Thursday, January 3, 2013

4 FREE BEEFY CHUNKS OF STEW











From CODY AND HEIDI

        
           ...Cody ambled into the kitchen. He was wearing his usual bathrobe, looking by the shady aura of his bearing and meticulous trim of facial hair like a warlock in Birkenstocks. It was 6:44 pm, Saturday, September 22, the first day of fall. Cody had spent a good portion of the day meditating cross-legged in the middle of his waterbed, which was itself centered between four lava lamps, each aligned with the points of the compass. The blue lava lamp, representing water and winter, was positioned north; opposite it, the red lamp stood for fire and summer; to the east, purple for air and spring (it was either that or orange, but the base on the orange lamp somehow didn’t match the others); and on the west, green for earth and fall. This was the position which Cody had faced off and on for several hours over the course of the day, focusing his energy on a peaceful, bountiful season.
            With the lights out and the lamps on, a relaxed mind perceived simple beauty in the gently flowing wax. Heated by the bulb inside the base beneath the glass teardrop lamp on top, the melting wax in the water slowly rose from the bottom, reached the cooler water at the top, and subsequently tumbled back down, to repeat the process. Rising and falling, but never leaving—the lava lamp formed a replica of the planet’s own energy flow—each ever-shifting formation completely unique, yet always in motion, part of a whole out of which it comes and to which it returns, never to be seen again.
            “Who’s an idiot?” he said.
            Heidi resisted temptation....




 From REDWOODLAND

...As the train started pulling out, Joe positioned himself on the waterproof cushion with an elbow up on the railing behind him so that he could see what was coming. Leanne had turned herself so that she was sitting in front of him and not to the side now that the train was moving. He got to see her hair flickering in the gentle breeze, light little hairs in the soft curve of the back of her neck revealed. A talking burl outside told them how it hoped they enjoyed the haunting gloom of the old town, but they were leaving now, taking the train into virgin forest, back to simpler times when Bigfeet roamed a land untainted by human presence.
Riding through the redwoods—in a northeasterly direction, away from the Avenue and Mist River now—as the greenery of the scenery grew denser and the colorful animatronic Gypsy-like Hippies heading back to the land were behind them—sightings of animatronic Bigfeet on either side of the train got called out by kids in the cars up and down the line—“Say hi to Idd!” their parents cried all through the Bigfeet Before People stretch, “Wave goodbye to Yawg!”—while Leanne told Joe that the only time she ever saw her dad cry was when the System could no longer afford the overwhelming financial burden of carrying out capital punishment executions. How for years it had been his favorite show. That it had simply been part of his routine, just a little fun thing from which he had been allowed to obtain a small amount of enjoyment in life. How he worked his goddam ass off, and now he had to do it for nothing.
Joe admitted he had seen an episode of “The Switch” before. An old woman, who legally affirmed her everlasting faith in The One Almighty System God, had the last wish that she be allowed to pull the switch. She needed some help rising up from the wheelchair with gleaming eyes and a wavering hand, live on-camera studio audience chanting, she feebly reaching, some guy hooked up nearby screaming his innocence. Afterwards, during the wrap-up, the old woman confessed she really couldn’t see too well at all—like Justice, she guessed—but she damn-well caught every last word.
“You doing the three-day stay?” Leanne asked.
“Yeah. How’d you guess?”
“I saw your ticket. I recognize the color because I’m on the three-day, too.”
They came to a place where a skeleton wearing Hippie-type clothes sat perched on a pile of pot in a pot patch, still holding up a bud.
“You really can’t tell the difference between the actual trees and the fake ones at all,” said Leanne. “I heard some of the fallen redwoods are flip-top, so that security squads can pop out at any time.”
“Fernden’s haunted too,” Joe said, examining a map. “Maybe we should get off there.”
Two Hippie skeletons leaning against a giant redwood had smoke coming constantly from both the open mouths and the perpetually issuing bong. Beyond, the skeleton of a ragged Hippie in tie-dye t-shirt, bandana headband, long-fringed cutoffs and cheap thong sandals could be seen in the weed-choked half of a VW van, realistic thunder and lightning flashes intermittently revealing the dogged Hippie still gamely at the wheel....

