#Donald Tosh

[thedoctorwhocompanion]

Coming Soon: Vworp Vworp! #5

Coming Soon: @VworpVworpZine #5

The next issue of the acclaimed Doctor Who comics and artwork fanzine Vworp Vworp! goes up for pre-order on New Year’s Day, and begins shipping in February 2023! The 148-page issue, edited by Colin Brockhurst and published by Gareth Kavanagh, kicks off with an in-depth series of articles and script reviews focusing on the many Doctor Who animation projects that have, for a variety of reasons,…

[reggaekush]

Tell me who, who are the criminals?

[omegaremix]

Syke, 2010.

Syke had some news for me. He just salvaged a vinyl collection that was thrown out in the sidewalk. How could anyone do that? Simple. These are the same people who throw away comic books and baseball cards because they don’t know what’s good for them. We met when he signed on with me in food service during the economic recovery. He needed something and now  since you can’t build pools in the winter, and his wife was about to cut the cord if he didn’t bring anything home for her and their three daughters.

His client didn’t have any use for her record collection, most in excellent condition. She was into the hits, Seventies and Eighties pop, rock, adult contemporary, reggae, jazz, and even disco. They were kept in great care, too. We both assumed she purchased them, played them once or twice, and put them back on the shelf until forever. Syke already had a wealthier record collection than I had: 1,500 pieces and counting. Half in the backyard shed at the cemetary they lived in, and the other half in North Carolina at his dad’s house. So when any collector sees a stash thrown out in the street, who’s the first one to take notice? My dad should know. He found three piles of throwaways and brought them back home. Collections of classic Sixties showtunes, vocalists, Woodstock rock, moldy basement records, children’s sing-a-longs, and even polka where I donated all of that to WUSB’s resident polka lady. See where this is going?

Syke couldn’t possibly want all these records, so he invited me over to pick some out myself but with one catch: he would decide which records he’d keep that I picked out. It was his find after all. Then, I would do the same to him. Out of the 500 or so records, I took 10% of them. Not bad for a lucky day. I picked out whatever classic radio rock that interested me. Lou Reed, Peter Garbriel, INXS, Bob Seger, Steely Dan, Alan Parsons, and more. More finds included the finest in post-punk from The Buzzcocks’ Pete Shelley and three from Squeeze. Syke’s client, who in the end took great care of her records, was also huge on disco. He insisted I take France Joli, Studio 54, and the Saturday Night Fever records. O.K., if you say so. Then the joker cards in the collection: a compilation of Johnny Carson’s best moments and a Maxell rock sampler. Yes, a cassette tape manufacturer that has its own vinyl record. Please figure that one out.

I also had some records I looked to get rid so I had to reciprocate. Record collectors have to suport one another throughtout our addiction. You know how it is. A few years prior, a fomer dee-jay at our station had a huge giveaway of vintage and classic rock he was parting with, about 30 or so records I took of his. One of the most tolerant people I know. So tolerant that he cut ties with me for a very petty reason I can’t even remember. That’s how petty it was. Those were the records I gave to Syke. About 50 of those out. Jefferson Airplane, Herb Alpert, and some novelty Rolling Stones. Looking back, I felt bitten giving away the Stones records, but they’re so plentiful that I bought them all back this year. What also came wit hSyk

Shortly after our generous trade-off, Syke did wrong to his wife again to the point where she felt he gave up on her and the kids. He wasn’t bringing money in to provide for the family. He was wasting his mind on video games and later decided to move to Brooklyn for a few months, leaving his wife and children with no heat or utilities. She did the unthinkable that would make any other collector commit suicide: she sold everything he owned in the shed to a random guy for $30. Could you blame her? She had no choice. It was all supposed to be mine if only I didn’t tell her that I was going to buy them all and give it back to him. Cover blown. As a neutral party, I wanted to be the cooler between the two sides because I please my friends and I’m efficient. Putting your family behind is wrong, and I wouldn’t have anyone sell my possessions on me. Not excusing his actions at all, but you can’t sell someone’s life like that on the cheap either.

But there comes a happy ending. Syke took a step back and realized what was truly at stake. The entire family moved down south to the Carolinas where longer warmer weather allowed his swimming pool business to thrive. He’s happy. The kids are happy. They’re still together and better than ever. All the best to them. Only Syke could forgive and forget. He had to. For the kids.

Lou Reed Walk On The Wild Side: The Best Of…

Tilt motion picture soundtrack

Squeeze Argy Bargy

Eagles, The Hotel California

Peter Gabriel So

Pete Shelley Telephone Operator

INXS Kick

Stanley Clarke Modern Man

Commander Cody Band Lose It Tonight

Squeeze East Side Story

Bob Seger & The Silver Bullet Band Stranger In Town

Johnny Carson Here’s Johnny: Magic Moments From The Tonight Show

Temptations, The Power

Steely Dan Can’t Buy A Thrill

Saturday Night Fever motion picture soundtrack

Maxell Rock sampler

David Johansen Here Comes The Night

Billy Idol Don’t Stop

Bruce Springsteen Tunnel Of Love

Peter Tosh Bush Doctor

France Joli self-titled

Squeeze Sweets From A Stranger

Donald Byrd Thank You…For F.U.M.L. (Funking Up My Life)

Alan Parsons Project Pyramid

Steely Dan Aja

Vog self-titled

Studio 54 A Night At…

25+ various children’s records

[terastalungrad]

Let's talk about Orientalism and the Celestial Toymaker.

