Thursday, May 05, 2005

Bobby Driscoll: Peter Pan's Lost Angel



Peter Pan is not thought of as a mortal but he once was. Not just a mere figment of the imagination of writer J.M. Barrie, his earthly name was Robert Cletus Driscoll and he was born March 3, 1937 in Cedar Rapids, Iowa. But to millions of moviegoers he was simply known as "Bobby" Driscoll, a child actor of the 1940s and early 1950s who appeared in film classics such as Song of the South and Treasure Island.

Bobby Driscoll first appeared before the public in the 1944 feature Lost Angel and the film's title couldn't have been a more appropriate name for a biopic of his brief existence.

The Disney studio saw limitless promise in Driscoll's talent and screen presence and made him the first child actor signed to their roster. Netting money for Disney, Driscoll was honored with his own celebrity star on Hollywood's notorious "Walk of Fame" for his role as "Jim Hawkins" in the 1950 film edition of Robert Louis Stevenson's classic novel Treasure Island. Having entered the arena of universal fame directly on the springboard of his 1949 appearance as "Tommy Woodry" in the film noir classic The Window (for which he received a special "Outstanding Juvenile Actor of 1949" Oscar as well as a Golden Globe Award), Disney had great hopes for the freckle-faced young actor.



But with the monumental success of the Disney empire, the advent of television and the hiring of other child actors for venues such as The Mickey Mouse Club, and Driscoll's fading childhood elfishness, the studio soon forgot their former meal ticket. Even Driscoll's phenomenally on-target duties as the voice for Disney's 1953 animated Peter Pan extravaganza was not enough to save him from screenland obscurity.

Of his own celluloid obsolesence Driscoll is quoted as saying: "They carried me on a satin pillow, then dumped me in the garbage." Driscoll, who had been a straight "A" student at the Hollywood Professional Actor's School, began his spiral when, upon reaching puberty, his voice changed and he developed a severe case of acne. The fickle film studios began to bypass the adolescent Driscoll in favor of a new crop of fresh-faced kids.

In 1956, while still in his teens, Driscoll married Marilyn Jean Rush and the couple spawned three children in quick succession. But even prior to parenthood, Driscoll had begun experimenting with drugs, beginning with marijuana and graduating to speed and heroin. Chemical dependency soon led to brushes with the law and Driscoll spent time in California's Chino State Penitentiary.

After his parole from prison, Driscoll, divorced and on the skids, ended up in mid-1960s New York City in the company of artist Andy Warhol and his en tourage. Through his association with the Warhol crowd, Driscoll met filmmaker Piero Heliczer, and appeared in an experimental film, Dirt. Shot on 8mm the film is now considered by many to be an underground classic.



On March 30, 1968, just four weeks past his 31st birthday, Driscoll succumbed to a heart attack and died alone in an empty tenement apartment off Tompkins Park in Greenwich Village. Initially unidentified and buried in a pauper's mass grave in Potter's Field, on New York's Hart Island, Driscoll's true identity was discovered a year later after his mother implored Disney studios and police officials to conduct a thorough search.


(Bobby Driscoll's alter ego...who also never grew up)

Monday, April 25, 2005

BUFFY SAINTE-MARIE: The Universal Singer



Impassioned, spiritually militant, a fierce crusader, and an intuitively talented electronic painting artist and eclectic singer extraordinaire. Academy Award winner Buffy Sainte-Marie, born February 20, 1941, on the Piapot Reserve, Saskatchewan, Canada, has lived multiple lives in one. Orphaned as an infant she was adopted by a part MicMac (mostly white) family and raised in Maine and Massachusetts.

Earning a degree in Oriental Philosophy, a teacher's degree and a Ph.D. in Fine Arts (all from the University of Massachusetts) Sainte-Marie is ever the instinctive teacher. Achieving fame in the early 1960s for both love songs and protest songs, her tune Until It's Time for You to Go was recorded by Elvis Presley, Barbra Streisand, Roberta Flack, Sonny and Cher, and over 200 other musicians worldwide. And her song Universal Soldier (which has again become timely) became the anthem of the Vietnam war protests.

