten by the sleeping Lazenby.
Uni, the Cheff
Uni is a creature that completely resembles Griffon in appearance. However, Uni is seen wearing a large chef hat, green skin, and a small yellow horn on his forehead. After both Griffon and Plue head secretly throughout the Onigami Syaoran base - as to find a deactivational source for a certain trap, they run into Uni. After first meeting Uni, Uni is in a state of shock after seeing his "splitting twin" before him - Plue. Even though Uni "is the same" race as Plue, he has no choice but to throw him in a frying pan and put him on the stove -- it is his duty as the Onigami Forces Chef to cook any intruder that may appear. After Griffon then tells Uni to not kill one of his "own kin", Uni spouts the words, "I've spent years searching for myself and now I've finally found my answer! All this time I've mistaken myself for an oni -- all because of this horn. I just assumed I had to be an oni. I was certain of it. But now, thanks to you, I've been able to finally find the real me! If there is anything I can do for you, tell me! MY STRENGTH IS YOURS!" Thus, thanks to the help of their new ally, Uni, Griffon and Plue effectively were able to take control of the Onigami's main submarine and use it to transport the stolen mermaids back to Mildesta. Throughout Uni's companionship with Haru and the others, he would not truly do any more than the minor supporting characters such as Griffon. After Haru and the others effectively say their final farewells to the people of Mildesta, Uni jumps off and tells the tear stricken Plue and Griffon that he is simply not cut out for adventure and will greatly miss them on their journey. Thus, Uni would stay with Celia and the people of Mildesta to the end of his days.
Stewart, Rus, an original internationally-recognised recording artist, composer, actor, model, inventor, remixer, and DJ.
(See this link for verifiable sources!)
Mr. Stewart was the founding member of '80s New Wave project, The Fashion Police, and in 1988, the founder of indie label Robotique Records, also involved with projects and bands such as At This Remove, Dystopia, and Nocturnal Waveforms, composing original music ranging from Alternative, and Ambient, to House, to Trance, to Electro and New Wave and Post-Punk underground music.
He has been featured in magazines such as DMA, EQ, Quote Unquote, and Future Music, UK, and his music has seen international radio and club play, and some of his early '90s concerts were televised on national network television.
Rus Stewart plays synthesizer in these bands and solo projects, and his music is in a similar genre to bands such as New Order, Depeche Mode, and Red Flag, a few of the bands that he also remixed. In addition to a recording artist, remixer and producer, Mr. Stewart was a radio DJ, having a mix show on Underground Groove Radio 88.1 FM for over a decade, until going off-air in early 2007.
As a remixer, he has remixed artists such as New Order, Depeche Mode, Red Flag, Source of Gravity, The Cure, Anything Box, Xymox, and The Psychedelic Furs, to name but a few, for exclusive extended versions for airplay on UGR and for club play.
Mr. Stewart also has written reviews for artists who had send in promos and demos from around the globe. He also invented a small studio monitor, the "Record Monitor" which is made from recycled vinyl records, and has invented a synthesizer module called the "Trancemogrifier" and a solar power supply to run studio kit.
Mr. Stewart has also delved into modeling and acting, having made an appearance on a CBS series in 2006, and featured in advertisements for Tedi of Samoa in 1991.
The following is a portion of a Bio from a third-party site, given by permission:
"There are alot of artists who follow a particular genre, and try to follow current trends. (And these usually end up becoming the "flavour of the month" those acts that burn brightly for a short while, but also those that have a short shelf-life, to ultimately fade into obscurity.)
Others may try to be "a little of this, a little of that" and try to please everyone. (And usually these end up being nothing at all.)
Every now and then, an artist comes along who defines their own genre, and invents their own sound, maintaining their own niche.
The Fashion Police are one of those rare breed of bands and artists who do just that, defining a genre, inventing a sound that is their own, setting their own trends, creating timeless art, forever capturing unforgettable moments, transending time and space.
While "The Fashion Police" have been an artist of international renown for quite some time, having played concerts as large as several thousands, their beginnings, as most artists, were of a humble sort.
Rus Stewart began playing synthesizer at an early age, as it was his favourite instrument.
Since he did not yet own his own keyboards in the early '80s, he would go to music shoppes, and jam on whatever synthesizer they had set up in the various stores he haunted, (often gathering some fans by this method) and perhaps recording an experimental instrumental track from time to time on borrowed kit.
