A club in Leicester Square opened about the same time (1999) as the other London musical mecca Fabric, Home has 7 floors (capacity 2,500) and is hard to navigate when drunk. Many excellent DJs play at Home, but being in Leicester Square means that it is plagued by many tourists who don't help the vibe. Like all clubs in Westminster, Home must close by 3:00 every morning.

For now Home is a thing of the past. It was closed around Easter 2001 by the Westminster council for insufficient control of the drug trade (the police found only six people selling pills on a Friday night). Their license was later reinstated but the parent company, Big Beat, suffered cash flow problems and declared bankruptcy. In 2001-August Mean Fiddler acquired Home's clubs in Sydney and London and is expected to make reopening Home in Leicester Square a priority.

Home is also responsible for the 35,000 person summer Homelands festival outside London.

The extent to which one can consider a club a home is probably more of a reflection of their lifestyle than anything else. Junior Vasquez's (also closed) den notwithstanding...

The X-files

Episode: 4X03
First aired:10/11/96
Written by: Glen Morgan and James Wong
Directed by: Kim Manners

One of the most disturbing X-files. It was so scary and graphic that this episode was banned from the air after it was aired for The X-files.

It is a dark and stormy night and a woman is in labor in a old, wrecked house. She gives birth and three men, George, Edmund, and their brother Sherman take the baby out in the back and bury it. We can see that the brothers are grosely deformed.

In a field nearby the next day, boys play baseball. The ball is hit into the property of the Peacocks, the people from before. Instead of retrieving the ball the boys get another ball and continue playing. The batter realizes, while digging his foot in the ground, that he is stepping on blood. They see a small hand sticking out of the earth.

Mulder, while playing with a baseball, watches the Peacock brothers who are on their porch about 200 m away. Scully examines th hole where the baby was found. Scully tells Mulder her findings but Mulder is not listening, and is still playing with the ball. Mulder reminices about his childhood.

A sheriff arives, sheriff Andy Taylor. They discuss suspects but Home, the town, is very small and everyone knows eachother. Mulder asks him about the family in the house, and Taylor says it belongs to the Peacock family who don't seem quite human. The town believes that both their parents had died in a car accident. The Peacocks are self sufficent, grow their own crops and breed their own animals. Taylor is very hesitant about talking to the Peacocks. They decide to look at the baby.

The three crowd into a washroom since the station does not have a morgue or a lab room. Scully examines the baby which, to her description, appears to have every rare birth defect known to science. Mulder and Scully are both shaken and sit on a bench to discuss what they have seen. They joke slightly about their families. Scully believes that the birth of the child involved single polygenic mating, or inbreeding. The now believe that a woman is held captive in the house and was forced to give birth.

The go to the Peacock house. The find incriminating evidence in the house but can't find anyone there. We see a pair of eyes in the dark watching them.

In his home, Taylor talks to Scully on the phone saying that they have issued a warent for arrest for the brothers. After they hang up, Taylor finds his gun an puts it on his dresser. That night the Peacock brothers get in their car with some clubs and bats.

Mulder and Scully say goodnight to eachother at the hotel. Scully notices that the lock on Mulder's door is broken. In their own rooms they put chairs against their own doors. The Peacock brother drive out with "Wonderful, Wonderful" by Johnny Mathis blasting from their car.

Taylor hears a noise in bed and tells his wife to hide under the bead and goes for a baseball bat. The brother enter and beat Taylor and find Mrs. Taylor and kill her too. They look at the bodies which were horribly beaten. The lab tests on the baby come back and there are so many abnormalities found the Scully thinks the lab screwed the tests up. Mulder suggests that a female Peacock is still alive but either way they have to arrest the men. Since Taylor was murdered, the believe that someone was in the house when Scully and Mulder were talking about the case. They decide to go to the house with another officer, Pastor.

In the Peacock house, the three brothers gather around a woman who says that they look fine and that people will be coming to change things but they can't let them. Mulder, Scully, and Pastor prepare to enter the house and they see one brother outside carying a blunt object. Pastor goes a different way saying that his uniform will take the attention so that Mulder and Scully can go around the back. Scully watches the front door from the back with binoculors. Pastor, on his headseat, tells them that he is going to enter but Scully sees a chord and tells him to stop. It is too late and an axe swings down and decapitates Pastor. We see the brothers swarm over the body.

