Ellery Twining is ahead of his time. He foresees a post-pop era before the genre is even defined, but here and now, RESULTS convinces you that a new aesthetic is the inevitable. Before, the post pop genre hasn’t had an artist who can truly define the genre, at least not until Twining entered the scene.

Twining has something very special to share with RESULTS. Following his acclaimed debut release, the sophomore album further pushes the experimentation of form and texture. To answer the question what post-pop is, you need to first listen to his album. The album sees a translucent form of childhood nostalgia combined with a cynical look at past generations in reflection with modernity, pop, and pop culture.

The influences of RESULTS, or more accurately, its rising aesthetic is also echoed throughout different forms of contemporary art. In literature, there’s a rising of non-linear storytelling and expressiveness, which focus on individual artistry and creativity and sees narratives bend the rules of genres. RESULTS share the same thread of individuality, liberation, and expressiveness. Twining’s non-fiction, personalized narrative is entered through a fluid-like deformation of pop and folk lyricism and carried out by the heart of a poet.

RESULTS in a way reminds you of glam rock, avant-garde, and punk, of which forms all share the confrontation and seeking of a more conclusive expression as new movements and changes are emerging across the globe. We are too at a change of time, and RESULTS articulates these lost and undefined feelings. Its form might still be viewed as edgy by many, but it’s well-supported by the change of narratives that are happening in the world. RESULTS doesn’t lack universal appeal. It’s more than ever resonating and needed to be heard.

Punk Head: I love how your experiments in post-pop soundscapes relate to socially aware themes. Can you tell us more about RESULTS and how this project came to be?

Ellery Twining: Thank you! When I was a kid starting out in my first rock band, I realized that the music of the Sixties, that was a thread of the influence on us at the time, could not be understood simply by listening. There had to be a story behind “For What it’s Worth?” I thought to myself. And when I started digging, I found out there was a story. The voluminous threads of the Sixties culture led to a re-examination of the music from the 1970’s, which I experienced on AM radio, in my mother’s VW Bug. Every layer revealed another layer, and I began to understand the dynamic of being truthful in music, versus being “successful”. Having said that, I was determined to sign to a record label as a signature of accomplishment during my Rock Band years, and I thought that would equate to success. I was wrong.

RESULTS is evidence that I learned to do both at the same time; the music, and the intent.

PH: Can you talk about any standout tracks on the album and what makes them special to you?

Twining: “CELLAR DOOR” is the best song I have written, I think. Much of that is what Eric Lichter brought to the table during the sessions at Dirt Floor. I only write songs about events in my life that have actually happened. No fiction. I knew all of these kids in the song. It has a certain healing element, but it is also a fingerprint.

PH: How do you stay inspired and motivated to continue pushing boundaries in your art?

Twining: It’s a responsibility, yes?

PH: Who are your biggest influences?

Twining: I read an interesting interview recently with Geddy Lee of Rush, and he was asked about influences on their music. His response was perfect-“Have so many influences no one can distill them.” Cocteau Twins absolutely changed my life. (I suppose I am breaking my own reveal)

PH: What advice would you give to other artists who want to explore experimental art forms?

Twining: The canvas is quite filled out. Find the empty space.


No stranger to the LT1KF blog, Ellery Twining is a household name around here and in many eclectic circles with an equally eclectic sound he’s developed in the realm of the Post-Pop genre (AKA “avant-garde,” “no wave,” and “ambient.”)

We covered two of his previously released singles, “The Day Jeff Buckley Died” and “Weatherall,” as well as the critically acclaimed album, “Revenge,” in which those tracks were featured on. Twining rolls that momentum into a mind-blowing new album titled, “Results.” Bandcamper alert! The album is out now on Bandcamp.

The best way I could describe Ellery Twinning’s soundscape is like “slam-poetry meets psychedelic easy listening.” His lyrical prowess is not preachy, or overtly literal. It is expressionist, poignant, and thought-provoking. It makes listening to his albums an audibly hypnotic experience from beginning to end.

