ATLRetro

When a band named The Whiskey Gentry throws a Merry Y’All Tide Celebration for the holidays, you might be expecting the same old twangy country renditions of favorite carols. But this spirited band loves to defy expectations, and their seasonal shindig at the Variety Playhouse this Friday Dec. 2  is no exception to that raucous rule. It’s not that The Whiskey Gentry aren’t influenced by the kind of ballads that came down from the hills of Appalachia, but like a certain rebellious red-nosed reindeer, they’re bound and determined to be musical misfits with a diverse list of influences that spans from Patsy Cline to Bela Fleck to Social Distortion. Yeah, that Social Distortion. The accent is on the Whiskey in this Gentry who speed things up with some fiery, high-energy licks that suggest punk and old-time rock ‘n’ roll and even a touch of vaudeville in their stage shows.

The Whiskey Gentry’s 3rd annual Merry Y’All Tide also features The Packway Handle Band, Shovels and Rope and My Three Keanes, an act made up of veteran producer John Keane, who has produced CDs for R.E.M., the Indigo Girls and The Whiskey Gentry’s 2011 CD, PLEASE MAKE WELCOME, and his two daughters. All proceeds from the $15 in-advance/$17.50–at-the-door benefit the Atlanta Community Food Bank, and fans are encouraged to bring at least three cans for donation. As an extra incentive, the band will be giving our a specially designed poster to everyone who participates.

While The Whiskey Gentry prefer not to nail down their sound into any one genre, ATLRetro managed to corral lead singer Lauren Staley and guitarist Jason Morrow—a couple both musically and in real life—into a sneak preview of Merry Y’All Tide. While sitting an spell, they also opened up more than a bit about the band’s origins, why they love the holidays and their favorite whiskey. And when you’re done reading, check out this this nifty little video they made about this Friday’s show.

ATLRetro: How did Whiskey Gentry get started?
Lauren: Jason and I met around Christmas 2007, and we were both in separate bands at the time. Once we started dating, we decided to join forces and begin writing tunes together. We both came from different musical backgrounds, but we immediately found a niche together with this style of music.

For those who haven’t heard the band before, how do you describe your sound, how did it come about and how does it relate to what’s come before musically?
Jason: Describing our sound is probably the hardest thing we have to do in this band. We’re not country. We’re not bluegrass. We’re not punk or rock or old-timey. Yet we ARE all of these things at the same time. I think we take the formula of an old country tune, turn it up to 11, give it some punch, add pretty vocals, and top it off with a few of the best pickers in the southeast. This came about from all of our shared love for country and bluegrass, but we wanted to really dig in and add the fire behind it.

The Whiskey Gentry. Photo courtesy of The Whiskey Gentry.

Many contemporary bands couldn’t rush further away from the sentimentality of Christmas, but you’ve become known for an annual live holiday show, which is even bigger this year. What’s the origin story behind the Merry Y’All Tide Celebration?
Jason: We love everything about the holiday season – anything from cinnamon broomsticks to watching our nephews and nieces open gifts. It’s a festive time of year, and we’re a festive type of band. We love this season whether it’s “cool” or not.
Lauren: I think people love to get in the holiday spirit in general. People go bananas over it. Did you see the Black Friday riots? I mean, come on.

At Merry Y’All Tide, will you be playing your own takes on traditional carols or original songs? Is it all Christmas music or will you be playing non-holiday fare, too?
Lauren: Back in the day, any artist who was somebody cut a Christmas record. Those tunes are classics, and we like to do our own takes on those as well as newer Christmas tunes. The majority of our set will be non-holiday fare, but we’ve got some awesome holiday songs picked out to cover. But we can’t tell you which ones they are – it’s a surprise. 🙂

What other shenangans are planned? Is Santa gonna be there, tapping his feet, clapping his hands and swigging a PBR?
Jason: We hired the crappyist Santa we could fine, and he’s going to be there chugging whiskey and PBR and trying to get pretty girls to sit on his lap.

Much merriment was had at last year's Merry Y'All. Photo Courtesy of The Whiskey Gentry.

Why We Three Keanes, Packway Handle Band and Shovels and Rope?
Jason: Shovels and Rope because they are our new favorite band, also a husband and wife duo. Packway Handle Band because Josh and the boys are some of our good friends and were part of our Christmas show last year. We Three Keanes because John Keane helped us make the best record of our career thus far, and he and his twin daughters will be doing a 20-minute, all-holiday song set promoting their Christmas record. He will also be sitting in on pedal steel with us.