Mulder and Scully unlock the pig pen and push the pigs out the get the brothers out of the house. When the brothers run outside, they make their way in, avioding another trap. The find the woman under the bed on a wheeled table. She screams at them to go away. The bring the woman out, realizing that she is a quadriplegic. The then realize that the woman is Mrs. Peacock. Mulder goes to check on the brothers and Scully tries to talk to Mrs. Peacock. Mrs. Peacock says she does not want to move and tells Scully the utmost pride she has in her sons, that they'd do anything for her.

The brothers come back to the house finding it locked. Mulder yells to Scully and the brothers break in. George is ready to strike Mulder with a chair. Scully shoots George. Mulder turns around to see George fly back. Sherman continues to hit the door, making Mulder turn. George rushes Mulder as Sherman breaks through, pushing the table out of the way. Sherman helps George, trying to get Mulder's gun away as Scully tries to get a clear shot. She takes it, firing eight times, hammering George. George drops the gun to the floor as he flies back, but quickly stands. Scully is out of bullets and incredibly confused. Sherman has Mulder in a chokehold as George rushes him, but Mulder kicks him away. He then picks up a glass on the table and smashes it over Sherman's head, forcing him to release the hold. George nails Mulder and Sherman goes to get a weapon. Scully watches, horrified.

Scully goes to the mother and Sherman follows but is killed by his own trap. Mulder and Scully find the mother gone, aswell as Edmund.

We see Edmund at his car. We hear Mrs. Peacock's voice say that they are going to start a new family and find a new home. Edmund closes the trunk with his mother in it and drives of, Wonderful, Wonderful" playing.

Important Quotes:
Scully (anoyed that Mulder is not listening to her) -- "Meanwhile, I've quit the FBI and become a spokesperson for the Ab-Roller."

Scully -- "Mulder, if you had to do without a cell-phone for two minutes you'd lapse into catatonic schizophrenia."

Scully -- "Well, were there any local women who were pregnant and now suddenly aren't?"

Mulder -- "Well, just find yourself a man with a spotless genetic makeup and a really high tolerance for being second-guessed and start pumping out the little uber-Scullies."
Scully -- "What about your family?"
Mulder -- "Well, aside from the need for corrective lenses and the tendency to be abducted by extraterrestrials involved in an international governmental conspiracy, the Mulder family passes genetic muster."

Mulder -- "Scully, I never saw you as a mother before..."

Scully -- "You still planning on making a home here?"
Mulder -- "Nah. Not if I can't get the Knicks game."
Scully -- "Just as long as bundling infanticide doesn't weigh into your decision... G'night Mulder."
Mulder -- "G'night mom..."

Mulder (getting the pigs out) -- "Scully, would you think less of me as a man if I told you I was kind of excited right now? There some secret farmer trick to get these things moving?"
Scully -- "I don't know. Naa-ram-ewe! NAA-RAAM-EEEWE!!!!"
Mulder -- "Yeah, that'll work."
Scully -- "I babysat my nephew this weekend. He watches Babe 15 times a day!"
Mulder -- "And people call me spooky."

Back to The X-files: Season 4

Also a Smash Mouth song:

[Lyrics deleted for copyright reasons. - Ed.] -Smash Mouth
Astro Lounge
Parallel to jHolmes write-up also Finnish baseball (pesäpallo) has its home base but this node is not about pesäpallo, which is, btw, much more interesting game than its American counterpart.

I lived in small village far from everything -- and it was even far from Everything at those days of 80's (which we all should forget, at least the music) -- and we the hay-hats had definitely our own slang.

Home-home refers to home where my parents live/lived. Nowadays I make a separation between my current, hmm, home -- I don't really have one because I'm on the move all the time -- and the home where I grew up.
So, home-home should be defined as a place where you spent most of your childhood and your parents still live there. The latter is not necessary option..

