January 28, 2010

The Kreep pens ode to HP Lovecraft

O’ Poverty thy wicked Cthulhu

O’ poverty thy wicked Cthulhu
Enchained a mind in coiled darkness
T’refute remarks n’ ruminations
In poetry n’ verse thus pending
As well quick a scribe’s bereavement
Malevolent feat indeed undone our author

O’ scarcity thy heinous Cthulhu
Threadbare wellbeing, better despair
Crush thy creator well your weight
Rip innards whilst no riches dwell
Curse the life obscurity n’ unaided
Lovecraft’s passing reaps return

O’ paucity thy odious Cthulhu
Neither headstone nor words printed
Nix bed t’sleep in restful slumber
Destitute the fate of Poe
Gone the extraterrestrial mythos
Vanished here forever more

In E†ernity,

Brazillia R. Kreep

Cthulhu (kə-THOO-loo) is a fictional cosmic entity created by horror author H. P. Lovecraft in 1926, first appearing in the short story “The Call of Cthulhu” when it was published in Weird Tales in 1928.

-Wikipedia

Kreep’s Korner

January 14, 2010

the sadness came

Sadness came to visit
Nestle in my chest
Whispered things t’taunt deep demons
Who played heartstrings with revenge
T’hear such notes, tears t’steep
O’ thy sullen eyes
Sadness knew
What sadness can
Thus told me t’beware
Sadness would return someday
If I didn’t heed
Melodies of madness
Such shattered hearts discern

In e†ernity,
Brazillia R. Kreep

December 20, 2009

Love Lost


I let love go
Flew onto a windowsill
A whispered thought its wings
Not knowing where to soar
Grooming tattered feathers, it cooed at me
Tilted its head to get a better look
One last take of me
For love was never certain who I was
While the wind coaxes its departure
As it drifts upwards
Out above the world
Toward other hearts More certain

August 21, 2009

American Mourn

American-Moun-Flag

 

I cannot forget our wars.  As much as I dream my nights so wonderfully, I still have nightmares in the morning.  I walk the floorboards and I imagine the families that have to endure our unrelenting aggression.  Then I listen to the media banter of the when, where, why, and how of nothing more than their fear of dead air.  So many agendas that a child, so terrified by the noise and carnage can neither comprehend nor care about the cause.

AMERICAN MOURN
IN A RADIANT SUNRISE
O’ WE SHUDDER FROM THE HEAT
T’SEE TOO CLEARLY THE CRACKS
THIS NATION HAS COMMENCED
TINY SLIVERS FULL
FLESH UPON THE WEAK
AS TEARS CRASH THE GATES
SOULS CRY OUT THE PAIN
I LOOK ACROSS THE OCEAN
DULL THE NOISE
CONTEMPLATE HOME
HEAR THE DECEIT
PRESIDENTS T’KINGS
ECHOING THEN
AS I TREMBLE ENDLESSLY
THIS MOURN

In e†ernity,
Brazillia R. Kreep

© 2009

May 16, 2009

Bread-lines, Ghosts & Goblins

I have lived through many rigid times in America. Over the centuries, I have witnessed some awfully strange and fantastic trials surrounding our cultural composition. Especially during the Crash of 1929, preceding the Great Depression.

It is a dreadfully sad affair when you see your neighbors forced to move out of their lovely homes to bed down with friends and family; people desperately consolidating their lives to compensate for a quick n’ crumbling economy. It is frightening too because you fear the shadow of poverty and despair might envelope you next. It might tap you on the shoulder and whisper in your ear, “This way, please.”

Nothing was more peculiar, however, than to observe some of the ghosts and goblins on my block scrambling to readjust to this unanticipated human condition. Spirits were now aimlessly wandering the streets, haunting the alleyways and breadlines because their dwellings were now vacant of human beings. During these hauntingly needy times, not only the living suffered but also all the dead.

