Comics

The Lost In Space Family Robinson

J. C. Maçek III

To Be Continued...” is back with more on “all things comics”, and as you know “Comics” don't always stay on the gridded page, but impact other media as well. Here's one of those unbelievable times for those of you who do not believe in “coincidence”.

In September of 1965 a science fiction TV series called Lost in Space debuted on CBS television, as created by Irwin Allen, who had found success in his show Voyage to the Bottom of the Sea. The outer space series, which was originally planned to be named Space Family Robinson, ran for 3 seasons, inspired a one-off cartoon, a big budget theatrical film and a number of comicbook adaptations.

Perhaps in your collecting years you've come across some of these... for example the first Gold Key comic, commonly called Space Family Robinson Lost in Space. Yes, yes, folks, there's June and Craig and the kids, Tim, that irascible scamp and, Tam the... little princess... and... wait, what? Clancy the dog and Yakker the Parrot? What the hell is this? This isn't the Spacefaring Robinson family we know. And were is the love-to-hate-him Dr. Smith? And where, oh, where, is Robot B-9? No “Danger Will Robinson?” And where's Penny? Everybody had a crush on Penny Robinson growing up! You can't have Lost in Space without Penny.

So, it was a bad adaptation, right? Well, as the lawyers for the Gold Key series must have said “Not So Fast!”

Space Family Robinson debuted not in 1965 or after, but in December of 1962, while old Uncle Irwin was still splashing around at the bottom of the sea. So the TV show has to be based on the comicbook, then. Well, both sagas are obviously (and admittedly) both based on the novel The Swiss Family Robinson by Johann David Wyss and, really, replacing “Swiss” with “Space” is rather obvious enough, especially in a scifi crazed time, to have been thought up by more than one team.

Here's where that becomes questionable, however. Gold Key was part of Western Publishing, under whose umbrella Dell and Whitman comics both thrived. Dell, of course, was famous for their Four Color series that adapted other media for one of the longest running comicbooks of all time. And one of those adaptations happened to be Voyage to the Bottom of the Sea. Western was keen on obtaining more of Allen's properties because such fantasy and adventure stories were perfect for comics.

What's more, once Space Family Robinson became a success for Gold Key, the film and TV rights were sold to TV writer Hilda Bohem, who worked up a treatment called Space Family 3000.

Case Closed? Again, not so fast. There was still another Space Family Robinson to contend with. Ib Melchior, author of the story Death Race 2000 was based on, began pitching his own Space Family Robinson in 1964. So, that makes three Robinson projects being volleyed before Lost in Space's debut.

Allen's plot originally featured a pilot, mom, dad a girl and a boy and their older sister (almost exactly like the comicbook, excepting two characters). Although there are stories that Walt Disney pressured CBS and 20th Century Fox (the studio behind the show) to abandon the name (to avoid confusion with their Swiss Family Robinson projects), the truth is that Gold Key was already making rumblings about the similarities before the show aired. Thus the name of the show was changed to Lost in Space and, to further differentiate from the comicbook family, two new characters were added after the pilot and became perhaps the two best known, Dr. Zachary Smith and The Robot.

Still, Gold Key and Bohem filed a claim against Allen and CBS prior to the show's airing. What did they want? Money, Wealth, Power, A Little Song, A Little Dance, Batman's Head on a Lance? No. Well, sort of (except the Batman thing). Yes, the settlement reached with the TV show did include an undisclosed sum of money, but what Gold Key really wanted was a closer association with the successful show. Thus, the settlement included the rights to the name Lost in Space and the comic book's title was changed to Space Family Robinson Lost in Space, although absolutely no characters or situations (beyond the basic) were shared between the sagas.

The title ran (under different variations on the name, including the occasional addition of “On Space Station One") for a total of fifty-nine issues between 1962 and 1982, with occasional cancellations breaks. Surely the popularity of the show did help propel the (actually unrelated) comicbook, but all things must pass. Collected editions of the saga are available from Dark Horse.

Interestingly, this was not the end of Lost in Space in comics, nor was this the end of Lost in Space in the courtroom, and soon both would take on some very bizarre twists.

What was the future of Lost In Space and the Space Family Robinson in the on the gridded page and before blind justice? Watch this space NEXT WEEK for more To Be Continued... where we discuss more of what put the saga in DANGER, Will Robinson, DANGER!

