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Sex-positive feminism

Sex-positive feminism, also known as pro-sex feminism, sex-radical feminism, or sexually liberal feminism, is a feminist movement centering on the idea that sexual freedom is an essential component of women's freedom. They oppose legal or social efforts to control sexual activities between consenting adults, whether they are initiated by the government, other feminists, opponents of feminism, or any other institution. They embrace sexual minority groups, endorsing the value of coalition-building with marginalized groups. Sex-positive feminism is connected with the sex-positive movement. Sex-positive feminism brings together anti-censorship activists, LGBT activists, feminist scholars, producers of pornography and erotica, among others. Sex-positive feminists believe that prostitution can be a positive experience if workers are treated with respect, and agree that sex work should not be criminalized.

Key ideas

Gayle Rubin summarizes the conflict over sex within feminism. She says that one feminist stream criticizes the sexual constraints and difficulties faced by sexually active women (e.g., access to abortion), while another stream views sexual liberalization as an extension of "male privilege".

Sex-positive feminists reject the vilification of male sexuality that many attribute to radical feminism, and instead embrace the entire range of human sexuality. They argue that the patriarchy limits sexual expression and are in favor of giving people of all genders more sexual opportunities, rather than restricting pornography. Sex-positive feminists generally reject sexual essentialism, defined by Rubin as "the idea that sex is a natural force that exists prior to social life and shapes institutions". Rather, they see sexual orientation and gender as social constructs that are heavily influenced by society.

Some radical feminists reject the dichotomy of "sex-positive" and "sex-negative" feminism, suggesting that instead, the real divide is between liberal feminism and radical feminism.

Sex-radical feminists in particular, come to a sex-positive stance from a deep distrust in the patriarchy's ability to secure women's best interest in sexually limiting laws. Other feminists identify women's sexual liberation as the real motive behind the women's movement. Naomi Wolf writes, "Orgasm is the body's natural call to feminist politics." Sharon Presley, the National Coordinator of the Association of Libertarian Feminists, writes that in the area of sexuality, government blatantly discriminates against women.

The social background in which sex-positive feminism operates must also be understood: Christian societies are often influenced by what is understood as 'traditional' sexual morality: according to the Christian doctrine, sexual activity must only take place in marriage, and must be vaginal intercourse; sexual acts outside marriage and 'unnatural sex' (i.e. oral, anal sex, termed as "sodomy") are forbidden; yet forced sexual intercourse within marriage is not seen as immoral by a few social and religious conservatives, owing to the existence of so-called 'conjugal rights'  defined in the Bible at 1 Corinthians 7:3-5.

Such organization of sexuality has increasingly come under legal and social attack in recent decades.

In addition, in certain cultures, particularly in Mediterranean countries influenced by Roman Catholicism, traditional ideas of masculinity and female purity are still influential. This has led to what many interpret as a double standard between male and female sexuality; men are expected to be sexually assertive as a way of affirming their masculinity, but for a woman to be considered 'good', she must remain pure. Indeed, Cesare Lombroso claimed in his book, The Female Offender, that women could be categorized into three types: the Criminal Woman, the Prostitute, and the Normal Woman. As such, highly sexed women (prostitutes) were deemed as abnormal.

Feminists "ranging from Betty Friedan and Kate Millett to Karen DeCrow, Wendy Kaminer and Jamaica Kincaid" supported the right to consume pornography. Feminists who have advocated a sex-positive position include writer Kathy Acker, academic Camille Paglia, sex educator Megan Andelloux, Susie Bright, Rachel Kramer Bussel, Diana Cage, Avedon Carol, Patrick Califia, Betty Dodson, Nancy Friday, Jane Gallop, Laci Green, porn performer Nina Hartley, Josephine Ho, Amber L. Hollibaugh, Brenda Howard, Laura Kipnis, Wendy McElroy, Inga Muscio, Joan Nestle, Marcia Pally, Carol Queen, Candida Royalle, Gayle Rubin, Annie Sprinkle, Tristan Taormino, Ellen Willis, and Mireille Miller- Young.

Sex positivity
According to sexologist and author Carol Queen, in an interview with researcher and professor Lynn Comella, "[sex positivity] is the cultural philosophy that understands sexuality as a potentially positive force in one's life, and it can be [...] contrasted with sex-negativity, which sees sex as problematic, disruptive, dangerous. Sex-positivity allows for and [...] celebrates sexual diversity, differing desires and relationships structures, and individual choices based on consent... [negative sexual experiences caused by lack of information, support, and choices] are the cultural conditions that sex-positivity allows us to point out as curtailers of healthy, enjoyable sexual experience."

Queen also added, "This sense that many of us were being denied space and credentials to speak for ourselves and speak about issues within our community is what [...] led to the efflorescence of sex-positive feminism. And it is why there is a sex-positive feminism and not just sex-positivity."

Historical roots

Authors such as Gayle Rubin and Wendy McElroy see the roots of sex-positive feminism stemming from the work of sex reformers and workers for sex education and access to contraception, such as Havelock Ellis, Margaret Sanger, Mary Dennett and, later, Alfred Kinsey and Shere Hite. However, the contemporary incarnation of sex-positive feminism appeared more recently, following an increasing feminist focus on pornography as a source of women's oppression in the 1970s.

The rise of second-wave feminism was concurrent with the sexual revolution and rulings that loosened legal restrictions on access to pornography. In the 1970s, radical feminists became increasingly focused on issues around sexuality in a patriarchal society. Some feminist groups began to concern themselves with prescribing what proper feminist sexuality should look like. This was especially characteristic of lesbian separatist groups, but some heterosexual women's groups, such as Redstockings, became engaged with this issue as well. On the other hand, there were also feminists, such as Betty Dodson, who saw women's sexual pleasure and masturbation as central to women's liberation. Pornography was not a major issue during this era; radical feminists were generally opposed to pornography, but the issue was not treated as especially important until the mid-1970s.

There were, however, feminist prostitutes-rights advocates, such as COYOTE, which campaigned for the decriminalization of prostitution.

The late 1970s found American culture becoming increasingly concerned about the aftermath of a decade of greater sexual freedom, including concerns about explicit violent and sexual imagery in the media, the mainstreaming of pornography, increased sexual activity among teenagers, and issues such as the dissemination of child pornography and the purported rise of "snuff films". (Critics maintain that this atmosphere amounted to a moral panic, which reached its peak in the mid-1980s.). These concerns were reflected in the feminist movement, with radical feminist groups claiming that pornography was a central underpinning of patriarchy and a direct cause of violence against women. Robin Morgan summarized this idea in her statement, "Pornography is the theory; rape the practice."

Andrea Dworkin and Robin Morgan began articulating a vehemently anti-porn stance based in radical feminism beginning in 1974, and anti-porn feminist groups, such as Women Against Pornography and similar organizations, became highly active in various US cities during the late 1970s. As anti-porn feminists broadened their criticism and activism to include not only pornography, but prostitution and sadomasochism, other feminists became concerned about the direction the movement was taking and grew more critical of anti-porn feminism.

This included feminist BDSM practitioners (notably Samois), prostitutes-rights advocates, and many liberal and anti-authoritarian feminists for whom free speech, sexual freedom, and advocacy of women's agency were central concerns.

One of the earliest feminist arguments against this anti-pornography trend amongst feminists was Ellen Willis's essay "Feminism, Moralism, and Pornography" first published in October 1979 in the Village Voice. In response to the formation of Women Against Pornography in 1979, Willis wrote an article (the origin of the term, "pro-sex feminism"), expressing worries about anti-pornography feminists' attempts to make feminism into a single-issue movement, arguing that feminists should not issue a blanket condemnation against all pornography and that restrictions on pornography could just as easily be applied to speech that feminists found favorable to themselves.

Rubin calls for a new feminist theory of sex, saying that existing feminist thoughts on sex had frequently considered sexual liberalization as a trend that only increases male privilege. Rubin criticizes anti-pornography feminists who she claims "have condemned virtually every variant of sexual expression as anti-feminist," arguing that their view of sexuality is dangerously close to anti-feminist, conservative sexual morality. Rubin encourages feminists to consider the political aspects of sexuality without promoting sexual repression. She also argues that the blame for women's oppression should be put on targets who deserve it: "the family, religion, education, child-rearing practices, the media, the state, psychiatry, job discrimination, and unequal pay..." rather than on relatively un-influential sexual minorities.

McElroy (1995) argues that for feminists in the 1970s and 1980s, turning to matters of sexual expression was a result of frustration with feminism's apparent failure to achieve success through political channels: in the United States, the Equal Rights Amendment (ERA) had failed, and abortion rights came under attack during the Reagan administration.

Scholar Elaine Jeffreys observes that the 'anti-prostitute' position gained increased critical purchase in China during the establishment of the international movement for prostitutes in 1985, demanding recognition of prostitutes' rights as an emancipation and labor issue rather than of criminality, immorality or disease.