During this depression I was fortunate enough to find work on the college lecture circuit, regarding my book The Vampire – Allegory & Accuracy. Alas this only fascinated a small band of adolescent bloodsuckers calling themselves The Brood. This ragtag band of kids loved my observations, surprised by the exactness of my dissertations, and subsequently they followed me throughout the countryside. They too were falling on hard times, you see, because the wealth they amassed usually came from their affluent victims, and of late, they were as penniless as all.

Never the less, The Brood decided to create a community that, for better or for worse, feed off each other. They were, now more than ever, oddly particular in whom they let in to their tight-knit crimson tribe. It was no longer sufficient to randomly pick victims based on their stature. Now they had to assess the quality of their character as well. The Brood was morally evolving, no longer collecting monetarily but spiritually for the first time in their blood-sucking lives.

This was truly an optimistic outcome to a contemporary national crises, one that not only augmented the quality of their tribe overall, but allowed me to join them in their cause. Which I did immediately: it was inevitable; pulling together in a spiritual equality is why we survived into the next millennium–end of story.

An likewise, with today’s re-Depression looming, forcing all of us to reexamine our dependency on affluence and credit card misapprehensions, it is time to seek spiritual companionship with one another once again. Since we should never judge a person by the size of their wallet, for in these coarse times that mindset will certainly leave you, like the spirits were, wandering the streets alone. Yet the principle that we finally come together based on the quality of our hearts and not our bank accounts is a positive consequence of simply “losing it all”. And so it is my kreepy friends, dust t’dust. For you can’t take it with you in the end. For even the dead know this for certain.

In e†ernity,

Brazillia R. Kreep

Dust T’dust

O’ how we tally silver
In calm we count thy coins
Over n’ over
Over n’ over
Whilst family nurtures on
Tic tock thy clocks
Whoosh the winds of speculation
Care little for the squall
T’procure life’s devotions
Beyond white picket fences
Fancy trimmings
Gilded blessings
More n’ more
More n’ more
Fill t’brim t’overflowing
Further parent’s score
Until plastic cracks
Snaps thy credence
Bleeds upon the floor
Red, white, n’ blue
American dreaming
T’know nothing’s indissoluble
Dust t’dust
Dust t’dust
O’ tepid angels
Therefore
Wherefore
No more

May 15, 2009

Coraline’s Plight

I am so in love with Henry Selick’s animated 3D masterpiece Coraline that I will see it a hundred times more, and if so allowed, many times thereafter. Such a luscious and ample world it creates. From the very launch of the film, a tiny whiff of shadowy wonder swiftly frees my inner child, taking him by the hand, touching the oh-so-curious nature of his heart, to place him delicately at the foot of magnificent awe and splendor.

Based on Neil Gaiman’s superlative book, Coraline achieves a classic ambience, a look and feel that has and will continue to weave itself into the very fabric of our culture. Fantastic characters, visual parades of pomp and circumstance, Gothic flights of fancy all wrapped within a musical score by the stirred maestro Bruno Coulais, and this Coraline is easily and without question this generation’s Wizard of Oz.

I have heard the whispers of caution to the kiddies. Ignore them all I tell you. For flying monkeys grabbing little girls and puppy dogs in the land of Oz certainly had me running for the covers when I was just a child, and the very reason I went back for more each and every year. Life IS scary after all, and unpredictable, and wondrous too. That’s why Coraline fits the bill so scrumptiously.

I will not waste your precious time on regurgitated storylines or detailed moments that spoil the surprise, but rather encourage you to go out and buy your ticket straight away at once without delay. For when I sat in the theatre full of adults and wee ones chattering and guffawing about nothing much, the moment Coraline parted the curtains, there was a hush that lingered throughout the entire film. Only the collective waves of revelations, yelps, and opulent ovations remained until the final credits rolled. A wondrously fabulous thing indeed!