Old Doctor Who has multiple examples of Chinaphobic Oriental villains. The Talons of Weng-Chiang is a Fu Manchu-inspired Yellow Peril story. Mavic Chen is explicitly "clearly part oriental" in the script for The Daleks' Master Plan.

The Toymaker isn't quite as clear-cut. He's dressed as a Mandarin - but in that story, characters dress according to the game they're playing, and the Toymaker is only ever seen playing the Trilogic game. Indeed, script editor Donald Tosh said they avoided making the Toymaker Chinese because they'd recently done Mavic Chen. It also looks like the connection between the word "celestial" and the Celestial Empire was coincidental.

And yet ... it's still not a great look, is it?

So I really like the modern interpretation of the Toymaker. In The Giggle, he's an appropriator. He affects German and French accents - and we see him perform a microaggression against a POC customer. If the Celestial Toymaker of 1966 was a white man dressed in another culture's clothing, the 2023 Toymaker leans into that idea.

And there's something quite satisfying about Gatwa's Doctor naming Mavic Chen in the same episode.

This is a version of Doctor Who that's not just about positive representation for the future - it's also about decolonisation.

The Toymaker and Mavic Chen can be meaningful parts of the story without Orientalism. Just like Davros can exist, without being in a wheelchair.

[lucassantostoons]

Felix the Cat's Birthday Party Guest List

Mickey Mouse

Mickey Mouse

Minnie Mouse

Donald Duck

Daisy Duck

Goofy

Pluto

Clarabelle Cow

Ludwig Von Drake

Goof Troop

Max Goof

Pete

Peg Pete

PJ

Pistol Pete

Chip N Dale Rescue Rangers

Chip N Dale

Gadget Hackwrench

Monterey Jack

Zipper

The Three Caballeros

Panchito Romero Miguel Junipero Francisco Quintero Gonzales III

Jose Carioca

DuckTales (1987)

Scrooge McDuck

Huey Duck

Dewey Duck

Louie Duck

Webby Vanderquack

Bubba the cave duck

Bentina Beakley

Launchpad McQuack

Darkwing Duck

Drake Mallard / Darkwing Duck

Gosalyn Mallard

Looney Tunes

Bugs Bunny

Lola Bunny

Daffy Duck

Porky Pig

Petunia Pig

Sylvester J Pussycat

Granny

Tweety Bird

Tasmanian Devil

Wile E Coyote

Roadrunner

Marvin the Martian

K-9

Pepe Le Pew

Penelope

Speedy Gonzales 

Gossamer

Witch Hazel

Foghorn Leghorn

Elmer Fudd

Yosemite Sam

Mac Gopher

Tosh Gopher

Tiny Toon Adventures

Buster Bunny

Babs Bunny

Plucky Duck

Hamton J Pig

Furrball the Cat

Shirley The Loon

Fifi La Fume

Lil Sneezer

Gogo Dodo

Dizzy Devil

Calamity Coyote

Little Beeper

Arnold the Pit Bull

Byron Basset

Fowlmouth

Mary Melody

Bookworm

Concord Condor

Barry Marky

Marcia the Martian

Animaniacs

Yakko Warner

Wakko Warner

Dor Warner

Pinky and the Brain

The Godpigeon

The Girlfeathers

Pipsqueak

Slappy Squirrel

Skippy Squirrel

Rita

Runt

Mindy

Buttons

Freakazoid

Freakazoid

Tom & Jerry

Tom Cat

Jerry Mouse

Droopy Dog

Butch the Bulldog

Woody Woodpecker

Woody Woodpecker

Winnie Woodpecker

Knothead Woodpecker

Splinter Woodpecker

Chilly Willy

The Adventures of Rocky & Bullwinkle & Friends

Rocky the Flying Squirrel

Bullwinkle J. Moose

Mr. Peabody

Sherman

Betty Boop

Betty Boop

Bimbo the Dog

Bonkers

Bonkers D. Bobcat

Fall Apart Rabbit

Fawn Deer

Jitters A. Dog

Miranda Wright

Disney Princess Characters 

Snow White

Bashful

Happy

Grumpy

Sleepy

Sneezy

Dopey

Doc

Prince Charming

Cinderella

Gus

Jaq

Aurora

Still work in progress

[drwhotht]

Have a Feast @ Doctor Whos Tragical History Tour!

