Stretching over 20 acres with more than 400 vendor spaces, the Hollis Flea Market (established in 1964) in Hillsborough County, New Hampshire, purports to be the largest and oldest flea market of its kind in the Granite State. The outdoor market is so busy, in fact, that according to the official website, “we need two Hollis police officers to direct street crossings.” While the market offers countless options for vintage fashion, antiques, and novelty handmade items — on a recent visit we spotted a toilet seat fashioned into what appeared to be a four-string bass — a rust-colored barn on the outskirts of the market’s main drag is of particular significance to media-heads. [Authors’ note: John scouted out the location first, nearly two years ago, and urged Matt to visit, remarking in an August 2014 text that he’d “never seen anything like it.”] More than 400 miles and a hundred purchases later, this characterization still holds up.
The “Tape Barn,” as we’ve affectionately come to call it, really consists of two distinct entities, neither of which references the VHS format at all: Murphy’s House of Books and Ruth’s Book Barn. The main proprietor of both of them, Mark Murphy, has been a vendor at the Hollis Flea Market since 1998. Just three years later, he began a business relationship with another vendor, an elderly woman named Ruth, and integrated his book inventory with her movie inventory to help her with the weekly rigors of maintaining her vendor space. By 2004, this full collection of books, DVDs, and VHS tapes was moved into the barn as it exists today. More than 15,000 VHS titles adorn its shelves — most were purchased from private collectors over the years as video stores went belly up — with an additional 25,000 titles (Mark’s estimate) residing at Ruth’s home as overstock.
On any given Sunday from May through October, Mark and one or more of the Barn’s other workers can be found moving stack after stack of crates full of tapes to more than a dozen outdoor tables for easier access. The barn itself is appropriately simple, with only daylight to brighten your view of the shelves, and more than a few cobwebs to add a uniquely woodsy touch. There are three narrow, floor-to-ceiling aisles to navigate that extend about 20 feet back from the entrance. Unlike your favorite video rental store, which likely arranged titles by genre and displayed the front box covers, the Barn’s tapes are ordered alphabetically and show the box’s spine text, the way libraries shelve books. (A stiff neck is a common symptom of scanning the shelves over extended periods of tape-digging — the bottom shelves are the absolute worst in this regard.)
And, as most repeat visitors will likely discover, it’s not just them who feel the aches and pains from tape-digging at the Barn. Occasionally, as a result of being exposed to New Hampshire’s seasonal elements (wind, rain, snow) tapes will emerge each spring a little worse for the wear. Ultimately, it comes with the territory when you’re dealing with a grassroots project such as the Barn. With such a massive inventory and the lack of a staff, it’s not surprising that addressing preservation issues and performing general upkeep of every tape is essentially an unachievable goal. For the avid tape-digger, however, the questionable condition of some of the tapes is less a deterrent as it is an added element of intrigue and perhaps even excitement. The issue of ongoing preservation of their inventory is something that may continue to plague the keepers of the Barn while simultaneously grabbing the attention of like-minded collectors and admirers of the medium.
The patrons with whom we’ve shared this unique space seem to be film fans like us — people in their late 20s through their early 40s who have defined tastes in genre films, perhaps horror or direct-to-video action — with some material nostalgia for the VHS format itself. More important, most of them probably hold the notion of serendipitous discovery in high regard; stumbling upon an obscure or even a personally sentimental title in the “wilds” of a flea market or vintage store is somehow more satisfying than getting a used copy from an Amazon seller, or winning an eBay auction. In discussing her fondness for flea markets in a prior exchange with John, makeup and special effects artist, Stacy Still, articulated this idea, saying that “as a massive tape collector, I’m always on the hunt for new tapes, ones that I remember fondly from my childhood at the video store.” There are few people for whom the act of poking around a cramped and dusty barn to simulate the past experience of video store browsing still holds appeal, but there are even fewer places that provide this opportunity in the era of media streaming.
The Barn is just one of several remaining VHS treasure troves of which we’re aware, but unlike Scarecrow in Seattle, WA, or Movie Madness in Portland, OR, it doesn’t have a well-lit brick-and-mortar location to sell its wares. Its staff isn’t comprised of film buffs with a fondness for 1980s slashers or 1970s kung fu epics. Instead of engaging customers online through a dedicated Twitter feed or even a website, Mark relies on a local Craigslist post that he periodically refreshes throughout the market’s open season. Many VHS enthusiasts will visit the Barn and see a collector’s paradise; its selection, trade-in policy, and prices ($3 a tape or four for $10) really can’t be beat. Despite the breadth and depth of his inventory, it’s not evident that Mark shares the same enthusiasm for the format or the nostalgia that his patrons often do. (He owns “a few” VCRs and acknowledges that interest in VHS persists because “not everything is on DVD,” but also says that his books might actually outsell the tapes.)