In 1968, Sainte-Marie founded the Nihewan Foundation for American Indian Education, whose Cradleboard Teaching Project currently synthesizes educational curriculum between Native American and mainstream children in Canada and the U.S. computer technology and a progressive reinterpretation of Native Studies.

In 1972 Sainte-Marie scored a top 40 pop music hit with the impassioned rocker Mister Can't You See, backed with the mysterious tune Moonshot, an early ode to alien abduction. She also spent five years as a cast member of television's Sesame Street during the 1970s. Continuing to scale the musical heights, Sainte-Marie won an Academy Award Oscar in 1981 for the song Up Where We Belong from the Richard Gere/Debra Winger movie An Officer and a Gentleman.

An incredible series of annual creative triumps began in March, 1992 at the Canadian JUNO Awards, when Sainte-Marie established a new category: "Music of Aboriginal Canada". The following year, the city of Paris, France named her "Best International Artist of 1993". And in 1994, Sainte-Marie received the Lifetime Achievement Award in her home province of Saskatchewan from the Saskatchewan Recording Industry Association. The Canadian Recording Industry Association inducted Sainte-Marie into the JUNO Hall of Fame in 1995, and continuing her "roll" in February, 1996, she received a second Lifetime Musical Achievement Award from First Americans in the Arts in San Francisco.

Currently Sainte-Marie resides in Hawaii and commutes to continental North America where she teaches digital art and music as Adjunct Professor of Fine Arts at several
colleges. She continues music production from home using her Macintosh computer as a recording instrument (playing most of the musical instrumentation herself).

Coincidence and Likely Stories, Sainte-Marie's combeack album of the early 1990s, was the first documented use of the internet to deliver a music CD via modem. (Digitally recorded at her home in Hawaii and delivered to Chrysalis Records studio in London, England 1989-90).



Saine-Marie's album Up Where We Belong received the 1997 JUNO Award for Best Music of Aboriginal Canada. She also won a 1997 Gemini Award (Canada's version of an Emmy) for performancing in her (third) television special, Up Where We Belong, beating out competitors Celine Dion and Alanis Morrisette.

Having taken up the art of digital painting in 1984, hers were the first large scale (8x9 feet) works to be shown in noted galleries, including the Glenbow Museum in Calgary and the Institute for American Indian Arts Museum in Santa Fe. With such a full list of accomplishments, Sainte-Marie restricts herself to thirty concerts a year in order to devote full time to the Cradleboard Teaching Project.

In 1997 Sainte-Marie was presented with the Louis T. Delgado Award as Native American Philanthropist of the Year for her Cradleboard Teaching Project. She was also given the Lifetime Achievement Award by the American Indian College Fund and is an Officer in the Order of Canada, the highest civilian Canadian honor.

Sunday, April 24, 2005

STEVE CALDWELL: The Fabric of THE ORLONS



Steve Caldwell (born November 22, 1944, in Philadelphia, Pennsylvania) has the distinction of being one of the few men to have been a solo male vocalist in an otherwise all-female singing group. His group, The Orlons, were major hitmakers for Philadelphia's Cameo-Parkway records in the early 1960s.

Originally called Audrey and the Teenettes, the Orlons formed in the late 1950s at a Philadelphia junior high school. The group consisted of Audrey, Jean, and Shirley Brickley, Rosetta Hightower, and Marlena Davis. When the Brickley sisters' mother refused to let Audrey (who was thirteen) sing with the others she and sister Jean left the group. After some time the personnel changed and the group took in Steve Caldwell as bass while Rosetta became the lead singer of the reformed group.

Calling themselves the Orlons, they performed locally around Philadelphia. On occasion the Orlons would appear with a group from Overbrook High called the Cashmeres. Leonard Borisoff, who performed under the name Len Barry, was The Cashmere's lead singer. When Barry's band changed it's name to the Dovells and put five songs in the top forty, Barry brought the Orlons to his record label, Cameo-Parkway.