Why did you want to partner with the Atlanta Community Food Bank and the Georgia Conservancy?
Lauren: We think the holidays are about giving, and we wanted to do our part to help out.

Why does your CD, PLEASE MAKE WELCOME, make the perfect Christmas present, and will there ever be a MERRY Y’ALL TIDE CD?
Lauren: Because it fits easily into a stocking and is also super easy to wrap—if you suck at wrapping like I do. And who knows—maybe we will have a Merry Y’all Tide CD for next year’s show!

What’s next for the Whiskey Gentry? You’re about to embark on a Southeast tour, right?
Jason: We are basically on tour every weekend, Thursday to Sunday. We already have 36 dates booked in 2012, so yes, we will be busy.

Finally, got to ask, what’s the band’s favorite whiskey, why and how do you drink it­- straight up or with ice?
Lauren: Ironically, I hate whiskey, so I’m a terrible person to answer this question.
Jason: If I had to speak for everyone, probably Jameson. In shots!

Fonda Lingue. Photo credit: Rah Benton.

Place a wide ostrich feather fan in the hand of Fonda Lingue, and she’ll tease you with an act that captures the classic beauty of vintage  Sally Rand. She’s mastered “Let Me Entertain You,” the signature striptease number of Gypsy Rose Lee, and she’s even developing a tribute to Lili St. Cyr. But as you watch her graceful moves that recapture the glamour of burlesque’s golden era, chances are it may take you a while to realize Fonda’s ultimate tease. While burlesque has its share of boys, Fonda is one of the very few who dances as a woman and not just that, but as the awards and accolades she’s accrued in just a few years of professional performance in the field attest, with all the skill and sex appeal of today’s top female burlesque revival performers.

Atlanta’s burlesque scene has had its share of rising stars, but when we heard that Fonda was heading to Europe to compete against some of the best international performers for the prestigious Milan Burlesque Award, as well as a whirlwind performance tour through England, France and Italy, we knew it was high time to declare her Kool Kat of the Week. This Fri. Dec. 2, she’ll also be one of the Snow Queens of Burlesque in Santa Baby, a special wintry holiday edition of Mon Cherie‘s Va-Va Voom series at The Shelter featuring special guest celebrity emcee Devin Liquor and Stormy Knight, Biloxi Brown, Katherine Lashe, Scarlett Page and more of Atlanta’s best dancers. Then on Sat. Dec. 17, she’ll be performing in the Syrens of the South-produced Tits for Toys for Tots show at The Five Spot. Headlined by burlesque legend Gabriella Maze, returning after almost 30 years, that holiday-themed spectacular features a glitzy all-star line-up of local performers including Talloolah Love, Katherine Lashe, Ruby Redmayne, Kittie Katrina, Kisa Von Teasa and Lola Lesoleil.

ATLRetro caught up with Fonda to find out what flamed her passion for classic burlesque and to see what we could tease out of her about her December performances and that upcoming European tour!

ATLRetro: Before you became a classic burlesque performer, you were a ballet dancer and female impersonator for 20 years. How did you get started in burlesque and what captivated you to embrace recreating the golden era of burlesque?

Fonda Lingue: I got started in burlesque when Devin Liquor and I had a show at The Stage Door in Tucker called “The Dirty South Dukes and Dolls Show.” It was primarily a drag king show, and I was the only “female” in the show. I never wanted to do traditional drag acts of just standing there and lipsyncing to popular songs so I would create these dance numbers to use all of my talents. I did a number to “Let Me Entertain You” from GYPSY where I did the first part as the young Gypsy, then ran off the stage, quickly changed and became Gypsy in her striptease years and stripped down to pasties and panties. The audience loved it! I began adding those numbers more and more into my act and was asked by The Lady Miss Vagina Jenkins to participate in one of her burlesque shows. That was the start.

Fonda Lingue. Photo credit: Derek Jackson.

As far as the Golden Era of Burlesque, I am a purist, almost to an OCD extent. I figure if I am going to do it, I am going to do it right and do it accurately. I have studied videos, read books—I am reading GILDED LILI [about] the life of Lili St. Cyr right now—and talked to legends, and to me, that time was the height of what burlesque used to be. You were a star back then and you were paid well to do your craft. You were taken care of and respected for what you did as an artist. I love the glamour, and I love the social aspects of the burlesque scene. I also think it is important to keep that part of our history alive. Right now there is a more contemporary approach to burlesque throughout the country, and my goal is to keep classic burlesque alive. There is room for both and many performers do both styles. For me, it is a preference, and I think it suits my movement style and my look.