From HIDDEN SPRINGS



          ...Yellowy bulbs muffled by tapestries of cobwebs blanketed with dust silhouetted large furtive shapes. The spiders of the basement audibly repositioning themselves in their cotton candy webs were disturbed routinely and almost seemed to consider Denny, who scuttled in sometimes with meat, the great chief of their kind.                
          Denny hitched his body sideways along the crawl space between the concrete wall and the spacers until he came to the sliding window of which he was so fond. Pulling the neck of his shirt over his nose and mouth he squinted into the room, hanging back outside in a wary crouch.
          One of the bulbs inside was still working. The light thus cheaply afforded was dim, but still Denny could clearly see the body. Rather, what was left of it. The monster had fed on Turk till his sides caved in like a juice box.
          The experience of feeding on the dog had exhibited an immediate effect upon the giant flea. Its ordinarily dirty-looking blood, which had always hitched along in an ungainly and irregular manner now sped fluidly. Its attitude had also changed. Discontent seemed conveyed by its vocalizations. For once, though, Denny noticed that he wasn’t hearing any of those.
          “Hey,” Denny said, aware of his voice disturbing the silence of the room. He had intended to share with his incarcerated friend the great news of no work for the next two days at least, and almost did say, “You in there?” but caught himself as his eyes scanned on a hole in the far right corner.
          Probably he had walked right past the beast. Denny chanced a quick peek and made certain that the flea was out of the room.
          It was.
          All of its bouncing around must have loosened the plywood wall on the far left side, Denny thought. Once it got its legs in, it just pried and chipped and wedged itself right through.
His opinion of how exactly the thing was growing differed daily, almost hourly. Was it freed by the river flooding? Had it been affected by farm soil filled with weird chemicals and fertilizers? Was it a case of a mutation with a freakish growth hormone somehow activated? How much bigger could it possibly grow? Would it still act exactly like a flea, only bigger? Last he saw, it was almost as big as he was. Supposedly, from what he looked up in his parents’ old encyclopedia set, a flea his size would have a vertical jump of two hundred and fifty feet, and a horizontal leap capability of a whopping four hundred and fifty feet.
          When he found it, he also found that the damn thing was tougher than it looked. Denny Holmes was not one of the world’s great gun aces but he’d plinked enough bottles with his old single bolt .22 to hit the thing from twelve feet away–a darkish spot where he supposed its nervous system must be. The bullet left a mark on the semi-translucent shell near where he had aimed. That was about it. Unless, Denny thought, in the intervening seconds it was recovering
from the shot it took, for it was several moments before the thing launched itself straight through the sliding glass doors.
          A banshee wind howled through the shattered doors, bearing the attendant sounds of the ocean. Wind-wild curtains flapped. It was as though a giant slingshot had been pulled.
          Somewhere in the back of his mind Denny knew he couldn’t sleep at night with that thing hopping around. He wished it would accidentally jump in the ocean so a nice big shark would get it, but in the meantime he should probably try to shoot it again. It wouldn’t do to have the thing show up somewhere in his house unexpectedly when it got cold and hungry. Yet there was also the nagging tug of: You don’t want to get in any kind of trouble. Nobody has to know that you fed it.
            He followed the thing outside, empty .22 shell discarded, one new one loaded.
            The question was, where did it go?
            East, toward the bluffs, perhaps to Oceanside Health Center? Nice thing for someone there to wake up to. North? It would have to go over or around the property, and maybe it did. There wasn’t much back there, though. His was the last ocean-front residence. But Denny had a hunch the thing went south. It was sandy in that direction, dotted with scrubby clumps of bush, riddled with soft cracks and gullies thick with swaying dune grass almost like a dirty giant carpet. All the houses were ahead.
          Someone was booking on a four-wheeler.
          The handful of bullets in Denny’s jeans jangled awkwardly as he maneuvered over the terrain. Haphazard thoughts bounced similarly in his mind. The mental image of the mess from the broken sliding glass doors, memories of how he had seen the thing feed.
            Denny topped a rise and saw in the dim light afforded by the nearby corner lamp post a car crashed in a ditch. One person was helping another from the car.
            “Over here!” one of them yelled. Younger voice. That jogger’s kid. “Watch out!”
            The thing stumbled out of the brush.
            The six-foot flea teetered on its long back legs in the dim lamp light and the glare of the four-wheeler’s headlight, a hideous nightmare delicately poised, then sprang in a panic-producing arc perhaps twenty yards toward Tim and Bret. The man and his son yelled as they stumbled to the ATV. The thing flopped on the car not far behind them in a loud heap, landing like a body at the bottom of a four-story window.  The impact did not seem to faze it....
         




