(Initially this piece was pushing 4000 words… but I though maybe it’s best if I edit it some more and split it up into 3 parts to make it easier on you! The word count actually grew – So, here goes Part 1)

6th Log
– Paul Blom
Access Part 1 Here
Access Part 2 Here

Access Part 3 Here


Paul Blom – Terminatryx co-creator

Music…  something most of us cannot live without, yet it can so easily be devalued in so many ways.  From dismissing something as shit because it doesn’t fit your genre preference, to illegally downloading it.


My love of music and movies are very much on a par.  And while the music I make usually have a Metal edge or movie soundtrack elements, and music videos or movies I produce and direct have a Horror flavour, my taste in audio and cinema is as wide as Weird Al Yankovic’s prosthetic butt in his “Fat” music video parody of Michael Jackson’s “Bad”… OK, even wider – from Classical music to Grindcore, or Romantic Comedies to Eastern Extreme films – and loads in between.

With the digital and on-line age, access to music (and movies) has become effortless, swift, and also, potentially at no cost…

It’s not up to me to condemn anyone when they decide to grab illegal downloads in stead of buying it, but in that respect can only relay my perspective on it from the other side.

Across the 1980s when we took the weekly pilgrimage into Cape Town’s CBD by train, we’d head straight for Ragtime Records looking for new albums (located in the Old Mutual underground mall, below the Golden Acre on Adderley Street), raiding the import bins, searching for our favorite bands at the time (incl. Kiss, Iron Maiden, W.A.S.P., Metallica, Slayer, Overkill, Megadeth, Anthrax, Manowar, Accept etc.) or discover new ones (sometimes just judging by the killer artwork alone! – often less successfully so, as with the Krokus live album).  Still in school, pocket money was tight then, and when you managed to find that gem that very few people would have on their record shelf (with only a few of them flown into the country), you cherished it and savored every note (and I still have most of those vinyl LPs).  And when friends and acquaintances surfaced with rarities like Venom’s live Hammersmith Odeon show on Betacam videotape, or Hardcore / Punk EPs from Sweden on 7-inch, these were copied onto cassette (something many compare to the current on-line sharing habits – albeit a much faster, unencumbered and easily proliferated trend than the old-school method).



My vinyls


These trips into the city hunting for music was an adventure with a great reward at the end of it – the music becoming an integral part of our lives, identity and soundtracks to our youth (with albums like Slayer’s “Reign In Blood” and Metallica’s “Master Of Puppets” still as brilliant as they were on their release 3 decades ago, and not just because it has a sense of nostalgia attached to them, but because they really are fantastic albums with great songs and production).

Virtually anything you’re looking for today can be found on-line with a few key strokes.  Searching for new music however can become a task as you now have to wade through a vastly increased morass of bands – some brilliant, some good, but most terrible imitations of imitations in a perpetual cycle of regurgitation – buying all of these albums blindly is obviously not practical or financially viable (that’s why there are sample streaming options to check out first as a test drive – like the headphone listening corner record stores used to have).  But with technology’s advances everything is speeding up and we all demand everything right here, right now, no waiting period to be tolerated – even on-line stores race to ensure overnight delivery of your physical CDs / DVDs / Blu-rays… I still find an excitement in waiting for something you ordered, like an import taking longer than usual – maybe forgetting about it as you get on with other things, you know, like life – pleasantly surprised when the courier arrives with your package(!)

But, when looking at what it takes to create an album, be it a work of genius or a bland offering, one produced in a home studio or at a multi-million dollar professional facility – is one of lesser value than another?
Then of course the shift towards digital files as opposed to physical CDs are an issue (not just related to cost, accessibility and space).  And we all have our preferences – yet I don’t understand why we cannot embrace all of these formats to serve different purposes… Maybe because the hardware producers need a new component to sell us each time, scrapping the previous one in favour of the “new and improved” technology?, and with living spaces shrinking, can we all fit a variety of players on the shelf? (Ours contains: a DVD player, PS3/Blu-ray, X Box, PS2, Wii, HD Media Player, and yes, a VCR – with all the discs, tapes and files to go with it – While I have loads of vinyl records and still a few cassettes from back in the day, I haven’t re-purchased a turntable yet).


