Tuesday, November 26, 2024

Tune In Tuesday: Star Time (1992) - Blu-ray Review: A Gonzo Vision of Murder and Madness by Lou Toad



So, there I was, folks. A maniacally spliced cocktail of violence, low-budget paranoia, and a sick fascination with voyeurism. "Star Time" from 1992 isn’t just another forgotten B-movie; it’s a jagged slice of the American dream gone askew. And as I cracked open the Vinegar Syndrome Blu-ray of this deranged piece of cinematic history, it felt like stepping into an acid-soaked fever dream where every frame is a bullet wound to the head, and the soundtrack is a siren's call to hell.

The opening credits hit like a punch to the gut. The film, directed by Alexander Cassini, takes you on a relentless ride through the mind of a mentally unstable man—a man whose idea of “living” is bleeding through the red curtain of some deranged reality show, where death is the ultimate prize. If you squint hard enough, you can see the roots of *American Psycho* sprouting from this chaotic seed, yet the madness is here—untethered, unshackled. This isn’t the carefully manicured madness of modern thrillers. No, this is the kind of grimy, desperate psychosis you can smell.

Our protagonist, the pitifully deranged Charlie, is one of those lost souls lured into the deadly embrace of a “TV producer” named Mr. Rottweiler (it’s the '90s, baby, everyone had a cool name, even if it didn’t mean a damn thing). Rottweiler’s got a game for Charlie: murder, reality show-style, where the goal isn’t to win the girl or get rich—no, this isn’t about prizes. This is about peeling away the veneer of civilization until nothing’s left but the raw animal instinct. And Charlie’s a prime candidate for such depravity. He’s unbalanced, like a man trying to swim in a sea of asphalt, and just as fragile as any man doomed to dance with the great predator of the human condition: fame.

Now, let’s talk about the Blu-ray from Vinegar Syndrome. Oh, it’s a beaut. You know the folks over at Vinegar Syndrome aren't just in the game for money; they’re in it for the damn artistry of it all. The picture is crisp, maybe too crisp—suddenly you’re squinting at the sharp edges of every dingy corner in this depraved little world. It’s like watching a war veteran pick at the wounds he can’t help but stare at. The colors—oh God, the colors—are unnaturally vivid, drenched in neon and unnatural hues like the inside of a fevered nightmare. But that’s the thing with *Star Time*, isn’t it? The world isn’t quite right. The film itself is constantly shifting in tone, never settling, like a junkie on the cusp of a breakdown. Every shot is so slick and polished, yet it feels grimy, oily, like it's been fished out of the depths of the cinematic gutter.

The audio is equally meticulous. The soundtrack? A cacophony of noises—twisted, industrial, almost suffocating. It echoes the distorted nature of the film's plot, every sound further embedding you in Charlie’s broken psyche. The isolation of the character is translated not just through visuals, but through the raw, jarring soundtrack, filling every ounce of space with an unsettling hum that’s both unrecognizable and all-too-familiar.

And then there’s the meat of this film, the performances. What can you say about Michael St. Gerard as Charlie? A tragic figure of a man who wears his delusions like a cheap suit. His portrayal isn’t just a descent into madness—it’s a terrifyingly slow, deliberate unraveling that feels all too real. Watching him is like witnessing someone being swallowed whole by their own twisted mind. The film, in its own way, almost dares you to feel sorry for him. You don’t know if you should pity him or run the other way. It's both tragic and unsettling. The depth of his character feels like peeling back layers of the universe’s most painful secrets. And when you pair his insanity with the grotesque manipulations of Mr. Rottweiler—played with an unnerving calm by Tony Roach—the tension is a powder keg ready to explode.

What *Star Time* nails more than anything, though, is its exploration of voyeurism. It’s not just about watching; it’s about *being* watched. Rottweiler’s influence over Charlie isn't just about pushing him toward violence—it’s about making him a puppet in the ultimate snuff show, where we, the audience, are just as complicit as Charlie. And God help us, there’s something *seductive* about it. It’s the fever dream of television, consumption, and the grotesque intersection of fame and death, where viewers can’t look away, and the characters can’t escape.

