CINAMAGIC Sept-Oct '14 by CinaMagic Magazine

inamagic

Our Photographer Spotlight:

Gabor Dvornik

Rabih Edris:

GHOST TRAIN

October

DGBolduc Photography:

TO INK OR NOT TO INK and

I CAN FLY OCTOBER 2014 Photo by: Patsy Trigg Photography & Beth Rose

Candles By Nature Homemade, all natural candles, soaps, and healing balms all handmade with love www.candlesbynature.etsy.com www.facebook.com/ CandlesByNature.

cinamagic September - October 2014

Models: Ginny Posey & Paisley Cowley Photo by: Patsy Trigg Photography & Beth Rose

cinamagic September - October 2014

Candles By Nature

Using natural, eco-friendly ingredients is important to us, which is why we seek out the most sustainable options available. With each Candles By Nature handcrafted item, you can bring the lovely scents of fresh flowers and herbs into your home.

cinamagic September - October 2014

Caty's Cribs Creating a one-of-a-kind space for the little ones allowing for a unique niche that Custom Decorating by Catalina is known for. www.catyscribs.com 6

cinamagic September - October 2014

Custom Decorating by Catalina

Caty's Cribs cinamagic September - October 2014

October

2014

Cover Stories:

42 110 166

Photo by: Patsy Trigg Photography & Beth Rose

cinamagic September - October 2014

David Bolduc GABOR DVORNIK GHOST TRAIN

Caty's Cribs cinamagic September - October 2014

October 2014

64 HOLLYWOOD 62 Classic Movies: House on the Haunted Hill Earth vs Spider Screaming Skull 120 Hollywood: Carol Ohmart Vincent Price

100 ARTICLES 22 Free People Clothing 189 Salem Witchcraft

PARTY & RECIPES 212 Halloween Table Setting Idea 214 Recipes: Ultimate Caramel Apple Gourmet Pretzel Rods Spider Napkin Rings

STORIES

214 10

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84 Stew and a Warm Bed 88 An Autumn Morning

166 76

Caty's Cribs

Custom Decorating by Catalina

Caty's Cribs offers excellence and exclusivity that can not be mass produced along with the vision from an experienced decorator/designer. www.catyscribs.com cinamagic September - October 2014

Twiggy

series

cinamagic September - October 2014

Model: Caia England Photo by: Patsy Trigg Photography & Beth Rose

cinamagic September - October 2014

Photo by: Patsy Trigg Photography & Beth Rose

cinamagic September - October 2014

Photo by: Patsy Trigg Photography & Beth Rose

cinamagic September - October 2014

inamagic President Beth Roose Editor Fina Florez Graphic Designer Fina Florez Contributing Writers & Photographers: Beth Roose Patsy Trigg David Bolduc Whimsy Hollow Photography Sherri Davis Faith McGary Gabor Dvornik Rabih Edris Photography Address: 22777 Franz Rd, Suite 4212 Katy, Texas 77449

We are accepting photography for Nov/Dec edition. Looking for anything Thanksgiving, Christmas, Snow, Winter Sports, Winter Landscapes, Animals of the Forrest in winter settings, Parties, Holiday Family Events, Thanksgiving meals and family table. You must submit before Oct 19th. We need pictures that are 300DPI and 8.5x11. Submissions to be sent to nationalpark4u@yahoo.com 16

cinamagic September - October 2014

From the Editor’s Desk There was a man taking a morning walk at or the beach. He saw that along with the morning tide came hundreds of starfish and when the tide receded, they were left behind and with the morning sun rays, they would die. The tide was fresh and the starfish were alive. The man took a few steps, picked one and threw it into the water. He did that repeatedly. Right behind him there was another person who couldn’t understand what this man was doing. He caught up with him and asked, “What are you doing? There are hundreds of starfish. How many can you help? What difference does it make?” This man did not reply, took two more steps, picked up another one, threw it into the water, and said, “It makes a difference to this one.” What difference are we making? Big or small, it does not matter. If everyone made a small difference, we’d end up with a big difference, wouldn’t we? cinamagic September - October 2014

THE

M usic DREAMS

Photo by: Patsy Trigg Photography & Beth Rose

cinamagic September - October 2014

Photo by: Patsy Trigg Photography & Beth Rose

cinamagic September - October 2014

Photo by: Patsy Trigg Photography & Beth Rose

cinamagic September - October 2014

Photo by: Patsy Trigg Photography & Beth Rose

cinamagic September - October 2014

Models: Megan Roberts, Sarah Roberts, Chiara Casiraghi, Liz Sanders & Hayley Jackson Photo by: Faith McGary & Richard E. Sepcic, Couture Poetry, LLC Stylist: Madeline Robicheaux Clothing & Accessories: Free People – Houston – City Center HMUA: Damien Vazquez & Ernesto Tepox Tapia

cinamagic September - October 2014

C lothing B

FREE PEOPLE

eauty goes beyond outward appearance, we see it represented in the word and deeds of humanity. Faith McGary and her husband Rich Sepcic are individuals who gift humanity with love and support of animal rescue. Faith is a clothing designer, her corporate carrier as a Telecommunications scientist, with 20 Patents in Mobile Technology has taught her to manage time lines, work on a Global Scale, and come up with new and inventive ways to look at things. This skill set is a contributing factor in her creative fashion designs. Faith also is on the Board of Directors for Aerte Living Arts Foundation in New York City. Faith uses traditional materials as well as non-conventional materials in her designs. She has launched an Eco Living Earth Project that makes Designer level gowns out of Living Earth Products such as flowers, evergreens, vines and branches. In addition to the Living Earth Project, she is currently working with a Local High School to help emerging non conventional artists in the use of Paper Products in Haute Couture Designs. She also works with Company’s who have a core value of Organics and Animal Rescue. Designing clothing is not about one person, rather about a group of individuals who become the “Village” to move mountains to help the Abandoned, Abused, and Surrendered animals that reside in Animal Rescues around the Globe. Designing garments has become an educational process for other emerging designers and models… the designs represents a Philanthropic endeavor. The gowns are designed, and made with the intent of being featured at events that raise the needed support for Rescues. Other gowns are sent to Rescues directly for online auctions that are held at most rescues. Couture Poetry, LLC is the Brand Name for Faith’s designs. They support animal rescues that are IRS 501 (3) C certified. This year Couture Poetry will reach out on a Global Level. They will begin working with Rescue Organizations in South Africa, Hungry and the UK. To support the Rescue Effort, visit: Lone Star Bulldog Club Rescue http://www.dfwbulldogrescue.org/ The Great Dane Rescue of Southeast Texas http://www.saveadane.org/ Emerging Designer Support: Aerte Living Arts Foundation http://www.aretelivingarts.org/ Free People supports Animal Rescue. Gown Designer: Couture Poetry, LLC – Faith McGary, faithmcgary@yahoo.com Rescue dogs here: http://www.modelmayhem.com/3404433 cinamagic September - October 2014

Photo by: Faith McGary & Richard E. Sepcic, Couture Poetry, LLC

cinamagic September - October 2014

Photo by: Faith McGary & Richard E. Sepcic, Couture Poetry, LLC

cinamagic September - October 2014

Photo by: Faith McGary & Richard E. Sepcic, Couture Poetry, LLC

cinamagic September - October 2014

Photo by: Faith McGary & Richard E. Sepcic, Couture Poetry, LLC

cinamagic September - October 2014

Photo by: Faith McGary & Richard E. Sepcic, Couture Poetry, LLC

cinamagic September - October 2014

Photo by: Faith McGary & Richard E. Sepcic, Couture Poetry, LLC

cinamagic September - October 2014

DOWN ON THE

Farm Photo by: Faith McGary

cinamagic September - October 2014

Photo by: Faith McGary

cinamagic September - October 2014

Photo by: Faith McGary

cinamagic September - October 2014

Photo by: Faith McGary

cinamagic September - October 2014

Photo by: Faith McGary

cinamagic September - October 2014

Waldorf Dolls By Eszterlanc8

http://www.etsy.com/shop/eszterlanc8

All dolls are handmade

cinamagic September - October 2014

Model: Mindy Ramski Photo by: Patsy Trigg Photography

cinamagic September - October 2014

DARK

Beauty cinamagic September - October 2014

Photo by: Patsy Trigg Photography

cinamagic September - October 2014

Photo by: Patsy Trigg Photography

cinamagic September - October 2014

Photo by: DGBolducPhotography

cinamagic September - October 2014

ALONG THE

River

cinamagic September - October 2014

DAVID BOLDUC David of D.G. BolducPhotography began his career in photography in December of 2013, primarily as a landscape and street photographer. Shortly after, he began working in fashion modeling with a focus on themed photo shoots geared to bring out the personality of his subject. After only a month working with numerous models, he received his first publication Surreal Beauty Magazine and has been published several other times since, including upcoming publications in Southern Sass, Discovering Talent and Promo Magazine where he is a monthly contributor.â&#x2014;?