Have a Feast @ Doctor Who’s Tragical History Tour! It’s a Tragical History Tour tradition (and the Matrix Mutterings before that) that stretches all the way back to 1995. Our annual holiday bit of Christmas merriment heralds Doctor Who’s most prominent (at least until 2005) and obvious holiday crossover. And therein lies a tale (some of it possibly apocryphal!) Christmas Day in 1965 fell on a Saturday. DOCTOR WHO was well into a successful third season in its by-now-traditional Saturday tea-time slot on the BBC schedules with William Hartnell in the lead and was going all out to appease the rampant Dalekmania that had taken England and the series by storm by unleashing the massive 12-part story The Daleks Master Plan over a three month period. Rather than take a break for more traditional holiday-fare the powers that were in the BBC decided not to break up the Dalek epic halfway through (at episode 7) and continue to run the series. The Producer at the time John Wiles felt the unusual slotting on Christmas day provided an ideal chance to break from the larger story temporarily and try something totally different. In England the theater tradition of Christmas pantomimes was a well understood and accepted form of entertainment. Thus virtually all links to the story up to that point were forgotten for a week to indulge in the ‘Christmas spirit’ as it were. In other words nothing less than a full-blown pantomime and send-up as the Doctor and his companions–Steven and Sara–ricocheted from one ridiculous situation to another. As it was viewers at the time didn’t mind the diversion–although the episode was never sold into syndication overseas. Even so the most infamous feature in this episode was William Hartnell’s closing speech–directly to the audience! Although this closing exists in the scripts that exist today, both script editor Donald Tosh and director Douglas Camfield insisted it was not in the shooting script! Camfield was reportedly so incensed that, according to Heather Hartnell, he gave Hartnell the original print shortly after it was broadcast and in subsequent years the Hartnell family would then gather together after Christmas dinner to watch The Feast of Steven all over again. Ho! Ho! WHO! Read more about Doctor Who’s original Christmas Celebration, The Feast of Steven here. Tags and categories: Roundel Roundabouts, Xmas Marks the Spot, William Hartnell, The Daleks Master Plan via WordPress https://ift.tt/1cMS0Wh December 21, 2023 at 07:00AM

[lilydvoratrelundar]

And for the classic show:

The Tom Baker stories The Ark In Space, The Brain of Morbius, and Pyramids of Mars were re-written almost entirely by script editor Robert Holmes, two of them were credited to pseudonyms and one just to Holmes.

The Dominators was originally scheduled to be 6 episodes long, however the production team agreed it was shite and decided to shorten it to only 5 episodes. The original plot was condensed to be an episode shorter, and the following story, The Mind Robber, was given an extra episode at the start. Instead of extending the story, the writers and production team created a weird and unnerving prequel episode using mostly stock sets props and costumes.

The Edge of Destruction only exists because the original series order for the first ever Doctor Who series was 13 episodes. If they weren't extended to their full series order, the production team didn't want to have the series end two episodes into the 7-part Marco Polo, but they only had the money to actually film the episode, plus some small amount of prop work and a few stock images.

The fourth story of season 6 fell through and had to be pushed back in the season (it was ultimately cancelled), resulting in The Invasion being extended from 4 episodes to 8.

Similarly, the final 4-parter and 6-parter of season 6 both fell through, and script editor Terrance Dicks worked with writer Malcolm Hulke to create a 10-part story, The War Games, to act as the final Patrick Troughton serial instead.

The very specific brief of Horror of Fang Rock was Robert Holmes' revenge on Terrance Dicks for forcing him to write to a similarly limiting brief for The Time Warrior

City of Death began as a story by David Fisher about 1920s gambling in Monte Carlo used to fund Scarlioni's time travel experiments to prevent his people dying of the common cold. Producer Graham Williams found that the gambling plotline was inappropriate for children, but when Fisher was unavailable for rewrites, Williams and script editor DOUGLAS ADAMS !!!! rewrote it almost entirely and credited it to a pseudonym

The original season 15 finale was deemed too expensive to produce, as due to the ongoing economic crisis in the UK the show's budget was stretched even thinner than usual. Graham Williams and script editor Anthony Read wrote The Invasion of Time to be a lot cheaper, since it re-used a lot of costumes and sets for Gallifrey

Ghost Light started as a story about the Time Lords featuring a lot of elements that would be then adapted into the book Lungbarrow for the VNAs. The story was then repurposed to be about a creepy old Victorian house, playing into Ace's backstory rather than the Doctor's

Time and the Rani wasn't originally a post-regeneration story, but Colin Baker refused to return after being fired. I don't blame him.

A lot of early Pertwee stories were 6 or 7 episodes long to save money on sets and costumes. A lot of the blatant padding is complete filler, but sometimes it resulted in strokes of genius like the alternate universe plotline in Inferno, which completely transforms the tone and vibe of that story

Terry Nation tried to sell a Dalek show to American producers in the late 60s/early 70s. Because of this, he refused to let Doctor Who use the Daleks from The Evil of the Daleks in season 4 (in which the daleks are finally defeated completley and therefore somewhat written out of the show) until Day of the Daleks in season 9.

The Celestial Toymaker was written about three times by different writers, and script editors coming in and out of the program during season 3 until it didn't resemble Brian Hayles' original storyline at all. However, it was still credited to him because of rules about crediting script editors in the BBC.

