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Christopher Priest Special the BSFA Vector 206 • July/August 1999

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206 The Critical Journal of Christopher Priest Special the BSFA Vector 206 • July/August 1999 lDITOR IU ILW PROOUC'llilON AND 1GENERAL. ~Jil'ilNG, Tony 1C ullen - 116 Wea,ver's Way Ca1i"111 d&n, Lo111don NW1 OXE Vector EMail: · ony.oull8111@dfl!!l81.gov.1uk Tl-UL CHmC,\L JUllHf\,J\L IIJJ- mt BSFA IFiEATURES!, IEDlifORilAL AND 1 LEffEFtS Andrew ML Butle l" ·- 33 Broo'k\iiiew Driive, K,oyworth, otiingha m, G 12 5JN C~ntents EMail: ambutle r@en!~liJ)nise.not 3, Editonall Gary Oa[kl111 - 5 Lydford Road. Boumemornh. OorsBti, BH 111 8SN fiy Gai!JI Daikin Ema I: gsdalkin@[email protected] 3, ff t !i'lfsrs !01 V,EIO't(;)r Bomc REVEWS, 4 Tfh ro,wi 111g1Awa y the· Orthodoxy Ste,ve ,Jaifimiy ·- 44 Wh" e Way, Kiidlirng torn O:mn, Clir1s.toplret Pae.sf in o-OO!i'6'rs-aliion with Paul OX5 .2XA. KiooaitJ 110 Mirrors, Doubles, Twins Paul Kmoam m1 IM wJ:l!dts of Chris·~ Arias!' 13. A Retreat h-om Reality Cliristoplret Pne.sr on the ar:tgns of ors~ The British Si::hmoe Fiction A.sslJl,i::iailJiion Ud. The E:dremes ml ed by guer:entee. Oompeny No. ,9,21soo. Regls1B]\Blll 116, A Christopher Pries,t Bibliography Ad'dress_: 60 eownemou h R.oadl. fcil~es •ne, kient. Cf19 5AZ Comprliecl fiy ltriidraw M. &lier Thie MFA r,s a rion -profi!lmakiilliQ or,Q):iniis:ati"1ln, sf lfed 11· Tlh,e, Mu.s·,c. ol the Sp L.eres 4! : Jazz andl emira'ly by un;pa:il1 v,ollu -feers. sc·:e111ce !Fiction Film Music BS FA Membership fiy Davi$ H WOl'.Jd UK IRE DeN"JS,: £19 ®r £12 (unwaged) per year. IP ease 19 Firs,t Impressions en quif,e for 131.!'etseas rates. B'OOk Reviews etMed by Steve .Jeltetf Rl!!Wl!EWALS A'N D Nl!W M1Dl8£1R.S - flAllL I LUWGl!!R 1 ll.iGNG C OVElRt Ohrl stophetr F'rles,t s t he M hur 1C. Ola11iie Awar,cl Raw Cl!OSl!!j IE:'lii lmON; IDA'lii ceremony 1111 '1.ta.y 199'9. Photo by Too'.J' Oull en. USA ENlllLI IRJEB - Cy Cfilalil'i' 111 . 14248 Wl fired Stree!i, Detrol , ·1 48213 USA BS FA omcmals All opinions are ·lhl!!se of 1he lndi.,.llil uall cootrtbut:otrs aoo shouldl ~ -- IB lmbelh IBI l~ er. 1 Lmg E:\rflrloo, not neoeesady be taken as he Ylews of the ,editor atr • e esfi·_ . Ra« Close. ll3,W:flbiy, Nontmits N 1"11 3eE: le.t\ailt [email protected] M EMEIERSl-lE' Se:RETM11'"&.I~ ~ - Paa BIii ~ ; 1 1...or1J ~ Olo:'!!8,. Elle!doo, Oeventry. N'ortlilsnts: NNl11 381:: lihe BSFA EMl.11 : . llinger@l:ll1Eiprise.lll81: Ci!REDEK9 - Carol A1fin Kelflil\f-Gniern1, 278 \fl!dl'Onia A:Yenue, Supports, tlle, I-lull I-IU5 3D.2 ElMa:il: melapliO @mfei'p- se.n.el M ARDS - Ollml51 HII , The l:li.mQSl:>w. 2111.tower l=vlrp ~ 1. Nati.onal 'fear Whhdv.Jr.dli\ Hants: RG23 7il::Y E:Mai: [email protected]!181: Pi.BucrrrlPRDMOTICIIIS-- Claire IB.r:11!11ey. 26 ~ Road, of IRead'ing 01:,jdoo, Si:lrr,ffl'. ORO 7Hlli. EWI:.cbslie@lmglc .<lllfm•n!cndi; INIATIOINlAL 'VEAR. .ilR> MmklPl 1.1mmer. 1!4 ~~Ill. ~ . S!BeyQR016 ·OF READING l..ciEcJf,i lMEE!:Ni ~-!Paul Hood. 112 Ml:iadflWSikB, Eltlhern, 1Lormm1se9 GB:B Bt.1el: peli@ardi:ll.demoo..oo.u -- Wsl!MISTRES!i - ilianya1!Brown, E1J Ol!ICane Court, B:!lhem Hli;,tl R:oad, L:Mooloo, SW17 7JIL EMaU:. B111ar.en'lt@n'!l1..8'.il!l8too. 11:ne British Science Fii::timn Associatimn ltd. IDtheir BSF.\ Publications Limited by gJJ a an1Be. iCoo1pany N'o. 9.21 00. ~ fl',ed Aiillilres'!I:. 60 Boumemoulh R• elil, Folkestone,, Kem .. CT19 5A.Z Focus; Carol Ann Kerlf}l' -GRIEln •.278 Vl!dloria A:Ysnue, The IBSFA. is a -on-p_rafilmalllilg organi:sa'liioo mff'ed 1-1 II I-IU5 3D.2 ElMail: melapliO · tei'p '" se.nel. & Julie enJ ii\et _b - Wi ; iid ..,, al u ntaers_. \f'efil 11er. 41 W ,afg,ave Swee! IN9'1ttalill1 AYefli e, l-ll I , HU5 2LT MAliR OC; IBmian JJI., Ro\Jb, 118 Belforo Mews., EdJii.bur,g ' Ell-WI 38,f EMail: maliix@celil'liimes.demm,n.m.uk. 2 July/August 1999 • Vector 206 Editorial • Editorial • Editorial • Editorial • Editorial • Editorial • Editorial • Editorial he obvious thing to do would be to avoid mentioning it altogether, the same thing as saying it’s the best film I’ve ever seen. Just the one I even by oblique reference. To take the invert snob route. Or I could can happily go and see, even now, though of course it’s not