Press Release: Check out a new Horror/SciFi Streaming Network!

Check out the new Horror/SciFi network! CometTV.com is a digi-network which people can watch via antenna and/or streaming live via the web. It’s the home for the best in classic horror and sci-fi films showing some of the most unique and rare genre content including films rarely seen from the MGM library.

AIRING ON COMET in August

YOU DON’T NEED A SUBSCRIPTION TO WATCH THESE GREAT MOVIES…

THEY’RE AIRING FOR FREE ON COMET!

Watch live here: http://www.comettv.com/watch-live

Vampire’s Kiss (1973)

Friday, August 25 at NOON/11C

Steel Dawn (1987)

Thursday, August 24 at 6P/5C

An American Werewolf in London (1981)

Sunday, August 27 at 4P/3C

Thursday, August 31 at 6P/5C

Invasion of the Body Snatchers (1978)

Friday, August 25 at 8P/7C

Saturday, August 26 at 8P/7C

Wednesday, August 30 at 5:30P/4:30C

1984 (1985)

Wednesday, August 23 at MIDNIGHT/11C

Monday, August 28 at 6P/5C

An American Werewolf in London

One of the greatest horror films of all time is headed to COMET! Check out John Landis’ often imitated but never duplicated 1981 classic, An American Werewolf in London, and discover why it’s always a good idea to “stay off the moors.” The film airs on COMET on August 18 at 8P/7C, and again the following night at the same time.

 

and Sunday, August 27 at 4P/3C

 

Invasion of the Body Snatchers

Most of the time, we’re not big fans of remakes. But once in a while, a remake comes along that vastly outshines its inspiration. Invasion of the Body Snatchers, the 1978 reboot of the 1956 sci-fi thriller, is one of those remakes. Not only that, it’s maybe the best remake ever made, and with stars like Donald Sutherland, Jeff Goldblum, and Leonard Nimoy, it’s not hard to see why. The invasion begins on August 25 at 8P/7C, with an encore airing at 8P/7C on August 26.

Friday, August 25 at 8P/7C

Saturday, August 26 at 8P/7C

and Wednesday, August 29 at 5:30P/4:30C

Blacula & Scream Blacula Scream (DOUBLE FEATURE)

TWO BLACULAS ARE BETTER THAN ONE. Without a doubt the most iconic blaxploitation horror movie ever – and also probably the punniest movie title, period – Blacula has earned legions of devoted followers since first rising from the grave in 1972. Its success spawned an even campier sequel the following year in Scream Blacula Scream, and now you can catch both Blaculas on COMET in the same day. Blacula stalks your screen first on Saturday, August 5 at 2P/1C, and it will be followed directly by Scream Blacula Scream at 4P/3C.

Blacula airs Saturday, August 5 at 2P/1C

Scream Blacula Scream airs Saturday, August 5 at 4P/3C

and

Blacula airs Tuesday, August 8 at 4P/3C

Scream Blacula Scream airs Tuesday, August 8 at 6P/5C

and

Blacula airs Friday, August 25 at 4P/3C

Scream Blacula Scream airs Friday, August 25 at 6P/5C

FRIGHTENING FLIX BY KBATZ: BONE TOMAHAWK

 

Bone Tomahawk is a Wonderfully Horrific Western Road Trip

by Kristin Battestella

 

For audiences that don’t like westerns or straight, terse drama, the opening half of the 2015 genre bender Bone Tomahawk will be too slow. However, for viewers seeking gritty period pictures and horror films set in unique places, this is definite yes!

While tending to the crazed and wounded outlaw Purvis (David Arquette), Samantha O’Dwyer (Lili Simmons) is abducted by a mysterious, hear tell tribe of nameless, ruthless cave dwellers the local Native Americans fear and avoid. Nonetheless, Bright Hope Sheriff Franklin Hunt (Kurt Russell), his elderly deputy Chicory (Richard Jenkins), and local gunslinger John Brooder (Matthew Fox) mount a rescue. However, foreman Arthur O’Dwyer (Patrick Wilson) is also determined to join the mission to save his wife despite a broken leg that has kept him off the work trail. It’s a dangerous ride with raiders, injuries, and rough terrain testing the posse’s prayers, convictions, and mettle – yet more primitive, gruesome, bone chilling horrors are in store…

 

