NEW FRONTIERSMAN, THIS ONE’S FOR YOU

Far and away the absolute balls-out BEST Space:1999 fan-film ever made. Hawks! UFOs! The Meta Probe! Best Graphics of The Moon blasting out of Earth Orbit! This one’s for you, G.

Love,

SATAN

Ω

STARLOG Magazine Archived for Free

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When I was 12 years old, the hunt for new issues of this magazine was the goddamn Holy Grail.

HERE.

Via i09: The whole thing is searchable, so you can see exactly what people were saying about your favorite shows and movies (and sometimes books) back in the day. And even though it’s free, you can always make a donation to the Internet Archive to support all their work preserving our digital heritage. [via Darren Werschler]

Starlog was a monthly science-fiction film magazine published by Starlog Group Inc. The magazine was created by publishers Kerry O’Quinn and Norman Jacobs. O’Quinn was the magazine’s editor while Jacobs ran the business side of things, dealing with typesetters, engravers and printers. They got their start in publishing creating a soap opera magazine. In the mid-1970s, O’Quinn and high school friend David Houston talked about creating a magazine that would cover science fiction films and television programs.

O’Quinn came up the idea of publishing a one-time only magazine on the Star Trek phenomenon. Houston’s editorial assistant Kirsten Russell suggested that they include an episode guide to all three seasons of the show, interviews with the cast and previously unpublished photographs. During this brainstorming session many questions were raised, most notably legal issues. Houston contacted Star Trek creator Gene Roddenberry with the intention of interviewing him for the magazine. Once they got his approval, O’Quinn and Jacobs proceeded to put together the magazine but Paramount Studios, who owned Star Trek, wanted a minimum royalty that was greater than their projected net receipts and the project was shelved. O’Quinn realized that they could create a magazine that only featured Star Trek content but without it being the focus and therefore getting around the royalties issue. He also realized that this could be the science fiction magazine he and Houston had talked about. Many titles for it were suggested, including Fantastic Films and Starflight before Starlog was chosen. (Fantastic Films was later used as the title of a competing science fiction magazine published by Blake Publishing.)

To keep costs down, Starlog was initially a quarterly magazine with the first issue being published on August 1976. The issue sold out and this encouraged O’Quinn and Jacobs to publish a magazine every six weeks instead of quarterly. O’Quinn was the magazine’s first editor with Houston taking over for a year and then replaced by Howard Zimmerman when Houston was promoted to the “Hollywood Bureau.” Zimmerman was eventually succeeded by David McDonnell.

One of the magazine’s milestones was its 100th issue, published on November 1985 and featured who they thought were the 100 most important people in science fiction. This included exclusive interviews with John Carpenter, Peter Cushing, George Lucas, Leonard Nimoy, and Gene Roddenberry. The magazine’s 200th issue repeated the format of the 100th issue but this time interviewed such notable artists as Arthur C. Clarke, Tim Burton, William Gibson, Gale Anne Hurd, and Terry Gilliam. Starlog was one of the first publications to report on the development of the first Star Wars movie, and it also followed the development of what was to eventually become Star Trek: The Motion Picture. The magazine was devoted to science fiction films, television series, and books. Many fans of this long-running magazine considered its heyday to have been the 1980s with very little substance to the content in later years and many of its long-time contributors having since moved on. But it continued to boast some top-flight genre journalists, including film historians Will Murray, Jean-Marc Lofficier and Tom Weaver. It was one of the longest-running and most popular publications of its type.

It published its 30th Anniversary issue in 2006. On Wednesday, December 5, 2007 at approximately 11 a.m. a warehouse, operated by Kable News, in Oregon, Illinois containing back issues of Starlog and Fangoria burned to the ground.

