I still believe | The Rewind Vol. 15

Saturday night, forty years to the day after it opened, I watched Trick or Treat on the actual tape the Video Vault used to rent. I bought it in 2002, the week we sold off the inventory, for a dollar, out of a cardboard box by the register with "HORROR" written on the side in my own handwriting. It's the Lorimar VHS from 1987, the sleeve's soft at the corners from fifteen Octobers of horror regulars, and there's still a strip of our orange price tape on the spine. I'd told you I'd watch it this week. I didn't tell you I'd been putting it off for years, because I wasn't sure the tape would play.

It played. The Panasonic took it like it had been waiting. Marc Price as the metal kid, Gene Simmons as the DJ, Ozzy Osbourne as the preacher yelling about rock music, which was his first movie, and Charles Martin Smith's first time directing one. There's a dropout about twenty minutes in where the picture rolls for two seconds, and I remember exactly which customer did that, and I'm not saying his name.

The whole movie hangs on a record you're not supposed to play backwards. This week's best record I played forwards, more times than I'd like to admit, because of who shows up on it.

I still believe

GUNSHIP put out a remix on Wednesday. One track, 4 minutes 49 seconds of glossy after-dark synth, £1.50. Under normal circumstances that's a line in the pile at the bottom of this section. These are not normal circumstances, because the Bandcamp page says who's on it, and one of the two names made me put my coffee down.

Here's the page, word for word: "Milkie Way of Wargasm and saxophonist Tim Cappello, Tina Turner's sax player and the man behind The Lost Boys' "I Still Believe", feature on the track." If you weren't renting tapes in 1987, that second name might need a footnote. Tim Cappello is the guy in The Lost Boys who plays the saxophone on a stage on the boardwalk, shirtless, oiled, with a chain and a ponytail, in front of a crowd that's having the best night of its life. The scene is maybe ninety seconds long. Nobody who saw it has forgotten it, and I've been trying since 1989.

That's the year I saw it, on a rented tape in my cousin Pete's basement in Akron, the same basement where we tried to get on the internet in 1995, and I was ten and not supposed to be watching it. I remember almost nothing about the vampires on that first pass. I remember the sax man. Years later at the Vault we kept four copies of The Lost Boys and they all went out every October, and I'd fast forward the store copy to the boardwalk scene to check the tracking, which was my excuse and I'm sticking to it.

So now you understand. I've told you in this magazine that I'll defend The Midnight's saxophone with my life. This is the original saxophone. This is the man the defense rests on.

The track itself: it's "Monster in Paradise," from GUNSHIP's 2023 album UNICORN, reworked by Makeup and Vanity Set, which is Matthew Pusti, a Nashville producer who's scored the game Brigador Killers and a couple of films. The page calls it "a new take on a dark, neon-lit favourite," and the tags run darksynth, darkwave, outrun, synthpop. That's the sound GUNSHIP owns: big, glossy, at night, a little menacing. Pusti's own record from Monday points the other way, though. It's called seek, nine long tracks between seven and thirteen minutes each, tagged ambient and Berlin School, which is the slow, sequenced, Tangerine Dream side of the synthesizer. So you've got a remixer who spent the same week putting out a record built for staring at a ceiling. I like that more than I can explain.

Mastered by Stephen Kerry. Written by GUNSHIP. Credits on a £1.50 single, all present. I bought it before I finished reading the page, and the track earns its price the moment the sax comes in. I didn't know where that would be, and waiting for it was the best few minutes of my Wednesday.

Somewhere in Nashville a guy made a remix, and somewhere in it is the man from the boardwalk, and that's a sentence I never expected to type for money.

Halloween's on a Saturday

It is. October 31st falls on a Saturday this year, which hasn't happened since 2020, and the scene's been getting ready all month. Three records this week built for the night.

JESSY MACH put out The Other Side of Justice on Friday, seven tracks, and it's a concept EP with an actual plot, which I'm going to let the page tell, because it tells it better than I would: "Los Angeles, 1986. By day, Jack Mercer is the best defense attorney in town, the man who gets killers acquitted with a smile." By night he wakes up covered in blood and goes after the clients he got off. The last line of the synopsis is "Justice has two faces, and on Halloween night, they finally meet," and then, in capitals, the tagline: "He won your case. Now he's coming for you." That's a VHS box. That's a real VHS box I'd have put face out on the new release wall and watched the horror guys argue over.