The same thing happened with The Massacre of St Batholemew's Eve, John Lucarotti also hated the rewrites by Donald Tosh however Tosh could only be credited in episode four because by that point he was no longer script editor. John Lucarotti wrote then novelisation and it is apparently very different to what was broadcast (I haven't read it)

Matthew Waterhouse appears as Adric in Time-Flight despite the character having died a week earlier, so as to keep his being written out as a secret - the Radio Times listings credited Waterhouse for Time-Flight, therefore he wasn't conspicuously absent in a way which could have led to viewers guessing his fate.

The Deadly Assassin had no companion in it because Tom Baker insisted that the show didn't need one - the story was written to give him what he wanted to keep him on side, but it was also partly an attempt by the production team to prove him wrong.

Leela's exit in The Invasion of Time is so awkwardly slapped onto the end because Graham Williams was convinced he could get Louise Jameson to stay on for another year, and kept writing scripts with the possibility of her staying.

AND THE BIG ONE this is very complicated but.

Robert Holmes was originally commissioned to write the concluding 2-parter of The Trial of a Time Lord. He wrote the first episode, and then was hospitalised and died shortly after. Script editor Eric Saward stepped in to write the final episode and finished the story based on Holmes's notes.

HOWEVER the original ending, by both Holmes and Saward, was a cliffhanger featuring the Doctor and Valeyard fighting with an ambiguous ending. Producer John Nathan-Turner feared that, having just come off a forced 18 month hiatus and not being in the good graces of BBC controller Michael Grade, the show might be cancelled if they thought this ending would serve as a fitting conclusion to the entire show. JNT asked that the ending be rewritten. Eric Saward, who had not been getting along with JNT at all during the last few years of the show, quit, and prohibited access to his script or the original notes.

JNT had to act as script editor to writers Pip and Jane Baker who were brought in to pen the final episode of the season, tying up the loose ends and using the plot elements established in part one, without being allowed to follow the same plotline as Saward's script.

Trial of a Time Lord was already Not Very Good but this really just made the ending so much worse. The extremely confused nature of the production of that final episode also meant that a shoehorned in happy ending for Peri was added.

How Behind-the Scenes Issues Affected the Writing of Doctor Who (Both Good and Bad)

Doctor Who is such a fascinating show to look at from a Watsonian v. Doylist perspective. Like, entirely just from an episode writing point of view:

Twice Upon A Time feels so slow and meandering and even boring in places because Chris Chibnall didn't want to start his run as showrunner and Steven Moffat didn't want the show to lose the coveted Christmas timeslot (ironic, I know) so he bumped the Twelfth Doctor's regeneration from the end of The Doctor Falls (where it makes sense) to the end of the Christmas special

Boom Town (my beloved) only exists because originally there was going to be an episode in its spot explaining that Rose had been molded to be the Doctor's perfect companion (by the Doctor, gross) and the writer didn't have the time to commit to the show

The ending of Last Christmas feels like one inside-a-dream too many because originally Jenna Coleman was questioning whether she was going to leave the show or not and the ending was rewritten after the first readthrough when she decided she wanted to stay for another season

The first five episodes of Season 7 feel like each one takes place in a different genre because that's literally how Steven Moffat pitched it to the writers; for example, A Town Called Mercy was literally pitched as "Doctor Who does a Western"

Not so much a weird one but one I find cool: Eleven's first words and Thirteen's first words were literally written by Moffat and Chibnall respectively, as they were brought in to write the first words of the first Doctors of their runs so as to make it cohesive

The reason why Fourteen isn't wearing Thirteen's clothes when he regenerates is because Jodie Whittaker is much shorter than David Tennant and Russell T. Davies didn't want it to look like he was making fun of the genderfluidity of the Doctor (still think he made the wrong decision, but eh)

Wilfred Mott isn't in the Runaway Bride and Donna's father isn't in Partners in Crime because the actor who played Donna's father, Howard Attfield, died after filming several scenes for Partners In Crime, leading to the character of "Stan Mott" from Voyage of the Damned being written into Partners In Crime as Donna's grandfather

Astrid Peth doesn't die in the original drafts of Voyage of the Damned, but Russell T. Davies wrote what is generally considered one of the most emotional deaths in Doctor Who just because he wanted Kylie Minogue to be able to focus on her music career

Originally Oxygen was written as a prequel to Mummy on the Orient Express, where a corporate representative appeared on a monitor. Said representative was fired for his fumbling of the station and would later live on as the company computer, Gus

During Season 11, Chris Chibnall had to do some major rewrites for many of the one-off episodes, therefore The Battle of Ranskoor Av Kolos ended up being a first draft that made it to screen. He later admitted it was his least favorite episode of the series

And this is only a fraction of what I found in terms of major behind-the-scenes writing reasons. Though I am still totally willing to critique the product that made it to our screens, finding out the reasons behind some of the more badly written episodes of the show really made me feel sympathy for every showrunner of the show as well as appreciate a lot of the good episodes that ended up here despite the short production schedule/unexpected problems (once again, Boom Town my beloved AND everyone's favorite companion Wilfred Mott only exist because of unforseen problems). Absolutely bonkers, isn't it?