In E†ernity,

Brazillia R. Kreep

CORALINE’S PLIGHT
So ignored cute Coraline
From her lips began to whine
On this n’ that and other things
O’ How her mind performed handsprings
Into shadows here n’ there
Places where y’go nowhere
Up n’ down n’ all around
In n’ out n’ quite housebound
Coraline would soon begin
A journey everywhere within
Through a tiny modest door
Supernatural decor
T’find such splendid things
Upside down round rumblings
Pings n’ pangs n’ bings n’ bongs
Dings n’ dangs n’ dips n’ dongs
Coraline exhausted all
Soon t’sleep before nightfall
Then t’wake back home n’ then
Open up the door again
Pops n’ pows n’ booms n’ bangs
Fits n’ fizzes n’ Tweets n’ twangs
All of it was grandiose
Words of it were quite verbose
Yet a price She’d have t’pay
As the darkness came t’stay
Deeper darker days appeared
Wild this was so awfully weird
How she wished it in reverse
Creepy creatures t’disburse
But too late our sweetie be
How she’d pay so dearly
Coraline knew but did ignore
Be careful, kids, what you wish for

May 15, 2009

The Rot of Sweeney Todd

I’ve had several acquaintances like our odd Mr. Todd, but they never hovered in my life very long. They always had somewhere else to go–in a hurry–that I often thought they were bigwigs in some dark commerce or the arts, surgeons or maybe even lawyers at the least. So that when they changed their addresses, my letters to them returned unopened, I assumed they sold their properties and were living off another adventure across the salty seas. Actually, that’s not all together fair. One letter, from a Mac Z. Thumb was returned t’me, opened, with a perfectly formed bloodstain and a smear or two on the flap–a lovely souvenir. Sweeney Todd: The Demon Barber of Fleet Street is one of those shady characters. He has a past that would toss you about at night. Your fingernails gauging the bedpost in the moonlight for fear you might never sleep t’dream again. T’is good t’pity and fear the man.

Aptly directed by Michael Reeves. (Who died an agonizing death only a year later from an accidental barbiturate overdose-and that in itself is creepy too.) This British-made drama, originally billed as Edgar Allen Poe’s The Conqueror Worm, is a truly gory affair. Vincent Price plays the malicious Matthew Hopkins, a witch hunter that is more sinful than all the poor souls he brutally tortures combined. This is a nasty psychopath that hires an even nastier psychopathic sidekick to torture and mutilate the innocent while he’s off looking for more.

Before the final credits role, enough blood has splashed across the screen, enough women have screamed their bloody guts out, and enough skin has be ripped, pinched, and stabbed, that I don’t advise having the steak tartar afterwards. Really. I’m quite serious about this. This is hard to watch sometimes or just your thing if you like stopping to look at road kill . Thank goodness the blood is bright orange or more people would loose their lunches instead of laughing their heads off. Lots of Fun extras too! Well worth the bucks my frightfully fine fiends.

The history of the Barber of Fleet Street is as long a winding road as any title character has ventured. Todd himself first appeared in 1846 as a villain of a popular “penny dreadful” (so coined because of the cost & the content) magazine serial entitled The String of Pearls. It was a hit. In 1920 he surfaced on the boards in a melodrama penned by George Dibdin-Pitt simply entitled Sweeney Todd. Then our Mr. Todd made several film appearances in English fare until he landed back on the boards in an American Broadway Musical, music and lyrics by the Great White Way icon Stephen Sondheim. That production transformed the dastardly Todd into a forlorn anti-hero instead of the murderous robber he truly was. Who could complain, really? It starred two titans of the stage Len Cariou as the deranged Sweeney and Angela Lansbury as the scene-stealing, love-starved Mrs. Lovett. And fun was had by all. Sweeney has seen several stage revivals until the Demon Barber waited patiently to be brought back to life by a super star, pretty-boy, actor extraordinaire named mister Johnny Depp–thank you very much.

