Black Horror History: Son of Ingagi

A Forgotten Catalysis: Son of Ingagi

by James Goodridge

In 1940, a B-grade science fiction/ horror movie of high mellow drama flavor titled Son of Ingagi (ten years earlier Ingagi a B-movie staring Bela Lugosi a jungle horror movie seems to have been a vague influence) ran in black inner city neighborhood theaters and in segregated movie houses in the United States. At the time a movie produced by SACK’s attractions to occupy matinee theater goers time, Son of Ingagi faded from cinema memory soon after. But the recent emergence over the last ten years of the Afro-futurism movement which broadly has connected all black speculative mediums as a whole has brought the movie back into light.

Connecting the legacy dots, Son of Ingagi has the late honor of being the first black horror/scifi movie with an all black cast no less. Ingagi was directed by Richard C. Khan from a screen play by Spencer Williams who would go on–depending on your opinion–to later fame on the Amos n’ Andy television show. The cast : Zack Williams as N’Gina aka the monster (an actor of mystery in that no record or bio can be found of him), Laura Brown as Dr. Jackson, Alfred Grant as Rober Lindsay, and Daisy Bufford as Eleanor Lindsay. Spencer Williams does double as Detective Nelson. A break from the 1940’s mellow dramatic music soundtrack is provided by the Toppers.

Pete Hampton and Laura Bowman.

Having returned from Africa, Dr. Jackson has come home with secrets: a missing link creature she commands with the strike of a mallet on a gong named N’Gina and two sacks of gold. Tirelessly working on a mysterious chemical that will be a boon to mankind (we never get to know what the boon is) unfortunately, Dr. Jackson doesn’t get a chance to share her life’s work due to N’Gina’s developing a taste for blood mixed with the mysterious chemical, he murders the stern doctor in her basement lab which starts mayhem in the house. You really have to love Khan’s editing use of a bottle of ink signifying the spilling of blood  I won’t spoil it for the reader of this who may want to search for the movie online, so I’ll only go on to write that mellow dramatic sub plots involving lost love, an inheritance, and a visit from Dr. Jackson’s no good brother add to the suspense.

What I found just as interesting was the back story behind Miss Laura Bowman (Dr.Jackson) seems she had a  successful career as a performer in vaudeville and the chitin’ circuit (black vaudeville) with her common law husband Mr. Pete Hampton around the turn of the 20th century. Son of Ingagi wasn’t a great movie, but I (being a B-grade horror/scifi grind house fan) give it the Ed Wood award for passion and effort. Like W.E.B Du Bois’s science fiction short story The Comet (1925), Son of Ingagi is an important part of the black speculative time line.

Watch the movie now!

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jamesgoodridge headshotBorn and raised in the Bronx , New York James is new to writing speculative fiction. After ten years as an artist representative and paralegal James decided in 2013 to make a better commitment to writing. Currently writing a series of short twilight zone inspired stories from the world of art, (The Artwork) and a diesel/punkfunk saga (Madison Cavendish/Seneca Sue Mystic Detectives) with the goal of producing compelling stories.

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Book Review: Ramses the Damned 2, Rice

Anne Rice’s Long Awaited Ramses the Damned 2 Delivers

By Sumiko Saulson

I was only 21 years old when Anne Rice released The Mummy: Ramses the Damned back in 1989. Like a lot of other enthusiastic fans of the book, I for years awaited the day when the author would keep her end-of-the-book promise that it would not be the end of Ramses’ literary world. 28 years later, the promise was finally fulfilled, with the November 21, 2017 release of Ramses the Damned: The Passion of Cleopatra.

It was worth the wait.

The second Ramses the Damned installment was written with her son Christopher Rice. As a fan of both authors, there was an added element of guessing when Anne was writing an when Christopher was writing throughout the course of the book. Anne tends to use flowery, romantic and descriptive language evocative of the gothic horror genre and Victorian era literature, whereas Christopher veers more towards action, having a background in thrillers, and uses the more concise language of suspense. They did a wonderful job of blending their voices, making it difficult to tell.

The Passion of Cleopatra is character-driven. Colorful, compelling characters like Ramses the Damned, his love interest Julie Stratford, and his angry old flame, Queen Cleopatra make a comeback from the first book, along with increased roles for minor characters from the first book as well as new characters. Like the first book, it is rife with dark skinned, dark haired, supernaturally blue eyed Egyptians. If anything, there are more of these, in the form of attendants to Queen Cleopatra and the mysterious Saqnos.