From THE MESMERIZER



          ...You haven’t lived till you’ve died.
            The wheels of what I will call my mind spun the gears of my giant revenge machine all that night sitting upright in my grave. As dawn neared I decided to creep around the crypts in hopes of forcing a door. I would have stayed in my own grave if I could, but the pile from the freshly upturned mound would call attention to a mindful eye that something was amiss. So I patted down the dirt as best I could, sort of sad at seeing my dead limbs doing this. Somehow images of Mother and the horrified expression she would have to know this would one day happen to her baby appeared before me. I would have cried, if I could, but for fear of merely excreting maggots.
            A gray tattered mist hung among the tombs. To my left below sat a large crypt notable for its intricate if crumbling masonry. Pen and paper in pocket, I strode over.
            “Anybody home?” I thought, peering through a small iron-barred window. “What have we here? A rusty lock. And look over here, an iron bar lying perfectly for me to do this–”
            Here I twisted the lock off with a snap that actually took the hinge. Gathering up debris, I shoved open the creaking door, hauled my carcass in and shut it.
            I sat there in that crypt listening to the sounds of the morning. Birds, mostly. A screen door or two. The slam of the door of the idling truck of someone with a long commute. It occurred to me that, what with the May heat, not too bad yet but not getting any colder, the crypt might almost have an oven-like effect, inviting unwanted attention from passersby with the smell of death warmed over. If I had to play dead, I supposed, anyone who nosed me out would figure it was vandals that moved me. But I really didn’t want to have to endure being handled and redeposited. What if they put me in something I couldn’t get out of?
            I looked around behind me. MANSON, said the family name. I had stumbled upon the Manson family crypt!
            The joy I felt on realizing the sheer fun now at my disposal sent a shiver of glee quivering through my rotting body sufficient to loose galvanized crawlies skittering to the corners.
            A slab centered at the far end in a recess of the wall presented possibilities. Yet when I slid the concrete slab I found not a body as I expected within, but a dark aperture. Upon closer inspection, I saw rungs descending down a wall into an interior crypt. I climbed down.
            The room was good-sized, but appeared a little smaller than it was due to the numerous boxes and crates stacked along the walls. The toxic worm fermenting in my skull’s slush wriggled. This, I surmised, must have been a bomb shelter. Private, but big enough to hold a sizeable portion of the community at the time it was built. The owner of the house, probably tired of the proximity to the graveyard and its advancing needs, must have sold his property to the city.
            So now the shelter is under that slab, possibly completely forgotten. But no matter. Because it’s all mine now. Everything in it. And that’s just for starters. Compensatory damages from Randall Manson and his dead family are going to be extremely stiff....










































Friday, December 28, 2012

GETTIN' OUR COONSKIN ON


This is Daniel Boone.
Supposedly he's my great, great, great, great, great
grandfather on my dad's side.
Anyway, it's what I've grown up believing.

James Fenimore Cooper was inspired by Boone, and Edgar Rice Burroughs was inspired by Cooper, so the father of Hawkeye is also the grandfather of Tarzan.

For all I know, he never wore a coonskin cap in his life.
That's all right. Around these parts, the frontier spirit's still going strong.






















































Monday, November 19, 2012

MORE CROWMAG










 












 CROWMAG are:

Gerry Maze - drums

Conor Ross - guitar

Jon Lindberg - bass

Stewart Kirby - vocals






We'll have songs for the downloading
and pics from gigs
in the near future!


















Sunday, November 11, 2012

PICTURES OF CROWMAG

CROWMAG







Stewart Kirby vocals



 Conor Ross guitar















         
  Gerry Maze drums





 Jon Lindberg bass














More CrowMag to come....





Email me at:


Monday, October 22, 2012

BEST OF HORROR MOVIES: THE 31 CHOICEST CUTS







1. Phantom of the Opera (1925) -- Classic tale of Erik (Chaney), a man  escaped from Devil's Island (where he contracted leprosy), who returns to France and hides in the catacombs and grottoes beneath the Paris Opera House stalking a beautiful young singer (Philbin) and terrorizing all in his sphere.
2. Frankenstein (1931) – It’s nothing like Mary Shelley’s novel, but director James Whale creates a visual marvel with Boris Karloff earning our sympathy as the monster. Bride of Frankenstein, the sequel to which Whale reluctantly acceded, in some ways exceeds, but the first one is the purer.

