Search this site

I belong to the last generation with limited internet access, so I figure that I found “The Texas Chainsaw Massacre” (1974) because of the kindhearted celebratory antics of a man living in the neighborhood I grew up in. Every Halloween, he’d run around in his front yard with a chainsaw (without chains), and without access to the film he referenced, I began to intertwine the feeling of the one night a year when the world and I were on the same page with the sound of a chainsaw rip. Everyone within, and most outside of, the film industry can agree that collaborative effort, effective communication, and the unified will to make it happen (no matter how long the food on the table has been there) make a movie happen. Every time, these people chart new maps with roads dictated by the times they live in. There was something especially wild about the new frontier of horror films in the early seventies. Changes in distribution, the rating system, and the American cultural consciousness created a film texture that went much further in eliciting visceral sensory imaginings from the audience by use of jump-scares. The grit, the use of light to create feelings of heat, and for me… the use of sound effects juxtaposed with the absence of dialogue. The felt reality is not only created by design—we can feel it because we are much closer to that group of people who spent weeks in the same costumes, sweating, solving problems, and working with a budget of less than $140,000. For context, “The Texas Chainsaw Massacre” was the third top-grossing film in the United States after three weeks on the chart, per the Variety chart. The second was “The Longest Yard” (1974) at $2.9 million, and the first was “Airport 1975” (1974) at $3 million. These numbers prove the talent of the cast and crew, but support by the Texas Film Commission, both publicly and privately, must be mentioned. There was never a climate for a film such as this to gross the amount and to live at number three in any year prior—it took support to push a film that we’d be at a terrible loss without into a place that it could simmer in our consciousness on the scale that a film of its unique flavors deserved. “The Texas Chainsaw Massacre” can be cited as one of the best examples of regional horror. In a broader sense, it is an example of the power of place, identity, and communities created by placing value on film, filmmakers, and all of the arts needed to make a movie. Had the film been released under its working title, “Leatherface,” we’d still be talking about it today, but I think the conversation would be different if not for the glorious final title we know it by. Co-writer Kim Henkel credits Warren Skaaren, who was the inaugural Commissioner of the newly-formed Texas Film Commission, with suggesting the film be released under “The Texas Chainsaw Massacre.” The title gave a reality capable of further emboldening and supporting the various taglines used to promote the film: - “Who Will Survive, and What Will Be Left of Them?” - “America’s most bizarre crime! Brutal beyond description! Grisly beyond comprehension.” - “What happened is true. Now the motion picture that’s just as real.” Taglines that I mentally collected and carried with me until the day that I was finally allowed to watch the film I’d already cherished by name, by fleeting clip, by production still, and by glimpses of glorious vintage posters. It meant more to me than watching a movie; it would mean more than I would be able to express until now. It meant that I had the freedom to seek out and discover films that told stories that would help me understand the world I live in. The films I watched became a vehicle through which I could express my feelings in a way natural to me—by the use of narrative imagery. The horror film has always held restorative, explorative, and cathartic functions for those willing to get lost for the runtime. The human need to have big emotions sympathetically recognized by figures in our own image is one we both seek out and ignore. The more complicated moments in our stories are— the more difficult they can be to navigate within the structure of the mundane—but up on that screen… we have the ability to be present in feelings we’d never let rise to the surface otherwise. I can feel her laughing as she sits with blood-soaked bell-bottoms in that truck bed. She got away, and that always meant that I could too. And if I wasn’t able to hitch a ride, I’d ask that the last sunset dance be saved for me. *October is the 50th anniversary of “The Texas Chainsaw Massacre.”

THERE IS A MONOLITH IN THE KITCHEN OF MY HOME. I do not remember how old I am, or if I could even call this my first memory because to organize those first sparks into consciousness would be impossible, but I know I am old enough to open the fridge, or more specifically, the freezer. My cousin Ashley is babysitting me and she’s asleep on the couch - not out of derelict of duty, it had to be well past midnight, but even in my childhood I was a night owl. So I was awake, and for all intents and purposes, I was alone. “Nosferatu” (1922) plays on the television. Max Schreck in all his uncanny glory stands and stares me in the eye. I remember being unafraid, and if anything, a morbid curiosity washed over me. I was, however, and admittedly still am, afraid of the dark. But there were glowsticks in the freezer. I remembered this. So I walked from the living room to the tall 1990s monolith of a fridge, white with a faux-stone plastic texture, and I tugged open the freezer and retrieved the glowsticks. And then, hypnotized by what was going to be my first horror movie, I idly chewed on the glowsticks as I watched “Nosferatu” play out. At some point one burst - the bitter concoction of whatever makes glowsticks glow coated my mouth and I immediately knew: this is bad. It’s such a strange sensation for a child to know something is wrong, and perhaps I did something to make myself sick, and that if I woke up Ashley I would certainly be in trouble. I was far too young to understand death but I still believe this was my first brush with mortality. As a vampire movie played and I stood transfixed, I for the first time faced the uncanny. That my actions could have consequences. So, I guess that’s where it all started. My first taste of blood. This is a story of a personal journey for me, a strange little girl who fell in love with horror, rejected it, and then gave her heart to it. This is also a story about how my life was shaped by women within the horror genre. From the themes and societal attitudes I found reflected back at me, defining and influencing my existence as a woman, to the way womanhood and femininity informed the horror genre itself, to the women I saw on screen and decided that’s what I want to be like when I grow up, or, just as often, that is not what I want to be life when I grow up. Horror is one of the few genres where the feminine side is given its equal share. I want to expose that as part of the reason it has become so important to me, and why it so quickly dug its claws into my heart and never let go. So, although I had only just had my first taste of the genre that would grow to partially define me, it was already changing me in small, indiscernible ways. In the weird way that a child’s brain worked, my meeting with Nosferatu and my first taste of something wrong did not traumatize me. Frankly I don’t think it really mattered to me until I got older and people (and myself) started asking “Why are you this way?” I think I was always this way - Nosferatu or not. From as early as I can remember I sought out the strange. There is a hilarious photo of me as a first grader in a classroom full of princesses and firefighters and I’m sitting there, smile wide on my face, wearing a ragged dress and corpse makeup because I insisted I wanted to be something scary. Wasn’t that what Halloween was about? My mother was more than happy to oblige, I come from a family of strong and strange matriarchs. My mother is famous for her all black attire and striking hair, a metal-head through and through, a black cat of a woman who would take on the world entirely for her children. One of my grandmas taught me to read palms and tarot cards and told me pagan stories and taught me to respect myself and trust my instincts. Another taught me to embrace my imagination with my Barbie dolls, even if a little macabre, creating Frankenstein Monsters out of doll pieces, and to embrace softness and femininity. My great-grandma instilled in me a black humor, a perspective born from living through her hometown, London, being bombed in World War Two, a humor she would carry on to pass on to her family. There is a glint in the eyes of women in my family, it wouldn’t be a stretch to call it vampiric. My sister and I and our countless cousins have inherited it now, though I have to say my sister’s is far deadlier than mine. Me and my coven. Truth be told it’s impossible to trace back where Vampir started, so many cultures developed the same idea organically, all the way back to Mesopotamia and probably before then. That being said, what we in the modern age consider vampires started in the 1700s. What had been oral folklore about bloated bodies with clammy skin, a fear of what a corpse is and what it means to rot, had transformed into romantic and oftentimes erotic stories, with the main focus being romantic love. Many of the “first vampires” were women, a trend that would sadly die and not see its light in cinema for some time, driven from the grave itself to pursue either their lover or the man who had wronged them. Nowadays, we see a different vampire not all too different from the vampires that started cinema. After all, you can tell a society’s shared fears by its popular monsters. My most favorite example is the Creature Feature craze of the 1950s, fed by Cold War nuclear fears and the question of what exactly we had done to our planet and to society with the invention of the atomic bomb - when giant ants or kaijus from the deep reminded us that we are playing with forces beyond our control. This theory certainly can be applied to vampires: they are the common collective fear of aristocracy. They have riches and abilities beyond the common person’s capability or understanding. They hypnotize young women - the male fear of having “our” women stolen by “them.” This is very common in early post-WWI cinema, and not just vampires, but the monsters of the 1930s and 1940s in general. They make women the victim and maiden, something to fight for and protect - which only makes sense given what society had just been through, the men going to fight a war overseas and bearing witness to horrors beyond imagination. One can see how these threads are weaved, how the seeds are planted, and how our societal fears feed our most visceral film and fiction. SHAPESHIFTERS, RAZOR WIRE, AND ABJECT TERROR Have you ever felt something abject? It doesn’t have to be terror - it can be joy or disgust or sadness. But I do know I have faced abject terror. My cousin Courtney is a few years older than me. Now, it doesn’t feel so far away, but when I was 10 and she was 15, it felt like everything. I got invited to her birthday party and I wanted so desperately to be one of the cool older girls, but they wanted to watch “IT” (1990). My mom didn’t forbid it, just suggested it might be too adult for me. One of Courtney’s friends offered that she’d seen it “a million times” and would tell me whenever a scary part was coming so I could cover my eyes. And miraculously - she did! I didn’t see a single scary moment, safe behind my palms. Unfortunately for me, this was the age of VHS. The rental was rewinding. I walked upstairs from the basement to see the movie slowly going backwards. I watched the death of Stan in the bathtub in uncanny backwards double time, warbling behind static bars that did little to censor the horror from me. The fear of the Pennywise the Clown, snarling and cackling in the sewers, dug into me like so many sharp