Vinegar Syndrome, in their dedication to this cult gem, has given us a high-definition version of a movie that’s too damn important to be forgotten. Star Time isn’t just a piece of '90s horror cinema; it’s a snapshot of America’s crumbling veneer, a portrait of voyeurism, and an inescapable plunge into the collective madness of reality television before it even existed.

In conclusion, don’t just watch *Star Time*. Live it. Get inside Charlie’s head, feel his paranoia crawl under your skin, and embrace the twisted, dark magic of this forgotten classic. It’s not for the faint of heart, but if you’ve got the guts, you’ll find that the world of *Star Time* is more than just a film—it’s a goddamn nightmare. And this Blu-ray? It’s the way it was always meant to be experienced—uncompromising, visceral, and haunting. Strap in, my friend. This ride doesn’t stop.

Monday, November 25, 2024

20th Century Horror: Recommends for Zag

Here are lesser-known horror films from the 1930s to the 1990s:

1930s

  1. The Vampire Bat (1933) - A blend of mystery and horror, involving a village plagued by mysterious deaths blamed on a vampire.
  2. White Zombie (1932) - Often considered the first zombie film, it features Bela Lugosi as a sinister voodoo master.
  3. The Ghoul (1933) - A rare British horror film starring Boris Karloff, about an Egyptologist returning from the dead.
  4. The Old Dark House (1932) - A creepy and atmospheric tale set in a strange mansion with even stranger inhabitants.
  5. Mad Love (1935) - A surgeon obsessed with a stage actress grafts the hands of a murderer onto her lover.

1940s

  1. Isle of the Dead (1945) - A psychological horror set during a plague on a quarantined island, starring Boris Karloff.
  2. The Leopard Man (1943) - A suspenseful Val Lewton production about a series of murders blamed on a leopard.
  3. Dead of Night (1945) - A British anthology film with several eerie stories, including a chilling tale of a ventriloquist's dummy.
  4. The Seventh Victim (1943) - A dark story about a woman uncovering a satanic cult while searching for her missing sister.
  5. The Uninvited (1944) - A ghost story with a romantic twist, involving a haunted seaside house.

1950s

  1. The Tingler (1959) - A campy William Castle film about a creature that grows on fear and can only be subdued by screaming.
  2. The Four Skulls of Jonathan Drake (1959) - A mix of voodoo and body horror centered on a family curse.
  3. Curse of the Demon (1957) - A British horror about a skeptic investigating a cult and cursed runes.
  4. House of Wax (1953) - The first color 3D horror film, starring Vincent Price as a vengeful wax sculptor.
  5. Macabre (1958) - A suspenseful low-budget film about a missing girl and a buried-alive twist.

1960s

  1. Carnival of Souls (1962) - A low-budget psychological horror with a haunting atmosphere.
  2. Black Sunday (1960) - A gothic Italian horror about a witch's curse, directed by Mario Bava.
  3. Spider Baby (1967) - A darkly comedic horror about a dysfunctional family with murderous tendencies.
  4. The Innocents (1961) - A chilling adaptation of The Turn of the Screw, focusing on supernatural happenings.
  5. The City of the Dead (1960) - A tale of witches and curses in a fog-drenched New England town.

1970s

  1. Let's Scare Jessica to Death (1971) - A surreal and unsettling film about a woman's fragile sanity.
  2. Alice, Sweet Alice (1976) - A proto-slasher with religious themes and a masked killer.
  3. The Sentinel (1977) - A model discovers her apartment building is a gateway to hell.
  4. Messiah of Evil (1973) - A surreal and eerie tale of an artist encountering a strange seaside town.
  5. Martin (1977) - A psychological exploration of a young man who may or may not be a vampire.

1980s

  1. The Changeling (1980) - A classic haunted house story with an emotional core.
  2. Dead & Buried (1981) - A creepy small-town horror with unexpected twists.
  3. Night of the Creeps (1986) - A fun blend of sci-fi and horror involving alien slugs turning people into zombies.
  4. The Slayer (1982) - A nightmarish story about a woman whose dreams manifest into deadly reality.
  5. Street Trash (1987) - A gory and bizarre film about a toxic liquor that causes people to melt.

