Creepy history, National Park Service, Travel

The Devils Tower.

Original publish date September 23, 2021

Over the last couple of weeks, I detailed a long-lost Indiana landmark known as the Hoosier Slide in Michigan City. This giant mound of sand became a tourist attraction when visitors discovered that they could slide down its slopes on slices of cardboard or fragments of cloth like a sled on a snow mound. The Hoosier Slide disappeared from the northern Indiana landscape around World War I after it was purchased by the Ball Brothers Corporation in Muncie to furnish the distinctive blue tint for their popular Ball Brand fruit jars.
Continuing that theme, it was 115 years ago this week (Sept. 24, 1906) that President Theodore Roosevelt proclaimed Devils Tower in Wyoming as the nation’s first National Monument, under new authority granted to him by Congress in the Antiquities Act. The Antiquities Act resulted from concerns about protecting mostly prehistoric Native American ruins and artifacts (aka “antiquities”) located on federal lands. The United States Congress designated the area a U.S. forest reserve in 1892 but in the ensuing years, the threat of commercial development and the removal of artifacts from these unprotected lands by private collectors, whom Teddy famously referred to as “pot hunters,” had become a serious problem. Making this a high-priority goal for Teddy’s second term.
Although Devils Tower (apostrophe purposely omitted) might not ring any bells in your house, it was so important to Roosevelt that he designated it for protection before he established the Grand Canyon Game Preserve by proclamation on November 28, 1906, and the Grand Canyon National Monument on January 11, 1908. Devils Tower, also called Bear Lodge Butte, is part of the Black Hills mountain range located above the Belle Fourche River near Hulett and Sundance in Crook County, northeastern Wyoming. The tower, technically called a “monolith”, was formed from cooled magma exposed through erosion. It stands 1,267 feet tall; 867 feet from summit to base (5,112 feet above sea level) and encloses an area of 1,347 acres.

The oldest rocks visible in Devils Tower National Monument were once part of a shallow sea during the Triassic period 250 million years ago which saw the rise of reptiles and the first dinosaurs. Devils Tower, hails from the Jurassic in age, about 200 million years ago, which ushered in birds and mammals. The Tower was here 150 million years before the Rocky Mountains and the Black Hills were formed. It is easy to imagine that the thought of dinosaurs roaming around Devils Tower may well have sparked Teddy Roosevelt’s vivid imagination, thus leading him to designate it as the country’s first National Landmark.
Fur trappers may have visited Devils Tower, but they left no written evidence of having done so. The first documented Caucasian visitors were members of Captain William F. Raynolds’s 1859 expedition to Yellowstone. Sixteen years later, Colonel Richard I. Dodge escorted a US Government Office of Indian Affairs scientific survey party to the massive rock formation and coined the name Devils Tower. The misnomer was created when his interpreter reportedly misinterpreted a native name to mean “Bad God’s Tower”. The Indigenous Native American people had many names for the outcropping including Bear’s House, Grizzly Bear Lodge, Bear’s Tipi, Home of the Bear, Bear’s Lair, Tree Rock, Great Gray Horn, and Brown Buffalo Horn.
According to the lore of the Lakota tribe, the traditional names for the tower came after a group of girls went out to play and were spotted by several giant bears, who began to chase them. In an effort to escape the bears, the girls climbed atop a rock, fell to their knees, and prayed to the Great Spirit to save them. Hearing their prayers, the Great Spirit made the rock rise from the ground towards the heavens so that the bears could not reach the girls. The bears, in an effort to climb the rock, left deep claw marks in the sides, which had become too steep to climb. Those are the marks that appear today on the sides of Devils Tower. When the girls reached the sky, they were turned into the star formation known as the “Seven Sisters.”
Another version tells that two Kiowa Sioux boys wandered far from their village when Mato the bear, a huge creature that had claws the size of teepee poles, spotted them and wanted to eat them for breakfast. He was almost upon them when the boys prayed to Wakan Tanka the Creator to help them. They rose up on a huge rock, while Mato tried to get up from every side, leaving huge scratch marks as he did. Finally, he sauntered off, disappointed, discouraged, and hungry. The bear came to rest east of the Black Hills at what is now Bear Butte. Wanblee, the eagle, helped the boys off the rock and back to their village. A painting depicting this legend by artist Herbert A. Collins hangs over the fireplace in the visitor’s center at Devils Tower.

This painting depicts a different Cheyenne narrative about the Tower, where a man rescues his wife from a giant bear with the help of his six brothers. NPS / Herbert Collins