ink I ink I OR NOT TO

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THAT IS THE QUESTION

Photos by: DGBolducPhotography

cinamagic September - October 2014

Photo by: DGBolducPhotography

cinamagic September - October 2014

Photo by: DGBolducPhotography

cinamagic September - October 2014

Photo by: DGBolducPhotography

cinamagic September - October 2014

Photo by: DGBolducPhotography

cinamagic September - October 2014

Photo by: DGBolducPhotography

cinamagic September - October 2014

Photos by: DGBolducPhotography

cinamagic September - October 2014

Photo by: DGBolducPhotography

cinamagic September - October 2014

I CAN

Fly cinamagic September - October 2014

Photo by: DGBolducPhotography

cinamagic September - October 2014

Photo by: DGBolducPhotography

cinamagic September - October 2014

Photo by: DGBolducPhotography

cinamagic September - October 2014

Photo by: DGBolducPhotography

cinamagic September - October 2014

Photo by: DGBolducPhotography

cinamagic September - October 2014

Photo by: DGBolducPhotography

cinamagic September - October 2014

Photo by: DGBolducPhotography

cinamagic September - October 2014

Classic Movies

cinamagic September - October 2014

ouse on Haunted Hill is a 1959 American B movie horror film from Allied Artists. It was directed by William Castle, written by Robb White, and starring Vincent Price as eccentric millionaire Fredrick Loren. He and his fourth wife, Annabelle, have invited five people to the house for a “Haunted House” party. Whoever stays in the house for one night will earn $10,000 each. As the night progresses, all the guests are trapped inside the house with ghosts, murderers, and other terrors. Exterior shots of the house were filmed at the historic Ennis House in Los Feliz, California. Time to sit back and enjoy another public domain classic, this time starring none other than the master of fear himself, Vincent Price. From its title alone, ‘House On Haunted Hill’ sounds like the very definition of cliche, but when the film first hit movie theaters in 1959 it was so successful that it not only helped to reinvigorate mainstream interest in the then ailing horror genre, but also was reputedly an influential factor in Alfred Hitchcock’s decision to make his own low-budget chiller masterpiece ‘Psycho’ the following year. The success of ‘House On Haunted Hill’ was in no small part due to director William Castle’s maverick genius and shrewd use of in-house gimmicks and publicity stunts. The title of Castle’s (highly recommended) autobiography tells you all you need to know about his philosophy towards presenting his work to an audience: “Step Right Up! I’m Gonna Scare the Pants Off America”! Whilst trickery such as using live actors during film showings was not an entirely new concept – use of audience-plant ‘fainters’, ambulances and fake medical teams had been used at screenings during Universal’s classic horror cycle – Castle took these ideas to the extreme. Far from being a passive experience, going to these films became a chaotic white-knuckle ride, whether it meant backing out the room and telling the screaming audience that a terrifying but tiny parasitic creature was loose among them, (simulated by electric buzzers randomly being activated on patron’s seats) in the case of ‘The Tingler’, or turning the theater itself into a haunted house complete with a floating skeleton in the case of ‘House On Haunted Hill’. It’s certainly a shame that this level of showmanship seems to be a thing of the past as movie-makers of all stripes continue to be consumed by the need to be taken seriously, often at the expense of fun and pure entertainment. I should note however that there have been some revival screenings of these films in recent years complete with props and gimmicks, though such events are few and far between. You may be wondering then whether ‘House On Haunted Hill’ is a movie that happened to be presented with a gimmick, or a gimmick that happened to be presented as a movie. More importantly is the film strong enough to stand up to being viewed unaugmented 55 years after its initial viewing? The answer, thankfully is yes. With its feverish, claustrophobic atmosphere, timeless premise, surprisingly self-aware sense of humor and wonderfully entertaining performances (Vincent is, naturally, on top form) it is among the most gripping and enjoyable films of its era. I have to confess to having a soft-spot for any yarn that uses the whims of an ‘eccentric millionaire’ to justify a contrived set-up, and sure enough Price’s character of Frederick Loren fits the bill, having rented a haunted house ostensibly to throw a party for his much maligned wife (Carol Ohmart) and five guests of various professions. Loren’s game is simple: once the guests have settled in and been debriefed, all exits from the house will be sealed, each guest having been equipped with a pistol for protection. The guests must then merely survive the night within the house’s confines to be rewarded with the impressive sum of $10,000 each. What could possibly go wrong? Whether you’ve never seen ‘House On Haunted Hill’, only caught the inevitably inferior (though not entirely terrible) 1999 remake or you’re already a well-seasoned fan of the original, an evening with Vincent Price in a haunted house is something no horror fan worth their salt should turn down. cinamagic September - October 2014

cinamagic September - October 2014

Earth vs. The Spider

Year of Release: 1958 Running Time: 73 Minutes DVD Released By: Lions Gate Home Entertainment Directed By: Bert I. Gordon Writing Credits: Bert I. Gordon (Story), László Görög, George Worthing Yates Filming Locations: Backlot, Universal Studios, Universal City, California - Bronson Caves, Bronson Canyon, Griffith Park, Los Angeles, California - Carlsbad Caverns National Park, Carlsbad, New Mexico Starring: Ed Kemmer (Mr. Kingman), June Kenney (Carol Flynn), Eugene Persson (Mike Simpson), Gene Roth (Sheriff Cagle), Hal Torey (Mr. Simpson), June Jocelyn (Mrs. Jack Flynn), Mickey Finn (Sam Haskel, Road Foreman), Sally Fraser (Mrs. Helen Kingman), Troy Patterson (Joe), Skip Young (Sam the Bass Player), Howard Wright (Jake), Bill Giorgio (Deputy Sheriff Sanders), Hank Patterson (Hugo, River Falls H.S. Janitor), Jack Kosslyn (Mr. Fraser, Camera Club Teacher), Bob Garnet (Springdale Pest Control Man), Shirley Falls (Switchboard Operator), Bob Tetrick (Deputy Sheriff Dave), Nancy Kilgas (Dancer), George Stanley (Man in Cavern), David Tomack (Power Line Foreman), Merritt Stone (Jack Flynn, Carol’s Dad), Dick D’Agostin (Pianist, uncredited) Tagline 1: Bullets...won’t kill it! Flames...can’t burn it! Nothing...can stop it! Tagline 2: [The Spider] will eat you alive! Alternate Titles: Earth vs. the Giant Spider The Spider (USA) (promotional title) Interesting Bits of Trivia: When Carol gets out of the car to look for her missing father, you can see the reflection of the film crew and movie camera in the vehicle’s shiny black paint. Bert I. Gordon is the father of actress Susan Gordon who appeared as Agnes in Attack of the Puppet People, also directed by her father this very same year. Bert did his own special effects in his films, often in collaboration with his wife Flora M. Gordon, who worked with him on films like The Amazing Colossal Man, Attack of the Puppet People, Village of the Giants, War of the Colossal Beast and Beginning of the End. Well now, this is more like it. After reviewing a string of less than average films, I finally came across one that reminded me just what’s so awesome about these old classics. Bert I. Gordon has created a real gem with this one, and here’s what’s so great about it. This is basically a movie about a giant spider and how it terrorizes a town and kills a bunch of people. Its your typical giant monster scenario found in so many of these films, but the big variable is in how the different stories are executed. In this case, it was executed beautifully. The acting in this movie was really great for a film from this era. The guy who played Sheriff Cagle (Gene Roth), did a great job of playing the smart, yet not-so-smart law enforcement official...if you know what I mean. Basically, he wasn’t smart in the ways of giant bugs like Mr. Kingman, but he had some decent level of common sense. He managed to strike just the

right balance with the character, which can be so hard to do when you’re trying not to over play either side. The only character that really felt a little off to me was Mike (Eugene Persson). He always seemed like he was bored or half asleep. Other than that, everyone did a phenomenal job with their roles. The effects in this movie, while cheesy looking, were all quite fun, decent looking, and well done. As with most of his films, Bert I. Gordon’s wife Flora worked with him on the effects. Most of the major effects found the spider creeping around in its cave or parading through town tearing stuff up and killing people. The only thing I found less than stellar about the spider, and this is really sad considering how well done the shots were, was the sound that they used for it. I don’t know if spiders actually make any sounds, but this one did, and it sounded like some guy, probably Bert I. Gordon himself, or some other guy from the cast or crew, making weird, high pitched, screechy sounds with their mouth. It totally didn’t fit the spider and what you’d think something that huge and creepy would sound like, if in fact it had the capacity to make any sound at all. Again, I don’t know if spiders make noise or not, but even if they did, I know it sure as hell wouldn’t sound like that. The scenes in the cave were all really well done and looked pretty nice. As you can see from the filming locations at the top, some parts of this were shot at Bronson Caves and Carlsbad Caverns. Many of the cave scenes that were shot from a distance were mostly effect, although they still looked pretty decent. What you have here really is just a perfect example of a classic, 50’s b-movie. It’s got everything you could possibly want. An entertaining story, good characters, a big ugly monster, annoying teenagers, dead bodies, skeletons, destruction and mayhem. Hell, there’s even a couple of shameless plugs for the director’s other movies so you know what to go see next! What more could you possibly ask for? Lions Gate Home Entertainment has released a series of double feature DVDs called the Samuel Z. Arkoff collection. These films, while made by different directors, were all produced by Samuel Z. Arkoff for American International Pictures. On this particular DVD, we have this film paired up with Bert I. Gordon’s other 1958 spectacular, War of the Colossal Beast, which is the sequel to his earlier film, The Amazing Colossal Man, which he plugged so shamelessly in this film. These DVDs from Lions Gate don’t have any special features, but the quality of the transfer is really good and generally very clean. You definitely won’t be disappointed with the product. So what is there left to say really? Bert I. Gordon made some really cool, really fun movies, and this film is yet one more example of that. I guess the best way to describe it is, it’s one of those movies you’d have caught on Saturday afternoon TV if you were a kid back in the 70’s like I was. If you weren’t...now’s your chance, thanks to the modern marvel know as DVD. So definitely pick up a copy of this film and add it to your collection. You won’t be sorry. That is, unless you have no taste or sense of fun or anything like that. Since you’re spending time reading through my reviews though, I’m betting you do. cinamagic September - October 2014