By the 2000s, the positive-sex position had driven various international human rights NGOs to actively pressure the Chinese government to abandon its official policy of banning prostitution in post-reform China and recognize voluntary prostitution as legitimate work.

Pornography
The issue of pornography was perhaps the first issue to unite sex-positive feminists, though current sex-positive views on the subject are wide-ranging and complex. During the 1980s, Andrea Dworkin and Catharine MacKinnon, as well as activists inspired by their writings, worked in favor of anti-pornography ordinances in a number of U.S. cities, as well as in Canada. The first such ordinance was passed by the city council in Minneapolis in 1983. MacKinnon and Dworkin took the tactic of framing pornography as a civil rights issue, arguing that showing pornography constituted sex discrimination against women. The sex-positive movement response to this argument was that legislation against pornography violates women's right to free speech. Soon after, a coalition of anti-porn feminists and right-wing groups succeeded in passing a similar ordinance in Indianapolis. This ordinance was later declared unconstitutional by a Federal court in American Booksellers v. Hudnut.

Rubin writes that anti-pornography feminists exaggerate the dangers of pornography by showing the most shocking pornographic images (such as those associated with sadomasochism) out of context, in a way that implies that the women depicted are actually being raped, rather than emphasizing that these scenes depict fantasies and use actors who have consented to be shown in such a way. Sex-positive feminists argue that access to pornography is as important to women as to men and that there is nothing inherently degrading to women about pornography. However, anti-pornography feminists disagree, often arguing that the very depiction of such acts leads to the actual acts being encouraged and committed.

Feminist curators such as Jasmin Hagendorfer organize feminist and queer porn film festivals (e.g. PFFV in Vienna).

Prostitution and sex workers
Some sex-positive feminists believe that women and men can have positive experiences as sex workers and that where it is illegal, prostitution should be decriminalized. They argue that prostitution is not necessarily bad for women if prostitutes are treated with respect and if the professions within sex work are destigmatized.

Sex workers are adults who receive money (or other goods) in exchange for consensual sexual services. In the United States, sex work is legal. The sex workers' rights movement started in the 1970s, and one of the founding groups was COYOTE. The goal of the sex workers activist is to fight for workers by having a better work environment/ conditions, reducing negative fed back, and stopping prohibition.

Carol Leigh is an American woman who is an artist, filmmaker, and sex worker rights activist. Carol Leigh was the first woman to use the term "sex worker". She wanted to educate others about the understanding of sex workers as well as the rights they should have. In an interview, she stated how she sees her own sex work and the sex work of others as having the possibility to serve a higher, spiritual function in society.

BDSM
Sadomasochism (BDSM) has been criticized by anti porn feminists for eroticizing power and violence and for reinforcing misogyny (Rubin, 1984). They argue that women who choose to engage in BDSM are making a choice that is ultimately bad for women. Sex-positive feminists argue that consensual BDSM activities are enjoyed by many women and validate these women's sexual inclinations. They argue that feminists should not attack other women's sexual desires as being "anti-feminist" or internalizing oppression and that there is no connection between consensual sexually kinky activities and sex crimes.

While some anti-porn feminists suggest connections between consensual BDSM scenes and rape and sexual assault, sex-positive feminists find this to be insulting to women. It is often mentioned that in BDSM, roles are not fixed to gender, but personal preferences. Furthermore, many argue that playing with power (such as rape scenes) through BDSM is a way of challenging and subverting that power, rather than reifying it.

While the negativities about BDSM are discussed a lot, sex-positive feminists are focusing on safety in the BDSM community. Consent is the most important rule when it comes to BDSM.

Cara Dunkley and Lori Brotto discuss the importance of consent in their journal:"Consent represents an ongoing interactive and dynamic process that entails several precautionary measures, including negotiations of play, open communication of desires and boundaries, mutually defining terms, the notion of responsibility and transparency, and ensuring protection from harm through competence and skill."Critics discuss that communication with sexual partners is very important.

Sexual orientation
McElroy argues that many feminists have been afraid of being associated with homosexuality. Betty Friedan, one of the founders of second-wave feminism, warned against lesbianism and called it "the lavender menace" (a view she later renounced). Sex-positive feminists believe that accepting the validity of all sexual orientations is necessary in order to allow women full sexual freedom. Rather than distancing themselves from homosexuality and bisexuality because they fear it will hurt mainstream acceptance of feminism, sex-positive feminists believe that women's liberation cannot be achieved without also promoting acceptance of homosexuality and bisexuality.

Gender identity
Some trans exclusionary radical feminists, such as Germaine Greer, have criticized transgender women (male-to-female) as men attempting to appropriate female identity while retaining male privilege, and transgender men (female-to-male) as women who reject solidarity with their gender. One of the main exponents of this point of view is Janice Raymond. In The Whole Woman, Greer went so far as to explicitly compare transgender women to rapists for forcing themselves into women's spaces.

Many transgender people see gender identity as an innate part of a person. Some feminists also criticize this belief, arguing instead that gender roles are societal constructs, and are not related to any natural factor. Sex-positive feminists support the right of all individuals to determine their own gender and promote gender fluidity as one means for achieving gender equality. Patrick Califia has written extensively about issues surrounding feminism and transgender issues, especially in Sex Changes: Transgender Politics.

Debates
Like feminism itself, sex-positive feminism is difficult to define, and few within the movement (particularly the academic arm of the movement) agree on any one ideology or policy agenda.

An example of how feminists may disagree on whether a particular cultural work exemplifies sex-positivity is Betty Dodson's critique of Eve Ensler's The Vagina Monologues. Dodson argues that the play promotes a negative view of sexuality, emphasizing sexual violence against women rather than the redemptive value of female sexuality. Many other sex-positive feminists have embraced Ensler's work for its encouragement of openness about women's bodies and sexuality.

Statutory rape laws
There is debate among sex-positive feminists about whether statutory rape laws are a form of sexism. As illustrated by the controversy over "The Little Coochie Snorcher that Could" from the Vagina Monologues, some sex-positive feminists do not consider all consensual activity between young adolescents and older people as inherently harmful. There has been debate among feminists about whether statutory rape laws benefit or harm teenage girls and about whether the gender of participants should influence the law's treatment of sexual encounters. Some sex-positive feminists argue that statutory rape laws were made with non-gender neutral intentions and are presently enforced as such, with the assumption that teenage girls are naive, nonsexual, and in need of protection.

Sex-positive feminists with this view believe that "teen girls and boys are equally capable of making informed choices in regard to their sexuality" and that statutory rape laws are actually meant to protect "good girls" from sex. Other feminists are opposed or ambivalent about strengthening statutory rape statutes because these preclude young women from entering consensual sexual relationships, even if competent to consent.

These feminists view statutory rape laws as more controlling than protective – and of course part of the law's historic role was protecting the female's chastity as valuable property. One writer also noted that, at that time, in some states, the previous sexual experience of a teenager could be used as a defense by one accused of statutory rape. She argued that this showed that the laws were intended to protect chastity rather than consent.

Critiques
Works that critique sex-positive feminism includes those of Germaine Greer and the essays by Dorchen Leidholdt. According to Ann Ferguson, sex-positive feminists' only restriction on sexual activity should be the requirement of consent, yet she argues that sex-positive feminism has provided inadequate definitions of consent. Sex-positive feminism has also been criticized for focusing on young women, but ignoring middle-aged and elderly women who are unable or unwilling to direct most of their energy into sexuality.

In her 2005 book Female Chauvinist Pigs, Ariel Levy does not oppose sex-positive feminism per se, though sees a popularized form of sex-positivity as constituting a kind of "raunch culture" in which women internalize objectifying male views of themselves and other women. Levy believes it is a mistake to see this as empowering and further holds that women should develop their own forms of sexual expression. The response by sex-positive feminists to Levy's book has been mixed; Susie Bright viewed the book quite favorably, stating that much of what can be seen as "raunch culture" represents a bastardization of the work of earlier sex-positive feminists such as herself. Rachel Kramer Bussel, however, sees Levy as largely ignoring much of the female-empowered sexual expression of the last 20 years, or misinterpreting it as internalization of male fantasy.

More to review and/or consider
Authors and activists who have written important works about sex-positive feminism, and/or contributed to educating the public about it, include Kathy Acker, Megan Andelloux, Susie Bright, Rachel Kramer Bussel, Diana Cage, Avedon Carol, Patrick Califia, Betty Dodson, Nancy Friday, Jane Gallop, Nina Hartley, Josephine Ho, Amber L. Hollibaugh, Brenda Howard, Laura Kipnis, Wendy McElroy, Inga Muscio, Joan Nestle, Erika Lust, Carol Queen, Candida Royalle, Gayle Rubin, Annie Sprinkle, Tristan Taormino and Ellen Willis. Several of these have written from the perspective of feminist women working in the sex industry.