In a Cheyenne version of the story, the giant bear pursues the girls and kills most of them. Two sisters escape back to their home with the bear still tracking them. They tell two boys that the bear can only be killed with an arrow shot through the underside of its foot. The boys have the sisters lead the bear to Devils Tower and trick it into thinking they have climbed the rock. The boys attempt to shoot the bear through the foot while it repeatedly attempts to climb up and slides back down leaving more claw marks each time. The bear was finally scared off when an arrow came very close to its left foot. This last arrow continued to go up and never came down.
Wooden Leg, a Northern Cheyenne, related still another legend told to him by an old man as they were traveling together past the Devils Tower around 1866. A Native American man decided to sleep at the base of Bear Lodge. In the morning he found that he had been transported to the top of the rock by the Great Medicine with no way down. He spent another day and night on the rock with no food or water. After he had prayed all day and then gone to sleep, he awoke to find that the Great Medicine had brought him back down to the ground. Devils Tower is still considered to be sacred ground which has caused distress among the Native American tribes who described the Devils Tower designation as offensive. However, the name was never changed.
In recent years, climbing Devils Tower is on many a bucket list. The first known ascent of Devils Tower occurred on July 4, 1893. It is credited to a pair of local ranchers, William Rogers and Willard Ripley. They completed this first ascent after constructing a ladder of wooden pegs driven into cracks in the rock face. About 1,000 people came from up to 12 miles away to witness this first formal ascent of the tower. Rogers’ wife Linnie ascended the ladder two years later, becoming the first woman to reach the summit of the tower. An estimated 215 people later ascended the tower using Rogers’ ladder. It was last used in 1927 by stunt climber Babe (”the Human Fly”) White, a roaring twenties daredevil who climbed skyscrapers all over the country for publicity.

Daredevil Babe “The Human Fly” Barnstorming Broadside.

Rogers and Ripley’s climb jump-started a sport climbing industry at the tower that continues to the present day. Over the course of thirty years, the ladder, located on the southeast side of Devils Tower, fell into disrepair. Today, what remains of the ladder begins about 100 feet above the ground and ascends from there to the summit. Sources vary on the original length of the ladder, some accounts say it was 350 feet while others say 270 feet. In the 1930s, the decision was made to remove the lower 100 feet of the ladder for safety reasons. The ladder can still be seen from the trails around the monument.

William Rogers & William Ripley in 1893.

In 1941, Devils Tower became front-page news. Daredevil George Hopkins parachuted onto Devils Tower to settle a bet. His intention was to repel down the slope via a 1,000-foot rope dropped to him after a successful landing on the butte. To Hopkins’ horror, the package containing the rope, a sledgehammer, and a car axle to be driven into the rock as an anchor piton for the rope. As the weather deteriorated, a second attempt was made to drop equipment, but the rope froze in the rain and wind and could not be used. Hopkins was stranded for six days, exposed to frigid temperatures, freezing rain, and 50 mph winds before a mountain rescue team reached him and brought him down.
Today, hundreds of climbers scale the sheer rock walls of Devils Tower via climbing routes covering every side of the prehistoric landmark. All of them must check in with a park ranger before and after attempting a climb. No overnight camping at the summit is allowed; climbers return to base on the same day they ascend. Because the Tower is sacred to several Plains tribes, including the Lakota, Cheyenne, and Kiowa, many Native American leaders objected to climbers ascending the monument, considering this to be a desecration. Because of this, a compromise was reached with a voluntary climbing ban during the month of June when the tribes are conducting ceremonies around the monument.
The tower has a flat top covering 1.5 acres and its fluted sides give it an otherworldly appearance. Its color is mainly light gray and buff. Lichens cover parts of the tower, and sage, moss, and grass grow on its top. Chipmunks and birds live on the summit, and a pine forest covers the surrounding countrysides below. Additionally, Devils Tower National Monument protects many species of wildlife, such as white-tailed deer, bald eagles, and prairie dogs, the latter of which maintain a sizeable population at the base of the monument.

All of this is well and good and obviously, had the Hoosier slide been likewise protected, we may still be sliding down the massive sand dune in northern Indiana today. But movie buffs everywhere recognize Devils Tower for another reason. The 1977 movie Close Encounters of the Third Kind used the formation as the bellwether of its climactic scene. It soon became the film’s trademark logo. Its release was the cause of a large increase in visitors and climbers to the monument. Today, the otherworldly pull and Hollywood fame of Devils Tower has made it a cultural waymark.
With the funds from the film’s creation, the owners of the surrounding land were able to open a campground and restaurant to host climbers, sightseeing fans of the landscape, and movie buffs. Campers are welcome to hike and climb the tower twenty-four hours a day, and at night they’re treated to a showing of Close Encounters on a screen at the base of the landmark. According to the brochure, “Visitors leave with a new appreciation for the unique rock formation and a deepened curiosity about our place in space.”
And, for an added “new appreciation”, although Teddy Roosevelt is considered to be the “father” of the National Park System, you might be interested to learn that during his two terms, President Obama established more monuments than any President before him with 26, breaking the previous record held by President Theodore Roosevelt who had 18. In short, on both accounts, it was a bi-partisan land grab for the good.

Creepy history, Hollywood, Indianapolis, Pop Culture, Television

WFBM-TV Cap’n Star a.k.a. Sinister Seymour

Original Publish Date August 19, 2021.