teeth. It was a disaster. I was beside myself with terror. To even go into a bathroom was nightmarish to me. “IT” lived in every faucet, in every sink, in every bathroom, in every toilet for a year. My already burgeoning insomnia escalated to the degree of doctor appointments. There was a concern - no child should have such an intense reaction to such a brief exposure but maybe Taylor just has an active imagination. I became terrified of everything. The boy next door taunted me with tales of Chucky and terrorized me with fake spiders. I refused to use the bathroom at night. Horror movie trailers on TV at night would send me into a panic. I could not sleep alone. To this day, I have an incredibly hard time explaining just how scared I was, over something that was in reverse, with no sound, with no context. Taylor just has an active imagination. It is now that I can tell you that “IT” is my favorite Stephen King book. Perhaps my favorite story of all time. An amazing tale of young misfits finding each other and through that, finding their bravery. The Loser’s Club. It wasn’t many years after my first viewing of “IT” that I would, like Beverly, the singular female character of “IT,” find my group of boys on bikes, my own Loser’s Club, and I would, like them, find my bravery. We would go to train tracks and watch scary YouTube videos. We would prank each other with Slenderman pages. We would brag (usually lying) about all the crazy, horrible movies we had seen. I was 13 when I watched “Saw” (2004). I remember it was in my friend Lauren’s basement. I hadn’t watched a single horror movie since I had accidentally watched “IT” three years prior, but the chasm between being 10 and being 13 is vast, and I refused to admit to anyone that I hated horror. That would be so uncool. Thirteen-year-old Taylor sat there wide eyed. There was a boy trying to kiss me but I was too enraptured with what was on screen to even consider him. I had hidden myself from horror so, so desperately that when my first love finally found me again it was like a symphony. When the movie ended nobody wanted to talk about it like I did. I was too young to even appreciate the relatively low budget, high emotion effort that was “Saw.” The dam had cracked. I was done for. I kept asking would you crawl through razor wire for survival or would you cut your leg off for survival or would you kill another person for survival not realizing something within me had been unlocked. SERIAL KILLERS, CULT LEADERS, AND COLLEGE FEARS My father is a quiet cinefile and also a quiet, pervading force in general. Believe me when I say this: I am my father’s daughter. One day, I stumble upon my dad halfway through a movie and, like usual, I join him. However something about this one catches my imagination even more so than the others. It’s a story about an FBI agent, a serial killer, and a cannibal. I absolutely fall desperately in love with “Silence of the Lambs” (1991). How couldn’t I? It was designed to be admired. One of the best movies of all time. And it was the first time I saw, outside of a princess or an ingenue, a female protagonist and hero in her own right. Jodie Foster as Clarice is everything. She is educated yet naive. She is brave yet cautious. She is inviting yet wary. She is feminine and masculine. And there is a reason she stuck with me so much, even to this day - she is such a person. A person. Oh I wanted to be her - or at least try to be her when I grew up. It was around this time that I was in my first play. I had done studio dance since I was old enough to walk, but puberty hit me like a ton of bricks and I had turned into something of a newborn deer on ice - I was clumsy. So my mother, in all her wisdom, suggested a play. The local community theater was doing “The Wizard of Oz” so it wasn’t hard to convince me. I got the role of Dorothy. Trust me, that accomplishment is still one of my proudest, and it began the longest love of my life: acting. However once high school came around, it became clear I wasn’t leading lady potential. I did great in supporting roles, especially comedic ones, or ones where I’m supposed to be grating; Lydia in “Pride and Prejudice,” a stepsister in “Into the Woods,” my final senior role in “The Mystery of Edwin Drood” didn’t even have a name, but I still got accolades for it. Anyway, this is all to say that by the time college came around, my lofty ideas of being a professional actress had entirely melted away. So I fell back on the old dream. I wanted to be Clarice - or something like Clarice. So I went to New York to hopefully become a criminal psychologist. That lasted less than half of a semester. It wasn’t for me. Instead, I started double majoring in religion (with a focus on cults, shocking, I know) and film! I had a real talent for film analysis, apparently, and also a talent for stomaching Jim Jones and David Koresh and the like. Sadly, it wasn’t long until I was staring down the barrel of a mental breakdown with the question of what I was going to do with my life. My closest professor asked me, point blank, “what would you do if you could do anything?” I hadn’t asked myself that question in so long. So often those things are tethered in the consequences of future realities. So I just blurted out the first thing that came to mind: I would make horror movies. She knew a guy - a producer at an independent genre film company in Brooklyn called Glass Eye Pix. I got the interview, I got the internship, and soon I was living my dream as a production assistant fetching cases of water bottles and scrubbing fake blood from floors and feeling like I was going quite insane. Thrust from a comfortable and sheltered Minnesota life to the hustle and bustle of New York, to uncertainty of my future, to complicated and problematic interpersonal relationships and a deep, deep sense of isolation that I think was just innate from going from girl to woman. The first movie I ever worked on was called “Darling” (2015) directed by Mickey Keating - oh and go watch “Psychopaths” (2017) - and it’s essentially a love letter to “Repulsion” (1965) which is the story of a young woman going insane with agoraphobia and androphobia and it’s a Polanski movie so… go with how you feel on that recommendation. The bottom line is I felt very much that this time of my life was defined by a razor thin grip on my propriety, and that there was something very exciting and liberating about that. For the first time in my life, and not despite of but because of the fact that I was entering the boys club that is cinema, I felt off the leash. I was no longer that little girl with no one around her who understood why she was the way she was, or riding bikes until the stars came out for lack of anything to do. I felt like I was finally the creature I was meant to be, even if that was a little scary, and I didn’t always behave fairly or even kindly. Still, if they wanted their insane woman trope, they would get it. The idea of the ‘insane’ woman as a device is as old as time. Simply put we have been used as the antagonist simply for being a woman. If you subscribe to Christian theology, the vilification of women goes back to the very beginning. If you don’t, it goes even further back than that. The feminine mania (hysterical! Not even a century ago I could’ve and probably would’ve been lobotomized) follows me still, but I appreciate it more. I’m doing something now - a play, at my beloved Theatre Winter Haven that expresses it, called “Venus in Fur.” It’s going to be a lot, and it’s going to be amazing, and if you’d like to witness me expressing this profound joy, there are tickets to be had. Yes, this is a plug, but only because acting is my deepest love… Well, except for one other thing. ZOMBIES, BODIES, AND THE MAN I MARRIED For all this talk of blood and guts, I’d like to talk about romance. It’s the proverbial slow song of the article. A moment to catch our breaths and get close to the one we love. Not that my husband dances. Zombies. I didn’t know it when I met him, but Jeremy had made a pretty darling zombie movie. That’s why we were meeting, actually. We were doing a chemistry test for a short film, essentially to see if we could act together and pass as a real life couple. Spoiler alert; there was plenty of chemistry. He was living in Connecticut and I was living in Queens and we left the little audition knowing that we’d be filming the short film in Peekskill, New York in a couple of weeks. What we didn’t know was that after those couple weeks we’d be falling over each other in reckless and romantic ways. What can I say? I’m a sucker for a man that looks like he could be a cult leader. And makes me laugh. And who values the pen over the sword. And is tall and handsome. And can cook. And is worldly. And so, so, devastatingly compassionate. Oh no, am I rambling? Sorry. For all this gore, blood pumps from the heart. Truth be told, of all the movies and creatures I’ve discussed and am going to discuss, zombies are kind of the least romantic! There’s not too many examples of zombie romance and those that do exist sometimes ask bigger questions of body and consent than they do of actual romance. That being said, the zombie genre is where some of our biggest reflections of home and society exist - and our biggest questions of humanity. I defy you to find a single zombie movie that doesn’t beg the question, at least at one point, “Is humanity the real monster after all?” “The Walking Dead,” for all its work it did to bring horror to the mainstream television once more, beat that question to death. How many scaryeventually-revealed-cannibalistic-enclaves do our main characters have to go to before they decide maybe everyone is evil! Just - don’t go there this time! Have you thought of that, Rick?! Disclaimer: I have never really watched “Walking Dead.” But I know enough to know. Second disclaimer: It hasn’t always been like this. Zombie is perhaps one of my favorite subgenres because it changes so much so quickly with society - though it has (until our lord and savior George Romero) an incredibly unsavory beginning point that I would be remiss to not include. Our first zombie films are centered around the fear of the other, and specifically of Caribbean and Black others. That indefinable and racist ‘scary voodoo’ that turns white women into mindless slaves. This is not hyperbole - this is the plot of the film “White Zombie” (1932), regarded as the first use of a zombie in a feature film, it even stars Bela Lugosi. Back then, zombies were not the bloodthirsty diseasesourced horde of shambling humans but victims of hypnosis and ‘voodoo’. We cannot look at zombies without confronting their racist beginnings. Which made the casting of Duane Jones, a Black man, as the lead character in George Romero’s “Night of The Living Dead” (1968) all the more poignant. Romero always maintained that Jones was simply the right man for the job, but I’m of the opinion that both things can be true. Romero’s film is considered the first of the modern zombie movies, and where our fear of the other shifted to the fear of conformity and commercialism (you can thank the 1960s counterculture for that), where zombies are shambling and hungry and dead-eyed with singular goals to consume. In more recent decades, the overarching themes change again to something different, the fear of overpopulation, the fear of disease and pandemic itself (which we as a society know plenty of now) zombies have turned fast, they’ve turned angry, they can gosh darned run and climb! Take a look at “28 Days Later” (2002) rage zombies, or “World War Z” (2013) zombies so dense they act as a liquid, or for heaven’s sake in “Army Of The Dead” (2021) the zombie’s had an I-shityou-not societal structure! They had leaders! Zombies are changing, and will change, so long as we as humans keep finding new things to be scared of. Jeremy’s zombies in “The Battery” (2012) are old school. They’re slow and dumb and hungry. The fear Jeremy explores here is of becoming one of the horde, of becoming just like everybody