Oedipus Tex

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Write a product review. Most helpful customer reviews on Amazon. Peter Schickele's compositions and recordings are often considered to be novelty recordings, but the quality of his compositions and arrangements is very good.

Combine his musical skills with a gift for satire and whimsy, and you have a thoroughly entertaining recording which can be appreciated by those looking for good slapstick, as well as those who have a good appreciation for classical period music and literature. Turning the oratorio style into a romp in the American west, he brings shades of Copeland and Grofe into the classical stylings of 18th Century musical forms.

While no knowledge of Oedipus Rex is necessary, a prior reading even if it was back in junior high school! This is good fun for both your funny bone and your brain! This is a very funny album where Peter Schekele tries to get his law license back using cases that were brought before PDQ Bach most notably the case of Oedipus Tex but also humor rap and the use of old songs such as Happy Birthday. As I said its very funny. Buddy was the sort of corrupt, beloved politico whose stern sense of morality and personal code of justice has been the irritant dominating Sam's life and, whether or not he cares to admit it, the singular force shaping Sam's personality.

When the skeletal remains of Buddy's predecessor, the venal, despised Sheriff Wade Kris Kristofferson , are uncovered in the desert, Sam investigates the crime with a mission: What's unclear to Sam--but which the audience sees as inevitable--is just how great the price of knowledge will prove to be. Lone Star isn't Agatha Christie; it's Oedipus Rex distilled down to its basic components as a murder mystery. If the narrative began and ended here, Lone Star could probably stand on its own as an art-house drama, a coming-of-age parable deferred by years of post-adolescent wandering.

It's about the daily tyrannies, both petty and large, external and self-imposed, that shape our personalities and our society. The use of the mystery at Lone Star's center enables Sayles to construct a screenplay with jigsaw-puzzle precision, where the whole picture can only be seen at the end, but the journey deciphering the pieces and putting them in context is the important thing.

Sayles peels away the layers of his thesis with uncommon skill, painting a consummate portrait of the town of Frontera, past and present, in images and words.

His camera moves from flashback to present-day with a fluid visual elegance, never drawing bright lines between the scenes, but combining them in single shots. This technique gives all the events an immediacy, and--especially in the case of Sheriff Wade's brutal reign of terror--a palpable impact. The dialogue is equally compelling; not a single line seems wasted, and words as simple as "sheriff" take on multiple meanings.

Sam's insecurity leads him to suggest to an old girlfriend, "I'm not a sheriff, I'm a jailer. Sayles has a remarkable gift for showing the breadth of the human condition through the vista of parallel stories. In City of Hope, he showed a sprawling day in a nameless Eastern city, where the machinery of politics steamrolled over the lives of residents.

The characters were both ignorant victims of the machinery and the cogs driving it.

Lone Star, by contrast, is about "the burden of history. Sam suffers from the constant presence of his father, while an estranged Army colonel Joe Morton resents his own dad's absenteeism; a thriving Mexican-born businesswoman insists that her immigrant employees speak English, while the white PTA resists revisionist teachers giving a "complete" picture of Texas' fight for independence. This cyclical process suggests a dominating sadness to the lives of these characters, even though in Sayles' vision there are no winners or losers, merely those who refuse to liberate themselves from their pasts by embracing the lessons they teach.

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This process emerged as Caldera taught himself to play the guitar. That was pretty much it: I never put the thing down. Oedipus Tex came about when Caldera, smitten with wanderlust, found himself without a permanent address. I went around to some open mikes in Austin, where I was living at the time, and got some positive feedback, so I decided to start playing out as Oedipus Tex," he recalls.

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Caldera soon went to South Africa as part of a study-abroad program through the University of Texas at Austin, his undergraduate alma mater. During breaks from work at a field research station, he often retreated to the bathroom, not to use the facilities or work a crossword puzzle, but to play his guitar. The time in the lavatory paid off, resulting in a track called "Tropic Of Capricorn" and an entire self-titled CD that was released in