Not Your Average Western

Flies buzzing” is the first caption of writer and director S. Craig Zahler’s (The Incident) two hour and thirteen minute festival darling, and those words set the tone for the throat slicings, body crunching, and bleak western horrors viewers aren’t supposed to see coming. This is just the lawless ways of the 1890s frontier – robberies and thieving never mind those skulls on torches and Indian burial grounds. The people in this era were gun belt wearing badasses, nothing more than the Wild West is supposed to be happening, right? Howling wolves and spooked horses invoke a western realism, and we expect to see this ironic but charming Old West gritty. The nearby Bright Hope pioneer town provides quaint Victorian interiors, polite men escorting women at night, and a laid back, boots up, playing checkers comfort. However, Bone Tomahawk has no rousing music and sweeping pans or thriving, progressive hustle and bustle to its town. Despite respectful and articulate mannerisms, there’s a gruff to these voices. The empty edge of white civilization is relatively silent with no ritzy to its saloon and a drunken piano player in need of whiskey to finish his ten cent tunes. Although side actions are told rather than seen, that hearsay unreliability adds to the lack of knowing what really occurred, and excising this surplus action builds surprise for when abrupt shootouts and violent confrontations do happen. Suddenly, missing livestock, mysteriously empty jail cells, and torn up bodies add to this isolated town’s crimes and scares.

Arrows in the dark and shadowy figures suggest Indian suspects to the frontier folk, but even friendly Native American scouts fear this no language, nameless troglodyte tribe with behaviors more beast-like than of men. Although everyone looks the part in Bone Tomahawk and we believe these rugged but civilized men forming a revenge posse can handle what’s out there, these old fashioned heroes on white horses are facing some untold, cave dwelling ruthlessness. Bone Tomahawk is very well acted with quality players audiences may not expect would do this kind of seemingly smaller western or horror fair. Hopefully, one recognizes a good script when he sees it, for time is taken to get to know these excellent characters as individuals. Strong banter and a period sense of courage add dimension among the not so unblemished men before the primitive horrors add new terror to the traditional western rescue. Prayers about the campfire, dry humor, personality – viewers quickly come to like these boys, and we’re rooting for them in a pursuit already struggling against the usual trail perils such as gangrene, raiders, and dead horses. There’s a simmering, on edge at night when the posse bed downs. We don’t know what’s going to happen next any more than they know what awaits in the dark. Will such ongoing strain and the agony of travel get to one of them? The exhaustion and hopelessness add tension, arguing, pointing fingers – this is a terse, escalating journey whether the troglodyte horrors are ahead or not. Difficult group decisions must be made amid cynical thoughts and suspicions on what heavy tolls are inevitably happening to the captured. Of course, those horrors are worse than the rescuers of Bone Tomahawk could ever imagine. Survival is slim all around, yet they forge on to face the intense man versus man, man versus nature, and man versus himself battles.

Nail-biting pocket watch ticking and ominous horns blowing in the wind make the audience pay attention as Bone Tomahawk switches from bright tumbleweeds, dangerous expanse, and western perils to dark caves, trapped interiors, sudden sieges, otherworldly screeching, and harrowing wounds. Yes, there is an hour and a half onscreen before the film horrors arrive – that’s the length of most quick horror productions. One could also argue there is no need for an entire movie’s worth of western study ahead of such horror. Some viewers may want to see the western in itself alone without a horror finale or vice versa. There are several flaws in the final act regarding logistics and implausibilities as well, but the onscreen terrors in Bone Tomahawk forgive any contrivances. We appreciate the deaths, sacrifices, and final cigars before the goodbyes more because we are totally invested in seeing these characters through whatever comes at them in final forty minutes. All that has happened is summed up in few terrifying sentences – arousing all our fears of violation, injury, and desecration and leaving all the heroics we have previously seen for naught. The unpleasant nudity will not be soon forgotten by anyone who sees this movie, and a countdown of kills adds to the hopelessness. Who’s next? The tedium of waiting is at times far worse, and silly discussions fill the interim between the unknown time when life and death is imminent. The horror and fantastics may be tough for the realistic western audiences to accept, however, Bone Tomahawk is a brilliant and complete before, during, and after emotional experience with rubber necking can’t look away and a realistically cringe worthy not often seen in today’s cinema.