Terminatryx – “Shadow”


It is often assumed that the musicians and moviemakers on these media delivery systems are wealthy… Even Metal bands you consider to be huge are not all millionaires.  Industrial acts can be even more niche (unless you’re Trent Reznor or Al Jourgensen, running your own show).  Record companies don’t throw money at non-commercial bands and musicians.  They have to work their asses off and whatever the record company puts in, they take back tenfold before the musicians can profit from their art.  So if the cost outweighs the return – the band can end up owing the record company! (while none of the executives and employees miss a paycheck or bonus).  A master-slave relationship often resulting in relentless touring to pay the bills, not necessarily for the joy of playing to fans and making a living at it (some record deals even hijack the band’s merchandise rights).  In the early-’90s when my band V.O.D (Voice Of Destruction) was (kind of) signed to local label Inhouse Records, we had to get up to Johannesburg on our own steam, record, play live shows, then having to hint with label owner Philip Nel that we’ll need cash for gas on the long drive back to Cape Town!  We never saw any returns from album and compilation sales.  When we took the plunge in the mid-’90s and flew off to Europe to record for our new German label Morbid records and do a full Euro tour (with Katatonia and In The Woods), again, all costs had to get covered first.

V.O.D Bloedrivier

The indie route is becoming the norm with more freedom, but even so, that places all the burden on the band.  It takes focus, determination, double the hard work, and a thick skin to take many hits.

Even though it has a more visceral approach, Metal / Industrial / real alternative music is more challenging and (yes) intellectual than your average shit-pop tunes aimed at the lowest common denominator (although generic satanic content can be negated as equally frivolous as mainstream themes of dancing or proclamations on how much “swag” you have… a line screeching “Satan!” often coming across just as meaningless as “Up in the club!” – but each to their own).  The musical input and technical execution of Metal far outranks commercial drivel following whichever trend seems the most likely to cash in with a single release or (the once popular) ringtone download.  I accidentally passed Idols while channel flipping and judge Jennifer Lopez’s vacuous new video was being screened – holy shit, the same old pathetic crap with the most soulless “music” behind it, and yes, the “lyrics” are about fuckin’ dancing!.  At the end of the day, that song is literally worth gold to her (in revenue earned), however base, simple, dumbed-down or commercially pandering it may be – while to me it isn’t even worth a turd, and I wouldn’t want it for free (even as a legitimate give-away, let alone an illegal download…)

The days of an album that was constructed to take the listener on a  journey of musical and emotional highs & lows across 9 to 12 tracks seem to be disappearing in favor of an instant fix.  But it looks like Metal is the bastion where this experience would survive (with concept albums also not forgotten).

And besides, Metal was never radio’s friend – Iron Maiden and Metallica built their fan base on the road with a lot of blood and sweat (and I’m sure quite a few tears).  While on-line stations have done a lot to get new music heard, not many pay the artists royalties like regular stations (who also knew how to cut corners).  So, the discrimination of heavier music being barred from regular airwaves (and removed from the revenue stream where others benefit), increased plays and streaming on-line may get them noticed and heard, but not necessarily paid – so, the hope would be that listeners do further investigation and buy the album if they like it – but, increasingly, in stead opt to find it somewhere for free… So, if your job doesn’t pay that well or payday is still far off, and a cool new album comes along that you can’t afford, how easily do you hit the browser and see where someone has uploaded it?

Paul Blom

Paul Blom

I’m still puzzled as to how anyone justifies taking someone else’s work, dropping it on-line for anyone to do with as they please… Do they feel they’re doing the musician a favour to get it out there?  Or get ego points for being a sharing person, or maybe even get it out there before the official release date?  Or even think they’re fulfilling a public service?  Is it a power trip? Who knows…

Creating an album however, is not exempt of substantial cost.  Even if you record at home – the equipment, software, your instruments and the many hours dedicated to writing, rehearsing, recording, honing your skills, as well as mixing, the mastering, the reproduction (if you press physical CDs), all add up to a handsome sum that has to be covered.  Recording in a professional studio ups that even more.  Terminatryx has done both of these and the recoup process can sometimes lead to simply taking the hit and writing it off… Is that right and justified?  Even with merchandise sales, new T-shirts need to be printed with the income from those sold, so the cycle rolls on.