cinamagic September - October 2014

he Screaming Skull (1958), with a cast of unknown actors, tells the tale of a widower and his new bride as they begin their lives together at the estate of his former wife. John Hudson stars as Eric Whitlock and Peggy Webber plays Jenni Whitlock. Along the way we meet Mickey the gardener (played by veteran Western actor Alex Nicol) along with the Reverend Snow (Russ Conway), who just might be Chrissy’s father from Three’s Company, and his wife, Mrs. Snow (Tony Johnson). Jenni, recently released from an insane asylum, has trouble adjusting to life in the home of her husband’s dead wife Marianne. Marianne recently died in a freak accident on the estate. She slipped on a leaf and hit her head on a low rock wall, then tumbled into the estate’s pond. Mickey, who grew up with and obviously loved Marianne, frequently haunts the pond and the shrine where Marianne is interred. Jenni quickly begins to think she’s going crazy due to a series of screaming skull sightings and sinister sounds (try saying that real fast – okay, maybe it’s not that hard to say). Eric and his friends, the Reverend Snow and Mrs. Snow, try to reassure Jenni but the strange doings of Mickey the gardener indicate something isn’t quite right. Scary Screaming Skull in the Pond. Why This Movie Has Been Forgotten The Screaming Skull, while having attracted a minor cult following, is largely ignored by the horror crowd. Its actors are mostly bit players in television shows with the exception of Alex Nicol, who appeared in a ton of early westerns and even directed The Screaming Skull. The plot is poorly developed, although it is not a bad concept, and the overall affect of the movie is to leave you a little dissatisfied. Perhaps if it had been a touch longer (the entire film is only 68 minutes long) more effort could have been spent on developing the horror aspect of the movie and The Screaming Skull could have become a great horror film, but as it stands it’s merely “fun” as horror movies go. Why Horror Fans Should Watch This Movie • The opening “warning” with a lonely coffin at a funeral service and a narrator offering free burial services for any movie-goer who dies of fright while watching this film is not to be missed. I had to watch it three times before I could even let the real movie begin. • The background music is almost distractingly funny. Such overly-dramatic “tense scene” music and overly-sweet “nice scene” music takes a while to get used to, but you eventually learn to ignore it. • You simply MUST watch a movie with a poster featuring a floating skull threatening a scantily-clad woman in her bed. Admit it. • Unfortunately for fans of the mad-scientist (like me), this is one of those rare B&W horror movies that does not feature a ridiculous laboratory with bubbling beakers and dripping glass tubes. You are, however, treated to a bubbling pond with scary wisps of smoke obviously generated by dry ice. • This film is an earlier example of the whole “Is there a ghost or isn’t there?” type of movie. As the movie unfolds, it becomes evident that someone (Eric? Mickey? Chrissy’s Dad?) is trying to drive Jenni insane, but there also seems to be something supernatural afoot. • Mickey’s character, while suffering from just a few uttered words in the whole film, still manages to bring the only true creepiness to this movie. With lines such as “They’re gone. Rest.” as the movie closes, you understand that Mickey believes the ghost of Marianne still haunts the estate. • And finally, who can resist a movie with peacocks, self-ambulatory skulls, a lovesick but dim-witted gardener, lit candles by the bedside all night, and the horrific soft-core porn of Peggy Webber (Jenni) in her bra and a sheer back-lit nightly. Jenni in a Calmer Moment - The Screaming Skull is not the worst horror movie ever, but it’s probably in the running. That being said, true B&W horror fans will get a kick out of it. Unfortunately, I think that says a lot about all of us B&W horror geeks. cinamagic September - October 2014

Hand-made Accessories www.teesdesigns.com

cinamagic September - October 2014

admin@teesdesigns.com 817.264.3392

cinamagic September - October 2014

Photo by: Patsy Trigg Photography & Beth Rose

cinamagic September - October 2014

Photo by: Patsy Trigg Photography & Beth Rose

cinamagic September - October 2014

Photo by: Patsy Trigg Photography & Beth Rose

cinamagic September - October 2014

Photo by: Patsy Trigg Photography & Beth Rose

cinamagic September - October 2014

airy F HUNTERS

cinamagic September - October 2014

Photo by: Patsy Trigg Photography & Beth Rose

cinamagic September - October 2014

Photo by: Patsy Trigg Photography & Beth Rose

cinamagic September - October 2014

Photo by: Patsy Trigg Photography & Beth Rose

cinamagic September - October 2014

Photo by: Patsy Trigg Photography & Beth Rose

cinamagic September - October 2014

Photo by: Patsy Trigg Photography & Beth Rose

cinamagic September - October 2014

Stories/Poems

cinamagic September - October 2014

Stew and a Warm Bed I

By Margo Fallis

..I..I..I’m c-c-c-c-cold,” shivered Ian. “This is one of the worst winters I..I..I..I’ve ever seen. Brrrrrrrr.” “It’s a cold one, Ian. We raccoons aren’t supposed to feel the cold, are we? But living, up here in the highlands, I feel it,” Mac said, rubbing his furry arms. “Maybe we should find somewhere warmer. Lying in the bushes isn’t very sensible. There must be a cave around here somewhere.” The two raccoons stood up. “I..I..I..I..I..I can’t feel my feet,” Ian complained. “If we walk, then at least we’ll get the blood circulating. Come on. Let’s find a cave,” Mac urged. They walked deeper into the forest. They’d been walking for a few minutes when Ian’s nose started to twitch. “What’s that delicious smell? It smells like roast beef, my favorite.” Mac sniffed the air. “You’re right. It does smell good, but I think its beef stew. I can smell cooked turnips and tatties.” Suddenly Ian wasn’t as cold. “I’m starving as well as freezing. There must be a cottage around here somewhere. Where is it?” he asked, looking around. “Over there. There is smoke. Just follow your nose,” Mac laughed at Ian. They ran towards the billowing smoke and soon came to a cottage. They walked over to a window and peeked inside. “It’s stew. I see the pot bubbling on the stove.” cinamagic September - October 2014

“Stew? Is there hot bannocks to go with it?” Ian asked, pushing Mac out of the way so he could see in the window. “Ah, there are some. We’ve got to get inside. Not only that, but there’s a roaring fire. We could get warm.” “We can’t just walk into a house. They’d shoot us. We’ve got to go from window to window and see who’s in the house,” Mac said. “You go that way and I’ll go this way. We’ll meet around the back by the woodpile.” Ian peeked in the windows. He could see a room with chairs and a dining room table and there was a big hutch filled with beautiful china. “That’s lovely,” he sighed. The next room he saw had a big bed in it with a fluffy down comforter on top. “Oh, a bed. Imagine how warm and cozy it must be.” He didn’t see any people inside. Mac peeked in the window and saw a library. There was a leather-bound chair and a lamp for reading. The next room he saw was a couch and two chairs and a television. Sitting in one of the chairs was an elderly man. Lying next to the chair was his dog. “Yikes!” Mac whispered. He ran around the back. “Ian. Ian. Where are you?” he called softly. “I’m here, behind the wood pile. Can we go in? I saw a soft cozy bed,” Ian began to speak. “Well, don’t get your hopes up. There’s an elderly man and his dog in the living room watching the telly. So much for the stew and warm fire,” Mac sighed. “What? You’re giving up? If they are in the living room, surely we can sneak into the kitchen and have some stew and get warm. My paws are nearly blue with the cold. Come on, Mac. Let’s go inside,” Ian begged. “I am a bit cold and very hungry. We’ve got to be very quiet,” Mac cautioned. Ian nodded and they walked to the back door. “Open it,” whispered Ian. “Shhhhh. I’m trying to,” Mac said. He pushed the door open. It gave a little squeak. He stopped and looked at Ian. “It’s all right. They didn’t hear. Just open it a little bit more and we can squeeze through.” Mac pushed it open and the two slipped inside. He turned around and shut it. It squeaked softly. “It’s warm in here,” Ian smiled, rubbing his freezing paws. “The stew smells even better from inside. Come on, but quietly,” Mac said. They walked into the kitchen. “There’s the stew. Grab the pot and put it on the floor!” Ian said, excitedly. Mac reached up and grabbed the pot by the handles. He set it down on the floor and opened the lid. “Oh, look at the big juicy hunks of beef, pieces of carrots, turnip and tatties, and even peas. Find us a spoon,” Mac said.