Information on formal organizations that endorse sex-positive feminism seems lacking but one major outpost of sex-positive feminism is the former cooperative business Good Vibrations founded by Joani Blank in 1977 in order to sell sex toys and publications about sex in an environment welcoming to women. Blank also founded Down There Press which has published various educational publications inspired by sex-positivity. There are a number of other sex-positive feminist businesses who thrive on a combination of sex toy sales and distribution of educational materials. Good For Her, a woman-owned sex-toy shop in Toronto, Ontario, holds an annual Feminist Porn Awards.

Nonprofit groups supporting sex-positive feminism include the currently defunct Feminist Anti-Censorship Task Force associated with Carole Vance and Ann Snitow, Feminists for Free Expression, founded by Marcia Pally, and Feminists Against Censorship associated with anti-censorship and civil liberties campaigner Avedon Carol.

Feminist pornography is a small but growing segment of the pornography industry. A Feminist Porn Award was established in 2006. The equivalent in Europe is the PorYes award for feminist porn, established in 2009. The magazine On Our Backs was founded in 1986 to promote a more positive attitude towards erotica within the community of lesbian and bisexual women. It flourished until 1994, struggled with financial problems and changing ownership and the final edition was published in 2006.

Sex-positive literature

 * Girl Heroes
 * The Ethical Slut

Articles

 * Archived at Susie Bright's Journal (website)).
 * Archived at WendyMcElroy.com (website).
 * Archived at WendyMcElroy.com (website).

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Carlos Ezquerra

Carlos Sanchez Ezquerra (12 November 1947 – 1 October 2018  ) was a Spanish comics artist who worked mainly in British comics. He is best known as the co-creator of Judge Dredd.

Early work
Born in Ibdes, province of Zaragoza, Aragon, Ezquerra started his career drawing westerns and war stories for Spanish publishers. In 1973, he got work in the UK market through agent Barry Coker, drawing for girls' romance titles such as Valentine and Mirabelle, as well as westerns for Thorpe & Porter's Pocket Western Library, and a variety of adventure strips for D. C. Thomson & Co.'s The Wizard. The UK was a popular market for Spanish artists as the exchange rate meant the work paid well, but Ezquerra moved to London to be near the work, settling in Croydon with his wife.

Battle and 2000 AD
In 1974, on the strength of his uncredited work for The Wizard, Pat Mills and John Wagner headhunted him, through Coker, to work for the new IPC title Battle Picture Weekly. He drew "Rat Pack": inspired by the film The Dirty Dozen, the strip, written by Gerry Finley-Day, featured a gang of criminals recruited to carry out suicide missions. But his commitments elsewhere meant he couldn't draw it full-time, and other artists were also used. In 1976 Battle editor Dave Hunt convinced him to commit himself to the title, offering him the laid-back anti-hero "Major Eazy", written by Alan Hebden. Ezquerra drew nearly 100 episodes in the next two and a half years, basing the character's appearance on the actor James Coburn.

He was asked to visualise a new character, future lawman Judge Dredd, for the science fiction weekly 2000 AD, prior to its launch in 1977. His elaborate designs displeased the strip's writer, John Wagner, but impressed editor Pat Mills, and his cityscapes persuaded Mills to set the strip further into the future than initially intended. But Wagner (temporarily) quit over ownership issues, and Ezquerra followed him when the first published appearance of the character was drawn by another artist, Mike McMahon. He returned to Battle, where he once again teamed up with Alan Hebden to create "El Mestizo", a black gun-for-hire who played both sides against the middle during the American Civil War.

In 1978 he and Wagner created "Strontium Dog", a sci-fi western about a bounty hunter in a future where mutants are an oppressed minority forced into doing such dirty work, for Starlord, a short-lived sister title to 2000 AD with higher production values. Starlord was later merged into 2000 AD, bringing "Strontium Dog" with it. Ezquerra was almost the only artist to draw the character, until 1988, when writer Alan Grant decided to kill him off in a storyline called "The Final Solution". Ezquerra disagreed with the decision, and refused to draw the story, which was instead illustrated by Simon Harrison and Colin MacNeil. In 2000 Wagner and Ezquerra revived "Strontium Dog" based on a treatment Wagner had written for an abortive TV pilot. Initially, stories were set before the character's death in a revised continuity, but 2010's "The Life and Death of Johnny Alpha" brought Johnny back from the dead.

Other 2000 AD strips he drew included Fiends of the Eastern Front (1980), a vampire story set in World War II, written by Gerry Finley-Day, and adaptations of Harry Harrison's Stainless Steel Rat novels, with the title character once again resembling James Coburn. In 1982 he returned to "Judge Dredd" to draw "The Apocalypse War", a seven-month epic which he drew in its entirety. He continued to draw the character semi-regularly, handling the whole of "Necropolis" in 1990, "Origins" in 2006–07, and many others.

His son Hector inked and coloured in his pencil work for Strontium Dog between 2008 and 2012.

The character of Stogie from the long-running 2000 AD strip Robo-Hunter was given the full name Carlos Sanchez Robo-Stogie in tribute to Ezquerra.

Other work
Ezquerra collaborated numerous times with writer Garth Ennis on Bloody Mary, Adventures in the Rifle Brigade, War Stories, The Boys: The Self-Preservation Society, a Hitman annual, two Preacher specials (The Good Old Boys and The Saint of Killers miniseries) for DC Comics, and Just a Pilgrim for Black Bull Entertainment.

Ezquerra occasionally used the pen name "L. John Silver" for work such as 2000 AD's "The Riddle of the Astral Assassin!" prog 118, and ABC Warriors, progs 134–136.

Awards

 * National Comics Awards for Best Artist in Comics Today, 2001
 * Inkpot Award, 2015

Death
In later life Ezquerra moved to Andorra. He died of lung cancer on 1 October 2018, at the age of 70. He never retired, and his uncompleted final work, "Spector," was published posthumously in June 2019 by 2000 AD.

In May 2023 the government of Zaragoza voted to name a street after him.

Comics
Comics work includes:

 * Rat Pack (with Gerry Finley-Day, in Battle Picture Weekly, 1975, collected in Volume 1, 128 pages, Titan Books, September 2010, ISBN 1-84856-035-4)
 * Major Eazy (with Alan Hebden, in Battle Picture Weekly, 1976–1978, collected in Volume 1, 120 pages, Titan Books, November 2010, ISBN 1-84856-441-4)
 * El Mestizo (with Alan Hebden, in Battle Picture Weekly, 1977)
 * Judge Dredd (1977–2017):
 * "Krong" (with Malcolm Shaw, in 2000 AD #5, 1977)
 * "Robot Wars" (with John Wagner, in 2000 AD #10, 1977)
 * "Bank Raid" (with Pat Mills and John Wagner, in Judge Dredd Annual 1981), 1980
 * "The Apocalypse War" (with John Wagner and Alan Grant, in 2000 AD #245–270, 1982)
 * "Meka City" (with John Wagner and Alan Grant, in 2000 AD #271–272, 1982)
 * "Fungus" (with John Wagner and Alan Grant, in 2000 AD #275–277, 1982)
 * "The Big Itch" (with John Wagner, in Judge Dredd Annual 1983, 1982)
 * "Behold the Beast" (with John Wagner, in Judge Dredd Annual 1983, 1982)
 * "It's Happening on Line 9" (with John Wagner, in Judge Dredd Annual 1983, 1982)
 * "Destiny's Angels" (with John Wagner and Alan Grant, in 2000 AD #281–288, 1982)
 * "The Executioner" (with John Wagner and Alan Grant, in 2000 AD #291–294, 1982)
 * "The Night of the Rad Beast" (with John Wagner and Alan Grant, in 2000 AD #296–297, 1982)
 * "The Prankster" (with John Wagner and Alan Grant, in 2000 AD #308, 1983)
 * "The Starborn Thing" (with John Wagner and Alan Grant, in 2000 AD #309–314, 1983)
 * "Condo" (with John Wagner and Alan Grant, in 2000 AD #319–321, 1983)
 * "The Other Slab Tynan" (with John Wagner, in Judge Dredd Annual 1984, 1983)
 * "Halloween" (with John Wagner, in Judge Dredd Annual 1984, 1983)
 * "Beat the Devil" (with John Wagner, in Judge Dredd Annual 1984, 1983)
 * "Requiem for a Heavyweight" (with John Wagner and Alan Grant, in 2000 AD #331–334, 1983)
 * "The Big Bang Theory" (with John Wagner and Alan Grant, in Judge Dredd Annual 1985, 1984)
 * "Tarantula" (with John Wagner and Alan Grant, in Judge Dredd Annual 1985, 1984)
 * "The Eat of the Night" (with John Wagner and Alan Grant, in Judge Dredd Annual 1985, 1984)
 * "John Brown's Body" (with John Wagner and Alan Grant, in Judge Dredd Annual 1986, 1985)
 * "Crazy R Raiders" (with John Wagner and Alan Grant, in Judge Dredd Annual 1986, 1985)
 * "The Man Who Knew Too Much" (with John Wagner and Alan Grant, in 2000 AD #438–439, 1985)
 * "Costa del Blood" (with John Wagner and Alan Grant, in Judge Dredd Annual 1989, 1988)
 * "Kirby's Demon" (with John Wagner, in 2000 AD #638, 1989)
 * "The Amazing Ant Man" (with John Wagner, in 2000 AD #640, 1989)
 * "Young Giant" (with John Wagner, in 2000 AD #651–655, 1989)
 * "By Lethal Injection" (with John Wagner, in 2000 AD #669–670, 1990)
 * "Rights of Succession" (with John Wagner, in 2000 AD #671, 1990)
 * "Dear Annie" (with John Wagner, in 2000 AD #672–673, 1990)
 * "Necropolis" (with John Wagner, in 2000 AD #674–699, 1990)
 * "Death Aid" (with Garth Ennis, in 2000 AD #711–715 & #719–720, 1990–1991)
 * "Return of the King" (with Garth Ennis, in 2000 AD #733–735, 1991)
 * "Judgement Day" (with John Wagner and Garth Ennis, in 2000 AD # 788–799, 1992)
 * "The Taking of Sector 123" (with Garth Ennis, in Judge Dredd Megazine vol. 2 #10–11, 1992)
 * "Christmas With Attitude" (with Garth Ennis, in 2000 AD #815, 1992)
 * "Inferno" (with Grant Morrison, in 2000 AD #842–853, 1993)
 * "I Hate Christmas" (with Mark Millar, in 2000 AD #867, 1993)
 * "Frankenstein Division" (with Mark Millar, in 2000 AD #868–871, 1994)
 * "Could You Be Judge Dredd?" (with John Wagner, in Judge Dredd Poster Prog #2, 1994)
 * "The Time Machine" (with John Wagner, in 2000 AD #889–890, 1994)
 * "The Tenth Planet" (with John Wagner, in Judge Dredd Megazine vol.2 #58–62, 1994)
 * "Wilderlands" (with John Wagner, in 2000 AD #904–914, 1994)
 * "Parting Shots" (with John Wagner, in 2000 AD #915, 1994)
 * "The Candidates" (with John Wagner, in 2000 AD #917, 1994)
 * "Voting Day" (with John Wagner, in 2000 AD #918, 1994)
 * "The Neon Man" (with John Wagner, in 2000 AD #951, 1995)
 * "Megalot" (with John Wagner, in 2000 AD #952, 1995)
 * "Bad Frendz" (with John Wagner, in 2000 AD #955–959, 1995)
 * "Awakening of Angels" (with John Wagner, in 2000 AD #958, 1995)
 * "The Pit" (with John Wagner, in 2000 AD #970–977, 1995–96)
 * "The Pit: Unjudicial Liaisons" (with John Wagner, in 2000 AD #987–989, 1996)
 * "The Pit: Bongo War" (with John Wagner, in 2000 AD #996–998, 1996)
 * "Beyond the Call of Duty" (with John Wagner, in 2000 AD #1101–1110, 1998)
 * "Sector House" (with John Wagner, in 2000 AD #1215–1222, 2000)
 * "Helter Skelter" (with Garth Ennis, in 2000 AD #1250–1257 & 1260–1261, 2001)
 * "Leaving Rowdy" (with John Wagner, in 2000 AD #1280, 2002)
 * "The Girlfriend" (with John Wagner, in Judge Dredd Megazine #4.15, 2002)
 * "Phartz!" (with John Wagner, in Judge Dredd Megazine #201, 2003)
 * "Sturm und Dang" (with Gordon Rennie, in Judge Dredd Megazine #211–212, 2003)
 * "Brothers Of The Blood" (with John Wagner, in 2000 AD #1378–1381, 2004)
 * "The Monsterus Mashinashuns of P.J. Maybe" (with John Wagner, in Judge Dredd Megazine #231–234, 2005)
 * "Matters Of Life And Death" (with Gordon Rennie, in 2000 AD #1452, 2005)
 * "Origins" (with John Wagner, in 2000 AD #1505–1519, #1529–1535 and #2007, 2006–2007)
 * "Tour of Duty: Mega-City Justice" (with John Wagner and Hector Ezquerra, in 2000 AD #1687–1693, 2010)
 * "The Adjudicators" (with Si Spurrier, in Judge Dredd Megazine #323–324, 2012)
 * "Block Judge" (with John Wagner, in 2000 AD #1900–1909, 2014)
 * "El Maldito" (with Gordon Rennie, in Judge Dredd Megazine #361–364, 2015)
 * "Ladykiller" (with John Wagner, in 2000 AD #1991–1998, 2016)
 * "From the Ashes" (with Michael Carroll, in Judge Dredd Megazine #374, 2016)
 * "By Private Contract (with John Wagner, in 2000 AD #2000, 2016)
 * "Get Jerry Sing" (with John Wagner, in 2000 AD #2023, 2017)

 * Strontium Dog:
 * All stories written by John Wagner unless otherwise stated.

 * "Max Quirxx" (Starlord #1–2, 1978)
 * "Papa Por-ka" (Starlord #3–5, 1978)
 * "No Cure For Kansyr" (Starlord #6–7, 1978)
 * "Planet of the Dead"(Starlord #8–10, 1978)
 * "Two-Faced Terror!" (Starlord #12–15, 1978)
 * "The Ultimate Weapon" (Starlord #21–22, 1978)
 * "The Galaxy Killers" (2000 AD #86–94, 1978)
 * "Journey Into Hell" (2000 AD #104–118, 1979)

 * All stories below written by John Wagner and Alan Grant writing in partnership, unless otherwise stated.

 * "Death’s Head" (2000 AD #178–181, 1980)
 * "The Schicklgruber Grab" (2000 AD #182–188, 1980)
 * "Mutie’s Luck" (2000 AD #189, 1980)
 * "The Doc Quince Case" (2000 AD #190–193, 1980–81)
 * "The Bad Boys Bust" (2000 AD #194–197, 1981)
 * "Portrait Of A Mutant" (2000 AD #200–206, 210–221, 1981)
 * "The Gronk Affair" (2000 AD #224–227, 1981)
 * "The Kid Knee Caper" (2000 AD #228–233, 1981)
 * "The Moses Incident" (2000 AD #335–345, 1983)
 * "The Killing" (2000 AD #350–359, 1984)
 * "Outlaw!" (2000 AD #363–385, 1984)
 * "The Big Bust Of ’49" (2000 AD #415–424, 1985)
 * "The Slavers Of Drule" (2000 AD #425–436, 1985)
 * "Max Bubba" (2000 AD #445–465, 1985–86)
 * "Smiley’s World" (2000 AD #466–467, 1986)
 * "Rage" (2000 AD #469–489, 1986)
 * "Incident on Mayjer Minor" (2000 AD #490–496, 1986)
 * "Warzone!" (2000 AD #497–499, 1986)
 * "The Beast of Milton Keynes" (written by Alan Grant; 2000 AD Annual 1986)
 * "Bitch" (2000 AD #505–529, 1987)
 * "The Royal Affair" (2000 AD #532–536, 1987)
 * "The Rammy" (2000 AD #544–553, 1987)
 * "The Stone Killers" (written by Grant alone; 2000 AD #560–572, 1988)
 * "Incident On Zeta" (written by Grant alone; plot suggested by Carlos Ezquerra; 2000 AD #573, 1988)
 * "Complaint" (2000 AD Annual 1988)

 * All stories below written by John Wagner alone.

 * "The Kreeler Conspiracy" 2000 AD #2000, 1174–1180, 1195–1199 (1999–2000)
 * "The Sad Case" 2000 AD #2001 (2000)
 * "Roadhouse" 2000 AD #1300–1308 (2002)
 * "The Tax Dodge" 2000 AD #1350–1358 (2003)
 * "The Headly Foot Job" 2000 AD #1400–1403 (2004)
 * "Traitor To His Kind" 2000 AD #1406–1415 (2004)
 * "A Shaggy Dog Story" 2000 AD #2006, 1469–1472 (2005–06)
 * "The Glum Affair" 2000 AD #2008, 1567–1576 (2007–08)
 * "Blood Moon" (inking and colours by Hector Ezquerra from episode 2) 2000 AD #2009, 1617–1628 (2008–09)
 * "The Mork Whisperer" (inking and colours by Hector Ezquerra) 2000 AD #1651–1660 (2009)
 * "The Life and Death of Johnny Alpha" (inking and colours by Hector Ezquerra) 2000 AD #1689–1699 (2010)
 * "The Life and Death of Johnny Alpha: The Project" (inking and colours by Hector Ezquerra) 2000 AD #2012, 1764–1771 (2011–12)
 * "What If...? Max Bubba Hadn't Killed Wulf," written by Alan Grant. 2000 AD #1772 (2012)
 * "The Life and Death of Johnny Alpha: Mutant Spring" 2000 AD #2013, 1813–1821 (2012–13)
 * "The Life and Death of Johnny Alpha: Dogs of War" 2000 AD #2014, 1862–1870 (2013–14)
 * "The Stix Fix" 2000 AD #1924–1933 (2015)
 * "Repo Men" 2000 AD #1961–1971 (2015–2016)
 * "The Son" 2000 AD #2073–2081 (2018)