With a presence at the Hollis Flea Market spanning nearly 20 years, and more than a decade of selling VHS specifically, it’s unlikely the Barn will be going anywhere anytime soon. (Ever try to sell out an inventory of 40,000 tapes? Not an easy venture.) It’s difficult to gauge Mark’s plans for expansion or advancement — he alluded to creating a searchable image database for his titles — but the beauty of the Barn is its simplicity. There’s magic in its dusty floors, in the awkward positions in which you need to contort your body to see certain rows, and in the pockets of crisp air near the back wall on a warm July morning. For purely selfish reasons, we don’t want any changes at all, because we’ve never seen anything like it.
John’s purchases from The Barn:
-Aberration (1997, Artisan Entertainment)
-*Batteries Not Included (1987, MCA Home Video)
-Blood Link (1986, Embassy)
-CHUD II (1988, Vestron Video)
-Circuitry Man (1989, RCA Home Video)
-The Club (1994, Imperial Entertainment Corp.)
-Code Name: Zebra (1990, Star Classics)
-Count Yorga, Vampire (1970, HBO Video/Orion)
-Cutting Class (1988, Republic Pictures Home Video)
-Cyborg Cop (1993, Vidmark)
-Dark Breed (1996, PM Entertainment)
-Dark Universe (1993, PRISM Entertainment)
-Death Drug (1986, Academy Home Entertainment)
-The Dirt Bike Kid (1986, Charter Entertainment)
-The Dive (1989, M.C.E.G Virgin Home Entertainment)
-Eat and Run (1986, New World Video)
-The Evil Within (1994, A-Pix Entertainment)
-The Expectant Father (1993, Video Treasures)
-Florida Straits (1986, Orion Home Video)
-Forgotten Warrior (1986, Monarch Home Video)
-Freddy’s Nightmares: The Series (1991, Warner Home Video)
-Gargantua (1998, 20th Century Fox)
-Ghosts That Still Walk (1986, Interglobal Video Promotions)
-A Gnome Named Gnorm (1994, PolyGram Video)
-Graveyard Story (1992, Goodtimes Home Video)
-The Haunted Lantern (1997, Asia Pulp Cinema)
-Jack Frost 2 (2000, A-Pix Entertainment)
-Jaws of the Alien (1988, Star Classics)
-Kuddly Kittens (1990, MNTEX Entertainment)
-Little Monsters (1989, MGM Home Video)
-Lobster Man From Mars (1990, IVE)
-Meridian (1990, Full Moon Entertainment)
-Metalstorm: The Destruction of Jared-Syn (1983, MCA Home Video)
-The Meteor Man (1993, MGM Home Video)
-Mr. Nanny (1993, New Line Home Video)
-My Mom’s a Werewolf (1988, PRISM)
-My Uncle: The Alien (1996, PM Entertainment)
-Planet of Dinosaurs (1993, EDDE Entertainment)
-Playing Dead (2000, Academy Entertainment)
-Prehysteria! (1993, Paramount Home Video)
-Project: Alien (1989, Vidmark)
-Proteus (1996, Vidmark)
-Psychic Killer (1975, Embassy)
-Psycho II (1983, MCA Home Video)
-A Return to Salem’s Lot (1987, Warner Home Video)
-Screamers (1980, Embassy)
-Shallow Grave (1990, Paramount Home Video)
-Short Circuit (1986, CBS Fox Video)
-Spaced Invaders (1990, Touchstone Home Video)
-Stepmonster (1993, New Horizon)
-Strange Invaders (1983, Vestron Video)
-The Surgeon (1993, A-Pix Entertainment)
-The Texas Chainsaw Massacre Part 2 (1986, Media)
Matt’s purchases from The Barn:
-Abraxas (1990, United American Video)
-Angel of Fury (1992, Imperial Entertainment)
-Anguish (1987, Key Video)
-Bad Blood (1981, Academy Entertainment)
-Band of the Hand (1986, Columbia TriStar Home Video)
-BrainWaves (1983, Embassy Home Entertainment)
-Cage 2 (1994, Summa Video)
-The Carpenter (1988, Republic Pictures Home Video)
-The CBS/FOX Guide to Home Videography (1983, CBS FOX Video)
-Chinatown Connection (1990, Southgate Entertainment)
-Cut and Run (1985, New World Pictures)
-Dead Tides (1997, Live Home Video)
-DeepStar Six (1989, IVE)
-Double Blast (1994, Vidmark)
-Dragonfight (1990, Warner Home Video)
-Eye of the Eagle (1987, MGM Home Entertainment)
-A Fight for Honor (1992, York Home Video)
-Fist Fighter (1989, IVE)
-Free Spirit: The American Biker (1991, Visual Entertainment Group)
-The Joy of Natural Child Birth (1985, MCA Home Video)
-Laser Mission (1989, Platinum Disc)
-The Legend of Gator Face (1996, Lions Gate)
