Friday, March 25, 2011

Retro: Kimmer

Retro: Kimmer

Link to Retro: Kimmer

RETRO KIMMER: RIKKI ST JAMES PHOTO SHOOT

Posted: 25 Mar 2011 05:54 AM PDT


Rikki St James

Had some fun last weekend working with RSJ for a video project. We needed some current shots for the new videos and RSJ asked me to shoot some stills. Great idea! So I shot about 40 photos in rapid time in his hallway.



Not sure what I was thinking but I took my Fuji camera, sat on the floor and shot the photos from there.

I don't consider myself a "photographer" per se. I just love being able to process my own images and videos in a speedy fashion. When you are a blogger you need your materials instantly. Your story is gone if you have to wait 3 weeks for a video to be processed. Waiting is just not my thing anyway... LOL

RETRO KIMMER: SUPER FULL MOON MARCH 19, 2011

Posted: 25 Mar 2011 05:35 AM PDT



On March 19, 2011 we experienced a "Super" Full Moon for the first time in 18 years. I was at a friend's birthday party north of Detroit. As I was entering the party I didn't stop and take time to shoot this gorgeous site.



After leaving the party at about 2:00 AM March 20, 2011 the moon was still very apparent and in even a better position. Just had to grab my camera bag and shoot a few stills of this magnificent moon.



I didn't do anything fancy with the camera, just a point and click thing. If you'd like to see some really nice professional shots of the Super Moon click here...



I really enjoyed learning more about the Super Moon and this video below features NASA's explanation and it brings this lunar phenomena to light....

[New post] Doctor Who Big Finish- The Holy Terror

Doctor Who Big Finish- The Holy Terror

The Holy Terror

Written by Robert Shearman
Released November 2000

Humor in Doctor Who is a tricky thing. When it is over-played, it can come off as pantomime or garishly vulgar or it may be written by someone with a bad sense of comedy. In the case of the Holy Terror, we are given a treat by Rob Shearman (of the 2005 script Dalek), a man who appreciates the double bit of comedy. Throughout Shearman's story, moments are played for laughs, but always at the expense of another. It's all beautifully written and crafted with brilliance that in the hands of another writer may have come off as strained or improper in some way.

In the opening sequence, Frobisher is in the bath hunting a holographic fish made by the TARDIS's computers. The TARDIS revolts at being used in such a way and shuts down all of its systems. The Doctor attempts to explain to Frobisher the deeper threat of violence even when no one is harmed. Allowing the TARDIS to take them where it will, the travelers arrive in a strange world ruled by tradition without reason, ritual without understanding and belief on pain of death.

The TARDIS materializes during the inauguration ceremony of the new God-King, Pepin the Great. But Pepin isn't feeling especially God-like after his father performed the cardinal blasphemy by dying. Flanked by a bitchy wife with dreams of opulence on one side and a scribe recording his embarrassingly unimpressive thoughts on the other, he scarcely notices his warped step-brother who plots to overthrow the kingdom. In the darkness of the secret catacombs, a secret evil has been crafted that promises to change everything. While the Doctor attempts to unravel the mystery of the strange world, Pepin comes up with the clever idea of naming Frobisher as God. Then things get... complicated.

As I have said in other reviews, the Sixth incarnation of the Doctor got short-changed on screen. His combination of theatrical bravado and heartfelt sincerity made him the most alien of personas, especially after the down-played gentlemanly Fifth incarnation played by Peter Davison. Dressed in an outlandish colorful garb, the Doctor was a brash genius with a strict moral code that often jarred with that if his companions. Actor Colin Baker has stated that he was overjoyed to play the part and planned to break the 7-year record set by Tom Baker before him. Rather unfairly, he was sacked after 2 years but has found a new following thanks to these Big Finish audio adventures.

