Contents

  1. Editorial: David Lynch’s Cinematic Dreamscape
  2. Cover Artist: Eytan Wronker
  3. Incident on a Florida Highway (A Vignette) by Tyson Blue
  4. Urns by Thomas M. Malafarina
  5. Accidental Genius Review By Mark Slade
  6. Groundhog Day Comic By Eytan Wronker
  7. The Clown Prince of Horror: Inside Jeff Strand’s Creative World
  8. Going Back to the Double “R” by Mark Slade
  9. A Damn Fine Tribute: Remembering David Lynch
  10. Pinstripes, Paint, and Passion: An Interview with Kat Ruiz Bass
  11. Babylon A.D. Live Lightning Album Review by Lucy Hall
  12. Growing Up with Milt and Muck #1
  13. Old Man Vs Cell Phone
  14. Stories, Struggles, and Success: A Chat with E.S. Wynn
  15. Echoes of the Past: Southern Gothic Podcast
  16. The Money Plot by Tyson Blue
  17. Traffic Jam by Tyson Blue
  18. Growing Up with Milt and Muck #2
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Go With the Flow By Eytan Wronker

Go With the Flow

The Art That Almost Paid for Dinner

How a spontaneous sketch turned into a published cover—and nearly a free meal.

By Eytan Wronker

This illustration has a rather unusual origin. One day back in 2023, I went with my wife, her sister, and their cousins to a restaurant called Dada. We had never been there before, but it sounded promising. The place was named after the Dada art movement, though the decor leaned more toward surrealism.

My wife mentioned that she had seen something on their website about the restaurant bartering meals for artwork. On a lark, I joked that maybe I’d draw them a picture, so I grabbed a Sharpie and a piece of paper before getting in the car. While my wife was driving, I sketched this drawing—pure stream-of-consciousness imagery.

I knew I wanted to depict a head filled with characters, a concept that also plays a central role in an art book I’ve been working on for years. In fact, some of the characters in this piece come straight from that book. I wanted the illustration to feel light and happy, so I ended up calling it Go With the Flow.

Fortunately, my wife didn’t make any sudden stops or hit any potholes—both of which could have been disastrous. It was a long drive, and I spent about an hour completing the drawing. It turned out okay, though I wouldn’t recommend sketching in a moving car—it definitely made me a little carsick.

When we arrived at the restaurant, I asked the waiter if it was true that they traded art for food. He brought over an assistant manager, who explained that the actual manager wasn’t there, so he couldn’t authorize the trade.

That was fine by me—I showed him my drawing anyway. He liked it so much that he comped my meal on the spot. In return, we left the waiter a generous tip, essentially paying for the meal anyway. They told me I could keep the artwork but asked me to send them a scan via email, which I did—though I never heard back.

On the way home, we drove through one of the most intense thunderstorms I’ve ever seen. Visibility was practically zero, and for a moment, I thought we were all going to die. Somehow, we made it back alive.

At first, I wasn’t sure what to do with the artwork. Since it was just black and white, it felt unfinished to me, so I scanned it and colored it digitally. I figured that would be the end of it, but then Mark and Chauncey noticed my artwork on social media and asked if I’d like to submit it to their Twisted Pulp magazine. This will be my third cover published with them.

I thought the original colors looked a bit too cheerful, so I reworked the palette with darker tones. Now, that little face in the upper right corner looks like something straight out of Hieronymus Bosch.

P.S. Now you know the whole story. It was a fun piece to make—and it even (sort of) got me a free meal. If you ever visit that restaurant hoping to trade artwork for food, though, definitely call ahead. I’m not sure they still do that, and even if they do, there are probably protocols you’ll need to follow.

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Accidental Genius: An Oral history of The Room Book review by Mark Slade

Accidental Genius: An Oral history of The Room

Book by Andrew J. Rausch

Book Review by Mark Slade

Cult films seem to have a longer shelf life than even some of the best reviewed and most successful films at the box office. I don’t think anyone can really explain why that is. Maybe it’s the flaws of the films that ring truer to a viewer than an almost perfect one. But I’m not even certain of that. To be honest, I can’t even explain to people what a cult film is. I used to try, then get questions: well, this certain movie is listed as a cult film, yet it’s popular with most of the viewing audience.
So I gave up and just shrugged, told them I didn’t know the answer. Which is true.

According to Wikipedia:
“A cult film or cult movie, also commonly referred to as a cult classic, is a film that has acquired a cult following. Cult films are known for their dedicated, passionate fan base which forms an elaborate subculture, members of which engage in repeated viewings, dialogue-quoting, and audience participation. Inclusive definitions allow for major studio productions, especially box-office bombs, while exclusive definitions focus more on obscure, transgressive films shunned by the mainstream. The difficulty in defining the term and subjectivity of what qualifies as a cult film mirror classificatory disputes about art. The term cult film itself was first used in the 1970s to describe the culture that surrounded underground films and midnight movies, though cult was in common use in film analysis for decades prior to that.”