I’ve written about Jerry Vance, a.k.a. Larry Vincent, a.k.a. Cap’n Star, a.k.a. Sinister Seymour in past columns, mostly in conjunction with the late great Hal Fryar a.k.a. Harlow Hickenlooper, a.k.a. Grandpa Harlow. Confused? Well, so am I. However, if ever an Indianapolis children’s TV host from the Circle City’s golden age of television deserved a redux, it’s Jerry, I mean Larry. Bear with me now as we sort out this man of many sobriquets who left Indianapolis to become a Hollywood cult classic legend.
Larry Vincent (a.k.a. Jerry Vance) was born Larry Francis Fitzgerald Vincent on June 14, 1924 in Boston, Massachusetts. After graduating from Bishop-Lee College of Theatre and Radio in Boston, he enlisted in the Merchant Marines during World War II. He first surfaced in the mid-1940s, appearing alongside Kirk Douglas in the Broadway play Kiss and Tell from 1943 to 1945 and then as understudy for Douglas in the short-lived play Alice in Arms. Both are notable for being Kirk Douglas’ Broadway debuts.For a time, Vincent also performed in the play Life with Father. The Broadway production ran for 3,224 performances over 401 weeks to become the longest-running non-musical play on Broadway, a record that still stands. Vincent changed his name to Jerry Vance and teamed up with Anderson, Indiana native Donald Craig McArt to form a stand-up comedy act that performed in nightclubs all over New York City. Don McArt later appeared in the Walt Disney films Son of Flubber and the “bsent Minded Professor and a slew of TV shows.

Vance landed in the Circle City in 1951. In the early 1960s he was working as a producer/director for Indianapolis’ first TV station, WFBM-TV (WRTV Channel 6 nowadays). Vance was among the first wave of Indy television personalities working alongside Howard Caldwell and Tom Carnegie. Since the early television business demanded an “all hands on deck” attitude, Vance created a character he dubbed “Cap’n Star.” Vance’s character appeared in a segment titled “Cap’n Star and Friends” alongside Harlow Hickenlooper and Curley Myers. The segment showcased cartoons and old Three Stooges shorts. Alongside his pet monkey “Davy Jones,” Cap’n Star sang songs and performed skits on the show.

Vance also directed many of Frances Farmer’s shows at the station from 1959 to 1964. The show, known as “Frances Farmer Presents,” aired five days a week, with Farmer doing her inserts live. She showed only the newest available movies from major studios. Farmer’s show was the number one show in its time period from the day it premiered until the day it left the air.

Vance lived in a house at 41st and Graham Avenue on Indy’s east side. Local children remember him as a kind neighbor who always had time for kids, often letting them wear his sailor’s cap from the show and play with the show’s mascot monkey. Vance had a background in Indianapolis theatre, performing as a leading man and directing many productions at the Circle Theatre, Catholic Theatre Guild and Civic Theatre. In 1961 and 1966, he won the city’s best actor award.
While in Indianapolis, Vance led the league in personal appearances. He spent his nights as a stage actor and his days as Cap’n Star. While at WFBM-TV, he handled nearly every chore affiliated with the production of his show, including beating the bushes for sponsorship and commercial advertising. Almost every weekend would find Cap’n Star at a local store, restaurant, school, carnival, or fair. The August 30, 1963 Indianapolis Star announced that “Cap’n Star, star of his own WFBM-TV show ‘Cap’n Star’ and ‘Deputy Dawg’ on Channel 6” would be appearing on Saturday morning at 11:00 at the new Eastgate Shopping Center on East Washington Street.
In 1967 he left Indianapolis to become staff director for KHJ-TV in Los Angeles. Utilizing a formula developed in Indianapolis, Vance became a member of the Barbary Coast Theater. In an October 3, 1967 column, well-known Indianapolis showbiz reporter R.K. Shull recalled a perchance encounter with Vance in Hollywood. “Last Spring, Vance left Indianapolis and decided to try his hand at the big-time in Hollywood. So far, he’s done well. He played a scene with Julie Andrews in her upcoming movie, Star. He’s had three guest roles on TV series, the first of which, an I Dream of Jeannie series. Only he isn’t Vance anymore.”
Shull continued, “‘I’m now Larry Vincent,’ he said, exhibiting a briefcase with that name under the handle, as though that proved something. But why Larry Vincent? ‘That’s my real name,’ he explained. Soon, Vance applied for his ‘SAG’ card with the Screen Actors Guild. ‘They already had a Jerry Vance registered as a member… a stunt man,’ he said. ‘So I had to pick another name and I chose my own… I found out about the other Jerry Vance the hard way. They mailed him my check for the work in ‘Star.’ He’s a decent guy though; he sent it back.’”
Vincent made guest appearances in others series: The Flying Nun (1967), Mission: Impossible (1969), Get Smart (1968–1969) and Mannix (1970). However, Vincent secured his legend as host for a few Sammy Terry-style Friday night horror show programs in L.A. The first was known as Fright Night and aired from 1969 to 1973 on KHJ-TV, the next, Monster Rally for one season in 1973, the last was Seymour’s Monster Rally from 1973–1974 (both of the latter shows aired on KTLA TV-5). Although the shows were different in name, they followed roughly the same format.

Vincent’s “Sinister Seymour” character presented low-budget horror and science fiction movies on both local Los Angeles stations. Fans remember Seymour’s “slimy wall” behind which was an ongoing party of ghouls that, try as he might, Seymour was never invited to join. They recall a pay phone from which Seymour was constantly trying to scam “Pizza fella” out of free pizza (on a borrowed dime no less). And they remember Banjo Billy (played by Vincent himself) whose bright orange band uniform matched his cheery disposition and one-piece Groucho glasses and nose combo was as bad as his banjo playing, played foil to Seymour on the show.

Sinister Seymour advertising Volkswagens back in the day.