He begins the album with a strong sentiment, the track “The Sixth of January.” His poetic musings do not shy away from the current landscapes of societal disarrays nor the correlations between them and his own personal reflections and memories.

In this particular album, he has described the work as “A contextual dissemination of the Generation X transformation into the Post Generation.” Further elaborating, he conveys that there are underlying themes of popular culture, childhood survival tactics, and the consequences of “socially acceptable divorce.” In fact, one of the original working titles of the album was at one time “The Divorce Kid.”


“This group of songs illustrates the experience of seeing through the eyes of Generation X kids during their childhood, and its reflection.”

A talented multi-instrumentalist, Twining wrote and performed all the instrumentation on the album, with the exception of Bass Guitar (credited to David Bentley). The production of the album was done by Eric Lichter of Dirt Floor Recording Studio. One thing that makes him particularly unique to the Post Pop genre is his affinity for traditional Pop structures, while at the very same time going out of his way to manipulate and circumvent them. But don’t take my word for it! Give the album a listen for yourself, because as Ellery Twinning himself would say, “the proof is in RESULTS.”


RESULTS is an experience that’s multifaceted, one that’s a storytelling journey told and explored through a multitude of mediums, both spoken word and alternative rock compositions that go hand in hand to deliver a sonic story that’s almost like a full blown path into lives of Generation X. Opening with the Sixth of January, it’s clear that Twining has a political undercurrent to his work that translates into his musicality. It’s far from the norm, both from a composition perspective and from a topical one. He thrives on the boundaries, as an artist with a vision for his music and for his purpose.

Songs like “DUSTY SPRINGFIELD RECORD COLLECTION”, which begin with this quaint acoustic jingling, slowly start derailing into the complete spoken word performance of Twining. The delivery is also far from constant or consistent, it thrives on its staccato approach. He paces himself exquisitely, leaving ample time between lines for each statement to sit with you, leave you anticipating more. A strange and bemusing spiel on vinyl revivals might not be what you could conceive from the opening chords, but that’s precisely what you get and are left fascinated by.

I remember being fascinated by my mother’s limited cache of makeup, hidden from my father on the utility bathroom of the second floor where I slept”. As opening lines go, ROUGE is about as pointed and captivating as they come by.

From back to front, there’s something rivetingly intriguing about RESULTS. Twining is an artist across facets, a poet, a storyteller, and a composer with intention to his performance. This isn’t a purely musical album, it’s a narrative piece served in byte sized pockets that are seemingly absurd and quirky but compelling throughout.


There is a certain suburban charm to RESULTS, Ellery Twining’s latest full-length studio release. It might be the lyrical intricacies, so detailed you can often see the stories as they unfurl in front of you, or it might be the skeletal-sounding mixes that often buzz with mundane textures, neatly arranged into nuanced mosaic-like scenes. Anyhow, RESULTS is a follow-up to a successful debut that shows that Ellery Twinings is a capable writer of songs with a vision that he meticulously executes.

On RESULTS, Ellery, a singer, songwriter, and multi-instrumentalist from the city of Mystic, Connecticut, is taking the character of a generation X kid somewhere in American suburbia, sharing stories led by his character, his character’s brother, and their family and home lives. Charming and simple, Twinings’s peculiar songwriting is neatly aligned with his descriptive lyrics that can often sound bizarrely private, and told in an almost spoken fashion, there’s something adorably unnerving about the album’s storytelling techniques.

The lyrics don’t take the spotlight from the music though, even if it might be the heavier side of the balance of RESULTS. Most of the album’s compositions are intricate and non-linear, and the usage of barebones guitar, bass, and even drum sounds, a mystique is spun around most of the songs on RESULTS that make them easy to reminisce over, remembering our childhoods and stories from our own homes.