It strikes me that the burlesque world is very open-minded and embracing, but did you have any challenges as a boylesque performer among your fellow performers or with audiences?

I can’t believe how well I have been received in the burlesque world. Much more than in the drag world. I am one of only a few males that perform as a woman. In fact, I know of no one else who does what I do. That’s not saying there isn’t someone, I just don’t know of anybody. I am different in that my goal is to fool the audience until the final reveal, then they realize I am a man. Really, I am the definition of the word “Burlesque.” I love to challenge people’s sensibilities and prove to them that they can enjoy my performances from an entertainment standpoint and not necessarily a sexual one. I also like the fact that I may challenge their sexual tendencies as well. The only real problem I have is when I apply to a festival or competition, they don’t always know where to put me. They want me, but they just don’t know if I am to be placed with the boys or the girls. In the Great Southern Exposure pageant last year, I won King of Burlesque. Some other competition might place me as a female. If it is not a competition, there is no problem.  I don’t care myself where I go, i just want to be able to perform.

Who are a few of the performers—both classic and from the contemporary burlesque revival—who most inspire you?

Lili St. Cyr is my absolute favorite. I have been compared to her in my performances, and I take that as the highest compliment. I have been inspired the most by Kisa Von Teasa, Sally Rand, Gypsy Rose Lee, Dirty Martini, Catherine D’Lish and Michelle L’Amour. Each of them inspire me in different ways.

You’ve won quite a few honors in just a few years in the profession, including King of Burlesque in the Great Southern Exposure Burlesque Competition. Do you feel that ballet and drag experience gave you a leg up, so to speak?

Drag not so much. I would like to say that it had, but I have to be honest. Other queens told me my make-up was wrong, my numbers weren’t current, and they all tried to “correct” me. Even my partner at the time tried to change my make-up. It was only when I went back to following my own instincts that I got any recognition. Plus, it’s all too political in Atlanta, but that is another interview!

Ballet has definitely helped me with my burlesque career. I would not have the carriage and vocabulary I have if it weren’t for my experience as a ballet dancer. Also my ability to portray different characters can be attributed to my ballet training. In ballet, you have to convey the story to your audience through your movements. Your voice is your body. It’s the same in burlesque. Burlesque is just another form of dance. People argue with me on that, but aren’t we called burlesque DANCERS?

Without giving away too much, what can you tease us with about your performance in this Friday’s winter-themed Va-Va-Voom?

Well, I have been asked to do a fan dance by Mon Cherie herself, so that I will do. It will be set to classical music, it will be very sparkly—of course—and I hope it will be very beautiful!

You’ve done a lot of performances at Mon Cherie’s events, including the Rockabilly Lounge. She’s really gone a long way towards making burlesque a regular activity in Atlanta and nurturing so many performers. Can you talk a bit about Mon Cherie’s impact on the local burlesque scene and why folks should come out to her events?

Well, Mon Cherie has done a lot for me personally as far as my performing here in Atlanta. She has allowed me to perform in front of audiences that I didn’t know if they were going to like me or hate me. Fortunately they have all been favorable experiences, and I have opened some peoples eyes through her. Mon brings in performers from all over the south and also tries to give “Newbies”—that’s a term I have learned through my dealings overseas—a chance to perform as well.

Money is tight these days, and there are not a lot of outlets for burlesque performers right now. I am very lucky I perform as much as I do. She has had a HUGE impact on Atlanta’s burlesque scene in that she makes it possible for us to work consistently. Just about every independent burlesque performer in Atlanta has graced her stages at one time or another. I admire the fact that she tries to keep us employed and often reaps no benefits herself. I know her day will come. You can’t give of yourself like she does and not be rewarded somehow. Her events are professional, she has high standards, and the atmosphere is that of those early years of burlesque when it was just as social as it was performance. I always feel like I have stepped back in time!

We just heard the exciting news that you’re about to set off on a European tour. Where are you going and what acts are you taking on the road?