3. Dracula (1931) – No, it’s not scary, and not a bit like the book, either. But the coach rattling on up to the castle, the creak of the door, and Bela Lugosi bidding welcome are essential to the season.

4. Nosferatu (1922) – Director FW Murnau’s silent German classic re-works Bram Stoker’s novel because he couldn’t get the rights to Dracula, and makes the vampire a rat-like plague-guy. Excellently re-made in 1979 by Werner Herzog with Klaus Kinski as the abhorrence.

5. Shadow of the Vampire (2000) – Not really a solo monster film, per se, but deserves special mention as the movie that imagines what if FW Murnau got an actual vampire to play the role.

6. Bram Stoker’s Dracula (1992) – Francis Ford Coppola’s vampire vision is the richest feast. Opulent, surreal images with incredible music composed by Wojciech Kilar keep this classic on the Halloween must-watch short list.

7. Mad Love (1935) – Peter Lorre as a monstrously mad doctor amazes. Has Colin Clive as a pianist who loses his hands in an accident and gets a murderer’s hands grafted on by Dr. Lorre.

8. Dr. Jekyll and Mr. Hyde (1931) – Fredric March won an Oscar for his double role as the ultimate mad doctor. His transformation into the leering, sneering, animal-like Hyde still holds up due to an ingenious use of camera lens filters.

9. Psycho (1960) – A Jekyll-and-Hyde with no mad doctor. Anthony Perkins as Norman Bates evokes our sympathy in the manner of the Frankenstein monster, and a simultaneous repugnance worthy of Nosferatu. Hitchcock’s classic has it all.

10. An American Werewolf in London (1981) – The special effects that made this movie fresh are dated now, but not prohibitively.

11. The Haunting (1963) – Shirley Jackson’s haunted house story is to horror what The Sound of Music is to musicals because Robert Wise directed them both.

12. The Shining (1980) – Stephen King famously dislikes it, but the Stanley Kubrick film is the best haunted house movie ever.

13. Invaders from Mars (1953) – Early in the Cold War, movie sci-fi saw the value of…foreign invasion! Kid has hard time getting grownups to believe he saw an alien spaceship crash land in the back yard.

14. Invasion of the Body Snatchers (1956) – Works the same Cold War issue of infiltration in a smarter way because it doesn’t push anti-Commie propaganda, but rather reflects on the witch-hunt dynamic.

15. Night of the Living Dead (1968) – George Romero’s low-budget classic sets the bar for zombie stories and slowly, but inexorably, tackles prejudice.

16. Rosemary’s Baby (1968) – The greatest host-woman for Devil-boy gestation story ever told.

17. The Wicker Man (1973) – In his best horror movie, Christopher Lee worked for free. Search for a missing girl on a remote island village. Avoid re-make.

18. American Gothic (1988) – A group of stranded travelers finds a freaky family, led by Rod Steiger, that practices some of that old-time religion.

19. John Carpenter's The Thing (1982) – More than the special effects, Ennio Morricone’s stark, ominous music makes this sci-fi re-make work. Antarctic researchers wake up ancient alien. A masterpiece of mood.

20. Silver Bullet (1985) – This werewolf story from Stephen King works in the context of the monster as group works a hair better than The Howling.

21. Sleepy Hollow (1999) – Tim Burton’s vision of Washington Irving’s Headless Horseman legend removes all doubt of the specter’s existence, and incorporates the crimes of the town’s elite into the bargain. Drips with Gothicism and features Johnny Depp as Ichabod Crane.

22. From Dusk Till Dawn (1996) – Bad guys George Clooney and Quintin Tarantino take hostages down to Mexico, but wind up at the wrong bar. Raunchy dialogue and over-the-top violence.

23. The Ninth Gate (1999) – Roman Polanski directs Johnny Depp in a hunt for a book reputed to be written by the Devil.  
24. The Fearless Vampire Killers (1967) – This early Polanski film uniquely blends ‘60s camp with stylized vampire fun. Features the director as a mousy helper to a professorial stalker of the undead.

25. Young Frankenstein (1974) – Gene Wilder co-writing and starring in this horror movie send-up makes this the ultimate Mel Brooks movie.

26. Creepshow (1982) – George Romero and Stephen King’s love letter to the horror magazines of the ‘50s.

227. Re-Animator (1985) – Based on a story by HP Lovecraft and with music from Psycho. Features underrated actor Jeffrey Coombs as a med student with a serum that can re-animate the dead, kind of.