New Wave music was his favourite sound, as was Ambient, and at that time, he was desiring to create his own sort of tracks after first becoming acquainted with hearing various artists of the New Wave sort since the day he first heard them.
As the '80s went on, the likes of Depeche Mode, New Order, OMD, Clan of Xymox, Joy Division, Kraftwerk, The Psychedelic Furs, The Cure, Anything Box, and Book of Love, and many others would be what Rus listened to.
(The artist was very advanced for his age in musical tastes, snubbing the more pedestrian pop music, to favour the more innovative underground music scene of the time, listening to college radio from a station broadcasting from Bethany College in West Virginia when he was at that time, still living in Ohio.)
However, he had sorted out his own sound (maybe one could say it was something like Tangerine Dream/Klaus Schulze -vs- New Order) actually BEFORE he had even heard New Wave music.
"It is a strange coincidence, this. Before I had first heard any sort of New Wave music, I was already coming up with exactly that sound when I would play various keyboards as opportunities would allow. I had my sound all sorted out, but did not really know what I should do with it at that time. When I by chance came across the right radio stations as I was messing about, and discovered this music, (The Psychedelic Furs were the first New Wave band I had heard) probably in the very early eighties, when I was yet quite small, I was shocked to hear that it was real, and that other artists were making a living from this, and that was the moment when I began to seriously consider that I should become a recording artist as soon as it would be possible."
A conversation with Jerry Seinfeld around that time -before he was really famous, after he did a standup set at Mr. Stewart's school, also helped encourage him to have a go with doing something he loved to do:
"Jerry had us all laughing hysterically. After his show, I had a conversation with him about what he was doing. We instantly had a good rapport. He asked me what I wanted to do when I came of age. I told him I was not yet sure if I could actually do it, but that music was something I wanted to get into. He offered some encouragement, which remained in my mind, and helped me to become more determined regarding this decision later on."
By the mid '80s he finally got his hands on a keyboard of his own, and since then the artist did not look back, and quickly further refined a dark, gothic, yet dreamy sound of his own, and began to record his own projects on cassette and reel-to-reel machines.
By 1985 he began his first ventures into remixing, and later on, Rus began experimenting with creating what would be known as the Fashion Police sound, pioneering a new mixture of Ambient, House, Trance, and New Wave.
He started out with just a Casio MT-240, a Casio SK-1 and a few other older keyboards, a homemade mixer, a modified recorder, and a flanger and reverb.
This is what brings you around to The Fashion Police, which took off back in the day at a time when he was living on an island in the South Pacific.
The Fashion Police were officially launched in early 1988, with the first recording with lyrics, "New Wave Calling" and the launch of Robotique Records.
(While going through boxes of old tapes brought out from storage in 2007, we came across some reels of instrumentals that he had forgotten about that was dated 1986 and 1987. The ethereal, synth-based, "Over the Airwaves" "Elektromagnetik" and "Moonscape" are among these early previously-unreleased instrumentals. These are to be released on the "Dystopian Visions" series.)
It is primarily a project that took off pretty much in American Samoa, grew internationally from there.
The name "Fashion Police" actually began with some friends and him joking around...Rus actually came up with the idea in the mid '80s but kept it silently in his mind till he could get enough kit together of his own to get started. By then, he began recording the first demos, and an early EP under that name.
The shtick took off and demand for the early demo tapes was quite heavy, and many concert bookings and radio airplay on KSBS and WVUV in Samoa began, as well as more radio play from various stations around the globe, as demos were sent out to them.
It was better days, and times when radio was more receptive and open to new things. The success of The Fashion Police resulted in some spin-off projects under the names "Overblast" and "Nocturnal Waveforms" and "Space Cadet" during the late '80s and early '90s up till present times. Rus collaborated with Dystopia, Corporate Culture and others as well.
These spin-off projects mentioned above, were essentially similar to The Fashion Police, and sometimes used the same tracks, but could also be accompanied by other collaborators or as solo projects.
(The name for Nocturnal Waveforms stems from when Rus was tweaking an analogue synthesizer one evening and exploring its various waveforms, and coming up with ethereal sounds, and thought of starting a side-project with that name.)