The companion Frobisher is an odd one, even by Doctor Who standards. Introduced in the Doctor Who comic strip, he is a shape shifting private eye who is disguised as a penguin (simply because the editor and artist were both partial to penguins). Voiced by Robert Jezek, Frobisher is a charismatic companion with a frenetic energy, impish innocence and awkward New York accent. The voice threw me at first, but in time I got used to it and look forward to hearing him again.

Frobisher from the Doctor Who graphic novel-Voyager

One of the aspects that I have enjoyed of the Big Finish audios has been the inventive intelligence with which they are written. The Sixth Doctor in particular is depicted as a genius with keen insight, a deep understanding of technology and unflinching bravery in the face of danger. He often solves the problems that he encounters using inspired actions, but these acts usually place him directly in the path of some deadly threat. Another of the Sixth Doctor's personality traits that I find unique and enjoyable is his deep emotional sympathy, often expressed in passionate ways. This story gives him many opportunities to express his feelings and it produces a many-faceted face of the character.

The Holy Terror is a wonderfully layered story that has several light and humorous moments that come off as vaudevillian. This comedic angle threw many fans upon first listening, but when the dark and sinister truth beneath the comedy are shown, it becomes clear why so much humor was injected into this one. Without giving away its secrets, Holy Terror is one of the most heartbreaking and terrifying Doctor Who stories I have ever listened to and while I was a bit shaken by this at first, it appeals to me that Shearman wrote such an ambitious story for the Sixth Doctor.

Doctor Who - The Holy Terror can be purchased at local retailers and online from Big Finish.

Additionally, a special box set of action figures is being released in the US next week based on the season 22 story, Revelation of the Daleks.

Pre-order this set at Mike's Comics

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[New post] The most important man in UK comics, Dez Skinn- publisher of Doctor Who Weekly

The most important man in UK comics, Dez Skinn- publisher of Doctor Who Weekly

My talk with publisher Dez Skinn

As the longest running science fiction television series, Doctor Who is currently viewed as national institution. Created as a family program that served to educate as well as entertain, it went on to become a massive hit program garnering 10 million viewers weekly, spawning a franchise of home videos and collectibles.

One key part of the fandom was Doctor Who Weekly, a magazine published in 1979 by Dez Skinn. Composed of interviews, articles on past adventures and original comic strips by some of the most talented creators in the business. Doctor Who Weekly also has the honored recognition of being the longest running TV tie-in, a rank awarded by the Guinness Book of World Records.

I had the good fortune to conduct a short interview with Dez Skinn, a man viewed as the UK's answer to Stan Lee. Throughout his long career, he has served as editor on over 70 titles as varied as Warrior Magazine and MAD in the UK. Dez Skinn has received several awards for his work in the field as both publisher and creator. As an integral part of the comic book world, he is a wealth of knowledge and offered up many startling insights on the medium.

Recognized by icons of the comic book world and more recent pundits of the medium, his praise is seemingly without end:

"Dez, in my opinion, is the UK Comic Book market. In faithfully publishing Comics International for many years, he has made it possible for guys like me to be able to interact with my many friends in the United Kingdom and played a significant role in getting Diamond UK accepted as a trusted supplier when we first purchased Titan Distributors back in 1993 and retailers didn't quite know what to expect from us.. I'll bet he didn't even know that. With Dez, what you see is what you get, and that is a good thing." -Steve Geppi- owner, Diamond Comic Distributors, Inc.

"Dez is the closest thing Britain had to Stan Lee. His contributions to the British comics industry are legion and legendary, and both the artform and business would have been poorer without his intervention. Whether transforming Marvel UK into a creative powerhouse, single handedly challenging all preconceptions as to what British comics could be with Warrior and V For Vendetta, or creating Comics International, the long running trade magazine for the British industry that gave it a voice and a public presence for so many years. Dez Skinn, a legend in his own lunchtime." -Rich Johnston, BleedingCool.com

Enjoy...

Daily P.O.P.: Back in 1979, Tom Baker was the ambassador of Doctor Who Weekly, what was it like to work so closely with him?