How it sounds, going by the tags: darksynth, darksynthwave, outrun, synthpop. The heavy end, with a melody somewhere in it. The track titles walk the story in order: "The Verdict," "After midnight," "Back before sunup," "The man in the mirror," then the title track, "Peace with the dark," and "The confession tape," which the credits say is a Bandcamp exclusive, "Jack's final testimony." Frédéric Faupin made all of it at his own studio in Nice, guitars and keyboards and the drum programming, and mixed and mastered it too. $4 digital. The CD is $14 and the cassette is $13, both on RetroSynth Records, the Los Angeles label, and both ship on the 30th, the day before the night it's about.

There's also a video for "Back Before Sunup" that a fan named Robin Lights cut together from old movies, and Faupin's note on the page says the colors of the rising sun "took over from the story of the EP." He says he loves it anyway, which is the right answer when a fan does homework for you.

Second one's a pre-order, and it's an old friend. Back in September I wrote up a two-song MASKED release, a dollar for the pair, from a project out of Buenos Aires that runs heavy synths into metal guitars. On Monday the album they belong to went up: BEAUTY HURTS, 15 tracks, out the 30th. It's the sequel to his last record, Bloody Sweetheart, and it's a slasher story told from inside the mask.

The sound, his words: "darksynth combined with metal and industrial, inspired by sounds from 90s movies and contemporary hardcore music." The tags add something I appreciate, which is honesty about the neighbors: two of them are just "Carpenter Brut" and "perturbator." That's the "if you like" line, written as tags. The premise: "Pretty Face," the woman behind the bunny mask from the first album, survives, goes to Los Angeles, takes the name Beauty Hurts and becomes a model who is, per the page, "killing the competition with her style… quite literally." Guest vocals from JOWIEEE, COMPAKT and Pili Electrica. Production, lyrics and cover art are all his. $7 digital, a limited cassette at $14.99 that doesn't ship until December 21st, and a $5 ticket to an online listening party, which is a thing records have now and I'm still getting used to it.

And the third is free. Karl Casey, the Paris producer who runs White Bat Audio, put out Extreme Essentials Vol. 3 on Thursday, 25 tracks, name your price starting at zero. I wrote up White Bat 64 a few weeks ago; this one's the other side of him. The tags say darksynth and then keep going into places this magazine doesn't usually visit: death metal, groove metal, thrash metal. The titles agree with the tags. "Dipped in Acid." "Enter the Morgue." "Massacre at the Pantheon." "Kneel and Obey."

The about section isn't a description at all, it's a licensing FAQ, because Casey's whole model is loud synth-and-guitar music you can put in your YouTube video or your indie game for free if you credit him. Number one on the list: films, animations, streams, video games, podcasts. I quoted his answer to the AI question back in August, and it's still sitting in the middle of the FAQ, unchanged: "Do you use any AI to make your music? - No." Last week Arcade High put the same idea in its credits. I said I thought that line would show up on more records.

If you're making a haunted house in your garage for next Saturday, this is the free soundtrack, 25 tracks of drums and riffs deep, and all he asks for is one line of credit.

The rest of the pile

Alpha Chrome Yayo, out of Belfast, opened the pre-order for Midnight Sparkle on Friday, out the 30th. The page calls it "A late night cocktail of jazz funk, Shōwa-style grooves and sparkling midnight madness," and the tags fill in the map: city pop, jazz fusion, J-pop, game music, and synthwave somewhere in the middle. So, picture the sunny Japanese end of the 80s, the stuff that came back through YouTube recommendations a few years ago, with a game soundtrack streak. Twelve tracks, with titles like "Task Failed Successfully" and "Blow It! (Don't Blow It)," and two vocal features, NOZ and Markolita. £4 on pre-order, a translucent blue 12-inch at £20 that ships at the end of January. The artwork's by Onsta, and the credits link straight to Onsta's portfolio, which is how it should be done every time.

One small thing in the credits I didn't expect: "Supported by the National Lottery through the Arts Council of Northern Ireland." A government arts grant for a city pop synthwave record. I'm not sure Ohio's ever given anybody money for a song called "Chop Shop Bop."