From genre-busting electronic music to new highs in the ever-evolving R&B scene, from hip-hop and Americana to rock and pop, 2017's music scenes bestowed an embarrassment of riches upon us.


60. White Hills - Stop Mute Defeat (Thrill Jockey)

White Hills epic '80s callback Stop Mute Defeat is a determined march against encroaching imperial darkness; their eyes boring into the shadows for danger but they're aware that blinding lights can kill and distort truth. From "Overlord's" dark stomp casting nets for totalitarian warnings to "Attack Mode", which roars in with the tribal certainty that we can survive the madness if we keep our wits, the record is a true and timely win for Dave W. and Ego Sensation. Martin Bisi and the poster band's mysterious but relevant cool make a great team and deliver one of their least psych yet most mind destroying records to date. Much like the first time you heard Joy Division or early Pigface, for example, you'll experience being startled at first before becoming addicted to the band's unique microcosm of dystopia that is simultaneously corrupting and seducing your ears. - Morgan Y. Evans

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Music

The Best Dance Tracks of 2017

Photo: Murielle Victorine Scherre (Courtesy of Big Beat Press)

From the "shamanic techno" of Parisian duo Pouvoir Magique to Stockholm Noir's brilliant string of darkly foreboding, electro-licked singles, here are ten selections that represent some of the more intriguing dance offerings of 2017.


In June of 2016, prolific producer Diplo lambasted the world of DJ's in an interview with Billboard, stating that EDM was dying. Coincidentally enough, the article's contents went viral and made their way into Vice Media's electronic music and culture channel Thump, which closed its doors after four years this summer amid company-wide layoffs. Months earlier, electronic music giant SFX Entertainment filed bankruptcy and reemerged as Lifestyle, Inc., shunning the term "EDM".

So here we are at the end of 2017, and the internet is still a flurry with articles declaring that Electronic Dance Music is rotting from the inside out and DJ culture is dying on the vine, devoured by corporate greed. That might all well be the case, but electronic music isn't disappearing into the night without a fight as witnessed by the endless parade of emerging artists on the scene, the rise of North America's first Electro Parade in Montréal, and the inaugural Electronic Music Awards in Los Angeles this past September.

For every insipid, automaton disc jockey-producer, there are innovative minds like Anna Lunoe, Four Tet, and the Black Madonna, whose eclectic, infectious sets display impeccable taste, a wealth of knowledge, and boundless creativity. Over the past few years, many underground artists have been thrust into the mainstream spotlight and lost the je ne sais quoi that made them unique. Regardless, there will always be new musicians, producers, singers, and visionaries to replace them, those who bring something novel to the table or tip a hat to their predecessors in a way that steps beyond homage and exhilarates as it did decades before.

As electronic music continues to evolve and its endless sub-genres continue to expand, so do fickle tastes, and preferences become more and more subjective with a seemingly endless list of artists to sift through. With so much music to digest, its no wonder that many artists remain under the radar. This list hopes to remedy that injustice and celebrate tracks both indie and mainstream. From the "shamanic techno" of Parisian duo Pouvoir Magique to Stockholm Noir's brilliant string of darkly foreboding, electro-licked singles, here are ten selections that represent some of the more intriguing dance offerings of 2017.

10. Moullinex - “Work It Out (feat. Fritz Helder)”

Taken from Portuguese producer, DJ, and multi-instrumentalist Luis Clara Gomes' third album Hypersex, "Work It Out" like all of its surrounding companions is a self-proclaimed, "collective love letter to club culture, and a celebration of love, inclusion and difference." Dance music has always seemingly been a safe haven for "misfits" standing on the edge of the mainstream, and while EDM manufactured sheen might have taken the piss out of the scene, Hypersex still revels in that defiant, yet warm and inviting attitude.

Like a cheeky homage to Rick James and the late, great High Priest of Pop, Prince, this delectably filthy, sexually charged track with its nasty, funk-drenched bass line, couldn't have found a more flawless messenger than former Azari & III member Fritz Helder. As the radiant, gender-fluid artist sings, "you better work your shit out", this album highlight becomes an anthem for all those who refuse to bow down to BS. Without any accompanying visuals, the track is electro-funk perfection, but the video, with its ruby-red, penile glitter canon, kicks the whole thing up a notch.