Dez Skinn: Wonderful, He was a consummate professional. People expected him to be whacky and eccentric and he never failed to live up to their expectations. But then, that's what being an actor is about -- giving your audience what they expect. Too many people forget this and seem to think the mask in the man though.

DP: What was your background as a fan of Doctor Who, had you been a regular viewer? Do you have a favorite era or Doctor?

DS: As a 12-yr old I was a tad disappointed with the original serial with its grunting cavemen, two school teachers, a girl (ugh!) and a dotty old professor, so I switched channels to watch The Buccaneers with Robert Shaw on ITV. Far more dashing!

But then they introduced some serious SF into the mix, with Skaro and its inhabitants, so it was bye-bye Robert Shaw!

So yes, I became a huge fan. I remember getting my parents to drive us out to an air show one year when WIlliam Hartnell was being driven around on the back of an open topped Land Rover, waving to us all. Finningley possibly, as it wasn't far from home.

As for a favourite, much as I appreciated Patrick Troughton's need to do something almost surreal to break the mould as the second Doctor, and much as I loved the dashing Jon Pertwee despite the Earth-bound nature of the stories, I guess I was always a Tom-boy!

DP: The comic strip feature in Doctor Who Weekly was simply amazing and had a big impact on the legacy of 'Who. Despite being the longest running comic of its kind previous to 1979, the new Doctor Who Weekly version defined the series in the most dynamic way. It also attracted some amazing talent from Alan Moore to Grant Morrison and Dave Gibbons.

Did you know that it was going to take off in such a big way?

DS: With a quarter of a million print run for each of its first four issues, a TV advertising campaign and newspaper ads in top-selling tabloids, and all the editorial we got from taking Tom on the road, yes. I had a clue it was going to be massive! We'd a potential audience of up to nine millions weekly viewers, we didn't need to sell them on anything!

I'd been Dave Gibbons' best man at his wedding a few years earlier, and prior to that we'd ventured forth to New York together in search of fame and fortune in our young 20s, so he was my first choice as artist. Getting 2000 AD mainstays Pat Mills and John Grant to write such wonderful serials as The Iron Legion, City of the Damned and Star Beast didn't hurt either. Everybody else was either part of my team I'd gathered on prior projects or basically wanted to jump on board the bandwagon, and why wouldn't they?

DP: Do you have a favorite comic strip from Doctor Who Weekly?

DS: You mean other than my own? (Timeslip, DWW 17-18, apparently the most often reprinted Doctor Who comic strip). I'd come up with the idea for it at my girlfriend's apartment in Tudor Mansions, opposite the UN building in New York on one of my regular visits over there to fly the flag and make sure they didn't forget about us at Marvel HQ. I knew artist Dave Gibbons was sure to feel the strain of producing the entire lead strip solo every week, so I thought I'd come up with a little breather that somebody else could draw.

The fanboy in me wanted a storyline to involve the previous incarnations of The Doctor, so as a vehicle for such I dreamed up the idea of a space amoeba that sucked time out of anything it encountered. So when the TARDIS passed through it, The Doctor began devolving.

I was a bit miffed when I got back to London, having told the story to my art editor Paul Neary over the phone, to discover he'd jumped in and dialogued it all up to suit his own breakdowns though. But I still thought it was a pretty neat little story.

DP: Based on the success of TV21, Beano and Dan Dare, the comic strip seems much more successful in the UK than it is in the 'States. This seems to be the case in Italy as well. What's your opinion of the US comic book market?

DS: They lost the plot, basically. We all started the same, with variety act-style anthology titles, across Europe, the UK and the States. Then they became enamoured with the idea of characters getting their own titles and it slowly got to the ridiculous situation where their modern day legends, superheroes, totally dominated and stilted true creativity and diversity in favour of the quick buck. No wonder newsstands gave up on them with their constantly changing short run titles trying to replicate their big hits. Nobody knew what to order or what would sell outside of Superman, Batman X-Men and the other majors. And even those were flooded to overkill with so many spin-offs and companion titles they glutted the market.