 * Rick Random (in 2000 AD #118, 1979)
 * Tharg the Mighty:
 * "A Close Encounter of the Fatal Kind!" (in 2000 AD #102, 1979)
 * "A Day in the Life of the Mighty Tharg" (in 2000 AD #129, 1979)
 * Tharg The Mighty (in 2000 AD # 145-46, 1979)
 * Tharg the Mighty (in 2000 AD # 155 & 162, 1980)
 * Tharg the Mighty (in 2000 AD # 176-77 & 180-82, 1980)
 * Tharg the Mighty (in 2000 AD # 304, 1983)
 * Tharg the Mighty (in 2000 AD # 435-36, 1985)
 * Tharg the Mighty (in 2000 AD # 443, 1985)
 * Tharg the Mighty (in 2000 AD Winter Special # 3, 1990)
 * ABC Warriors (with Pat Mills):
 * "Golgotha" (in 2000 AD #134–136, 1979)
 * "The Shadow Warriors Book I" (in 2000 AD #1336–1341, 2003)
 * The Stainless Steel Rat (with Kelvin Gosnell, tpb, 208 pages, July 2010, ISBN 1-906735-51-4):
 * "The Stainless Steel Rat" (in 2000 AD #140–151, 1979–1980)
 * "The Stainless Steel Rat Saves the World" (in 2000 AD #166–177, 1980)
 * "The Stainless Steel Rat for President" (in 2000 AD #393–404, 1984–1985)
 * Fiends of the Eastern Front (with Gerry Finley-Day, in 2000 AD #152–161, 1980; tpb ISBN 1-904265-64-2)
 * Third World War (with Pat Mills):
 * Book 1 (in Crisis #1–6 and 9–14, 1988)
 * "Back in Babylon" (in Crisis #17, 1989)
 * Untitled (in Crisis #18, 1989)
 * "All about Eve" (in Crisis #20–21, 1989)
 * Anderson: Psi Division: "The Random Man " (with Alan Grant, in 2000 AD #657–659, 1989)
 * Durham Red:
 * "Island of the Damned" (written by Alan Grant, in 2000 AD #762–773, 1991)
 * "The Golden Mile" (written by Alan Grant, in 2000AD Yearbook 1993)
 * The Scarlet Apocrypha: "Red Menace" (written by Dan Abnett, in Judge Dredd Megazine vol. 4 no. 17, 2002)
 * "The 'Nobody Wants This Job' Job" (written by Alan Grant, in 2000 AD #1785–1790, 2012)
 * "The Judas Strain" (written by Lauren Beukes and Dale Halvorsen, in 2000 AD 40th Anniversary Special, 2017)
 * Al's Baby (with John Wagner):
 * Al's Baby (in Judge Dredd Megazine vol.1 # 4–15 1991)
 * Al's Baby (in Judge Dredd Megazine vol.2 # 16–24 1992–93)
 * Al's Baby (in 2000 AD # 1034–1044, 1997)
 * Armageddon: "The Bad Man" (with Alan Grant, in Judge Dredd Megazine vol. 2 #1–7, 1992)
 * Purgatory (with Mark Millar, in 2000 AD #834–841, 1993)
 * Janus: Psi-Division: "Will o' the Wisp" (with Grant Morrison, in 2000 AD Winter Special 1993, 1993)
 * Bob, the Galactic Bum (with Alan Grant and John Wagner, 4-issue mini-series, DC, 1995)
 * Bloody Mary (with Garth Ennis, Vertigo, tpb, 2005 ISBN 1-4012-0725-1):
 * "Bloody Mary" (DC/Helix, 4 issue mini-series, 1996)
 * "Bloody Mary: Lady Liberty" (DC/Helix, 4 issue mini-series, 1998)
 * Hitman (with Garth Ennis, in Pulp Heroes Annual #1, DC Comics, 1997)
 * Batman: Legends of the Dark Knight #101 (with John Wagner, December 1997)
 * Preacher (with Garth Ennis, Vertigo, included in Preacher, Volume 4: Proud Americans, tpb, March 1998, ISBN 978-1-56389-405-3):
 * Preacher Special: Saint of Killers #3 (4-issue mini-series, October 1996, included in Preacher, Book 3, hardcover, December 2010, ISBN 978-1-4012-3016-6)
 * Preacher Special: The Good Old Boys (one-shot, August 1997, included in Preacher, Book 4, hardcover, June 2011, ISBN 978-1-4012-3093-7)
 * Mara Jade: By the Emperor's Hand (with Timothy Zahn and Michael A. Stackpole, Dark Horse, tpb collects Star Wars: Mara Jade – By The Emperor's Hand #1–6, 1999 ISBN 1-56971-401-0)
 * War Story: Condors (with Garth Ennis, Vertigo, 2003; collected in War Stories volume 2)
 * Adventures in the Rifle Brigade (with Garth Ennis, Vertigo, tpb collects both mini-series, 2004: ISBN 1-4012-0353-1):
 * "Adventures in the Rifle Brigade" (3 issue mini-series, 2000)
 * "Operation Bollock" (3 issue mini-series, 2001)
 * Just a Pilgrim (with Garth Ennis, complete hardcover, Dynamite Entertainment, 2009, ISBN 1-60690-003-X) collects:
 * Just a Pilgrim (Black Bull, 5 issues, 2001, tpb, 2001 ISBN 1-84023-377-X)
 * Just a Pilgrim: Garden of Eden (Black Bull, 4 issues, 2002, tpb, 2003 ISBN 1-84023-590-X)
 * Cursed Earth Koburn (with Gordon Rennie):
 * "Kuss Hard" (in Judge Dredd Megazine #221–223, 2004)
 * "Burial Party" (in Judge Dredd Megazine #228, 2005)
 * "The Assizes" (in Judge Dredd Megazine #239, 2005)
 * "Malachi" (in Judge Dredd Megazine #240–244, 2006)
 * "Going After Billy Zane" (in Judge Dredd Megazine #314–318, 2011)
 * "The Law of the Cursed Earth" (written by Rory McConville, in Judge Dredd Megazine #392–396, 2018)
 * Kev Hawkins (with Garth Ennis):
 * The Magnificent Kevin (DC/Wildstorm, 5 issues, 2005, tpb, 2006, ISBN 1-4012-0990-4)
 * A Man Called Kev (5-issue mini-series, 2006, June 2007, ISBN 1-4012-1324-3)
 * Battlefields (with Garth Ennis, Dynamite Entertainment):
 * Tankies (3-issue mini-series, April–July 2009, tpb, 88 pages, September 2009, ISBN 1-60690-057-9, included in The Complete Battlefields, Volume 1, hardcover, 268 pages, December 2009, ISBN 1-60690-079-X)
 * The Firefly and His Majesty (3-issue mini-series, March–May 2010, tpb, 80 pages, August 2010, ISBN 1-60690-145-1, included in The Complete Battlefields, Volume 2, hardcover, 200 pages, July 2011, ISBN 1-60690-222-9)
 * Spector (with John Wagner, in 2000 AD Sci-Fi Special, June 2019)

Collected editions
Some of Ezquerra's more recent Judge Dredd and Cursed Earth Koburn work has been collected into one volume:

 * Judge Dredd: The Carlos Ezquerra Collection (224 pages, Rebellion, ISBN 1-905437-35-8)

Toys
He drew the artwork on the header cards for Corgi model's range of X-Ploratron die-cast models. (Diecast Collector Magazine, September 2006 issue, page 38)

The four X-Ploratron models were;

 * Corgi Model Number 2022; "X4 Scanotron"
 * Corgi Model Number 2023; "X1 Rocketron"
 * Corgi Model Number 2024; "X2 Lasertron"
 * Corgi Model Number 2026; "X3 Magnetron"

Interviews

 * Interview by Paul Ens (Ghent) from theForce.net
 * Ezquerra interviewed in 2014 at 2000ad.wordpress.com

title: Carlos Ezquerra


text:
Joey (TV series)

Joey is an American sitcom created by Scott Silveri and Shana Goldberg-Meehan. It is a spin-off to Friends, with Matt LeBlanc reprising his role as Joey Tribbiani. It premiered on NBC on September 9, 2004. Midway through the second season, the show was placed on a hiatus but returned on March 7, 2006. Only one more episode aired before the show was pulled. NBC canceled the series due to low ratings in May 2006.