Among the album’s standouts are the outstanding starter ‘SIXTH OF JANUARY’. An apt introduction to the sound of the album’s, on a few steroids. The song introduces us to the jangly beats and Twinings distinctive performance style. With deep lyrical content about patriotism and national crisis, and an open sound to the bass and the sparkling guitars, ‘SIXTH OF JANUARY’ is a memorable, rich introduction, even if it is not as musically direct and accessible as most other offerings on the album. One more sublime offering is ‘DUSTY SPRINGFIELD’S RECORD COLLECTION’. Musical, groovy, and inviting, this cut retells parts of the story of the titular star’s life, one of the 60s most easily recognizable voices. The lyrics, which showcase the stark contrast between lifestyles now and then, are imaginative and confrontational. The open-ended music has a pull to it, thanks to the simplistic composition and mix.

‘DEAFENING’ is another stunner that sounds trippy with its phased guitars and reverb-laden atmospheres. More personal memories pouring from Twinings mouth, this time describes an incident of parental abuse, are almost surreal to listen to with such a dreamy backing. ‘S. B. BUTLER’ is a spacey affair that’s loaded with a throbbing, alien guitar texture, pit against some of the album’s most serene rhythm strums, creating a contrast that’s a total sensory pleasure. ‘WHAT’S GONNA SET YOU FREE’ is another acoustic stunner with a sloppy, sleepy groove and a post-pop sound that is straight out of the nineties. The unfamiliar chord voicings also play a major role in amplifying the alien, breezy sound on most of the album’s songs.

Talented at creating lush soundscapes, whether it be by word or by music, Ellery Twining successfully weaves together another endlessly special album of personal songs that all sound equally loved and calculated, with each showcasing a different lyrical approach that pours into the familiar pot of family drama. From throbbing guitars to wailing string arrangements, Twining shines musically just as much as lyrically, bringing forth one exceedingly crisp offering of post-pop.


Mystic, Connecticut-based folk artist, Ellery Twining, delivers their sophomore album, RESULTS. Ellery Twining is a political folk artist who released their debut album REVENGE on Bandcamp. Their latest album RESULTS, is an indie folk project centering around the political landscape of today. The album utilizes dreamy soundscapes and nostalgic vibes of 80’s art rock as Ellery narrates the project though spoken work vocals. Ellery Twining’s latest album, RESULTS, is an innovative art rock experience and the perfect addition to any indie playlist. Learn more about Ellery Twining on his official website and listen to songs from RESULTS below.


Defining his own path with a rather incredible 9-track release, Ellery Twining sat down with us a few days ago and let us know more about Results, the creative process, the best place to watch music in his local area, and the depth of the lyrical intent of this self-trained innovative artist who has made something rather special here.

Llewelyn: Thanks so much for taking time out from your busy day of making such inspiring music to chat with us Ellery. Firstly, who are you inspired by each day and what makes you happy in life?

Ellery: My goal in this life was not to make the same mistakes my father had made. To not repeat the same patterns. And to break a bloodline. As a musician, I simply wanted to give back the moments that had shaped me, a reciprocal reality. I had an argument with my mother about ten years ago, during the Obama years, and she chastised me for being ignorant of the immigration issue in America, having lived in “lily white Mystic” my whole life. As a method of protection, I changed the subject. I then realized I had been paid to play music in 23 of the 50 States.

Llewelyn: Secondly, please tell us all about your new 9-track release, RESULTS. This is something rather unique and powerful. Lyrical awareness of the world seems to be your strength. What does this new project mean to you and what is the vision behind it?

Ellery: I created specific parameters for my debut REVENGE, because I simply wanted to be able to finish it! As I began working on songs after I released that record, I found myself writing ideas that seemed to be a sequel to REVENGE, and an electric guitar-based record I referred to as “Prism Point”, a working title. However, a few months into the process I became bored with the new acoustic songs, and I said to myself, “Why do you want to make REVENGE again?” I then began to find a common thread between the two records, acoustic songs that worked alongside certain electric tunes. That is the composition of RESULTS.

Llewelyn: I went to Connecticut years ago during a trip as a camp counsellor. It’s so beautiful there with so many trees and much calmness. Is this where you grew up and have lived your whole life? What makes it special for you?

Ellery: I have lived in Mystic, CT for my entire life. There is a psychic vortex that runs beneath the river. And I can prove its existence. For real.