It costs a lot to do what you love, and to have fun at it! – but debts can take the joy out of making music, and lead to so many bands throwing in the towel.

Drop us a reply if you agree or disagree with any of these ramblings…
To be continued in Parts 2 and 3…

Access Part 1 Here
Access Part 2 Here

Access Part 3 Here


5th Log
Ronnie’s Recipes: Peanut Butter Choc Chip Cookies


Recipe #1 : Peanut Butter Choc Chip Cookies


1 x Cup Sugarron_cookies

1 x Cup Butter

1 x Cup Flour

2 x Cups Oatmeal

1/2 Cup Peanut Butter

1/2 Cup Choc Chips

1 x Banana (Optional)

1 x Teaspoon Vanilla Extract (Optional)

Makes about 15 – 20 cookies.


Preheat oven to 180 degrees celsius.

Lightly grease baking tray.

Add all ingredients in a bowl and thoroughly mix with your hands until it forms a nice uniform dough.

Take a spoonful of dough and roll it into a small ball with your hands, slightly smaller than a golfball.

Place the dough balls onto the baking tray and press it flat with a fork, or your hands.

Make sure there is enough space between each cookie as they do expand in the oven.

Bake for 15 minutes.

Remove from oven and let it cool down for about 20 minutes before eating.



Posted: July 23, 2015 in Sonja's Entries, Terminatryx
Tags: , , ,

Sonja looks at the various stages she’s tread in her life

4th Log
STAGES – Sonja Ruppersberg


After watching Birdman, an interesting (Oscar winning) flick that literally provides one with a point of view of the stage and backstage in a Broad Way theatre setting, it made me think of all the stages I have been on since my childhood child. They each have their own little allure.   They are magical spaces – almost sacred.

My fist memory of a stage is one that everyone can relate to, the school concert.  This annual event illustrated how the stage in the school hall can transcend from the dreary Monday assembly stage, to a magical place of performance and glamour.  I remember around 1987, playing the part of Bon Jovi’s keyboard player in grade 7 (Std 5), along with some of my other friends in a lip sync rendition of Living On A Prayer.

I was quite a shy child, so my parents enrolled me into a modern dancing studio when I was seven years old, to try to get me out of my shell.  The Playhouse theatre in Somerset West was the epicenter for most aspiring dancers in the Helderberg basin – a beautiful little theatre with all the bells and whistles.  I danced there for the first time when I was seven.  The stage was incredible and for me, at that age, it felt like it was the size of a football field.  It had an amazing labyrinth of little hallways and ladders backstage and always smelled of La Pebra hair gel and hairspray.  The bathroom had a poster on the door of a chimpanzee on a commode with rolls of toilet paper and the caption at the bottom of the poster read, “The job is not finished until the paperwork is done”.  I have so many fond memories and just seeing the building always gives me little butterfly’s in my stomach.


My next serious stage was The Sea Point Civic Centre where the annual International Dance Teachers Association Eisteddfod was held.  It was an unfriendly, harsh stage, scary, intimidating and judgmental.  Standing in the wings of that stage felt like torture, I hated every second and it never gave me any joy.

One of my favourite stages is in fact a prominent one that I can’t remember whether it was a dance recital at Artscape (formerly Nico Malan) or the Baxter Theatre(!). I once had the privilege of dancing on that stage, it was magical and really felt like a stage for “grownups”.

I love the Stellenbosch Town Hall where we had the annual school eisteddfod.  I sang in the school choir until high school.  The building is old and smells of many decades of wood and brass polish.  It is also haunted and the backstage area was an incredible place, dark and old but great in a creepy sort of way.