Overview
The series centers on Joey Tribbiani, who has struck out on his own and moved to Hollywood, hoping to truly make it as an actor. After reuniting with his high-strung sister, Gina, a hairdresser, Joey moves in with his genius twenty-year-old nephew Michael, who is a rocket scientist. He begins a tentative romance with his superintendent, Alexis Garrett, and becomes close friends with fellow aspiring actor Zach Miller.

Cast and characters

 * Matt LeBlanc as Joey Tribbiani, a struggling actor and food lover who becomes famous for his role on Days of Our Lives as Dr. Drake Ramoray. Joey is a womanizer with many girlfriends throughout the series, in keeping with his character on Friends. The series roughly picks up where Friends left off, with Joey at the beginning of the show making a move from New York to Los Angeles to proceed with his acting career. He is constantly talking about food or eating sandwiches or pizza.
 * Drea de Matteo as Gina Tribbiani, Joey's older sister, who is temperamental and promiscuous. Gina is not too bright, yet very street-wise; she is a caring but over-protective and domineering mother. For years, she convinced her genius son, Michael, that he was born when she was 22 instead of sixteen years old, and always says he is the one thing she has done well. She and Joey are friends in addition to being siblings, both having the gift of being extremely appealing to the opposite sex, with numerous lovers. Initially working as a hairdresser, by season two, she works as a secretary for Joey's agent, Bobbie, having impressed Bobbie with her brash manner. In season two, she starts dating Michael's father, Jimmy, once again. In the season-two episode "Joey and the Holding Hands", it is implied that Gina may be bisexual.
 * Andrea Anders as Alexis "Alex" Garrett, Joey's next-door neighbor, landlady, and friend. She is an educated, yet slightly ditzy, blonde lawyer who graduated from Northwestern University and Pepperdine University School of Law. Initially intimidated but also intrigued by Joey's tough street-wise older sister, Gina, the two women eventually become friends and she becomes bolder in the way she dresses and acts, thanks to Gina's influence. She is puzzled but impressed by Joey's intuitive gift of knowing when she is wearing thong panties and spends most of her time hanging out at Joey and Michael's apartment. She and Joey bond and become close friends. Her husband is a professional orchestra musician and is away from home most of the time, and she confides her problems with her marriage in Joey. At the end of season one, she and Joey become romantically involved during her separation from her husband. In season two, she becomes romantically interested in Joey and has a crush on him for a long period. Gina tries to help her get over Joey, but once Alex starts dating Joey's friend Dean, Joey soon realizes that he is also in love with Alex. Shortly after the series ended, Anders and LeBlanc entered a relationship for nine years.
 * Paulo Costanzo as Michael Tribbiani, Joey's nephew, who idolizes Joey's ability to date many women and who himself is sheltered and nervous around girls. He is self-conscious that he has been so sheltered and that his mother, Gina, breastfed him until he was seven. Early in the second season, it is revealed that Michael has Asperger syndrome. He is a huge Star Trek: The Next Generation and Star Wars fan. He is extremely intelligent, an aerospace engineer, attends Caltech, and specialises in applied thermodynamics. He works with his rival, Seth, on engineering projects, and is an obvious direct opposite from his more street-wise mother and uncle. He turns to Joey as a big brother and substitute father figure, even after his biological father, Jimmy, re-enters Gina's love life.
 * Jennifer Coolidge as Roberta "Bobbie" Morganstern, Joey's agent and reportedly the twelfth most powerful woman in Hollywood. She has an enormous crush on Joey's nephew, Michael. She often entertains herself by making her office assistant do funny tricks or shocking herself with a stun-gun. She is brash, forward, aggressive, highly entertaining, and slightly ditzy, laughing at everything and at anyone's expense, including her client Joey's. She was once sued by Phil Collins.
 * Miguel A. Núñez Jr. as Zach Miller (season 2), an actor and amateur play director who becomes close friends with Joey. Zach does not appear to have a home; he was seen at one time living in Joey's trailer while working on a major blockbuster movie. In one episode, Zach and Joey, both drunk, get married in Tijuana, possibly a parody of Ross and Rachel marrying each other in the season-five finale of Friends. Zach's final appearance was in "Joey and the Big Move". Núñez was absent from the last five episodes, including the finale of the series, because he found another job.
 * Ben Falcone as Howard Peckerman, Joey's friend and neighbor.

Several cast members had previously appeared as different characters in Friends: Coolidge appeared as Amanda, an old friend of Monica and Phoebe, in a tenth-season episode. Adam Goldberg, who played Jimmy, appeared in the second season of Friends in the recurring role of Eddie, who moves in with Chandler after Joey moves out. Carlos Gómez, who played Sam the director, appeared in one episode of Friends as the restaurant worker Julio in "The One with All the Jealousy". Patrick Kerr, who played the producer of the Daytime Soap Awards, appeared in one episode of Friends as a restaurant manager who auditions Monica for a job as a chef. Brent Spiner, who played himself, appeared in one episode of Friends as James Campbell, who interviews Rachel for a job.

Additionally, Robert Costanzo reprised his role as Joey's father, Joey Tribbiani Sr., who originated in the first season of Friends, in "Joey and the Dad", making Costanzo the only actor besides LeBlanc to play the same character in both series, since Gina and Mary Theresa both appeared in a third-season episode of Friends but were not played by Drea de Matteo and Christina Ricci, respectively. Simon Helberg appeared in four episodes as Seth Tobin, a nerdy engineer and friend/rival of Michael who shared many similarities with one of Helberg's later characters, Howard Wolowitz, in The Big Bang Theory. David Schwimmer, who previously portrayed Ross Geller and directed several episodes of Friends, returned to direct two episodes of Joey.

Background and development
After the series finale of Friends in 2004, LeBlanc signed on for the spin-off series, Joey, following Joey's move to Los Angeles to pursue his acting career. Friends producers Marta Kauffman and David Crane were not interested in the spin-off, although Kevin S. Bright agreed to be executive producer, along with Joey creators Scott Silveri and Shana Goldberg-Meehan, the latter of whom left the show after the first season and was replaced by Jon Pollack.

The pilot episode was released in screener for test audiences and members of the entertainment industry to preview the show and drum up business. The screener was subsequently leaked on the internet and thus has received a much wider critical review process than initially conceived. There were few differences between the unaired pilot and the version that was broadcast. Ashley Scott played the role of Allison in the unaired pilot but was replaced by Andrea Anders, and the character name changed to Alex.

The series did well in the Nielsen ratings in its first season (2004–2005) and was subsequently renewed for a second season (2005–2006). In the second season, Miguel A. Núñez Jr. was added to the show as a series regular and Jennifer Coolidge had a more prominent role. The show was pulled from its Thursday-night timeslot in December 2005 and NBC returned it in a new timeslot (Tuesdays at 8pm) on March 7, 2006. Due in part to being in competition with American Idol, Joey was the lowest-rated prime time program of the week for NBC. The network pulled the series after the first Tuesday broadcast, and its cancellation was announced on May 15, 2006. The remaining episodes have never been broadcast by NBC but have been shown on various other networks around the world. Episode 5 and Episode 13 of season one were directed by David Schwimmer, who played Ross Geller in Friends. NBC heavily promoted Joey and gave it Friends ' Thursday 8:00 pm timeslot. The pilot was watched by 18.6 million American viewers, but ratings continually decreased throughout the series' two seasons, averaging 10.2 million viewers in the first season and 7.1 million in the second. The final broadcast episode, on March 7, 2006, was watched by 4.1 million viewers; NBC canceled the series on May 15, 2006, after two seasons. Bright blamed the collaboration between NBC executives, the studio, and other producers for quickly ruining the series:

"On Friends, Joey was a womanizer, but we enjoyed his exploits. He was a solid friend, a guy you knew you could count on. Joey was deconstructed to be a guy who couldn't get a job, couldn't ask a girl out. He became a pathetic, mopey character. I felt he was moving in the wrong direction, but I was not heard."

Season 2 (2005–06)

 * First broadcast in Ireland on RTÉ Two
 * First broadcast in Latin America on WBTV and Norway on TV 2
 * First broadcast in Latin America on WBTV

International airings
In Brazil, the show premiered on November 2, 2004, and it was first aired on Warner Channel. The entire series was broadcast. Two years later, it also premiered on terrestrial television channel SBT, under the name Vida de Artista ("Artist's Life"). The show was also screened in New Zealand on TV2 and in Australia on the Nine Network. In the United Kingdom, it aired on Channel 5 from 13 February 2005.

Reception and cancellation
Joey premiered on NBC on September 9, 2004, as part of the network's Thursday-night comedy lineup. Although the series was not well received by critics, the pilot episode attracted 18.6 million viewers. As the first season progressed, ratings fell but remained average (10.1 million viewers). NBC renewed the series for a second season and moved it to Tuesday nights, opposite Fox's highly rated American Idol.

Ratings for the second season fell to an all-time low (4.1 million viewers), and NBC put the show on hiatus in March 2006. The network officially canceled the show in May 2006, citing low ratings.