the same Tbegin by noting that in 1977 one man changed the face of science experience, over and over again for the sheer fun of it. [And I’m not fiction forever. That man was, of course, Terry Brooks [known talking about seeing it shrunk and cropped into a horrible little box in the hereafter as TBM – the Terry Brooks Menace] and what he did was file corner of the living room. I’ve never seen any of the trilogy on tv]. the serial numbers off an easy-reading edition of The Lord of the Rings, The problem people have, and why they shy away, is in the matter give it a quick re-spray with something cheap and cheerful, and sell it to of confusing two different things. Star Wars was never more than a publisher as The Sword of Shannara. Sequels followed. Fantasy nominally science fiction, in the same way the old Flash Gordon and trilogies and series became the norm, forcing science fiction to mutate Buck Rogers serials it was inspired by were never more than simple into much the same pattern. Cut to 1999 and were are well into the era swashbuckling adventure stories dressed up in technological trappings. of the brainless bloated blockbusters. And people like it. It therefore It’s true of me, and I suspect true of many others, that I loved Stars seems inevitable that when George Lucas was looking for someone to Wars because of the grand adventure and epic scale, for the sense of novelise Star Wars Episode 1: The Phantom Menace, that he would call escape. We all wanted to escape like Luke Skywalker. That it was on Mr. Brooks. It brings things full circle, and saves us the bother of science fiction hardly mattered, even then, because I was also reading reading Mr. Brooks’ latest book, because we can see the movie instead. ‘real’ SF the rest of the time. Star Wars was some fun than happened Some people will never ‘get it’ as our American cousins are wont to along that had nothing to do with the real stuff. The problem may be that say. To really ‘get it’ you had to be somewhere between 5 and 17 when there are a lot of people who weren’t reading the real stuff, who, when Star Wars was originally released. It also helped if you were a boy, as it suddenly confronted by Star Wars decided that it was what SF must be is a male adolescent power fantasy. For those that were affected it like. And a lot of people who didn’t read SF, but loved Star Wars, became an important part of their growing-up, and so much more than decided they wanted to read SF if it was like Star Wars. So a whole new just another film. Some of the negative reaction to The Phantom type of media ‘inspired’ SF started to emerge. Besides SF and Fantasy Menace may be because, inevitably, it doesn’t have, can’t have, the there appeared a third, tenuously related-but-not-really-the-same-thing- same affect on 25-40 year old critics as the original had on them when at-all genre. Sci-Fi, forever scorned by the very name. they were still in school. The real test of The Phantom Menace will be Unfortunately today this upstart is what many people are thinking of whether today’s children love it the way some of us love Star Wars. when they talk about SF. And that, perhaps, is why so many real SF fans have an irrational grudge against Mr. Lucas and all his works. But as he says himself, the Star Wars films are just Saturday afternoon kid’s I’m sure it’s really not cool round these parts to admit to loving Star matinee pictures. It’s nothing to do with science fiction really. There’s a Wars, but I’m going to come right out and say it: Star Wars has given new one coming out soon. Enjoy. me more pleasure than any other film I have ever seen. Which is not by Gary Dalkin response, and thank him for it. It demonstrates exactly what I was trying, perhaps unclearly, to say; but more of that later. Gary’s response, however, caused me some concern and I wondered why he felt impelled to mount his high horse as an ex- teacher, as though I had somehow impugned the value of the whole race of teachers. That was certainly not my intention. My view is a simple one. I start from the perhaps surprising stance that you can’t sell anything to anyone; people choose to buy or not to buy. Equally I believe that you can’t teach anything to anyone; people choose to learn.