Since performing in a band, my connection and perception of stages has changed somewhat.  They have become less magical and more practical.  Different places have different stages, some are small and rickety with no backstage area, and some are gorgeous and comfortable with beautiful backstage dressing rooms. Some are boards stacked on beer crates… Some professional stages are rigged by the sound and lighting company and can be fantastic, like Carfax in Newtown, Johannesburg, where we opened for Ministry – but the place ‘aint got no heart…


I am also remembering Witchfest at the Bassline (also in Newtown) that felt so massive, I had the feeling I was going to be swallowed.  And then you get places like my favourites, like the Klein Libertas with its luxurious dressing rooms and The Mercury in Cape Town, not only for its stage and its little backstage area but more so for all the love and support from staff and management.  I always felt welcome there, it was home turf.  They always made me comfortable and Lux was always there with water and beers backstage.  (Sadly the Klein Libertas burnt to the ground recently and in the same month the Mercury also shut its doors – the former is being rebuilt and the latter is said to have been bought over to open its doors again, under what name and whether they will continue its former vibe, we don’t know).


Another great stage is ROAR in Observatory.  They have the one great element lacking in all the other venues, a curtain.  The value of the curtain is massively underestimated in live music venues.  A curtain allows for anticipation from the audience, it makes the artist feel protected and is just plain professional in my opinion.

Other stages with Terminatryx have ranged from Back2Basix and its foot high restaurant / live venue stage in Joburg, and a meter high solid stage of Zeplin’s in Pretoria (R.I.P), to a large hall stage for the Goth / Industrial Gathering (Cape Town) and a huge outdoor stage at Ramfest (Wellington).


Unconventional stages include the Labia Theatre (Cape Town) beneath the main cinema’s movie screen where our Makabra Ensemble perform new soundtracks for classic silent films at our film festivals like the Horrorfest, Celludroid and Sound On Screen, compared to the large permanent ones we did two of these movie soundtracks at the big OppiKoppi music festival (in Northam) – all the way down to the intimate, crammed “front-room” poetry night get-together at A Touch Of Madness, where my dark-folk project A Murder made its debut this week.


For an artist, the stage is home, and in my life I have performed from a club in Berlin to beer crates in Gordons Bay.  While one can argue that a stage is merely a platform, and elevation, a soap box, it really is so much more than that.  A stage comes with people, passion, sometimes an irritated stage manager, a long suffering sound guy, expectations from the performers and the audience, lovers and haters.  It comes with hours and hours of rehearsals and loads of pressure.  All leading up to that moment of performance, be it dancing, singing, acting.  All of this takes place on that magical space we call the stage.


The third TERMINATRYX blog post is Patrick’s intriguing first entry (of several linked parts).

3rd Log
The Weight Of The Knife: Part I – Patrick Davidson

Patrick DavidsonI can imagine that people must wonder what could have been going through my mind at that moment.  The moment when a dubiously shiny instrument, grasped firmly in my hand, set about to split the dermis of a living man.  Granted, it was living man who had brought himself into that very circumstance, powerless to resist the bite of the blade.  I glanced up to watch him grimace as flesh yielded to a drawn and searing sting.  A tendril of precious scarlet began immediately to reach out wonderingly into this new dimension, exploring gravity across bare skin.  I recall, in that very moment of first blood, my first true recognition that there would be no turning back from this ghoulish task until it had been completed.
A part of that recognition, of course, was that I knew my tormentee to not only be a husband and a father to two boys, but if inquiring into the appropriate circles, also a celebrated intellectual.  There was a certain weight of responsibility bearing upon the cold steel of that knife.  Would my conscience fall into question for the actions in which I was engaged?  Or perhaps my sense of morality?  Considering the context, it did not really matter.  Only blood mattered now, and pain.  And the witnesses.  So I proceeded with a second cut; cold-faced and meticulous in my intent; beset by a dark sense of determination.  More blood.  Then a step back to take in the bigger picture.  In his opposing resolve, the victim of my attention disguised it well by setting his jaw stubbornly.  But I knew.  Oh!  How our family man suffered as a small cluster of aghast spectators looked on, equally powerless to intervene and transfixed in a silent, lips-parted sort of amazement.  I was vaguely aware of a brief sound underlying the prescribed ambiance of the room.  Perhaps it was one of the onlookers clearing an anxious throat; or choking back their sick.  It was not my concern to heed the others as a harsh realization of what they were observing began to sink in.  I could continue my work in full confidence that there would be no intervention.
I stepped forward again to induce more anguish with a third incision.  Slowly, of course, before making way for all to admire my handy-work.  Time was on our side for this endeavor, and pain was the order of the day.  Multiple cameras rolled to capture the carnage whilst the beam of a projector flickered overhead.  The room was large with bare walls that were painted white, completely unadorned save for a large disc shape mounted high against the short end where I worked.  The purpose-built disc consisted of a heavy welded metal frame, wrapped neatly and lovingly with a canvas covering, also painted white.  The place was dimly lit, but there was enough illumination for all to see.  This had been made certain of.  There was also music for dramatic effect.  After another lengthy pause, I stepped forward and divided human tissue yet again.  This time he grunted, loudly enough that it carried into the room.  I sliced again.  And still again.
Please don’t mistake me for a brute though!  Muscle beneath the bloodied surface tissue began to tremble under strain when I approached.  There were times that he needed to rest.  I allowed him his reprieve as he slouched, and panted, and groaned.  Without words, we had quickly developed a symbiosis of knowing when to cut and when to wait.

