![\"mead.jpg\"](\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2020\/01\/mead.jpg\")
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The Sentinel 280, a car design by Syd Mead from 1964.<\/em><\/p>\n \u2022 “Boris Dolgov did not exist. The man who bore that name may have existed, but there never was a man in the United States with that name until 1956, too late for Weird Tales<\/i>.” Teller of Weird Tales<\/a> on the mysterious identity of a magazine artist.<\/p>\n \u2022 Saying goodbye to 2019 also meant saying farewell to Vaughan Oliver<\/a>, Neil Innes<\/a> and Syd Mead<\/a>. Related: Vaughan Oliver at Discogs<\/a>; I’m The Urban Spaceman<\/em><\/a>; a look back at Syd Mead’s vehicle designs<\/a>.<\/p>\n \u2022 Lanre Bakare<\/a> on how ambient music became cool. (Again. This begs the question of when it became uncool, especially when a ten-year-old Brian Eno piece about “the death of uncool” is being quoted.)<\/p>\n Westerners interpreted the peyote experience very differently from the practitioners of the peyote religion, where the focus was “ritual, song and prayer, and to dissect one\u2019s private sensations was to miss the point”. Writers such as Havelock Ellis, who published an essay on his peyote experiences in the Lancet<\/em> in 1897 (it\u2019s likely that he also administered the substance to his friends W.B. Yeats and Arthur Symons), instead tended to focus on its visual effects. Ellis described “the brilliance, delicacy and variety of the colours” and “their lovely and various textures”. Peyote reached Europe in tandem with the X-ray, cinema and electric lights, Jay notes, and “nothing delighted the eye of the mescal eater so much as the new electrical\u00a0sublime”.<\/p>\n Emily Witt<\/a> reviewing Mescaline:\u00a0A Global History of the First\u00a0Psychedelic by Mike Jay<\/em><\/p><\/blockquote>\n \u2022 Peter Bradshaw<\/a> takes on the thankless task of ranking Federico Fellini’s feature films.<\/p>\n \u2022 Geoff Manaugh<\/a> on when Russia and America co\u00f6perated to avert a Y2K apocalypse.<\/p>\n \u2022 “Music is an ideal medium for interstellar communication,” says Daniel Oberhaus<\/a>.<\/p>\n \u2022 Keith Allison<\/a> on Karel Zeman, a creator of remarkable cinematic fantasies.<\/p>\n \u2022 \u00a0Japanese Designer New Year\u2019s Cards of 2020<\/a>.<\/p>\n \u2022 At Dennis Cooper’s: Vera Chytilov\u00e1<\/a> Day.<\/p>\n \u2022 2020 in public domain<\/a>.<\/p>\n \u2022 Sentinel<\/a><\/em> (1992) by Mike Oldfield | Sentinels<\/a><\/em> (2001) by Cyclobe | Sentinel<\/a><\/em> (2004) by Transglobal Underground<\/p>\n","protected":false},"excerpt":{"rendered":"