Llewelyn: With no traditional singing training, do you feel like it actually helped you naturally or hindered you at all? Also, your sound has such a unique construction, how has this developed over time?

Ellery: Having been a member of many rock ensembles as a drummer, one soon learns the limitations placed on your creativity. As a result of this insight, I began writing and publishing poetry during the summer of 1988. In Mystic, during the 1990s, there was a robust poetry / spoken word element to the culture in town at the time. Hozomeen Press was the quintessential indie publishing house of that era, printing quarterly magazines as well as a full roster of poets from the Mystic scene. In addition, there was an incredibly competitive weekly poetry reading in the basement bar of a Mystic restaurant that dated to 1789. The atmosphere was electric, and that is where I honed my skills as a spoken word performer. When I began to apply that experience to the songs I was writing, as a drummer it was fairly easy to create a rhythm inside the melody, within the syntax of the words.

Llewelyn: If you could be the President of the USA for 4 years, what would you hope to accomplish and stand for? We seem to live in a rather odd world. Do you think humanity can get back to a more relaxed state with fewer wars and conflicts?

Ellery: There seems to be an interesting timeline between the immediate effects of climate change, (as well as a myriad of other problems) and the possibility of answering our most pressing energy and economic issues with the realization of fusion technology.

Llewelyn: Has there been anyone in your life who’s helped you get to where you are now? Also, have you had any interactions with a fan, friend or family member where you’ve realized…this is who I make music for.

Ellery: My wife Michelle is the only reason I am able to be Ellery Twining. During the pandemic, I approached the members of my very first band 17 Relics about releasing our last record which never saw the light of day. None of us were happy with the recording, which is why it had remained unreleased for 28 years. I even suggested that we re-record the songs as a caveat, to no avail. The same disagreements that brought the band to a halt still existed. I sent a text to the Relics bass player David Bentley, who also plays all of the bass on the Ellery Twining recordings, that I had a realization. As good as the songs were, as competent musicians navigating a difficult business, the only reason we had any success was because my parents let us use their basement as a practice space for free. And that David’s parents gave us full access to the equipment of their engineering firm-~ professional copiers we made our press kits on with no charge, and the company van to get to our earliest out-of-town gigs. I have always been committed to making music to give back to the community that liberated me as a teenager. I see it as a responsibility.

Llewelyn: Lastly, where do you see yourself creatively in the next 5 years and is there anywhere you’d love to tour in the world?

Ellery: One lesson I learned (amongst many) during the pandemic was:

How long is an hour?

How long is a day?

How long is a year?

How much can you accomplish in an hour?

A day.

A year….

I was at the Coney Island NY Daft Punk show in 2007, and as such, I do not yearn for places I have never been.


Ellery Twining, following the success of his highly acclaimed solo debut “Revenge,” delves deep into the realms of Post Pop with his latest album, “Results.” This collection of songs takes listeners on a journey through the eyes of Generation X kids, providing an introspective reflection on their childhood experiences. Twining’s ambition to break free from the traditional Pop/Rock format is realized as he explores the possibilities of soundscapes and crafts a concept revolving around the universal conception of ABACAB.

In “Results,” Twining demonstrates his mastery in merging musical innovation with thought-provoking lyricism. The underlying themes of popular culture, childhood survival tactics, and the consequences of Socially Acceptable Divorce are presented from a unique perspective, offering a fresh and enlightening point of view. The album’s original title, “Divorce Kid,” hints at the introspective nature of the record, inviting listeners to delve into the complex emotions and experiences of Twining’s own journey.

While certain songs on “Results” may share some elements with the time-honored structure of Pop, Twining reinvents the genre, pushing its boundaries and delivering a truly captivating experience. The album features a total of nine unique songs, each showcasing Twining’s diverse musical themes and styles. His unconventional musical choices and unique wordplay create a distinct and engaging sound that resonates deeply with his audience.

