31 Tales From Hellview Cemetery

31 TALES FROM HELLVIEW A macabre collection of ghost stories based on tales and legends of the Tampa Bay area. From a ghostly dancer with a crooked smile to killer clowns, from a swamp witch to a creepy little girl; these stories have inspired many of the legendary characters within the haunted halls of Hellview Cemetery, St. Petersburg's infamous haunted house. Each story is hauntingly accompanied by stellar photography.

31 TALES FROM HELLVIEW CEMETERY is a macabre collection of ghost stories based on stories and legends of the Tampa Bay area. From a ghostly dancer with a crooked smile to killer clowns, from a swamp witch to a creepy little girl; these stories have inspired many of the legendary characters within the haunted halls of Hellview Cemetery, St. Petersburg's infamous haunted house. Each story is hauntingly accompanied by stellar photography.

Discover the weird sites and peculiar stories that lurk in the shadows of the Sunshine State in this guide for fans of all things freaky. Millions of people flock to Florida for its beaches and tourist attractions. Most never learn about the strange locations just off the beaten path. In Freaky Florida, Mark Muncy and Kari Schultz share tales of Florida's myths, monsters, massacres and legends—and the hidden history behind them. In the beautiful Florida Caverns, a second Rip Van Winkle was woken from one hundred years of sleep. The Green Swamp is home to murders, monsters and mysteries galore. A shining castle made of recycled material, built by an artist like no other, gleams within a Florida swamp. A spectral horse heralds tragedy and caused a notorious scandal in a central Florida city. Discover these and other stranger-than-fiction tales in Freaky Florida.

"The sweltering heat of the Florida sun breaks as a chill runs down your spine. A dark shadow looms from a nearby tourist trap--you didn't expect to find this kind of shade in Florida. Check in at The Biltmore in Coral Gables to spot the ghost of slain Fatty Walsh roaming the thirteenth floor. Sit down for a meal with the spirit of Ethel Allen at Ashley's Restaurant in Rockledge. Visit haunted graveyards, museums, parks and battlefields. Hear macabre stories of spectral pirates, gangsters, witches and madmen. From phantasmagoric packs of Madam McCoy's girls in Pensacola to the ghostly clacking of Hemingway's typewriter in the Keys, Mark Muncy and Kari Schultz lead brave readers along Florida's border with the great beyond."--Page [4] of cover.

The author of Freaky Florida shares a unique guide to the state’s strangest attractions—from Florida Bigfoot to lost cemeteries, UFO sightings and more. Most people know Florida as the land of endless sunny beaches, Disney World, and NASA shuttle launches. But the state is also home to many hidden mysteries, eerie legends, and tales of bizarre creatures. In Eerie Florida, author Mark Muncy and photographer Kari Schultz provide a unique guide to these truly unique sites across the Sunshine State. The Everglades is home to the elusive Skunk Ape—also known as Florida Bigfoot—a strange bipedal creature recognized by its odor. An uncanny doll reputed to have a life of its own greets visitors in a Florida Keys museum. An ancient monster is reported to roam the rivers in the northeast corners of the state, and in South Florida, a man built Coral Castle—also known as America's Stonehenge—via mysterious means. Join Mark Muncy and Kari Schultz as they uncover the history behind the state's creepiest stories and unusual locations.

Come Fly with Death is a chapbook of 20 poems inspired by the artwork of the late Polish painter, Zdzislaw Beksinski. Up until the time of his murder in 2005, Beksinski created a fantastic collection of paintings, drawings, sculptures, and photographs, specializing in the field of utopian art. Like Beksinski's works, the poems contained here are surrealistic and graphic. They are at times horrific, Gothic, even erotic, and apocalyptic. Above all, they attempt to serve as a rare glimpse into the heart of our most beautiful nightmares. Contains reprints from The Horror Zine, Twisted Dreams Magazine, Dark Gothic Resurrected Magazine, Indigo Rising Magazine, as well as the anthologies, Gothic Poems and Fiction, Death Head Grin Anthology Vol. 2, and Fossil Lake: An Anthology of the Aberrant. Also included are several poems never before published.

In Surprised by Hope: Rethinking Heaven, the Resurrection, and the Mission of the Church, top-selling author and Anglican bishop, N.T. Wright tackles the biblical question of what happens after we die and shows how most Christians get it wrong. We do not “go to” heaven; we are resurrected and heaven comes down to earth--a difference that makes all of the difference to how we live on earth. Following N.T. Wright’s resonant exploration of a life of faith in Simply Christian, the award-winning author whom Newsweek calls “the world’s leading New Testament scholar” takes on one of life’s most controversial topics, a matter of life, death, spirituality, and survival for everyone living in the world today.

Charles Mingus was one of the most innovative jazz musicians of the 20th Century, and ranks with Ives and Ellington as one of America's greatest composers. By temperament, he was a high-strung and sensitive romantic, a towering figure whose tempestuous personal life found powerfully coherent expression in the ever-shifting textures of his music. Now, acclaimed music critic Gene Santoro strips away the myths shrouding "Jazz's Angry Man," revealing Mingus as more complex than even his lovers and close friends knew. A pioneering bassist and composer, Mingus redefined jazz's terrain. He penned over 300 works spanning gutbucket gospel, Colombian cumbias, orchestral tone poems, multimedia performance, and chamber jazz. By the time he was 35, his growing body of music won increasing attention as it unfolded into one pioneering musical venture after another, from classical-meets-jazz extended pieces to spoken-word and dramatic performances and television and movie soundtracks. Though critics and musicians debated his musical merits and his personality, by the late 1950s he was widely recognized as a major jazz star, a bellwether whose combined grasp of tradition and feel for change poured his inventive creativity into new musical outlets. But Mingus got headlines less for his art than for his volatile and often provocative behavior, which drew fans who wanted to watch his temper suddenly flare onstage. Impromptu outbursts and speeches formed an integral part of his long-running jazz workshop, modeled partly on dramatic models like Orson Welles' Mercury Theatre. Keeping up with the organized chaos of Mingus's art demanded gymnastic improvisational skills and openness from his musicians-which is why some of them called it "the Sweatshop." He hired and fired musicians on the bandstand, attacked a few musicians physically and many more verbally, twice threw Lionel Hampton's drummer off the stage, and routinely harangued chattering audiences, once chasing a table of inattentive patrons out of the FIVE SPOT with a meat cleaver. But the musical and mental challenges this volcanic man set his bands also nurtured deep loyalties. Key sidemen stayed with him for years and even decades. In this biography, Santoro probes the sore spots in Mingus's easily wounded nature that helped make him so explosive: his bullying father, his interracial background, his vulnerability to women and distrust of men, his views of political and social issues, his overwhelming need for love and acceptance. Of black, white, and Asian descent, Mingus made race a central issue in his life as well as a crucial aspect of his music, becoming an outspoken (and often misunderstood) critic of racial injustice. Santoro gives us a vivid portrait of Mingus's development, from the racially mixed Watts where he mingled with artists and writers as well as mobsters, union toughs, and pimps to the artistic ferment of postwar Greenwich Village, where he absorbed and extended the radical improvisation flowing through the work of Allen Ginsberg, Jackson Pollock, and Charlie Parker. Indeed, unlike Most jazz biographers, Santoro examines Mingus's extra-musical influences--from Orson Welles to Langston Hughes, Farwell Taylor, and Timothy Leary--and illuminates his achievement in the broader cultural context it demands. Written in a lively, novelistic style, Myself When I Am Real draws on dozens of new interviews and previously untapped letters and archival materials to explore the intricate connections between this extraordinary man and the extraordinary music he made.