The Orlons signed with the Cameo-Parkway label and by 1961 they had their first big hit. It was a song written by Dave Appell and Kal Mann titled The Wah Watsui, the first top forty song for the Orlons. The song, about a "dance made-a for romance", made it to number two on the national charts and became the first in a string of hits for The Orlons.

The Orlons followed their dance song success with two records that went to the top five, Don't Hang Up and South Street. They also were invited to sing background vocals on records made by the other stars at Cameo-Parkway, including Dee Dee Sharp and and Bobby Rydell. Two more top forty entries followed for The Orlons in 1963, Not Me and Cross Fire!.

In 1964, Steve Caldwell left the group to pursue a career as a music producer. Marlena Davis left and Rosetta Hightower married an English musician and also exited the Orlons. Audrey Brickley joined the group in 1964, but by then the spotlight was fading for The Orlons..

The Orlons disbanded in 1968. Steve Caldwell went on to work in the Philadelphia Public School system for many years. Horrendously, Shirley Brickley suffered a gunshot wound during the robbery of her apartment and died in 1977, at age 32.

In 1988, Steve and Marlena reformed the group and preserved the original flavor of The Orlons until she passed away in 1993. Currently, the Orlons consist of Steve, Jean Brickly Maddox, Audrey Brickley and Lillian Washington Taylor, who had been with the group in the '70s.

Wednesday, April 20, 2005

The Attack of the 50 Foot Movie Review


(Allison Hayes stops traffic...literally!)

One of the shortest Sci-Fi films of all time featured one of cinema's tallest heroines. Clocking in at a sparse 66 minutes, director Nathan Juran's 1958 cheapie, Attack of the 50-Foot Woman is big on both feminism and physique.

West Virginia native Allison Hayes, a former Miss America contestant (as Miss Washington, D.C.) is titular titaness Nancy Archer. Nancy experiences gargantuan growth after several contacts with a towering space alien who resembles Dwight Eisenhower.

Nancy drunkenly relates her initial close encounter to her adulterous husband Harry (William Hudson) who views it as an opportunity to swindle her $50 million inheritance by having her committed to an asylum. Harry, who is doing the Funky Chicken with town tramp Honey Parker (former Playboy centerfold Yvette Vickers), agrees to accompany Nancy on a UFO search in the desert.


(William Hudson examines Allison Hayes' non-50 foot foot)

When the mountainous Martian indeed appears, a harried Harry abandons his skepticism and his wife as he flees to Honey's side. Meanwhile, radiation causes Nancy to grow into history's tallest feminist, even as sexist images of her bursting out of her clothing dominate the screen.

The riotous rampage in which Nancy savages the city streets looking for hapless Harry is classic camp fare. Several times vexed viewers see this monolithic mama walking in the same pattern with the scene reversed against different backgrounds. Hilariously, the only correlation between Nancy crushing the nightclub where Harry and Honey are hiding and the mayhem within the building is the appearance of a giant papier-mache hand.

Attack of the 50-Foot Woman is one of the first films to address a wife's stand against spousal abuse. Despite its obviously absurd storyline and inane imagery, Attack can be termed a proto-feminist film. Its controversial conclusion in which Nancy puts a final and fatal end to hubby Harry's hijinx is raw and radical.

Attack of the 50-Foot Woman has been honored in the form of several remakes, including a 1993 made-for-TV venture starring Daryl Hannah and director Fred Olen Ray's 1995 spoof Attack of the 60- Foot Centerfold. Neither of the latter-made flicks captures the seedy simplicity of the original, whose atrocious special effects serve only to enhance the revenge theme.

Long before actress Farrah Fawcett doused her mate with gasoline in 1984s The Burning Bed, Allison Hayes became an unlikely feminist forerunner when she thundered across the silver screen in a bed sheet bikini and put the literal squeeze on hateful Harry.

Attack of the 50-Foot Woman is a capriciously crummy cult classic which, in just over an hour, delivers space aliens, UFOs, an Amazonian avenger, and the demise of a Playboy centerfold. But, more importantly, this trashy tome works brilliantly as an ode to the end of male chauvinism.