cinamagic September - October 2014

Ian opened the drawers. One had hot pads. Another had aluminum foil. Finally he found the spoons. “Here we go.” He handed one to Mac. “Dig in.” They ate spoonful after spoonful. Ian reached up and pulled a few bannocks off the plate. They dipped them into the stew. “This is delicious,” Mac said. He had stew all over his whiskers and fur around his mouth. “Mmmmm,” Ian said, with a mouthful of gravy covered beef. After they’d eaten the whole pot, Ian said, “I think I need a nap after that big meal. There’s a comfortable bed in the other room. He’s still watching the telly. Let’s have a lie down.” “Yawn. I think that’s a good idea,” Mac agreed. They tiptoed down the hall and went into the bedroom. They climbed up onto the bed, pulled the blankets down, and climbed under the sheets. “Oh, this feels good.” But Ian was already sound asleep. It didn’t take Mac long before he joined Ian in slumber. BARK! BARK! BARK! Ian and Mac jumped up. At the foot of the bed stood the dog; it’s long brown ears bouncing up and down with each bark. It snarled at the raccoons. “Uh oh,” Ian said. They were both too afraid to move. “What have we here?” the man asked. “Raccoons in my bed? I suppose you two are responsible for eating my pot of stew. Am I right?” Mac and Ian nodded their head yes. “That’s what I thought. Now, what am I going to do with you? You eat my stew, you sneak into my house, and you sleep in my bed, which, I might add, I just put clean sheets on. What do you think we should do with them girl?” the man asked the dog. BARK! BARK! BARK! “That’s what I thought too,” he said. The man walked over and picked the raccoons up by their necks. “He’s not going to chop us up and use us for stew, is he?” Ian cried. “I don’t know,” Mac said. The man headed for the back door. He looked around and saw a huge pile of snow. He tossed Ian and Mac into it. They sunk down to the bottom. “I don’t want to catch you back in my house again. If you do, I’ll let my dog eat you; bones and all.” “Gulp,” went Ian. The man shut the door. Ian and Mac stuck their heads out of the snow. They could see the dog at the window barking. They climbed out of the pile and ran as fast as they could to their tree and climbed it to the top. “At least we had a good meal and a wee sleep,” Mac said, trying to look on the bright side. “I..I..I..I’m cold,” whined Ian. Mac just shook his head.

Autumn

Late

Poem

Near an icy pond That lies within a park so fond

To lovers and small children, Stand autumn’s solemn brethren, Whose limbs uplifted to the sky In the season when their leaves all die And scatter, Running forth with wild clatter, Lightly don a soft white gown. Early snow drifts slowly down. On the water smooth and cold Reflections of their branches old Sleep motionless on Saturn’s glass. An image of untroubled mass They cast with quiet melancholy. Being mute to nature’s folly, Ever silent to the sparrow’s call, They dream in morning’s frozen shawl. Then as a boy shoves out his raft, His little toy a frail craft Glides through their heavy boughs (No murmur to arouse) That sets the crystal mirror to quiver. And giving trunk and twig to shiver He sees them sink to liquid death As he expires a mist of breath.

Autumn

Equinox

Time of Libra balance Day and night in muted agreement Shall we make a day of it? Why not, when night knows its time will come.

Perfectly civilized What was light will don dark shades What was sultry moonstruck, will bare all in bright sunlight Perfectly natural A quiet meeting of minds What was freaking will be calm What was shrieking will be rational Perfectly autumn What was blazing hot will cool A turn of the evening sun And stars will light the sky in shooting arcs of triumph. cinamagic September - October 2014

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An Autumn Morning By Margo Fallis

This morning I went for a walk through the woods. I took a basket and a warm pair of gloves. My goal was to gather a few acorns and leaves; Spot some blue jays, cardinals, and doves. There was a slight breeze, much to my delight; The air was fresh and my breath could be seen. I daydreamed as I walked down the trail thru the trees Thinking of coming holidays - my favorite, Halloween. I came upon a cluster of trees that reached for the sky. There were hickory, elm, oak, and pine. Their leaves were scattered among jutting roots With colors rainbow’d in the morning sunshine. There was scarlet and russet, burgundy and brick red, Pumpkin orange, copper, crimson and gold. Others amber, ochre yellow, topaz, and maroon, Burnished red, brown; some decaying and old. I gathered them up, picked a few of each color, Put them into my basket with a hurl. Just then a furry friend surprised me ‘Twas an acorn gathering, brown squirrel. A pine cone or two had fallen from a spruce, I placed them in the basket with the rest, Then turned towards home, down the dirt path I hurried, Passing by an abandoned robin’s nest. When I arrived home, I was greeted by glowing embers. The fireplace was popping and felt so warm. I placed my basket of treasures on the table, Each a reminder of the autumn beauty I’d seen that morn. cinamagic September - October 2014

OUR

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Spotlights

PHOTOGRAPHER SPOTLIGHT: Gabor Dvornik

all F SCAPES

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Hollywood

Carol Ohmart

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Carol Ohmart - A brief story of Hollywood’s last starlet and her filmography

The story of Carol Ohmart reads like a script from one of her movies, but this story is true and here fact is indeed stranger than fiction.

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s we delve into Carol Ohmart’s past, an often bizarre, sometimes tragic, but mostly cautionary tale unfolds that “It is God’s command to love your mother” and if she did not do so that “ God will kill you!”. Ohmart’s father was largely absent in her life, employed as a traveling dentist by the “Painless Parker Dentists”(a.k.a. Painless Parker dental circus). When they settled in Seattle, Washington, her parents were frequently separated until their eventual divorce in 1942. Little else is known of Carol Ohmart’s father other than that he died in Tacoma, Washington, in 1955 grasping a copy of a newspaper column by Louelle Parsons entitled : “Carol Ohmart to Star in Her First Picture”. Even as an infant Ohmart’s mother had designs of stardom for Carol. She was entered and won a national baby contest at the tender age of one. At the age of three she appeared in her uncle’s vaudeville routine in the Orpheum Theater in Seattle. Carol Ohmart was a natural beauty : her serenely piercing blue eyes, a 5’ 7’’ frame, with measurements of 36- 24- 35, made her a born beauty queen. She was crowned as Miss Utah at the Utah State Fair in Salt Lake

City on September 6 1945. She began working as a vocalist on a local radio station and at night clubs. The next year, during September of 1946, she competed in the Miss USA Pageant where she was placed fourth, receiving a $1500 scholarship prize. Following the Miss USA pageant Carol moved to New York, her mother in tow, to pursue her career and use the pageant money to receive vocal and dramatic coaching. Carol quickly found work as a model, vocalist and actress. She appeared in several commercials and graced the covers of magazines. Such as the 1947 “National Police Gazette” which was her first cover. Famed cartoonist Milton Caniff used her as a model to create his Copper Calhoon character for the “Steve Canyon” series. Illustrator Al Moore also used her as his 1949 Esquire calendar girl. Carol, at the age of 21, married radio actor Ken Grayson, on August 17 1949. The couple later had the ill- fated union annulled in 1951. Continuing to find increasing success as an actress, she appeared on the NBC showcase “Vesatile Varieties” as the Bonny Maid alongside other emergent actresses such as Anne Francis and Eva Marie Saint. Ohmart continued to work in commercials and off- Broadway plays until she landed the part in “Kismet”as Joan Diener’s understudy. One fateful night Miss Diener was unable to perform. Carol went on in her place, and caught the attention of a Paramount representative in the audience. Hollywood had it’s first look at Carol Ohmart on January 12 1955 when she was brought out from New York to do a screen test for Paramount executives. On the day of her screen test, 13 January 1955, she was suddenly strickened by appendicitis and was rushed to Ceders of Lebanon Hospital for emergency surgery. In spite of this, on January 18 1955, she was signed to a seven year contract by Paramount. Earning $500 a week for the first year, her salary escalating to $2000 in the seventh year. It was a whirlwind romance as Carol was shoved into the limelight. Paramount spent a reported $2 million(a not- so- small fortune in 1955) in an effort to transform Ohmart into an instant star. On July 3 rd 1955, her 28 th birthday, Carol Ohmart was revealed to the world at a studio press event that spared no expense or effort. She was touted as the next big star and the media and their cameras loved her for it. She was referred to as the “feminine Brando”. Life and Newsweek ran feature stories on her. Her likeness appeared in full page spreads in trade papers, on billboards and in theater lobbies. There was even a newly registered strain of orchid named after her : the “Cymbidium Carol Ohmart”. But instead of turning Carol into the next Marilyn Monroe as was intended, the Hollywood star system simply ran straight over her. cinamagic September - October 2014

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A cultured and debonair star with a mellifluous voice, actor Vincent Price developed a reputation portraying campy villains in a number of horror films.