Awards and nominations
Joey won the People's Choice Award for Favorite New Television Comedy, and Matt LeBlanc won Favorite Male Television Star. LeBlanc was also nominated for the Golden Globe Award for Best Actor – Television Series Musical or Comedy.

title: Joey (TV series)


text:
Lighthouse Keepers (band)

The Lighthouse Keepers, initially the Light-Housekeepers, were an Australian country and indie pop band formed in 1981 in Canberra. In November 1984 the group issued their debut studio album, Tales of the Unexpected, and a single, "Ocean Liner". In 1985 the band toured the United Kingdom supporting Hot label mates, The Triffids. The Lighthouse Keepers combined a "loosely rehearsed, casual ethos" with humour, punk attitudes and pure pop song craft. The ensemble disbanded in 1986, releasing a compilation album, Imploding, in November that year. According to rock music historian, Ian McFarlane, their "tasteful, jangly brand of country-tinged folk rock was at odds with prevailing trends on Sydney's early 1980s, Detroit-besotted independent scene. The band nevertheless issued a number of albums and singles, and always lived up to audience expectations".

Formation
The Lighthouse Keepers founders' Greg Appel on acoustic guitar, bass, keyboards and vocals, and Stephen O'Neil on drums, bass, guitar and saxophone were members of Canberra-based groups The Grant Brothers and Guthugga Pipeline. The pair were joined by Juliet Ward on vocals, bass guitar and keyboards as Tex Truck and the Semis, for a University of Technology, Sydney (UTS) student talent quest. In 1981 augmented by Michael "Blue" Dalton on slide guitar, dobro, bass guitar and harmonica they formed The Lighthouse Keepers. Dalton was a vintage music enthusiast who contributed a country blues style to arrangements as a foil to multi-instrumentalist O'Neil's nifty and melodic bass, drums, guitar and C melody sax playing, further complementing the rich timbre and interpretive abilities of vocalist Ward, with Appel's understated but skilfully rendered jangling Morris brand 12 string guitar. All members rotated to bass playing duties both on stage and also in the studio to facilitate various song arrangements.

Musical influences
The Lighthouse Keepers' repertoire was initially steeped in country, blues, folk, pop and jazz which later infused Appel's melodic and lyrically engaging songs melded with emotionally charged vocals by Ward. Along with subtle somewhat larrikin humour, stories dealing with suburban teenage angst and interpersonal relationships, were bitter sweet love songs, a couple of instrumental contributions from O'Neil and Appel, plus a sprinkling of cover versions highlighting their musical influences, for example, 'St James Infirmary Blues' and 'Big Noise from Winnetka'. Other diverse influences included Australian country musician, Chad Morgan, American C&W songs such as 'A Dear John Letter' and Sun Records era rockabilly artists including early Narvel Felts, as well as the newly emerging and more contemporary British American and Australian independent bands of the time.

Early recordings
The Lighthouse Keepers' early cassette recordings include a live performance (replete with Ward's dog "Chaos" contributing back up vocals) of a Tim Spencer composition "Cigareetes and Whusky", originally recorded by The Sons of the Pioneers, the Willie Dixon Big Three Trio and Red Ingle. A demo version of the country standard "I Fall to Pieces" (popularised by Patsy Cline), was recorded in late 1982 on a Sony 4-track and mixed to cassette, with vocals by Ward accompanied by Appel on acoustic guitar who later overdubbed bass and slide guitars.

"Gargoyle"
In 1983 The Lighthouse Keepers issued their first single, "Gargoyle", as a three-track 7 inch vinyl 45rpm on their own independent label, Guthugga Pipeline Records. Production costs were financed independently by the band and early pressings sported individually hand drawn disc labels and cover art by band members.

The A-side, "Gargoyle", featured vocals by Ward, and the two B-side tracks: "Demolition Team", and "Quick Sticks", were both sung by Appel. All three original compositions were written by Appel who played 12 string acoustic guitar utilising a stomp box effects unit compressor. O'Neil played percussion on a borrowed drum kit. Initial overdubs including bass guitar played by Appel and blues style harmonica and dobro style slide guitar by Dalton were later finished by doubletracking of Ward's vocals.

Recordings were completed at Dream Studios Mk3 on a Teac 8-track 1/2 inch analog reel to reel tape recorder running at 7 1/2 ips and later mixed to a Technics 15 ips $1/4$-inch 2-track referenced with Auratone 5c sound cubes.

In keeping with the prevailing autodidactic 'zeitgeist', the audio engineers encouraged the band to purchase their own blank tapes and follow the production processes from mastering by Don Bartley at EMI's Sydney Studios to "test pressing" (see white label) at EMI's Homebush record plant where vinyl discs were manufactured through EMI's custom pressing service. " Strike a Lighthouse! " is etched near the matrix numbers of the run-out grooves.

The Exploding Lighthouse Keepers (1983)
In mid-1983, the Lighthouse Keepers added Steven Williams on drums and as their manager – Williams was also a member of post punk band The Particles with O'Neil. In November The Lighthouse Keepers released a second recording on their own Guthugga Pipeline label. The self-produced and -distributed 12-inch 45 rpm six-track "Lo-fi" extended play was titled The Exploding Lighthouse Keepers. The EP showcased another five of Appel's songs and musical arrangements plus a cover version of the Bo Carter country blues song "Whisky and Gin".

Opening with "Springtime", the EP highlighted the country blues style harmonica of Dalton which was in part characteristic of the Lighthouse Keepers' sound. The disc heralded the introduction of brass instruments into the group's instrumental range which continued in subsequent recordings. Trumpet player Alex Hamilton, who also played the solo on The Particles track "I Luv Trumpet", contributed overdubbed brass lines on "Bad Mood" and the duet intro for country ballad "Again". Musical arrangements were embellished with keyboard and tambourine played by Ward with additional percussion by O'Neil. The integration of the driving pop sensibility of drummer Williams, allowed O'Neil to add second guitar parts to "The Beat" and "Narvel Felts". Album cover artwork was by Appel with the record sleeve insert artwork attributed to Fabian.

With the exception of "Whiskey and Gin" (which was recorded direct to a Technics 15 ips $1/4$-inch 2-track in the bathroom of a Redfern terrace), all other tracks were recorded as live instrumental backing tracks (guide vocals retained and later doubled to form a composite vocal track) with drums sub mixed to stereo allowing space for overdubs. Recording was again done at Peter Hornak's, Dream Studio Mk3, located in an old warehouse in the historic Haymarket area of Sydney.

Tales of the Unexpected (1984)
The Lighthouse Keepers signed to Hot Records where their diverse label mates included Wet Taxis, The Triffids and Laughing Clowns. In August 1984 the label re-issued "Gargoyle" and followed in November with the band's first studio album, "Tales of the Unexpected" which resulted in their most successful single "Ocean Liner". The album was recorded during August at Paradise Studios in Woolloomooloo, Sydney by David Price, assisted by Tom Colley, the house engineers. The recording facility featured Westlake Audio monitors (cross referenced by Yamaha NS-10 near field monitors), twin MCI 24-track tape recorders, Harrison automated mixing console and 'state of the art' acoustic design and microphones. The album was recorded and mixed at 30ips during ten "discount rate" consecutive midnight to dawn sessions. It was produced by The Lighthouse Keepers and John Basett and mixed by Price, LHK and Basett. Additional musicians provided mandolin, banjo, baritone sax, trombone and trumpet. The band rose to the challenges of working at a professional level, taking the opportunity to develop their own distinctive sound and musical direction. Mastering, test pressing and record production from stampers was completed at the CBS studios (see also Columbia records). The album cover painting artwork was by O'Neil.

Career highlights
The Lighthouse Keepers are described in various rock music publications, including Encyclopedia of Australian Rock and Pop(1999) The Who's Who of Australian Rock (2002), Inner City Sound (2005), and Blunt: A Biased History of Australian Rock (2001). They were also favourably reviewed by Stuart Coupe in the Sun Herald. as well as sections of the local rock press who were generally supportive of indie bands, including On the Street, RAM, Juke and other publications. The Lighthouse Keepers received airplay through the alternative radio stations 2SER, 2JJJ and similar community radio networks interstate. They garnered glowing reviews in the British music journals, NME and Sounds. They supported international artists touring Australia such as Jonathan Richman and John Cooper Clarke (1983) and The Violent Femmes, as well as the Brisbane band The Go-Betweens (1984). They built up a loyal following whilst performing regularly along the Australian east coast with occasional treks westwards across the Nullarbor Plain to Perth. The Lighthouse Keepers undertook a low key tour of Europe in 1985, which included an outdoor festival in Rotterdam headlined by The Triffids and The Woodentops, as well as gigs in Germany, Switzerland, Italy and Austria, returning to England to support The Triffids at Leeds University, the Clarendon Hammersmith and other shows in and around London.