else, of being normalized. I think that’s one of the big reasons I fell for him. He was strange, like me, and in ways unexpected. A redneck from Florida who grew up in a trailer, who made horror movies, who sang Erykah Badu at karaoke, who would probably commit war crimes for his cats. And you can best believe, I can’t think of a better person to face down the horde with. This one’s for you, honey. [Insert reference from “We Are The Flesh” (2016) that only you and I get. You know the one.] BLOOD, BIRTH, AND MOTHER MONSTERS Anyways, enough of that. If you survived through that sweet slog without getting sick, don’t worry, I’m gonna give it another go in this section. Which is also where I say turn back now ye who would not like to read about… [lightning flash, thunder boom] Menstruation. [dramatic piano sting] And other such topics of the human body. Okay. You have been warned. But here’s the thing, y’all; it happens. It happens every month for most of our lives and it sucks for almost everyone and the fact that it is a dirty subject, still blows my mind. To me it’s just this: the very fact that having a uterus is a horror show. Can you imagine - you’re just getting old enough to feel like you’re your own person, you’re starting to form your dreams and ideals and morals and personality, and then one day it’s like “oh, hey, by the way, every month for the next forty or so years you’re going to bleed. And it’s going to hurt. And it’s going to make you feel like a different person. Oh, and if you’re super unlucky, it could very much try to kill you! Anyway, have fun with that, okay bye!” My mother was very upfront with me about what was going to happen when I got my first period and I still thought I was dying. Didn’t tell anyone. Just thought I’d wait it out and pass peacefully and mysteriously into the grave. Better not to worry anyone, after all. Goodness, I was such a dramatic little shit. Or maybe I wasn’t! A first period - a menarche, as they call it - has been a tool in horror for a very long time in fiction and otherwise. The very famous potential real-life haunting that was the basis of “The Conjuring 2” (2016), also known as the Enfield Poltergeist, was reportedly brought on by the first period of one of the girls in the house. Oh, and let’s not forget about “Carrie” (1976) - who’s torment and eventual psychic awakening all follows her first period. There is so much shame and horror attached to something as natural as breathing! Then again, it’s all just a prelude to the truly most horrifying thing: pregnancy. Pregnancy in the abstract is as terrifying to me as motherhood is beautiful, but for a moment consider just the facts of pregnancy. Something grows inside of you literally, literally, and for nine months! You ache and your skin stretches and you get sick and your organs rearrange, and then all your suffering culminates into a literal bloodbath of a birth which could very well kill you! There is so much strength in that, so much bravery. I’m sure there are those out there who enjoy being pregnant and to that I say, affectionately, you absolute maniacs, you gods among mortals! But the fact remains that when you simply just isolate the physical reality of pregnancy (not even accounting for the emotional and psychological part!) it is wild that we can do that, that we must do that, that the very survival of our species is tied to what is effectively nurturing a parasite for nine months and, all the while, we must go on about our day! And then, after those nine months, we must birth that parasite in one of the most excruciating pains a human can experience, a life-threatening wave of blood and guts and screaming that is expected to last for hours, perhaps days! It’s a horror show. My favorite media that looks at the horror of pregnancy is less literal, which makes it all the better, and it quite literally destroys any barrier to entry - man, woman, or otherwise. “Alien” (1979) is a masterpiece in many ways, one of my personal favorites that spawned (hehe) one of my favorite franchises. I will try to limit spoilers within this. “Alien” has been in the collective cultural understanding for quite some time and I doubt many people are unaware of what a Chestburster is. Here’s how it works: terrible little eggs hatch, and then terrible little creatures (Facehuggers) run out to find a mouth to stick their terrible little tail down, after which they quite literally impregnate the victim, who after some time fatally births another, different terrible little creature (Xenomorph) from their rib cage. It’s all a very uncomfortable affair that no one was safe from, and that was very much by design. “Alien” took the fear of psuedo-sexual violence and impregnation and birth and applied it to everyone. The Facehuggers, as they were, did not discriminate who would become mother to the Xenomorph. I myself am not a mother, not yet, and I’m still not sure when (or if) I’ll walk down that road. I see motherhood as beautiful all the same, and we as a society across all the ages put motherhood on a high pedestal - sometimes too high, when the sole purpose of a woman becomes rearing children. Perhaps that’s why when the concept of motherhood is polluted, it becomes one of the most sinister and terrifying devices available to horror media. All we have to do is look at perhaps one of the most (or perhaps THE most) famous and iconic horror movies of all time: “Psycho” (1960). Or instead maybe two of the most influential and important horror movies of the modern age - “Hereditary” (2018) and “The Babadook” (2014)? I personally take so much pleasure in the horrific feminine. It informs and explains me. To straddle that line between monster and princess gives me so much joy and belonging. I love being a demon that must be exorcized from my own life, and I love, simultaneously, holding a candle, terrified, to the rattling doors and bleeding walls of the ghosts that live within the haunted house I call my body and soul. END CREDITS I think, at the end of the day, as to what this product finally is: it’s me screaming! Screaming for what? Hard to say. A few things: for myself and the art I love so much, for the people who have supported me in chasing this life, for my husband, for the strange little kids who might think that there’s something about them that makes them different and that being different makes them bad. I love horror. I love being scared. I am at the end of something, this article, whatever it is, and it is something that has torn me completely raw and made me look at myself in the mirror. I feel as if I have said both too much and too little - but I have to stop now. Nurture yourself and the things you love. Be kind and be engaging and be curious. Feel the fire behind your eyes and let others see it. Never stop. I’d like to thank Joe Dunham for being my favorite boss and the best unlicensed therapist a girl could ask for, Christian and Elise Stella for their amazing help with the photoshoot for this article and also for being just as unhinged as me. My Fellowship (Jess & Sam) for dealing with the most unhinged versions of myself and for playing pretend with me. Jack for being my favorite person to sit next to in a movie theater and an amazing creative consultant. And of course, Jeremy, for reminding me that I need to stop procrastinating (and a final spoiler alert: I did not stop procrastinating). “Venus in Fur” will be performed on select days from October 24 – November 3 at Theatre Winter Haven. The play contains adult material, very limited seating. Purchase tickets in advance at theatrewinterhaven.com.

Olivia Sanchez is transforming the local beauty scene using an eco-conscious approach with her company, Sudz Cauldron. Passionate about crafting products that are as kind to the environment as they are to the skin, this maker shares the story behind its sustainable practices, natural ingredients, and the mission to make beauty routines more earth-friendly. Olivia was born in Illinois and moved to Haines City in the sixth grade. She went to Polk State College for her AA, the University of Southern Florida for her undergraduate studies, and then Saint Leo University for her master’s in human resources. She began her career working for the City of Winter Haven with a passion for helping people and the hope of making a positive impact on the community. She loved beginning her career with the City, but there was another side of her that was also passionate about creating a sustainable lifestyle. “I made a change in my life to embrace a more sustainable lifestyle, and this is what really led to Sudz Cauldron for me. I was becoming more intentional about the products I was using every day, and the companies I was supporting,” Olivia said. She realized she was being very wasteful. “I would pick up shampoo and if it smelled nice, I used it. This journey really led me to becoming more in tune when it comes to my health, and my hair health.” It started with her own hair. She could never find something effective to work on her hair. “When it came to my hair, I felt like I’ve always hated it. I didn’t like how dark it was, how oily it was. And really, embarking on this journey has what really made me become more fascinated with ingredients and formulating my own solutions eventually.” This led to the creation of her shampoo and conditioner bars. Imagine a little bar of soap, but for your hair. The only packaging is a little paper box made from recycled materials. One of Sudz Cauldron’s shampoo bars is equivalent to about four bottles of store-bought shampoo, depending on how often you’re washing, the length of hair, etc. Olivia would sit in her car on lunch breaks and research. She learned about different ingredients and how just one ingredient could drastically change how something works. She started experimenting and making her own shampoo. After going to work and having people comment on her hair, she was so happy to tell them that she was making her own products. “I found that there were so many other people like me, and at the time there wasn’t anything around here that was a sustainable eco shop where I could have that easy access to products that could help me through this journey. At the time I was making a lot of my own products. It was primarily the hair care products but I was also making my own toilet cleaners, my own kitchen cleaners and other things. But the hair care aspect is something that I just fell in love with.” Sudz Cauldron is a lifestyle. They offer seven products: four shampoo bars and three conditioner bars. All of them are formulated completely differently. “It took me forever to formulate all of these different product lines, but, it’s necessary. There is a need for people to find something for their dryer scalp, or oilier hair or curls, I want them to have access to that.” Her goal is to have her shampoo and conditioner bars be so good that you ditch plastic entirely. But it doesn’t end there. This is not just an eco-conscious company but an impact-driven company. “My grandparents in Mexico were farmers.” They grew up in a rural area growing livestock, and all of the food that they ate. “I’ve always had this passion of supporting farmers through my business. A lot of the ingredients, like our shea butter, our cocoa butter, and Jamaican black castor oil are all sourced through fair-trade suppliers. The ingredients are literally handmade, and they give back to the farmers by supporting them with fair wages and better working conditions.” Alongside Sudz Cauldron, Olivia is also working with two other women in Polk County to launch a business called Latinas Profesionales in Action (LPA). “It’s an opportunity not just for Latinas but for women who are like me,” she said. “Starting a business from the ground up is challenging when you don’t have access to the right resources or connections. At LPA, we want to offer that support to women who are ambitious about their own businesses.” Her advice for aspiring entrepreneurs? “Don’t be afraid to try.” “I had no clue before this, I didn’t know what was in shampoo, how do you make it, how does it lather?” She continued, “I started off doing farmers markets. I’m finally in this space where I’m trying to expand and reach more customers who are wanting these kind of products throughout Florida and expanding into other states, just being able to make our products more accessible.” She smiled and added that she didn’t want to say anything right now, but there is more to come. “With Sudz Cauldron products, you’re getting something that’s truly made with intention, with better quality ingredients, again the environmental impact as well. There’s so many bonuses to that.” Shop & find out where you can buy her products locally at sudzcauldron.com. IG @sudzcauldron FB @Sudz Cauldron Find Latina’s Profesionales in Action IG@latinasprofesionalesinaction