“Results” is a testament to Twining’s ability to merge innovation and relatability. Through his evocative storytelling and exceptional musicality, he invites listeners to explore the uncharted territories of Post Pop. With this album, Twining proves that he is not afraid to take risks and carve out his own path in the music industry. “Results” is a must-listen for anyone seeking a fresh and immersive musical experience.


Ellery Twining, the alter ego of musician Rich Freitas, unveils his latest full-length record, RESULTS, following the success of his critically acclaimed solo debut single, “REVENGE.” Hailing from Mystic in Connecticut, Twining has spent almost two decades honing his drumming skills with various bands, all while patiently developing his own solo musical style.

RESULTS takes listeners on an exploration of post pop soundscapes, delving into the perspective of Generation X kids during their childhood and its subsequent reflection. Twining ventures outside the confines of traditional commercial music formats, crafting songs that revolve around the universal conception of ABACAB, presenting a unique musical realisation. In this album, the lyrics take centre stage, becoming the driving force behind the storytelling. Themes of popular culture, childhood survival tactics and the consequences of Socially Acceptable Divorce weave their way through the album, offering a thought-provoking and distinctive point of view. Twining even contemplated titling the record ‘Divorce Kid,’ emphasising the personal and introspective nature of the songs.

While some tracks on RESULTS share commonalities with the time-honoured structure of pop, Twining reinvents this structure, resulting in a refreshing and innovative sound. He takes complete ownership of the record, playing all the instruments, writing the songs and lyrics and participating in the production alongside Eric Lichter of Dirt Floor Recording Studio. The bass guitar, however, is exclusively executed by David Bentley.

With RESULTS, Ellery Twining presents a highly original alternative folk journey across nine songs. The album opens with the haunting piano tones and spoken-word vocals of “SIXTH OF JANUARY,” gradually building up with acoustic guitar, bass and subtle percussion as it recounts the infamous events of an attempted political coup. “THE HOUSE IS ON FIRE” follows, exuding a more upbeat vibe with shimmering guitar chords, grooving rhythm and narrative lyricism.

“ROGUE” offers a mellow indie folk backdrop to Twining’s trademark spoken vocal delivery, creating an intimate atmosphere. “ELECTRIC BOAT” takes on a gently melancholic tone, characterised by bright acoustic guitar strums and delicate string flourishes that intertwine seamlessly. The album culminates with “CELLAR DOOR,” a beautiful and elegant progressive folk track that brings the enthralling sonic journey to a close. It features a laid-back snapping beat, acoustic arrangement and evocative lyrics that paint a vivid picture. RESULTS showcases Twining’s talents as a singer-songwriter with a unique creative vision, resulting in an enjoyable and intimate listening experience.

Ellery Twining’s RESULTS is a stunning exploration of modern folk, demonstrating the artistry and depth of a truly talented musician. With his intricate storytelling, innovative compositions and captivating vocals, Twining proves himself as an artist worth paying attention to. This album is a testament to his creative vision and ability to craft an intimate and immersive musical experience for his audience.



If Sonic Youth prolonged Kim Gordon’s spoken word verse in Kool Thing and played with post-pop and post-punk sensibilities, the result would be as coldly electrifying as the standout single, WHAT’S GONNA SET YOU FREE from Ellery Twining’s 2023 LP, RESULTS.

With a Joy Division-esque atmosphere ringing in the background of the stellar production by Eric Lichter of Dirt Floor Recording Studio, all the right motifs are in place to bring a tonal sense of familiarity, while Ellery uses his distinctively exasperated devil-may-care vocal energy to set the listener free from sonic monotony.

The soundscapes were compiled to reflect the childhood and coming-of-age experiences of Gen X kids, with themes of popular culture, childhood survival tactics and the ramifications of living in an era when divorce became socially acceptable at its core. Forget the Coupland novel, for nostalgically vindicating resonance, delve right into RESULTS.

From The Day’s Archive 26 December 1995 by Scott Timberg

My first big scoop! Scott Timberg, RIP, was a force upon the Mystic Art & Culture scene in the 1990’s, seemingly at every rock show, poetry reading, art exhibit, with pencil and pad in hand.