1990s

  1. In the Mouth of Madness (1994) - A Lovecraftian descent into madness directed by John Carpenter.
  2. Cube (1997) - A claustrophobic sci-fi horror about strangers trapped in a deadly maze.
  3. The Reflecting Skin (1990) - A surreal and haunting exploration of innocence and evil in rural America.
  4. Ravenous (1999) - A darkly comedic horror about cannibalism in the 19th century.
  5. Cemetery Man (1994) - A stylish and existential Italian horror about a man managing a cemetery where the dead rise.


Mad Gods, Chainsaw Carnage, and Shudder’s Salvation: A Love Letter to the Cult Movie Mavericks


The 21st century is a strange, roiling beast of nostalgia, algorithmic overlords, and endless content streams. Amid this chaos lies a quiet beacon for the misfits, rebels, and auteurs who’ve spent decades splattering blood, madness, and psychedelic visions onto the screen. That beacon is Shudder, the cult film enthusiast's cathedral, and its altar gleams with offerings like Mad God and Mandy—cinematic fever dreams that would have sent Roger Corman into a standing ovation.

Let’s start with Mad God. Phil Tippett’s 30-year stop-motion odyssey isn’t a movie—it’s a descent into the darkest bowels of a universe where sanity is an urban myth. Tippett, the special effects wizard behind Star Wars and Jurassic Park, finally unleashed his magnum opus in 2021. It’s a filthy, grimy masterpiece, drenched in despair and cosmic absurdity. Imagine Hieronymus Bosch on peyote, sculpting a dystopia with his bare hands. Shudder cradled this mutant infant and let it wail for all to hear—a gift to those of us who don’t mind a little blood and bile in our art galleries.

Then there’s Mandy, Panos Cosmatos’ 2018 heavy-metal revenge saga, where Nicolas Cage becomes a screaming prophet of chaos wielding a battle axe forged in hell. Mandy isn’t just a movie—it’s a hallucinatory baptism in neon and doom. The score, composed by Jóhann Jóhannsson, thrums like the heartbeat of an ancient god. Every frame is soaked in dread and beauty, with Cage delivering a performance so raw and primal it feels like he’s channeling the spirit of cult cinema itself.

So, why Shudder? Why here, why now? In an era where the mainstream suffocates on superhero reboots and endless sequels, Shudder has become the safehouse for filmmakers with the guts to go off the rails. It’s a platform that doesn’t just tolerate weirdness—it worships it.

Shudder resurrects the spirit of grindhouse theaters and underground video stores, where cinephiles once scavenged for battered VHS tapes of Eraserhead, Basket Case, and El Topo. It’s a refuge for the mad, the brilliant, and the broke—those who never had a shot at a billion-dollar budget but still dared to spit their visions into the void.

In the 21st century, Shudder isn’t just a streaming service. It’s a movement. It’s a battle cry for the freaks, the dreamers, and the storytellers who would rather burn their script than water it down. With Mad God and Mandy, it proves there’s still room in cinema for art that terrifies, bewilders, and electrifies.

So, here’s to Shudder, where the cult gods find their home. Let the rest of the world watch their sanitized blockbusters. We’ll be over here, worshiping the unhinged brilliance of Tippett, Cosmatos, and Cage, screaming into the neon-soaked void.


Noirvember Week 4: Blue Velvet (1986)

Blue Velvet is a suburban dream gone sour, a film that peels back the surface of small-town America and finds something festering underneath. This isn’t your usual noir—it’s a neon-lit descent into madness, with David Lynch as the puppeteer pulling the strings. It’s dark, it’s twisted, and it’s a ride that takes you down a road you may wish you hadn’t seen.

Kyle MacLachlan plays Jeffrey Beaumont, the clean-cut kid who stumbles on a severed ear in an overgrown field. That ear’s his invitation into a world he never asked to see, a world of smoke-filled rooms, of whispered threats, and of eyes watching from every shadow. Lynch lets us follow Jeffrey as he crosses from daylight into the depths, and once he’s in, there’s no turning back.

Then there’s Frank Booth, played by Dennis Hopper, a villain straight from the underworld, all anger and chaos, a nightmare wrapped in a suit and sadism. Frank’s got a grip on the town, and he drags Jeffrey deeper with every breath of his twisted oxygen mask. There’s a femme fatale, too, but she’s no standard siren—Isabella Rossellini’s Dorothy is haunted, her world painted in bruised colors and broken dreams, and yet Jeffrey can’t resist.