(Allison Hayes searches for a better movie script)

Tuesday, April 19, 2005

Rotogravure Revelations: The Artistry and Agony of Diane Arbus



Beauty is not just in the eye of the beholder, it can be permanently infused by the will of the beholder as well. Certainly this was the case in the masterful humanist works of photographer Diane (pronounced Dee-Ann) Arbus.

Born on March 14, 1923 in New York City, Diane Nemerov's vision of the world was emotionally conditioned by her affluent Russian-Jewish parents. Her father, David, supported the family via his upscale clothing store, Russek's of Fifth Avenue, which he owned. The precocious Diane embarked on a "serious" relationship at age 14 with Allan Arbus, four years her senior. The two were wed just weeks shy of Diane's 18th birthday. Their first daughter, Doon, was born in 1945 when Diane was 22, and Amy nine years later, when the marriage was crumbling.

Allan, who had studied photography at the New Jersey Signal Corps photo school, was the first to teach Diane the basics of the craft. The couple launched their own business as fashion photographers, with Diane tending to duties as stylist and portfolio promoter. It was not until 1956 that Diane began working independently of her husband.



Studying further with noted photographers Richard Avendon, and most importantly, Lisette Model (her chief mentor) in 1959, Diane experimented with stylized portraitures. According to information posted at http://photography.about.com/library/weekly/aa110600a.htm, Diane's technique diverted from that of Models: "Photographically, both favoured medium format cameras that gave the standard square negative for the 120 format, but while Arbus always printed it full frame, often with messy edges to emphasize that it was uncropped, Model used often radical and dramatic cropping to give an impression of closeness to her subjects. Arbus interacted with her subjects to achieve a similar closeness, while Model usually worked candidly, manufacturing it later in the darkroom."

Diane chose people on the darker fringes of society as her subjects: "Freaks was a thing I photographed a lot. It was one of the first things I photographed and it had a terrific kind of excitement for me. I just used to adore them. I still do adore some of them. I don't quite mean they're my best friends but they made me feel a mixture of shame and awe. There's a quality of legend about freaks. Lke a person in a fairy tale who stops you and demands that you answer a riddle. Most people go through life dreading they'll have a traumatifc experience. Freaks were born with their trauma. They've already passed their test in life. They're aristocrats."


(A Jewish giant at home with his parents in the Bronx, NY (1970)

In 1963, and again in 1966, Diane received the Guggenheim Fellowship bringing her to the attention of John Szarkowski who paved the way for her first wide-range public exhibit at the Museum of Modern Art in 1964. The reactions to her work were mixed, swathed in controversy, serving only to spotlight her irreverant, oft-resplendently garish disregard for prescribed boundaries of tastefulness. Choosing to work exclusively in black and white, Diane's photos captured sublime moments of panic and desperation in each subject (even those smiling and seemingly joyous), as if she commanded the lens to unearth individual pathologies and psychoses.


(Child with a toy hand grenade in Central Park, NYC. 1962)

Diane began teaching photography at prestigious schools including the Parsons School of Design in New York and Hampshire College in Amherst, Massachusetts but in 1970 she
emerged from behind the camera to be scrutinized by the public's eye when a portfolio of 10 photographs created her first series of limited editions.

Existential isolation often permeated Diane's photos as evidenced by the following description of a particular work: "Her picture of 'Xmas tree in a living room in Levittown, L.I, 1963' has a bleakness that is frightening. Empty wall, empty carpet, empty ceiling are emphasized by the wide-angle view and their dull grey. The tree, loaded with baubles and tinsel, neatly wrapped presents in large boxes spilling around its base and out along the wall, appears to have been trimmed by a few feet to fit below the ceiling. To its left is a table lamp, with a shade that appears to be still in a plastic wrapping, to its right a clock in the centre of a large thin-pointed star (what should be on top of the missing top of the tree.) A TV set with a blank screen, and on it another clock. Levittown was the ideal American suburb, founded in 1947, described as 'a template for the way the American middle class would settle into the second half of the 20th Century; it was the setting for David Riesman's seminal 1950 study The Lonely Crowd."