The beauty of the European or even Japanese model is that you can test launch a new character in an anthology without harming the total, rather than a risky stadalone cold launch with no evidence it will work.

Now the US industry seems to be run by fans for fans and nobody else cares (except the corporate owners, who basically see it as an inexpensive self-financing R&D side for potential movies). Everywhere else in the world anthologies still rule and can weather the storm and reflect trends simply by changing their cover features. Far safer for the trade to order such known and established sellers and far easier to maintain your audience.

DP: In 1979, without the advent of usenet groups or the Internet in general, the articles in Doctor Who Weekly gave readers a rare insight behind the scenes of the popular program. There were similar magazines published previous to this, but nothing so geared toward a single program.

DS: True, I always was a sucker for behind-the-scenes features on TV and film. Plus we had a 16 year back catalogue of characters and plotlines we could cover, for nostalgic dads and inquisitive newcomers. One major difference between then and now though was that we never felt a need to include any news in DWW, all the features were historical. Now of course, news seems to dominate.

DP: After your departure, have you had a look at Doctor Who Monthly? I miss the transfers and other extras.

DS: I was somewhat amazed by some of the well-meaning but naive changes made. Cartoon covers on a live action TV tie-in? I'd done exactly the opposite when I took over Star Wars Weekly, dropping those awful drawings in favour of actual scenes from the film, resulting in an obvious sales boost. What is it they say about those who don't learn from history being fated to make the same mistakes? Somebody obviously wasn't paying attention!

It had also been a very carefully balanced trick of not talking down to your readers but keeping both the young and the not so young on board. I don't think the next generation of editors had had the formal training of places like world-leader IPC Magazines, where you learn to identify your audience and aim squarely at them. As others discovered to their cost, it's not as easy as it looks!

DP: Just this past year, Marvelman has finally returned to comics (no longer Miracleman). I'm a proud owner of the rare original material, but I know that new printings are on their way as well as the character possibly being included in the Marvel Universe proper. This has to be an exciting time for you. Can you share any of what's to come for this character?

DS: For me more royalties hopefully, especially now that the V for Vendetta ones are starting to dry up! But there's an awful lot of work to be done before Marvel can start on reprinting our 1980s stuff so hang on to your old Warriors!

Dez visits Abu Dhabi, January 2011

DP: How do you think that the comic book market has changed in the last ten years or so? Has the advent of digital comics and with big budget movies based on comic book properties changed things?

DS: Digital comics are great samplers for the real thing and a fabulous sales boost, because I doubt if anybody prefers to read stuff only online, they like something more tactile. Movies? Well, a proven property is always a safer bet, whether it be adapted from book or comicbook, so it makes sense that Hollywood is snapping up every new idea out there. How many of them get made, and how many of those made will be worth watching is another matter. But it fuels both Hollywood and the creators bank accounts so that's got to be a good thing.

DP: I have been reading your regular articles on comics history. It's such a joy to read about the industry history and it is plain from reading your editorials that you could go on forever. How do you approach these articles? Do you have a list of material that you'd like to write about or do you write them on the fly?

DS: Very much on the fly. If they're for somebody else... well, I've been trained to write to fit and believe that just like a story a column should have a format, a beginning middle and end with a logical denouement which ties in with the original premise. It's all about structure, whatever you're writing. Structure, knowledge and some imagination of course. Also, for feature writing, you've got to have an impeachable reference source (as in something other than the internet) and/or a damn fine memory and library. Being a Yorkshireman who never throws owt away and never fried his braincells, I guess I'm pretty lucky!

There's something else though. If you ever expect to make money as a writer, you MUST learn to think clearly. You have to be able to think and speak in paragraphs if you're going to write in such. You don't have time for multiple drafts and rewrites. If you can't think and talk in paragraphs, you can't write in paragraphs. I'm often appalled to read or hear muddy sentence structure from people who really should know better.