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hough he began his career on the British stage, Price made his name as a supporting character player in noirs like “Laura” (1944), “The Long Night” (1947) and “The Bribe” (1949) before becoming inextricably tied to horror, thanks to his turn as the vengeance seeking wax sculptor in the classic “House of Wax” (1953). From there, he solidified his standing with “The Mad Magician” (1954) before appearing in mainstream studio fare like “While the City Sleeps” (1956) and “The Ten Commandments” (1956). After earning cult status with “The Fly” (1958) and its sequel “Return of the Fly” (1959), Price began a collaboration with low-budget producer Roger Corman on a series of Edgar Allen Poe adaptations, including “House of Usher” (1960), “The Pit and the Pendulum” (1961), and “The Raven” (1963). He hit a career low point with a pair of overly-campy James Bond spoofs, while revealing his role as the arch villain Egghead on “Batman” (ABC, 1966-68). Price wound down his career in the next decades using his distinctive voice in a number of projects, most notably Tim Burton’s stop-motion short “Vincent” (1982) and Michael Jackson’s seminal music video, “Thriller” (1983). Price made his final film appearance in Burton’s fantastical “Edward Scissorhands” (1990),

before succumbing to lung cancer in 1993 and leaving behind a legacy forever entwined with the horror genre. Born on May 27, 1911 in St. Louis, MO, Price was raised in a wealthy home by his father, Vincent, the president of a candy manufacturing company, and his mother, Marguerite. Price received a top-notch education, attending the private St. Louis Country Day School before earning bachelor degrees in history and language from Yale University. While attending the Ivy League school, he began to dabble in performing, particularly in Gilbert and Sullivan operettas. Price moved on to the University of London, where he studied history and studied art at the Courtald Institute. During his time in the British Isles, Price began to perform on stage professionally and made his stage debut in a production of “Chicago” at the Gate Theatre in Dublin. In 1935, he delivered a sterling performance as the Prince Regent in the Gate Theater’s production of “Victoria Regina,” which made its way across the Atlantic for a triumphant performance on Broadway. Price’s success on stage soon led to a film career, starting with his debut in “Service De Luxe” (1938) and graduating to more prominent parts such as Raleigh in the costume drama “The Private Lives of Elizabeth and Essex” (1939). Price soon moved into playing the villain in several films and turned in strong performances in straight dramas, notably in Otto Preminger’s “Laura” (1944), opposite Gene Tierney and Dana Andrews, and Anatole Litvak’s “The Long Night” (1947). Price continued to play the heavy in noirs like “The Web” (1947), “Rogue’s Regiment” (1948) and “The Bribe” (1949), before landing the lead role of a conman and expert forger in “The Baron of Arizona” (1950). Following supporting roles in “His Kind of Woman” (1951) and “The Las Vegas Story” (1952), Price became almost exclusively associated with the horror genre, thanks to his role as the revenge-driven sculptor in the 3-D classic of the macabre, “House of Wax” (1953), a film with which he was indelibly entwined for the rest of his career, and that led to starring roles in other horror pictures like “The Mad Magician” (1954). He next supported Victor Mature and Piper Laurie in the noir thriller “Dangerous Mission” (1954), and had a cameo as the real Casanova in the Bob Hope comedy “Casanova’s Big Night” (1954). After turns in Howard Hughes’ troubled production “Son of Sinbad” (1955) and Fritz Lang’s “While the City Sleeps” (1956), his theatrical flair was also put to good use as the villainous Baka in Cecil B. DeMille’s epic remake of his “The Ten Commandments” (1956), starring Charlton Heston and Yule Brynner. While amassing a number of supporting roles in major pictures, Price continued to be a star in lower budget horror, and further cemented his stature in that genre as the scientist-turned-fly’s brother in the cult facinamagic September - October 2014

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vorite “The Fly” (1958) and the sequel “Return of the Fly” (1959). He also appeared as an eccentric millionaire in the original version of “House on Haunted Hill” (1959), which was remade 40 years later. In the early 1960s, Price began appearing in movies produced by American International Pictures, a busy studio that specialized in churning out cheapie teen genre fare for drive-ins. He often worked with famed low-budget director Roger Corman, for whom he starred in a series of stylish Gothic chillers loosely based on the stories of Edgar Allan Poe, including “House of Usher” (1960), “The Pit and the Pendulum” (1961), “The Raven” (1963), and “The Masque of the Red Death” (1964); AIP sometimes teamed Price with aging Hollywood icons Peter Lorre, Boris Karloff and Basil Rathbone. He went on to appear in “Dr. Goldfoot and the Bikini Machine” (1965), an obvious spoof of the James Bond classic “Goldfinger” (1964), which spawned the dreadful sequel “Dr. Goldfoot and the Girl Bombs” (1966). Price was also a fine arts collector, chef and lecturer of some note. He published books on art and cuisine, ranging from Drawings of Delacroix (1962) to The Come Into the Kitchen Cook Book, (1969), co-authored with second wife Mary. From 1966-68, Price gleefully spoofed his on-screen image playing the villain Egghead on the camp series “Batman” (ABC, 196668), a role that he relished. Meanwhile, he broadened his horizons and made his Broadway musical debut in “Darling of the Day” (1968), before touring the United States and later the world in “Diversions and Delights,” his one-man play about Oscar Wilde. He continued to appear on-screen, of course, delivering classically campy turns in “The Abominable Dr. Phibes” (1971) and its sequel, “Dr. Phibes Rises Again (1972). Price counted “Theatre of Blood” (1973) among his favorite credits, in which he played Edward Lionheart, a Shakespearean ham who exacts bloody vengeance on his critics by dispatching them in recreations of the Bard’s famous death scenes. He next starred in the British-made horror film “Madhouse” (1974) and stayed across the pond for the strange comedy “Percy’s Progress” (1974), about a man who undergoes the world’s first penis transplant. Price next starred opposite Sam Waterston and Donald Pleasence in the thriller “Journey into Fear” (1975) and joined the all-star cast of the spoof “Scavenger Hunt” (1979), which featured an ensemble cast that included Tony Randall, Cloris Leachman, Roddy McDowall, James Coco and Ruth Gordon. In the late1970s, Price found the horror movies were not as popular as they once were and began shifting toward more voiceover work, having already been noted for his rarified diction tinged with a hint of malice. He also found his career to be winding down just a bit, and thus made fewer appearances as he had in the past. In 1981, he be-

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Price was also a fine arts collector, chef and lecturer of some note. He published books on art and cuisine...

”

gan serving an eight-year stint as the urbane, gently sinister host of the PBS series “Mystery!” (1980-88), which showcased adaptations of famed horror stories. At the same time, he was contacted for his services by two selfavowed Vincent Price fans. First, Price was asked to narrate up-and-coming filmmaker Tim Burton’s stop-motion short, “Vincent” (1982), as well as supplied the spoken word narration for Michael Jackson’s landmark song and video “Thriller” (1983). He next appeared onscreen opposite old friend Christopher Lee and Peter Cushing in the horror spoof “House of the Long Shadows” (1983), and followed that with a turn in the overthe-top “Bloodbath at the House of Death” (1984). Price provided the voice for the diabolical Professor Ratigan, the Dr. Moriarty-like villain of the Disney animated feature, “The Great Mouse Detective” (1986). His last major role in a feature was Mr. Maranov, the transplanted Russian nobleman who charms Bette Davis and Lillian Gish in Lindsay Anderson’s “The Whales of August” (1987). Price was a major influence on filmmaker Tim Burton, who idolized his screen persona as a child and led to the morbid adoration that was the subject of “Vincent.” Burton later cast him as the kindly old inventor who creates the titular “Edward Scissorhands” (1990), a role that was cut down in size because of Price’s worsening emphysema brought about by a lifetime of smoking cigarettes. The brief, but charming appearance proved to be Price’s last appearance on film. He later made an appearance on the small screen in the television movie “The Heart of Justice” (TNT, 1993), the very last time he was on any screen. Price eventually succumbed to lung cancer on Oct. 25, 1993. He was 82 years old.

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ANIMAL

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Models: Gabe Caballero and Lucy Strayer Photo by: Embree Photography Styling: Iced by Jennifer Jones

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FGNRS SQ@HM Episode one: Edgard thinking about his future, and how is he supposed to leave his homeland which seems a bit hard but no other way.....

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Episode TWO: Farewell Edgard made up his mind and on board of this mighty train to move on with his journey, saying farewell to his loyal friends Saleem and Hiba, and his lovely dog Pekin.

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... But seems the mysterious kid is waiting in the dark !!!!

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Episode THREE: The sixth sense Saleem had a bad feeling leaving Edgard alone so he jumped on the train with Pekin the dog, and Hiba and Rayane followed him, whatâ&#x20AC;&#x2122;s next???!!!! will the mystery kid slay them all or they will have the chance to survive ......

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Episode FOUR: ...A full moon night !!! While on their road, the train approached The death Valley, while in the middle of it, the mysterious Kid pulled the emergency brakes.... So here they are alone in the death valley, Hiba and Rayane tried to move from one trailer to another so they catch up with Saleem and Edgard which by the way havenâ&#x20AC;&#x2122;t heard their voice from a while !!!!!

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Episode FIVE: In the DRAGON ‘S Den..... !!!! Our heros reached the end, where it all will end, at the dragon’s den, where all rides ends there…

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THE

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Salem Witchcraft: The Events and Causes of the Salem Witch Trials By Tim Sutter ÂŠ 2000-2003

Salem Village Parsonage Foundations

Salem Politics alem Village had a very colorful history before the famous witch trials. It was not exactly known as a bastion of tranquility in New England. The main reason was its 600 plus residents were divided into two main parts: those who wanted to separate from Salem Town, and those who did not. The residents who wanted to separate from Salem Town were farming families located in the western part of Salem Village. Those who wanted to remain a part of

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Salem Town were typically located on the eastern side of Salem Village--closest to Salem Town. The residents who wished to remain a part of Salem Town were economically tied to its thriving, rich harbors. Many of the Salem Village farming families believed that Salem Townâ&#x20AC;&#x2122;s thriving economy made it too individualistic. This individualism was in opposition to the communal nature that Puritanism mandated. Thus, they were out of touch with the rest of Salem Village. One particularly large farming fam-

ily who felt that Salem Town was out of touch with the rest of Salem Village was the Putnams. The Putnams were the leaders of the separatist group primarily because they owned the most farmland in Salem Village. They hoped to solidify a separation from Salem Town by establishing a congregation unique from it. So in 1689, a congregation was formed under the Rev. Samuel Parris and began worshipping in the Salem Village Meetinghouse. However, the congregation only represented a select group