Take from that what you will, but Tommy Wiseau’s 2003 film The Room fits every bit of that description. A new interview book examining Tommy Wiseau, The Room, and the experience of making that film is nothing short of a brilliant story told through conversations with cast, crew, and the man behind the film.

This splendid book by Andrew J. Rausch is also a laugh riot.

From the interviews in the book, seemingly, no one likes the man before, during, or after filming ended. The tall, creepy, dead-eyed Wiseau has an ego the size of Jupiter, speaks with an eastern European accent, and never figured out that not only was the film the butt of jokes, but so was he. Wiseau argued and fired cast members and went through several crews during the shoot. Wiseau penned the screenplay with Greg Sestero. Sestero used the experience of making the movie as the basis for his book The Disaster Artist, co-written with Tom Bissell. The book was adapted in 2007 for the film of the same name that starred and was directed by James Franco.

Wiseau and Sestero met in acting class in San Francisco. After getting kicked out of the class, Wiseau decided to make his own film, casting Sestero as Mark, he as the main character, Tommy.

Script supervisor Sandy Schklair was a stalwart, working with the actors, trying to make sense of a nonsensical script, did his best to keep things level, only to leave a few weeks before the film wrapped. Later, when The Room had success as a cult film, Schklair would claim he actually directed the project.

Why would anyone want credit for a film as bad as The Room?

Because of the notoriety, I assume, and being hidden away as a script supervisor does not get the attention a film director does. Schklair even admits how awful it is.

People are not interested in the film because it’s a masterpiece. It’s because Wiseau is an enigma. No one knows where he’s from, though he says he’s from New Orleans. The source of his wealth cannot be traced. He not only financed the whole production, he also bought the equipment, paid for a huge billboard with a strange photograph of himself, and campaigned for an Oscar.

Readers also find out from Rausch’s book of an accidental ground roots campaign. The Room acquired a following via USC students who called their friends, and by word of mouth brought more attention that led to a write-up in Entertainment Weekly.

You also glean from Rausch’s book how the first showing at a midnight movie theater, viewers start throwing plastic silverware whenever framed photos of spoons appear on screen.

Several storylines weave in and out through the collected interviews, as well as differing P.O.V.’s that give the story of The Room a Rashomon account of the film and Wiseau. The amount of research Rausch put into this book and finding the interviews is impressive. I’d rather pat Rausch on the back for this accomplishment than Wiseau and Sestero for milking a creation that even Ed Wood might find it hard to say something nice about.

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Groundhog Day Comic By Eytan Wronker

Groundhog Day Comic By Eytan Wronker
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Babylon A.D. Live Lightning Album Review

Babylon A.D. Strikes Again with Live Lightning

A high-voltage live album that captures the essence of the hard rock legends.

By Lucy Hall

What makes for a successful live album is when great moments are captured in time by musicians who can breathe new life into familiar songs, while vividly delivering an atmosphere of sound that gives their listeners a sense that they are part of the live concert experience. Live Lightning is a perfect example of this type of live album which has captured the very essence of Babylon A.D.’s high-voltage energy in concert.

Culled from shows at The Empress Theater in Vallejo CA, and Swiss Park Music Hall in Newark CA, Live Lightning delivers fourteen smashing tracks that include three of the band’s biggest classic hits, “Hammer Swings Down”, “Kid Goes Wild”, and “Bang Go The Bells” from their debut album. Also, Live Lightning incorporates a dynamic array of Babylon A.D. hits from every preceding studio album including their last release Revelation Highway.

Babylon A.D. has been the sound of L.A. hard rock, since its formation in 1987 and through a variety of changes and musical directions. Kicking around the L.A. club scene, the band gathered a lot of attention and it’s easy to see why Ron Freschi and John Matthews were killers on guitars, James Pacheco was an amazing drummer, and they had a great rhythm section, and Derek Davis is one of the best singers you’ve ever heard or seen. They continue to deliver that same quality today because good music ages gracefully like fine wine and Babylon A.D. is proof of that. After a hiatus, the group is back as powerful as ever with this third live album.

Babylon AD

Babylon A.D. is indeed an amalgam of hard rock’s finest and is known for its powerful live performances and catchy songwriting skills. If you go back and dissect their first major release and then review their preceding discography you will get a good idea of their variety of sound. They can be melodic at times and also play a hundred miles per hour at times, they are a bit of everything you want out of a hard rock act.

The final word is that this latest release is an essential collection of standout performances from one of rock’s greatest lineups with a nice variety of songs. More specifically, here is exactly what you’ll be missing if you don’t buy this live album, a high-quality, well-mixed album from a group that has not lost its edge throughout a lengthy career. It is worth a second look and listen and you certainly do not want your record collection to be devoid of a very important addition. A rock-solid package of music.  Pick up your copy today from Perris Records and be on the lookout for the band’s upcoming tour plans to support it.

BabylonAD.com

PerrisRecords.com