Sibyl Parker, an American romance writer sets her popular adventures in Egypt is beginning to experience disturbing visions. She has dreamed of Egypt all of her life; dreams where she is Cleopatra. But recently, there has been a new, ominous tone to these visions. She occupies the life of another in these hallucinations. At first, they seem like dreams, fantasies. Then, she recognizes someone she knows to be a real person these visions: a certain Mr. Reginald Ramsey. He’s been in the news due to his proximity to the discovery of a mysterious mummy, and several strange occurrences soon afterward.

Meanwhile, an angry Cleopatra, having been awakened by Ramses in the early book, is on her own journey. Unlike most of the other immortal and long-lived Egyptians who companions who drank the elixir while living, she had the draught poured on her flesh by an impulsive and guilt-ridden Ramses. Her behavior, as a result, has a certain wild or primal element to it, which seems to be connected to the period of time she was dead.

What, then, is Sibyl’s connection to her? If both are living at once, then it doesn’t seem like it could be reincarnation. And if it is reincarnation and Sibyl possesses Cleopatra’s soul, then what is the soul, spirit, or impulse that animates the hot-headed Cleopatra?

A certain group of Egyptians, Jeneva, Callum, and Matthias among them have been given a weakened version of the drought that only keeps them alive for 200 years. Saqnos, their maker, told them not to awaken them unless something occurred to make them believe that the original elixir existed. He was too depressed by watching his spawn die in what seemed to him, the briefest of times.

All of these interesting characters are hot on the trail of Ramses the Damned, who himself, is engaged to Julie Rutherford. She, newly immortal, along with her uncle, the dashing and reticent Elliot, Earl of Rutherford, are gallivanting around the globe while Elliot avoids seeing his wife and his son, Julie’s former fiancé, in person. Elliot seems primarily interested in male romantic and sexual companionship, which may be part of why he has no desire to see his wife. He’s also afraid she’ll notice the changes immortality brings.

This is the set-up for a globe-trotting adventure that switches back and forth between its interesting primary characters before heading towards its powerful conclusion. Combining the suspense timing of Christopher Rice with the eloquent language of Anne Rice, it is fast-paced, lush, and engaging. If you enjoyed The Mummy or Tale of the Body Thief, I recommend you pick up this book.


 About the Author: Sumiko Saulson is Sumiko Saulson is a horror, sci-fi and dark fantasy writer, winner of the StokerCon Scholarship from Hell and 2nd Place Carry the Light Sci-Fi Short Story Award. Born to African-American and Russian-Jewish parents, she is a native Californian and has spent most of her adult life in the Bay Area. She ranked 6th place in the Next Great Horror Writer Contest.

From the Vault: The Sounds of Horror in Black American Music

From the Vault – So Good, it bears Repeating
The Sounds of Horror in Black American Music

by J. Malcolm Stewart

Somewhere between screams of torment that came from the Door of No Return and the groaning of the slave ship, between the seller’s cries in the flesh markets and the scorching fields of the American South, came the Blues…

Born of brutality and brutal honesty, the sounds of work gang chants became entwined the twist and the twang of the guitar string, mixing the call and response structure of the West African storytellers with the rhyming couplets of the French and the English languages and coupling the cosmology of the ancient Oriesha  with the Apocalypse of Daniel Belteshazzer and John the Revelator.

Chains were broken but oppression was not… So the Blues traveled from plantation to plantation, from work camp to work camp,  from roadhouse to roadhouse, until the thumping of wood and string and voice created a roaring tide that rivaled the sea itself.

And Hell came with it…

Charley Patton may have been the first. A man stuck between two worlds, denied and hidden by his celebrated white musician father, forced by Jim Crow to hit the dirt roads between sharecropping plantations to ply his special brand of full contact entertainment.

He was the first show stopping Bluesman in the years after Reconstruction, screaming at the top his lungs for 35 years, giving words to the pain and injustice of a people who, like him, could not claim their rightful inheritance in a color struck world.

Once, when a sharecropping plantation owner asked one Patton’s listeners about the massive appeal of the Blues player’s distinctive howling, the man simply said to the landowner, “Boss, you’ve never been a nigger on a Saturday night…” A statement as starkly insightful to the black experience as it is disturbing.

Around the firelights of those cotton field work camps, the next generation was already watching and learning. Robert Johnson was also an exile of sorts, kicked out by his mother’s second husband at 14 to wander the crossroads of life on his own. In his way, Johnson was living the Blues, following the masters of the form, making great and glorious plans of his own.