Thanks to Mike Maginnis for his contributions to this collection.
Browse by Subject / Keywords

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Yes. Nostalgia is death. But oh, the stories I could tell about hunting for this magazine… Maybe I will…

(and yeah, I’m going to finish my piece on Gerry Anderson REAL soon)

Ω

SECRET THIRTEEN MIX 107 – ERNESTAS SADAU

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THE AUTHOR OF THE MIX IS ERNESTAS SADAUNIKAS (B. 1984), A LITHUANIAN DJ, PROMOTER AND MASTER CHEF BASED IN LONDON, UNITED KINGDOM. SADAUNIKAS HAS BEEN BUILDING HIS MUSICAL IDENTITY UNDER ERNESTAS SADAU AND DAUSA PSEUDONYMS FOR OVER A DECADE NOW. INFLUENCED BY THE EARLY AUTECHRE, PRODIGY, APHEX TWIN PRODUCTION AND HIS PARENTS’ VAST RECORD COLLECTION, WHICH INCLUDES MUSIC RANGING FROM THE DOORS TO DONNA SUMMER, SADAUNIKAS BEGAN A FRUITFUL DJ CAREER. AVOIDING ANY STYLISTIC FRAMES HE PRESENTS AN ECLECTIC DJ SETS THAT VARY BETWEEN STRICT TECHNO, SMOOTH JAZZ, ROCK AND VARIOUS EXPERIMENTATIONS. SADAUNIKAS SHARED A STAGE WITH SUCH HONORABLE MUSICIANS AS FENNESZ, MURCOF, APPARAT, PETER VAN HOESEN AND MANY OTHERS. IN 2006 HE JOINED LITHUANIAN MINIMAL TECHNO COMMUNITY MINIMAL.LT AND BECAME AN ACTIVE MEMBER OF IT. HE IS ALSO A FOUNDER OF “SŪPYNĖS” (ENG. “SWINGS”), ONE OF THE BIGGEST ELECTRONIC MUSIC FESTIVAL IN THE BALTIC STATES. HOWEVER, LATER HE LEFT MINIMAL.LT AND STARTED TO FOCUS MORE ON HIS FUTURE PROJECTS. HIS NEWEST IMPRINT DIGITAL TSUNAMI SPECIALIZES IN ORGANISING PARTIES IN LONDON AND PUBLISHING SUBTLE DANCE MUSIC COMPILATIONS. HE IS ALSO A MEMBER OF DJ DUO GLARK N GLARK AND SOMETIMES SELECTS MUSIC FOR FASHION SHOWS.

