I find television very educating. Every time somebody turns on the set, I go into the other room and read a book. - Groucho Marx


by Casey Dewey
Oct. 26, 2016
It was around 1957 when Dr. Humphrey Osmond coined the term “psychedelic”. Osmond was researching the effects of LSD and the onset stages of schizophrenia, and it was he who dosed author Aldous Huxley for the first time, which in turn led to Huxley’s tome about stumbling around Hollywood trippin’ balls and groovin’ on paintings, The Doors of Perception. When Osmond proposed the term, he said it meant “mind manifesting” and went on to call it “clear, euphonious and uncontaminated by other associations.” I don’t think Osmond, with his synapses firing and his turned-on mind buzzing with delusions of blissful utopias, could have envisioned just how far out Madison Ave would go to sell the world a stick of deodorant...
Casey Dewey resides in Tucson, Arizona. He's a film writer for the Tucson Weekly and host of "Deep Red Radio" , a radio show dedicated to film soundtracks on 91.3 KXCI FM. He enjoys tacos, cervezas and garlic in everything. He wakes up every morning to a fresh pot of black coffee and at least two hours of Dragnet on TV.

by Kristen Bialik
Oct. 26, 2016
<p><em>Blue, here is a shell for you</em></p> <p><em>Inside you&rsquo;ll hear a sigh, a foggy lullaby</em></p> <p><em>There is your song from me</em></p> <p><em>--Joni Mitchell, &ldquo;Blue&rdquo;</em></p> <p>Joni Mitchell&rsquo;s 1971 landmark album <em>Blue</em> holds its place firmly nestled in the throws of admiration and acclaim. The album was an immediate commercial and critical success, hitting number 15 on the Billboard 200, but decades later, the album continues to draw cherished fans and critical praise. In 2000, the <em>New York Times</em> selected <em>Blue</em> among its 25 albums that signified &ldquo; <a href="http://www.nytimes.com/2000/01/03/arts/critics-choices-albums-as-mileposts-in-a-musical-century.html?pagewanted=all&amp;src=pm"> turning points and ...</a></p>

Kristen Bialik is a writer, teacher and graduate student of Journalism and Mass Communication. In her spare time, she's a baker of pies and maker of stories.

by Brian Correia
Oct. 20, 2016

“This is the true story... of eight strangers... picked to live in a house...work together and have their lives taped... to find out what happens... when people stop being polite... and start getting real... The Real World.”

You know what it is. With one measly sentence, the world was introduced to what would become known as “reality TV.” And what better place for the format to debut than MTV (Music Television), a station that until shortly before The Real World's 1992 debut, primarily played new wave music videos? Well, that's what the show's co-creators Mary-Ellis Bunim and Jonathan Murray thought, anyway. We have them to thank (or blame) for 20 years of sex, booze, and bitch slaps (not to mention my favorite reality TV image, Survivor champ Richard Hatch's pixelated penis.) But the truth is, the network that today drags TV down to new depths with trashploitation shows like My Super Sweet 16 and, of course, Jersey Shore, was once a magnet for young (and weird!) artists with fresh voices...

Brian Correia is a budding computer scientist and aspiring writer from Boston, Massachusetts who couldn't decide which hip-hop lyric to put in his byline. The top three, in no particular order, were as follows: “cooler than a cucumber in a bowl of hot sauce,” “spiced out Calvin Coolidge loungin' with six duelers,” and “I got techniques drippin' out my buttcheeks.” He is on Twitter (@brianmcorreia) and Tumblr (brianmcorreia.tumblr.com) like the rest of the kids.

by Audra Puchalski & Hannah Ensor
Oct. 18, 2016

Electra Woman and Dyna Girl might as well be sisters, that’s how close they’ve become.  It’s not just their wrist-boxes that keep them related, close, akin.  No sex, but what if Spider Lady, while disguised as Electra Woman, seduced the real Electra Woman? Who would love whom? And for what qualities?

Knowing Frank’s middle name is tantamount to devotion, to walking on coals or remembering an anniversary, though for Spider Lady it’s an anti-anniversary, it’s every time she went out on a first date and called and called and when the date finally picked up, the date said, I’m not interested.  It’s your declamatory attitudes and the flap of your arms. Dates can be so unfair, they come in with some really firm idea of what they’re looking for (e.g. convex or concave belly) and if you’re not it, not that thing, then you must be an impostor...

Hannah Ensor and Audra Puchalski live in Ann Arbor, Michigan, where they where they cackle & move their hands around, go to breakfast and get everything they want, discuss potential running shoe acquisitions, and then fall asleep suddenly even though they are not both quitting coffee. They also enjoy watching lizard dramas, like real, live lizards having drama with each other. Audra and Hannah are the co-founders of the journals Yes?Yes. and its subsidiary, The Horse Review.

by Kerry Flint
Oct. 18, 2016

George Kuchar, with over 60 films and 100 videos now to his credit, was a pioneering experimental filmmaker most admired for his ability to make films on a shoestring budget. Along with his brother, Mike Kuchar, he made 8mm and later 16mm experimental films as part of the burgeoning underground avant-garde film scene in the 1960's. The Kuchars were key figures in 1960’s underground cinema and inspired many filmmakers including John Waters, Andy Warhol, Kenneth Anger and Stan Brakhage. What made Kuchar so distinctive was that he was influenced by commercialisation but at the same time also managed to embrace the brave new attitudes of the 1960’s counterculture.

Born in 1942, Kuchar grew up in the Bronx and was greatly influenced by Hollywood melodrama and by his trucker father’s penchant for trashy television and novels. George and his twin brother set out to replicate the fantasy of Hollywood in their own low-budget films. The Kuchar’s films are garishly over the top and regularly described as 'camp', a term penned in 1964 in Susan Sontag's  seminal essay, “Notes on Camp” in which she sought to define an increasingly prevalent cultural trend, described as ‘a sensibility of passionate extravagance'. Kuchar's films were central to this trend, offering audiences a series of over the top scenes in which the overacting forefronts the film's superficiality...

Kerry is a Writer, Stylist, Digital Consultant, Editor, Blogger and Vintage Dealer based in London. Kerry writes for and edits a number of publications alongside managing Marketing Campaigns for Fashion clients, Digital Consultancy and offering a creative input to a variety of campaigns and projects. Also a published Poet and Vintage Fashion dealer Kerry spends her spare time on Market stalls and writing the blog www.tricky-customers@blogspot.com.