Often the spin-off side-projects were more genre-focused toward ambient instrumentals, than much of The Fashion Police music was, but for all practical purposes, regardless of the name he stuck on a particular project, it was all essentially Fashion Police, and all the artist's, as well as any collaborators in those instances, music.
In the beginning, airplay on KTUH, Hawaii, KQMQ, Honolulu, and several college stations across the USA was what made things take off, and it went global. Also, some televised charitable concerts were aired on national TV on PBS and NBC.
"I think the ambient, gothic, new wave, electro sort of sound I had was what brought attention to what I did, as all the other artists in the Islands were doing the sort of typical sound of music that you would expect, and here I was hitting them with something far removed from your typical Island music sound, as sometimes it pays to dare to be different." "My music did not sound like anything else from the areas (Samoa or Ohio, at the time) that I lived in, and many fans thought it sounded more like it came perhaps from Germany, the Netherlands or the UK."
It was also around early '88 when the artist formed his own record label which is called Robotique Records, as a sort of catylist to move things along.
(Robotique had been started in somewhat in the same homebrew do-it-yourself spirit as the mighty Red Flag who formed Plan B around that time, or Source of Gravity, a UK duo who Rus was to form an alliance with in more recent times ten years later, around '98)
The first studio recordings and demo tapes were recorded on homebrew equipment, part of the time, at least, especially by around 1992, until late 1993, were also done in an old vicarage house and in a WWII bunker at the edge of the sea in Leone, American Samoa. Prior to then, from the beginnings in '88 through '91, recordings were sometimes done at other locations, and some early recordings were concert bootlegs of Fashion Police sessions....."
Discography:
(taken from third-party public-domain resources, and album cover information from private record collection, with permission)
(with The Fashion Police)
The Fashion Police "you're vogue" (1988)
New Wave Calling (single, 1988)
High Fashion (single, 1988)
The Fashion Police (single, 1989)
The Outer Limits (live, 1989)
The bootleg concerts (live, 1990)
Demos (1993)
Retro (1998)
Robotique-Electronique vol.1 (compilation, 2004)
Robotique-Electronique vol.2 (compilation, 2005)
The Fashion Police: "Dystopian Visions" (EP series, 2006-onward to present)
(various compilations)
Robotique Records "On the Fritz" series, (compilations 2005)
(with Nocturnal Waveforms)
Astralspace (1995)
Astralspace (special edition re-release, with bonus tracks, 2001)
Concert (material from 1990 concert, released 2003)
The Outer Limits (1989 concert, released 2004)
(with Dystopia)
Dystopia (1995)
Irritating to Everything (1996)
(with Source of Gravity)
Earth to Mars (1997)
Atlantis/Earth to Mars (martian dub remix) (12" single, 2001)
Winter's Discontent (extended chillout rendition, 2001)
Futuristic Visions (part 2 "Doomsday Trudge" rendition, part 3, "Hypersonic Machinery" rendition" 2001)
(under the Overblast experimental side-project name)
Delusions of Grandeur (live CD, 2005)
(with Corporate Culture)
Martini Rock and Roll
(performance on "I meet Girls on AOL" and "Lock Em Up" from the album, 2001)
(See this link for verifiable sources!)
Mr. Stewart was the founding member of '80s New Wave project, The Fashion Police, and in 1988, the founder of indie label Robotique Records, also involved with projects and bands such as At This Remove, Dystopia, and Nocturnal Waveforms, composing original music ranging from Alternative, and Ambient, to House, to Trance, to Electro and New Wave and Post-Punk underground music.
He has been featured in magazines such as DMA, EQ, Quote Unquote, and Future Music, UK, and his music has seen international radio and club play, and some of his early '90s concerts were televised on national network television.
Rus Stewart plays synthesizer in these bands and solo projects, and his music is in a similar genre to bands such as New Order, Depeche Mode, and Red Flag, a few of the bands that he also remixed. In addition to a recording artist, remixer and producer, Mr. Stewart was a radio DJ, having a mix show on Underground Groove Radio 88.1 FM for over a decade, until going off-air in early 2007.
As a remixer, he has remixed artists such as New Order, Depeche Mode, Red Flag, Source of Gravity, The Cure, Anything Box, Xymox, and The Psychedelic Furs, to name but a few, for exclusive extended versions for airplay on UGR and for club play.