He is remembered for his style of criticizing the movies, presented in an offbeat and funny manner, usually appearing in a small window that would pop up in the corner, tossing a quip, before vanishing again. Sometimes he would, using a blue screen, appear in the middle of the movie, apparently interacting with the characters in the film. Seymour called these movies “turkeys” right out of the gate. One need only look at the titles to understand why: Teenage Vampires, Monster from the Surf, The Spider Woman Strikes Back, X-The Man With X-Ray Eyes, The Crawling Eye, The Brain Eaters, Santa Claus Conquers the Martians and Attack of the Mushroom People, which he renamed “Attack of the Bunny Slippers” because of the unfrightening appearance of the film’s furry little parasite protagonists.

Dressed in black with a wide-brimmed gaucho plantation hat and cape, Sinister Seymour stalked his way into the films to openly mock the films as they aired. He equally derided his viewership, calling them “dummies” and “Fringies” while admonishing them for wasting their time by watching his program. No one was immune from Seymour’s insults, which could help explain his cancellations and reinstatements. For the last episode of Fright Night, Seymour ended the show by walking out of the studio, and the first episode of Monster Rally had him breaking into KTLA-5.
As he had done in Indianapolis, Seymour blanketed Tinseltown with personal appearances. Seymour was the Master of Ceremonies for the costume party at the first annual Witchcraft and Sorcery Convention in Los Angeles in 1971. He hosted “Seymour Day at Marineland” and was the first host of “The Seymour Show” in 1973/1974 — a Halloween Haunt show in the (then) John Wayne Theater at Knott’s Berry Farm. The event has since grown to become the largest and most haunting Halloween experience in California known as “ScaryFarm.”


Vincent a.k.a. Seymour’s last show came in 1974. Traditionally, Seymour ended the show by saying, “I’d like to thank you… I’d like to, but it’s not my style! Bad Evening!” But on his final telecast, Seymour eschewed his familiar goodbye and said nothing. He merely waved as the stagehands disassembled the set behind him. His last movie performance was in 1975 in an uncredited role in The Apple Dumpling Gang. For the last years of his life, Mr. Vincent battled stomach cancer. He died on March 9, 1975 at the age of 49.


Several years later, Elvira took over Larry’s place as horror-film hostess on Fright Night, which later morphed into her own series, Elvira’s Movie Macabre. And the rest, as they say, is history.

Elvira Mistress of the Dark.
Abe Lincoln, Creepy history, Ghosts, Politics, Presidents

The Mumler Abraham Lincoln Ghost Photo.

Original publish date:  October 22, 2020

Last Saturday before the Irvington ghost tours, one of our volunteers, Alex McFarland, initiated a conversation that seemed to be a perfect topic for the evening: the Abraham Lincoln ghost photo. Known officially as the “Mumler photos”, these were a series of posed studio photographs, not unlike any old time photo, usually in Carte de Visite (or CDV) form, that can be found at any antique show, shop or mall today. The difference is, Mumler’s photos had the visual image of a ghost in them. The most famous of the Mumler photos features widowed First Lady Mary Lincoln with her deceased husband, President Abraham Lincoln.


William H. Mumler

William H. Mumler (1832-1884) was a well-known Boston photographer who claimed to be a “medium for taking spirit photographs.” Mumler was part of the growing phenomenon of spiritual manifestations introduced in 1848 by the Fox sisters of Hydesville, N.Y. The three sisters held séances at their home (near Newark, N.J.), that featured spirit rappings and table tippings in response to their queries. Their amazing “abilities” caused a sensation that spread across the country. With its long history of highly intelligent, intellectually curious populace, Boston became an epicenter for the movement attracting spiritualists, mediums and psychics from all over to the mysterious world of the “higher plane.”
In 1871, the camera was still in its infancy. The technology had graduated from metal to glass to paper photos readily available and affordable to the general public like never before. The country was still mourning from Civil War losses, in some cases having lost entire male lines of families and large portions of towns and communities. The loss of loved ones was still fresh and many turned to any means necessary to see and talk to their loved ones one last time. Mumler’s promise of contact in the form of visual evidence drew flocks of true believers to his studio at 170 West Springfield Street in this city historians called the “Cradle of Liberty.”


In February of 1872, seven years after Lincoln’s assassination, a still grieving Mary Lincoln arrived at William Mumler’s Boston Studio to have her picture made. Dressed in mourning, she gave the photographer a false name (‘Mrs. Lindall”) and kept her face concealed behind a black veil. In 1875, Mumler recalled in his autobiography, “I requested her to be seated, went into my darkroom and coated a plate. When I came out I found her seated with her veil still over her face. I asked if she intended to have her picture taken with her veil. She replied, ‘When you are ready, I will remove it.’” The widow Lincoln was used to dealing with charlatans and knew how to prevent their tricks.