In his self-told story, he made up his mind one day to go the crossroads and invoke something that could help him be the best Bluesman of all time.

Whether it was the Leguba of ancient times or the Devil of Christian vintage has always been up for debate. In fact, the story itself may have been the one of the first, best examples negative image marketing.Whatever the source, Johnson became the next sensation, with the Library of Congress trailing him in down in 1936, (before the Hellhounds apparently), as they recorded perhaps the most mysterious 41 songs in American history. His strange death in 1938 is now the stuff of legend and speculation, a story that mixes fact and fiction together in generous amounts.

Johnson also became an inspiration to another generation as a fellow Mississippian took Bad Bob’s sound with his electric guitar to the South Side of Chicago in 1946. Muddy Waters took the folk traditions of the black South along with him, drawing inspiration from its wellspring of enchantments, spirits and ancient artifacts. In his songcraft, the Wise-Women of the Mystery Traditions became the “gypsies” of the modern South, casting spells, granting favors, creating Mojo-hands of luck for worthy adherents.

In his 1957 song “Evil,” Waters imagines himself as a past practitioner of sorcery, walking through the jungles of Africa using his will to tame and rebuke every man or beast he meets. About the same time Waters sang of terrorizing the Motherland, the airways were alive with “Screaming” Jay Hawkins’ novelty hit “I Put a Spell on You.” In the song, the theatrical Hawkins (he, at times, would rise from a coffin during his stage show) describes with loving menace the way he intends to keep the object of his affection by using strange powers of his mind.

Though the result was indeed very scary, it also was masterfully crafted and given Hawkins’ powerful vocals, it remains a favorite of Halloween celebrations to this day.

However, the next wave is always building and one of the musicians on the scene at Muddy Water’s nightclub became the Vanguard of its sonic emergence. James Allen Marshall “Jimi” Hendrix often “sat in on side” (in the musical parlance) at Muddy’s. Or at least, he did during the times he wasn’t being fired by Little Richard for stealing “The Originator’s” on-stage thunder. Muddy gave the talented Seattle vagabond several lengthy discourses about the strange majesty of the Blues. Hendrix took that advice and ran with it… All the way to London, England where he ended up re-writing the rules for popular music.

After becoming an international sensation, Hendrix wrote his ticket back to the States and settled down in NY’s Electric Ladyland studios to record his third album. Perhaps inspired by his lengthy conversations with the electric guitar pioneer, Hendrix decided to make a 15 minute deep blues jam the centerpiece of his upcoming 4 disc “concept album.”

The rock magician decided to borrow the “gypsy woman” trope from Waters, but instead of him “being born for good luck” like the hero of the Blues-player’s  “Hoochie Coochie Man,” the opening stanza of Hendrix’s creeping blues tells us, this time, the prophecy of the Wise-Woman brings death to a distraught mother as the “Voodoo Chile” is born.

Hendrix’s version of the Bluesman’s fantasy extends beyond the boundaries of the terrestrial as he travels in his spirit from this life to next, present both in the far reaches of outer space at the same time he sits watching from his lover’s picture frame. The screaming, crashing crescendo of the piece sends the impromptu audience, who stuffed themselves in the recording studio that Friday night in 1967, into a frenzy, cheering and clapping while Hendrix, Buddy Miles, Mitch Mitchell and Steve Winwood riff and roll until the tape runs out.

It may have been that enthusiastic response to Hendrix’s cosmic voodoo that inspired him to bookend his sprawling album with a thunderous coda. “Voodoo Chile (Slight Return)” is as short as its predecessor was long and as aggressive as the first song was ponderous. In it, the lyrics imagine Hendrix as a giant of Creation as he retells the ancient formation myth of the Canary Island chain.

“I stand up next to a mountain,” he sings. ” And I chop down with the ledge of my hand….” His guitar explodes and growls as he proclaims “If I don’t see you no more in this world, I’ll see you in the next one.. Don’t be late…”

Hendrix’s untimely death in 1970 ended the Age of Aquarius before it started, making him, along with Robert Johnson, a member of the now legendary 27 Club. In the decades after his death, the sound of black America went from the mind expanding psychedelic music of the 1960s to the angry boom and thud of Hip Hop and Rap during Reagan’s 1980s.

