Alright cool, yeah discogs is probably the way to go. I like that they hold their value really well due to the limited pressings too. Awesome taste by the way!
I ended up getting six Miles albums and five are in my hands (Bitches Brew is awaiting repress) and they sound incredible. So glad I went for it. As for those three albums you mentioned I haven't seen anything about a particular standout pressing, but they all three had pretty recent re-releases that seem to have good reviews - Dark Magus was released on 4 Men With Beards and the other two were Music On Vinyl releases which is a typically reliable label. If you take the plunge I'd be curious to hear your thoughts. They all deserve MSFL treatment though.
not sure where you're located, but if you're gonna pick up those other Miles LPs I'd highly recommend going to musicdirect.com and using their 20% off discount code (it's listed right on the website - DAD20). they at least have dark magus and maybe others you're looking for.
i'm actually still on the second season, i'll probably proceed on finishing the whole thing by the end of the summer.
anyways I understand what you're saying about the 'seductive' qualities of characters like The Joker or Hannibal Lecter, and how the restrained 'moral' characters of the movies they're in are almost portrayed as being inherently unlikable (or in the case of The Dark Knight Batman himself is portrayed as the only one worth anything to forward the film's duality theme). what I don't understand is how Bonnie & Clyde are exactly different, for lack of better terminology. that exact kind of moral absolutism that defined a lot of modernist ideology and society was exactly what they were rebelling against, a romanticized image of individual violence in the face of mass economic and systemic violence. Postmodernists are responsible for a lot of dross (especially Derrida, fuck Derrida) but one of their strongest and most resonant ideas were the deconstruction of power relations and the aesthetic ways society perceives action. In both The Dark Knight and Silence of the Lambs while there is a seduction of the audience the narratives themselves ask the audience to reject that seduction in a sense (especially in The Dark Knight where the moral absolutist character is justified and vindicated despite the auspices of society's image of him). In a truly postmodernist work I imagine the only correct conclusion would be a wholesale dismissal of the imagery and language of moral power, where both Batman and Clarice are shown to be culpable in a broader systemic violence that undermines their moral authority over the ostensible villains of the piece (The Dark Knight almost gets there but ends up copping out of it in the end).
I agree that it's increasingly difficult to talk about postmodernism simply because it was always a kinda vague topic to begin with (the premise is simple enough, establishing a timeline less so because it's almost entirely relative to what 'modernist' era whatever given subject was in and where it ended) and because it's conflated with so much, from the Frankfurt School (which is laughable) to modern Hollywood. I've almost come to the conclusion that society is just kinda oscillating between modernist values of the day and the postmodernist deconstruction of them tomorrow, so we end up with a lot of movies like The Dark Knight that flirt with undermining and cross examining the moral and psychological moors of Western society but end up affirming them in the end, because we're only on the precipice of everything imploding on itself but never quite there, y'know? What I'm ultimately saying is that I think these movies are ultimately more morally conservative than you're giving them credit for, less depravity but ironically a very Christian examination of temptation and seduction for the audience (who may or may not just get off to it because visceral moment to moment emotion will always be more appealing than measured retrospection).
anyways I wanted to ask you, i'm running a podcast, and while we predominately talk about music i'd love to have you on for a film episode on, like, Michael Mann or Robert Altman. it'd be fun.
So my MFSL copy of Bitches Brew finally came (it was being re-pressed) and wow, it's incredible. I love all six Miles MFSL albums I've gotten but this takes the cake. All the detail is crystal clear. Did you ever find copies of Get Up With It, Dark Magus or Live-Evil?
anyways I understand what you're saying about the 'seductive' qualities of characters like The Joker or Hannibal Lecter, and how the restrained 'moral' characters of the movies they're in are almost portrayed as being inherently unlikable (or in the case of The Dark Knight Batman himself is portrayed as the only one worth anything to forward the film's duality theme). what I don't understand is how Bonnie & Clyde are exactly different, for lack of better terminology. that exact kind of moral absolutism that defined a lot of modernist ideology and society was exactly what they were rebelling against, a romanticized image of individual violence in the face of mass economic and systemic violence. Postmodernists are responsible for a lot of dross (especially Derrida, fuck Derrida) but one of their strongest and most resonant ideas were the deconstruction of power relations and the aesthetic ways society perceives action. In both The Dark Knight and Silence of the Lambs while there is a seduction of the audience the narratives themselves ask the audience to reject that seduction in a sense (especially in The Dark Knight where the moral absolutist character is justified and vindicated despite the auspices of society's image of him). In a truly postmodernist work I imagine the only correct conclusion would be a wholesale dismissal of the imagery and language of moral power, where both Batman and Clarice are shown to be culpable in a broader systemic violence that undermines their moral authority over the ostensible villains of the piece (The Dark Knight almost gets there but ends up copping out of it in the end).
I agree that it's increasingly difficult to talk about postmodernism simply because it was always a kinda vague topic to begin with (the premise is simple enough, establishing a timeline less so because it's almost entirely relative to what 'modernist' era whatever given subject was in and where it ended) and because it's conflated with so much, from the Frankfurt School (which is laughable) to modern Hollywood. I've almost come to the conclusion that society is just kinda oscillating between modernist values of the day and the postmodernist deconstruction of them tomorrow, so we end up with a lot of movies like The Dark Knight that flirt with undermining and cross examining the moral and psychological moors of Western society but end up affirming them in the end, because we're only on the precipice of everything imploding on itself but never quite there, y'know? What I'm ultimately saying is that I think these movies are ultimately more morally conservative than you're giving them credit for, less depravity but ironically a very Christian examination of temptation and seduction for the audience (who may or may not just get off to it because visceral moment to moment emotion will always be more appealing than measured retrospection).
anyways I wanted to ask you, i'm running a podcast, and while we predominately talk about music i'd love to have you on for a film episode on, like, Michael Mann or Robert Altman. it'd be fun.