And of course, editors want a quiet easy life... they expect articles to be written to length and need minimal editing AND arrive on time. To do that you need to know how to write professionally. Anybody can write a postcard, but that doesn't make them a writer. There's a little more to it to write engaging features or fiction.

DP: Thanks so much for your time, Mr. Skinn.

DS: My pleasure. The industry and the audience has been very good to me, so I'm always more than happy to put something back in!

 

A scene from Dez Skinn's 60th birthday party

Regular readers of this blog should bookmark http://dezskinn.com/publications to read his nostalgic, analytical and anecdotal reminisces on a lifetime in comics. He's currently uploaded words and pictures on everything he's been involved with over the years, from Buster to MAD Magazine, Monster Mag and Tarzan to House of Hammer and Starburst, The Hulk and Conan to Star Wars Weekly and Spider-Man. Plus, of course, his creating and launching Doctor Who Weekly (he's written over 90,000 words so far and he's hardly made it out of the 1970s yet!)

His latest online interview is a video of his chairing a New York University panel on Comics and Literacy in the Middle East at http://nyuad.nyu.edu/news.event/video.ad.10-11.html?012511

Many of his books and back issues, including Warrior (featuring Marvelman and V for Vendetta), House of Hammer, Starburst, Comix: The Underground Revolution and his 1990s comics trade magazine Comics International can still be purchased through his company's eBay shop at: http://tinyurl.com/Dezmags

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Latest articles from Retro To Go

Latest articles from Retro To Go


Instamatic Polaroid Camera screenprinted poster by Nell Smith

Posted: 24 Mar 2011 01:45 PM PDT

Nell

Love a good, old-fashioned Polaroid camera? Then you just might appreciate this Instamatic Polaroid Camera screenprinted poster by Nell Smith. best of all? It doesn't cost much to buy.

It's a simple, but eye-catching print of a cameras that gave instant imagery long before the world went digital. Sized at 21 x 29.5cm, it's pictured here in a monochrome cool scheme, but is available in other palettes if you're interested. Give the artist a shout if that's what you want.

Hand printed in Manchester-based studio using solvent-free inks on gorgeous subtly speckled ivory 'Bier Lager' 250gsm A4 card, the print is yours for just £11.

Find out more at the Nell Smith Etsy website

eBay watch: 1970s Raak XXL table lamp

Posted: 24 Mar 2011 01:31 PM PDT

Raak

It's had 21 bids so far - yet this stunning Raak XXL table lamp is still under £30 right now.

A 1970s design (as you might have guessed), it mixes that metal tulip-style base with a larger plastic shade, the whole thing standing around 58cm tall - hence the name.

Condition is described as 'perfect' with no 'wears, tears or cracks'. So that current £27.70 price looks like a bargain thus far.

Find out more at the eBay website

Adidas Campus 80s trainers reissue in red or white suede

Posted: 24 Mar 2011 08:31 AM PDT

Campus1

A back to basics reissue for the Adidas Campus 80s trainers, offered up in a choice of white suede or red suede for the finish.

30 years after its arrival, the old school classic and hip hop favourite has that suede upper plus leather stripes, gold trefoil branding, textured midsole and a part leather lining.

The red has white detailing (pictured over the page), while the off-white above has bold blue detailing. Same price for both though - £64.99. Both are available online right now.

Find out more at the Size? website

Via His Knibs

Campus2

Tape doormat from Third Drawer Down

Posted: 24 Mar 2011 06:43 AM PDT

Cassette_mat_2_medium

Like the rubik's cube beanbag we featured the other day, here's another icon of the 80s that crops up repeatedly on homewares: the humble cassette, this time appearing in this tape doormat from Third Drawer Down

The doormat comes in the shape of simple blank cassette and measures a substantial 60cm across. It's probably a bit more durable than the average tape too, being made from rubber and being fully washable. 

The doormat costs AUD74. 

