Wail Witch Williamsburg is a popular urban legend that has been passed down through generations in the town of Williamsburg. According to the legend, there was once a witch named Wail who lived in a small cottage on the outskirts of the town. She was known for her dark magic and the wailing cries that could be heard coming from her cottage at all hours of the night. The townspeople were terrified of Wail and believed that she used her magic to cause misfortune and suffering to anyone who crossed her path. They would often warn their children to stay away from her cottage and not to venture into the woods where she was said to perform her rituals. It is said that Wail had a cauldron filled with a potent brew that she used to brew her spells.
The Physick Book Of Deliverance Dane by Katherine Howe is divided into two time periods: Salem and the witch hunts raging through Essex County, Massachusetts in 1692, and the same area in more or less modern times (1991). For me, the magic is in how the author captures the dichotomy of travelling to historic places. You may be looking at a house built in 1690, but aside from the architectural details, you’re still seeing the 21st century. What were once farmhouses are now surrounded by suburbs. Even Marblehead, Massachusetts, where most of the book is set, and boasts over 200 homes built prior to the Revolution, is marred by power lines, criss crossing the view like spider webs. It takes imagination to find the history bubbling beneath the surface and put it to paper. Katherine Howe does this with startling effect.
sympathized, but had a good point White Ring s set was like audio-visual candy, meant to overload your brain with elating dopamine, whereas oOoOO s set was more cerebral. Sang in my native language Luvale, the subject matter is a nostalgic wailing for home of ancient African tribes that would eventually settle in Zambia.
It is said that Wail had a cauldron filled with a potent brew that she used to brew her spells. She would gather ingredients from the surrounding forest, such as herbs, mushrooms, and even the occasional small animal. The townspeople believed that the wailing cries that could be heard were the result of her performing her dark rituals.
Live Review: oOoOO at Glasslands Gallery, NYC
I just got back from a five-day stint in New York City last night. I visited cousins, ate great food, tried adventurous cocktails, and got in some much needed relaxation time. I had a generally loose itinerary planned—pizza, Central Park, Transit Museum—but one thing was definitely on my must-do list: get out for some live music. I knew that my cousin, R., and his girlfriend, H., would be joining me, so I thought I’d try to expose them to some new sounds, the “weird” music I listen to when I’m alone with my cat. After picking Saturday evening, I browsed the Village Voice website for listings and happened on a witch house showcase. Electronic musician oOoOO was headlining a night at Glasslands Gallery, supported by White Ring, Sibian & Faun, and F∆I†H. Things were bound to get spooky.
Glasslands is a small warehouse dance club in the core of Brooklyn. From the train, a chilly walk took us through a mellow corner of Williamsburg, alternately punctuated by brightly lit grocery stores and rust-rotted Industrial Era relics. Inside, the venue had the ambiance of a crafts supply store coming down from a weekend retreat with Timothy Leary. Matte squares of painted sheet metal were nailed to the wall like a grease-smudged stained-glass window. The stage—just a hair bigger than the Triple Rock’s—was pushed into a corner. An installation that looked like frilly crinoline or crumpled lantern-paper obscured the lights above the stage and added an eerie touch. The fixture looked like a ravenous mold stain or volcanic plume. The air was close with fog.
It was about 10 p.m. when we walked in, and Sibian & Faun were toting their gear off stage. A DJ was remixing ’80s new wave into dubstep scrambles, hilarious and nostalgically fun in the way familiar music becomes newly exciting when it’s reinvented. Both R. and H. are fairly unfamiliar with electronic music—my rare moment as “the expert” in Brooklyn this weekend. I explained how electronic genres are mostly defined by their beat structures and some other classifying factors as we sipped our first drinks. Ultimately, we came to a crash-course: Witch House 101.
“OK,” I started, “so, imagine and R&B song. Try to hear the beat. It’s slow and simple, pretty close to four-on-the-floor, but messed up enough to encourage sexy dancing.” They followed, skeptically, I think. “Over that, add a layer of really immersive electronic sound”—here my cousin puts up his pointer and middle fingers near his ears, “Would you call it a [insert air-quotes] soundscape?”—“Uhhh, I was trying to avoid that word, but yes. A lot of people would call it [insert air-quotes] ambient.” Finally, I mentioned the genre-specific vocal style—an ethereal, feminine, lost-in the wind wailing. Like a witch howling murder to her pagan gods.
White Ring took the stage presently. The electronic producer had a rat’s nest stuffed into an oversized winter cap and looked generally unimpressed—with his drink, the world, whatever man—what I imagine to be the de facto Williamsburg affect. Platinum blond locks spilled out from under the vocalist’s sheer black hoodie-cloak-thing, and her red-painted lips sat on her face like two slender Ferraris parked on a white sand beach. She reminded me of one of my crushes from the third grade: Sarah Jessica Parker in Hocus Pocus.