To be continued in Part II…

The 2nd TERMINATRYX blog post is Paul’s first entry – a review of the new Terminator Genisys movie and a look at how the original’s title played a part in the band name, and the recollections of movies like these in his formative years:

2nd Log
– Paul Blom

Image by Dr-Benway

Image by Dr-Benway

I’m old enough to have been around for the theatrical release of James Cameron’s original Terminator in 1984 – but too young at the time for the 18 age restriction – yet, just like the 21 restricted Blue Velvet, Angel Heart and Full Metal Jacket, I was tall enough to get into the cinema for these without any overzealous ushers or box office attendants calling me out on not being old enough to gaze upon these ‘damaging’ cinematic creations!  Yes, South Africa had an age restriction for movies that 20 year olds couldn’t watch…! – but you could join the army at 16 and kill people – go figure…
The drive-in was also another good option to see movies you craved but was too young to enter, by hiding in the car’s trunk or under the blankets on the back seat! (as I did with my folks, forcing them to go see Scarface with me in that way).  During high school I befriended Stan Muhl, manager of the Goodwood drive-in, and always had cool visits, talking movies, music, and scoring tons of one-sheet movie posters (which I still have).

My insatiable love of movies was at quite a high in the mid-’80s, and while loving all cinema flavours, my particular affection for Horror and Sci-Fi was then already well solidified.  With friends Werner and Raymund Offner we were always hunting down cool movies, taking drives to Movie Town video store in Newlands, pre-booking A Nightmare On Elm Street and Re-Animator to grab it on its release day.
The Terminator was a revelation of classic ’80s action style (setting a new standard), Brad Fiedel’s timeless theme tune enough to get the excitement building.
In the late-’80s The Terminator was re-released at the drive-in and I had to have the poster for my collection!  Stan tracked one at the Skyvue drive-in around the Ottery area, so I drove out to get this holy grail – on arriving, the manager had chucked it out! – Crushed!
Sadly the drive-in has dwindled into extinction here.

On meeting Sonja at the turn of the 21st century, a few years before we created Terminatryx (in 2002), it became clear that we had similar tastes, including that of movies.  So, when it came to creating a band name, we looked at cool movies we liked that would play into the futuristic mood we wanted to relay with our music, combined with that of a powerful female image – this resulted in us combining the dominatrix with The Terminator, The Matrix, Tetsuo The Iron Man, the Nexus replicants from Bladerunner, and the river Styx.  Initially the spelling was TERMINATRIX, but then a year later the 3rd Terminator (2003) with its female cyborg used that term(!)  We also discovered a fetish club on-line with that title, a Manga movie, DJs – it seemed to be all over the place!  So, we gave the latter part of the river Styx more prominence and kept it as it is, simply changing the “i” to a “y” for TERMINATRYX – same pronunciation, different spelling.  This blessing in disguise also resulted in us getting the .com web address and nothing else popping up when searching us on-line.

Besides being instrumental in launching the macho action hero career of Arnold Schwarzenegger (along with Conan The Barbarian), over the last 30 years the classic Terminator spawned several sequels like the definitive follow-up Judgement Day, the 3rd and less impressive Rise Of The Machines (with the aforementioned female Terminatrix that caused our name issues), the Christian Bale starring Salvation, and TV series The Sarah Connor Chronicles (which I’ve never been inspired to catch up on).
Hmmmm, and I must say, interesting how they use a “y” in stead of an “i” in the spelling of this 5th ‘Genisys’ chapter, don’t you think?