-Link (1986, Home Box Office Home Video)
-Making Contact (1985, Anchor Bay)
-Merlin and the Sword (1986, Vestron Video)
-Mindfield (1989, Magnum Entertainment)
-The Moon in the Gutter (1983, RCA/Columbia Pictures Home Video)
-Nightflyers (1987, IVE)
-Ninja Enforcer (1976, New Pacific Pictures)
-Ninja Mission (1984, Media Home Entertainment)
-No Retreat, No Surrender (1986, New World Pictures)
-The Playroom (1989, Republic Pictures)
-Raw Courage (1984, New World Pictures)
-Rock House (1988, Coyote Video)
-Rooftops (1989, Avid Home Video)
-S.A.S. San Salvador (1983, Vestron Video)
-Sudden Thunder (1990, AIP)
-A Taste of Hell (1973, Star Maker Video)
-Thunderground (1989, SGE Home Video)
-Torment (1986, New World Pictures)
The rush. There’s a rush you get when you’re rifling through boxes and crates of VHS tapes hoping to stumble upon that rare gem you’ve been looking for since high school. These boxes seem to always have a similar scent, that faintly familiar smell of a basement closet or a relative’s apartment (and that relative is always a heavy smoker.) The hunt is something I know all too well about. Since middle school I’ve obsessed over horror films and have spent (and continue to spend) hours researching, hunting for, and collecting movies on a variety of (mainly now obsolete) formats: laserdisc, betamax, VHS, and more recently DVD and blu-ray. (I also have some Video 8s tucked away.)
In my seventeen years of collecting I’ve come to realize that certain movie genres have greater appeal than others with respect to those diehard collectors: horror, exploitation, sci-fi, action and kung, and the more vague drive-in style trash/cult genres typically from the 1960s, 1970s, and 1980s.
Like many others, I wax nostalgic about being a wide-eyed kid in our local rental store (American Video) browsing the horror aisles. (Certain VHS covers are permanently burned into my brain.) Indeed, it seems as though even within a relatively small subculture of collectors there exist distinct subgroups who favor or specialize in specific areas from genre to case style (clamshell vs. slipcase, for example).
Below are some favorite hard-to-find tapes from my VHS collection. (Top, left to right: NUKIE (1987); GANJASAURUS REX (1987); WHEEZY! (asthmatic dragon video for kids, date unknown); THE BRAIN (1988, Greek version). Bottom, left to right: SLITHIS (1978, aka SPAWN OF THE SLITHIS); TREMORS (1990, screening tape with alt slipcase); TO CATCH A YETI (1995).
These fetishists fall into two broadly defined camps: the nostalgists, who are looking to relive childhood memories, and the aesthetes, who are drawn to the roughhewn beauty of low-budget horror. Both, like any group of collectors, err on the completist side—collecting every title from long- defunct distributors like Unicorn Video and Midnight Video is a common goal—and live to unearth hard-to-find or undiscovered videos that will make fellow hobbyists seethe with jealousy.
But regardless of your collecting preference, one needs outlets and venues in which to share, trade, buy, sell, collect, and get educated. Today, with so many subculture communities meeting and exchanging information via the Internet, finding these kinds of opportunities to meet fellow collectors in the physical world has become rarer and rarer.
Thankfully, however, there are people like Joe Fay at the Lyric Hall theater in New Haven, CT, who recognize that there’s not only a lingering interest in the VHS format but also a need for events and opportunities for collectors to come together to share knowledge and search for that long lost copy of something strange, or bizarre, or maybe even beautiful. So, when I learned about a VHS swap meet and screening event, Magnetic Fest, happening at the historic Lyric Hall theater (once home to regional vaudeville shows and variety acts) this past fall, I made sure I was there. After the event NEMMC caught up with Joe to talk tapes, Lyric Hall, and the increasingly fascinating world of VHS collecting.
