scans from the archives

The January 1993 issue of Animage magazine had a photo spread of the voice actors for the Sailor Team, and they were really channeling their characters. I wanted to draw the girls in their place as soon as I saw it and finally got around to it! Please zoom in to see details if you can~

Original scan from Anim’Archive. Thank you so much!

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The Warriors (Music From The Motion Picture)

Waxwork Records, 2016

The Warriors Deluxe 2XLP Soundtrack and Film Score Package:
180 Gram Grafitti Vinyl 2xLP Package
Re-Mastered From The Original Master Tapes
Artwork By Dave Rapoza
Includes Printed Insert With Photography And Credits
Slipcase Designed By Gary Pullin
Large 12 Page Booklet Featuring Never-Before-Seen Photos From THE WARRIORS, Scanned From The Paramount Pictures Archives and Vault
Two 100% Embroidered Warriors Back Patches (Top “Rocker” Patch w/ “Warriors” Text and Warriors Flaming Skull Logo)
Deluxe Version Limited To 300 Copies

Boredoms. A promo photo from 1993 with no photographer credit. Scanned from the Chicago Reader Touring Musicians Publicity Photos archive at the Harold Washington Library Center in Chicago. Images were originally submitted to the Reader for review purposes. This archive includes thousands of photos from 1971-2005. This collection will be the subject of an upcoming Public Collectors booklet. I scanned far more material than I’ll have space to use so I’ll post some of the material here that I probably won’t use in the booklet. 

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Scans - George Harrison and Pattie Boyd, 1969 (photo 1: Let It Be sessions, photographed by Leslie Bryce for The Beatles Book; photo 2: Chris Bott/Splashnews). Scanned from The Beatles Book and The Beatles BBC Archives.

“And she remembers the even more bizarre night a few years later when Harrison and Clapton held a guitar duel — overseen by actor John Hurt at Harrison’s stately home, Friar Park — to see which of the two deserved her favours. (‘I just hid in my shell, pretending it wasn’t happening,’ Boyd says today. ‘It’s the way musicians behave. On reflection, I think it was really beautiful.’)

[…] How different her life might have been if she hadn’t been offered that part. “I had no desire to act. I just wanted to be a model. It just goes to show that we all have a destiny. But what would have happened to me if I hadn’t met George that day? I don’t know.”

David Bailey had warned her she’d fall in love with Paul McCartney. But it was Harrison, the youngest Beatle, who chatted her up with the line: ‘Will you marry me? And if you won’t marry me, will you have dinner with me tonight?’ She turned him down, telling him she already had a boyfriend. But by the time they met next, for the film photocall, she’d dumped the boyfriend.

[…] The newlyweds lived in an unpretentious bungalow that they painted in psychedelic colours. The kitchen was ‘the heart of the house’, Boyd says, where Harrison would sit playing his guitars while she cooked their vegetarian food. One of those songs was My Sweet Lord, Harrison’s first solo hit. She remembers Harrison struggling with it, and shared his sense of injustice when he was found guilty of ‘subconscious plagiarism’ by a US judge after he was accused of stealing the tune of He’s So Fine, a minor hit for the Chiffons.

Thereafter no one was ever allowed to play a radio in the Harrison household. ‘George was very upset. Of course he didn’t deliberately plagiarise that song. All musicians, in one way or another, are inspired by other music.’

There was no such drama about Something, generally regarded as the best song Harrison ever wrote. In fact, for such a magnificent love song, it was all rather low-key. She’d heard him play the melody before, but one day Harrison came back from the Abbey Road studio with an early version of the song. ‘He’d put words on and said, “I’ve written this about you,”’ Boyd recalls.

Her reaction? ‘“Oh my God, that’s really exciting.” I felt totally flattered and thrilled when he said it was about me. But I didn’t realise it was going to be such a fabulous song. The Beatles went back into the studio and added more instruments. But the version I like best is the one George played me in my kitchen, in its raw state.’

[…] Though Boyd says she and Harrison were ‘very happy for most of our marriage’, their relationship became more tense once they moved to Friar Park, a former nunnery, in 1969. The Beatles were beginning to fall apart.

At home, there were two George Harrisons. One was austere, sober and devout, spending hours chanting in meditation. The other binged on cocaine and increasingly flaunted his infidelities.