Mareux, the Los Angeles singer who had the viral hit "The Perfect Girl" a few years back, put out a new single called "Cadillac Casket," first taste of his next album. Post-Punk wrote it up on Saturday, and their description is a good one: "A repeating bass synth sets the song in motion beneath eerie, icy keyboards," with his "ghostly vocals" on top. It's on Revolution and Warner, it's a darkwave love song about a hearse, and he's playing Brooklyn, Chicago, D.C. and Miami in December. "The Perfect Girl" just went double platinum, per the same piece.

jacket. has the third and last part of a trilogy up for pre-order, Volume III: Human, out the 30th. Nineteen tracks, $7, guests including New Arcades, Echo Wolf, Beachdolls and LIAMLEON. The about text is four short lines that end "I have stepped through and shed my skin," which isn't a sound description, but the tags are: post-synthwave, synthpop, melodic house and techno, even drift phonk. New Arcades on one track tells you it's the melodic, sung side of the scene, with a club in the back room.

Ectoplague, out of Nottingham, put out Friday Nightmares on Thursday, darksynth and horrorsynth on the tags, 16 tracks, £9, and the titles do all the talking: "Cemetery Sundown," "Teenage Bloodbath," "Creepazoids," "Final Girls," "October Kids." Five of the sixteen are slowed versions of the others, for the people who like their horror a little drowsy. Neuron Spectre, from Phoenix, put out a free six-track EP of oddments called The Graveyard on Wednesday, horrorsynth on the tags, and the credits say everything was "WRITTEN, PRODUCED, MIXED AND MASTERED BY NEURON SPECTRE (SOME BETTER THAN OTHERS)," which is the most honest credit line I read all week.

Priest, the Swedish synthpop band that bills itself as androids, put out Altered State Police on Friday, 12 tracks, and their page says it's "a fresh, new take on the '90s synthpop and big beat era," which puts it closer to Depeche Mode in a Prodigy jacket than to anything with palm trees. Hot Dad, out of Oklahoma, put out Comedy on Friday, 10 songs tagged 80s rock, synthpop and comedy, $9, mastered for vinyl by Scott Hull at Masterdisk, with a song called "I'm Alone for Two Months" that I'm not going to make a joke about because I've been there. And Isidor has a third single, "Satsuma Shogun," out Friday on NRW Records, which is NewRetroWave's own label, $1.50, tagged darksynth, dreamwave and 80s dance.

One for the calendar: LukHash's Neon Airlines comes out on November 6th, which is Bandcamp Friday. The page says chiptune and synthwave built on "the iconic sounds of the Commodore 64, Amiga, SNES, Mega Drive, and Game Boy," and it's priced at £7 for a reason it states out loud: "so that every Bandcamp purchase counts directly toward global chart eligibility." The pre-order's been up since September, so this isn't news, but the bonus is: an Amiga MOD file and a little C64 synth program come with it. Somebody knows exactly who's buying this record, and it's me.

The counter list

One song from each of five records, for whoever's at the counter this week.

Out of the house

Monterrey. I asked anybody who was at The Midnight's last night of the tour, Monday the 19th at Escenario GNP Seguros, to tell me if "Avalanche" got played. Nobody wrote in. The setlist.fm page for the show exists, and as of today it says "Sorry, there are no songs in this setlist yet." So I still don't know. What I do know: the Royal Oak show in Michigan on the 15th has its full list up, and no "Avalanche" there either, and it ended the way Columbus did, "Summer's Ending Soon" and "Sunset" with Jessie Frye. If the song made it to Mexico, somebody in Monterrey has it on their phone. I'm patient. I've been listening to this band alone in a car for ten years, and Columbus was the first time I saw them.

If you're in California and you want a Halloween week show with synthesizers in it, the Substance festival has two more nights at the Great American Music Hall in San Francisco, Thursday and Friday. Friday the 30th has Cold Cave doing the album Cremations front to back, solo, and Thursday has Desire, which Side-Line describes as "the project of Megan Louise and Johnny Jewel." The reason that name matters to me: Desire's "Under Your Spell" is on the Drive soundtrack, right before "A Real Hero," the song that opened this whole door for me in 2011. The LA night was last night at the Belasco, with Drab Majesty headlining. I'm in Ohio. I'll be handing out candy.