Thank you to the Day for digitizing its archive!

Next up- ads from Stitch in Time Boutique, circa 1979

Chicago 1893 Overview

“The future is now Old Man!”, he said to himself.

Official Website:

Documentary Film:







Bringing the Columbian Exposition Back to Life in Augmented Reality

On May 1st 1893, President Grover Cleveland opened the Columbian Exposition on the shoreline of Lake Michigan in Jackson Park on the south side of Chicago. No matter how strong our sense of nostalgia is, the past is gone. But what if we could bring pieces of it into the present?

On the 129th anniversary of that opening, we released the first views of Chicago 1893’s augmented reality experience. Chicago 1893 has been working for the last year to do just that by recreating the largest buildings from the event that were originally located around the Grand Basin. This project aims to create museum-like digital assets focused on historical integrity and architecture with the intention of expanding broadly toward experiences focused on learning and richer functionality for entertainment.

These structures are being rendered in 1:1 scale. The goal is to allow people to perceive the scope of the buildings the way those in 1893 did, if sculptures loomed from 100 feet above they will within augmented reality as well. Just imagine: classical architecture, anywhere in the world — No matter where!

Ever since HG Wells published “The Time Machine” people have been fascinated with the idea of time travel — the Chicago 1893 XR project begs the question: “what if you could bring the past to back life?”

The Columbian Exposition is arguably the most notable World’s Fair of all time but very little of its architectural legacy remains. Over the last four years we have been diligently scouring archives to compile the documentation required to render the buildings in digital 3D for augmented reality which were created by some of the finest architects of the Gilded Age.

Now we are in the final stages of Phase 1’s buildout which includes the major structures located around the Grand Basin. The plan is to make the first asset available to the public this summer. It will be the Administration Building, a Beaux-Arts structure designed by architect Richard Morris Hunt who is also responsible for the entrance facade of the Metropolitan Museum of Art in New York City and the pedestal of the Statue of Liberty.

You can expect more details as we approach this initial release.

Join us and see the Columbian Exposition come back to life.

For More:

Documentary Film:






10th Anniversary of PortFire!

Ten years ago, back in July 2011, we transitioned from a website called Mystic Music Archive to PortFire here. The Mystic Music Archive was a repository we created for some local Mystic and New London, Connecticut music from the 80s, 90s, and new releases.

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To progress beyond just music – to expand to all the diverse artists inspiring us – we moved all of the albums and songs over to a new site – named PortFire after “the fuze or torch that lights rockets and fireworks” (yeah, a bit ambitious!) – and aimed to also begin including photography, writing, visual arts (especially collage), and new music from beyond just southeastern Connecticut.

We organized and worked to expand PortFire as a free zone for artists to post their recent work, following the DIY ethos of Hozomeen Press and other zines like Root of Twinkle from the 80s and 90s; but our campaign to expand eventually fell flat and only a few dedicated artists, especially Michelle Gemma, and Ellery Twining, published prodigiously to our free platform.

As an architect and editor of PortFire, I certainly wasn’t aggressive nor charismatic enough to smartly ‘market’ PortFire: no ads, no fees, not interested in profits, no baiting for page views, no social media strategies, no gimmicks – just not interested in any of that – which is perhaps to our detriment in many ways – arts and artists benefit from publicity. So please let us know if you have any ideas for us publicizing ourselves in a better way.

We exist for fellow artists to publish and speak and react to each other’s work, so we inspire each other and push each other’s art forward.

We will definitely keep running this site for the artists producing new work and publishing here (I still hope to rejoin those ranks!), as well as to host older music and zines for those who are curious, nostalgic, or want to hear the beautiful 17 Relics, Seratonin, or LowBeam (and more!) – over ten fabulous independent bands can be found under the Music tab at the top of our site.