[bamboomusiclist]

2/18 おはようございます。Flying Lizards / the  Flying Lizards va13137  等更新しました。

JJ Johnson / Really Livin' cl1383 Lee Konitz / with Warne Marsh 1217 Hal Stein Warren Fitzgerald / Hal Stein Warren Fitzgerald plp1002 Hampton Hawes / Here and Now s7617 Johnny Smith / Kaleidoscope v6-8737 Charles Mingus / Blues & Roots sd1305 Dexter Gordon / Blues A La Suisse　P10079 King Curtis / Soul Meeting p-7833 Sonny Stitt / Stitt Plays Bird sd1418 Kenny Clarke James Moody / The Paris Bebop Sessions prst7605 George Van Eps / Mellow Guitar cl929 Flying Lizards / the  Flying Lizards va13137 Mecano / Autoportrait MAD-1004 Curtis Mayfield / OST Short Eyes cu5017 VA / Seychelles 2 558554 Donald Fagen / The Nightfly 92.3696-1 Peter Tosh / Legalize It V2061 Kevin Ayers / Bananamour Ems1124 Nina Hagen Band / Unbehagen CBS84159 Jeff Beck / Flash 26112

~bamboo music~ info@bamboo-music.net   530-0028 大阪市北区万歳町3-41 シロノビル104号 06-6363-2700 https://bamboo-music.net

[brentusjoshea]

Currently making my way through all them ye olde Dalek serials (well, more of a rewatch really) and I’m inching closer to getting over that giant set of 60′s Dalek stories.

And it’s slightly fascinating, seeing as I’m still technically lingering in the Terry Nation episodes (half-way through The Dalek’s Masterplan right now so... here on out, no more black and white Terry), trying to pick out what’s actually Nation in the scripts and what might reflect the work of his editors (seeing as he has three editors in this period - Whitaker, Spooner and Tosh - and there are differences in tone between each of the Hartnell Dalek stories).

Tho I suppose trying to pick apart where Terry was rewritten/what was ghost written for Terry might make for something more interesting to write at a later date.

[lissy-strata]

Yes, Maureen had wanted to leave, but a heads-up would have been nice!

Picture: One interview with Donald Tosh and another with Maureen O’Brien. TOSH: Then we get to the first read-through, and Maureen arrives absolutely furious, because nobody had told her. Her agent hadn’t told her. Johnny hadn’t told her. O’BRIEN: And I suppose I was angry because I’d gone on holiday and I’d rather have been looking for work. TOSH: This is now deeply, deeply embarrassing.

[downthetubes]

Draw A Really Alien Doctor Who Art and Comic Competition!

Draw A Really Alien Doctor Who Art and Comic Competition!

Doctor Mew by Jenny Parks With rumours flying over the weekend about the possibility of a new lead for Doctor Who in the offing – rumours spreading out from an item from the Daily Mirror the BBC would not be drawn on – I thought I’d launch 2021 on downthetubes with a new art challenge! Many years ago, I overheard an entertaining and intriguing discussion during the second Doctor Who…

[thedoctorwhocompanion]

The Doctor Who Companion Reclamation Project: Dumping Prohibited

The #DoctorWho Companion Reclamation Project: Dumping Prohibited

I will say this for Chris Chibnall — I think he thought he at least gave Graham and Ryan a good send off in Revolution of the Daleks. I think his intentions were good and they were not unceremoniously dumped when leaving the show. That is to his credit.  This is undoubtedly in large part because he created the characters in the first place. If a producer creates the companions, he or she…

[esonetwork]

The 42cast Episode 59: Get to Know Your Doctor Part One - William Hartnell

New Post has been published on https://esonetwork.com/the-42cast-episode-59-get-to-know-your-doctor-part-one-william-hartnell/

The 42cast Episode 59: Get to Know Your Doctor Part One - William Hartnell

Doctor Who is the longest running science fiction television franchise of all time. With this episode we kick off a series on each Doctor, as we discuss their contributions to the overall story of Doctor Who. In our first installment we discuss William Hartnell. We talk about the first Doctor’s character, Hartnell’s performance, behind-the-scenes details that informed the performance and varied the tone of the first 3 seasons of Doctor Who. We also discuss our favorite companions and favorite stories while Eric tells us to study more history.

This week sees the welcome return of Five Questions.

This week Mike; Michael; and newcomer, Eric Cheezum, join the cast.

Like what you heard? Follow us on Facebook at www.facebook.com/42cast. You can also find us on Twitter as @42cast. We can also be found on Stitcher Radio, Google Play, and iTunes. Please, leave us a review. Have a question for the Ultimate Answer? E-mail us at everything@42cast.com.

[rachelbethhines]

Is it for me?