The railroad brought development to central Florida and Polk County. Travel guides and brochures from the 1870s and 1880s describe the area as a “cattle region” and “in many respects one of the most desirable portions of Florida.” The printed materials describe clear lakes, beautiful streams, first-rate pine and very productive clay subsoil. In May of 1883, J. Blount and W. T. Whitledge (Bartow realtors and merchants) developed a town plan based on a grid system of blocks and tiers... a pattern that still exists today. The plan was divided into commercial, residential, and farmland areas. At the center a central park, oriented north-south, it ran two blocks bracketing the South Florida Railroad property. Blount and Whitlege sold the first portion of their holdings to early settler Fredrick Amasa Knowles (F.A.K.) Harris who arrived in the area during 1884. Families such as the Eycleshimers, Jacksons and Sykes were in the area but not residing within the newly platted village. Peter D. Eycleshimer was among the first to purchase land within the village as yet unnamed. Harris came to the area from Vermont after a tragic stay in Nebraska where his wife, Adele, was injured in a tornado. The Harrises (including one year-old son Bert) built both the first commercial and residential structure within the limits of the newly platted village. The family opened a mercantile business on the first floor and lived upstairs. The railroad was under construction at the time and Mrs. Harris sometimes cooked for the workers. For a short time, the railroad workers referred to the new settlement as “Harris Corner.” The Harris store was located at the corner of Fifth Street and Central Avenue N.W., facing east toward Central Park. Peter and Anna Eycleshimer (eck-l-shy-mer) are credited with naming Winter Haven Mrs. Harris is remembered as a formidable presence, managing at times both family and business while F.A.K. was out of town. The story is told that on one occasion she sent son Bert to the kitchen to get bread. When he opened the breadbox there was a rattlesnake inside. Mrs. Harris, known to wear a firearm, proceeded to send the snake to its reward. Bert survived unscathed. Mr. Harris is known as the “Father of Winter Haven” for having built the first building in the “town proper” or within the village limits. He also served as one of the village’s first postmasters. When Winter Haven formally incorporated in 1911, he served as a town councilman. Winter Haven adopted the city manager form of government in 1923. Harris descendants still live in the Winter Haven area. WHITLEDGE OR WINTER HAVEN? THE VILLAGE IS NAMED The land where Winter Haven exists today was owned earlier by an English company known as the Florida Land and Colonization Company. The home office was in London. Writing in her book “The History of Winter Haven,” Josephine Burr noted that “the company owned large portions of area land as late at 1882 but that Sydney O. Chase of the Chase and Sanborn Coffee Company owned a big portion up to 1884 and possibly later.” Both F. A. K. Harris and Peter D. Eycleshimer arrived in the as-yet-unnamed village of Winter Haven in 1884. In fact, Eycleshimer arrived alone before Harris. Second in line to purchase land within the plat, he then returned home to Tomhannock, Rensalear County, New York for his family. While Harris has the distinction of purchasing the first land in the newly platted village, Eycleshimer and his wife are credited with naming the community. While Eycleshimer was home getting his family, the Realtors Blount and Whitledge contacted him asking his thoughts on naming the village “Whitledge.” In the meantime Mr. Whitledge expressed his reluctance to put his own name on the town and asked Mrs. Eycleshimer if she could suggest a better one. In discussions with her husband they considered the possible future of this area of many lakes. They thought the town should suggest the reason for its existence – not only as a railroad stop and post office – but its potential as a winter resort. The Eycleshimers tested a number of descriptors with the word “Winter” finally settling on Winter Haven. Mr. Eycleshimer wrote Whitledge that he saw two options: - If the town was to be a business center with post office and shipping facilities, then Whitledge seemed a good choice. - But if the long-term goal was a beautiful winter resort, then Winter Haven would be a better name. According to the late Richard H. DeMott, Sr., on May 6, 1885 all streets, avenues and alleys were dedicated as though Winter Haven was a small city – in spite of the fact that very few existed except on paper. The Harris Store and home was Winter Haven’s first residential and commercial structure. NO, THE NAMES DID NOT GET MIXED UP! A rumor persists that Winter Haven’s name was supposed to be Lakeland and vice-versa. The simplest explanation is the fact the Eycleshimers did not suggest “Lakeland.” But further documentation indicates Lakeland incorporated on January 1, 1885. Winter Haven was incorporated on June 22, 1911. The name “Lakeland” might have been more descriptive considering our numerous freshwater lakes… but it had already been taken by our sister city. Next month: The Inmans and Florence Villa Bob Gernert is a student of Winter Haven history and founded the Museum of Winter Haven History at the historic Women’s Civic League building on Lake Howard. If you have questions or information to share, please email bobgernert@gmail.com or telephone 863-206-6855.

As fall arrives in Florida, locals might notice a subtle change in the landscape. While northern states experience dramatic bursts of color from elm, oak, and birch trees, Florida’s fall is more understated. Nevertheless, several native and nonnative trees offer beautiful splashes of color during the fall months. Understanding why these trees change color can deepen our appreciation for the natural beauty Florida provides, even during a season many associate with milder changes. THE SCIENCE OF FALL COLOR CHANGES Why do trees change color in the fall? The process is driven by shorter days and cooler temperatures, which trigger changes in leaf pigments. The main player here is chlorophyll—the green pigment responsible for photosynthesis. As days shorten and temperatures drop, trees produce less chlorophyll, and other pigments in the leaves become visible. Carotenoids provide yellow and orange hues and are present year-round but masked by chlorophyll. Anthocyanins contribute red and purple tones. Unlike carotenoids, they are produced in late summer and fall. And tannins create brown colors, often found in oaks and species that hold onto their leaves longer. When shorter daylight hours and cooler temperatures signal trees to slow down growth in preparation for winter, chlorophyll breaks down. As the greens fade, the vibrant yellows, oranges, reds, and browns that were previously hidden by the chlorophyll become visible, marking the transition into fall. CLIMATE AND FALL COLORS IN FLORIDA Because Florida experiences a much milder fall and winter, many tree species don’t experience the sharp temperature drops that trigger vibrant color changes seen in other parts of the country. As a result, the transition is often more gradual and subtle, with some trees retaining green leaves into late fall or even winter. Florida’s subtropical climate means fall arrives gradually. Trees in areas with ample rainfall may change color later. Tree health also influences color vibrancy—healthy trees tend to display more vivid colors than those stressed by drought or pests. In urban areas, trees growing in compacted soils may not exhibit the same brilliant hues as their rural counterparts. Furthermore, artificial lighting, such as streetlights, can affect trees’ fall color changes in urban areas. Prolonged exposure to light delays the reduction of chlorophyll, postponing or muting fall colors. Trees exposed to constant artificial light may not change color at all, a phenomenon documented in urban settings. In addition to the subtle changes in trees, another sign of fall in Florida is the browning of aquatic plants in our many lakes. After the first or second strong cold front, you will notice aquatic plants along the shorelines die back, which is a natural part of the seasonal shift. For many Floridians, this change signals that fall has truly arrived. Rather than viewing it as unsightly, it is an opportunity to appreciate the unique ways our environment transitions through the seasons, even in a state known for its milder weather. FLORIDA’S FALL COLORS Though Florida’s fall palette is less vibrant than in more temperate regions, several tree species still put on a show. The fall color change is more noticeable in northern Florida, and central Florida trees may have an even more subdued change. Common species that provide color in Polk County include: • Red Maples (Acer rubrum), with bright red fall foliage along rivers and wetter areas. In irrigated landscapes, red maples can provide a brilliant fall color from its leaves and from its seed casing, called a winged samara. • Sweetgum (Liquidambar styraciflua), displaying yellow, orange, red, and purple hues. • Bald Cypress (Taxodium distichum), turning coppery orange in wetlands before shedding needles. This coppery orange could be called brown, but we prefer the more autumnal “bronze.” • American Sycamore (Platanus occidentalis), whose leaves turn golden yellow before dropping and providing a very satisfying leaf crunch when walked upon. DON’T MISTAKE BALD CYPRESS FALL COLOR FOR STORM DAMAGE After Hurricane Milton, many residents are removing damaged trees, but it’s important not to mistake the natural browning of bald cypress trees for storm damage. Bald cypress (Taxodium distichum) naturally turns bronze or copper in the fall as part of its seasonal cycle. This is a normal color change, not an indicator of injury or death. Before removing any cypress tree, remember that they shed their needles each fall and regrow fresh green ones in spring. Consult with an ISA certified arborist or contact the UF/IFAS Extension Office in Bartow for advice on tree health. You can find a certified arborist at: treesaregood.org/findanarborist EMBRACE THE SUBTLE BEAUTY OF FLORIDA’S FALL While Florida’s fall colors might be more understated than in the northern U.S., they are no less remarkable. Trees like the red maple, sweetgum, and bald cypress offer a burst of color against the backdrop of evergreens and tropical landscaping. Understanding why trees change color can deepen our appreciation of this seasonal transformation. As you enjoy the cooler days of autumn that are on the way, take a moment to observe the natural world around you. Whether it’s the vibrant red of a maple tree or the bronze glow of a bald cypress, Florida’s fall colors are a reminder of the state’s rich biodiversity. Consider planting a native tree in your yard to enjoy seasonal color and support local wildlife. For more information about fall colors, local tree species, or how to care for trees in your yard, feel free to contact us at the UF/IFAS Extension Polk County Office or reach out to me on social media. You can find us at facebook.com/polkextension or on Instagram at @PolkNR.

