2026 October 09 • Friday

When was the real golden age of UFOs in the US? The 1950s, maybe, but I think they were still going strong in the '60s. They certainly became staples of men's magazines of that decade. Here is, for our first example, the December, 1969, issue of Saga magazine, with "Worldwide UFO Maneuvers" on its cover.

The article itself is a collection of anecdotes of the familiar "someone saw a UFO and then something strange happened" variety. Power failures, heat waves, cars going out of control, humanoid figures wearing what appear to be diving suits and using hand-held paralysis rayguns on people.

Nothing in here is verifiable or even sourced, beyond vague citations such as "Australian Flying Review", with no date or issue number. (This was probably supposed to be Australian Flying Saucer Review.)

But it's a bunch of names, places and dates and typical UFO encounter stuff, all inconclusive, all pretty typical, all easy to invent. Once you've read a bunch of these, it seems like it would be pretty easy to make them up.

And even if UFOs still had traction in the '60s, by 1969 it might have been pretty played out. This UFO article here gets bottom billing, after Ann-Margret and Snowmobile Ski-chuting. (Surfing was kind of played out by then too.)

In the back there's one of those body-building ads that were very common in magazine and comics for decades. But this one features "movie and T.V. star" Arnold Schwarzenegger, even though his first movie did not, I believe, come out until 1970 (though only a couple of months after this magazine's cover date).


2026 October 05 • Monday

The 922nd Soundtrack of the Week, and the first 2026 Shocktober selection, is Don Peake's music for The Hills Have Eyes.

This has to be one of the best examples of using a little to get a lot. There's a piano, a synthesizer, some percussion and some strings and that's pretty much it.

Most of the cues rely on the piano and synth to create moods of dread and terror, with strings and percussion added for extra effect as needed.

It balances texture and atmosphere with some urgent driving moods. Somewhere in "Stealing The Baby/Lynne Is Shot/RV Fight/Finding The Walkie Talkie" a drum kit playing a rock beat comes out of nowhere and the synth gets to groove for a while.

A similar surprise rock/funk idiom appearance comes in "Ruby Runs With Baby/The Rabbit/Brenda Sees Mutant/Dead Mom Decoy". There aren't a ton of swinging parts in this score but when they happen, they're great.

This release includes some alternate versions of those as well as wind sounds created by synth, some axe hit stings and a couple of tracks of just percussion.

"Criminal" by Public Image Ltd. changes the feel entirely by keeping some of the rock elements but steering the music into a sparer, jagged, not funky but not exactly not not funky either place..

I don't really remember that song or the next one, "So Long Cowboy" by Westworld. Time to watch the movie again!

The last song on the record Sheryl Crow's "Hundreds of Tears", which has an appropriate dramatic and emotional feel to it.