Salem Village Parsonage Sign

since over half of its members were Putnams. If this action did not further strain already weakened relations between the two factions, the events concerning Parris’ contract did. Contracts for ministers during this period often provided them with a modest salary, use of a house, and free firewood. Parris received this and much more. He not only got a modest salary and free firewood, but the title and deed to the parsonage and its surrounding land. Needless to say, this was a very uncommon perk to be included in a minister’s contract during this time. This perk especially angered the residents who wanted to remain a part of Salem Town. The Salem Town supporters showed their opposition by refusing to worship at the Meetinghouse and withholding their local taxes. This latter action was of important consequence because the local taxes helped pay the minister’s salary and provided his firewood. In October of 1691 a new Salem Village Committee was elected that was comprised mostly of Parris’ opponents. This new committee refused to assess local taxes that would pay Parris’ salary, and

also challenged the legality of his ownership of the ministry-house and property. These actions by the new committee caused Parris and his family to rely solely on voluntary contributions for sustenance. The Putnams were now worried of losing Parris and the soughted independence from Salem Town the congregation would help bring, and Parris was concerned about his job and providing for his family. Cold Winter Days The Rev. Samuel Parris had a relatively small family. He was married and had a nine year old daughter, Betty, and a twelve year old niece, Abigail Williams, who was an orphan. Abigail was expected to earn her keep by doing most of the household chores, and also care for her invalid aunt. Betty’s poor health prevented her from helping with the household chores, so much of the work feel on Abigail’s young shoulders. After chores were done, there was little entertainment for Betty and Abigail. Salem Town was eight miles away, and Boston was a twenty mile journey over unforgiving roads. Thus, Samuel Parris only visited these places when business

required it. He also opposed the girls playing hide-and-seek, tag and other childhood games because he believed playing was a sign of idleness, and idleness allowed the Devil to work his mischief. Reading was a popular pastime during the winter months. There was an interest in books about prophecy and fortune telling throughout New England during the winter of 1691-92. These books were especially popular among young girls and adolescents. In Essex County girls formed small, informal circles to practice the divinations and fortune telling they learned from their reading to help pass the cold months. Betty Parris, her cousin Abigail Williams, and two other friends formed such a circle. Tituba, Rev. Parris’ slave whom he bought while on a trip to Barbados, would often participate in the circle. She would entertain the others with stories of witchcraft, demons, and mystic animals. Other girls soon joined their circle in the evenings to listen to Tituba’s tales and participate in fortune telling experiments. They would tell their fortunes by dropping an egg white into a glass of water and then interpret the picture it formed. However, Betty Parris and Abigail Williams began to become upset and frightened with the results of their fortunes. This, coupled with the family financial and social difficulties, likely caused the two girls to express their stress in unusual physical expressions. Samuel Parris believed this unnatural behavior to be an illness and asked Salem Village’s physician, William Griggs, to examine the girls. He did not find any physical cause for their strange behavior and concluded the girls were bewitched. Salem Witchcraft Puritans believed in witches and their ability to harm others. cinamagic September - October 2014

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Salem Witch Trails photo from Wikipedia.org

They defined witchcraft as entering into a compact with the devil in exchange for certain powers to do evil. Thus, witchcraft was considered a sin because it denied God’s superiority, and a crime because the witch could call up the Devil in his/her shape to perform cruel acts against others. Therefore, in any case when witchcraft was suspected, it was important that it was investigated thoroughly and the tormentor(s) identified and judged. Unknown to Samuel Parris, Mary Sibley ordered Tituba and her husband, John Indian, to bake a “witch cake” in order to help the girls name their tormentors. A witch cake is composed of rye meal mixed with urine from the afflicted. It is then feed to a dog. The person(s) are considered bewitched if the dog displays similar symptoms as the afflicted. The girls were at first hesitant to speak, but Betty eventually spoke and named

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Tituba. The other girls soon spoke and named Sarah Osborne and Sarah Good. All three women were prime candidates for the accusations of witchcraft. Sarah Osborne was an elderly lady who had not gone to church in over a year, and poor church attendance was a Puritan sin. Sarah Good was a homeless woman who begged door to door. If people failed to give her alms, she would utter unknown words and leave. Residents would often attribute her visits to death of livestock. They believed the mumbled words she spoke under her breath were curses against them for not showing her charity. Since Tituba was Parris’ slave and well known to Betty and Abigail, it is no surprise then that her name was the first to be called out by Betty. The negative reputations and low social standing shared by these three women clear-

ly made them believable suspects for witchcraft. Now that three Salem Village residents stood accused of witchcraft, an investigation of the charges was in order. Two magistrates from Salem Town, John Hathorne, the great-grandfather of famed writer Nathaniel Hawthorne (Nathaniel added a “w” to his name to help disassociate himself from this great-grandfather) and Jonathan Corwin, traveled to Salem Village to investigate the cases of witchcraft. Their investigation of Sarah Osborne, Sarah Good and Tituba was conducted in the Salem Village Meetinghouse. During the questioning of the three accused, Betty, Abigail, and six other girls would often scream and tumble on the floor of the meetinghouse. Even with the harsh questioning by the two magistrates and the unusual actions of the afflicted girls, Sarah Good and Sar-

“

Rebecca Nurse was the next person to be accused of witchcraft. However, the 71-year-old woman did not make for a likely witch. She was a kind and generous lady that was well liked by the community.

ah Osborne maintained their innocence. Tituba, however, confessed for three days. During Tituba’s confession, she talked of red rats, talking cats, and a tall man dressed in black. She stated that the man clothed in black made her sign in a book, and that Sarah Good, Sarah Osborne and others, whose names she could not read, had also signed this book. It is not exactly clear why she confessed to witchcraft. She might have thought that she was guilty since she practiced fortune telling, which was considered a form of “white magic,” or perhaps thought that the judges would be lenient if she confessed. Whatever her reason, a confession was not likely obtained from her by torture. Although physical torture was employed in Europe to elicit confessions from accused witches, there are no confirmed cases of it being used in Colonial America for the same purposes as New England law did not sanction it. When Tituba finished her lengthy confession, she, Sarah Good and Sarah Osborne were taken to a Boston jail. Sarah

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Osborne would later become the first victim of the Salem witch trials when she died two months later of natural causes while still in jail. The accusations of witchcraft continued despite the jailing of three accused witches. Why the accusations continued is still debated to this day. A recent small pox outbreak, the revocation of the Massachusetts Bay Colony charter by Charles II and the constant fear of Indian attacks helped in creating anxiety among the early Puritans that God was punishing them. This fear of punishment established a fertile atmosphere in which a case of possible witchcraft, let alone three, could easily be interpreted by the Puritans as the cause of God’s wrath. Due to this belief and fear, they would want to make sure that every last witch be discovered and punished in order to end His anger. However, some historians and scientists argue that the girls continued with their accusations because they suffered from hysteria. Hysteria is known to cause strange physical symptoms in a person of good health. Whether it was

Rebecca Nurse House, Homestead, MA

fear of God’s wrath or hysteria, the accusations did not relent. In the middle of March, Ann Putnam accused Martha Corey of afflicting her. Even though Martha Corey attended church regularly, she was not very popular in the community. She was outspoken, opinionated and also mothered an illegitimate mulatto that still lived with her and her second husband, Giles. Despite her excellent church attendance, her character made her a prime candidate for the charge of witchcraft. Rebecca Nurse was the next person to be accused of witchcraft. However, the 71-year-old woman did not make for a likely witch. She was a kind and generous lady that was well liked by the community. Ann Putnam and the other girls testified that her specter would float into their rooms at night, pinching and torturing them. When Rebecca was notified of these charges, she responded, “What sin has God found in me unrepented of that He should lay such an affliction upon me in my old age?” Probably the only flaws that could be found with the prudent woman were that she one time disputed with the Rev. James Allen over the boundary of their neighboring properties, and often did not respond when spoken to because of poor hearing. As the accusations of witchcraft continued to increase, some started to doubt the truthfulness of the afflicted girls. One such person was a 60-year-old farmer and tavern owner from Salem Town by the name of John Proctor. When his maidservant, Mary Warren, began to cinamagic September - October 2014

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Rebecca Nurse House, Homestead, MA

display the same uncanny behavior as the afflicted girls, he threatened to beat her. This threat temporarily cured her afflictions. He believed the afflicted girls would, “make devils of us all,” and that their behavior could easily be corrected with harsh discipline. With such opinions, it was not long before he and his wife, Elizabeth--whose grandmother, Ann B. Lynn, was once suspected of witchcraft--were jailed in Boston under charges of witchcraft. A shocking accusation came when Ann Putnam accused the former Salem Village minister, George Burroughs, as being the master of all witches in Massachusetts. He was also identified by the afflicted girls as the “Black Minister” and leader of the Salem Coven. Despite being a minister, he did not have a character of an angel. He left Salem

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Village after serving as its minister from 1680-82 due to a dispute over his salary. He also was widowed three times, and rumored to have mistreated his wives. Furthermore, when his temper was tested, he sometimes would brag about having occult powers. Even though he was a minister, his actions at times did not reflect it. By the end of May 1692, around 200 people were jailed under the charges of witchcraft. Almost all of them as a result of spectral evidence. Cotton Mather, son of famed minister and Harvard President, Increase Mather, spoke out against spectral evidence. He felt it was unreliable because the Devil could take the form of an innocent person to do his evil deeds. His warning against the use of spectral evidence was followed by Royal