On July 26, of 1971, Diane Arbus ended her life by swallowing a lethal dose of barbiturates and slitting both her wrists. She was at the top of the art world, directly engaged in the exploration of the limits of photographic art. Perhaps if the camera could have looked into the depths of Diane's psyche and reflected back to her what lay hidden she would have chosen differently.


(Girl in a Shiny Dress, NYC. (1967)

Following her death, Diane Arbus was the first American photographer to be exhibited at the Venice Biennale, in 1972. And in the absence of Andy Warhol, the late iconizer of pop imagery, film director Steven Shainberg (Secretary) is currently working with Oscar-winning actress Nicole Kidman on Fur, a widescreen Diane Arbus biopic (co-starring actor Robert Downey, Jr.) scheduled for release in late 2005. In the instance of the life of Diane Arbus it is only fitting that the photographer becomes the visual subject.




(Diane Nemerov Arbus as a child)

Monday, April 11, 2005

Norma Tanega: Still Walkin' Her Cat Named Dog



It wasn't exclusively folk and it certainly wasn't puerile pop. When the tune Walkin' My Cat Named Dog graced radio airwaves in the burgeoning Flower Power-era of 1966, California-born vocalist Norma Tanega was singing more about attitude than the actual routine of pet-rearing.

Born January 30, 1939, in Vallejo, California, of Filipino heritage, this acquisitive Aquarian had the good fortune of parents who encouraged her leaning toward music and artistry. Seeking work as a graphic artist, Tanega moved to New York City during the early '60s. A self-taught guitarist, Tanega found herself attracted to the poetic and activist musings of folk music and struck up friendships with youthful folksingers Bob Dylan and Tom Paxton, who encouraged her to continue her won songwriting and performing.

Tanega was not necessarily seeking a Billboard hit record when she signed to the fledgling New Voice recording label but when Walkin' My Cat Named Dog reached a respectable #22 on the national top 100 (and in the United Kingdom as well) she found herself cast by critics in the same obscure Folk-Pop mold as single success artists Shelby Flint, and Bob Lind. In fact, in most music historian circles, Tanega is regarded under the cliche moniker of a "one-hit-wonder" artist in light of the fact that her feline/canine tune was her only chart entry.

WALKIN' MY CAT NAMED DOG

I'm walkin' all around the town
Singin' all the people down
Talkin' around, talkin' around

Me and my cat named Dog
Are walkin' high against the fog
Singin' the sun
Singin' the sun

Happy, sad and crazy wonder
Chokin' up my mind
With perpetual dreamin'

Driftin' up and down the street
(Driftin' up and down the street)
Searchin' for the sound of people
(Searchin' for the sound of people)
Swingin' their feet, swingin' their feet

Dog is a good old cat (dog is a good old cat)
People what you think of that
(People what you think of that)
That's where I'm at, that's where I'm at

Happy, sad and crazy wonder
Chokin' up my mind
With perpetual dreamin'

---- Instrumental Interlude ----

Dog is a good old cat
People what you think of that
That's where I'm at,
That's where I'm at, that's where I'm at

All but disappearing from the field of commercial music following her promising 1966 hit debut, Tanega attracted minor kudos for the hit record's B-Side, I'm The Sky, as well as her 1977 "comeback" record I Don't Think It Will Hurt (accompanied by an RCA LP of the same name).

Tanega appeared as a commentator in the 1999 TV documentary Definitely Dusty, a film biopic of superstar singer Dusty Springfield. Film director Serena Cross (who also produced and directed the Jeff Buckley music biopic Jeff Buckley: Everybody Here Wants You) included Tanega in Dusty's movie because of her close, lengthy friendship with the late Springfield. Tanega co-wrote Morning Lyrics, with musicians Nana Cayammi, and Gilberto Gil, for Springfield.