RIGHT-CLICK AND SAVE A COPY OF ERNESTAS SADAU MIX

“SECRET THIRTEEN MIX 107” IS A DELICATE AND VARIED MUSIC SELECTION THAT MIRRORS ITS AUTHOR’S DAILY INTIMATE SURROUNDINGS AND REVEALS SOME OF HIS FAVOURITE RECORDS THAT MADE AN ESSENTIAL IMPACT TO HIM AS AN ARTIST AND AS AN INDIVIDUAL. WHILE COMPILING THIS MIX SADAUNIKAS WAS INFLUENCED BY FEMME FATALES, MYSTICISM, SEX AND, MOST IMPORTANT, HIS OBSESSION WITH FOOD MAKING. THIS MIX IS ALSO A REMINISCENCE OF HIS EARLIER SELECTION “CABERNET SAUVIGNON” THAT WAS MEANT TO BE LISTENED NEAR A GLASS OF NOBLE RED WINE. IN THIS MIX SADAUNINKAS BALANCES FROM SUBTLY SEDUCTIVE EMOTIONS AND HAPPENINGS TO SURREAL AND GLOOMY MOODS. THE DEVELOPMENT OF THE MUSICAL NARRATIVE IS DELIBERATE, PATIENT AND CONTINUOUS. THIS SMOOTHLY SHIFTING SELECTION PERFECTLY EXPLORES COHERENT CONNECTION AMONG DIFFERENT MUSIC STYLES, PERIODS AND MEANINGS BEHIND THE WORKS. THE MIX CONTAINS 12 SOLID AND HIGH-QUALITY RECORDS THAT WERE RELEASED BETWEEN 1972 AND 2012. CHARACTERISTIC COMPOSITIONS BY SUCH RESPECTABLE MUSICIANS AS JON HASSELL, COIL, AUTECHRE, AFRICAN HEAD CHARGE, ALICE COLTRANE AND OTHERS SIMPLY DISCONNECT THE LISTENER FROM THE SHINY AND HYPOCRITICAL WORLD AND OPEN A MORE SCENIC HORIZONS DEEP IN THE SUBCONSCIOUSNESS. THE CONTROVERSIAL ENERGY, STRANGE PASSION, WISDOM AND VARIOUS MELANCHOLIA EXPRESSIONS THAT WERE TRANSMITTED FROM THESE PROFESSIONALLY PERFORMED AND QUALITATIVELY RECORDED TRACKS SHOULD INSPIRE AND LEAVE NO APATHETIC. SADAUNIKAS EXPLAINS THAT THIS MIX IS HIS “ONE EARLY MORNING’S EXPRESSION OF EGOISM THAT ENDED WITH AN EJACULATION”. FINALLY, IT IS LIKE A SPECIFIC GILBERT HSIAO’S ABSTRACT WORK “SLIPSTREAM” WHERE ELEGANT AND UNUSUAL SHAPE DECORATED WITH GRADUALLY TRANSFORMING LINES CREATES AN ARTISTIC MIRAGE THAT REQUIRES OPEN IMAGINATION AND ART EXPERIENCE TO FULLY ABSORB IT.

via @johncoulthart 

Ω

yes we are still alive

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Ω

Wow. We were… upset, yesterday. “Please. Fucking block me.”

SHE CAN BLOCK ME AT HER EARLIEST CONVENIENCE, I AM NOT ASHAMED OF ANYTHING I WROTE OR THOUGHT.

Please. Tell her. Her name’s [XXXXX]? Tell her she can block me. She never writes anything interesting on the twitstream anyway.

But look, buddy, [    ]— saying to me I have an “investment in white supremacy,” is quite the insult. If a man said that to me? I’d fucking punch him. If a woman said it to me, I’d cross the room and tell the computer I am highly offended, and she better understand that the insult she casually leveled against me is really…

…fucking

offensive.

I am Simon Drax. You casually call me a white supremacist? I will fucking flip out.

She doesn’t know me, she doesn’t know my family. Many POC are included in my family. Please forward this email to her, and PLEASE FORWARD THIS EMAIL TO HER VERBATIUM, PLEASE

AND I FUCKING HATE THAT ABREVIATION “POC,” IT’S NOT EVEN REAL. EVERYONE HAS COLOR. IF WE’RE EVER GOING TO MOVE FORWARD AS A SOCIETY, WE HAVE HAVE TO LET THAT SHIT GO.

People of color: white guy, black guy, yellow guy, red guy, We have to let that shit go.

Good fucking happy Monday.

Ω


Oh My Anti-God I Think I’m In Love, Help Me Satan

Ω

“Sign Warns Against Talking to Satan”

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From THE MOSCOW TIMES

The sign bearing the warning, “Don’t Talk to Strangers.”

 

A street sign that shows three main characters from Mikhail Bulgakov’s classic novel “The Master and Margarita” above the warning, “Don’t Talk to Strangers,” will not be taken down, City Hall said Wednesday.

The three figures are recognizable as Professor Woland, an incarnation of Satan, and his assistants the demon Koroviev and the oversized black cat Behemoth, who wreak havoc in 1930s Moscow.

 

Patriarch’s Ponds, where the sign is located, is the setting of the novel’s first chapter, titled “Never Talk With Strangers.”

In that chapter, Woland materializes and engages two writers in a debate about the existence of Christ. The scene ends with one of the writers being beheaded in a freak tram accident.

The other writer ends up in an insane asylum.