This new installment is the first in a new trilogy set to continue the legacy, with Game Of Thrones star Emilia Terminator GenisysClarke in the role of Connor, the woman who gives birth to the saviour of mankind (whom the machines tried to snuff out in the first movie in order to change the course of history).

The initial time travel scenario of the T-101 cybernetic warrior sent back in time from the apocalyptic future to eliminate Sarah in 1984, and resistance fighter Kyle Reese hot on his metal heels to protect her (and unknowingly fathering her son John), seemed open and shut, but since the mythology got re-tweaked in the various sequels, all manner of possibilities have been opened in a time traveling pandora’s box.

Besides rabid fans holding the original two films close to their hearts, feeling these sequels are sacrilege, many will get into serious geek discussions of the time travel logic, its various pros, cons and viability, inaccuracies and clashes – But I mean, really, don’t sweat it, it’s a frickin’ movie!).

However, it goes without saying that a Terminator flick without Arnold Schwarzenegger is no Terminator at all – even if he just pops up for one scene and murmurs: “I’ll be back!”. But this time round you get him in a double dose, as the head-jumbling time travel to & fro takes on a new dimension. In the future when the resistance takes over the Cyberdine headquarters where the T-101 (and Reese) is sent back in time, things go awry – the events from the first Terminator being altered and sent in a brand new direction. Here Reese arrives and Sarah is well aware of the dangers, well trained and accompanied by a protective Terminator she dubbed Pops. A new mission has them now jumping from the ’80s forward in time to to prevent Judgement Day (on 29 August, 1997, when Cyberdine Systems’ conscious machines destroyed humanity, a few survivors rising to fight back). This happened due to the new Genisys on-line programme amalgamating the world’s net connectivity, setting the scene for the full take-over of the machines.

Naturally it is a big budget special FX spectacle, the CGI team having their work cut out for them in recreating a more youthful Schwarzenegger – battling his older self! (the outer flesh of the cyborgs aging just like that of humans). They did a hell of a job, and if you didn’t know Arnie at all, you’d have thought it was a real person.

Terminator GenisysOn seeing one of the Genisys trailers it felt like it was going to be somewhat of a remake, but while this is true in the sense of many scenes from the first movie perfectly recreated for the period Reese went back to save Sarah – it is now altered with elements like another liquid T-1000 on their trail.
Some scenes play for laughs and come across as a bit silly, but with the 13 age restriction drop form the original’s 18, it is still pretty violent (but less profanity) – also proving how times change and audiences evolve / mature.

There has now been as many John Connors as there has been Terminator movies, this time round portrayed by Zero Dark Thirty’s Jason Clarke – no relation to Emilia Clarke portraying his mother Sarah Connor here(!).  John’s character is also steered in a surprising new direction. While she actually has some features hinting at that of Linda Hamilton, Emilia’s diminutive stature and childlike face didn’t always convince me she is a tough warrior.  (And while these things never bother me, she does look better as blonde in Game Of Thrones).

Since the first two movies, Terminator creator James Cameron dropped from the franchise radar (occupying himself with mammoth projects like Titanic, Avatar, underwater documentaries and breaking records diving to the bottom of the ocean in high tech subs) – Not sure what percentage of the box office earnings he gets, but Cameron does approve of this new chapter. Will be cool to see him returning to get back into this new journey born of his modest- to low budget creation of the mid-’80s.

This is certainly exciting entertainment in 2D, 3D or Imax.
I watched this in 2D, and for a while now I’ve grown weary of the 3D gimmick, not adding enough to enhance it for me, so seeing it without 3D specs muting the screen brightness was just fine with me.

Terminator StringbagI love music and movies equally, and don’t think I could live without either… and sometimes even bad and cheesy releases can be a joy.
The Terminator took a genre that used to be B-movie fodder and gave it new life, propelling it into one of the biggest out there.