NEMMC: How and when did the idea for Magnetic Fest originate?
Joe Fay: As soon as I started programming for Lyric Hall in October 2014, I wanted to host a VHS swap at the theater. It’s a grand old dame of a place, really a one-of-a-kind setting for watching movies, music, theater, dance, and other creative arts. But I really thought that a VHS swap and screening day would work well in the theater, to mix some old with some older, in terms of the age of the theater compared to the age of the VHS format. Somehow it made sense, to roll in what is essentially a dead format to many people, and give it new life at a place that has survived for over a century. I had attended VHS swaps in Texas, where I lived for most of my life.
Then, last year, a friend and I drove to Pennsylvania to attend SEVERED, pretty much the premier VHS swap in the country. I think it was about two weeks after SEVERED that we had MAGNETIC FEST on the schedule.
NEMMC: There were some special events scheduled throughout the Fest. Can you tell us about whom you asked to curate these events and why they were asked?
Artwork for Frankenstein (I Swear On My Mother’s Eyes)
NIGHT TRAIN TO TERROR was distributed by Vinegar Syndrome, based in nearby Bridgeport, Connecticut. I had met some of the fine folks who run Vinegar Syndrome at Connecticut HorrorFest, then worked with them at Lyric Hall on some screenings, including the amazing RAW FORCE (1982)!
They’ve been amazing partners, and hopefully we’ll continue to see the partnership between Vinegar Syndrome and Lyric Hall blossom. The third film was released through LUNCHMEAT Magazine, whose owner, Josh Schafer is just the best we have going in the world of VHS. Josh is one of a handful of people who truly lives the life of VHS, and he’s a wonderful champion of the format. When I was trying to fill out the screening schedule for Magnetic Fest, I needed a third screening. I actually announced the festival without a third screening. I billed it as “COMING SOON” or something like that, and was confident that I would find somebody to screen something in the meantime.
No more than fifteen minutes after I posted the initial rundown of Magnetic Fest, Josh contacted me to see if I wanted to run a movie as a SECRET SCREENING because the movie was about to be released on VHS as a surprise offering, and it was too early to announce the title of the movie. I jumped at the chance to show the movie, and of course did so sight-unseen. If it was good enough for Lunchmeat, it was good enough for me. We were able to tell people a day or two before the festival, and it turns out that the movie, FRANKENSTEIN (I SWEAR ON MY MOTHER’S EYES) had its world theatrical premiere at Magnetic Fest in little ole New Haven. Subsequently, the movie was released on VHS by Lunchmeat.
NEMMC: How did you solicit vendor involvement for Magnetic Fest? Who were some of the vendors that participated?
JF: Vendor involvement was all solicited through the Lyric Hall website and social media, specifically Facebook and Twitter. I personally emailed several prominent VHS collectors in the New York area, but not one of them was able to come. The lion’s share of vendors were local, which pleased me to no end.
We had one vendor from Massachusetts and a late entry from Long Island, but the rest of the vendors, including me, were from the New Haven area. Interestingly, one of the vendors from the New Haven area just happened to come to one of our weekly exploitation movie screenings, and saw the poster for the event in our lobby. Turns out she worked for CBS Fox video in the ’80s, and she brought original production pieces and other marketing materials from RAISING ARIZONA.
NEMMC: What (if any) sort of feedback did you receive about the Fest?
JF: I’ve heard nothing but positive reviews about the event. If we do it again, I will tweak the amount of time we keep the vendor’s room open, because I think seven hours was too long. Also, we’re toying with the idea of opening the vendor’s room for free, and charging for the screenings. But, we’ll play around with it if we decide to do it again. I’m assured that everybody who came had something good to say about the affair, so keep an eye on the Lyric Hall calendar.
Magnetic Fest 2015 (Courtesy of NEMMC)
Magnetic Fest 2015 (Courtesy of NEMMC)
Magnetic Fest 2015 (Courtesy of NEMMC)
NEMMC: Lyric Hall is clearly a historic space and therefore a fitting venue for those interested in VHS and obsolete media to congregate. In the past it served as a vaudeville outlet and silent movie auditorium for those in the New Haven, CT area. Can you tell us about the history of Lyric Hall and how you became involved with it?
JF: Lyric Hall opened as a silent movie theater in 1913, and later served the vaudeville crowds until, I think, the ’30s. At some point, the theater fell into disrepair, then served as an antiques shop for awhile before John Cavaliere bought it about eleven years ago now. John has lovingly restored the Hall to its present glory, and continues to tweak its look and feel.