[…] All these years later, who does she regard as the one love of her life? There’s a long pause on the phone line. ‘Probably George.’ Does she regret leaving the Beatle? ‘I don’t know. Eric and I went to a party once. And George, bless him, was there with Olivia (Arias, his second wife). I said to George, “Darling, do you think I made a big mistake in leaving you?”

‘And he said, “No, no. I was a bit of shit.” I thought that was terribly sweet and generous of him to admit he had been behaving badly, and that he didn’t hold it against me that I left him.’

The difference between the two, she says, was that ‘George was a soulmate, Eric was a playmate’. She remained friends — ‘absolutely!’ — with Harrison until his death in November 2001. ‘George and I kind of grew up spiritually together. Very important parts of our lives were shared. He was always fond of me. There was part of him that always loved me, and me him. That we weren’t married or together didn’t really matter.’” - The Age (Australia), article by Steve Meacham, 27 August 2007

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The Art of Homeworld

Rob Cunningham and Aaron Kambeitz

Homeworld has long had a reputation among real-time strategy enthusiasts as one of the most challenging, immersive, and epic games of its genre. Now at last the stunning development art that made the game an influential piece of sci-fi design history is available for the world to see. Curated by original creators Rob Cunningham and Aaron Kambeitz, The Art of Homeworld is filled with elaborate drawings of ships, level concepts, and scenes from the animatics, many of which have been scanned for the first time from the artists’ personal archives.

[x]

yarnyfan  asked:

I have to know: is there possibly a poster available of the cocktail assembly chart? Or would there be a problem with using the graphic you posted to have a poster printed?

People love this chart! Don’t miss the recently uncovered story behind the chart’s creation.

As with most of our digitized records, you can download a free digital scan from the National Archives’ Catalog: https://catalog.archives.gov/id/7035823
(Note: We try to include this archival source link on all our posts!)

And if you’re not the DIY type, the archivesfoundation has matted prints available in the online store.

Early Days Of Marvel - Release Schedule

Apologies for the lack of updates lately. I encountered something strange that had me distracted.

While reading Avengers #11, I was confused when they mentioned Tony Stark being dead, a reference to an event that happened in Tales Of Suspense #61. At first I figured I’d simply read them in the wrong order for that month, but then I noticed something odd: Avengers had a cover date of “DEC” while Tales Of Suspense had a cover date of “JAN.”

In trying to solve this mystery, I turned to Archive.org’s scans of copyright records from the ‘60s, which list the publication dates (not cover dates) for every issue, and promptly fell down a rabbit hole. I decided it wasn’t good enough to just check the publication dates on these issues; I needed to create a spreadsheet to compile and organize them all! 

And rather than focus only on the superheroes, I decided to compile all of Marvel’s output, going back to 1957 when they had to cut their line down to only eight slots for books per month.

While I did solve my little mystery – the issues shipped the same week and readers just needed to hope they read the right issue first – I was suddenly presented with a number of new mysteries:

1) Stan is quoted as saying they were only allowed to publish “eight or twelve” books, and I can see why he couldn’t remember the exact number. While it definitely started at eight, they slowly started adding more slots (roughly two every two years starting in 1960). Was Goodman able to negotiate changes to the ten year contract, or was this expansion stipulated in the contract from the start?

2) During this period, Marvel only shipped their books during the first two weeks of each month. Was this also stipulated in the contract, so DC would have no competition for half the month? 

3) Annual issues usually take up additional slots they technically didn’t have, yet there were also months where they didn’t use up all the slots. Were those empty slots there to make room for the Annuals, or did Annuals just not count?

Also odd: they didn’t submit the Annuals to the copyright office until the mid-60s (which also means there’s no way to confirm what day or even month they were published). Did they not realize those should be included?

4) One thing that really surprised me was October 1961. Marvel shipped an entire month’s worth of books in the last week of September 1961 (including Fantastic Four #2), and then published nothing in October. Four whole weeks of nothing. What was the strategy there? Could this have been a last hurrah, the month where Marvel would have shut down if Fantastic Four hadn’t been a hit?

If you’d like to take a look at the spreadsheet yourself, you can view it here. Keep in mind, it’s a work in progress.

(Should I start a Patreon or something?)