Those years brought political anger, racial confrontation and soaring disenfranchisement to the black urban communities of America. Many of the Nation of Millions, whose grandfathers and grandmothers heard Charley Patton howl  and scream, now had different horrors to consider. But even the mega-cities and sprawling ghettos of the North and South could not divorce themselves from the terrors of the past. The evil things of days past changed and morphed, emerging again into the light altered like Frankenstein’s Monster .

No greater example of this musical mutation between old and new is found than in the 1987 song “Mind Playing Tricks on Me” by the Houston based rap group, The Geto Boys. In the song, each member of the group, caught up in some form of street crime, describes being chased by a relentless evil, which in turn could be either supernatural or psychological in nature.

The final verse of the song, rapped by Bushwick Bill, sums up the fear and paranoia of the theme as he describes a Halloween weekend spent bag robbing and terrorizing the neighborhood. Suddenly, a terrifying figure of the night appears behind them, causing Bill and his companions to attack in self defense. The following violence ends up with Bill coming to realization that the whole incident had been a hallucination, and in reality, he had been pounding his hands to bloody shreds on the concrete by himself.

This new reality of crime, unjust policing and poverty changed the sounds of fear again by the 1990s. Tupac Shakur, between his prison terms and diss-raps, oft described being driven and pursued by demons in his music. Shakur’s great rhetorical rival, The Notorious B.I.G., reminded his fans that “You’re Nobody ‘Til Somebody Kills You,” before being shot dead himself in the streets of Los Angeles. NYC rap duo Mobb Deep entitled their third album “Hell on Earth,” as a reflection of the concrete inferno of their native Queensbridge neighborhood. Wu-Tang Clan’s RZA started and then rejected a rap school of expression some dubbed “Horrorcore.”

The turn of the calendar to the 21st Century brought with it even more terrors and madness. The Twin Towers fell and the Orwellian reality of the deep Security State emerged. The horrors of the day also took a more pleasing shape as artists began exploring the Faustian bargain of obtaining fame and wealth by all means, perhaps even at the cost of one’s eternal spirit.

Whether it be metaphor or magik, Bahamian pop sensation Rhianna explores this topic in depth on her 2016 video-album offering, “ANTI.” Where some see the alchemical triumph of a descendant of slaves becoming a trans-humanist superwoman, others see the mark of a Luciferian pact, literally mapping out for her viewers an occult game plan on how to sell one’s soul to the forces of the Abyss.

Maybe she met Robert Johnson on the way there…

Regardless, music has served as a mirror to the souls of Black Folk in this land far away for nearly four centuries. In it, good or ill, we see the concerns of the day and our fears for the future.  Whether we are mastered by these terrors or we rise above them depends on how we respond to what we see in that aforementioned image.

If we do not find they way to that higher path, the howl and scream of history may just be beginning…

 

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jaymal_1423800549_46 - Edited.pngJ. Malcolm Stewart is an author, journalist and media professional who lives in the San Francisco Bay Area. His short fiction has appeared in the Pulp Empire Series, Heroes of Mars, Twisted Tales, Temptation Magazine as well as on the Smoke and Mirrors podcast. His novel-length thriller The Eyes of the Stars can be found at Double-Dragon-ebooks.com in ebook and paperback. His short story collection The Last Words of Robert Johnson and Other Tales is also available now on Amazon.com along with his non-fiction collection of horror film essays, Look Back in Horror: A Personal History of Horror Film.

An Interview with Horror Artist Rhaega Ailani

Yasou Rhaega! Thank you so much for taking the time to speak with us at HORROR ADDICTS.

I wanted to ask you a few questions regarding your artwork and illustrations because you have such a large span ranging from fantasy art to science fiction.

Gia sou Lisa! Pos iste. It will be an absolute pleasure to me to answer

What made you choose that direction for your craft?

I think I took the route of Fantasy even before knowing that my path in this life it would be closely linked to art. Yet one of the first memories I keep from my childhood was my first book of Greek Mythology, full of illustrations and amazing stories that inspired me and push me to imagine so much. Mythology always has been defining my way.

I guess I am an addictive Dreamer: I see the world around me through the prism of the fantasy and the imagination, maybe because I know reality too well, and yet I think the world of Fantasy and Dreams, is always full of possibilities.

I see you are in London now, but you spent a lot of time in the Mediterranean. Do you feel living there, with it rich culture and mythology, it had a strong impact on your creative muse?

I moved to London few years ago. My partner is a londoner, and even If I have been always moving around and living for a while in different countries such as Germany, France, Greece, etc. (As I never liked to be in the same place for a long time). I always come back to here, to the little Mediterranean city near I was born, Tarragona. Maybe because some part of me always has the incredible need to come back to where I belong to.

