Tag Archives: HBO

True Cases Of Phantom Transmissions And Hijacked Television Signals

The call letters KLEE-TV had not been broadcast since July 1950, more than 3 years before a viewer in London, England picked up their transmission on his television set.

Adding to the mystery was the fact that while in operation KLEE-TV was based out of Houston, Texas- an entire continent and ocean away. Since this was an era before satellite t.v. transmission how could the images be picked up? Was it simply a hoax?

klee tv signal cardThough debunkers have stated that this story first appeared in Readers Digest, it actually was first reported in 1953 by TV Guide: a viewer based magazine that organized and listed television programming and reviewed highlighted television shows. Hugely successful and widely distributed- it seems counter-intuitive to consider how this might affect an already paranoid and anxious viewer body. After all, the Cold War and the Space Race were underway. Many Americans were building nuclear bomb shelters and keeping their eyes to the skies.

Television was still a new form of media and to many it transcended the boundaries of space of time.

It seemed possible that ghostly transmissions from another time and another place could occur. TV Guide pointed out in its story that at the time of the phantom KLEE-TV transmission, no other t.v. station in the world used those call letters.

For the next 12 year this enigma was forgotten but then in February 1962 Mrs. Rosella Rose of Milwaukee, Wisconsin witnessed the following. The KLEE-TV letters were flashed onto her screen as well as the images of an unknown man and woman arguing on a balcony, followed by the flashing of the word “HELP!” Then suddenly, her screen went blank. It seemed as though Mrs. Rose had witnessed an electronic netherworld. Could an alternate universe be superimposing its reality onto hers? The simplest answer is that Mrs. Rose was a victim of her time.

Phantom signal transmission in Stranger Things.
Phantom signal transmission in Stranger Things.

Perhaps as mentioned in Haunted Media Static and Stasis, “….The fleeting and inexplicable transmissions of KLEE are eerie in that they are symptomatic of a general loss of self presence felt socially in electronic communications as a whole.” I think it’s safe to say that Canadian Film Director David Cronenberg felt this way and successfully incorporated these themes into Videodrome. I think it’s also safe to say that the success of the recent Netflix series Stranger Things is due in some part to this notion of a technologically created netherworld. And what about the Australian reports of a Coke bottle and drinking flask being transmitted during the Moon Landing?

Today there are reports of phantom webcam transmissions, of strange beings quickly seen on a monitor or a tablet. If we are able to view images on our devices then is it so far fetched to imagine that we ourselves can be seen by others through our devices? And if that’s possible to what end are we being surveilled? For the Silo, Jarrod Barker.

The Max Headroom Signal Intrusion Incident of 1987

Captain Midnight HBO Transmission Hijacking

Recommended Reading- Haunted Media Electronic Presence From Telegraphy to Television by Jeffrey Sconce

Long Time Ago In A Galaxy Far Away We Weren’t Overloaded With Content

It all used to be so simple and satisfying- a long time ago, tv content was delivered from a long distance transmitter and received by a roof antenna. That antenna had to be manually or automatically positioned whenever you wanted to watch distant channels. Work was involved. Mystery was involved. Finding something to watch was satisfying. Channel 3 Barrie-Orillia for example had classic movies. CP
TV content used to be delivered from a long distance transmitter and received by a roof antenna on your house. The antenna had to be manually or automatically positioned whenever you wanted to watch distant channels. Work was involved. Mystery was involved. Finding something to watch was satisfying.

I’m often asked what I think about the original Star Wars series versus the “new stuff”. A debate that continues to rear its ugly head again ever since Episode VII was released back in December 2015 . I think, for me, I’ve determined what the problem is and why those of us who grew up with Darth, Luke, Han and Leia have a hard time with the newer movies when the younger generation just loves them.