Imploding (1986)
Early in 1986 The Lighthouse Keepers returned to Australia and disbanded after a career including over 350 performances. On 28 March they held a farewell show at the Graphics Arts Club, Chippendale. In November, Waterfront Records released their compilation album, 'Imploding'. The runout groove on side-B read " Would the last person to leave please turn-out the lighthouse ".

Reunions
Since disbanding, The Lighthouse Keepers have reunited sporadically to play private parties, launch their own 2× CD compilation, "Lipsnipegroin", at the Annandale Hotel in Sydney (1992) and help launch the 2× CD various artists compilation, 'Tales from the Australian Underground' at the Metro in Sydney (2003). They have also played tribute shows, benefits, (2009) and opened both nights of the final leg of a Laughing Clowns reformation tour at the Basement in Sydney (2009).

In August 2011, a further compilation of The Lighthouse Keepers' material "ode to nothing" was issued as a 15-track remastered "best of" CD. They were joined by Perth-based drummer Hugh Veldon for a well attended and reviewed live show at the Sandringham Hotel Sydney September (2011) followed by a string of suburban gigs during January and February 2012 in Melbourne, Canberra  with the final performance in Sydney at Marrickville. Some of these shows featured ex- Widdershins left handed drummer Peter Timmerman as well as original drummer Steven Williams returning to reprise his role on some songs with extra excitement generated when he and Timmerman played drums simultaneously. The shows were unique in featuring a "guest speaker" each night.

Adapting to the new media LHK, old fans, and an emerging modern audience interacted via social network services which saw releases of additional self-produced DIY video clips from the band, and had the unexpected reciprocal benefit of generating a number of videos, captured by audience members of live performances from the reunion tour, using a variety of devices ranging from hand held mobile phones and cameras to digital video recorders and then uploaded to YouTube.

Postscript
Stephen O'Neil became a librarian and maintained an international recording and touring career with indie pop group, The Cannanes.

Appel and Ward formed the short-lived Rainlovers, which in 1987 evolved into Widdershins before disbanding in 1989. Appel and younger brother Steve also played live and recorded together in various loose-knit bands sometimes with their youngest brother David (vocals, trumpet, percussion). A fourth Appel brother, Rob, founded the Internet music retail website Chaos.com.

Ward is a scientific researcher who has studied the Dingo and still performs live casually. She participated in a 2007 podcast, and does occasional interviews. As "Jet" Ward she recorded a cover version of the song "Rachael Cooper" by Baterz ( a member of the cult band The Bedridden) on the 3× CD album, "Great Big Sqiddy Fun- A Baterz Tribute".

Appel has his own Spontaneous Films production company and has also worked for the Australian Broadcasting Corporation (ABC) producing and/or directing radio and TV projects, including work with producer Paul Clarke on the ABC six-part music documentary series, 'Long Way To The Top' (August–September 2001).

Amongst other post The Lighthouse Keepers projects is Van Park – The Musical written by Appel and featuring music by Steve's King Curly and a cast including John Paul Young and Steve Kilbey, which premiered at the Seymour Centre during the 2010 Sydney Fringe Festival; and in March 2013 was revived for the Oakleigh 'Carnival of Suburbia' in Melbourne.

Members

 * Greg Appel – acoustic 12-string guitar, bass guitar, keyboards, vocals (1981–2012)
 * Stephen O'Neil – drums, bass guitar, guitar, saxophone (1981–2012)
 * Juliet "Jet" Ward – vocals, bass guitar, keyboards (1981–2012)
 * Michael "Blue" Dalton – slide guitar, dobro, bass guitar, harmonica (1981–2012)
 * Steven Williams – drums (1983–2012)
 * Hugh Veldon – drums (2011)
 * Peter Timmerman – drums (2012)

Albums

 * Tales of the Unexpected (1984, Hot Records 1011)
 * Imploding (compilation album 1986, vinyl LP album, Waterfront Records DAMP33 )
 * Lipsnipegroin (compilation album, 1999, 2× CD, Phantom Records PHDCD-19 )
 * Ode to Nothing – The Best of The Lighthouse Keepers (15-track remastered retrospective, 2011, CD, FEEL 009 )

Extended plays

 * The Exploding Lighthouse Keepers (Mini Album, 1983)

Singles

 * "Gargoyle"/"Demolition Team", "Quick Sticks" (Maxi-single, 1983, Guthugga Pipeline Records GPR 001 )
 * "Gargoyle"/"Demolition Team", "Quick Sticks" (1984, Hot Records reissue)
 * "Ocean Liner"/"A Sad Tale" (1984, Hot Records 720 )
 * "Ode to Nothing"/"Seven Years", (1985, Hot Records 724 )

Other appearances

 * "Various" – Inner City Sound compilation :Laughing Outlaw Records Catalog#:LORICS-001.

title: Lighthouse Keepers (band)


text:
Imants Kalniņš

Imants Kalniņš (born 26 May 1941) is a Latvian composer, musician and politician. Having studied classical and choral music, he has written seven symphonies, several operas (including the first rock opera in the USSR, ), oratorios, cantatas, choir songs, a lot of movie and theater music. However, he is generally best known for his rock songs. In 2021, Kalniņš received the Grand Music Award for lifetime achievement.

Furthermore, he served as a member of the 5th, 7th, 8th, and 9th sitting of the Saeima, the parliament of Latvia, from 1993 to 1995 and again from 1998 through 2010, representing the For Fatherland and Freedom/LNNK party.

Life and career
Kalniņš was born 26 May 1941 in Riga, Latvian SSR. During the 1960s, Kalniņš led the Liepāja rock band 2xBBM, which was extremely loved because of its heartfelt songs and hippy-like lifestyle. Kalniņš became the symbol of the spirituality, rebellion and worldview of the generation, and it was emphasized by the fact the band was forced to stop playing because of the pressure from official institutions. However, this did not stop the music of Kalniņš from being played by the extremely popular band, which almost exclusively plays songs written by Kalniņš.

During the 1970s, Kalniņš returned to writing symphonic music. In 1984, he wrote the rock oratorio Kā jūra, kā zeme, kā debess (Like the sea, like the earth, like the sky) together with and Juris Sējāns. The oratorio was the first thing played by the band Pērkons for the general public. With it Kalniņš returned to rock and roll once more. He wrote many new songs for Pērkons, and these same songs led him to start his own band, in 1985, however, it never gained the recognition and adoration as Menuets and Pērkons.

During the Singing Revolution, Kalniņš took an active part in the Popular Front of Latvia, which played the most important role in ending Latvia's occupation by the USSR.

The festival most associated with Kalniņš is the Imantdienas ('The Days of Imants'), extremely popular during the Soviet times and therefore banned. The tradition was reintroduced in 1995, and since then has happened every year (with the exception of 1997, when the composer was away on a trip, and 2009 after the 2008 Latvian financial crisis). It has remained at least as popular as before.

Lately, Imants Kalniņš has been working together with the well-known Latvian musician, and their collaboration has resulted in some albums containing primarily music by Kalniņš, such as Par lietām, kas tā ar' nekad nepāriet (About things that never truly go away) (1997), Es redzēju sapnī (I Saw in a dream) (1998) and I Love You (1999; despite the English title, the lyrics are mostly in Latvian in this album).

In 2000, music for the 1973 movie "" was re-recorded by the Liepāja Symphony Orchestra as well as many recognized singers.

In 1973, Kalniņš composed the song "", which became the official anthem of Liepāja in 1999.

In April 2015, after his translation of Quran from Arabic to Latvian, Kalniņš was reported to have converted Islam by some outlets, but Kalniņš himself has later refuted these claims.

Private life
Kalniņš has been married five times. In total, he has 7 children. The third marriage, the longest of the former wedlocks, was with the actress Helga Dancberga who died in 2019. They had three children, Dana Kalniņa-Zaķe who became the lead for the Latvian Association of Professional Health Care Chaplains, actress Rēzija Kalniņa and pastor Krists Kalniņš. Currently, he is married to Agra (since 1999).

Orchestral
Symphony
 * No. 1 (1964)
 * No. 2 (1965)
 * No. 3 (1968)
 * No. 4 with Soprano (11 poems by Kelly Cherry, 1973)
 * No. 4 (revised without vocal soloist)
 * No. 5 (1979)
 * No. 6 with Choir (Rabindranath Tagore, 2001)
 * No. 7 (2015)

Concerto
 * Concerto for Cello (1963)
 * Concerto for Orchestra (1966)
 * Concerto for Oboe (2012)

Other
 * Symphonic Miniature, Santa Cruz (2015)

Vocal
Oratorios:
 * October Oratorio (1967)
 * The Poet and the Mermaid
 * Morning Hours

Rock Opera
 * Hello, Out There (Ei, jūs turl!) (1971)
 * I Played, I Danced

Incidental music for Theater
 * The Prince and The Pauper
 * The Three Musketeers
 * Motorcycle (poetry of Imants Ziedonis) (1967)

Film

 * Blow, Wind (Pūt, vējiņi! (1973)

title: Imants Kalniņš