Blue Velvet is a place where innocence gets chewed up and spit out, where the dream of suburban bliss curdles into something dark and dangerous. Lynch doesn’t just hint at the underbelly of Americana—he dives straight into it, stripping away the veneer to reveal the rot beneath. And when the credits roll, you’re left feeling like you’ve walked through the fire with Jeffrey, but somehow you’re not sure if you ever really got out.

Song Of The Day: "Creepshow" by Twelfth Night

Song Analysis and Summary: "Creepshow" by Twelfth Night



Summary:
"Creepshow" by Twelfth Night is a track from the 1980s progressive rock scene, showcasing the band’s talent for creating atmospheric and complex music with a strong emotional undercurrent. The song is both a reflection on the darker side of life and an exploration of internal struggle, combining elements of rock and art music with a compelling narrative. The lyrics are reflective and mysterious, portraying themes of alienation, disillusionment, and existential crisis. The title "Creepshow" suggests a spectacle of eerie or uncomfortable revelations, possibly alluding to the way people can be trapped by their own fears and perceptions.

Analysis:
1. **Musical Composition:**
   - The song begins with a hauntingly atmospheric instrumental intro, creating a sense of suspense and unease. The band makes use of intricate melodies and time signature changes typical of progressive rock.
   - The rhythm section is tight, with steady drumming and bass providing a foundation while the guitar and synthesizers add layers of tension and complexity. The blend of electronic and acoustic elements reflects the song’s otherworldly atmosphere.
   - As the song progresses, there is a gradual buildup, both musically and lyrically, which mirrors the feeling of an impending revelation or confrontation.

2. Lyrical Themes:
   - **Alienation and Isolation:** The lyrics convey a sense of being trapped in a world of one’s own making, struggling to make sense of one’s place in the universe. There’s a recurring feeling of being disconnected from others, highlighted by the use of words like "shadows" and "whispers."
   - **Existential Reflection:** The lyrics delve into themes of personal crisis and self-doubt, where the narrator reflects on the futility of certain actions or beliefs. It is as though they are confronted with their own limitations, yet unsure how to escape them.
   - **Fear and Uncertainty:** The title "Creepshow" could refer to the way the protagonist perceives life – like a frightening show that they are forced to watch but can’t participate in or change. The song gives a sense of watching life from a distance, observing the creeping horrors of life and human nature.

3. Vocal Delivery and Tone:
   - The vocals are delivered with a sense of urgency and melancholy, capturing the emotional intensity of the lyrics. There is an underlying tension in the singer's voice, which complements the darker, brooding nature of the song's themes.
   - The vocal performance alternates between a quiet, introspective delivery in some sections, which gives the song a haunting quality, and more intense moments where the vocals convey frustration and desperation.

4. Overall Atmosphere:
   - "Creepshow" has an eerie, almost gothic atmosphere that mirrors the lyrical content. The band’s ability to blend the complexities of progressive rock with a deeply emotional narrative makes the song stand out within the genre.
   - There’s a cinematic quality to the music, with rising and falling dynamics that evoke a sense of storytelling, drawing the listener into a strange, unsettling world.

Conclusion:
"Creepshow" by Twelfth Night is a progressive rock song that effectively uses musical complexity and lyrical depth to explore themes of alienation, fear, and existential uncertainty. Its haunting atmosphere and emotive delivery draw the listener into an introspective journey, making it a standout track in the band's discography.

Friday, November 22, 2024

Down the Tubis: Weirdo Westerns That Make You Scratch Your Head and Kick Over a Stool


Hey, you ever go down a rabbit hole and come out the other side with a wild grin on your face, scratching your head, wondering if the movie you just watched was real, or if it was something cooked up in some offbeat fever dream? Yeah, that's what happens when you dive into Tubi's stash of weird Westerns. Grab your whiskey, toss your boots on the porch, and let’s talk about how these old flicks subvert every predictable cowboy trope and leave you wondering if this genre even knows what it’s doing anymore. 