The reason she landed at Mumler’s studio was because her dead husband had appeared to her at a séance earlier in Boston. The medium told her she should visit Mumler’s studio because the photographer had the ability to capture the shadows of the dead on photographic negatives. Mumler always claimed that he did not recognize his subject until the after he developed the negative. And then only after he recognized the image of the martyred President did he realize it was Mary Todd Lincoln. His visitor just may have been the most vulnerable woman in America, shattered by death and loss for the past two decades.
Mary never recovered from her husband’s assassination six years before and the loss of three of her four sons, all dead before their 18th birthdays. Even before her husband’s death, Mary Lincoln had embraced spiritualism, the belief that spirits of the dead can be contacted through mediums. Reputedly going so far as hosting seances in the White House and visiting mediums in Georgetown and D.C., sometimes accompanied by the President himself. So her visit to the studio, today located near historic Frederick Douglass square in Boston, was unsurprising and predictable. It should also come as no surprise that the photo, the greatest presidential ghost photo ever known, is a fake.


Mary’s visit to William Mumler’s studio (one of five Boston studio locations he occupied during the 1860s-70s and 80s) stands out as one of the grand hoaxes of the Spiritualist period. The distraught first lady must have been satisfied, even consoled by the image, but to our practiced modern eyes, this photograph of Mary Lincoln remains a touching, if sadly preposterous, fake. Nonetheless, it was Mumler’s most famous portrait. Mumler’s Lincoln image is his most reproduced photograph, and it is believed to be the last photo ever taken of Mary before her death in 1882.
The story of Mumler’s spirit photography began as an accident and turned into a joke. In 1861 the 29-year-old jewelry engraver was living in Boston and experimenting with the new art of photography as a hobby. In his autobiography, The Personal Experiences of William H. Mumler in Spirit Photography , Mumler claimed his discovery was made while developing a self-portrait. While the plate was soaking in the tray of toxic chemicals, he noticed the mysterious form of a young girl slowly materialize on the negative. Amused and mystified, Mumler printed this curiosity and showed it around to friends, claiming that it was the ghost of a dead cousin. Mumler, a man of “a jovial disposition, always ready for a joke,” decided to show the photo to his spiritualist friends, pretending that his picture was a genuine impression from beyond the grave.

The Boston psychics fell for the gag and soon Mumler’s ghost photos were circulating around the city. It became an instant sensation and once Mumler’s photo was published in The Banner of Light and other spiritualist newspapers, he became an instant celebrity. The “spirit cousin” was nothing more than the transfer residue of an earlier negative made with the same plate, but it was declared a miracle and Mumler the jeweler became heralded as the “oracle of the camera”. Mumler soon left his job as a jewelry engraver and opened his own photography business full time.

Here’s the scam. On arrival, the subject of the photo was greeted by William’s wife Hannah, she would chat up the client who would invariably reveal who the spirits were that they wished to appear in their sitting. Hannah had some clairvoyant abilities of her own and she often offered her own intuitions about the spirits surrounding her husband’s clients, resulting in the client’s unwittingly revealing more precise information. All while William Mumler was eavesdropping from the adjoining room. Part of his con included a “vacuum tube” that glowed as an electrical current was run through it which he claimed was a special force he then channeled into the camera. It was P.T. Barnum style showmanship pure and simple.

For this special ability, Mumler’s fees were extravagant. At the height of his fame, Mumler charged $10 for a dozen photographs, roughly five times the average rate. Worse, there was no guarantee that any spirits would appear. If Mumler or his wife sensed a particular vulnerability in their subject, the spirits would not appear in the photos. And clients were encouraged to make repeated trips to Mumler’s studio before they were blessed with a true spirit photograph. If the high fee was ever questioned, “The spirits,” Mumler answered, “did not like the throng.”


Boston’s other photographers were not impressed by Mumler’s ghost photos. James Black, one of Boston’s premiere photographers famous for his aerial views of the city taken from the perspective of a hot air balloon, was convinced that Mumler was cheating. He set out to catch him at it. Black bet Mumler $50 that he could discover his secret. Black examined Mum­ler’s camera, plate and processing system, and even went into the darkroom with him. In his auto­biography, Mumler described Black’s reaction when a ghostlike image emerged on the negative right before the doubter’s eyes as, “Mr. B., watching with wonderstricken eyes…exclaimed, ‘My God! Is it possible?’”

P.T. Barnum.

Of the incident, Mumler later recalled, “Another form became apparent, growing plainer and plainer each moment, until a man appeared, leaning his arm upon Mr. Black’s shoulder.” The man later eulogized as “an authority in the science and chemistry of his profession” then watched “with wonder-stricken eyes” as the two forms took on a clarity unsettling in its intimacy. Despite the best efforts of countless investigators, no one was able to determine exactly how Mumler created his apparitions. With the photographic elite unable to debunk Mumler’s ghost photos, hoards of desperate souls flocked to Mumler’s studio-including a grieving Mary Lincoln and the master of all hoaxes, P.T. Barnum himself.
Soon Mumler’s pictures became the subject of great speculation among his peers from all over the country. In 1863 noted Boston scientist, physician and avid photographer Oliver Wendell Holmes not only gave step-by-step instructions on how to obtain a double exposure in an essay for the Atlantic Monthly , but he also contemplated the popularity of Mumler’s pictures. “Mrs. Brown, for instance, has lost her infant, and wishes to have its spirit-portrait taken,” Holmes wrote. “It is enough for the poor mother, whose eyes are blinded with tears, that she sees a print of drapery like an infant’s dress, and a rounded something, like a foggy dumpling, which will stand for a face…An appropriate background for these pictures is a view of the asylum for feeble-minded persons…and possibly, if the penitentiary could be introduced, the hint would be salutary”
Further confounding the experts was the fact that the apparitions seen in a Mumler photograph had human features, lifelike gestures and filmy interactive forms. They are translucent spirits, not hard edge ghosts. That was the secret of a Mumler ghost photo. To mediums, psychics and spiritualists, Mumler’s photos depicted what they believed: that the afterlife was a paradise, simply the next step in human existence, albeit on a higher plain. All questions of process and motives aside, Mumler’s subjects were satisfied with the results. Distraught parents saw visions of children gone for years. Grieving widows saw husbands one more time and widowers looked into the eyes of deceased wives once again.
Eventually, Mumler was a victim of his own vanity and the third deadly sin of avarice: aka Greed. The more people that showed up, the more Mumler had to perform. Some prominent Boston spiritualists, once avid supporters of Mumler’s ability, began to examine the ghost photos more closely only to discover that some of the “spirits” in the images were still quite alive. The ragman, the butcher, the schoolteacher, the cop. These were normal people walking the streets of Boston, all past subjects of Mumler’s “straight” photo studio sessions utilized by Mumler in the photographs of strangers. Eventually, Mumler’s business in Boston fell off.


