Americans buy enough Coors beer for their Halloween parties to increase seasonal sales 10 percent. A Syncromotion Skeletal Grim Reaper, which talks and sings, sells for $199.95; a Fog Master to give lawns that haunted look, $99.95. In addition to the products, there are the promotions. In the mid-nineties, companies decided to make Halloween not just a “candy occasion” but a “seasonal experience.” The results of this process include orange and black Rice Krispies, a drinking straw twisted around a plastic eyeball at Taco Bell, and a free trip to Alcatraz for the lucky winner who has purchased a Barq’s root beer. When Nabisco began filling Oreos with orange rather than white cream, demand for the garish result increased cookie production by 50 percent. The movie industry has long mined the potential of the holiday, but recently studio competition has become fiercer as Universal and Disney theme parks duel for the Halloween dollar, with Universal selling beer, blood, and gore and Disney sticking to its clean-cut image and offering discounts to entice the youngest Halloween revelers.

One cultural critic argues commercialization of the holiday has gone so far that when he made an informal study by asking his local trick-or-treaters what they would do if he said “trick,” 83.3 percent of the admittedly small and unscientific sample that rang his doorbell answered, “I don’t know.” The rite was simply “a rehearsal for consumership without a rationale. Beyond the stuffing of their pudgy stomachs, they didn’t know why they were filling their shopping bags.”

Even community festivities have become big business. What started in 1973 in New York City’s Greenwich Village as a small parade organized by a puppeteer and theater director and grew into a riotous celebration of gay life has become a commercial enterprise that attracts tens of thousands of participants, more than a million spectators, and scores of international film and television crews, and pumps $60 million into the local economy.

The popularity of the parade as well as similar, if less splashy, parties in San Francisco, Georgetown, and Key West, to name only a few places, points up another contemporary change in Halloween. Although children still claim the night, adults are once again taking it over. The Victorians dedicated the holiday to decorous romance; our less restrained age makes it an occasion for wild parties, heavy drinking, and, often, sexual exhibitionism. The beer and liquor industries blitz the media with ads. Men and women spend small fortunes and long hours dressing or undressing as their favorite fantasies. While juvenile celebrations become more controlled, with parents vigilant against excessive sugar consumption shepherding their children from house to house, adult festivities grow more licentious.

They also grow more violent. In San Francisco in 1994, when gay bashers invaded the annual Castro Street revel, police officers donned riot gear, dodged bottles, detained nearly a hundred people, and confiscated several loaded guns. In Detroit between 1990 and 1996, 485 properties went up in flames on Halloween Eve, which is known there as Devil’s Night. In New York a decade ago, a group of costumed teenagers descended on a homeless camp with knives, bats, and a meat cleaver, shouting, “Trick or treat,” and leaving one dead and nine injured. One of Halloween’s chief attractions—slipping into a mask to slip out of constraints—has turned deadly. Sometimes the violence isn’t intentional. Last year in Los Angeles, a policeman summoned to a noisy party shot and killed an actor brandishing a fake weapon.


A more subtle sort of violence is the damage done to young psyches. In 1911 Sears advertised wigs, masks, and makeup to enable children to play at being “Negro”—“the funniest and most laughable outfit ever sold.” Feathered headdresses were always a favorite of small boys, and in my own youth I remember being wildly envious of a friend’s harem costume. My mother, whose political consciousness was insufficiently raised but whose sartorial sense was finely honed, may have put her foot down for the wrong reason, but as current critics have pointed out, there is something offensive about pampered American children playing at being members of oppressed minorities and natives of Third World countries.