Fall in central Florida may not bring the dramatic color changes seen in other parts of the country, but that doesn’t mean it lacks seasonal beauty. In fact, if you take some time to observe our unique environment, you will see that there are a variety of native plants that offer that seasonal color change we all crave this time of year. Whether you’re a seasoned gardener or new to the world of native plants, there are plenty of options to bring the essence of fall to your landscape. FALL FLOWERS: A TIME FOR FLORIDA NATIVE WILDFLOWERS TO SHINE Some people might think of fall as a time when gardens fade, but in central Florida many flowering plants shine in the fall. October and November are prime months to enjoy some of the most colorful blooms in our region. Native wildflowers can be planted in home landscapes and can be combined with existing plants to add a pop of seasonal color…the Florida way! Goldenrod is a tall native wildflower with bright yellow flowers that adds a cheerful splash of color to the fall landscape. It has an undeserved reputation for causing allergies (a myth) so it’s often not utilized in the landscape. Goldenrod thrives in various conditions from dry, sandy soils to moist areas. In addition to its beauty, it supports local wildlife, including beneficial insects and pollinators. Coreopsis (Coreopsis sp.), the Florida state wildflower, also known as tickseed, produces sunny yellow blooms that brighten gardens and roadsides this time of year, complementing the warm autumn tones of other wildflowers like goldenrod and blazing star. This native wildflower is easy to grow and thrives in well-drained soils. It can be planted in beds, borders, or naturalized areas for a bright pop of color throughout the summer and fall. A striking addition to the fall wildflower palette is blazing star (Liatris sp.), a tall, spiky wildflower that produces bold purple blooms late summer through fall. The vertical flower spikes add height and drama to the garden and attract pollinators. Blazing star is drought-tolerant, and it makes an excellent companion to goldenrod, muhly grass, or other native wildflowers. GRASSES: TEXTURE AND BLOOMS IN FALL FLORIDA GARDENS Native grasses in Florida offer more than just greenery— they bring texture, movement, and a sense of seasonal change to the garden. These grasses are not only FloridaFriendly native plants, but also provide habitat for wildlife and contribute to a sustainable landscape. Fakahatchee grass (Tripsacum dactyloides) is a tall, clumping native grass that thrives in dry to moist soils and brings both height and texture to the garden with its bright green leaves and reddish-brown flower spikes. It provides a lush, architectural element to your autumn garden. There is also a dwarf species (Tripsacum floridanum) available that will grow to only 2-3 feet high. Sand cordgrass (Spartina bakeri), another native, is wellsuited for both wet and dry areas. Its golden-brown seed heads in the fall complement the warm tones of autumn, creating a natural transition as other plants begin to wind down. The showiest blooms of the fall are found on the muhly grass (Muhlenbergia capillaris). Known for its airy, pinkishpurple flower plumes, this native grass creates a dreamy, soft backdrop in any landscape. In October, its delicate flowers form in masses, swaying gently in the breeze and catching the soft autumn light. It grows to only 2-3 feet and can live in a variety of conditions. This is a great native grass suited to most landscapes in central Florida. SEASONAL FOLIAGE: EMBRACING EARTHY TONES, THE FLORIDA WAY Though we may not get the bold reds and oranges of northern deciduous trees, Florida still has plenty of foliage that evokes fall. Consider incorporating plants like Coontie cycad (Zamia pumila), which offers a deep, rich green year-round. Coonties are drought-tolerant, grow in sun and shade, and can be used as groundcover or as a feature plant in a larger bed, providing evergreen structure during fall’s more subdued months. They provide a great backdrop for your colorful wildflower plantings. For a bit of fall drama, beautyberry (Callicarpa americana) is a showstopper. This native shrub produces clusters of bright purple berries along its stems in late summer and early fall, standing out against its green foliage and bringing an unexpected pop of color. Beautyberry not only adds visual interest but also provides food for birds and other wildlife in the garden. Many other native shrubs have foliage that will change to that familiar red, orange, and even purple that evoke traditional fall foliage. Plants such as oakleaf hydrangea, firebush, and even the statuesque cypress present seasonal foliage changes. CREATING A FLORIDA-FRIENDLY FALL GARDEN When planning your central Florida landscape, think about how color and texture can be used during all four seasons. Select plants that bloom during different times of the year and pair them with native grasses for contrast. Add in evergreen shrubs like coontie cycads. Consider elements such as colorful peeling bark and the branch structure of deciduous plants as part of your landscape design. Don’t forget to provide for pollinators ensuring your garden is buzzing with life (and color!) well into the cooler months. By embracing native grasses, fall-blooming flowers, and plants that provide texture and color, you can create a fall garden that celebrates the unique qualities of central Florida’ natural landscape while supporting local wildlife. Whether you’re starting from scratch or looking to refresh your existing garden, the possibilities for bringing fall’s beauty to your central Florida yard are endless. If you have gardening or landscaping questions, contact UF/IFAS Extension Polk County at (863) 519-1041 or visit us online at http://sfyl.ifas.ufl.edu/polk. The Plant Clinic is open Monday-Friday, 9:00 am-4:00 pm to answer your gardening and landscaping questions. Give us a call or email us at polkmg@ifas.ufl.edu. To learn more about gardening and landscaping in central Florida, listen to the Your Central Florida Yard podcast. You can find the podcast wherever you listen or find out more on our Substack: https://substack.com/@ yourcentralfloridayard. An Equal Opportunity Institution.

Named by French critics to describe films based on mid-20th-century crime fiction, noir features a style and language unique to itself. These films often center on stories told from the viewpoint of morally gray or explicitly criminal protagonists, with shadows used so powerfully that they become central characters themselves. With the Second World War behind us, writers could more freely question the nature of crime, our economic structure, and the moral dilemmas hidden behind the curtain, down dark alleys, and in the hearts of those who knew things were never as simple as they appeared. In our cultural consciousness, there now lived the awareness of a darkness so heinous we knew it did not disappear from our world on May 7, 1945. We now had the freedom to approach storytelling with a cynicism almost unthinkable during the bleak years of the Depression when escapism reigned, or during the war era, when we did not have the luxury to stand uncertain, moral compasses shaking in our hands. Writers of crime fiction began to challenge the notion that contentment was a reward all men could earn through honest work, the idea of women as eternal guardians of morality, and what life looked like for those who lived outside the bounds of light and law. My journey into the back alleyways of noir began long before the first time I would see the screen shadows I had come to adore so deeply that I felt like I had a duty to share them at every opportunity. It came with early exposure to the works of Charles Dickens and a class reading of “Wuthering Heights.” From Dickens, I became enchanted with the interconnectedness of the lives of those living within the same city— that the actions made by them, because of them, or with little obvious connection to them would create stories that had less obvious heroes and villains. Stories like “Wuthering Heights” gave me a burning desire for characters that seemed damned before they had even begun, with pasts limiting all futures, and with reasons to empathize with one who may seem to be in the wrong. It was this mirroring of the complexities, this greying of moralities, and this call to reconsider wrong that led me to the lonely places, to answers only found from out of the past, and to know each of the lives of Harry Lime. I would travel beyond the mid-century and the years of film without colors—into such a diverse application of noir that I could write a hundred articles exploring each leg of the journey. The debate over the classification of noir film swings between a true “genre” and a “film style.” The emergence of neo-noir films in the late seventies and early eighties gave validation to the argument that noir is more of a language within film—a language that is accompanied by certain stylistic elements but not beholden to them. Noir films exist within cyberspaces, futuristic metropolises, gritty daylight realities, and in the areas protected by caped crusaders because the stylistic influences of classic noir live within them so vividly. The ancestors of noir are those crime films from the 1930s such as “The Public Enemy” (1931) and “Scarface” (1983), the “Thin Man” (1934 – 1939) series, and from the German expressionist films “M” (1931) and “The Testament of Dr. Mabuse” (1933). Within them are found the fatalistic stories, shadow worlds, and criminal elements that created our classic ideas of the noir film but also informed the future of neo-noir. We learned how to slip into the story of a lone wolf detective, to question the motives of that gorgeously dressed woman who knows much more than she is letting on, and to revel in the streetscapes that are not well-lit. Films like “The Maltese Falcon” (1941), “The Big Sleep” (1946), and “Double Indemnity” (1944) gave us character archetypes that would manifest themselves into those hard-boiled detectives in “Se7en” (1995), “Devil in a Blue Dress” (1995), and “Chinatown” (1974). Moral ambiguity and quests for answers set up fantastic worlds of crime, inviting us on a ride along into the darkness. We may have started in the Los Angeles of the early fifties, but we would continue into the futurepast year of 2019 in Ridley Scott’s “Blade Runner” (1982), a film that marries the influences of noir with science fiction in the readiest example of neo-noir and its ability to transcend predictable hallmarks while retaining its essence. Often referred to as “tech-noir,” this subset of science & shadow carries within it films such as “Minority Report” (2002), “Dark City” (1998), and “The Matrix” trilogy (1999 – 2003). Stories of men on missions of vengeance and vigilantes lend themselves gloriously to the ever-evolving world of noir and have never been limited to offerings from our shores. From “Le Samouraï” (1967), a French film about a meticulous hitman spotted by a witness leaving the scene of a job and the twenty-four hours following his exposure, to the “John Wick” series beginning in 2014, following the reluctant return of a legendary hitman to the criminal underworld after retiring—beginning with an insult so grievous that the only fitting reply is revenge. Park Chan-wook’s “Oldboy” (2003) details vengeance painstakingly planned and executed with a brutality made sympathetic by excellent storytelling. The trajectory of noir influences is deeply and deliciously intertwined with stories of masked heroes and villains. The shared literary lineage of the detectives of the pulp novel and the superheroes of the comic book builds worlds made more real by the inclusion of street-level stories, characters working within, without, and in between the law, and the many stylistic visual elements that can take a golden-age hero into times that feel more relatable while still retaining an atmosphere of the fantastic. From early serials to stylized animated depictions to graphic novels written as noir imaginings, the union of comic book and noir film continues to bring forth films able to attract audiences on the fringes of fandom, from the noir-fused stylistic visuals of the film adaptation of the Frank Miller graphic novel “Sin City” into a 2005 film to the darker dawn of Gotham City in Christopher Nolan’s “Dark Knight” Trilogy and more recently 2022’s “The Batman”— featuring storytelling, dialogue, and visual elements breathing new life into both genres. Influences gained by the noir film, as they existed before named, in its subsequent golden and bronze ages, have no limits in application to other genres, for shadows show up everywhere. Whether you travel backward, forwards, or somewhere in between this month; I wish you a happy Noirvember.