He died on May 16, 1884 holding patents on a number of innovative photographic techniques, including Mumler’s Process, which allowed publishers to directly reproduce photographic illustrations in newspapers, periodicals, magazines and books. Mumler’s skill as a photographer was only rivaled by his talent as a con artist, but he never really experienced any accumulated wealth from his labors. Mumler maintained to the end that he was “only a humble instrument” for the revelation of a “beautiful truth.” To further confuse matters, Mumler destroyed all of his negatives shortly before he died. William Mumler’s photographs may be products of pure hoaxing, but the question of whether technology is capable of catching spirits on film remains with us to this day. Search the web on any given day and you will see photos of every type captured by cameras of every description. Security cameras, ring doorbells, digital images and cellphones continue to capture photos of mysterious orbs, mists, apparitions, shadows, dancing lights and unexplainable phenomenon of every description. The allure of capturing a ghost on film, especially that which is invisible to the naked eye, may have begun with William Mumler but it continues to this day.

Auctions, Creepy history, Health & Medicine, Indianapolis, Medicine, Music, Pop Culture

Elvis Presley — are you kidding?

Elvis Presley Autopsy Tools.

Original publish date August 10, 2010 Reissue date: August 27, 2020

Recently the Leslie Hindman auction house in Chicago caused a flap when it was announced that they would be auctioning off the instruments used to embalm Elvis Presley after his untimely death at the age of 42. The auction house was planning to sell the macabre Elvis relics in two separate lots: one with a pre-sale value of $4,000 to $6,000, and the other estimated at $6,000 to $8,000. Elvis may have left the building, but the man’s ability to get people “all shook up” has not diminished as the announcement sent shock waves through the media and wrought havoc among fans, collectors, historians and auctioneers alike.
The items in question, which included a comb, eye liner, rubber gloves, forceps, needle injectors, an arterial tube, aneurysm hooks, and a toe tag, came from an unidentified former employee who worked for the Memphis funeral home where Elvis’ body was last attended to. They were used only once — to embalm Elvis’ body, apply makeup to his face, and dye his graying hair to the jet-black color his fans knew so well. The replacement toe tag, marked “John Doe,” was attached to the King’s body after an eager fan stole Elvis’s original tag during the chaos at the hospital where he was taken. Other items in the grouping include the coffin shipping invoice, autopsy room preparation paperwork and the hanger that Elvis Presley’s funeral suit and tie arrived on.


Elvis Presley’s last concert at MSA in Indianapolis.

According to the auction house, the items were used to prepare the King’s body for a private viewing for family and friends only in the morning after his death. Presley died August 16, 1977, in the bathroom of his Graceland estate of an irregular heartbeat. “The senior embalmer at the Memphis Funeral Home at the time of Presley’s death saved the items for the last 33 years and decided to sell them after he realized someone might value them,” said Mary Williams, director of books and manuscripts for Leslie Hindman Auctioneers.
Presley’s autopsy involved draining all body fluids and removal of all vital organs which were then sent to a pathology lab for testing to ascertain the cause of death. The coroner, Dr. Jerry Francisco, along with Dr. Eric Muirhead and Dr. Noel Florredo, presided over the autopsy of Presley. The trio initially concealed the facts by attributing the cause of death to a massive heart attack. They later claimed their motive “was not to tarnish the image by a scandal of a drug habit.” For decades, when asked about the rumors that Elvis is not dead, Francisco consistently replied, “If Elvis is NOT dead, he’s walking around without his major organs as Elvis’ brain and heart are still in storage at Memphis Memorial Hospital.”
When the sale was announced, a spokesman for the auction house admitted the auction may be controversial as some people “are going to be disappointed” by the sale of these items. However, Elvis memorabilia remains in strong demand with a lock of his hair selling for $18,300, a red ultra-suede shirt worn by Elvis in publicity photos garnering a $34,000 bid, and an inscribed record sleeve selling for $10,370 at a Hindman’s auction in October 2009. The proposed sale of these creepy collectibles combined with the fact that he’s been dead for 33 years, keeps Presley intact as one of the highest grossing celebrities, bringing in $55 million in 2009 according to Forbes.com. Presley’s posthumous popularity notwithstanding, why would anyone want to buy these things?