Mr. Stewart also has written reviews for artists who had send in promos and demos from around the globe. He also invented a small studio monitor, the "Record Monitor" which is made from recycled vinyl records, and has invented a synthesizer module called the "Trancemogrifier" and a solar power supply to run studio kit.
Mr. Stewart has also delved into modeling and acting, having made an appearance on a CBS series in 2006, and featured in advertisements for Tedi of Samoa in 1991.
The following is a portion of a Bio from a third-party site, given by permission:
"There are alot of artists who follow a particular genre, and try to follow current trends. (And these usually end up becoming the "flavour of the month" those acts that burn brightly for a short while, but also those that have a short shelf-life, to ultimately fade into obscurity.)
Others may try to be "a little of this, a little of that" and try to please everyone. (And usually these end up being nothing at all.)
Every now and then, an artist comes along who defines their own genre, and invents their own sound, maintaining their own niche.
The Fashion Police are one of those rare breed of bands and artists who do just that, defining a genre, inventing a sound that is their own, setting their own trends, creating timeless art, forever capturing unforgettable moments, transending time and space.
While "The Fashion Police" have been an artist of international renown for quite some time, having played concerts as large as several thousands, their beginnings, as most artists, were of a humble sort.
Rus Stewart began playing synthesizer at an early age, as it was his favourite instrument.
Since he did not yet own his own keyboards in the early '80s, he would go to music shoppes, and jam on whatever synthesizer they had set up in the various stores he haunted, (often gathering some fans by this method) and perhaps recording an experimental instrumental track from time to time on borrowed kit.
New Wave music was his favourite sound, as was Ambient, and at that time, he was desiring to create his own sort of tracks after first becoming acquainted with hearing various artists of the New Wave sort since the day he first heard them.
As the '80s went on, the likes of Depeche Mode, New Order, OMD, Clan of Xymox, Joy Division, Kraftwerk, The Psychedelic Furs, The Cure, Anything Box, and Book of Love, and many others would be what Rus listened to.
(The artist was very advanced for his age in musical tastes, snubbing the more pedestrian pop music, to favour the more innovative underground music scene of the time, listening to college radio from a station broadcasting from Bethany College in West Virginia when he was at that time, still living in Ohio.)
However, he had sorted out his own sound (maybe one could say it was something like Tangerine Dream/Klaus Schulze -vs- New Order) actually BEFORE he had even heard New Wave music.
"It is a strange coincidence, this. Before I had first heard any sort of New Wave music, I was already coming up with exactly that sound when I would play various keyboards as opportunities would allow. I had my sound all sorted out, but did not really know what I should do with it at that time. When I by chance came across the right radio stations as I was messing about, and discovered this music, (The Psychedelic Furs were the first New Wave band I had heard) probably in the very early eighties, when I was yet quite small, I was shocked to hear that it was real, and that other artists were making a living from this, and that was the moment when I began to seriously consider that I should become a recording artist as soon as it would be possible."
A conversation with Jerry Seinfeld around that time -before he was really famous, after he did a standup set at Mr. Stewart's school, also helped encourage him to have a go with doing something he loved to do:
"Jerry had us all laughing hysterically. After his show, I had a conversation with him about what he was doing. We instantly had a good rapport. He asked me what I wanted to do when I came of age. I told him I was not yet sure if I could actually do it, but that music was something I wanted to get into. He offered some encouragement, which remained in my mind, and helped me to become more determined regarding this decision later on."
By the mid '80s he finally got his hands on a keyboard of his own, and since then the artist did not look back, and quickly further refined a dark, gothic, yet dreamy sound of his own, and began to record his own projects on cassette and reel-to-reel machines.
By 1985 he began his first ventures into remixing, and later on, Rus began experimenting with creating what would be known as the Fashion Police sound, pioneering a new mixture of Ambient, House, Trance, and New Wave.
He started out with just a Casio MT-240, a Casio SK-1 and a few other older keyboards, a homemade mixer, a modified recorder, and a flanger and reverb.
This is what brings you around to The Fashion Police, which took off back in the day at a time when he was living on an island in the South Pacific.
The Fashion Police were officially launched in early 1988, with the first recording with lyrics, "New Wave Calling" and the launch of Robotique Records.