Governor William Phips establishing a Court of Oyer and Terminer to investigate the allegations of witchcraft at Salem Village. The first to be tried under the newly formed court was Bridget Bishop on June 2, 1692. This was not the first time she faced the charge of witchcraft. In 1680 she was tried for witchcraft, but was not convicted. Despite not receiving a conviction, she still was suspected of practicing the black arts. When work was being done on her cellar, “poppets” were found in the walls by the workers. It was testified that the poppets were stuck with pins, and some had missing heads. This discovery and testimony helped confirm the suspicions that she was indeed a practicing witch because it was believed that a witch could harm someone by sticking pins and

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The cases of Sarah Good, Sarah Wilds, Elizabeth How, Susannah Martin, and Rebecca Nurse were heard by the court on June 29, 1692. ...They were all convicted and hung on July 19, 1692.

other objects into a poppet that represented the victim. She was found guilty of witchcraft and hanged June 10, 1692, on Gallows Hill. The cases of Sarah Good, Sarah Wilds, Elizabeth How, Susannah Martin, and Rebecca Nurse were heard next by the court on June 29, 1692. Unlike Bridget Bishop’s trial, spectral evidence was a key in the conviction of four of the five accused. The one accused who escaped a guilty verdict was Rebecca Nurse. However, when the jurors announced a not guilty verdict in her case, the afflicted girls howled, thrashed about, and rolled around on the floor. With the courtroom in an uproar, the judges asked the jury to reconsider its decision. When they did, a guilty verdict was returned. Rebecca Nurse, along with the other four convicted women, were hanged July 19, 1692, on Gallows Hill. At the hangings, the Rev. Nicholas Noyes asked Sarah Good to confess. “I am no more a witch than you are a wizard, and if you take away my life God will give you blood to drink” was her reply to him. Twenty-five years later, the

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Rev. Nicholas Noyes died of a hemorrhage, choking on his own blood. The hangings of six convicted witches did little in abating the spread of witchcraft in Massachusetts during the summer months of 1692. More people began displaying signs of affliction. As a result, accusations and arrests for witchcraft continued to grow in number. Those from all walks of life, rich and poor, farmer and merchant, were now being accused. No one was exempt from being cried out as a witch. As the jails continued to swell with accused witches, the court reconvened to try the Rev. George Burroughs, John and Elizabeth Proctor, George Jacobs, Sr., John Willard and Martha Carrier on August 5, 1692. Spectral evidence again played a significant factor in the trials of these individuals. In George Burroughs case, his lying and failure to have one of his children baptized did not help his cause to be found innocent. All six were found guilty of witchcraft by the court. Elizabeth Proctor escaped the sentence of death be-

cause she was pregnant, but the rest were hanged on Gallows Hill on August 19, 1692. At the hangings, George Burroughs recited the Lord’s Prayer flawlessly. This achievement was important because it was believed that a wizard could not recite this prayer without making a mistake. Even with such an act of innocence, it was not enough to save his life. George Burroughs’ flawless recitation did little in impeding the witch trials. The trials continued with Giles Corey’s scheduled for mid-September of 1692. However, he refused to answer the questions asked by the court. Due to his refusal, the court exercised its legal right and ordered the sheriff to pile rocks upon him until he co-operated. He was taken to a field near the Salem Meetinghouse, his hands and legs were bound, and heavy rocks were piled upon his chest. Even with the increasing weight, he refused to answer the court’s questions. “More weight” would be his response to the court’s inquiries. On September 19, 1692, after two days of induring the increasing weight, Giles Corey was crushed to death. Why Giles Corey refused to answer the court’s questions and suffer this slow death instead is not clear. Some historians feel that he wanted to protect his property for heirs. Since witchcraft was a capital offense, his property could be sequestered to the government if he was found guilty. Unfortunately, this does not explain why John Proctor and he both made wills before their deaths; neither would have any property to leave because it could be secured by the government. Due to this action by the two men, other historians argue that Giles Corey was not acting on behalf of his heirs by refusing to stand trial. Rather, he chose this fate to serve as a protest against the witch trials and the methods of the court. Whatever his reason, Giles Corey cinamagic September - October 2014

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...Rev. Samuel Parris

gave his “Meditation for Peace” sermon on November 26, 1693. In the sermon, he admitted to giving too much weight to spectral evidence.

chose death over standing trial for witchcraft. Giles Corey’s refusal to stand trial did not slow the court’s conviction of accused witches. Martha Corey, Mary Easty, Alice Parker, Ann Pudeater, Margaret Scott, Wilmott Reed, Samuel Wardwell, and Mary Parker were hanged on Gallows Hill September 22, 1692. Before the hangings, Mary Easty, a sister of Rebecca Nurse, wrote the magistrates and the Essex County ministers. In her petition, she stated: ...I know I must die, and my appointed time is set. But the Lord He knows it is, if it be possible, that no more innocent blood be shed, which undoubtedly cannot be avoided in the way and course you go in. I question not but your honors do to the utmost of your powers in the discovery and detecting of witchcraft and witches, and would not be guilty of innocent blood for the world. But by my own innocency I know you are in the wrong way. The Lord in his infinite mercy direct you in this great work, if it be His blessed will, that innocent blood be not shed... George Burroughs’ prayer, Giles Corey’s refusal to stand tri-

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al and Mary Easty’s letter began to lessen the public support and faith that the witch trials once had. Many people felt the accusations and trials were getting out of control. By October, ministers, judges and numerous others believed that the trials claimed innocent lives. “It were better that ten suspected witches should escape than that one innocent person should be condemned.” was the sentiment Increase Mather imparted to the Boston clergy. It was not long after Increase Mather made this statement that on October 12, 1692, Governor Phips issued orders to protect the current prisoners accused of witchcraft from harm, and suspended the arrest of suspected witches--unless the arrests were absolutely necessary. He soon followed these orders with dissolving the Court of Oyer and Terminer on October 29, 1692. Governor Phips’ orders, Increase Mather’s statement to the Boston clergy and waning support of the trials soon left the cries of the afflicted to fall on deaf ears. People began to ignore the accusations of the afflicted. The fury of the witch trials subsided, and the last witch

Portrait of Rev. Samuel Parris

trial was held in January 1693. Governor Phips ended the witch trials when he pardoned the remaining accused in May 1693. With this pardon, the Salem witch trials, which resulted in nineteen hangings and a death by crushing rocks, was finally concluded. Aftermath The aftermath of the Salem witch trials was severe. Even with the witch trials over, many were still in jail because they could not pay for their release. The law stipulated that prisoners had to pay for their food and board before being released. Unless the prisoners or someone else could pay for these expenses, they could not be freed. Additionally, those who were convicted of witchcraft had their property confiscated by the government. This left their families without money and, in some cases, a home. The trials took a toll on the surrounding land and structures as well. Houses and fields were left untended, and the planting season was interrupted. The fields that were planted were not cultivated or harvested. Also, the Salem Meeting-

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house was left dilapidated due to the distraction of the trials. Crop failures and epidemics continued to bother Salem for years after the trials ended. The Puritans felt that these events were happening because God was punishing them for the hangings of innocent people. Therefore, a day of fasting and prayer for forgiveness was ordered for January 13, 1697. The land and structures were not the only things to change as a result of the trials. Salem Village politics also changed. The Essex County Court declared that the Salem Village committee was derelict in its duties, and ordered for a new election on January 15, 1693. An anti-Parris committee was elected as a result. The Rev. Samuel Parris was now in jeopardy of losing his job because of the outcome of the new election. Whether he was worried about losing his job, or simply had a guilty conscience, Parris gave his “Meditation for Peace” sermon on November 26, 1693. In the sermon, he admitted to giving too much weight to spectral evidence. However, his sermon and confession seemed not to have repaired the damaged relations between him and the community, for Parris agreed to move from Salem Village in April 1696. Before Parris and his family moved, the legal manner of the parsonage needed to be resolved. In July 1697, it was finally settled when arbitrators decided that Salem Village should pay Parris 79 pounds, 9 shillings and 6 pence in back salary. In return, Parris agreed to relinquish the deed to the parsonage. Parris and his family then left for Stowe, Massachusetts. Little information has survived as to what happened to Samuel Parris and his family after they left Salem Village. Tituba was sold to pay for her jail costs. It is believed that Abigail Williams never recov-

No one died as a convicted witch in America again after the Salem witch trials.