A Fine Ensemble

Despite a calm exterior and seemingly quiet post, Sheriff Kurt Russell (Overboard) has the mustache to match the grit in Bone Tomahawk. Franklin Hunt is a wise, relaxed, old fashioned lawman who’s good at his job but nonetheless indulges his old deputy when a stranger’s manner is suspicious. Sheriff Hunt doesn’t think there’s much hope in rescuing those abducted, and his wife objects to the journey, too. However, he is going to see his mission through regardless. Hunt prepares as best possible – he knows they need to care for themselves, their horses, and keep their wits about them to trump any thieves or beasties and do what needs to be done. Polite even when the circumstances turn barbaric, Hunt also knows Arthur O’Dwyer shouldn’t come on this rescue with a broken leg, yet he doesn’t bother asking for the objection. Russell gives a wonderfully poignant performance, and it’s bittersweet to see a man unchanged, doing what he sets out to do, and keeping his word whether the beholden are there to know his convictions or not. Likewise, Patrick Wilson (The Conjuring) has become a pleasing go to horror actor. Arthur’s a strong foreman not used to being laid up at home thanks to injury – nor his doctor’s assistant wife being on top in the bedroom. Arthur doesn’t share his emotions well and has difficulty talking with her, but his love and tenderness are unquestionable. He rides on this mission, learning how to handle his broken leg and show his tears while on the move. Wilson brings to life Arthur’s contradictory behaviors as the desperate husband comes to rely more on opium than prayer to go forward. How can he continue as his injury worsens? We may not think of such breaks, splints, and pain as being so difficult today, but in this wilderness, love is not enough to mount a rescue – or is it?

Arrogant and vain but no less witty and likable gunslinger Matthew Fox (Lost) is the suave, white suit wearing sophisticate of Bone Tomahawk. John Brooder says he’s the most intelligent man there and this rescue needs his smarts, fast shot, and fancy gunnery. Though not always as right as he thinks he is, there is a grain of truth to his tactics when it comes to making camp or taking defensive positions. Unfortunately, his suspicions on outsiders, potential theft, and his shoot first, ask questions later mentality doesn’t always help. Eventually, there are consequences to this quick draw attitude, and while he has good reason to hate certain Indians, Brooder gains sad respect for his horse and learns to trust his compatriots. By contrast, aged deputy Richard Jenkins (Six Feet Under) is not on his game but Chicory will continue to do his duty nonetheless – even if he can’t figure out something as simple as how to read a book in the bathtub without getting the paper wet. He talks too much, sometimes adding dry humor and reflection or philosophical speculation, but again, such seemingly random conversation helps fill the idle and take one’s mind off the impending horrors. Chicory is slightly off his rocker yet remains the voice of reason and moral center of the group – a lovely audience anchor pondering what we too are thinking. Although their scenes may seem slightly out of place, humorous but ruthless and hands on killer David Arquette (Scream) and expert throat slitter Sid Haig (House of 1000 Corpses) have some warped fun to open Bone Tomahawk, and their offbeat charm bookends the horror.

Fine older white men though they are, Bone Tomahawk is unfortunately a picture populated with precious few women. Despite being a respectable wife and doctoring assistant named Sam, Lili Simmons (Banshee) is nude fifteen minutes into the movie and feels out of place compared to the more developed male characters. Broadly swinging the pendulum from tender wife to bitchy snob, Sean Young’s (Blade Runner) uppity, domineering mayor’s wife is addressed on the situation instead of her little husband. These frontier women are tough pioneers yet remain sickly or put in their place with sex from their man, and even with these injun abducting the womenfolk fears, the audience sees too little of them to feel a personal investment. Big shocker – the few African American stable hands and servants are killed early in Bone Tomahawk, and Mexican moments or brief Spanish words are treated with xenophobic suspicion. Horses are more important than questioning the death of foreigners, but there are onscreen arguments about whether such reactions are right or wrong, fortunately utilizing the ills of the time for layered social commentary. More importantly, Bone Tomahawk makes the distinction between its horror neanderthal savages and local Native Americans, recognizing this is not normal tribe behavior whilst also implying the Manifest Destiny trespassing of the so called Bright Hope should have left the area alone. Locals knew to steer clear, but did the supposedly smart and superior white man? Nope.