28. Army of Darkness (1992) – Hilarious tale of a store clerk (Bruce Campbell, another great underrated actor) who gets a weird book in a creepy cabin that zaps him to a Medieval, sorcery-packed past.

29. Dead Alive (1992) – Before directing The Lord of the Rings, Peter Jackson made a movie about a zombie-like condition spread by a Sumatran rat-monkey. 

30. Beetlejuice (1988) – Endlessly fun Tim Burton classic about a dead couple trying to rid their house of weird and scary yuppies.

31. Dark Shadows (2012) – Overshadowed by The Avengers when released, this film version of the daytime TV cult favorite is one of the best movies of 2012. Tim Burton outdoes himself in terms of pure visual style, and Johnny Depp is perfectly cast as vampire Barnabas Collins.


Art by Stewart Kirby




 Stewart Kirby writes for

   

Tuesday, October 16, 2012

BEST OF CREEPY READING GUIDE


 
ETA Hoffmann- The Golden Flower Pot, The Automata- The beloved holiday favorite of The Nutcracker comes from this twisted German dude who reviewed Beethoven's new stuff. Chiefly notable for cracking descriptive power and an imagination to which the advance of time has merely added mojo.

Mary Shelley- Frankenstein- Now her we've heard more about. Familiar as we are with the movie versions, once the creature starts bounding around the craggy mountain peaks and starts telling his side, things get really interesting.

Edgar A. Poe- The Fall of the House of Usher, The Tell-Tale Heart- Master of the short story. Poe works atmosphere and gets into the head of his narrator like nobody else.

RL Stevenson- Strange Case of Dr. Jekyll and Mr. Hyde- We take it for granted as an image because it's so effective, but the split-personality story, and the mad doctor story, has never been outdone--in spite of spawning such great works as Altered States and The Silence of the Lambs.

Bram Stoker- Dracula- Still spot on. The dark inventiveness of the first main section from Harker's journal carries the rest of the story.

Shirley Jackson- The Haunting of Hill House, We Have Always Lived in the Castle- The darkest and loneliest writer of all, with sentences as good as Steinbeck's best.

HP Lovecraft- The Colour Out of Space, The Whisperer in Darkness- He started out copying Poe and wound up becoming seminal in terms of unique style and the dark, consistent richness of his universe. Has aliens, tentacles.

Stephen King- The Shining, 'Salem's Lot- Bringing the modern world and all its pop culture brought his stories of death to life at the time they were written. These two novels don't just still hold up, the history they hold of '70s-ness has quite nicely gelled.

Stephen Gilbert- Willard- A top-quality story in every respect, and twist on the Pied Piper, about a guy living with his invalid mother, stuck in the rat-race at work, who finds he can control a whole lot of rats. For awhile.

Ira Levin- Rosemary's Baby- Could be the best Gothic book ever written. Host-woman for Devil-Boy's gestation. Just about interchangeable with the movie.

Washington Irving- The Legend of Sleepy Hollow- Two schools of Gothic thought: On the one hand, there's Ann Radcliffe--Scooby-Doo follows the Radcliffe Gothic model, which says that there really aren't spooks, it was just the wind, basically. And then on the other hand we have Matthew Lewis--the last fifty pages of The Monk are especially sweet--in whose Gothic world the supernatural does exist, and can get you. I love The Legend of Sleepy Hollow, but would prefer if Irving weren't so Radcliffe-like in his leanings.

Philip K Dick- Imposter- It's not typical October fare, but Imposter is an exciting and frightening great American short story about artificial life and identity.

William Goldman- Magic- The same guy who wrote Butch Cassidy and the Sundance Kid (the most successful Western movie ever) also wrote All the President's Men, and The Princess Bride, and this dark gem about a man and his ventriloquist dummy.

HG Wells- War of the Worlds, The Island of Dr. Moreau- Big on concept, Wells' strength is not in memorable characters so much as memorable situations, too often disturbingly prescient. Was Wells influenced by the mythological figures of artist Gustave Moreau? Take a Google and see what you think.

Craig Jones- What Happened to Rhodri, Outbreak- Master of the zombie story. Huge on humor, Jones works elements of Poe, Wells, and George Romero in ways that make tales of rotting bodies fresh.

Sheridan LeFanu- Carmilla- Gives Dracula a run for the money as best vampire story--and precedes it, written by a fellow Dubliner.