Album Title: Home
Artist: Dixie Chicks
Release Date: August 27, 2002
Record Label: Open Wide / Monument / Columbia / Sony
Peak Chart Position: Pop: #1, Country: #1, Bluegrass: #1

Track Listing
Long Time Gone (4.10)
Landslide (3.50)
Travelin' Soldier (5.44)
Truth No. 2 (4.29)
White Trash Wedding (2.21)
A Home (4.57)
More Love (5.07)
I Believe In Love (4.14)
Tortured, Tangled Hearts (3.40)
Lil' Jack Slade (2.24)
Godspeed (Sweet Dreams) (4.43)
Top of the World (6.01)

Long Time Gone
Released in the US in September 2002, peaking at #22 (pop) and #1 (country)

Released in the US in November 2002, peaking at #14 (pop) and #1 (country)

Making of Home
As soon as you open up the cover, you see the words, from a grainy photograph of a small-town shop window, WE ARE CHANGING THE WAY WE DO BUSINESS. It is as appropriate and clear of a statement as the beetles having sex on the inside of his 1971 album Ram.

After the wonderful mix of styles of their major label debut Wide Open Spaces, the Chicks followed with their very pop-heavy Fly in 1999. The so-called "Nashville sound" of Fly simultaneously won over some people, but other fans were turned off by a perceived selling out to all things Brookian.

The group's roots were in bluegrass, folk, and traditional country, as evidenced by their independent albums, Thank Heavens For Dale Evans, Little Ol' Cowgirl, and Shouldn't A Told You That. So, now that their first two major label albums had sold more than ten million copies each, they had the artistic freedom to do things in their own way, and that they did.

Returning to their Texas roots and holing up in a studio with Lloyd Maines (father of Natalie Maines, one of the Chicks), the Chicks essentially recorded what could best be described as a modern bluegrass album.

To add an even more interesting touch to all of this, while recording the album, the Chicks were in the midst of a lawsuit with Sony where they were trying to escape the shackles of a less-than-fair recording contract.

One can only wonder about Sony's reaction to this album, delivered on their doorstep only days after reaching an agreement with the group. Rather than the countrypop that had served the Chicks so well for their first two albums, this album was heavy in the bluegrass genre. Nevertheless, it was released and immediately shot to the top of both the Billboard country and overall charts, as well as spawning a pair of number one country (and top forty pop) singles.

The Album Cover
Turning away from the immediate "pop" feel of Fly, the cover of Home features the Chicks in an old-fashioned photograph, standing along an abandoned highway in Texas. This "home"-style feel permeates the entire album, done in various shades of light tan, black, and white. This shies far away from the look of their previous album, Fly, which was full of glaringly bright pictures, or even the less colorful Wide Open Spaces, which was bright in its own right compared to this album.

Track Details

Long Time Gone (4.10)
Written by Darrell Scott
This song opens with an upbeat banjo and fiddle. Read that again; there is no electric guitar, no pedal steel guitar, no pseudo-electronica; this is not your redneck cousin's Toby Keith album. This song is a strong upbeat bluegrass number to open the album, and quite appropriate in lyrical content in that it's a song about coming home again and remembering the past. The only problem is that in the middle of the song, Natalie almost over-strains her voice and it sounds frightful, right on the verge of cracking on a note right on the very edge of her range.

Landslide (3.50)
Written by Stevie Nicks
This is a cover of the well-known Fleetwood Mac number, and the Chicks infuse it here with some bluegrass feel to it. If that sounds appealing to you, you'll like this song; if not, then you probably won't. I, for one, thought it was an interesting take on the track and well-executed.

Travelin' Soldier (5.44)
Written by Bruce Robison
This is the home run of the disc and ought to be considered as a single. It's a very mellow number that complements Natalie's vocal strengths nicely and lyrically is perhaps the best song the group has ever done. It's simply impressive in every way and worth the price of admission to the album alone.

Truth No. 2 (4.29)
Written by Patty Griffin
This is another good midtempo number, but it kind of gets lost in the shuffle since it is surrounded by two of the most memorable numbers on the album. This song almost comes off as a fiddle-based jam session of sorts, which is a good thing.

White Trash Wedding (2.21)
Written by The Dixie Chicks
This song is written for humor and, along with the opening track, is one of the few uptempo tracks on the album. It's thankfully short (it would be excruciating after another minute), but it is saved by its brevity and becomes a nice change of pace novelty piece.

A Home (4.57)

Written by Maia Sharp and Randy Sharp
To my ears, this is the second best song on the album. It is very downtempo and mellow, but it is carried by a fantastic chorus that again shows off Natalie's voice, sticking in the range that she delivers gorgeously.

More Love (5.07)
Written by Tim O'Brien and Gary Anderson
This song is perhaps the least memorable on the album. It just sort of fills up five minutes and could easily have been excised without much real loss.