"El Grito De La Muerte* (1959)"

Now this one’s a doozy. A film that could be easily mistaken for your standard Western—if your standard Western was mixed with a bunch of horror, creepy ghosts, and more supernatural elements than a Scooby-Doo episode. You got two buddies unearthing a stone carving of a crying woman, which is enough to make any rational cowboy pause for thought. They quickly get told that this woman’s ghost is haunting the area. Is it a curse? Is it all in their heads? What is going on? 

Tubi doesn’t just slap this on your screen, it punches you right in the gut with a genre mash-up that questions why we’ve never had more horror-western hybrids. It’s like *The Good, the Bad, and the Ghastly*. Westerns are usually about tough men making tough decisions—here, they’re confronted with something they can't shoot away. Sorry, John Wayne, but your lasso isn’t gonna help when the spirit of a crying woman decides to take you out.

"Track of the Cat* (1954)"

Next up, *Track of the Cat*. Westerns, right? Cowboys hunting bad guys, rough-and-tumble men fighting for survival. But *Track of the Cat*? It’s about two dysfunctional ranch boys hunting a panther in the middle of a cold-ass winter. You’ve got your classic "man vs. nature" story—if nature is a really pissed-off panther that’s giving your cattle a bad time. But these characters aren’t your usual stoic Clint Eastwoods. No, these are introspective, moody, and bickering family members who can’t get their act together long enough to deal with the real threat. *Track of the Cat* isn’t just about finding a wild beast, it’s about finding the beast inside these ranchers. Deep, huh?

What makes this movie such an outlier in the Western genre is that it turns the formula on its head. Instead of the hero overcoming adversity in typical shootouts, we get men grappling with their own failures and family drama, all while a killer cat lurks in the background like a metaphor for their troubled psyches. Not so much “get on your horse and ride” as “get on your therapist’s couch and cry.”

"Rancho Notorious (1952)"

Last but certainly not least, *Rancho Notorious*. This one’s another classic example of how Tubi isn’t just giving you Westerns; it’s giving you a sandbox of weirdness in a genre that could really use more experimental junk. After his fiancée is killed, a Wyoming ranch hand decides he’s gonna hunt down the killer. Simple, right? Well, no, because it turns into a wild ride with a ranch full of criminals. It’s like the genre forgot it was supposed to be about lawmen and robbers and said, “Let’s throw in a little noir, a pinch of melodrama, and a whole lot of confusion about who the good guys even are.”

The movie takes every stereotype about the Western and flips it with a story about betrayal and murder that’s just as much about psychological unraveling as it is about cowboy justice. You’ve got a morally gray world where the lines between good and evil get murkier by the minute. This ain't your daddy’s Western—this is a weird, wild ride where the hero is as questionable as the villains. It’s a film that leaves you wondering if the good old days of shootouts and standoffs weren’t a bit overrated anyway.

"Tubi: The Land of Misfit Movies"

If you’re looking for weirdness, Tubi’s where you find it. These films don’t just tip their hats to the classic Western—they straight-up rebel against it. Think of Tubi as that wild saloon in the middle of nowhere. The one that serves cold whiskey, has weird characters lurking in the shadows, and is just a little offbeat. Tubi is a treasure chest for any cinephile who's tired of seeing the same recycled garbage on other streaming services. It’s a free-for-all, and I mean that in the best way possible.

So why pay for your next streaming service when you can go down the Tubi rabbit hole and find stuff like *El Grito De La Muerte*, *Track of the Cat*, and *Rancho Notorious*? Free, weird, and no strings attached—Tubi’s the cinema equivalent of a back-alley dive bar where anything goes, and you just might discover something truly bizarre, yet brilliant.

In short, Tubi’s like the wild, weird, and reckless little cousin of the film world, and if you haven’t already, it’s time you went to hang out with it. Go watch these movies, let them mess with your brain, and maybe—just maybe—bring a little bit of that anarchic cowboy spirit into your next binge session. Just don’t expect anything normal.

Wednesday, November 20, 2024

Meet Me In Ethertown : A Poem

In Ethertown , the sky hangs low,  

a weight of salt and jet fuel.  

The planes, silver veins in a fading blue,  

cut paths to everywhere  

but here.  

The streets whisper secrets to those who listen,  

their cobblestones slick with stories  

of fishermen and freight workers,  

of loud mothers yelling down the alleys,  

their voices cracked with love and exhaustion.  