The Tosh Era

The Time Meddler - The Massacre of St Bartholomew's Eve  

There was a lot changing of hands during the 3rd season of the show. Donald Tosh came in to replace Spooner as head writer. During the middle of his run Verity Lambert step down as producer and John Wiles took over. Neither he nor Tosh would last very long, both leaving in the middle of the season. 

Where to Start

The Time Meddler is a fairly good jumping on point for the show. It introduces a new companion and reintroduces some of the main concepts of the series to the audience. While also setting up new ideas that would later become staples of the franchise.     

However my previous warning of not trying to watch whole stories in one go applies doubly here, as The Daleks' Master Plan is the longest serial in the series; clocking in at 12 episodes. So take it slow. 

Missing Episodes

This era has been hit the hardest by lost episodes. Only one serial exists in its entirety. 

Galaxy 4 - Only one episode has been recovered. For the other three you’ll need recons or audio

Mission to the Unknown - is only one episode long and it’s missing. However there are multiple ways to experience it. First there is the recon and then the audio. There’s also a fan made animation that’s of the same quality as the BBC’s official animations and can be found online. Plus there is a fan made short film reenactment. 

Since this story was the first Doctor-lite episode, the film isn’t harmed by the lack of regulars and the parts can be recasted easily. 

The Myth Makers - All of the episodes are missing. The only thing that exists is a short clip of Vicki’s leaving scene, and we’re lucky to even have that. Once again recons and audios to the rescue. 

The Daleks' Master Plan - Only three parts of this twelve part epic exist. There’s some clips and of course, audios, recons, and a well regarded set if novelizations. One of which includes the novelization of Mission to the Unknown. There’s also a pretty popular fan animation of the episode “The Feast of Steven”, which was the first Christmas special.   

It’s gotten taken down by the BBC before. So if you’re interested in seeing it, I’d watch it as soon as possible. 

The Massacre - is also completely missing. You’ll have to follow the usual recourse of audios, recons, and/or novels. 

Tone

Remember how I described the first era of Doctor as serious and dark, but not grimly so? Yeah, this era is grim and gritty. Everything from implied rape, to mass murder, to whole worlds blowing up, this is easily the darkest Doctor Who has ever gotten. Two companions die for good, two historical massacres happen, and one episodes ends with literally everybody dead.  

Granted this is still a 1960s children show so nothing shown is very graphic or gory. It’s certainly no Game of Thrones by any means. Hell, it’s not even Torchwood. But it is devoid of humor for the most part (with The Time Meddler and “The Feast of Steven” being the exceptions) and if you’re looking for a lighthearted adventure series than this era isn’t for you. However if you love drama, lies, betrayal, and the thrill of never knowing who’s going to die next, then you might want to give this era a shot. Assuming you don’t mind recons. 

The Doctor   

This is arguably the era where the First Doctor makes his greatest strides towards being the hero we know him for. Surrounded by death, destruction, and the constant lost of friends, we began to see a Doctor humbled by his experiences and questioning if there’s more to life than just exploring for curiosity’s sake. Hartnell gives some of his most touching and profound performances during this era. Like little stars of hope against an increasingly darkening sky.  

The Companions 

Slight spoiler warnings as I do reveal which companions die during this era. 

Vicki - As strong willed, adventurous, stubborn, and impetuous as ever, Vicki goes through very little change. She does however, grow even more independent than before promoting her to leave during the middle of the era. A girl from the far flung future choosing to stay in ancient history for love and adventure. 

Steven - Steven is also a space pilot from the future, so this era marks one of the rare times in Doctor Who where the Doctor doesn’t travel with a companion from present day. Originally meant to replace Ian as the action man of the team, Steven actually winds up being something a fusion between Barbara and Ian. He has a strong moral backbone and becomes the Doctor’s conscience in their place. Like Barbara he tends to use his wits and his words to save the day rather than his fists, though he is capable of throwing a punch, but like Ian he’s more affable and is quite over protective of his friends.

What makes Steven unique, outside of Peter Purves wonderful performance, is that he takes on more of a big brother role rather than a parental one. Meaning he has a different dynamic towards Vicki and the rest of his female friends. 

Katarina - Katarina is one of those companions who’s interesting on paper but lacking in execution. A sweet and mild mannered maid from ancient Troy, Katarina is flung into the horrors of the far future and finds herself way in over her head.

What really makes her interesting is that she views modern sci-fi concepts through the eyes of fantasy and magic. The Doctor is a demigod, his tardis a magical temple, the daleks monstrous cyclops, and her journey through time and space an adventure in the underworld. She may not know what pills or keys are, but she can piece two and two together and make out what they do even when she doesn’t fully understand how they work.

Sadly though the writers gave up on this idea halfway through and decided that writing for someone so different from the norm was too hard. Therefore, Katarina has the honored distinction of being the first companion to ever die; nobly sacrificing herself to save her new found friends and the rest of the universe.        