A Gothic treat, a naughty piece of eye candy that seldom disappoints, Mr. Burton’s blood ballet is a lovely slice of art. It is not the penny magazine or the stage play or even the musical it was based upon, but an entirely new beast. A terrifying opera with fangs where Depp sings his bloody heart out. He holds it up for all to see, still beating, dripping crimson-goo as he rock-stars all over the celluloid screen. Wonderful. See it on DVD in a Deluxe set with all the pomp and circumstance affordable for the price. Just remember to pay homage to a villain on equal footing as The Ripper, play it at the witching hour with the lights out, a few candles burning around the house. A glass of red wine, a potpie perhaps, and, oh yes… there will be blood.

In e†ernity,

The Kreep

THE ROT OF SWEENEY TODD

In the attic there he trots
Sweeney Todd connives n’ plots
Of ways t’spill the blood of men
Then splatter more t’say amen
T’nightmare’s of his great love lost
Aught t’avenge at any cost
Sharp razor blades
Meat Pies in spades
The Demon Barber preps n’ shaves
While Mrs. Lovetts bakes her pies?
Tongues t’thumbs wee toes n’ eyes?
Though a price this Todd will pay
Sweltering pails of blood t’weigh
T’pour them over frozen heart
T’thaw they pain t’dare depart
From bloody attic in the sky
T’down below were demon’s fry
T’devil’s purge by fires hot
Fore’er our Sweeney Todd will rot

~Brazillia R. Kreep

May 15, 2009

They’re Here

My kreepy fanatics of dismay: tonight we open the vaults to sip a vintage thriller from the summer of 1982: Tobe Hooper’s horror banquet Poltergeist starring Craig T. Nelson and JoBeth Williams and the late Heather O’Rourke as the beautiful Carol Anne. A delicious jolt from beginning to end, this Steven Spielberg produced horror film was another blockbuster that scared the bejesus out of everyone. We just didn’t see it coming. It was such a successful scare that it spawned two sequels that really depart from the original recipe so avoid them if you care. Rent or buy the first however. But remember, my horror connoisseurs Poltergeist has shards of glass within the feast, so be careful where you bite. Bon Appétit!

In e†ernity,

The Kreep

They’re Here

In my chair thus buried deep
While all about me kinfolk sleep
Our television bid adieu
Embarked upon a queer voodoo
I heard within my dreamy state
The patriotic song sedate
Followed then by static high
Called t’Carol Anne, goodbye
Tiny feet with teeny toes
Daughter dear from bed arose
Creeping down the stairs t’see
Something in ye ole TV
It coddled her
It cuddled her
Excited n’ delighted her
T’which they gave her such a sneer
As Carol Anne doth chime, “They’re here!”
Then before the sun arose 
Did suck her in from head t’toe
Next as if t’say beware
Left a stench within the air
O’my, our baby disappeared
Whilst horrid poltergeist premiered
A horror show of wicked things:
Atmospheric lightnings 
Smashing, banging, biting too
Bleeding wells of human stew
Every day into the night
Scare t’scare n’ fright t’fright
Unrelenting as they played
Our little one fore’er betrayed
We had finally had enough!
Arrived t’us a wee sheriff 
A mighty woman t’undue 
All their hooey n’ hoodoo
Tangina knew right from the start
Said, “The house had many hearts.”
With rope n’ prayers n’ her bewares
Diane and I we climbed the stairs
T’face the demon without dread 
Bring our daughter back instead
In the dark of darkest night
Tangina screamed, “walk toward the light”
Thus doing what she had t’do
Carol Anne returned anew
Hugs and kisses, horror tamed
“This house is clean,” our star proclaimed
But our story doesn’t end
Happy endings must amend
For come dusk when all was still,
How we got an awful chill
Once again while we snoozed
Devils danced and evil oozed 
Came looking for their just reward
O’ haunted house above graveyard
Poltergeist pushed through a tear
Our fair-haired child sighs, “They’re here.”