Lyric Hall, exterior (Courtesy of the Lyric Hall website)
Lyric Hall, interior (Courtesy of Chion Wolf)
My involvement with Lyric Hall started with THE GRAND BUDAPEST HOTEL in August 2014. I had just moved to New Haven from Texas, and was looking for a movie theater to get involved with, to do some, any kind of programming. I saw a listing for a screening of THE GRAND BUDAPEST HOTEL that I had just missed that previous weekend at the Hall. I called up and talked to John, explaining that I wanted to schedule and host movie screenings, something that I had done in my backyard in Texas, and always wanted to do in a more formal way. From the start, we were a match made in heaven. He pretty much left me free to schedule whatever I wanted. We did a month of Vincent Price movies
Death Collector (1988) poster art
Death Collector screening event ad (Courtesy of Lyric Hall website)
around Halloween, a month of rock musicals of the ’70s, a special screening of the New Haven movie DEATH COLLECTOR with the director, Tom Garrett, LIVE in person, and a bunch of other cool movies. Magnetic Fest was a logical extension of the movie programming, and fit alongside it just perfectly.
NEMMC: There seems to be a small yet passionate subculture of VHS enthusiasts who live and breathe collecting and trading. In your opinion, why do you think interest in the format has persisted well after its heyday?
JF: It’s one part nostalgia, one part preservation, one part community, and two parts fun. Nostalgia: most people who collect VHS want to remember the thrill of the video store. Preservation: there are hundreds, even thousands of movies on VHS that have not graduated to later formats, so it is absolutely vital that we have collectors out there sourcing and preserving these movies. Community: serious genre movie nerds feel very comfortable with their own kind. It’s just like any other subculture, where people find meaning, identification, and self-worth in knowing that there are like-minded people out there pursuing the same “dead” technology that they love.
I don’t think this current trend for VHS will last long. In fact, it’s already on the decline, if you ask me. What will be left is what is always left after a trend goes away: the truly serious collectors. And thank God for them.
NEMMC: Jumping off the last question, what do you think are the primary drivers for VHS collectors? It’s certainly not for the superior visual quality!
JF: See above for most of the answer here, but the question of quality is a good one. I don’t understand people who, given the choice between a high definition, widescreen version of ALIEN or the pan-and-scan VHS of ALIEN will pop in the VHS of ALIEN. I don’t get that. Have you SEEN the blu-ray of ALIEN!? It’s AMAZING! To watch ALIEN on VHS today seems to me to be nostalgia just for nostalgia’s sake, and that doesn’t interest me. In the recent Noah Baumbach movie, WHILE WE’RE YOUNG, there’s a scene where a Brooklyn hipster played by Adam Driver pops in a tape of THE HOWLING. This character is really into vinyl, VHS, and other retro stuff, and so naturally he enjoys THE HOWLING on VHS. But why? Shout Factory just released an amazing blu-ray of THE HOWLING, and it’s GORGEOUS! Yet, this chump still finds value in watching this great movie on VHS. To each his own, I guess, but that’s not for me. Give me the better picture quality and sound, and leave nostalgia at the door for movies like ALIEN and THE HOWLING.
Now, I would think differently about watching something like NIGHT VISION (1987) on VHS. The movie itself was SHOT ON VIDEO, so it’s natural to watch it on its original format. As my friend Zack Carlson is fond of saying, “Why would you want to watch a movie shot on a camcorder, on blu-ray?” And he’s absolutely right.
There is also one other issue to me that helps me forgive people watching sweeping epics on VHS, and that concerns access to and availability of titles on home video. Many, many people have built large collections of movies on VHS $1 at a time by shopping at Goodwill and other thrift stores where VHS is cheap. You can certainly amass movies much faster this way than buying blu-rays at $20 or $25 each. And that is certainly understandable as a way to enjoy movies on home video. You just have to stop caring about presentation, which isn’t such a big deal to most people, sadly.
NEMMC: Are you a VHS collector yourself or do you merely admire from a distance?
JF: Yes, I am certainly a collector of a sort.I’ve always had some sort of video collection, going back to my dad buying two VCRs and dubbing movies in the ’80s. Just because ofmy age, I started collecting movies mainly when DVD hit, so most of my collection is composed of DVD.
I was one of those format snobs who left VHS behind for the greener pastures and correct aspect ratios of DVD. I wish I had tempered that transition more. At the present time, my focus on VHS collecting lies in two main areas: shot-on-video movies and movies not available in any other format. In that direction lies salvation.