A familiar holiday tradition is getting a fresh touch this year! While there’s a new face behind the festive magic, the heart and soul of Carols in the Park remain the same. The new team is dedicated to keeping the holiday spirit alive, with all the twinkling lights, handcrafted treasures, and cozy treats you know and love. They’re adding a sprinkle of new surprises while holding tight to the timeless charm that makes the market so special. We sit down with Destroyer Media & Marketing Event Director Lyndsey Venrick and Publisher Chris Sexson about Holidays on Central. Why did you feel it was important to take the reins of Carols in the Park? LV: When we heard it was ending, we knew we couldn’t let the community lose such an important event. We wanted to take this longstanding tradition and reimagine it for the next generation. Finding ways to modernize the event so that life-long residents, recent implants, and today’s families have a holiday event they can enjoy for the next 50 years. Thus, a new event, Holidays on Central, was born. CS: Taking on a community tradition like this is both an honor and a responsibility. Destroyer recognizes how much this tradition means to so many people and to our downtown businesses, and it’s important to carry it forward because it brings people together, brings people to our downtown, and supports local businesses through the holiday season. Which aspects of the event will stay the same for nostalgic attendees? LV: Of course, Santa will be making an appearance and will be available for photos! We will continue to offer interactive activities for the kids, but we are also adding some new activities for adults. Historically, local residents would do their holiday shopping at Carols in the Park, so we are keeping many traditional-type holiday vendors shoppers would expect to find. But, we’re also bringing in a lot of new, unique, and never-before-seen vendors to the area. Shoppers can find the perfect gifts for everyone on their list! CS: We know how important it is to maintain those touchpoints that make people feel at home, year after year. The event serves as the stage for our downtown. We want all attendees to explore downtown, have lunch and dinner, and support our shops. Have there been any challenges in balancing the old and the new? LV: One of the major parts of Carols in the Park was the school caroling performances. We really contemplated if we wanted to continue with the children’s caroling, as we know that families enjoy it. It is a major logistical undertaking, and we felt families may enjoy a more pressure-free holiday event experience. So, we decided this would be one of the key ways we could modernize the event for the future. Instead of caroling, we will feature a student art showcase by the Polk State College art students. At future events, we hope to include other school showcases, perhaps orchestra and band performances from the local high schools and more. We also want to meet the community’s expectation of the event. Carols in the Park went through some changes over the past few years, and we know residents are eager to return to the more traditional event. We hope attendees are pleased with what we bring them, even though it will be a little different from what they are used to! CS: Change can sometimes be met with hesitation, especially when something is so deeply rooted in tradition. This will be our first year and the start of something new. As we move ahead, we have plans to grow and expand the event for future years. This year’s challenge was to keep it going and not let the tradition end. It’s been about keeping the event intact while allowing it to grow in a way that feels natural and exciting. Can you explain the differences between Mistletoe Market & the Bandit Market? LV: Holidays on Central will have over 120 vendors. We’ve got vendors offering inspiring arts and ceramics, beautifully handmade candles and housewares, stylish handmade, upcycled and curated vintage apparel, a huge variety of baked goods, irresistible plants and jewelry, snacks and specialty food trucks… anything you could possibly want at a holiday market, we’ve got it across all three parks downtown. The Mistletoe Market will have many traditional holiday craft vendors- so you can expect to find handmade ornaments, stockings, décor like you would find at past Carols in the Park events. The Bandit Market is an alternative shopping market and was previously held inside the Ritz Theatre over the past few years. We are bringing those vendors to Holidays on Central! These are vendors from Orlando to Tampa and everywhere in between. Their offerings are unique, unexpected and definitely not traditional. You’ll find some spooky vendors and some that are rated PG-13. What can guests expect that day? LV: An easy and light-hearted holiday experience! Holidays on Central is absolutely stacked with amazing vendors and experiences. Also, the Polk County HUB will have a gift-wrapping station where all proceeds go right back to the HUB’s efforts. Stop by the info booth for a fun activity and to pick up a free Holidays on Central tote bag (while supplies last). Spend the whole day eating and shopping your way around Winter Haven’s downtown parks. CS: Guests can expect a day filled with holiday magic. From the moment they arrive, they’ll be immersed in a festive atmosphere filled with the joyful energy of the season. There will be a range of activities for all ages, delicious seasonal treats, pics with Santa, of course, and the chance to browse through both markets to find the perfect locally made gift or decoration. It’s a day designed to create memories—whether you’re continuing a long-standing tradition or experiencing it for the first time. Holidays on Central is December 7 from 10 am – 4 pm in Central Park in Winter Haven. Find more information on Facebook @destroyermediaandmarketing or online at destroyermediaandmarketing.com.

Jon Corneal, a former member of the Flying Burrito Brothers and the International Submarine Band, brought his rich musical legacy to the Country Music Hall of Fame (CMHF) stage on August 4th in Nashville. Corneal’s career spans decades, having performed with icons like Dillard & Clark, the Glaser Brothers, Loretta Lynn, Connie Smith, Kitty Wells, the Wilburn Brothers, and even Warren Zevon. For this special event, he was joined by Jim Lauderdale, a Nashville mainstay in country, bluegrass, and Americana, who has released over thirty studio albums and written songs for the likes of Vince Gill, George Jones, Ralph Stanley, and George Strait. Rounding out the lineup were bassist Garry Tallant and guitarist Tim “Buster Cousins” Kelliher. Garry Tallant, Jon Corneal, Jim Lauderdale, Buster Cousins The performance celebrated the “Western Edge: The Roots and Reverberations of Los Angeles CountryRock” exhibition, where Corneal’s iconic Nudie suit and a jacket once belonging to Gram Parsons are on display. “It’s an honor to have something of mine in the Country Music Hall of Fame,” Corneal said, reflecting on the exhibition, which will feature the suits on loan for a total of three and a half years. He described Gram’s Nudie jacket as red with submarines and torpedoes on it. He laughed, “He left the britches somewhere else!” Corneal shared that it was a full-circle moment, recalling when he lived in Nashville in the 60s. For this trip, he stayed at a Holiday Inn near “Record Row,” where all the labels and studios were and around the corner from where he used to live. Jim Lauderdale not only performed but also interviewed Corneal on stage between songs. “Jim’s sort of been my buddy,” Corneal noted, emphasizing Lauderdale’s efforts to bring his story to a wider audience. Corneal proudly claims his place in music history: “I was the first country-rock drummer, the first country-rock musician, singer, and producer— when I was just 19.” The August 4th show featured six songs, with Lauderdale on rhythm guitar and Corneal handling the drums and vocals. The audience packed the house, hanging on every note and story shared. When asked what it means to him to have had this experience, Corneal replied, “Well, it’s the recognition. It’s a revered institution. I remember visiting the original Hall of Fame and seeing Elvis’s white Cadillac with gold everything. Finally, somebody’s paying attention. Since social media, my career has come back to life.” Corneal still performs regularly, though he admits he’s not as strong or as breathy as in his younger days. He hopes to release a box set chronicling his life’s work and is working on a gospel album. His passion for music remains as vivid as ever, and his supporters have been there every step of the way. You can hear Jon play along with a group of musicians every Friday at Hillcrest Coffee in Lakeland. There are two shows, the first at noon, the second at 1:30 pm. They draw a crowd, so get there early and grab a seat to hear and watch the legendary Jon Corneal perform.