Buy it from Third Drawer Down

Postage stamp pouffe

Posted: 24 Mar 2011 06:12 AM PDT

Soft_furnishings_postage_stamp_pouffe
You may remember the distinctive rug we featured recently, in the instantly recognisable shape of the British postage stamp. If you wanted to go all the way with this look, you could also invest in this postage stamp pouffe

The pouffe is covered with colourful variants on the postage stamp, printed onto cotton velvet. Shown together, the bright colours, not to mention the iconic depiction of the Queen, and the whole object has something of a Pop feel. 

Each pouffe is handmade and costs £269.

Buy it from Rocking Pony

John Lewis Oradea Sewing Stool

Posted: 24 Mar 2011 05:00 AM PDT

230997030

Crafters rejoice, John Lewis has created this large Oradea sewing stool which also doubles up as a basket to store all your sewing equipment.

The retro 1950s-style Oradea pattern is pretty yet quirky and it has a padded lid and handmade embroidered satin jacquard finish. Inside, it's fully satin lined and includes a sewing tray to keep your essentials tidy and safe.

Once again John Lewis has created something beautiful, handy and with multi-uses. Get yours online for £60 but hurry as we might get there first.

 

1940s Vintage Pearl Tiara

Posted: 24 Mar 2011 04:31 AM PDT

Pearl-sensation-side-tiara_1893 There's been a lot of talk about a certain royal wedding of late and this 1940s vintage pearl tiara seems to fit in very well.

Even if you're not attending the wedding, this statement floral tiara featuring a romantic layered floral adornment encrusted with clear Austrian crystals and pale ivory faux pearls set on a double silver tone band brings a lot of glamour to your head. It encapulate the old-school Hollywood glamour of the 1940s and although would be ideal for a bride, can also be worn out to another elegant evening do by those less keen on the royals.

The antique tiara can be yours for £69.50 from Glitzy Secrets.

Boat of Life Print

Posted: 24 Mar 2011 03:47 AM PDT

Boat-of-life 
The Boat of Life Print is another charming piece by Aardvark, this time taking a classic piece of literature as its starting point.

The words on the print come from Jerome K Jerome's comic classic Three Men in a Boat (to say nothing of the dog), but even if you aren't a fan of the book, you can appreciate the sentiments about enjoying the simple things in life or at least the wonderful use of typography. The print costs £20 unframed or £45 framed.

Buy it online from Colloco.

Retro London Cushions from Dwell

Posted: 24 Mar 2011 03:04 AM PDT

Londoncushion 
Dwell has a pair of Retro London Cushion designs in its current collection.

Pictured here is the London Bus Cushion and there is also a London Telephone Box Cushion. Both designs feature black & white photographic images of London with the iconic image given a splash of bright pink so it stands out from the rest of the picture. This gives the designs a pop art feel.

The cushions cost £24.95 each from Dwell.

Midcentury-style Dinky sofa and Dinky armchair in Sanderson Festival fabric at Heal's

Posted: 24 Mar 2011 01:52 AM PDT

Dinky1

A two for one feature for Heal's designs with both the Dinky sofa and Dinky armchair in Sanderson Festival fabric being very stylish midcentury-style gems.

Both are exclusives to Heal's, the amrchair above described as being 'Dinky by name and by nature', with a small footprint, small foam seat and high back, with those angled wooden legs in either a natural or dark stain. Incidentally, it's also available in Heal's reinterpretation of Lucienne Day's Calyx and a plain citrus fabric too. If you want one of these UK-made armchairs, they're available online from £1,170. It's not the only item in the range though.

Dinky2

Check out the Dinky small sofa range, which is equally 'Dinky', again with that small footpring, small seat and high back, plus some buttoning for that back and those angled legs. That's available in a plain citrus fabric or again, in Lucienne Day's Calyx cloth.

Also available online, this one is priced from £1,795.

Find out more at the Heal's website

Don't Be So Quick to Overlook the Maserati Grecale Folgore

If the GranTurismo Folgore is a guide, this Grecale Folgore could be surprisingly competitive. The EV GT was one of the year's best surp...