If you're approaching or passing 40 years of age, you might remember your grandparents having a set up like this. You might have dreaded the day you visited because you were forced to watch black and white television and fiddle around with the 'rabbit ears'. To those readers who have no idea what I'm talking about (LOL) the 'rabbit ears' are those two metal rods sticking up from the corner of the television set. The rods could be rotated, pulled apart, shortened and lengthened etc. All in the hopes of receiving a television signal as clearly as possible. There was an art to this stuff. Trust me, I'm old. CP
The ‘rabbit ears’: two metal rods sticking up from the television set. The rods could be rotated, pulled apart, shortened and lengthened etc. to fine tune a distant channel.

The Empire Strikes Back was released in 1980.  I was an impressionable nine year-old. Although I had seen the original Star Wars, it didn’t resonate with me as much as Empire did. When May 21 of that year hit, my life it would seem was changed forever. After seeing the film, it was all I could do to stop thinking about it and what I had seen. The cliffhanger ending was killing me and yet I seemed okay with the fact that I was going to have to wait three more years to find out what happened to Han (no spoilers here in case somehow you have somehow missed Return of the Jedi).

With no VCR in his home, Syd watched The Empire Strikes Back at the cinema...13 times! CP

That summer I saw the movie 13 times. The world was a different place. I took the bus by myself downtown to the beautiful Capitol Theatre (now the even more beautiful Sanderson Centre in Brantford). There was no internet (at least, not that mere mortals could access). I got excited by the occasional mention of the Star Wars universe on the television and I wouldn’t even get a VCR for four more years so the idea of being able to watch the movie “on demand” was not even a thought in my young mind. Instead, I had to rely on my mind through my memories and imagination.

For me, getting the action figures from the movies and being able to recreate scenes from the film helped bring me back to my happy place inside the Star Wars universe. We couldn’t afford to get all the playsets and ships, so I built a lot of them out of cardboard. I used my creative side to paint them like I remembered them in the movies and as soon as I could I ordered the photo books from the school book service so that I could go back there. When the movie eventually made it onto television, a VCR-less me compromised by recording the audio of the film onto cassette. I could then listen (and listen I did) to the movie with my eyes closed and pictured it all in my mind.

If I told this story to a nine year-old today, I would get strange looks. “Dude, why wouldn’t you just watch it on Netflix or look it up on your iPad?” It just wasn’t possible. I was so desperate for a connection to the universe I even cut out the black and white mini-movie poster that was printed into the newspaper with the local theatre listings and posted it on my bedroom wall. Yes, that’s honestly how it was.

Today, I feel like the instant access we have to everything “on demand” somehow diminishes our connections to content. I am pretty sure good movies have been made after the 80s, but I would be hard pressed to find one that hasn’t held such a close connection with me. Not only is there instant access to so much of the content we get today that there is, in fact, more content out there than I can possibly keep up with. This got me to thinking, how do others deal with content overload?

In my case the biggest problem I have is video games. With over 15,000 to choose from I am rarely bored. However, I have needed to come up with a system to keep track of everything I want to play. In my vast game collection there are surely a ton of stinkers, but there are also some amazing games from the 80s, 90s, and early 2000s that I have missed. Heck, I’ve missed a lot of the games that made the most critically acclaimed lists in the past few years. So I had to come up with a system.

How easy is it to have access to thousands of movies? Netflix can be streamed anytime to your I-phone. There's no need to adjust an antenna or fine tune video settings with an actual dial control. The older crowd reminisce about having to work to get results, the new generation can't see the point. CP
How easy is it to have access to thousands of movies? Netflix can be streamed anytime to your I-phone.

What I do now is maintain a list on Dropbox.com that I can access anywhere. It’s called “Games I need to play.txt” (notice the “need” and not “want”). It has two sub-sections: “Started and Never Finished” and “Games to Play”. I don’t really like leaving games unfinished and so when I look at this list I am reminded of what I need to finish up (as I am often playing more than one game at a time) and then for my larger list I prioritize it with what should be next “on deck”. The list is dynamic, changing as I remember what I want to play or come across things of influence from my colleagues. I also have to admit sometimes I choose to play shorter games so that I can get through them and feel more “accomplished”.  The site www.howlongtobeat.com  is an amazing resource for this sort of thing.