COME FOR A DREAM

Come for a dream,
come and love in the sun,
come and stay just as long as you may.
We're in love for today.
Sunny love may not stay.
Love may be glowing fantasy but love is free.
Come for a smile,
making love in the sun
my kaleidoscope rainbow begun.
Sunny love making fun,
sunny love making one.
Magic sensation in the sun, come for a while.
Run away from sorrow,
run away tomorrow.
One special day,
warm and dazzling we climb a tree,
making love in the sea.
Sunny love, come and be,
sunny love, you and me.
Imagination is the key, sing me away.
Run away from sorrow,
run away tomorrow.
Come for a dream,
come and love in the sun,
come and stay just as long as you may.
We're in love for today.
Sunny love may not stay.
Love may be glowing fantasy but love is free.

In 1996 Tanega served as co-performer (and drummer) on an LP, with musician Mike Henderson, called Hybrid Vigor which can be found on the website of five-member progressive rock band Djam Karet.

Hybrid Vigor (track list):

1. Samba For Lucca (6.46)
2. Sheltering Sky (4.43)
3. hybridVigor (2.51)
4. Sticks And Stones (3.34)
5. Secrets Of The Old (5.25)
6. Chuck-A-Bo (4.54)
7. Men Who Tread on The Tiger's Tail (4.25)
8. Rain (4.34)
9. Salamanca (4.05)
10. Wild Meditation (7.28)
11. Salad Bowl Blues (3.55)

Saturday, April 09, 2005

West Virginia Wide-Screen Wackiness: Mothman Menaces Movies



What happens when you take modern-day monster mythology out of mothballs and make a major motion picture? The same thing that occurs when space aliens listen to the music of John Denver. You end up with The Mothman Prophecies, a film which combines Creature Feature scariness with television's X-Files.

Mothman, a seven-foot-tall, gray-skinned, red-eyed, batwinged horror is the subject of real-life 20th Century folklore. The beastie first appeared in the towns of Salem and Point Pleasant, West Virginia, on the night of Nov. 14th, 1966, scaring residents and reputedly kidnapping and slaughtering a dog.

When Silver Bridge, connecting West Virginia with neighboring Ohio, collapsed on Dec. 15th, 1967, 50 rush hour motorists plunged to their deaths in the Ohio River. Citizens of Point Pleasant felt that Mothman was responsible for the tragedy.


(Silver Bridge, site of suspicious highway tragedy)

Multiple UFO sightings were reported that night, fueling conjecture that Mothman, a tall, humanoid creature with wings and neon-red eyes, was actually a space alien living in Point Pleasant's McClintic Wildlife Preserve.



Director Mark Pellington (Arlington Road), who chose the city of Kittanning, Pennsylvania to double for Point Pleasant, West Virginia, enlisted the services of top-notch actors Richard Gere and Laura Linney in Mothman's flight to the silver screen.

Gere, who owes nods to X-Files veteran David Duchovny, plays Washington Post reporter John Klein, whose wife dies of a brain tumor following an unexplainable auto accident possibly caused by Mothman. While driving to research his late wife's legacy of Mothman drawings, Klein is mysteriously "transported" to Point Pleasant, 400 miles from his Virginia destination.

Point Pleasant police Sgt. Connie Parker (Linney), becomes entangled in Gere's mystery when she shows him witnesses' sketches of Mothman and he sees that they are identical to his late wife's drawings. What ensues is an eerie, shivery film which keeps the viewer one step ahead of the actors but always at least a faint heartbeat behind the flapping wings of the Mothman.

The Mothman Prophecies may not be Academy Award material but it does mark a noted and welcomed return to the classic movie convention of a "good clean scare." Without relying on gore, graphic violence, or loud, trumped up sound effects, Mothman is a return to a more Hitchcockian atmosphere of noirish suggestion. Of particular note is the film's conclusion, which will undoubtedly cause a seasoned film veteran to think of director Nicholas Roeg's Don't Look Now.