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ered from her “affliction” and died young. Betty Parris latter married Benjamin Barron in 1710. She had five children and lived in Concord, Massachusetts. She died March 21, 1760, at the age of 78. Parris’ son, Noyes, died insane. Joseph Green replaced Samuel Parris as minister. To help heal the scars that the witch trials left on the community, he seated the accusers with the accused. This action appeared to help heal the wounds because the family of Rebecca Nurse-John Tarbell, Samuel Nurse, and Thomas Wilkins--asked to rejoin the congregation in November 1698. Their request to join was granted. With the Nurse family welcomed back into the congregation, Green asked the congregation to revoke the excommunication of Martha Corey in 1703. The motion was finally adopted in 1707. Rebecca and Giles Corey also had their excommunications revoked on March 6, 1712. Not all families wished to rejoin the congregation after the trials. Peter Cloyce and his wife, Sarah-who was accused of witchcraft--left Salem Village and moved to Marlborough, Massachusetts. Philip English, who was accused of witchcraft along with his wife, never forgave

his persecutors for the loss of his property and reputation. He asked for a large settlement for his losses, but only received a small one. So in order to sever ties with Puritanism, he helped found the St. Peter’s Episcopal Church. What happened to the afflicted girls is not widely known. Surviving information regarding them has provided only small details as to what happened to them after the Salem witch trials. Ann Putnam, Jr. raised her brothers and sisters when her parents died two weeks apart from each other. In August 1706, she asked the congregation of her church for forgiveness. The pastor read her prepared statement to the congregation. I desire to be humbled before God. It was a great delusion of Satan that deceived me in that sad time. I did it not out of any anger, malice, or ill will...I desire to lie in the dust and earnestly beg forgiveness of all those I have given just cause of sorrow and offense, and whose relations were taken away and accused. She later died unmarried and was buried with her parents in an unmarked grave. Whatever the future held for the afflicted girls, they undoubtedly never forgot their involvement with the witch trials. No one died as a convicted witch in America again after the Salem witch trials. It was also the last of the religious witch hunts. Salem Village separated from Salem Town in 1752 and became the town of Danvers. However, this separation did not wipe away the history of the witch trials from its past. For over 300 years, historians, sociologists, psychologists and others continue to research and write about them to this day, and they continue to serve as a reminder of how politics, family squabbles, religion, economics and the imaginations and fears of people can yield tragic consequences. cinamagic September - October 2014

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C hateau

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Photo by: Jeremy Gibbs (RomanyWG) Designer: Faith McGary Location: Abandoned Chateau - France.

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S ummer ffair A A

Photographer: L&L Photography Retouch Editor: George Buczko, Dreamtoucher Designer: Couture Poetry, LLC Hat Designers: Lee Sontag and Straight Laced HMUA: Damien Vasquez & Ernesto Tepox Tapia Location Logistics: Brenda Barnhill, Lee Sontag, Downtown Blooms

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International

Wedding Galina Thomas Photo by: Alexandra Belova Polyak MUA: Sabina Yunusova

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50â&#x20AC;&#x2122;s SOCK HOP

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Boogy Woogie Bugle Boy

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Party Ideas

Photo credit: Karin Lidbeck http://yourcozyhome.blogspot.com/2012/10/clever-halloween-party-ideas-easy-last.html

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Clever Halloween Party Ideas!!

As you prepare for your Fall holiday gathering, itâ&#x20AC;&#x2122;s never too late to create a few last minute Halloween party inspirations.

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Ultimate Caramel Apples Yield: 10 Caramel Apples Ingredients 10 small Granny Smith Apples 1 recipe Homemade Caramel, recipes follows 12 oz. milk chocolate or white chocolate chips* Assorted toppings for coating 10 craft sticks or twigs Homemade Caramel 1 cup butter 2 cups granulated sugar 1 1/2 cups corn syrup 2 cups heavy cream 1 tsp vanilla extract Directions 1. Insert 1 craft stick vertically through the center of each apple, set apples aside. Butter two 13x9 pans, and make enough space in the refrigerator for them to sit evenly. 2. Prepare Homemade Caramel as directed and allow to cool about 5 - 10 minutes (until it’s not incredibly runny) then immediately dip apples in caramel. Lift apple and let some of the excess caramel drip off and run the bottom of the apple along the inside edge of the pan. Tilt apple upside down and swirl just until the caramel is about to run off, then immediately turn upright and transfer to buttered baking dish in refrigerator. Repeat process with remaining apples, be sure to space them a bit apart on baking dish so they don’t stick together. Allow caramel coated apples to set in refrigerator. 3. Heat chocolate chips in a microwave safe bowl on 50% power, in 30 second intervals stirring after each interval until melted and smooth. Using an icing spatula or butter knife, coat edges with melted chocolate and immediately sprinkle with desired toppings. Return to refrigerator to allow chocolate to set. Serve at room temperature and store in the refrigerator in airtight containers or Ziploc bags. To Prepare the Homemade Caramel In a large enameled cast iron pot, combine butter, sugar, corn syrup and 1 cup heavy cream. Heat mixture to a boil just over medium heat (the 6 of an electric stove), stirring frequently. Once mixture has reached a boil, stir in remaining one cup heavy cream. Then without stirring,(again just slightly over medium heat) bring mixture to exactly 239 degrees then immediately remove from heat (this should take around 20 - 25 minutes). Carefully pour caramel into a medium nonstick saucepan and stir in vanilla (transferring caramel to another pan helps it cool faster and will leave behind some of the little brown specs at the bottom of the cast iron pan. You don’t have to transfer it but if you don’t just allow the caramel to cool a little longer than the 10 minutes). Allow to cool 10 minutes before dipping apples. Coating Ideas: to crush, place ingredients in a ziploc bag, seal and crush with a rolling pin. When I listed the white or milk chocolate chips I’m referring the which type of melted chocolate to coat them with. Recipe Source: Caramel Apples - Cooking Classy, Homemade Caramel - adapted from allrecipes.com cinamagic September - October 2014

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Gourmet Pretzel Rods These are super easy to make and the kids will have a blast helping decorate these babies. It can also be a Party Favor give away. Make a bunch of these up, wrap them in treat bags with ties, and VIOLA! Kids & adults both love them! Ingredients 1 bag (12 0z.) pretzel rods 1 bag (12 oz.) Wilton Candy Melts, White 1 bag (12 oz.) Wilton Candy Melts, Vibrant Green Halloween sprinkles, different varieties Treat bags with ties, 4 in. x 9.5 in. (10 cm x 24 cm), optional Wilton Orange Icing Color, optional 1. 2. 3. 4.

Directions Lay a long piece of waxed paper on a clean, dry, surface. Melt candy melts per packaged directions. (If making different colors with the white candy melts, see notes.) Dip pretzel rod into melted candy melts. Sprinkle with desired sprinkles. TIP: (When sprinkling with sprinkles, sprinkle over a bowl to catch the extra sprinkles. Use the extra sprinkles to make a sprinkled variety pretzel rod.) Lay dipped/sprinkled rods on waxed paper, let set. To make extra fancy… use a small ziploc sandwich sized bag and put a couple tablespoons of white melted candy melts inside, cut off a small piece of the corner; drizzle melted candy melts over pretzel rods. Let set.

OPTIONS: Instead of buying a bunch of different halloween colored candy melts, but one bag of white and tint it with Wilton Orange Icing Color. To help save money, you can make small batches of the white melted candies and tint them with any color you’d desire that you have on hand. To make, simply follow directions on the back of your Wilton Candy Melts package and add desired amount of icing color; stir well. Recipe Source: http://athriftymom.com/gourmet-halloween-pretzel-rods/ cinamagic September - October 2014

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Spider Napkin Rings Spook up your Halloween get-together with these easy-to-make felt and pom-pom napkin rings — a perfect project for kids to help create. Materials Needed: 6 1/2” black pom-poms 12 pieces black pipe cleaners 12 pieces wiggly eyes 1/3 yard orange felt Fabric glue Invisible fabric pen Scissors Ruler Begin Assembling Spiders: Lay out supplies to make six spider napkin rings. Cut 12 pieces of black pipe cleaner in half. Using four cut half lengths, twist together at center point to create spider legs. Create Spider Heads: Glue two wiggly eyes to each pom-pom using small dots of fabric glue. Attach Spider Heads to Legs: Apply fabric glue to center of spider legs and top with pom-pom pressing firmly to secure. Cut Inner and Outer Felt Lengths: Cut orange felt into six 2 1/2” x 12” long lengths for inner rings. Cut orange felt into six 2” x 12” long lengths for outer rings. Create Inner Rings: Using 2 1/2” wide felt lengths, create inner rings by applying fabric glue to one end overlapping 1/2 inch. Press ends together to secure. Add Outer Ring and Attach Spiders: Wrap 2-inch wide felt lengths around rings, applying fabric glue to one end overlapping 1/4 inch. Press ends together to secure. Turn rings over, apply fabric glue to center of ring and press spiders into place. Allow to dry. Craft Source: http://www.hgtv.com/entertaining/how-to-make-spider-napkin-rings/index.html cinamagic September - October 2014

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Orange

Creamsicle

Tini

A Creamsicle, as you probably know, is an orange and vanilla frozen treat that we probably all have eaten as kids. But for “Adults Only” lets combine the same flavors in a martini form. You can garnish this drink any way you like – an orange slice, or with a candy orange slice and vanilla wafer cookie. I hope you enjoy this little blast from the past all while reminiscing of your carefree childhood days! Yield: 2 martinis, or one big one! Ingredients 2 shots vanilla vodka 1 shot Triple Sec (or Cointreau) 2 shots orange juice 1 shot orange soda 1 shot half & half (or cream) 1 Tbls. instant french vanilla pudding Choice of garnish: sugar rim, candy orange slices, or vanilla wafer cookie Directions Chill martini glasses until ready to serve. Add all ingredients to a cocktail shaker filled with ice. Shake vigorously to get the instant pudding mixed in well. Garnish with your choice of garnish. Source: http://www.imbored-letsgo.com/orange-creamsicle-tini/ cinamagic September - October 2014

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Model: Chistany Vigil Photo by: Patsy Trigg Photography Photo Design & Editor: Beth Rose

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