Synthrave Live in Sheffield is three weeks from yesterday, Saturday November 14th, and the venue page now has the details: doors at 1 p.m., last entry at 10, over at 10:30, 14 and up. The lineup hasn't changed since the summer, eight acts with LeBrock, New Arcades and Waveshaper near the top and 80's Stallone, which is a name I'd pay to see on its own. And on the same Saturday in Huntington Beach, Darker Waves, which is a different crowd but overlaps at the edges. Two festivals I can't get to on the same day, on two continents, and my passport's still expired, which I keep meaning to fix.

Further out: 808 State are playing their 1989 record Quadrastate in full in Manchester on December 11th. Graham Massey told Side-Line it "introduced new directions for the Atari-generation, including the iconic Pacific State," and if you know "Pacific State," you know he's not exaggerating about that one.

Who's listening

One new lawsuit this week, and it's a big one. On Wednesday, Reservoir, the music publishing company, sued Suno in federal court in Northern California, and filed a second, similar suit the same day against Anthropic, the AI company. Digital Music News had it Thursday. Against Suno the numbers are 1,050 works and the statutory maximum of $150,000 each, "or $157.5 million," plus a DMCA claim that pushes the total near $200 million. Against Anthropic, it's 853 works and "$127.95 million." The line from the Suno complaint that DMN quoted is the whole argument in one sentence: Suno "never sought or obtained a license from Reservoir to reproduce, copy, or train on any particular composition or sound recording in Reservoir's catalog."

I'll say what I always say. I'm not a lawyer, I don't know how this comes out, and I've been wrong about courts before. What I keep coming back to is the word "license." Everybody in the scene I write about pays for things, down to the plugins and the font on the cover. Karl Casey's whole page this week is a list of rules about how you're allowed to use his songs, and they're generous rules, and he still wrote them down.

The older fights, short version: Suno and Udio are now trying to pull streaming data out of the outfit that collects US songwriters' royalties, and the cases I told you about last issue, Lightspeed and DistroKid among them, got more paperwork this week and no rulings.

Pixels and polygons

Last week I told you a single MiSTer core was running Daytona USA, Desert Tank and Virtua Cop, the three games Sega built on its Model 2 arcade board. MiSTer, for anyone new: the open-source box that rebuilds old machines inside a reprogrammable chip, one "core" per machine. This week the same developer, alphanu1, opened the next door. There's now a second core, Model 2A, for the revised version of the board, and it came out of beta on Wednesday.

The list. I'm going to give you the whole list because I've been waiting thirty years to type some of these into a sentence about home hardware: Virtua Fighter 2, Sega Rally Championship, Virtua Cop 2, Zero Gunner, Pilot Kids, Manx TT Superbike, Hanguk Pro Yagu 98, Sky Target, Dynamite Cop, Motor Raid and Dead or Alive. Eleven games. The README: "All eleven games below boot and play. A few known bugs remain."

Sega Rally. I have to stop for a second on Sega Rally. The bowling alley on Brookpark Road had the Daytona cabinet I told you about last week, and in 1996 it got a Sega Rally twin, and I learned the word "oversteer" from a teenager named Ricky who beat me nine races in a row and then showed me how to drift the Celica through the hairpin in the mountain stage. He was fifteen. I was seventeen. I've never fully recovered.

Ownership, and it's important here. Your own ROMs, MAME 0.289 sets, and the clones need their parent zips too; the README is blunt: "Nothing here contains ROM data." Five of the games run on a 64 MB memory board, but Pilot Kids, Hanguk Pro Yagu 98, Sky Target, Dynamite Cop, Motor Raid and Dead or Alive "need the 128 MB module." It isn't in the official MiSTer update scripts, so it's a manual install from the developer's repository, and you rename the file yourself. And the bug list is long and honest: "A stray green pixel near some trees," thin seams between polygons where the background shows through (on two of Virtua Fighter 2's stages and in Dead or Alive), slowdown in spots in Virtua Cop 2 and Motor Raid. There's an on-screen option to paper over the seams, and the README calls it "a temporary fix," in bold. I'll take a developer who writes "temporary" in bold over one who doesn't write anything.