 

Must See Looks

Old fashioned suits, cowboy hats, and late Victorian décor add to the frontier town woodwork and simplicity in Bone Tomahawk. Proper beds and an oil lamp patina with quills, books, a magnify glass, and period ephemera create a would be civilized and golden interior. I almost wish this was a television series to revisit and explore! However, natural sounds, horses, creaking wood, and swinging saloon doors add a lawless atmosphere alongside the beautiful, but untamed outdoor scenery. Precious few weeping strings and fiddlery accent choice bittersweet moments and echoing gunshots. While animal action, well edited attacks, and on the move tracking shots do capture the restlessness when it happens, Bone Tomahawk is a simple tale simply shot with no need for the sweeping panoramas and whirlwind camerawork often seen in expansive westerns or period pieces going for scope rather than inward terror. Gruesome frontier surgeries, scalping, disemboweling or worse provide enough horror gore while the briefly see beastly men leave room for the audience to imagine more fears. Their natural camouflage, animal trophies, horned masks, and primal, swift moving resistance to bullet grazes completes the disorienting civilized versus uncivilized frights. Subtitles are necessary for any whispering, but the Bone Tomahawk blu-ray release also provides plenty of deleted scenes, featurettes, and film festival Q&As with cast and crew. Unfortunately, it is just baffling when finely crafted pictures such as this are overlooked by the major movie awards. Tsk tsk.

Though worth seeing for the uniqueness alone, this R/Unrated horror is not for everyone. Instead of a cheap slasher with teens in minimum Victorian dressings, this is a niche western brimming with scares we don’t expect. Granted, Bone Tomahawk has many of the same flaws seen again and again with a one and the same writer/director who has no soundboard on what to do or not do. The lengthy run time could have been trimmed further and some scenes should have been more swiftly paced. Bone Tomahawk is also oddly structured as two halves of two different movies – leading with a western character study uninteresting to audiences expecting fast shootouts, boobs, and horror a minute. In fact, most viewers will be unaccustomed to having time dedicated to such full embodied and well developed characters. However, we should embrace this kind of ingenuity not bury it and push pictures like this to fringe audiences, and I would rather have a few slow scenes with extra time to achieve a cinematic vision than a butchered PG-13 picture sacrificing its meaty for maximum cinema screenings and more almighty millions. Despite a blink and you missed it limited box office release, Bone Tomahawk is currently available on several rental and streaming options. Go into Bone Tomahawk cold for full immersion into the fine performances, western drama, Deliverance effectiveness, and entertaining horror.

 

Press Release : Mr. Kristopher Unveils Part 1 of ‘Brooklyn Trilogy’

Press Release:

Mr. Kristopher Unveils Part 1 of ‘Brooklyn Trilogy’

Diverse Electronic Music Producer Mr. Kristopher has launched his newest adventure, Brooklyn Trilogy with the first, 4 track installment available today. Brooklyn Trilogy is a high energy, bass dominated EP with balanced elements of old school techno and dark EBM influences.

Mr. Kristopher - Press Photo 2

Multi-various electronic music composer, producer, and instrumentalist Kristopher J. Gray, aka Mr. Kristopher, raises the levels of frequency in a colossal way. With a punk-metal background informing his darkly unique tone and energy, eclectic experimentation with natural ambient sounds—traveling the ocean and mountains to record almost all of his music with distorted sounds from nature–and polished production quality, Mr. Kristopher is breaking barriers with his electronic licks, core riffs, and hip-hop kicks that delivers an all-out head banging bass experience. Period.

Since 2011, the diligent former college student has maintained a busy show/festival schedule as well as promoting his music and career, managing to keep on a strict schedule with his college courses by utilizing green rooms and downtime between sets in his travels. Mr. Kristopher has created and developed a presence among the rising contenders of today’s top tier festival circuits. Throwing down on stages such as Dancefestopia (4 years in a row), The Gathering of The Juggalos, Backwoods Music Festival, Safe In Sound Festival, and SXSW. He’s also recently been chosen by none other than Complex Magazine to participate in a 14 episode series and developed a hip-hop presence through sharing the stage with Tech N9ne and touring with Potluck. In 2016, he also participated in remixing Emmy Award winning Denyse Tontz’s “the United States of Anxiety” and Dave Aude’s “Sweet Dreams.” Going into 2017, he’s ready to break new ground with his first European label release Communion EP with Jet Set Trash (which includes such alumni as ZARDONIC), bringing his uniquely dark fusion of electronic styles to an eager new audience.