(While going through boxes of old tapes brought out from storage in 2007, we came across some reels of instrumentals that he had forgotten about that was dated 1986 and 1987. The ethereal, synth-based, "Over the Airwaves" "Elektromagnetik" and "Moonscape" are among these early previously-unreleased instrumentals. These are to be released on the "Dystopian Visions" series.)
It is primarily a project that took off pretty much in American Samoa, grew internationally from there.
The name "Fashion Police" actually began with some friends and him joking around...Rus actually came up with the idea in the mid '80s but kept it silently in his mind till he could get enough kit together of his own to get started. By then, he began recording the first demos, and an early EP under that name.
The shtick took off and demand for the early demo tapes was quite heavy, and many concert bookings and radio airplay on KSBS and WVUV in Samoa began, as well as more radio play from various stations around the globe, as demos were sent out to them.
It was better days, and times when radio was more receptive and open to new things. The success of The Fashion Police resulted in some spin-off projects under the names "Overblast" and "Nocturnal Waveforms" and "Space Cadet" during the late '80s and early '90s up till present times. Rus collaborated with Dystopia, Corporate Culture and others as well.
These spin-off projects mentioned above, were essentially similar to The Fashion Police, and sometimes used the same tracks, but could also be accompanied by other collaborators or as solo projects.
(The name for Nocturnal Waveforms stems from when Rus was tweaking an analogue synthesizer one evening and exploring its various waveforms, and coming up with ethereal sounds, and thought of starting a side-project with that name.)
Often the spin-off side-projects were more genre-focused toward ambient instrumentals, than much of The Fashion Police music was, but for all practical purposes, regardless of the name he stuck on a particular project, it was all essentially Fashion Police, and all the artist's, as well as any collaborators in those instances, music.
In the beginning, airplay on KTUH, Hawaii, KQMQ, Honolulu, and several college stations across the USA was what made things take off, and it went global. Also, some televised charitable concerts were aired on national TV on PBS and NBC.
"I think the ambient, gothic, new wave, electro sort of sound I had was what brought attention to what I did, as all the other artists in the Islands were doing the sort of typical sound of music that you would expect, and here I was hitting them with something far removed from your typical Island music sound, as sometimes it pays to dare to be different." "My music did not sound like anything else from the areas (Samoa or Ohio, at the time) that I lived in, and many fans thought it sounded more like it came perhaps from Germany, the Netherlands or the UK."
It was also around early '88 when the artist formed his own record label which is called Robotique Records, as a sort of catylist to move things along.
(Robotique had been started in somewhat in the same homebrew do-it-yourself spirit as the mighty Red Flag who formed Plan B around that time, or Source of Gravity, a UK duo who Rus was to form an alliance with in more recent times ten years later, around '98)
The first studio recordings and demo tapes were recorded on homebrew equipment, part of the time, at least, especially by around 1992, until late 1993, were also done in an old vicarage house and in a WWII bunker at the edge of the sea in Leone, American Samoa. Prior to then, from the beginnings in '88 through '91, recordings were sometimes done at other locations, and some early recordings were concert bootlegs of Fashion Police sessions....."
Discography:
(taken from third-party public-domain resources, and album cover information from private record collection, with permission)
(with The Fashion Police)
The Fashion Police "you're vogue" (1988)
New Wave Calling (single, 1988)
High Fashion (single, 1988)
The Fashion Police (single, 1989)
The Outer Limits (live, 1989)
The bootleg concerts (live, 1990)
Demos (1993)
Retro (1998)
Robotique-Electronique vol.1 (compilation, 2004)
Robotique-Electronique vol.2 (compilation, 2005)
The Fashion Police: "Dystopian Visions" (EP series, 2006-onward to present)
(various compilations)
Robotique Records "On the Fritz" series, (compilations 2005)
(with Nocturnal Waveforms)
Astralspace (1995)
Astralspace (special edition re-release, with bonus tracks, 2001)
Concert (material from 1990 concert, released 2003)
The Outer Limits (1989 concert, released 2004)
(with Dystopia)
Dystopia (1995)
Irritating to Everything (1996)
(with Source of Gravity)
Earth to Mars (1997)
Atlantis/Earth to Mars (martian dub remix) (12" single, 2001)
Winter's Discontent (extended chillout rendition, 2001)
Futuristic Visions (part 2 "Doomsday Trudge" rendition, part 3, "Hypersonic Machinery" rendition" 2001)
(under the Overblast experimental side-project name)
Delusions of Grandeur (live CD, 2005)
(with Corporate Culture)
Martini Rock and Roll
(performance on "I meet Girls on AOL" and "Lock Em Up" from the album, 2001)
The Fovean Chronicles is a collection of Robert W. Brady, Jr.'s works, written over twenty-three years and then published online by the author, where it was first made available to the public. It tells of the life of Randy Morden, who is the pawn of a god called War, in a mythical land called Fovea. It consists of the first book, Indomitus Est and second Indomitus Oriens. The author has promised several more books.