Over there, you just need to sit down on the soft sand, let the soft tamed breeze guide your thoughts and look at the sea in silence. Sometimes it amazes me how simple moments like can take your mind to places that you couldn´t even dream off, pushing in every step to bring each time the best of you in each piece. At least, that´s my purpose in life.

You took a long break of silence for awhile. What was it like for you during that time? Did you feel an itch to break out of it early? Or was it a welcome vacation from things?

About the break I took. I really needed it. There was in a concrete moment where my personal life was taking over a bit, and I felt I needed to take a break, breath deep and analyze.

Sometimes at some stages life decides to open new doors for us so we can walk into them, because we have to do it, so we can develop as human beings and it will help us to grow stronger, even if at the beginning we don´t understand why.

This personal break was more like a cunning step into a new stage in life for me, spiritually and in my way to develop my creations of course.

What’s it like being an artist for a living? Do you sometimes feel it’s harder, or would do you feel you made the right choice? What are some of the challenges you face being an artist for hire?

It is something completely hard, challenging I would say. (And being a woman inside this industry, much more!) But as Truman Capote use to say, “When God hands you a gift, he also hands you a whip”. And the truth is there´s no prize in this life, without any struggle. This is the path I chose. I love art (and in concrete, illustration), so much that I knew since I was a child that this would be the path I would follow. And I don´t regret it. The fruits of your work sometimes they take time to mature, but it´s an immense pleasure when you receive them. I think I find many challenges on a daily basis, like any other artist, but the biggest one (at least for me), is the one of getting to please myself first with the job I’ve done. I am my biggest and hardest critic, I´m not an easy woman with compliments, and to me it is very important to show the real vision of what I had in my mind to others, through my work. I can repeat the same image as many times as I want, and I will not stop sketching until I have what I really want, what my heart really wants to show. I don´t care about the effort, I don´t care how long it takes me. It´s my work, and before presenting it, I have to be completely satisfied with it, if not I will not do it.

Some of your work has a strong spiritual influence. As a creative myself, I understand this draw but tell our audience what this is like-or what it means-for you.

Spirituality is a very important part of us, it´s an essential path that sooner or later someone should take to understand your own soul. Is not a fashion, it’s not about reading some books and thinking you are invested of some kind of “divine” touch to do as you want. Spirituality is not a degree you can learn anywhere. It’s a silent and hard path that´s not the same for everyone. It´s a lesson we all learn. You can call it however you want. There´s no time limits, no other goals than the ones that you decide. Spirituality is most of all daring to look inside yourself, take into your arms you “inner child” and learn to listen to him/her again, working in yourself. Spirituality to me I could summarize it in three simple concepts: Listen, Accept & Love yourself.

And yes, I do feel a very important connection to it. Because I would be so simple-minded (or maybe too arrogant) to think that the only thing that exists and matters is the material world that surround us. Not at all, this is just like a “mirage”. I always say,” I don´t like to meet people, I like to feel people”. And that´s how it is.

 

What kind of art, besides the spiritual, do you feel the strongest connection to, and why?

I must admit I feel some kind of “weakness” for some styles like for example the Renaissance, or almost all the “Pre-Raphaelism”: And with this we go back to the point of my personal “addiction” for Mythology and Fantasy. Because these styles, they represent perfectly an atmosphere of dreams and fantasies, with a very powerful allure that I find too appealing to me personally. I love the classics, it´s hard for me to get into the concept of modern art now in our days, but I must admit also I admire many artists, especially in comics and illustration like Hergé, Arkás, René & Gosciny, Luis Royo, Ciruelo Cabral, or Victoria Francés, which I think they are amazing with all the work they do.

Us writers sometimes experience writers block. Do you ever feel “creative block” when you’re working? If so, how do you move past that?

I don´t think I ever experienced that.  But maybe what I experienced is a “physical block”, in times when health didn´t allowed me the strength I needed to can continue creating. Then it´s a real nightmare, when you have so much into your head to get out, but your health is not really letting you push forward for it and can accomplish it.

Tell us a story behind one of your favorite pieces. I know people often ask where you get your ideas, but I love hearing stories behind the ideas.