So, it really is hard to believe it has been ten years – while reminiscing and looking through the site this past week, I was surprised to rediscover the amount of inspiring content here – check out the right side of our main page, the Artist Collections, Tags, Search Bar, Archives in the lower right, and just feel free to explore – and thank you all so much for contributing and checking in over all these years –

If you’d like to publish your work here, please let us know at

Here is the first post that PortFire ever put up, to test the new site, about ten years ago – enjoy!


they arrived, with pitchforks at the ready, to change the vote.

the corporals and captains had an attack planned out.

the floorplan of congress was in our public domain, security forces

had become one and the same-  a single moment defined the state of the nation.

an evident display of tribalism amongst a misappropriation of flags,

draped over the Capitol steps-  A Confederacy in Process.

their rally preceding insurrection would expose this selfish process,

as if there were no other method to counteract an actual vote.

the assembled crowd who volunteered to be in The District could flag

their inherent abhorrence toward an hidden agenda that they would spell out.

as if this call to arms would create a new nation

of their own making, utilizing their most vicious forces.

citizens of our Televised Nation  experienced  society in absolute time, the forces

of the tribe gathered had stormed the steps, their process

exhorted over bullhorns to a crowd expecting direction toward  a re-born nation.

multitudes of volunteers worked to secure the vote,

people who poured over information, and disinformation to out

an heist of objective political reality, each represented by brandished  flag.

it was an aggrieved display, and  desecration of the flag

would be rendered as treasonous sedition. the boat parade that forces

the vessels upon our river evacuated;  instructed to stay out.

a distinct attempt at security while the process

of their gathering threatened to call in to question the vote.

each citizen would need to declare their confirmation of the nation.

confrontation within the myth of the American nation

has always existed, in some form. when people flag

grievances, the irregularity of equality;  we are told to vote

despite the evidence of corruption, which  forces

a re-examination of the entire process,

wherein the point of completion leaves no one out.

as it’s initial momentum, stunted by Capitol Police faded out,

an assassination plot never materialized in the Nations

Capitol. The Peoples House; a building that affords the process

of the improbable to be occasionally attainable, where intruders would flag

The Capitol with propaganda, and untruth, in an attempt to force

A Cancellation of America. as if all citizens might forget the power of the vote.

surrounded by symbols of the nation- the staffed flag

and the wooden gavel, congressional members would return that night, to force

a delineation-  one person, one vote.

Root of Twinkle: Volume 5 Issue 1 from Summer 1995

Michelle Gemma has just scanned in the next Root of Twinkle! This edition contains “soundtracks, essays, stories, lullabies, and an ‘interview’ pour vous.” There is a LOT in this 1995 issue, including a lengthy interview with Rich Freitas and Rich Martin together at Bee Bee Dairy, including a Dawn Estabrooks cameo.

You can check out the other Root of Twinkles from the early 90s, including the new 2020 copy, in the Root of Twinkle section (a link is up top right as well)

NOTE: We are looking furiously for Volume 2 Issue 1 and ANY Volume 1 issues – if you have a copy PLEASE get in touch with us — — THANKS!

Root of Twinkle Volume 5 Is…

Exploring Our National Parks Volume 1

Exploring the National Parks across the United States is an opportunity that should not be taken for granted. To understand the profound notions of preservation and conservation, we must get as close to the land as possible. This album is a seed that is attempting to plant itself in you to see them for your self.

Captured in photographs are views of nine parks around the country with essays that catalogue my experiences and thoughts while traveling through them.

Available in paperback & ebook on Amazon

Root of Twinkle: Volume 4 Issue 2 from Summer 1994

Michelle Gemma has scanned in the next Root of Twinkle, the second issue from 1994!

Peruse this edition for some serious Mystic, CT nostalgia, including notes on the opening of the Emporium Gallery, an interview with the band Magpie, a small list of super elite Mystic Peugeot drivers, top ten lists about Mystic from Matt Hannan, and some fantastic record reviews and recollections —

View the other scanned Root of Twinkles from the early 90s, including the new 2020 copy, in the Root of Twinkle section (a link is up top right as well)

NOTE: We are looking furiously for Volume 2 Issue 1 and ANY Volume 1 issues – if you have a copy PLEASE get in touch with us — — THANKS!

Root of Twinkle Volume 4 Is…