New comers take heed, Mr. Kristopher is far from rookie status, despite his recent blossom onto the electronic scene; he’s long since left the kiddy pool and has yet to look back. Mr. K has been swinging with the best of the best for some time. State by state, he has worked his way around the country through various clubs and theaters; spreading his message of love and down to the ground good times. If you’re in search of a light, look no further. Let this wild-style rhythm and passion fueled sound be your guide. From Mr. Kristopher’s heart to yours.

***

The Scarlett Dahlia by Jesse Orr Episode 8 Moonshine Bathwater

 

The Scarlett Dahlia by Jesse Orr Episode 8 Moonshine Bathwater

 

Janis, a seer to the slaves, sits by the fire, staring into its embers without seeing them.

Around her, the sounds of people living their lives in the slave quarters by the creek. A baby crying. Men talking. A woman laughs. Anyone of them could be next though. Delivered to the Scarlett Dahlia, only to vanish until what little is left of them is sold among the Manor slaves. As far as she’s concerned, the slaves who use the Dahlia’s leftovers as an aphrodisiac are no better than the dark mistress they all serve thinks Janis and spits into the fire. The saliva crackles for an instant and is gone.

The blood trade goes back to the year Miss Scarlett, fresh from the untimely death of her parents, came to stay at Dahlia Manor, home of her dearly departed aunt Laurie. Janis remembers the day she arrived, pretty as a picture in spite of her recent tragedy, in a white dress with a little parasol. The young lady had been taken through the Manor by that creep of an overseer Hans Dasham and had eventually been escorted through the grounds and down to the slave pen by the creek. Janis had been unfortunate enough to have been carrying a load of firewood back to her hut and never saw Hans until she bumped into him, knocking the wood to the ground. Scarlett stepped back, alarmed.

“WHY YOU–” Hans bellowed, and grabbed the long braids Janis wore pulled back in a ponytail. “I’ll teach you to watch where your fuckin feet are going.” He threw her to the ground and snatched one of the heftier pieces of wood Janis had been carrying. He drew an arm back to swing, then paused, uncertain. He looked back at his new mistress.

Her eyes were wide and shining with madness. Color had risen to her milk-white cheeks and her hands clutched her parasol with white knuckles. Her tongue moistened her lips. She nodded at him, the look in her eyes one of eagerness.

Hans grinned, and the stick had come down on Janis over and over until she was no longer sure what was happening. She knew at some point they switched and it was Hans who watched as the girl, beginning tentatively but graduating to outright viciousness, beat Janis unconscious. They had left her there, lying in the dirt, and none of the other slaves dared touch her. After an unknowable amount of time, Janis had returned to the world, and drug herself back to her hut.

Janis sighs, and throws a stick on the fire from the pile beside her. Her tongue probes the blank spots in her mouth as her breath whistles through them. She can’t breathe well through her nose, but that and a few missing teeth are all the price she ultimately paid for bumping into Hans Dasham that day, once the healing was done. Janis has never been acknowledged by Scarlett Dahlia again, and she is fairly sure the Dahlia would never remember something so mundane as the identity of the first(or possibly third, if you believe the rumors about the death of her parents) victim in a long line of successive acts of cruelty.

According to the rumors in the slave pen, Scarlett Dahlia is a vampire, a witch, a ghoul, a demon. She eats people’s flesh, she drinks their blood, she wears their skins, she converses with their dead bodies long after their souls have departed. She has no children, she has one child to whom she is teaching her cruelty, she has had many children and murdered them all to absorb their youth. Janis does not know truly where the line between truth and fiction has been drawn in the case of their terrifying mistress but she knows that the rumors of the blood trade are true. For those to be true, the blood has to come from somewhere. Janis doesn’t know if any of the other slaves have figured it out, and she supposes it doesn’t really matter.