Sara Kingdom - There’s a bit of debate on weather or not Sara counts as a companion. That all depends on how you define “companion”. Like Astrid Peth or Jenny from the new series, Sara is meant to fulfill the companion role but only for one story; as she dies at the end of The Dalek Masterplan. However, given that that particular story is extra long, and she travels on the Tardis to many different locations through out it; many are inclined to include her on the list. She even proved so popular that expanded media has given her an extended shelf life and many extra adventures outside of her one on screen story. 

But why is she so popular? Well for two reasons; for starters she is the first action girl in the series. A trained soldier from the future, Sara is a ruthless combatant on the field; both with fire arms and her fists. The second reason is because she’s morally complex. When we first meet her, she murders her own brother in cold blood. All because her government ordered her to. Once she’s betrayed by the government she trusted and realizes she was duped into killing her family, she joins the Doctor in his quest all in the vain hope to seek revenge.  A goal that ultimately becomes her undoing. 

Personal Opinions 

I do love the experimental nature of this time in Doctor Who, and I admire the chances they took, but overall this era is something of slog to get through. The lack of watchable episodes doesn’t help matters, but there’s also an issue of pacing as The Dalek Masterplan, while impressive in scope, has really no business being twelve parts. With some episodes seemingly having little to do with the over all story. 

All in all it’s my least favorite of the various Hartnell eras, but it’s still Hartnell so I’ll go back to rewatch it more than some other doctors. 

[thisisjamaica]

#MUSIC THE BIGGEST ALBUMS EVER - ROOTS REGGAE 5. Bob Marley & The Wailers: Talkin’ Blues (Tuff Gong, 1991) In 1973 Bob Marley had star potential, Peter Tosh was distrustful of the management and Bunny Wailer was tired of touring. The Wailers broke up shortly after these San Francisco radio sessions. The band muscle through perfected hits, elevating each one beyond album restrictions and into soporific, hand drum-led jams. Marley’s philosophy is told through conversation extracts, while Bunny and Tosh both take lead on some brilliant original material. 4. Gregory Isaacs: Cool Ruler (Front Line, 1978) Reggae’s ‘lonely lover’ found fame in the early 70s for his sweet voice and masculine vulnerability. With this shift towards roots, Isaacs kept his haunting sadness. Bongos and rattlesnake-like bells give these tracks a familiarity, ensuring Cool Ruler stays with you for days. 3. Rocky Dawuni: Branches of the Same Tree (Cumbancha, 2015) Ghanaian singer Rocky Dawuni’s uplifting ballads are soaked in a haze of Brazilian percussion, rich grooves and New Orleans-style rhythms. His rendition of ‘Get Up, Stand Up’ has a distinctly African pulse, mixing highlife and roots.  2. The Congos: Heart of the Congos (Black Ark, 1977) The masterpiece of Lee ‘Scratch’ Perry’s Black Ark studio. Chaos and structure are balanced on a knife edge, as Scratch cloaks the chants of Cedric Myton and Ashanti Roy with a jungle of otherworldly sounds. Myton’s sublime falsetto steals the show, hypnotising the listener with deep Biblical imagery. @VPRecords of course did justice by reissuing this classic album. 1. The Abyssinians: Satta Massagana (Jam Sounds, 1976) The Abyssinians’ close harmonies were key to making roots reggae soulful. Satta Massagana’s tracks move from brooding to elation, with brothers Linford and Donald Manning singing as one to echo Bernard Collins’ lead. The use of Amharic vocals gives weight to their message, and the title-track is probably the most important Rastafari hymn on record.   TELL US YOUR FAVOURITE ROOTS REGGAE ALBUM EVER. DROP IT IN THE COMMENTS (at Jamaica) https://www.instagram.com/p/Ci7vUU1NJrB/?igshid=NGJjMDIxMWI=

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TRANSMISSIONS

www.transmissions.tv

For the sixth and final episode of Season 3, we are pleased to announce an episode curated by Tosh Basco with Sophia Al-Maria, Patrick Belaga, Kelton Campos, Enantios Dromos, Josh Johnson, Asma Maroof, Fred Moten, Lorenzo Moten, Julian Moten,  Matthew Stone and Wu Tsang broadcasting on Wednesday 6th October 9PM BST / 4PM EST / 4AM CST REPLAY on Friday 8th October 10AM BST / 5AM EST / 5PM CST TRANSMISSIONS is back for Season 3!  In the past year we have learned that all forms of community are vital in providing mechanisms to support each other through this precarious time. In the continued pandemic landscape that we occupy many artists, writers and thinkers have had and continue to have exhibitions, opportunities and subsequent fees postponed or cancelled. In response to this, we established TRANSMISSIONS in 2020 as an online platform that commissions artists to share their work within a classic DIY TV show format. Our new season for 2021 comprising 6 episodes will stream on a monthly basis via our website from March to October 2021. Season 3 is supported by: BALTIC Centre for Contemporary Art, Chisenhale Gallery, Forma Arts and Media, Manchester International Festival, Netwerk Aalst, Somerset House Studios, South London Gallery & Wysing Arts Centre.