We ran like ghosts through the ruins of yesterday,  

past corner stores where candy jars gleamed like treasure  

and old men played dominoes  

under a yellowing light.  

Everything felt infinite then,  

even the broken things.  

The harbor was a mirror for dreams,  

its ripples swallowing the neon of forgotten nights.  

We built castles in the tide's shadow,  

knowing they would wash away  

before dawn touched the docks.  

In winter, Ethertown  was a song—  

melancholy and deep,  

the kind you’d hum to yourself  

when the wind tore at your coat  

and the stars refused to show.  

We lived for summer, though,  

for the ferry’s horn and its promise of escape,  

for the cracked pavement warm beneath bare feet,  

for the laughter that skipped  

across rooftops like a heartbeat,  

uneven but alive.  

Now, Ethertown  floats in the back of my mind,  

a haze of smoke and sunlight.  

I try to grasp its edges,  

but it slips away,  

a dream of a place  

that was never quite mine,  

yet holds me still.  

In Ethertown , every corner bent time,  

the past and present tangled in electric wires  

strung tight above the streets.  

We walked beneath them, heads tilted upward,  

wondering if we could balance  

on that thin line between staying and leaving.  

The air smelled of brine and burnt toast,  

of diesel drifting from the docks,  

where men’s backs curved like waves,  

unloading dreams they’d never chase.  

Their hands told stories their mouths never could,  

calloused whispers against splintered wood.  

There was the park by the overpass,  

its grass struggling to grow in the shadow of exhaust.  

Kids spun wild on the rusted merry-go-round,  

laughing like the world could never touch them.  

We watched the planes rise,  

their engines drowning our promises:  

“One day, we’ll go.”  

The old woman on the corner—  

she swore she saw angels in the alleyway,  

their wings lit by the flicker of a busted streetlamp.  

We’d laugh, but part of us believed her,  

because how else could this place  

feel so heavy and so light?  

Ethertown  was all contrasts—  

the roar of the highway  

and the silence of empty tenements,  

the comfort of a home-cooked meal  

and the cold steel of fire escapes at dusk.  

We held onto it all,  

even when it burned our palms.  

And at night, the skyline blinked,  

a thousand tired eyes watching over us.  

The harbor hummed its lullaby,  

pulling us toward sleep,  

toward dreams of places  

where the streets weren’t cracked,  

where the planes didn’t always leave us behind.  

But even in my dreams,  

Ethertown  calls me back.  

Its alleys stretch like veins,  

its heartbeat steady beneath the concrete.  

It is every story I’ve ever told,  

every song hummed under my breath.  

A place I’ll never leave,  

though I’ve tried.  

In Ethertown , 2003 buzzed like a skipping CD,  

static and rhythm,  

a year caught between dial-up and something faster.  

We were teenagers, heads full of static,  

finding signals in the hum of a broken world.  

Mix tapes spun in our Walkmans,  

each track a coded message,  

a manifesto scratched in silver discs—  

punk riffs, breakbeats,  

the low growl of guitars like an engine starting.  

We dubbed songs off late-night radio,  

fingers twitching over the pause button,  

afraid to miss a note.  

The playlists were everything we couldn’t say aloud.  

Smoking weed was a scavenger hunt—  

phone calls whispered like conspiracies,  

a handoff on the edge of the basketball court,  

paranoia rising with the haze.  

We giggled until our ribs ached,  

the world bending in strange colors,  

as we scrawled the meaning of life  

on the back of an old science worksheet.  

Magic mushrooms were harder to find,  

a friend’s cousin’s hookup,  

a trip through three neighborhoods,  

half-truths and half-baked plans.  

But when we ate them,  

the city became an alien landscape,  

the cracks in the pavement pulsating with secrets.  

The planes above turned into spaceships,  

their trails laced with cosmic intent.  

We educated ourselves in stolen hours,  

not from textbooks, but from old sci-fi paperbacks—  

Asimov, Bradbury, Le Guin,  

their covers worn thin by too many hands.  

We stole them from the downtown bookstores,  

sprinting past the disapproving gaze  

of the owner who knew,  

but never stopped us.  

In those pages, we found worlds  

where the future broke open,  

where the rules bent,  

and the underdogs won.  