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    Dypdykk i musikkhistorien - Del 25: Sun Ra (16.09.2019 - TFB) Oppdatert 16.09.2019 Spilleliste pluss noen ekstra lyttetips: Intro Enlightment (Nuits De La Fondation Maeght Volume 1 (1970) / Sun Ra) Inspirasjon Fletcher Henderson Anitras dance​ [1939] / The John Kirby Sextet (The eternal myth revealed vol. 1 : 1926-1959 (2011) [14 CD-box] / Sun Ra) Drums of passion (1959) / Olatunji! Tidlige år / Arrangør / R&B Doo wop / Singler Jitterbuggin​ [1948] / The Red Saunders Orchestra Smile​ [1949] / Sun Ra You go to my head​ [1949] / The Sonny Blunt Trio Call my baby​ [1953] / Jo Jo Adams w/ The Red Saunders Orchestra The best things in life are free​ [1953] / Sun Ra Velvet [1956] / The Sun Ra Bebop Band (The eternal myth revealed vol. 1 : 1926-1959 (2011) [14 CD-box] / Sun Ra) I am a instrument ; I am strange [195?] / Sun Ra Spaceship lullaby ; A foggy day​ / The Nu Sounds (Singles : the definitive 45s collection 1952-1991 (2016) / Sun Ra) Daddy’s gonna tell you no lie ; Bye bye​ / The Cosmic Rays (Singles : the definitive 45s collection 1952-1991 (2016) / Sun Ra) M uck m uck (Matt matt) ; Hot skillet momma (Singel, 1957) / Yochanan 1 Arkestra Jazz by Sun Ra (1957) Høyt tempo Enlightenment ; Ancient aiethopia (Jazz in silhouette [1958](1959) / Sun Ra and his Arkestra) Diverse Music from tomorrows world [1960](2002) / Sun Ra and his Arkestra The invisible shield [1961-1963, 1970] (1974) / Sun Ra and his Intergalactic Research Arkestra Cluster of galaxies ; Infinity of the universe ; Solar drums (Art forms of dimensions tomorrow [1961-62] / Sun Ra and his Solar Arkestra) Brazilian sun (When sun comes out (1963) / Sun Ra and his Myth Science Arkestra) Adventure equation ; Moon dance ; Thither and Yon (Cosmic tones for mental therapy [1963](1967) / Sun Ra and his Myth Science Arkestra) Atlantis ; Mu ; Yucatan #1 [Hohner clavinet] (Atlantis [1967-1968](1969) / Sun Ra and his Astro-Infinity Arkestra) The perfect man (My brother the wind vol.
  • War of the Worlds

    War of the Worlds

    War of the Worlds PDF generated using the open source mwlib toolkit. See http://code.pediapress.com/ for more information. PDF generated at: Tue, 16 Oct 2012 03:17:19 UTC Contents Articles The War of the Worlds (radio drama) 1 The War of the Worlds (radio 1968) 12 The War of the Worlds (1953 film) 14 War of the Worlds (2005 film) 19 H. G. Wells' The War of the Worlds (2005 film) 30 H. G. Wells' War of the Worlds (2005 film) 35 War of the Worlds 2: The Next Wave 40 War of the Worlds – The True Story 43 War of the Worlds (TV series) 45 War of the Worlds: New Millennium 51 H. G. Wells' The War of the Worlds (comics) 53 Superman: War of the Worlds 54 Sherlock Holmes's War of the Worlds 57 The War of the Worlds: Next Century 58 Adaptations of The War of the Worlds 59 References Article Sources and Contributors 63 Image Sources, Licenses and Contributors 65 Article Licenses License 66 The War of the Worlds (radio drama) 1 The War of the Worlds (radio drama) The War of the Worlds Genre Radio show Running time 60 minutes Home station CBS Radio Starring • Orson Welles • Frank Readick • Kenny Delmar • Ray Collins Announcer Dan Seymour Writer(s) • Howard Koch (adaptation) • Anne Froelick • H.G. Wells (novel) Director(s) Orson Welles Producer(s) John Houseman Orson Welles Exec. producer(s) Davidson Taylor (for CBS) Narrated by Orson Welles Recording studio Columbia Broadcasting Building, 485 Madison Avenue, New York Air dates since October 30, 1938 Opening theme Piano Concerto No.