If you find yourself experiencing conjunctivitis after viewing The Mothman Prophecies don't chalk it up to the dimly lit atmosphere of a darkened movie theater. Just remember the experience of 18-year-old Mothman witness Connie Carpenter, who said that she had pink eye for over two weeks after her car was chased by Mothman at speeds of nearly 100 mph in 1966.

And don't forget the words of late singer John Denver: "Country roads, take me home to the place that I love. West Virginia, mountain mama…" Or maybe that should be "mountain Mothman?" Sometimes I think John Denver and the Mothman were one and the same, but you can decide for yourself as The Mothman Prophecies is out of the cocoon and on DVD for all to gape at. But don't look directly into Mothman's eyes when you push the pause button or you may be teleported to the wilds of West Virginia (and forced to attend the annual Point Pleasant Mothman Festival).



26 MOTHMAN SIGHTINGS:

01 Sep 1966 Several adults Scott, Miss. Man-shaped object maeuvering at low altitude.
01 Nov 1966 National Guardsmen Armory, near Camp Conley Rd., Point Pleasant A large, brown man-shaped figure on limb of tree.
12 Nov 1966 5 male adults Cemetery near Clendenin, WV. A flying, brown human-shaped object.
15 Nov 1966 2 married couples TNT Area near old power plant, Point Pleasant, WV. Large gray man-shaped creature with blazing red eyes 10' wing span. Pursued witnesses' auto.
16 Nov 1966 3 adults 3 children TNT Area near "igloos" Tall grayish creature with glowing red eyes.
17 Nov 1966 Teenaged boy Route 7, near Cheshire, Ohio Gray man-shaped creature with red eyes and 10' wing spread pursued witnesses' auto.
18 Nov 1966 2 firemen TNT Area Giant winged creature with red eyes.
20 Nov 1966 6 teenagers Campbells Creek WV Gray man-sized creature with red eyes.
24 Nov 1966 2 adults, 2 children Point Pleasant Giant flying creature with red eyes.
25 Nov 1966 Male adult Highway passing TNT Area Gray man-like being with red eyes and 10'wingspread. Pursued auto.
26 Nov 1966 2 male adults, 2 children Lowell, Ohio Four giant brown and gray birds with reddish heads 5' tall, 10' wing spans.
26 Nov 1966 Housewife St Albans, WV Gray creature with red eyes, taller than a man standing on lawn.
27 Nov 1966 Teenaged girl Mason, WV Tall, gray man-shaped being with 10' wingspan and red eyes. Pursued auto.
27 Nov 1966 2 teenaged girls St. Albans, WV Gray seven-foot tall creatures pursued witnesses (who were on foot).
04 Dec 1966 5 pilots Gallipolis, Ohio, airport Giant "bird," appeared to be plane at first. Long neck reported. Estimated speed: 70 mph.
06 Dec 1966 Mailman Maysville, Ky. Giant birdlike creature in flight.
06 Dec 1996 2 adults TNT Area Giant gray man-like figure with glowing red eyes.
07 Dec 1966 4 adult women Route 33, Ohio Brownish-silver man-shaped flying creature with glowing red eyes.
08 Dec 1966 2 adult women Route 35, WV Shadowy figure on hilltop, two glowing red eyes.
11 Dec 1966 1 adult male 1 boy TNT Area Man-shaped figure, gray, flying over-head at great speed.
11 Dec 1966 Adult woman Route 35, WV Huge gray creature with glwing red eyes, flew past car.
11 Jan 1967 Housewife Point Pleasant Winged being as big as a small plane flew low over Route 62.
12 Mar 1967 1 adult woman Letart Falls, Ohio Large white flying being with long hair, 10' wingspread, passed directly in front of car.
19 May 1967 1 adult woman TNT Area Flying creature with glowing red eyes approached hovering luminous object and disappeared.
02 Nov 1967 Adult woman TNT Area Giant gray man-like figure gliding swiftly at ground level across field.
? Nov 1967 4 adult males Chief Cornstalk Park, WV Witnesses claim to have encountered a giant gray figure with red eyes wihile hunting. They were so frightened they never thought to raise their guns.