Right now I am going to London, Rome, Paris, and I am still waiting confirmation on Milan. There are other things in the works but not confirmed. I am taking six acts with me! Am I crazy? Yes! I am performing three nights inParis, and they want two numbers each night! I am taking “Zip Strip” (the act I won Great Southern Exposure with) my “funny fan dance,” “Cry Me A River” (my signature piece), “Moon Indigo” (a new act that is in rehearsals now), “Lili,” my tribute to Lili St. Cyr (in rehearsal now, especially created for this tour) and another new number that I have chosen the music but haven’t started yet.

Is it true that Ruby Redmayne is coming with you?

We are working on that! If she does, she will accompany me on part of my trip only. She is my best friend, and she wants to be there to celebrate with me and to help me backstage. And who wouldn’t want to go to Europe?! We can make a great time out of walking through the grocery store, so I know we will have fun. I hope it works out that she can go because I would love to share this experience with her. She has done so much for me to keep me motivated and help me get things done. I have booked this whole tour on my own—researched my own contacts, pursued producers and corresponded with all of them. It has turned into almost a full-time job, and Ruby has been invaluable in helping me get things accomplished! She needs to reap the benefits of her hard work as well! It’s not easy keeping me motivated!

It’s hard to make a living as a burlesque performer here in the US, but you’ve said that the situation is easier in Europe. I was struck, for example, at the huge burlesque scene in London—there’s so much going on that there’s even a “burlesque map.” Would you ever consider relocating to Europe?

Absolutely! In fact, that is my intention when I go over there. I am not sure where I want to live yet. Most likely it will be the UK or Paris. I want to see if it will be possible to make a living at being a burlesque artist. From what I have been told, there are not many male performers in Paris and none that perform as a woman.  The London burlesque scene has exploded. Europeans treat their Artists like Artists. And they pay them what they are worth. I have worked since I was 12 years old and never stopped. I loved my career as a ballet dancer, don’t get me wrong, but I was never a star. I was, and still am, well-known but I want more. I know it sounds cliche but that is what I want. I feel that I am on a path right now, and this is where it is leading. I have had a rough year. My relationship ended, and the day before I was to move into my new apartment I was in a car accident that has left me with some physical problems.  Everything bad that has happened has happened for a reason and has led to this tour. Far be it from me to stop listening now!

Do you have any other performances scheduled in Atlanta during the holiday season?

Yes, on December 17, I will be doing my “Suzy Snowflake” number at Syrens of the South’s Tits For Toys for Tots at the Five Spot in Little Five Points. I have also been asked to perform again at The Pond in Nashville with Ruby Redmayne for their annual New Year’s Eve Party.

You feel passionately about teaching burlesque as well. Can you talk a little bit about why even accomplished performers can benefit from classes to keep up their craft?

Your body is an instrument and it needs to be maintained. Regular movement classes keep you supple and in shape. They also keep your mind working. You are a dancer, and a dancer needs to take class at least a couple of time a week. I try to do my own class everyday. You owe it to your audience to be in the best shape both mentally and physically. The only way to do that is through constant training. People argue this with me, but the performers that do this are the ones getting the jobs and keeping them. You can always learn something from someone else. That is why I try to take as many classes as I can when someone new comes in to town or I go to a burlesque festival. It is always nice to hear someone else’s perspective on the same thing—especially someone that makes their living doing it! Ninety-nine percent of the time you get something out of it.

Finally, if I recall correctly, you recently purchased an amazing, beautiful headdress from Miss Torchy Taboo. Have you worn it yet in an act or what plans do you have for it?

I have not worn it yet. Rumor has it that I did wear it for a photo shoot, but that is not true. That beautiful piece of art will hopefully make it’s debut if I am accepted into the Southern Fried Burlesque Festival here in Atlanta the week before I go to Europe. If not, you will have to come to Europe to see it! I will be applying to the Burlesque Hall of Fame Weekend. Torchy and I both agree it needs to end up there. “Moon Indigo” is the music I have selected for the number. I have designed my costume with a kind of Erte feel to it, and I have matched the fabric to the headpiece. It includes a fur wrap, and it will be made of dupioni silk! My costume is being constructed by Cat Harrison, a big Steampunk costume designer, so my corset will be especially awesome. I am using vintage beads combined with non-vintage Swarovski crystals. Costuming my body is not easy because I have to create body parts and curves that I just don’t have. My hat is off to her and she is doing a great job!