Luckily, that question will remain unanswered because these sad rock-n-roll souvenirs were removed from the August 12th auction after doubts were raised about their provenance and authenticity. According to the auction house, the items have been given back to the Memphis Funeral Home, following a dispute between the home and the potential consignor. “Due to questions of ownership, the retired embalmer and his son have decided to turn over the property to the Memphis Funeral Home and its parent company, Service Corporation International, with the intention of donation,” Hindman said in a post on their Web site.
Shortly after the auction was announced, the Memphis Funeral Home claimed that those tools were taken without the home’s consent. The funeral home thought the embalmer was dead, but he’s not. He’s in his 80s. The funeral home contacted the elderly man and told him he can’t sell the items and if they were not returned, legal steps would be taken to reclaim them. According to funeral home president E.C. Daves, “We are awaiting word from the Elvis Presley estate on its preferences for the items. The items could be donated to a funeral history museum in Houston or they could be destroyed. Either way, the funeral home is not going to do anything until the Presley estate agrees with it.”


Now, maybe you’re thinking, “But you never answered the question, who would buy this stuff?” Well, before the items were pulled from the sale, Hindman’s auction house specialist Williams explained, “It’s really about owning a piece of the celebrity themselves… and how much closer can you get than the actual embalming instruments?” Okay that’s a creepy statement. However, I can help add some clarity to the issue for you. If you’ve been paying attention to past columns, you’ve learned that I’ve been an antique dealer for 30 years and a memorabilia collector for even longer than that. As with many collectors, I’ve bought, traded and sold many collections over the years.


One of those collections was a group of crime related autographs, artwork and paintings featuring infamous names like serial killers John Wayne Gacy and Ted Bundy, Manson family members Charles Manson, Tex Watson and Squeaky Fromme and political assassins James Earl Ray, Jack Ruby, Lee Harvey Oswald, and Charles Guiteau. I have owned signatures of Bob Ford, the “dirty little coward” who killed Jesse James and a personal check signed and written out by Bruce Lee made payable to and endorsed by his hairstylist Jay Sebring, who died alongside Sharon Tate in the Manson family massacre. Most of these items lost their appeal to me as I grew older but the urge of the infamous and their misdeeds never fully went away, for I still own a signed photo of John Wilkes Booth and a few other assorted macabre mementos from our country’s history.
I have seen many similar grisly relics offered for sale in the past, and held many of these macabre items in my hands including several items connected to the Lincoln assassination conspirators, the blood stained glasses that John Lennon wore the night he was murdered, the “Double Fantasy” record album Lennon signed for Mark David Chapman just a short time before Chapman killed Lennon, the watch that was in Notre Dame coach Knute Rockne’s pocket when he died in a plane crash, the watch Buddy Holly wore on his wrist when he likewise perished in a plane crash, and countless locks of hair and death masks from celebrities in every field across the board. Within the “hobby” they are commonly known as “blood relics” and they are in high demand. Whether you agree or disagree with their relevance, there exists a lucrative market for these sad souvenirs.
Collecting is an addiction. There is the thrill of the chase, the negotiation for acquisition, the elaborate planning for display and the final realization that you now possess the object of your desired search. For those collectors whose fandom goes beyond collecting rare records, signed merchandise and other conventional methods of capturing a performer’s essence, it’s only natural that they would be interested in something that would bring them a little closer to the performer. And friends, it doesn’t get much “closer” than this. So ask yourself: if you had the chance to own, possess or simply handle one of these unique items, what would you do?

Civil War, Creepy history, Ghosts, Irvington Ghost Tours, Travel

Haunted Antique Mall.

549b01d3e7296.image

Original publish date:  October 5, 2010              Reissue / Updated: August 6, 2020

Here’s a one tank trip that might just help make your autumn season a little bit better. It combines many things that I like and perhaps a couple of things you might fancy as well; History, Antiques and ghosts! Recently my wife Rhonda and I took a trip down to New Albany, Indiana (just a stones throw from Louisville) to visit a place I’d long heard about but had yet to visit, Aunt Arties Antique Mall at 128 W. Main Street in New Albany.
Judy Gwinn is the owner of the old Ohio River Opera House and has turned the stately old building into one of the nicest antique malls in Southern Indiana. For antiquers, it is like stepping a decade back in time to a multi-dealer co-op with 3 floors of collectibles that would please most any collector. In short, it’s a mall full of quality merchandise the likes of which we all used to find in the days before Ebay.
“There are a lot of strange things that go on in this old building,” Judy says, “It has a vibe all its own.” Gwinn has operated the antique mall for nearly 10 years now and has witnessed many unexplained occurrences over the past decade. Lucky for Judy and her dealers, the ghosts of Aunt Arties aren’t poltergeists so breakage has not been a problem, “Although they sometimes move things around the building.”