We caught up with the co-founder of the Orange Blossom Revue Americana Music Festival, Rusty Ingley. With the festival set to bring a blend of folk, bluegrass, and roots music to the local stage, we wanted to learn more about the inspiration behind it, the journey to make it happen, and what makes this celebration of Americana so special. Rusty shares his perspective and offers a closer look at the passion driving the festival, the vision for its future, and why it’s poised to be a standout moment for the local music scene. What’s the story behind the festival’s start? How has the festival evolved since its early days? This might be a longer story than you expected, but here’s how it goes... Back in 2009, I was asked to chair the Lake Wales Rotary BBQ; a Lake Wales tradition since 1974. I told the board I wouldn’t do it without Reid (Hardman) as my co-chair, and neither of us knew what we were getting ourselves into, especially when it came to cooking BBQ for 1,000 people! We were young, full of energy, but lacking experience. A few years in, we decided to invite a friend of ours, Sticky Steve and the Pollinators, to come play some Bluegrass music at the First United Methodist Church Fellowship Hall. That performance was incredible and sparked the idea to focus more on music. By 2014, we made the decision to shift away from BBQ preparation and focus more on live music. I had heard of BBQ festivals and convinced Reid that we should host one, combined with live music. I told him it would be much easier than making BBQ for the Rotary event—boy, was I wrong! We started a BBQ competition with the Florida Barbecue Association and brought in live bands from across Florida. We even created a small vendor area called the Florida Tastemakers Marketplace with vendors from around the state. Things progressed until 2019 when I ran into issues booking bands. It was tough offering top-tier talent at what was mostly a free event. That’s when I reached out to our current talent buyer. He flew down to Lake Wales, we made a few tweaks, and the rest was history. 2019 was our last year hosting the BBQ competition. In 2020, we took a break due to COVID, and used that time to regroup and reimagine the festival. We came back in 2021 with paid attendance, fences, tour buses, a large stage, a PR team, and a marketing director— all things we never imagined back in 2009. We also parted ways with the Rotary Club (on good terms) and established our own foundation, Blossom Charitable Foundation, Inc. We felt the festival was too big a gamble for Rotary, so we took it on ourselves. That first year back, we had Blackberry Smoke and The Wood Brothers as headliners, along with an incredible lineup of musicians. It was a huge milestone. We thought we had found the formula for success, but every year since has proven that we’re still growing and learning. The festival has expanded beyond what we ever imagined, with bigger talent and more volunteers. It’s been an incredible journey, and we’re excited to see where this ride takes us. We couldn’t have done it without the amazing fans who’ve joined us along the way. Ten years of music! What’s been the most memorable performance at the festival over the past decade? The most memorable performance for me was probably Langhorne Slim. He’s an amazing entertainer who had the audience in the palm of his hand. He came out into the crowd, sang with everyone, and even danced with some of the ladies. His ability to connect with the audience on that level was truly unforgettable. Americana music has deep roots. How does this festival celebrate both the traditional and modern sides of the genre? This year, we’re featuring Robert Earl Keen, a veteran of the Americana scene. Americana has been around for ages, but it gained more popularity in the 1990s, thanks to the Americana Music Association. Robert Earl Keen has been a key figure in the genre for years, and it’s an honor to have him. We’re also showcasing 14-year-old mandolin virtuoso Wyatt Ellis, who’s recently burst onto the scene and is quickly gaining a following. The mix of seasoned veterans and fresh talent is how we celebrate both the traditional and modern sides of Americana music. What special activities or surprises can attendees expect this year? You never know what might happen! In previous years, we’ve had some incredible surprises, like Oliver Wood from The Wood Brothers joining Allison Russell for a performance of “Stop Draggin’ My Heart Around” by Stevie Nicks and Tom Petty. We’ve also seen Blackberry Smoke team up with Roosevelt Collier for a spontaneous collaboration. Those kinds of magical, unplanned moments are what make the festival special. For the last few years, our festival logo and t-shirts have been a huge hit; very distinctive with a wildlife theme. This year it’s a black Florida Panther. Gold Tone Music Group, a well-known luthier out of Titusville, will be vending on site. That’s really exciting and a first for us. Who knows what other surprises this year might bring? What role does the local Lake Wales community play in making this festival a success year after year? The local Lake Wales community plays a crucial role in the festival’s success. We’ve received amazing support from friends, family, and even people we didn’t know. Local businesses have been generous sponsors, and we’ve made discounted tickets available for locals. All of our volunteers are local, including a lot of highschoolers who grew up working the event. We have an inner-circle of volunteers who have been there every year. That’s been especially key to our growth, knowing that particular aspects of the event are in trusted hands. The community has really embraced the festival. Two years ago, on their way to a state championship, the Highlanders had a football playoff literally across the street from us. It was a wild night and many came to the festival when the game was over. The community’s been with us every step of the way, and we’re so grateful for their continued support, helping us aim higher and dream bigger. How do you see the next 10 years shaping up for the festival? The next 10 years? It’s hard to say for sure, but we’re definitely feeling the growing pains. We love the size and intimacy of the festival now, but we’re also looking for ways to grow while maintaining that feel. Our venue on the lake and under the oaks is breathtaking. We’re adding a second stage this year and have a vision for two more nearby one day. We’d like to bring in bigger headliners, and we’ve learned the value of bringing in professionals who can help us see things differently. We’re always talking to people who can take the festival to the next level. It’s exciting to think about where we’ll be in a decade! If the festival had a ‘greatest hits’ playlist from the past decade, which songs or artists would be on it? That’s a tough one! But a “greatest hits” playlist would definitely include: The Wood Brothers – “Postcards from Hell” Robert Earl Keen – “Feelin’ Good Again” JJ Grey & Mofro – “Lochloosa” Margo Price – “Hurtin’ (On the Bottle)” Langhorne Slim – “The Way We Move” Mike and the Moonpies (now Silverada) – “Paycheck to Paycheck” The War and Treaty – “Are You Ready to Love Me?” Blackberry Smoke – “Ain’t Got the Blues” And there’s more, but those songs and artists have really defined the festival’s spirit over the years and moving forward. DECEMBER 6: The War and Treaty Robert Earl Keen Wyatt Ellis DECEMBER 7: JJ Grey & Mofro Steep Canyon Rangers Emily Nenni Sam Grisman Project Van Plating The Orange Blossom Revue is December 6 & 7 at Lake Wailes Park in Lake Wales. 33 N Lakeshore Blvd Lake Wales, FL orangeblossomrevue.com IG @orangeblossomrevue FB @OrangeBlossomRevue

You can debate the luxuries of 4-D, surround sound, IMAX experiences, and electronic reclining chairs till the credits appear, but born-and-raised Polk County residents will tell you the best place to see a movie in town has none of those. They’ll wax poetic about the Silver Moon Drive-In, and its Americana theater experience: the smell of popcorn, a freshly baked pizza on your dash, the sound quality that can only be achieved by speakers in an enclosed space, the prices that simply cannot be beat, and of course, the double feature. If you ask Chip Sawyer, the president of Sun South Theaters, about what he thinks makes the experience so unique he’ll say, “being at the drive-in allows you to be creative on how you watch the movies. Many people back into their spots and open their trunk to lay in the back of their vehicle… or bring their favorite outdoor chair and sit in front! People can bring their well-behaved dogs, or small children that might not be able to stay awake through a full movie.” All of this and more is what makes the drive-in such a unique and cherished format of entertainment, and we as Central Floridians are privileged to have one such treasure still available to us. A Bit of History The Silver Moon Drive-In and Swap Shop has been a Lakeland staple for 76 years, opening in April of 1948 as the first of its kind in Lakeland. Originally run by I. Q. Mize and M. G. Waring, and sporting only one screen, theater goers could expect to pay only 35 cents per admission to see the Blist movies of the era, be bathed in sound from the 357 state-ofthe-art (at the time) RCA speakers, enjoy the newsreels of the day, and a short cartoon with each flick. Snacks were located at the snack bar, which was situated toward the front of the lot, and if you didn’t wish to get out of your car to order your treats, have no fear, for vendors would circulate throughout the show hawking candy, popcorn, soda pop, and other such tasty tidbits. However, just two years after the drive-in opened, tragedy struck in the form of a tornado, which demolished the original screen and nearly took the office and one of the owners with it! Recuperating relatively quickly, an article written by the Ledger later in that year states that the Silver Moon was still one of the most well attended attractions in Lakeland at the time. With four different feature films throughout the week, I don’t find it hard to imagine that Lakelander’s of the 1950’s might be tempted out of their homes time and time again. The Silver Moon did not acquire its trademark marquee and neon signage until 1952, when the theater’s new owner, Carl Floyd of Floyd Enterprises, took over and updated the facility with a concession stand and, all important, onsite restrooms. Two years later, another important name in the history of the Silver Moon would appear, Harold Spears. He joined the Floyd Enterprises family at the age of 25 as the manager-in-training for a Clearwater branch of the company. Spears would come to be a bigger part of the Silver Moon story in 1969, when he was named by Carl Floyd as the President of Floyd Enterprises. After Spear’s promotion, the next two decades would bring a lot of change in ownership to the theaters, being absorbed by one larger corporation and then another. This culminated in 1996 when Mastec (who owned them at the time), began closing and selling all the drive-in theaters they had acquired. At 60 years old, Spears wasn’t yet ready to retire and still loved the theater business he and his father worked in so much that he bought the Silver Moon and Joy Lan Drive-Ins to start his own small business: Sun South Theatres. It is thanks to Mr. Spears and his family that we still have this historic theater. Historic