I can tell you for example three of them. One of my recent ones called “Nimué”, and isbased on the mythic young maiden that used to serve the Lady of the Lake (some say that is the Lady of The Lake herself, in one of her multiple faces), in the old Arthurian Myths. I always found this character (being another interpretation of the mythic “Lady” or not), very fascinating that in fact, I felt I had to paint her soon or later. But as always, I didn´t want to do it until I had the right image in my mind to create her. And there it was, one morning I suddenly woke up, and I started to paint.

And the strokes came on its own, with no effort, easy. That´s how I truly imagine her. Like a kind of silent nayad, sitting on the bottom of the dark lake, holding always Excalibur in her hand, strong and confident. Maybe waiting for the rightful King to release it again.

Do you have a ritual when you sit down to begin a piece? If so, tell us a little about how it works for you. If the ritual is somehow interrupted, does it affect you or your work?

My personal ritual? I always try to do a little of meditation before I start to work. (To me it´s also a way to thank to the universe for what I am, and what I have, and to relax of course), burning an incense stick, always the best to clear the atmosphere, and get me into the perfect scenery and frame of mind so can get started with the job …I truly think  you don´t need much to create a new piece, once you  truly feel it in your heart, and you have the inspiration and the right vibration to do so.

I usually don´t get very interrupted, because I try to find the right time to start my work: I love to be alone in my studio, loneliness to me is the perfect haven to start to engage what are the ideas with the result.

When we look at an artist’s work, we can always see a “signature” in their style which sets them apart from other artists. What do you feel your signature is?

My signature is to me, like a wild scratch that fights to get out from the paper, out of the canvas and into the surface, for the darkness into light. Out of the art piece itself to become a little haven to the mind and senses for a while to the public that watches it . Maybe my signature itself is a reflection of my wild side: the inner “fight” that exists inside every creative soul to make it work the way that it has to be. I think that this is to me more than a simple signature. It´s a “print” of my own soul.

Do you feel like where you are, for example geographically, has an influence on your work?

Oh yes, definitely the place where I am creating it becomes a strong influence in my work. As I said before, I love to travel and to visit different places. I “visualize” life itself as a “long journey” from which we have the chance to learn all what we came to learn in here. Every place where I have been living, even for a lil´while brought me some sort of happiness and knowledge, that now I consider it as completely priceless. And part of what I learned it always its own mirror in my artwork.

Some artists find it harder to work in certain places, geographically which has been your most challenging, and your least?

My most challenging I guess is my own country. My least challenging is Greece, definitely. I adore the meaning that Greeks give to art, to their random lives, and the incredible support they give to artists, to the ones that are Greeks themselves, as to the ones that come from another country. When I worked there with other artists, I felt like home. It was like a constant exchange of ideas and experiences. I have the highest respect to them. They are people that make you “grow” completely.

We’d love to see more of your work! What’s up and coming from you?

By now completing some illustrations for the role book game called “Aureus” (“Aureo”), based in the Ancient Greek Mythology, the compilation of my last Mythology exhibition called “Mythica”, and another exhibition (completely different this time), where I will develop much more what I call “Spiritual Painting” A much more transcendental and close view of art. It’s a graphic representation of the feelings and the depths of the soul to me.

If we wanted to own a piece from you, where would go to purchase?

If you or anyone would like a piece of my artwork, it’s something so simple as writing me a mail. I love when I get a message of someone asking me if they could commission an artwork from me. It makes me happy to make someone else happy.

It has been really great getting to know you! I hope you’ll let us check in with you again soon. Before we let you go back to your colorful world, will you leave us some breadcrumbs to find you again?

Yes of course, here you have the links!!:

https://www.facebook.com/Rhaegaailani/

http://rhaegaart.wixsite.com/illustrator/contact-

https://twitter.com/rhaegaart

Thank you so much for allowing us into your world for a brief moment. All the best to you from us at Horror Addicts!

Press Release: The Ghost Notebooks by Ben Dolnick

PRESS RELEASE: THE GHOST NOTEBOOKS BY BEN DOLNICK, Pantheon

Ben Dolnick’s forthcoming novel THE GHOST NOTEBOOKS is on sale from Pantheon today! At once wonderfully creepy and deeply moving, this book is a “compelling mix of love story, detective story, and ghost story” (Booklist) as a young couple, newly engaged, become live-in caretakers of a historic museum.