Then on Wednesday night alphanu1 did something I didn't know was possible. The original Model 2 core got link play for Daytona USA: two cabinets racing each other over your home network, wired or Wi-Fi, the way the arcade had four or eight seats wired together. And here's the bit that got me: the other machine doesn't have to be a MiSTer. It can be a PC running the Daytona USA recompilation, the fan rebuild I've been following here, which is the same developer's other project. The README: "They speak the same protocol, so any mix works." The FPGA version and the PC version, racing each other, because one person built both. It's marked experimental, and so far it's only been tested on a handful of setups, "a MiSTer linked to the PC recompilation." What you need on the MiSTer: a small helper program called m2link that comes ready to copy in the release folder, nothing to build, plus your own 1994 Daytona set and the I/O board ROM the core already needed. No link play for Sega Rally yet. "Yet" is doing a lot of work in that sentence and I'm choosing to believe it.

danifunker, who's been building old Apple machines on MiSTer, started a new one this week, and it's an odd one: the Bandai Pippin, the 1996 game console Apple designed and Bandai sold, which almost nobody bought. The first release went up Thursday and a second on Saturday, which runs the CPU at the console's real 66.67 MHz and adds saves. The notes are careful to set expectations: "titles have been booted to their menus but not played through." Ownership: it needs a modified MiSTer main program from a branch of danifunker's own repository (the Pippin's CD support isn't in the official one yet), your own discs as CHD or cue/bin files, and a boot ROM, and the release folder already has three of the Pippin's ROM files sitting in it. So: early, interesting, not for anyone who wants to play something tonight.

The Power Macintosh 7300 core from last week got new builds on Wednesday and Thursday, including a second file for the 100 MHz overclock. Still the same ownership as last time: the 7300's ROM ships in the release folder, you bring a Mac OS disk image, Debian wants a 128 MB board, and the core is still in the developer's own repository, not the official MiSTer collection. And the Macintosh SE/30 and IIcx cores got a release on Saturday whose whole headline is "A/UX," Apple's own flavor of Unix from the early 90s: "Both cores now run A/UX 3.1, with its X11 clients." I've never owned a Mac, which I keep mentioning, and I'm now reading release notes about Unix on one. Boot ROMs still come in the release folder for these two. For A/UX you bring a hard disk image with A/UX already installed on it, which is its own little adventure.

The Super Nt+ and Mega Sg+ from Analogue. Pre-orders opened Monday at 8 Pacific, and as of today both product pages say "Out of Stock," shipping December, $219.99. I couldn't find anything from Analogue saying when they sold out or how many there were, so I won't guess. If you got one, you got one. If you didn't, the ownership line hasn't changed: you need the original cartridges, because they don't play ROM files, and the page says plainly that the 8BitDo pad isn't in the box, $29.99 extra.

Homebrew. Chris Ahchay ported Civilisation to the Neo Geo Pocket Color, and Time Extension's headline on Saturday was that "absolutely no AI was involved." The itch.io page says it himself: "I do not use AI/LLMs in any part of my development process." It's marked in development, name your price, and the known bugs list starts with "There is no game-over detection yet," and the page explains that if you lose everything, you're "stuck watching the NPC chars doing their thing." I find that oddly peaceful. The download is the cartridge file itself, CIVILISATION.ngp, 2 MB, for an emulator or a flash cart in a real Neo Geo Pocket Color. That's two no-AI statements in one week, if you're counting along with me, and I am.

On the real hardware side: a developer who makes HDMI boards for the Genesis has one for the Super Nintendo now, the SuperSwitch HD, $150 for the board. Ownership: your own non-1CHIP SNES, an internal install that keeps the original chips, 1080p out over HDMI, and per RetroRGB on Tuesday, it "looks like it requires cutting your shell." The Super Game Boy and MSU-1 audio need a $20 add-on board on top. That's a lot of surgery on a console plenty of us have owned since the early 90s, and I'd want to see a few installs first.

Last one, for the people in London: the Vectrex Mini has a launch party at The Lower Third on Saturday, November 21st, tickets £15, over 18s. Remute is DJing, the guy who once put out an album on a Super Nintendo cartridge. The console's due late this year and pre-orders are closed. The Vectrex was the one with the vector screen and the plastic color overlays you laid over the glass. Pete's neighbor didn't have one of those. Nobody's neighbor had one of those.

Rewind culture

I went to Way Cool Video. Tuesday afternoon, which is a normal day, the way I said. It's a rental shop inside Lakewood Art Supply on Madison Avenue, about twenty minutes from my house, open noon to six through Thursday, and you walk past the paint and the sketchbooks to get to the movies, which I wasn't ready for and now think every video store should do. I rented a horror movie. I'm not telling you which one, because I'm going back and I'd like them to keep liking me.