Overview
The Fovean Chronicles breaks many of the rules, both of marketing and of authoring, which makes it unique in the literary industry.
First among these is that it was edited by its own fans online. Since 2000, readers have been able to critique it online and to suggest changes, which the author actually often implements. This cumulative effect contributes to the Chronicles having over 11,000 fans worldwide.
While Indomitus Est (literally, 'He is untamed' in Latin), is the first person account of the life of Randy Morden, described as a loser in life's game, Indomitus Oriens (literally, 'His being untamed is rising '), breaks another rule, in that it is the account of other persons, both native to and brought to Fovea, who see Randy Morden as their enemy. Told from their perspective, the reader sees a completely different Randy Morden, judging him by his actions rather than his thoughts and reasons.
The Fovean Chronicles is a complex work that explores a wide array of themes inspired by many ancient, medieval, and modern sources, including the Hebrew Bible, Norse sagas, Greek mythology, Celtic mythology, and World War II, and relies heavily on the experiences of the Romans, Alexander the Great and Genghis Khan. Randy, a human from Earth, applies novels which he read during his time in the US Navy to his circumstances in Fovea, not always successfully.
Reviewers of the book conflict as to weather the Chronicles are a debate in the tradition of The Lord of the Rings as to whether power corrupts, or as to whether this is a religious examination of the power and purpose of faith.
The books average over 600 pages, the descriptions tend to be particularly indepth and, in some cases, graphic. While sex scenes tend to be implied, there is a good deal sword fighting, practices of slavery and male dominance. While not so severe as the Gor novells by John Norman, this isn't reading for children.
Availability of the Books
At one point, the author claimed to have made a deal to publish the book, but later recanted this claim and self-published.
Currently, Indomitus Oriens is available online for critique by its fans, in the tradition of the first book, Indomitus Est, at .
Indomitus Est is available for purchase from the site, through a POD.
Cover Art
The cover for the first book, Indomitus Est, is an original painting by Boris Vallejo.
Overview
The Fovean Chronicles breaks many of the rules, both of marketing and of authoring, which makes it unique in the literary industry.
First among these is that it was edited by its own fans online. Since 2000, readers have been able to critique it online and to suggest changes, which the author actually often implements. This cumulative effect contributes to the Chronicles having over 11,000 fans worldwide.
While Indomitus Est (literally, 'He is untamed' in Latin), is the first person account of the life of Randy Morden, described as a loser in life's game, Indomitus Oriens (literally, 'His being untamed is rising '), breaks another rule, in that it is the account of other persons, both native to and brought to Fovea, who see Randy Morden as their enemy. Told from their perspective, the reader sees a completely different Randy Morden, judging him by his actions rather than his thoughts and reasons.
The Fovean Chronicles is a complex work that explores a wide array of themes inspired by many ancient, medieval, and modern sources, including the Hebrew Bible, Norse sagas, Greek mythology, Celtic mythology, and World War II, and relies heavily on the experiences of the Romans, Alexander the Great and Genghis Khan. Randy, a human from Earth, applies novels which he read during his time in the US Navy to his circumstances in Fovea, not always successfully.
Reviewers of the book conflict as to weather the Chronicles are a debate in the tradition of The Lord of the Rings as to whether power corrupts, or as to whether this is a religious examination of the power and purpose of faith.
The books average over 600 pages, the descriptions tend to be particularly indepth and, in some cases, graphic. While sex scenes tend to be implied, there is a good deal sword fighting, practices of slavery and male dominance. While not so severe as the Gor novells by John Norman, this isn't reading for children.