~ Brazilla R. Kreep

May 15, 2009

In Space, No One Can Hear You Scream

1979 was a particularly stellar year for galactic outer space horror film fare. At the time, super clean vessels were exploring space-the finale frontier-packed with clean-cut crews wearing brightly colored spandex uniforms, and no bathrooms in sight. And space monsters were mostly shag carpeting and saliva free. Three years after Star Wars rocked the sci-fi landscape, another type of science fiction was about to creep us out so badly that many movie patron’s stood in the lobby until the final credits rolled. From the brilliant minds of director Ridley Scott (Blade Runner) and screenwriter Dan O’Bannon (Total Recall) came this dark Gothic tale about a mining ship, sent to investigate an SOS, docs on a distant star to discover an alien life form. Alien has a great script, a great director, a great cast, and above all a great monster from the creative abyss of fine artist H. R. Giger. This highly imitated original sci-fi thriller is still one of the best.

In e†ernity,

The Kreep

In Space No One Can Hear You Scream

Please forgive me whilst I whisper
Something dreadful’s in the dark
Monster from another planet
Flesh digested foreign shark
Hides within the ship’s veneer
Teeth t’grind it doth appear
Oh… this dreadful abomination
Wants t’munch on me like bacon
As I crawl on belly aching
Pray thee lord my soul for taking
How I wish we stayed the course
Now the dead have much remorse
Docked to check an SOS
Deep in space how we digress
Oddest place I’ve ever been
Heinous ship drones steady din
Saw such things t’say oh-no
We’re not in Kansas anymore, Toto
Now this thing is on the loose
Back t’earth we must vamoose
Acid spitting jaws in jaws
Greedy as it gnaws n’ gnaws
Whips its tail into the air
Cuts out throats devoid of err
Incubates within thy chest
Pops out an unwanted guest
Hunts n’ eats n’ breeds n’ then
Begins the cycle all again
Awful hideous most bizarre
Might I live my lucky star?
Shhhhh,
Now I hear it crawling near
Sopping Soaking Stinking fear
How I loath this ain’t no dream
In space, no one can hear you scream

~ Brazilla R. Kreep

May 15, 2009

The Nightmare Before Christmas

Tim Burton’s The Nightmare Before Christmas is an animated musical Gothic delicacy for the entire brood. A delightfully dazzling way t’bridge the long holiday gap between hallow’en n’ Christmas, this Disney kiddy opera crepe into theatres the Fall of ‘93, and has been spooking and amusing audiences like no other animated holiday cheer ever since. Thanks t’director Henery Selick and composer Danny Elfman, this dark romantic romp-a-thump is a sure pure classic for the creep in everyone.

The Nightmare Before Christmas

As the children hemmed n’ hawed
T’dream O’ dreamy Santa Clause
As they sucked upon pea thumbs
Visions of sweet sugarplums
Danced inside wee sleepy heads
Whilst something stirred beneath their beds
It rustled
Tussled
Dripping goo
It giggled
Squiggled
Drizzled too
How they didn’t have a clue
O’ my, if thy kiddies only knew
Ole Christmas was a bitter pill
Jack Skellington t’fit the bill
Took tinseled trees ribbons n’ bows
N’ dipped it all in spooky woes
Packages wrapped in spider twine
Punch he spiked with ghostly swine
Stockings stuffed with dreadful things
Awful icky devil wings
Creepy crawler monster bugs
Wet n’ moistened slimy slugs
N’ beneath all Xmas trees
High n’ mighty clown zombies
Slithering withering windup snakes
Popping out of dry gnat fruitcakes
Dolls with fangs t’munch n’ bite
Eyeball tops gave such a fright
This Jack did without reindeer
Mixed Hallowe’en n’ Christmas cheer
Sad n’ silly pumpkin king
A victim of his own spooking
Landed in the land of skids
Didn’t mean t’scare the kids
(Tisk, tisk)
Hocus pocus boney carcass
Brought the nightmare before Christmas