in more ways than one, as it has been passed on to the next generation. His grandson began working at the theater on the weekends in 2007, and over the next 10 years Chip Sawyer worked his way from concessions to manager. In 2017 after the passing of his grandfather, Sawyer was named the new President of the company, and so the legacy continues. Today‘s Drive-In As one of only four drive-in theaters (you read that right, FOUR!) still in operation in the Sunshine State, today’s Silver Moon boasts the traditional: two low powered radio stations which play the movies of the evening through your car speaker set up (with portable radios for rent for those who have none), as well as two screens which show a rotating selection of four flicks, seven nights a week! There’s more thought that goes into the movie selection process than one would think, as nearly 500 movies are released each year in the United States, which actually blows my mind. With only two screens to show that surplus of films on, the staff has to be pretty selective and find the best of the best. Having asked Sawyer how walk-in theaters impact the work he does at the drive-in, he answered me by highlighting the symbiosis of walk-in versus drivein theaters. “The success of walkins is actually critical! With the vast majority of sales from movies coming from walk-ins because of the amount of locations and their higher ticket prices, without walk-in theaters, the film industry simply wouldn’t survive. And without the film industry, drive-ins wouldn’t have the first-run movies they need to survive either.” When it comes down to it, I’d pick a double feature at the drive-in over a traditional theater any day, especially after talking with their gracious staff. Ticket prices are still incredibly low ($8 for ages 10+, $3 for ages 4-9, and kids three and under are free) as the administration is just as committed now to making movie nights affordable for everyone, as they were back in 1948. At the time of this writing, inspired by fond memories of high school dates and family movies, my partner and I went out to Silver Moon to see Beetlejuice Beetlejuice and Transformers One. Between our two tickets, the pizza we split, and two fountain drinks the grand total? Drumroll please… a whopping $35! Compare that to the exact same selections at the Cinemark or Lakeside 18 and you’d be looking at at least a $50 bill for the tickets alone. The staff has done an incredible job of merging the roots of the drive-in with this more modern era, as we were enchanted by the vintage commercials that played at intermission between films. Watching a fudgsicle twirl a baton as a row of ice cream cups high step behind it, I was immediately reminded of John Travolta with greased back hair, a leather jacket, and a broken heart over Oliva Newton-John that he just had to belt out… to the chagrin of all the other couples interrupted in their canoodling. From Mountain Dew commercials from the 1960’s and the ear worm that is “Let’s All Go to the Lobby” you will be charmed and transported to a different time. As it turns out we were lucky to get a spot that night, as Beetlejuice Beetlejuice has been one of their top billed movies. Chip told me that predicting which movies will be hits with the community can sometimes be tricky, as “family-friendly blockbuster movies do best. But sometimes (as is the case with Beetlejuice), remakes of older movies or sequels can do really well, and especially around Halloween you have a lot more people who want to come out to the drive-in to watch a horror movie or two.” He confided in me that Halloween is his favorite season for the drive-in, as the staff decorates a broken down car donated by ARC Towing, and lets the screams commence in a horror marathon. This year’s line-up was Monsters OR Doom and Blum. Other Events There are more unique offerings that the staff present as well, with community fundraisers over the years for cancer patients, Mother’s Day double features, the Rocky Horror Picture show and many other events just as wonderful. During the initial years of the Covid-19 pandemic, the Silver Moon partnered with Harrison School for the Arts to give the Motion Picture and Musical Theater departments opportunities to showcase their work on the big screen to family and friends, while also maintaining safety restrictions. This is truly a group of people who care about making their community’s life better and being a space for fun, the love poured into each parking spot is palpable. In more creative efforts to utilize the space for the community, the staff allows patrons (who ask in advance) to project personalized messages up onto the screen before the credits roll. With things as timeless as birthday celebrations and as sentimental as a proposal, the staff has seen it all. So, pay attention to the screen even before the commercials and credits and you might just be part of someone else’s magical moment. Starting in the 1980’s, in an effort to utilize the space when the sun is out, the theater hosts a swap shop every weekend. The vendors change from week to week, sometimes even day to day, so you never know what you might find. Hit up the downtown Winter Haven or Lakeland farmers markets on a Saturday, then swing by the Silver Moon on Sunday for your market fix and you just might head home with a treasure, or two! So, if you’re someone who wants to support this local gem, do so with gusto! The best way is through their concessions, which are delicious, with everything from hot dogs to ice cream, soft drinks, or a chilly dill pickle if you’re hankering for a salty, crunchy bite. With a little something for everyone, the drive-in adds that perfect level of whimsy to elevate any date, family movie night, or solo outing to something you’ll remember forever. Silver Moon Drive-In 4100 New Tampa Hwy, Lakeland (863) 682-0849 silvermoondrivein.com FB @silvermoondrivein IG @silver_moon_drive_in

Florida has become home to a new invasive species over the last decade: the black-and-white tegu (Salvator merianae), a large, omnivorous lizard species originating from South America. While sightings in Polk County remain relatively rare, breeding populations have established themselves in nearby Hillsborough County, Miami-Dade, Charlotte County, and recently – an emerging population was found in St. Lucie County. Adults have few predators and can give birth to large numbers of offspring per year, increasing the risk of populations spreading beyond their established ranges and impacting surrounding areas. Tegus are continuing to be seen in the Southeast, with reports of them reaching as far as the Carolinas. Tegus’ adaptability—including their ability to brumate (a form of reptilian hibernation)—gives them a unique advantage in surviving Florida’s occasional winter chills. As they spread, concerns have grown about the ecological impact of this invasive lizard, particularly in regard to its interactions with native and endangered species. In April of 2021, Tegus (all species within genera Salvator and Tupinambis) were added to Florida’s Prohibited species list. Below, we’ll explore the tegu’s biology, habitat, and its impact on local wildlife, as well as what Polk County residents can do to help. DIET AND FEEDING HABITS The Argentine black-and-white tegu is an opportunistic omnivore, which means it can consume a wide variety of foods depending on availability. If they can catch it, or fit it in their mouth, they are likely going to try eating it. Tegus are known to eat: • Fruits and Vegetables: Tegus have a particular liking for berries, figs, and other fruits they can forage from the ground or lowhanging plants. • Insects and Small Invertebrates: They feed on insects, worms, and other small invertebrates, which makes them direct competitors with native insectivores. • Eggs: Tegus are adept at finding and consuming eggs, especially those of ground-nesting birds and reptiles. This poses a significant threat to native and endangered species in Polk County, including the gopher tortoise and certain groundnesting birds. • Small Animals: Tegus have been observed preying on small mammals, amphibians, and other reptiles, which further adds to their impact on the ecosystem. This varied diet, combined with their ability to adapt to new food sources, allows tegus to survive in a range of habitats and significantly impacts Florida’s native species. ECOLOGICAL IMPACT ON NATIVE AND ENDANGERED SPECIES The spread of tegus in Polk County presents multiple ecological risks. Their diet includes the eggs of ground-nesting species’ eggs, putting native and endangered animals at high risk. They have been documented eating alligator eggs and gopher tortoise hatchlings. It’s currently thought they could also present a threat to sea turtle eggs and hatchlings, ground-nesting birds and shorebirds, and even American crocodile eggs. The eggs of the gopher tortoise, a keystone species in Florida, are also at risk from tegu predation. Gopher tortoises play a vital role in their ecosystem, as their burrows provide shelter for more than 350 other species. By preying on their eggs, tegus could disrupt gopher tortoise populations, with cascading effects on the broader ecosystem. Beyond these direct threats, recent research suggests that tegus may carry non-native parasites and pathogens, which they could introduce into Florida’s ecosystems. The potential for tegus to spread diseases to native wildlife could compound their ecological impact, adding another layer of threat to already vulnerable populations. REPORTING TEGU SIGHTINGS IN POLK COUNTY Tegus are established in some remote areas of Polk County, but sightings remain relatively rare, making reports valuable for tracking their spread. Residents are encouraged to report any tegu sightings by calling the IVE-GOT-1 hotline at 1-888-IVEGOT-1 or using the IVE GOT 1 app, available on most mobile app stores. The hotline connects callers to local wildlife agencies, including the Florida Fish and Wildlife Conservation Commission (FWC), who use sighting data to track tegu populations and respond to new invasions. If you have trouble attaching photos to the IveGot1 online form or the IveGot1 smart phone app, you can email them to ExoticReports@MyFWC.com. Please note the animal’s exact location, date of sighting, approximate size, and, if possible, include a photo. Although tegus are generally not aggressive, they may bite or scratch if cornered, so maintain a safe distance. HOW POLK COUNTY RESIDENTS CAN HELP The spread of invasive species like tegus is a growing environmental issue that requires both community awareness and action. By staying vigilant and reporting sightings, Polk County residents can contribute directly to conservation efforts. Residents can also support native species by maintaining Florida-friendly landscapes and restoration of native ecosystems on public lands. Another important way residents can help prevent the spread of invasive species is to never release a pet into the wild – especially a reptile or other “exotic” wildlife. Surrender unwanted pet tegus or other “exotic wildlife” to the FWC’s Exotic Pet Amnesty Program. For more information on invasive species and local conservation initiatives, contact us at the UF/IFAS Extension Office in Bartow. Our phone number is 863-519-1041 or you can reach me directly at scarnevale@ufl.edu or on Instagram at @PolkNR. Photo by UF/IFAS Photo byTyler Jones