I Believe In Love (4.14)
Written by The Dixie Chicks and Marty Stuart
Improving greatly on the previous track is this one, with a chorus that somehow seems very familiar. There was some unusual instrumentation in parts, and I later discovered that this may be the best use of a papoose in a recorded song ever.

Tortured, Tangled Hearts (3.40)
Written by The Dixie Chicks and Marty Stuart
Another collaboration with the country songster produces this overly upbeat number, which borrows heavily from the modern country sound; it's actually reminiscent of much of their album Fly. As before, if this is appealing to you, then you will like it; as for me, I'd throw away everything but the chorus.

Lil' Jack Slade (2.24)
Written by The Dixie Chicks, Lloyd Maines, and Terri Hendrix
This is an instrumental, the first the Chicks have recorded since switching to a major label. It's a very upbeat number, but doesn't really have any residual effect, just kind of floating in one ear and out the other.

Godspeed (Sweet Dreams) (4.43)
Written by Radney Foster
After two upbeat numbers, this one is a very melancholic downbeat tune about separation of parent and child. It's a strong number even through the melancholy, due to the help of Emmylou Harris on supporting vocals and a wonderful use of a baritone guitar.

Top of the World (6.01)
Written by Patty Griffin
The album closes with this number, which is most notable for the fact that Natalie is singing from a man's perspective here and also the memorable harmonization in the chorus. By this point, though, it is clear that the album is top-heavy, with several good tracks near the start.

Home and Me
I am not a fan of "country music," period. The so-called modern Nashville sound pretty much turns me off in every way. But I dare you to pry my copy of Johnny Cash's At Folsom Prison or Willie Nelson's Red-Headed Stranger from my music collection; try, and you face my wrath.

See, I like true country music. True country music is a mix of rock, folk, and bluegrass. True country music is Johnny Cash singing about Folsom Prison or Hank Williams moaning about being so lonesome that he could die. What I can't stomach is what passes for "country" today, which is vanilla redneck pop music. Artists like Shania Twain or Toby Keith, who probably do not have an original musical idea between them, are nothing but pop purveyors who inexplicably release albums as "country" music, get their music played on "country" stations, and are viewed both by fans of the genre and by most of the public as the definition of "country" today.

That definition of country music makes my ears bleed.

I received this album as a gift from a well-meaning relative at a family Christmas Secret Santa exchange. I tried to look positive about it, but looking at the cover made me feel disheartened: after listening to Fly, the Chicks' previous album, I had lumped them in with Shania and Toby into the rubbage bin that is CMT.

But I often feel obligated to give albums a try if they are given to me as gifts, and since this one was actually a gift that was thought about (my uncle said to me, "I know you don't like country music, but I hear you like some of the older stuff, and I hear this sounds like the older stuff."), I decided to give it a try. I popped the album into my stereo and began to leaf through the insert sleeve as the music began playing.

The first thing I noticed was the large sign on the back of the booklet: WE ARE CHANGING THE WAY WE DO BUSINESS in a faded photograph. Just as I was reading this, the opening notes of Long Time Gone began. While this track didn't particularly make me stand up in amazement, it was significantly better than what I had expected.

The second and third tracks, however, knocked my socks off. The first time I heard Travelin' Soldier, I was literally caught by surprise. This is what country can and should be, a mixing of folk and bluegrass music telling a tale of love destroyed by war. This is what country music should be, I thought.

Sure, parts of the album are comparatively weak, but there are so many strong points to this album that, along with the O Brother Where Art Thou? soundtrack and the decline in sales of the country music genre, perhaps it will trigger a revival in real country music.

If You Liked This Album...
... you should dig deeper into modern bluegrass music. Start with the near-ubiquitous soundtrack to O Brother, Where Art Thou?, which is a treasure trove of bluegrass music both modern and old. Also strongly recommended is the album Red Dirt Girl by Emmylou Harris, one of the better modern bluegrass albums.

I see the dilapidated Dodge and Ford ice cream vans circle the neighborhood, blaring their terrible MIDI songs.
I wish they didn't upgrade their music and I liked the carts and bells better.

I walk down the street and I look at my old elementary school and the church across the street.
Didn't someone get shot in the parking lot a few years ago?

I pass by the old shopping center.
Nothing ever replaced that old Circuit City, but we have a Norms now?

I look across the street and see my neighbor's fence.
Nope. Still mismatched colors...5 years after that incident.