9. Touch Sensitive - “Veronica”

The neon-streaked days of roller rinks and turtlenecks, leg warmers and popped polo collars have come and gone, but you wouldn't think so listening to Michael "Touch Sensitive" Di Francesco's dazzling debut Visions. The Sydney-based DJ/producer's long-awaited LP and its lead single "Lay Down", which shot to the top of the Hype Machine charts, are as retro-gazing as they are distinctly modern, with nods to everything from nu disco to slo-mo house.

Featuring a sample lifted from 90s DJ and producer Paul Johnson's "So Much (So Much Mix)," the New Jack-kissed "Veronica" owns the dance floor. While the conversational interplay between the sexed-up couple is anything but profound, there is no denying its charms, however laughably awkward. While not everything on Visions is as instantly arresting, it is a testament to Di Francesco's talents that everything old sounds so damn fresh again.

8. Gourmet - “Delicious”

Neither Gourmet's defiantly eccentric, nine-track debut Cashmere, nor its subsequent singles, "There You Go" or "Yellow" gave any indication that the South African purveyor of "spaghetti pop" would drop one of the year's sassiest club tracks, but there you have it. The Cape Town-based artist, part of oil-slick, independent label 1991's diminutive roster, flagrantly disregards expectation on his latest outing, channeling the Scissor Sisters at their most gloriously bitchy best, Ratchet-era Shamir, and the shimmering dance-pop of UK singer-producer Joe Flory, aka Amateur Best.

With an amusingly detached delivery that rivals Ben Stein's droning roll call in Ferris Bueller's Day Off , he sings "I just want to dance, and fuck, and fly, and try, and fail, and try again…hold up," against a squelchy bass line and stabbing synths. When the percussive noise of what sounds like a triangle dinner bell appears within the mix, one can't help but think that Gourmet is simply winking at his audience, as if to say, "dinner is served."

7. Pouvoir Magique - “Chalawan”

Like a psychoactive ayahuasca brew, the intoxicating "shamanic techno" of Parisian duo Pouvoir Magique's LP Disparition, is an exhilarating trip into unfamiliar territory. Formed in November of 2011, "Magic Power" is the musical project of Clément Vincent and Bertrand Cerruti, who over the years, have cleverly merged several millennia of songs from around the world with 21st-century beats and widescreen electro textures. Lest ye be worried, this is anything but Deep Forest.

In the spring of 2013, Pouvoir Magique co-founded the "Mawimbi" collective, a project designed to unite African musical heritage with contemporary soundscapes, and released two EPs. Within days of launching their label Musiques de Sphères, the duo's studio was burglarized and a hard drive with six years of painstakingly curated material had vanished. After tracking down demos they shared with friends before their final stages of completion, Clément and Bertrand reconstructed an album of 12 tracks.

Unfinished though they might be, each song is a marvelous thing to behold. Their stunning 2016 single "Eclipse," with its cinematic video, might have been one of the most immediate songs on the record, but it's the pulsing "Chalawan," with its guttural howls, fluttering flute-like passages, and driving, hypnotic beats that truly mesmerizes.

6. Purple Disco Machine - “Body Funk” & “Devil In Me” (TIE)

Whenever a bevy of guest artists appears on a debut record, it's often best to approach the project with caution. 85% of the time, the collaborative partners either overshadow the proceedings or detract from the vision of the musician whose name is emblazoned across the top of the LP. There are, however, pleasant exceptions to the rule and Tino Piontek's Soulmatic is one of the year's most delightfully cohesive offerings. The Dresden-born Deep Funk innovator, aka Purple Disco Machine, has risen to international status since 2009, releasing one spectacular track and remix after another. It should go without saying that this long-awaited collection, featuring everyone from Kool Keith to Faithless and Boris D'lugosch, is ripe with memorable highlights.

The saucy, soaring "Mistress" shines a spotlight on the stellar pipes of "UK soul hurricane" Hannah Williams. While it might be a crowning moment within the set, its the strutting discofied "Body Funk", and the album's first single, "Devil In Me", that linger long after the record has stopped spinning. The former track with its camptastic fusion of '80s Sylvester gone 1940s military march, and the latter anthem, a soulful stunner that samples the 1968 Stax hit "Private Number", and features the vocal talents of Duane Harden and Joe Killington, feels like an unearthed classic. Without a doubt, the German DJ's debut is one of the best dance records of the year.

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