We read them by streetlight,  

by the glow of a dying flashlight,  

letting the words seep into our minds  

like smoke through a cracked window.  

Even TV became a kind of teacher.  

We watched with narrowed eyes,  

reading between the lines of laugh tracks,  

pulling apart the polished lies.  

The late-night reruns spoke truths  

that the daytime couldn’t touch,  

hidden in absurd plots and throwaway lines.  

We didn’t just watch;  

we dissected.  

Every night ended the same—  

sitting on rooftops, passing a joint,  

watching the city breathe below us.  

The lights of the planes blinked out  

one by one,  

and we whispered our plans to leave,  

to be something more  

than kids with mix tapes and paperback dreams.  

But the truth was, we loved it here—  

the grime, the struggle, the cracked windows  

letting in too much cold air.  

Ethertown  was ours,  

a place built on stolen books,  

scratched CDs, and critical eyes.  

It was a city you couldn’t escape,  

not because it trapped you,  

but because it became you.

We lived in the spaces between the noise,  

where everything felt possible and nothing real.  

The year hung heavy, like the vinyl records  

we’d find at the thrift shop for a dollar—  

scratched, broken, but still spinning  

with truth we couldn’t name.  

The world was still mostly analog,  

and that made the moments count more—  

before the internet swallowed us whole.

We’d ride the bus to nowhere,  

heads filled with music that pulled us apart,  

pulled us together.  

The mix tapes became maps,  

each one a route to something we couldn’t describe—  

a feeling, a dream,  

a promise that maybe we didn’t have to leave  

to escape.  

We smoked our way through nights,  

lungs burning, minds free-falling.  

There was something about the weight of the smoke,  

the way it wrapped around us,  

that made everything seem both unreal and urgent.  

The parks were our laboratories,  

testing the edges of perception.  

We’d giggle at nothing,  

staring at the stars like we could touch them,  

the trees bending into impossible shapes,  

and everything felt like a secret we were meant to uncover.

The mushrooms, too—  

a journey in themselves.  

It wasn’t just about getting high;  

it was about seeing past the bullshit  

and stepping into something bigger.  

The world around us flickered like a broken film reel,  

but for a moment,  

everything made sense—  

the universe a tangled string we could pull apart.  

We'd sit in someone’s basement,  

lights low,  

half of us in the clouds,  

the other half still grounded,  

debating what was real  

and what was the dream we were trying to wake up from.  

Then there were the old paperbacks.  

Sci-fi novels with yellowed pages,  

dog-eared from too many reads.  

The plots were simple then—  

survival, rebellion, invention—  

but we weren’t just reading them.  

We were studying them,  

learning how to bend reality,  

how to shape our own futures.  

They were blueprints for the chaos we were about to create,  

showing us that maybe there was a way out,  

but only if we made the map ourselves.

We talked about everything,  

the world at our fingertips,  

but still, our phones were dumb—  

texting was a game of patience.  

No endless scrolling,  

no pictures uploaded every second.  

But we were already smarter than the screen.  

We saw the world in full color,  

not through filters,  

but through our own eyes,  

and we weren’t afraid to question it,  

even if it meant we had to fight our way to the truth.  

TV was our other classroom,  

not the pretty shows,  

but the ones that aired when the world wasn’t watching—  

the late-night specials,  

the documentaries hidden between infomercials.  

We watched eelevatd—  

the contradictions of America,  

the quiet rot behind the fame,  

the subtle betrayals in everything we thought we knew.  

This was the reality  

that TV didn’t want us to see.  

But no matter how many books we read,  

how many times we watched that same VHS,  

no matter how many songs we crammed into our ears,  

Ethertown didn’t change.  

It was still there,  

spinning on its axis,  

stubborn and strange,  

waiting for us to leave,  

and waiting for us to stay.  

We were still kids,  

still trying to figure out  

how to escape a place  

that felt like home.  

And maybe we didn’t need to.  

Maybe the dream was just this—  

the mix tapes, the weedsmoke,  

the quiet lessons in paperbacks and TV reruns—  

a rebellion that only made sense  

when we lived it,  

together.  

Ethertown  may have been the cage,  

but it was the only cage  

we knew how to live in.


-Lou Toad, 2024