From the bag she wears across her shoulder, she pulls out a leather pouch. Loosening the drawstring, she reaches into the pouch and throws a handful of white powder into the flames. With a whooshing sound, the powder ignites and the flames turn green. With her face bathed in the unearthly light, Janis begins to speak. Her words are slow at first, the syllables enunciated with care. It is not a language known by any of the other slaves, and they know to keep away when the fire burns green. Janis continues speaking, her words gathering speed as the air drains of sound. The crackle of the fire and the noises of the night are fading away as though getting farther. Even her voice is fading, though she is still speaking. Without taking her eyes from the green flames or halting in her speech, she reaches deeper inside her shoulder bag and pulls forth a small red-haired doll, clad in a white dress, her torso and head wrapped in the thorny tendril of a blackberry. The dress Janis had made from the white parasol Scarlett Dahlia had dropped and forgotten the day she beat Janis senseless. Janis can feel the Dahlia in the dress as she holds the doll. Hatred, fury, disgust, fear. She uses them all, her voice rising. Her hand balls into a fist, tightening on the doll. Blood begins to run from her palm, blood from wounds Janis will not feel until tomorrow. The doll, made from substandard cotton and burlap, becomes saturated and begins to drip down her forearm. Janis feels her voice cracking and knows she has nearly peaked. All she sees is a green flame. The world has narrowed to that tiny green spark and she chokes out the name.

“Scarlett… Dahlia…”

She flings the doll into the fire and it explodes in a black inky smoke that smells of rotting flesh, filth and despair. The world rushes back to her, expanding from the center of the green spark to which the fire has narrowed. Sound screams at her. The fire has burnt down to ashes, but the night is deafening. The world whirls and she slumps over beside the warm puddle of her hand’s blood, not unconscious but in a sleep so deep she seems dead.

As the doll exploded, Scarlett Elizabeth Dahlia was slipping her robe from her shoulders to enter her bath. A chill came over her and a far away look came into her eyes. Hans Dasham waited beside the tub for her to return from wherever she had gone. Eventually, she did.

“Is my headstone prepared, Hans?” she asked him, lowering herself into the steaming water. “The slaves are becoming restless. One of them has struck me.”

“Soon, missus,” Hans said. “The stone you wanted was hard to find.”

“Yes, soon,” she said and looked at him. She said nothing more, but Hans felt a sense of inescapable dread gnawing deep inside him.

“It’ll be done, ma’am,” he said, hoping she couldn’t hear the tremor in his voice. But of course, she did. Maybe that was why she smiled.

“You may proceed,” she said, reclining against the cushion at the edge of the tub, a tumbler of white lightning in hand. She looked at him, but this was the one that made him excited, not the one that turned his blood to ice.

“Yes ma’am,” Hans said with a wolfish grin. Pulling a straight razor from his pocket, he reached down behind the rim of the tub and lifted up an unconscious young slave by one thin arm. The boy was shirtless, and his upper body was crisscrossed with scars, some old, some new.

“Ooh,” hissed Scarlett. “He likes to fight, does he?” She sipped her drink. “Do it, Hans.”

Hans held the boy’s head over the tub and tilted it back. Almost quicker than the eye could follow, Hans had cut the boy’s throat from ear to ear. Blood goosed from the cut, spraying into the bathwater, turning it first pink, then red as the gash continued flowing.

Scarlett cooed, leaning forward, thrusting her free hand under the fountain gushing from under the boy’s chin. Bringing her fingers to her mouth she sucked them like a peppermint stick while holding her moonshine glass to catch some of the blood spurting forth. The oily liquid turned a dark, viscous red.

“Thank you, Hans,” she said and smiled at him. “You may go. Take this one to Charles and Mary, see what they get out of it.” She sipped her drink and trailed a finger in the crimson water. “I have all I need.”

 

Press Release: Susan Gittes Single Alone Now Available

Elusive Electronic Music Producer Susan Gittes has released her debut, down techno-industrial EP, Alone, via Bishops Bloc Records.

“Susan Gittes did it! Introducing one of the hardest, darkest artists we could find with one slowed down, dark industrial techno stomper and one what we would call soundtrack-esque industrial nightmare.” – Bishops Bloc Records

Player

Download ‘Alone’ Online:

beatport-logo
2013-itunes-logo-old-2

Slowed down techno and industrial sounds drenched in darkness. Nobody knows anything about Susan Gittes other than what we hear in her music’; its our best guess that she is a psychopathic killer on the loose, with a sampler and a drum machine. Sometimes heavy on percussion while other times heavy on the synths and soundscapes, Susan Gittes definitely knows how to create a feeling. Regardless of who Susan Gittes is, this release is already getting some major underground techno support from the likes of D.A.V.E. the Drummer aka Henry CullenCorvad and Fear The Priest. When contacted about the tracks and her process in music making Susan only replied with “…when i make songs I’m basically acting on impulses, what results is often emotional leftovers from my last seduction.”