Episode 6 | 6 October | 9PM BST | 4PM EST | 4AM CST REPLAY |  8 October | 10AM BST | 5AM EST | 5PM CST The Band and Friends The things that emanate from the ones I love. W/ Sophia Al-Maria / Tosh Basco / Patrick Belaga / Kelton Campos  / Enantios Dromos / Josh Johnson / Asma Maroof / Fred Moten / Lorenzo Moten / Julian Moten / Matthew Stone / Wu Tsang Tosh Basco

Tosh Basco is a movement-based performance artist whose work operates through improvisation as a mode of survival and world building in the liminal, performative space where becoming meets representation. Adamant about the visceral experience of live visual performance, she makes a case for how the movement of form can communicate what remains impenetrable in images, and through language. Her performances have been presented at the Gropius Bau, the Venice Biennale, the Sydney Biennial, the Whitney Museum of American Art, MoMA PS1, the San Francisco Museum of Modern Art, the Museum of Contemporary Art Chicago, MOCA Los Angeles, the Stedelijk Museum Amsterdam, ICA London, and Berghain. Tosh Basco has toured with Mykki Blanco, and collaborated with Korakrit Arunanondchai and Wu Tsang, as well as the streetwear label Hood By Air.

Thank you to:

All contributing artists, writers, composers and thinkers; Vanessa Carlos; Carlos Ishikawa; Adam Sinclair; Chloe Page; Maxwell Sterling; Simon Parris; Gabriella Price; Donald Smith; BALTIC Centre for Contemporary Art; Cinenova; Chisenhale Gallery; Forma Arts and Media; Manchester International Festival; Netwerk Aalst; Somerset House Studios; South London Gallery; Wysing Arts Centre.

Transmissions.tv @transmissions2021

TRANSMISSIONS collective is composed of:

Anne Duffau is a cultural producer, researcher, and founder of A—Z, an exploratory/nomadic curatorial platform exploring artistic practices and knowledge exchange through collaborations, presentations, soundscapes, screenings and discussions. She has collaborated with a range of projects and organisations including ArtLicks, Southwark Park Galleries, Mimosa House and Danielle Arnaud Gallery, London Please Stand By, or-bits .com, PAF Olomouc Czech Republic & Tenderflix. Anne has previously run the StudioRCA Riverlight, London programme (2016-2018) and is currently the interim curator at Wysing Arts Center, a Tutor at the School of Arts and Humanities, and is the acting Lead in Critical Practice, within the Royal College of Art’s Contemporary Art Practice Programme. She has performed live music under Alpha through a number of projects and collaborations.

Hana Noorali is an independent curator and writer based in London. In 2019 she was selected (together with Lynton Talbot) to realise an exhibition titled The Season of Cartesian Weeping at The David Roberts Art Foundation as part of their annual curator’s series. She curated Lisson Presents at Lisson Gallery, London from 2017-2018 and from 2017 -2019, produced and presented the podcast series Lisson ON AIR. In 2018 Hana edited a monograph on the work of artist and Benedictine Monk, Dom Sylvester Houédard. Its release coincided with an exhibition of his work at Lisson Gallery, New York that she co-curated with Matt O’Dell. In 2007, she co-founded a non-profit project space and curatorial collective called RUN active until 2011. In Spring 2021 Hana and her curatorial partner Lynton Talbot published an anthology situated at the intersection of language and art with (p) (prototype) titled Intertitles. Forthcoming exhibitions include projects at Galerija Prozori in Zagreb, Croatia (2021) and Amant Foundation, New York (2022). Hana has written for Art Monthly, The Harun Farocki Institute, The Moving Image Review & Art Journal amongst other publications.

Tai Shani is an artist living and working in London. She is the joint 2019 Turner Prize winner together with Lawrence Abu Hamdan, Helen Cammock and Oscar Murillo. In 2019 Tai was a Max Mara prize nominee. Her work has been shown at Turner Contemporary, UK (2019); Grazer Kunst Verein, Austria (2019); Fondazione Sandretto Re Rebaudengo, Italy (2019); Glasgow International, UK (2018); Wysing Arts Centre, UK (2017); Serpentine Galleries, London (2016); Tate, London (2016); Yvonne Lambert Gallery, Berlin (2016) and Irish Museum of Modern Art, Dublin (2016).

Lori E Allen is a sound artist and experimental composer working in video, soundtrack/design, text and sculpture. Her collaborative work has been shown and performed in Tate Modern South Tanks, Chisenhale Gallery, Glasgow’s CCA, the Whitechapel Gallery, London Science Gallery, and the Royal College of Physicians. Some publications include Tears of the Material Vulture on the Tapeworm, A Hopeless Place on Wormhole Records, and Pluto’s Return on Bloxham Tapes. She is the Production Director for TRANSMISSIONS.

Mika Lapid is a London based sculpture graduate working as a creative assistant and maker in film and art. She worked with Our Workshop (NGO) and assisted Georgina Gratrix in South Africa before moving to the UK where she currently assists Tai Shani. Alongside this Mika freelances as an art director, set dresser and maker. She is the Production Associate for TRANSMISSIONS.