When Nick Beron and Hannah Rampe decide to move to the tiny upstate town of Hibernia, New York, they aren’t running away, exactly, but they need a change. Their careers have flatlined, the city is exhausting, and they’ve reached a relationship stalemate. Hannah takes a job as live-in director of the Wright Historic House, a museum dedicated to an obscure nineteenth century philosopher, and she and Nick move into the old, creaky house. But as summer turns to fall Hannah begins to have trouble sleeping, and she hears whispers in the night. One morning Nick wakes up to find Hannah gone. Now, in his frantic search for her he will discover the hidden legacy of Wright House: a man driven wild with grief, and a spirit aching for home.

Ben Dolnick’s work has appeared in GQ, The New York Times, and on NPR.


Praise for THE GHOST NOTEBOOKS

“For all its curiosity about things that go bump in the night, the most notable features in The Ghost Notebooks are its qualities of light. Ben Dolnick’s charm, lucidity, and insight will come as no surprise to his growing group of fans. Count me one of them.” —Garth Risk Hallberg, author of City on Fire

“In this compelling mix of love story, detective story, and ghost story, [Dolnick] takes a haunting look at what might follow life.”—Booklist

“Hannah loses her job and applies to be live-in caretaker of the Wright Historic House upstate. She and her fiancé Nick leave Astoria with dreams of a simpler, reinvigorated relationship. And then Hannah disappears. This Brooklyn author delivers an affecting and original take on love, loss and grief in assured writing that is both poignant and laugh-out-loud funny, sometimes in the same sentence.” —AM New York’s “Must-Read Books in 2018”

“Dolnick’s immersive novel, about how little people know about their loved ones, adds a supernatural element to that topic…. Nick’s convincing narration, a chronicle of blind spots and good intentions, is chief among the devices Dolnick deploys to give familiar motifs a contemporary sensibility in this ghost tale, love story, mystery, and bildungsroman.”—Publishers Weekly

Press Release: WiHM, Massive Blood Drive

From the Twisted Twins Productions Press Release:

It’s Women in Horror Month and that brings with it not only numerous celebrations of equality, but our MASSIVE Blood Drive! Yes, you can’t think horror without thinking blood so we took it upon ourselves to make the world aware of the very dire need for donors. Now in it’s 9th year, we decided to kick things up a notch by featuring 30 filmmaking teams from around the world and release a new Blood Services PSA for 30 days!

DISCLAIMER: This IS Horror, boys and grrls, so SOME of these do have VERY naughty content. Blood. Gore. EXTREME gore. Disturbing situations. Nudity. Sexual situations. Violence. Language.

If you are SENSITIVE to this kind of content, be a mature human being and just don’t watch. No need to spoil the fun for us fellow weirdos. We’re not hurting anyone. It just REALLY looks like we are 😉

Now, on with the show!!

 Presenting: “Be A Hero” by Vanessa Ionta Wright

Check it out here:

ABOUT THE ARTIST:

Vanessa Ionta Wright is a filmmaker based in Atlanta, GA. She is the co-owner of Above the Line Artistry (www.abovethelineartistry.com) as well as the co-founder and Festival Director of the Women in Horror Film Festival (www.WIHFF.com).  Vanessa collaborated with Samantha Kolesnik, Mark Simon (One Missed Call), David Irwin (House of 1000 Corpses) and Josh Oliver (Oculus) on Rainy Season, based on the story by Stephen King.  Vanessa has also directed the short film I Baked Him a Cake and a PSA for the WiHM9 Massive Blood Drive.  Vanessa graduated from Ohio University with a degree in Video Production & Film. She is a lifelong fan of cinema, most especially the horror genre. She enjoys punctuality, scary movies, a quick wit, sandwiches, the music of Michael Jackson, Halloween & Bacon Jam. She does not enjoy bugs, clowns, perpetual lateness, mean people, oppression, laziness, running more than 3 miles or curved walls.

ARTIST’S STATEMENT:

I was really honored to be invited to create a PSA for the WiHM Massive Blood Drive.  This is a brilliant idea to blend the world of horror filmmaking with such an important cause.  I think it’s easy to take our blood for granted.  It is crucial to donate.  I hear people say all the time “I wish I could do something to help” and this is probably the most simple and effective means of helping others.  Giving your blood will save lives and I am so grateful to be a part of such an amazing cause.  The theme this year of Be a Hero is so appropriate, because when you give blood, when you save a life, you become a hero.

Full cast & crew can be found on IMDb at: Cast of Be a Hero: http://www.imdb.com/title/tt7568800/?ref_=fn_al_tt_1

Look for a NEW WiHM Massive Blood Drive PSA every day with the last one appearing on March 1st.