When I asked my friends how they deal with content overload I got some interesting feedback.  One of them, John, actually has an algorithm for dealing with his backlog of books. John shared it with me and it goes something like this:

1. I always have one serious and one fun book on the go and which I put on top of the night stand along with my reading glasses. Sometime I cheat and have two of each kind on the go.
2. I keep a pile of books I want to read someday in my night stand.
3. If I get bored with a book, I trade it with one in my night stand.
4. When I finish a book, I choose another from inside my night stand.
5. If I get tempted by a new book I buy it. If it will not fit in my night stand, then I discard the book that interests. Same goes for books that I’m given.
6. I do have a book shelf at work and one at home for books that I want to keep for later reference. If they get too full, I discard things of least interest.
7. I discard books by giving them to someone, donation to a charity or yard sale.

That’s pretty organized. It’s a little more efficient than how I deal with movies I have yet to watch. Presently, the ones that are on the shelf (Blu-ray or DVD) get “pulled out” a little bit so I can see them clearly among all of my other movies. Since they are all in alphabetical order I don’t want to just pull them out randomly and create a new pile.

A friend shared with me a good way to deal with television content. Just PVR or DVR all the content and then watch as you can. I tried this, but filled up my hard drive so I had to go out and buy an external drive. That drive is now dangerously full. There was some good advice in there, however. “What I do is record all the episodes of a TV show and then when it’s all done I go on a watching marathon and binge on the content for an entire day or two. If it’s a new series and I find out it has been cancelled before I even watch it, I delete all of the content and that way I’m not investing in a show that will ultimately let me down with no additional content.”

Algorithms, mechanisms, processes and lists all to deal with an over abundant amount of content. It’s a wonder there is any room left in our brains to remember or think about what we consumed last week, let alone last year. Yet I find myself looking forward to more content in an ADHD kind of way, I can’t seem to get enough. This is, ultimately, why there will never be anything better in my life than the original Star Wars and other films of the 80s (Raiders of the Lost Ark, Ghostbusters, Stripes, Uncle Buck, Back to the Future). At the end of the day, I’m okay with it because there is always something good and interesting around the corner, even if I have to implement a system to manage it all. There are definitely worse things in life. For the Silo, Syd Bolton.

Comic Book Featuring Stand Up Comics In The Works

Starburns Industries Press, the new publishing division of the studio behind Rick and Morty, is releasing Comics Comics, its most ambitious print project to date. Funded through an August-launching Kickstarter campaign, the Comic-est comics anthology of 2018 comes to readers in October. Comedians love comic books, cartoonists love comedy, and our idiot editor always mixes up comics who tell jokes and comics that have pictures. Now his perpetual confusion has led to the creation of Comics Comics, a quarterly anthology teaming comedy’s best with funny books’ brightest!

Comic Patton Oswalt

Comics Comics is an ongoing collection of original stories written entirely by stand-up comedians and drawn by leading comic industry artists who love comedy. Each issue contains at least 48 pages of brand-new stories written by headliners, cult favorites, and newcomers, drawn by artists from every corner of the comics world, from alternative to underground to superhero, all with the signature Starburns brand of wit that is simultaneously funny, sad, strange and beautiful.


“This series has lived in my head since I used to go to the Stumptown Comics Fest and the Bridgetown Comedy Fest on the same weekend years ago,” idiot editor Brendan Wright said. “I was struck by how much of a convention atmosphere there was at the after-hours open mics at Bridgetown, and starting this project and seeing how many comedians had favorite cartoonists they wanted to work with and how many cartoonists knew great comedians they could introduce to us made bringing together stand-up and comic books feels even more natural than I’d imagined.”