Availability of the Books
At one point, the author claimed to have made a deal to publish the book, but later recanted this claim and self-published.
Currently, Indomitus Oriens is available online for critique by its fans, in the tradition of the first book, Indomitus Est, at .
Indomitus Est is available for purchase from the site, through a POD.
Cover Art
The cover for the first book, Indomitus Est, is an original painting by Boris Vallejo.
Steven William Ashe (born (30 December 1960) is an English author. He is known for his works on religious beliefs and Qabalah.
Biography
Life
Steven William Ashe was born in Wolverhampton, England on December 30 1960.
Steven Ashe has an Honours Degree (B.A.) in Interactive Multimedia Communication and is a self employed author and publisher of esoterica and rare ancient manuscript facsimiles. His own works focus upon the recent historical manifestations of the Hermetic Qabalah in Europe and the USA as it affects the increasing uptake of individual spiritual inquiry as opposed to formalised religious initiatives. His speculative work upon the Qabalistic Tree of Life has been published as 'Qabalah of 50 Gates', detailing the mythic themes associated with the task of personal development within Qabalistic lore. Although this is heavily dependent upon the symbolism of the Western Hermetic Tradition, employing imagery from the tradition of Cornelius Agrippa, Francis Barrett, the Hermetic Order of Golden Dawn and Aleister Crowley his focus encapsulates harmonious themes from the corpus of Islamic Shia mysticism which reflect his belief in a strong Islamic core residing at the root of the tradition known in the West as Rosicrucianism.
His published work includes 'The Complete Golden Dawn Initiate' (Glastonbury books 2007), 'The Qabalah Codex' (Glastonbury books 2007), 'The Testament of Solomon' (Glastonbury Books 2006), 'Qabalah of 50 Gates' (Mandrake of Oxford 2002) lectures for The Oxford Thelemic Symposium (1994, 1995), and articles published in Prediction Magazine (May 1982) and the audio format Isis Magazine (1988. His interests include Cognitive Psychology, humour, acoustic guitars, tarot cards iconography and the history and legends of Shropshire. Steven currently lives in Glastonbury, Somerset, England, UK.
Bibliography
Biography
Life
Steven William Ashe was born in Wolverhampton, England on December 30 1960.
Steven Ashe has an Honours Degree (B.A.) in Interactive Multimedia Communication and is a self employed author and publisher of esoterica and rare ancient manuscript facsimiles. His own works focus upon the recent historical manifestations of the Hermetic Qabalah in Europe and the USA as it affects the increasing uptake of individual spiritual inquiry as opposed to formalised religious initiatives. His speculative work upon the Qabalistic Tree of Life has been published as 'Qabalah of 50 Gates', detailing the mythic themes associated with the task of personal development within Qabalistic lore. Although this is heavily dependent upon the symbolism of the Western Hermetic Tradition, employing imagery from the tradition of Cornelius Agrippa, Francis Barrett, the Hermetic Order of Golden Dawn and Aleister Crowley his focus encapsulates harmonious themes from the corpus of Islamic Shia mysticism which reflect his belief in a strong Islamic core residing at the root of the tradition known in the West as Rosicrucianism.
His published work includes 'The Complete Golden Dawn Initiate' (Glastonbury books 2007), 'The Qabalah Codex' (Glastonbury books 2007), 'The Testament of Solomon' (Glastonbury Books 2006), 'Qabalah of 50 Gates' (Mandrake of Oxford 2002) lectures for The Oxford Thelemic Symposium (1994, 1995), and articles published in Prediction Magazine (May 1982) and the audio format Isis Magazine (1988. His interests include Cognitive Psychology, humour, acoustic guitars, tarot cards iconography and the history and legends of Shropshire. Steven currently lives in Glastonbury, Somerset, England, UK.
Bibliography
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* The Qabalah of 50 Gates (2002)
* The Qabalah - The Testament of Solomon (2006); credited as editor
* Qabalah - The Complete Golden Dawn Initiate (2007)
* Qabalah of 50 Gates (2002); 2007 reprint ISBN 184799914X;
* The Qabalah of 50 Gates (2002)
* The Qabalah - The Testament of Solomon (2006); credited as editor
* Qabalah - The Complete Golden Dawn Initiate (2007)
* Qabalah of 50 Gates (2002); 2007 reprint ISBN 184799914X;