Like the bellowing of dusty organ pipes in a boarded-up church, synth-tones started swirling out of nowhere, as if they were hidden behind the serpentine wisps of concert fog. When the sound swelled to a rhapsodic peak, a steady beat started pumping and the singer launched into high-pitched chant-coo vocals. A painfully slow strobe light leveled directly at the crowd added to the spectacle. Except for an uninspiring sol0-song by the producer, most of the set kept to this formula. Immediate—perhaps to the point of being emotionally manipulative—but satisfying for its streamlined production, consistent tone, and overwhelming force.
oOoOO defied my expectations from the get-go. Songs like “Burnout Eyess” and “Seaww” seemed to pigeonhole him with his Tri Angle label- and genre-mates—playing aesthetically compliant witch house—something more akin to Balam Acab. But from the first song forward, he augmented the expected haunted synths with sputtering beats and black-hole bass plunges more commonly heard in dubstep. Vocal samples frequently got chopped and recombobulated—memorably, a woman saying, “I need a Coach bag,” over and over. As the oOoOO set wore on, the producer mellowed, choosing grander atmospherics over tooth-rattling glitch. Toward the end of a long synth diminuendo, oOoOO left the stage and let his laptop finish the final song for him. Too cool for applause, man?
The crowd was much less engaged during oOoOO’s set than White Ring’s, myself included. We left Glasslands, and as we walked back to Williamsburg proper, I remarked as such. H. sympathized, but had a good point: White Ring’s set was like audio-visual candy, meant to overload your brain with elating dopamine, whereas oOoOO’s set was more cerebral. On further reflection, the show had an appreciable balance. On one hand, we had a good time with the shock-and-awe polished fun; on the other, we were privy to a talented electronic musician experimenting with two genres that have very quickly become a clichéd. A satisfying end to Saturday night.
Glasslands is a small warehouse dance club in the core of Brooklyn. From the train, a chilly walk took us through a mellow corner of Williamsburg, alternately punctuated by brightly lit grocery stores and rust-rotted Industrial Era relics. Inside, the venue had the ambiance of a crafts supply store coming down from a weekend retreat with Timothy Leary. Matte squares of painted sheet metal were nailed to the wall like a grease-smudged stained-glass window. The stage—just a hair bigger than the Triple Rock’s—was pushed into a corner. An installation that looked like frilly crinoline or crumpled lantern-paper obscured the lights above the stage and added an eerie touch. The fixture looked like a ravenous mold stain or volcanic plume. The air was close with fog.
Despite the fear that Wail instilled in the townspeople, there were a few brave individuals who sought her out for her magical abilities. It was said that she could cure ailments, provide love potions, and even grant wishes, but at a high cost. Those who sought her help would often have to pay a hefty price or make sacrifices in return. Over time, Wail Witch Williamsburg became a cautionary tale that parents would tell their children to scare them into good behavior. The legend of Wail and her eerie wails still lingers in the town of Williamsburg today, serving as a reminder of the power of the supernatural and the dangers that can come from delving into the world of dark magic. Though the legend of Wail Witch Williamsburg is just a story, it has become deeply ingrained in the town's history and culture. Visitors to Williamsburg often seek out the cottage where Wail is said to have lived, hoping to catch a glimpse of the supernatural or feel the lingering presence of the witch. Whether or not Wail Witch Williamsburg was a real person or simply a product of the townspeople's imagination, her legend continues to captivate and haunt the residents of Williamsburg to this day..
Reviews for "Beware the Wail Witch: Tales from Williamsburg's Dark Past"
1. Jane Doe - 1 star - I was incredibly disappointed with "Wail Witch Williamsburg." The storyline was weak and predictable, and the acting was subpar. The scares were lackluster and failed to create any real sense of fear or tension. The entire experience felt rushed and poorly executed. I would not recommend this haunted house to anyone looking for a thrilling and immersive Halloween experience.
2. John Smith - 2 stars - While "Wail Witch Williamsburg" had some potential, it ultimately fell short of my expectations. The set design was promising, but the actors lacked dedication and failed to fully embody their characters. The scares were few and far between, leaving me feeling bored and unimpressed. Overall, this haunted house lacked the creativity and intensity that I have come to expect from similar attractions.
3. Emily Johnson - 1 star - "Wail Witch Williamsburg" was a complete waste of money. The ticket prices were steep, considering the overall quality of the experience. The scares were overly theatrical and lacked any real scare factor. The actors seemed disinterested and disengaged, further diminishing the already lackluster atmosphere. I would advise others to avoid this haunted house, as there are far better options available during the Halloween season.
4. Michael Thompson - 2 stars - I had high hopes for "Wail Witch Williamsburg," but unfortunately, it failed to deliver. The storyline was confusing and disjointed, making it difficult to fully immerse myself in the experience. The scares were repetitive and lacked originality. It felt like a generic haunted house that didn't bring anything new or exciting to the table. I left feeling underwhelmed and unsatisfied.
5. Sarah Davis - 1 star - "Wail Witch Williamsburg" was a letdown in every aspect. The actors were unconvincing and seemed more interested in chit-chatting with each other than scaring the visitors. The props and set design were cheap and poorly executed. Overall, it was a very disappointing experience that I regret spending my money on. I would urge others to find a better haunted house option for Halloween entertainment.