Comics Comics Issue1

Comics Comics features such voices as Patton Oswalt (MST3K, Happy!), Paul Scheer (How Did This Get Made?, The League), Sam Jay (SNL), Jackie Kashian (The Dork Forest), Quinta Brunson (Broke, Up for Adoption), Megan Koester (Coming to the Stage, Corporate), Sara Benincasa (Real Artists Have Day Jobs), Carolyn Main (Pitch, Please!), Eliot Rahal (New Comic Book Day), Rose Matafeo (Funny Girls), Nick Giovannetti (Bad Guys), with more announced throughout the campaign. SBI Press gave comedians the freedom to write whatever they wanted, in any genre—comedy or not—and they took us up on it! Delivering slices of life, flights of fancy, and journeys into genre, all with the unique worldview of people who stand in front of crowds and dissect the world into a microphone for a living.

Poop Knife Comic Strip by Carolyn Main

Teaming up to make these stories into comics are such comedy fans as Troy Nixey (Vinegar Teeth, The Black Sinister), Robert Hack (Chilling Tales of Sabrina), Evan Dorkin (Milk and Cheese, Bill and Ted’s Excellent Comic Book), Rick Altergott (Vice, Cracked), Brent Schoonover (Gregory Graves), Sarah Burrini (Nerd Girl), and more, with double threats like comedian/cartoonist Carolyn Main writing and drawing! A set of Kickstarter-exclusive covers are painted by cartoonist and HBO artist Richard P. Clark (The Boys, House of Gold & Bones).

The Comics Comics Kickstarter launches August 20 and continues through September 19. Backers can score individual copies of the comic in print and digital, as well as Kickstarter exclusives such as a hardcover version, prints, and other unique, limited-edition items. If you miss the Kickstarter, the book will be available in local comic shops, available to order through Diamond Previews and the Starburns Industries store. Comic book fans and comedy buffs alike can get a head start on the Kickstarter campaign by bookmarking ComicsComicsKickstarter.com.

Comics Comic sample page
ABOUT STARBURNS INDUSTRIES

Starburns Industries is an innovative and imaginative full-service production company, specializing in stop-motion, traditional 2D, and CG animation as well as live-action production. Starburns is a creator driven studio, whose founders are responsible for the creation of Adult Swim series like “Morel Orel”, “Mary Shelley’s Frankenhole” and “Rick & Morty”; as well as the Academy Award nominated animated film “Anomalisa” and the upcoming Netflix animated feature film “Bubbles”.

Launched in the summer of 2010 to produce the Emmy Award© winning “Community” holiday special, Starburns has created a workspace that gives the support and freedom to original and creative people to make content that is funny, strange, sad and beautiful.”

Letter to the Silo- Netflix’ House of Cards is the best long form television I have seen

Changing the game.
Changing the game.

 

 

 

 

 

 

 

 

 

 

 

 

 

Letters to the Silo

 

 

 

 

 

 

 

 

 

 

 

Dear Silo,

Man I gotta thank you guys for the recommendation for House of Cards. I am hooked. I am into this shit.  This is some of the best long form television that I’ve seen and you know? Long form television is changing the game. This series! I mean shit you’ve got David Fincher and Joel Schumacher directing these television episodes. Kevin Spacey, Robin Wright; holy shit you know? Not  to mention all the great people on HBO…I mean, long form television has…..there was a time when film actors wouldn’t dream of condescending to doing television and now long form television is the shit and this House of Cards shit is the shit. It is better than Homeland though I recommend The Newsroom although I don’t think it’s available on Netflix but The Newsroom is a helluva series. Wow.

*this letter to the Silo was transcribed from a reader Skype call we received. Skype us anytime We are: thesiloteam on Skype

Supplemental- Watch House of Cards [Free trial period if you sign up with Facebook] http://www.netflix.com/houseofcards

Long form television now being labeled “art” http://www.popmatters.com/review/176106-how-to-watch-television/

Sweet Greens Hagersville