z Opera
Woodward Hall New Albany, Indiana

The building, originally known as Woodward Hall, was built in 1853 and purposely situated a block from the river on the corner of State and Main, “J.K. Woodward built it so that his wife and kids did not have to deal with the drunks and neer-do-wells that often prowled the docks down by the river in the years before the Civil War. He wanted a safe place for his family to enjoy themselves.” said Judy. In its lifetime just about every famous person who passed through New Albany appeared on the 3rd floor Opera House including the famed Siamese twins Eng and Chang, P.T.Barnum’s diminutive protege Tom Thumb and his friend, Commodore Foote, Opera star Adelina Patti, Philosopher/Poet Ralph Waldo Emerson, and self taught former slave turned master musician Blind Tom who was billed as the “Negro piano prodigy.” Not every performer to grace the stage of old Woodward Hall was famous though. The venue attracted countless numbers of minstrel shows, political debates, religious revivals, social lectures and dramatic productions.
The lower 2 levels housed a dry goods / department store well into the 20th century in what was once the largest city in the state before the Civil War. Although Judy is responsible for its current look, it has been used as an antique store since the late 1980s. Along with the city’s reputation as a river community, New Albany also has a rich history as a factory town and will celebrate its 200th anniversary in 2013.
z utc posterThe Opera House hosted the first performance of the inflammatory anti-slavery play “Uncle Tom’s Cabin” and its location straddling the North-South boundary caused quite a stir in the days leading up to the Civil War. During the “War of the Rebellion”, the building was used as “Hospital No. 9” and soldiers from both sides of the conflict could often be found lying side-by-side within its walls. In April of 1862, the steamer “H.J. Adams” delivered 200 wounded soldiers to the converted Opera House fresh from the killing fields of Shiloh. In these years before sterilization set the standard of hospital care, a wounded soldier sent to Hospital No. 9, as with any hospital North or South of the Mason-Dixon line, might as well have been handed a death sentence. Many a soldier in Hospital No. 9 would write letters telling friends and family that he was on the mend from a minor battle wound one day, only to die unexpectedly the next day from disease.
Judy and the girls that work in the mall feel that some of these performers and soldiers have never left the building. “I never believed in ghosts until I bought this building. Neither did my husband, but after all of the strange things we’ve experienced in this building, We have changed my minds,” Judy Gwinn said. However, she is no longer afraid of being thought of as a crackpot because she is not the only person to witness these unexplained happenings.
z 5c05d88edef32.imageJudy recalls how in 2001, her youngest son David was down in the building’s cellar “fishing” for old bottles in a cistern that he had removed the concrete covering from. “He was laying on his stomach down there alone when he suddenly felt someone tap him on the shoulder” she says, “he looked around expecting to see the source of the poking, but saw that he was still down there alone. Since that time, David does not like to be in the basement by himself.”
Judy recalls one time when she and her sister were walking down the stairway from the second to the first floor when she suddenly lost her balance and began to fall. “Something pulled me back and saved me from falling and serious injury. I shook for several minutes after that one.” says Judy.
img485Spirits of a Civil War soldier and a woman in an old fashioned Antebellum Era dress have been seen lounging around the cafe area by a few folks. “Every once in awhile, we’ll get a psychic coming through here telling us that they see the spirits of several Civil War soldiers around the entire building and sense sadness in the basement area.” says Gwinn.
On one occasion, Judy was down in the cellar with a group of 4 people when the youngest person down there, an 11-year-old girl wandered a few feet away from the group. “We all watched as a bright white orb of light appeared and went right through that little girl.” she says, “I have seen shadows go through walls and felt the tapping on my own shoulder. Whatever it is, I’m not scared of it anymore.”
Judy Gwinn might not be afraid of the ghosts that linger within the walls of Aunt Arties Antique Mall, but others might have a different opinion. Judy confesses that some people have walked in the doors and turned around and walked right back out. She’s seen more than a few people start walking up the stairs only to suddenly stop and walk carefully back down the stairway. When asked about the basement, Judy says, “Oh my, I don’t think we could ever use this area for anything more than storage. Its just too creepy and I’m not even sure that the employees want to come down here.”

z 10672416_798739180182771_6158681886050951161_n
Tim Poynter delivering a presentation at the Indiana State Library in Indianapolis.

Update: This article originally ran 10 years ago. Aunt Arties closed its doors on New Years Eve of 2014 and the remaining contents were auctioned off in February of 2015. After Rhonda and I visited the store in the Fall of 2010, we took another trip down with several intuitives, including Tim Poynter and Jill Werner. My decision to rerun this story came after the following facebook post from Tim: “Aunt Arties was once a stop on the underground railroad with a reputation of being haunted by a Lady in blue/gray. When we arrived the spirit of a young soldier started following one of the group around. He was very smitten with Jill and had big puppy dog eyes. I noticed the lady spirit on the stairway overseeing our groups investigation. We spent some time on each floor looking for spirits. Near the end of our visit I noticed several spirits of slaves that had been buried on the property still residing in the basement even after all those years. They has perished from injuries received from their perilous journey to freedom. They were still very afraid of our attention to their being there. I remember being overwhelmed with their fear and mistrust. The connection with spirit often comes with much more than we expect. After understanding that we were not a threat they became more forth-giving of their trip to freedom. Even though they had died, they died as free men. I helped them understand that the only thing holding them there was their own energy and off they went. We that were born to freedom seldom understand it’s true value. Those that restrict the freedom of others don’t understand the mark they leave on their own soul.” Well said, Tim, well said.