Two things I'll say. One, standing in front of a wall of tapes and discs with a real person behind a counter, the first time in twenty-four years I've been on the customer side of one, I had no idea what to do with my hands. I kept straightening the boxes. Old habit. Nobody asked me to stop. Two, I looked at their Instagram when I got home and found out that on Video Store Day, the Saturday I didn't go, they ran "Rent TWO movies, get an additional rental FREE today!" So I missed the deal by being polite, which is about right for me.

If you're in Los Angeles, Vidiots, the nonprofit that rebuilt itself around an old video store's collection, is running a Countdown to Halloween this week: An American Werewolf in London on Thursday the 29th, and on Saturday the 31st an "Unscary" Halloween for the kids before the real ones later on. Werewolf turned 45 this year, and it got a new 4K SteelBook from Universal on Tuesday, according to HD Report's release list, though I couldn't get Universal's own page to tell me what's on the disc, so that's all I'll say about it.

What I can tell you about is Vinegar Syndrome, because their pages spell it out. On their new releases page right now there's Sweet Sixteen, a 1983 slasher with Bo Hopkins, Susan Strasberg and Patrick Macnee, which was a regular in the Vault's horror section for years without ever once being a new release. The disc: 4K UHD plus a Region A Blu-ray, a new 4K scan from the original camera negative, both cuts of the film, a new commentary and a stack of new interviews, and a 40-page book in the limited edition, which is 6,000 copies at $42.99. Vinegar Syndrome calls it the "UHD world premiere." A movie I rented out for $2.49 is now a world premiere. Same page, same price, same 4K and Region A Blu-ray setup: Of Unknown Origin, 1983, Peter Weller in a brownstone fighting a rat, with art by Robert Sammelin, who's been on this page before for poster work. Ownership line for both: you need a 4K player for the UHD disc, and the Blu-ray is Region A. The page doesn't list a region for the 4K disc, so if you're reading this in Sheffield, check before you order.

Lunchmeat, the VHS magazine and label, has the most October tape I've ever seen for sale: the VCR Jack-O-Lantern, $26.99, and the tape labels are pumpkin-scented scratch and sniff. The site banner says it's "SHIPPING NOW." The page doesn't say whether it's SP or EP, only that it smells like a pumpkin, which is not a spec I ever had to write down at the Vault.

Two more birthdays. Soul Man opened the same day as Trick or Treat, October 24th, 1986, and I'll leave that one alone. And God Told Me To, Larry Cohen's New York horror picture, turned 50 on Thursday. We had it on the shelf the whole nine years, and I never once convinced anyone to rent it.

Static

Johan Agebjörn's blue Casablanca Nights 2 vinyl is down to 54 of 500 this afternoon, from 56 a week ago, and it comes out Friday. Two records a week. At this rate there'll be a handful left on release day and I'll still be checking.

Bandcamp's counter this afternoon said fans "yesterday alone bought 88,540 records," about 1,600 more than Video Store Day's Saturday. The next Bandcamp Friday lands on the 6th, two Fridays away, and LukHash, at least, has planned his whole release around it.

Erang's MEDIEVAL NOIR deluxe vinyl had 50 of its 100 left last issue. This afternoon it's 38. A dungeon synth project that has never played a show sold twelve copies of a $39.99 vinyl in a week, and I find that very cheering.

The Atari VCS, the new one that reached backers in December 2020 and stores in 2021, not the 1977 one, is losing official support, per Time Extension on Thursday. The original's still plugged in in a lot of basements. The new one got a little over five years.

Next Saturday's Halloween, and it's the first Halloween on a Saturday since 2020, which means Carol's girls are coming over to trick or treat on my street because, quote, I give out "the good candy," end quote, and the older one has informed me she's too old for a costume and will be wearing one anyway. I'm going to put the Karl Casey record on the porch speaker. It's free, the man asked for one line of credit, and the line's going to be me telling every kid on Arlington Avenue his name.

I keep thinking about Ricky at the bowling alley, fifteen years old, pulling the Celica through that hairpin like it was nothing, and how somebody in 2026 rebuilt the board he was doing it on, by hand, in a chip, and wrote down the stray green pixel. And how a sax player from a boardwalk in 1987 is on a remix this week. None of it went anywhere. It was just waiting for somebody to put a quarter in.

Be kind. Rewind something.

Marty