“The authorities of the Central Administrative District do not intend to take any measures to remove the sign that has appeared at Patriarch’s Ponds,” a City Hall spokesperson told RIA-Novosti on Wednesday.

“It is not hindering anyone and breaks no law but, on the contrary, serves as a reminder of events associated with this place in Bulgakov’s immortal work ‘The Master and Margarita,'” the spokesperson said.

Facebook user Alexander Vilensky has claimed credit for installing the sign after being tormented by a “deep sense of bitterness and injustice” during a drunken stroll around the downtown neighborhood because it had no memorial to Bulgakov’s work.

Read more: http://www.themoscowtimes.com/news/article/sign-warns-against-talking-to-satan/460754.html#ixzz2iOeEZG2m 
The Moscow Times 

Ω

HELLO, BEAUTIFUL [NSFW!]

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Moon Map (big)

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Original Photos by Ilcato

All Moon Photos: NASA

Ω

October 15

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I’m not a psychologist, but I have to wonder: is it healthy or harmful to honor/fetishize certain dates? There are so many dates that ring alarm bells in my head—birthdays, deathdays, wardays. September 1st, September 11th. August 6th, August 9th. The birthdates of my children, the death dates of loved ones.

I feel if I forget, I dishonor the dead.

But I objectively wonder if I mourn “too much” on a certain date, am I merely wallowing in a pathetic pool of hyper-grief?

“I don’t know” is the most honest answer I can offer. But I do know that certain dates on the calendar leap at me like a wolf at my throat. Which is logically ridiculous. The dead don’t know, the dead do not care about the date on the calendar.

However, since we mark our time on this mudball by the tick of an unreal clock, and as my brain still ticks and roars while the brains of the dead do not, I have no choice. I must honor the dead.

My sister Karen died five years ago today. This is the eulogy I wrote for her.

Some families have a wild child. Not a black sheep, not a nomad, but a wild child. Karen was a wild child. Karen was wild in ways none of us will ever forget. Karen embraced the world with such a vibrancy that made some of us step back and say, “Whoa. Easy, girl!” But she wouldn’t take it easy.

Karen was not an easy woman.

Karen knew that the world was not easy. She learned that lesson when she was young, and it was reinforced when she was older. Karen brought two beautiful girls into the world, Samantha and Hayley, and she shared a life with one of the toughest guys I ever met, Steve Balsavage. Once, when I was young and terrified by a bully who had at one time been my friend, I was crying in my bed, and Karen came in and tried to comfort me. She’d been out with her friends, and she reeked of smoke and incense and other exotic scents, but she rubbed my back and said, “He’s just an asshole. Punch him.”

The next day, I punched him.

Thank you, Karen.

Karen loved her family. She loved her daughters, her husband, and her sisters, Joyce and Jackie. She loved her brother, Mark, and her mother, Pauline. And Karen loved life. To the max. In many ways it was all or nothing with Karen. Halloween? Forget it. Thanksgiving? Get out of town. Karen pushed everything to the point of extravagance. Her generosity sometimes got her into trouble, but anyone who ever experienced her generosity never forgot it.

Karen was a Wild Child.

When she played a song, she played it loud.

When one went to her house, Karen made damn sure her guest had a good time. When someone asked for a candle to be lit, Karen lit ten. Karen loved jokes, the last vestige of the spoken art, and her jokes were always good.

We will always remember Karen: her quick smile, her easy laugh. She’s walking away from us now, she’s walking down a road covered with leaves. Goodbye, Karen. I will always love you, and I will see you again.

Ω

Holy Hoppin’ Halloween Hell, it’s the FALL HORROR HARVEST EDITION of VIDEOSCOPE!!

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And it’s filled to the coffin’s brim with the usual excellent stuff, including: A sit-down with the Soska Sisters, those twisted wenches responsible for American Mary!

At better bookstores and magazine stands everywhere.

www.videoscopemag.com

Ω

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