I look over my backyard fence.
Will you clean up your stupid yard already, it's been 10 years! Well, at least there isn't a lawnmower isn't hidden in the 5' grass weeds anymore...

I sit in my room and try to forget my neighbors like their music loud.
Maybe I should play O Fortuna to reciprocate the feeling...

Welcome home.

Home (hOm), n. (Zoöl.)

See Homelyn.


© Webster 1913

Home (110), [OE. hom, ham, AS. hAm; akin to OS. hEm, D. & G. heim, Sw. hem, Dan. hiem, Icel. heimr abode, world, heima home, Goth. haims village, Lith. këmas, and perh. to Gr. kw`mh village, or to E. hind a peasant; cf. Skr.kshEma abode, place of rest, security, kshi to dwell. √20, 220.]


One's own dwelling place; the house in which one lives; esp., the house in which one lives with his family; the habitual abode of one's family; also, one's birthplace.

The disciples went away again to their own home.
John xx. 10.

Home is the sacred refuge of our life.

Home! home! sweet, sweet home!
There's no place like home.


One's native land; the place or country in which one dwells; the place where one's ancestors dwell or dwelt. "Our old home [England]." Hawthorne.


The abiding place of the affections, especially of the domestic affections.

He entered in his house -- his home no more,
For without hearts there is no home.


The locality where a thing is usually found, or was first found, or where it is naturally abundant; habitat; seat; as, the home of the pine.

Her eyes are homes of silent prayer.

Flandria, by plenty made the home of war.


A place of refuge and rest; an asylum; as, a home for outcasts; a home for the blind; hence, esp., the grave; the final rest; also, the native and eternal dwelling place of the soul.

Man goeth to his long home, and the mourners go about the streets.
Eccl. xii. 5.

6. (Baseball)

The home base; he started for home.

At home.

(a) At one's own house, or lodgings.
(b) In one's own town or country; as, peace abroad and at home.
(c) Prepared to receive callers. --
Home department, the department of executive administration, by which the internal affairs of a country are managed. [Eng.] To be at home on any subject, to be conversant or familiar with it. --
To feel at home, to be at one's ease. --
To make one's self at home, to conduct one's self with as much freedom as if at home.

Syn. -- Tenement; house; dwelling; abode; domicile.


© Webster 1913

Home (?), a.


Of or pertaining to one's dwelling or country; domestic; not foreign; as home manufactures; home comforts.


Close; personal; pointed; as, a home thrust.

Home base (Baseball), the base at which the batsman stands and which is the last goal in making a run. --
Home farm, grounds, etc., the farm, grounds, etc., adjacent to the residence of the owner. --
Home lot, an inclosed plot on which the owner's home stands. [U. S.] --
Home rule, rule or government of an appendent or dependent country, as to all local and internal legislation, by means of a governing power vested in the people within the country itself, in contradistinction to a government established by the dominant country; as, home rule in Ireland. Also used adjectively; as, home-rule members of Parliament. --
Home ruler, one who favors or advocates home rule. --
Home run (Baseball), a complete circuit of the bases made before the batted ball is returned to the home base. --
Home stretch (Sport.), that part of a race course between the last curve and the winning post. --
Home thrust, a well directed or effective thrust; one that wounds in a vital part; hence, in controversy, a personal attack.


© Webster 1913

Home, adv.


To one's home or country; as in the phrases, go home, come home, carry home.


Close; closely.

How home the charge reaches us, has been made out.

They come home to men's business and bosoms.


To the place where it belongs; to the end of a course; to the full length; as, to drive a nail home; to ram a cartridge home.

Wear thy good rapier bare and put it home.

Home is often used in the formation of compound words, many of which need no special definition; as, home- brewed, home-built, home-grown, etc.

To bring home. See under Bring. --
To come home.

(a) To touch or affect personally. See under Come.
(b) (Naut.) To drag toward the vessel, instead of holding firm, as the cable is shortened; -- said of an anchor. --
To haul home the sheets of a sail (Naut.), to haul the clews close to the sheave hole. Totten.


© Webster 1913

Home, n.

In various games, the ultimate point aimed at in a progress; goal; as:

(a) (Baseball)

The plate at which the batter stands.

(b) (Lacrosse)

The place of a player in front of an opponent's goal; also, the player.


© Webster 1913

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