Last year, we took you on a lantern-lit tour of some of the most famous haunted locations in my adopted home of New York City. Once again, we don our novelty cloak and top hat and beckon you come with us for another round of macabre tales and spooky legends. Join me, won’t you, as we visit voodoo queens, gangland massacres, Edgar Allan Poe, and a ghostly garrison in the wilds of northern New York.
There is a whimsical character in so much of what constitutes Prague, a tendency to find the creative, the artistic, and sometimes the absurd in even the darkest of places. That indomitable creative spirit is most evident in the place where many of the Czech Republic’s creative spirits have come for their final rest. Historic Vyšehrad Cemetery, located on a hill high above Prague and on the grounds of old Vyšehrad Castle, was established in 1849 as a cemetery dedicated almost entirely to the dizzying number of musicians, painters, sculptors, writers, dancers, actors, and other artists who made Prague in particular and the Czech Republic in general one of Europe’s most interesting nations.
When I was young still and open of mind, my parents set me loose in the University of Kentucky bookstore with the understanding that I was allowed to choose for myself from the racks of tapes and books some manner of entertainment. As I perused the offerings with a diligent focus that can be mustered only by a seven-year-old with a serious decision to make, I contemplated my options. Not a book, I decided, even though there were several promising ones. But I wanted something in which I could indulge on the long car ride back to Centerfield, and I was not prone to car sickness except when I tried to read. So a cassette…but which one? I flipped through the racks, past recordings of old radio dramas. The Shadow? Maybe. Lights Out Theater? Even better. And then I found it. With nary a doubt in my mind as to the correctness of my decision, I took from the rack and presented triumphantly to my mother my choice of prize: a recording of Orson Welles’ legendary broadcast of The War of the Worlds on Halloween eve, 1938.
It’s a blue moon month for me over at The Cultural Gutter, and I get the honor of ushering in All Hallow’s Eve, scary sci-fi style. Something Kinda Funky looks at the time Buck Rogers, Wilma, and Twiki faced off against a nefarious Space Count Orlok in the classic Buck Rogers in the 25th Century episode, “Space Vampire.”
Author’s note: I wrote this piece for the Winter 2001-2002 issue of Route 66 magazine. It was my first professionally published magazine piece. I was a different writer then, though not perhaps quite that different than I am now. In the spirit of a happily haunted Halloween, I reprint it here, literary warts and all, unaltered even though some of the details are no doubt out of date. Photos by Ellie Tam.
On October 25, 1829, the gates of Eastern State Penitentiary — ESP — creaked open to admit the first of many criminals who would be confined behind its walls and within its solemn cells. Designed by John Haviland, one of the most storied architects of 19th century Philadelphia, it was the first true penitentiary in the young United States of America, embracing the “Pennsylvania System” conceived of by Benjamin Franklin. The primary principle behind the system was that imprisonment should be a time of reflection and penitence, with prisoners confined to solitary cells with very little to do beyond stare at the blank white walls and think about their sins.
Last Halloween, I wrote an article on Alcohol Professor about haunted bars in New York City. Well, gather ’round the campfire, children, because I’ve more macabre drinking tales yet to tell. Only this time, we’re going global. Son of Booooozy Tales: Haunted Bars Go International looks at haunted pubs, bars, and watering holes in New Orleans, Seattle, London, Wales, Dublin, Edinburgh, and Sydney. Be ye fairly warned. The person sitting next to you at the bar might have been there since the 1800s.
If jungle adventure movies have taught us anything, it’s that modern man, with all his so-called “refinement” and “civilization”, is the most dangerous animal of all. Whatever perils the jungle may hold, it is those city folk — greedy, thoughtless, and cruel — who step within its borders who pose the greatest threat. Even though those city folk ultimately fall prey to quicksand, cannibals, and hungry wild animals. Hey, the jungle was just defending itself.
“There is no monster in the world so treacherous as man.”
So we are reminded at the beginning of Larry Buchanan’s Creature of Destruction and, just in case we forgot, at the end of the film as well. I like a film with a message, but the message is considerably less interesting if the film has to print it out for you. But hey – at least the guy was trying, which is more than can be said for most films. And in the end, this film is made in the tradition of sci-fi and horror films of days gone by, when such films had messages and delivered them with all the subtleties of a stoic military general surveying some scene of mass carnage and reflecting on the follies of man. Creature of Destruction is Buchanan’s homage by way of remake. In this case, it’s a remake of 1956’s The She-Creature, a movie that never exactly called with deafening thunder to be remade.
Director Gordon Hessler is back for another AIP Poe adaptation, this one mildly clever in the way it incorporates the Poe elements into the film. As we saw with The Oblong Box and many others, it was common to take the title of a Poe short story or poem, apply it to the film, then have not the slightest thing to do with the Poe story of the same title in the plot. Murders in the Rue Morgue takes the title from Poe’s story, but instead of adapting it or discarding it, sets its action around a theatrical production of Poe’s Murders in the Rue Morgue that becomes plagued with murders and yet another vengeful disfigured madman who was buried alive. According to Hessler, this was done because Murders in the Rue Morgue had already been made into a movie, and everyone knew how it ended. Thus there was no suspense in the film — not that Hessler was all that great at creating suspense anyway.