Nightmare Fuel — The Bunny Man

Hello Addicts,

This week’s Nightmare Fuel comes courtesy of one of my sons.  Let’s take a look at The Bunny Man or The Clifton Bunny Man.

Our story begins with an asylum, which predated the town of Clifton, VA, that was petitioned to relocate. The reason given was that they didn’t feel comfortable living so close to the inmates stored there. During the process of moving the patients to a different facility, they bus transporting them overturned and most of the prisoners escaped. All but two were quickly recaptured. Marcus A. Wallster and Douglas J. Grifton evaded police for four months, leaving half eaten and dismembered rabbit carcasses in random spots. Eventually, they found the body of Wallster holding a handmade weapon that looked to be a cross between a hatchet and a dagger. The press and townspeople dubbed him the Bunny Man, although the name changed ownership to Grifton after the body of more rabbits were discovered. After three more months of not finding any other signs of the final escaped prisoner, the police called off the search for him. They figured he had either already left the area or died. Life went on.

Around Halloween, rabbit carcasses were discovered in the area around the Fairfax Station Bridge. On Halloween Night, a group of teenagers were drinking and having a good time on the bridge, but terror struck the only three remaining on the bridge at midnight. According to the legend, a bright light erupted from the portion of the bridge where the kids were. Within seconds, the teens were hung by their necks off the sides of the bridge with their throats slit and slashes running up their middles. It was determined that the weapon was similar to the one found with Marcus Wallster’s body months prior. These murders became an annual thing as defiant teenagers tempted fate at the Bunny Man Bridge.  Always on Halloween, and always foreshadowed by the bunny body parts, now renamed Bunny Man Bridge.

Fast forward to 1987, and a group of teens are hanging around the bridge, pulling pranks to scare each other and eating candy stolen from other Trick-or-Treaters. At midnight, one member of the group attempts to leave, not wanting to tempt the fate of the Bunny Man. Her body is halfway off the bridge when things brighten and the skin on her chest begins to slice open. There is nothing physically touching her to cause this, so she doubles her efforts to escape, which she does. In the process, the woman collides with one of the hanging bodies and she is rendered unconscious. When she wakes up, her hair has turned bright white and she has been bleeding. The woman spends the rest of her days sitting on a swinging bench on her balcony, just staring in the direction of the bridge without ever going near it.

As with any urban legend of the like, there is little evidence proving that these events, let alone all of the murders occurred. It is possible that this is a story told by parents to keep their children away from the Bunny Man Bridge. However, there may also be a nugget of truth to the story as well. In 1970, two incidents occurred within a week of each other in Burke, VA. According to police reports, people were chased off what he called his property. He held an ax in his hands and was described to possibly be wearing a bunny costume, or something resembling one. In each case, the man was never found, and there have been no similar incidents in the police records since.

Whether the stories are true or not, they do make for interesting nightmares and horror stories.

Until next time, Addicts…

D.J. Pitsiladis

By The Fire: Episode 145: Challenge 9: Write a 1200-1500 word campfire tale in storyteller format

Hey HorrorAddicts, I hope you’re enjoying the contest so far because things are getting more exciting. In episode 145 of the HorrorAddicts.net podcast, the challenge for The Next Great Horror Writer is to write a 1200-1500 word campfire tale in storyteller format, as if you are telling it to us around the campfire. Contestants will be judged on scare factor, originality and storytelling ability. The winner will have their story published by horroraddicts.net publishing as part of their “Horror Bites Series”.

Campfire tales are possibly the most fun form of horror storytelling there is. If a campfire tale isn’t simple enough it will lose its effect. They should be short, hopefully, have a monster, crazed killer or a ghost and a shock ending would be the icing on the cake. Campfire tales aren’t rocket science, the story doesn’t have to even be that good as long as it’s scary. The whole idea is to gather around the campfire and try to scare your friends with tales of the grotesque or a good urban legend. We’re all storytellers if you think about it and a campfire is a perfect place to perfect your craft.

So Addicts, have you ever told scary tales around the fire? I think most people have, it’s like a rite of passage. To quote A Nightmare Before Christmas: “life’s no fun without a good scare”. What were the stories you tried to scare your friends with? Was your audience scared? Did someone scare you with their story? Pretend this blog is a roaring fire and let us know what your favorite scary story is and leave your tall tale in the comments.