For more on Women In Horror Month check out the official site at: http://www.womeninhorrormonth. com/

Black History Month: L.A. Bank’s Bad Ass Black Vampire Slayer

Why television needs Damali Richards, L.A. Bank’s Bad Ass Black Vampire Slayer

by Sumiko Saulson

If someone were to ask me what horror by a black female author was most likely to wind up as a television series, I would say without a doubt, L.A. Bank’s Vampire Huntress Legend series. This extremely well-written paranormal suspense series combines elements of gritty urban fantasy and paranormal romance with outright, edge-of-your-seat, bloody, gory horror. If you like shows like Supernatural, Grimm, Buffy the Vampire Slayer, Angel, The Vampire Diaries, The Originals, and Sleepy Hollow, you would probably love the Vampire Huntress Legend series, and if they made a television show out of it, you’d probably be instantly addicted.

The series revolves around Damali Richards, a young black woman whose main goal in life is to succeed as a musical artist. That’s until she discovers that she’s a Neteru, a vampire slayer, whose destiny is to defend humanity from creatures most still believe to be mythological fiction. In the first book of the series, Minion (2003), Damali is a rising star on a hip hop label with the enigmatic name Warriors of Light. Strange attacks against artists on the label and its rival, Blood Music, lead her into a mysterious web of intrigue. She learns that a group of rogue vampires are behind the attacks.

Leslie Esdaile Banks, the author behind the series, wrote it under the pen name L.A. Banks to distinguish it from her voluminous collection of primarily romance novels. The gritty tone of the Vampire Huntress series distinguishes it from those romances. However, some people may consider the series paranormal romance. Carlos Rivera, a Latino drug lord turned vampire, soon emerges as Damali’s love interest. He spends the first few novels pursuing her. While some might consider the romance central, most consider it secondary, like Buffy’s romance with Angel on the Buffy the Vampire Hunter television series. Like Buffy, Damali is clearly the star. This is her universe, and the rest of the character’s interactions center around her.

L.A. Banks died on August 2, 2011 of adrenal cancer at the relatively young age of 51. During her slightly more than half a decade on the planet, she created an impressive body of work, which includes close to fifty novels and novels, including the thirteen books in the Vampire Huntress Legend series.

The books are Minion (2003), The Awakening (2004), The Hunted (2004), The Bitten (2005), The Forbidden (2005), The Damned (trade paperback), The Forsaken (trade paperback) (2006), The Wicked (2007), The Cursed (trade paperback) (2007), The Darkness (2008), The Shadows (2008), The Thirteenth (2009), and a spin-off, The Shadow Walker: A Neteru Academy Novel (2010) . Thirteen books are quiet enough to keep any television producer busy for many seasons. She wrote all thirteen of the novels between 2003 and 2010. Fans like me were shocked to learn of her cancer diagnosis and devastated by her death shortly after. We were all expecting to see many more of these books by the marvelously talented Leslie Esdaile Banks. Although she isn’t here to see it, I think it is imperative that the world adapt her novel series for television immediately.

Some may think that the world isn’t ready for a vampire slayer series that features a twenty-something black female rapper as its star, and a thug as her Latino lover. I beg to differ. The success of supernatural television serials like The Originals and Sleepy Hollow, which feature prominent black characters, shows that the world is read for the Damali Richards Chronicles, or Neteru, or whatever they are going to call this television show when someone clever finally pitches it and gets it greenlighted.

How fascinated are people with Black Panther? How many people watch American Horror Story just so they can check out whatever characters Angela Basset and Gabourey Sidibe, are playing this season? How fast did Sleepy Hollow tank when they made it all about boring Ichabod Crane and his wife, denying that Abbie and Jenny Mills were the heart of the show? How many people would stop watching The Walking Dead if there were no Michonne? Why are there so many The Vampire Diaries Bonnie Bennett spin-off novels? It’s because strong black heroines sell.

Television desperately needs Damali. Can you see it? Empire meets The Originals.  It would be legendary.

If you are reading this article and you work in Hollywood in any way, shape or form, run out and immediately pick up the Vampire Huntress Legend series. You owe it to yourself, the black community, and America to make this a thing.

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 About the Author: Sumiko Saulson is Sumiko Saulson is a horror, sci-fi and dark fantasy writer, winner of the StokerCon Scholarship from Hell and 2nd Place Carry the Light Sci-Fi Short Story Award. Born to African-American and Russian-Jewish parents, she is a native Californian and has spent most of her adult life in the Bay Area. She ranked 6th place in the Next Great Horror Writer Contest.