A rendition of this review also appears at one of Paul’s entertainment portals, the Horror / Sci-Fi slanted Shadow Realm, inc. and include links to reviews of the previous 4 Terminator movies > TERMINATOR GENISYS Review

Do you live in South Africa and want to win a Terminator: Genisys drawstring-bag (courtesy of UIP)?  Head to the review at Shadow Realm, inc. for the Flamedrop link.


With Arnold Schwarzenegger, Emilia Clarke, Jason Clarke, Jai Courtney, J.K. Simmons, Dayo Okeniyi, Byung-hun Lee, Michael Gladis, Sandrine Holt, Matt Smith
Written by Laeta Kalorgridis, Patrick Lussier (based on characters created by James Cameron)
Directed by Alan Taylor

For our inaugural Terminatryx Blog post, vocalist Sonja takes a look at her love of reading and one of her favourite authors, Stephen King:

1st Log
– Sonja Ruppersberg

Sonja RuppersbergGrowing up I have always been an avid reader.  It was the one thing I was good at in school.  I always made the “A” reading circle in primary school and the public library was truly a magical space for me.  When I was a child our bed time stories were Greek Mythology.   My mom used to read to us from the “Skat Kis” (“Treasure Chest”) series of books.  In an era where we did not have satellite TV, cell phones and Internet, the library was the place to go for information and fantasy.

My primary school years were spent in the library.  I was, and to an extent am still a true nerd. Most activities took place in the school library.  I was both a member of the chess team and the debating team.  The chess club played in the school library and the debating team met there. If you were an outcast on the schoolyard at breaks, the library would be the place to hang.

Back then I read a lot, mostly Afrikaans (my first language).  My favourite books were the Saartjie Baumann books written by Bettie Naudé (who was actually GC Smith, also known as Topsy Smith) I completely lost myself in these books. And most of my free time and weekends were taken up by these books. I must have read the entire series twice or even three times.

When I was in Grade 8 (Std 6) my dad gave me Stephen King’s Misery to Stephen Kingread.  I was incredibly intimidated by this book, as you can imagine it was a bit of a departure from Saartjie Baumann(!).

It was the Easter School break and I remember it being a cold rainy day when I decided to pick up the book.  I read that book without taking a break, I hardly slept, I was too scared.  In 48 hours I was done and I felt like I was in another world for two days.  I was a changed person….

I instantly and immediately fell in love with the author and the library could almost not keep up with my demand for his novels (from Salem’s Lot, Cujo, The Shining, Carrie, Pet Semetery, It, Tommy Knockers, Needful Things, his Bachman books etc.).    By this stage I had developed a big crush on Stephen King, and I must admit that everything I knew of the world, love, lust, sex and human behaviour, at that time, I got from him through his novels.  I could relate to some of the characters.  A character that still stands out to me is Arnie Cunningham from Christine, with his bad acne and low self-esteem, boy could I relate….! My love for Stephen King, the genre and even the places his novels takes place in has stayed with me.

As the years have gone by Stephen and I grew apart somehow and through my tertiary education years I got hooked on other authors like Douglas Adams, Tom Wolfe, Clive Barker, Tom Robbins etc.  Lately most of my time is taken up with academic books.  I still get excited when my parcel from UNISA arrives and I cannot wait to get my books.   While I absolutely love studying, I have realized how much I have missed my favourite writer.

For me Stephen King will always be like a “first love” and I have decided to rekindle my love affair. Mick Garris, a writer-producer-director acquaintance of my husband Paul, is a friend of Stephen King (and adapted much of his work for film and TV), and this connection has prompted me to start up where I left off with Stephen’s novels.  I have loads to catch up on and am so looking forward to it.

Perhaps one day I can meet the man and proudly say “I have read everything you have written”.


Hello world!

Posted: February 27, 2015 in Uncategorized
Images from the TERMINATRYX

Images from the TERMINATRYX “Shadow” album inner sleeve.
Photographer: Dr-Benway

Greetings all!

Finally we’ve created a BLOG!
Here TERMINATRYX members will post writing on whatever may be on our minds and feel should be shared with the world, be it serious or light.
Thanks for joining us and do help to spread the word – Not too many people are aware of female-fronted Industrial-Metal / Alternative bands from South Africa, after all(!)

Catch you soon,
Sonja, Paul, Ronnie, Patrick