By Jordan Barbeau
Contributing Writer

Monday, November 28

Mark Sultan (aka BBQ), former frontman of ‘90s punk band The Spaceshits , performs at The Earl. From 3 PM on, savor tropical sounds and libations, as well as a Polynesian dinner during Mai Tai Monday at Smith’s Olde Bar. Northside Tavern hosts its weekly Blues Jam. To break up the Monday monotony, head over to Fat Matt’s Rib Shack for dinner and a show, as local blues/jazz band Dry White Toast performs at 8 PM.

Tuesday, November 29

A musical adaptation of the famous Dr. Seuss book and TV special, How the Grinch Stole Christmas, opens today at the Fox Theatre! Running through Dec. 4, the initially mean one and later heart-enhanced Grinch and all of the Whos have delighted all ages since 1957 (The TV special first aired in 1966). Grab your horn and head to Twain’s in Decatur for a Joe Gransden jazz jam session starting at 9 p.m. Crosstown All Stars play Fat Matt’s Rib Shack. Catch Tues. Retro in the Metro nights at Midtown’s Deadwood Saloon, featuring video mixes of ’80s, ’90s and 2Ks hits.

Wednesday, November 30

Dixie Pin Up is holding a Trunk Show tonight at the Warren City Club  in Virginia-Highland honor of their new line of Retro-themed accessories! Cocktails will be served, with a portion of the proceeds going to the Homes for our Troops charity. Whiskey Belt honky-tonks at The Earl. 529 tonight hosts local metal band The Husseins, along with performances by Last Year’s Men and Factory North. Get ready to rumba, cha-cha and jitterbug at the weekly Swing Night at Graveyard Tavern. The Hollidays make it a soulful night at Fat Matt’s Rib Shack. Danny “Mudcat” Dudeck blues it down at Northside Tavern. Dance to ‘70s, ‘80s and ‘90s hits during Retro in the Metro Wednesdays at Pub 71 in Brookhaven.

Thursday, Dec. 1

Decatur’s PushPush Theater is holding an Artist Market, showcasing the talents of many different artists. from 4-11 p.m. Entry fee is just $5 (which supports the theatre), and there will also live entertainment, beer, wine and bar specials. Another great reason to come out—ATLRetro has a booth and we’ll have a bunch of our cool new ATLRetro T-shirts with our rockin’ DerekArt logo, some rare vintage paperdolls and other vintage and vintage-inspired items. Help us support our costs to bring valuable vintage info to you and pay our writers and artists! Neo-glam band Jade Lemons & the Crimson Lust headlines a show at the Star Bar, which also features The Head, The Marques and Them Thangs. The 529 gets punk and garage rocked out with Antagonizers ATL, Hub City Stompers and The El Caminos. Relax with a tropical cocktail at vintage tiki bar Trader Vic’s where Tongo Hiti, featuring Big Mike Geier, play Retro-Polynesian luxurious live lounge sounds, as well as trippy takes on iconic pop songs, every Thursday night. The Breeze Kings andThe Chickenshack bring on the blues respectively at Northside Tavern and Fat Matt’s Rib Shack.

Friday, Dec. 2

Atlanta Lyric Theatre‘s production of one of the most famous musicals of all time, THE SOUND OF MUSIC, opens today at Marietta’s art-deco Earl Smith Strand Theatre! Running through Dec. 18, it aspires to become one of your favorite holiday activities (yeah, even more than warm apple strudel or schnitzel with noodles)! Grammy-winning Christian a cappella group Take 6 brings Christmas to the Ferst Center at Georgia Tech. Smith’s Olde Bar holds its yearly Elvis Show, an energetic, fun-filled event that has gotten bigger and better every year and shows no signs of slowing down! The 2011 Decatur Holiday Candelight Tour of Homes (Fri. Dec. 2 and Sat. Dec. 3) features seven homes in the historic neighborhoods of Glenwood Estates and Winnona Park, as well as two historic chapels and the Clairemont Holiday Marketplace.

Hark the Honkytonk Angels Sing as spirited-don’t call ’em country-sextet The Whiskey Gentry throws their 3rd annual Merry Y’All Tide Celebration at the Variety Playhouse. The annual holiday shindig also features The Packway Handle Band,  and My Three Keanes, and all proceeds benefit the Atlanta Community Food Bank. Read our exclusive preview interview with Lauren Staley and Jason Morrow of The Whiskey Gentry here. Southern Culture on the Skids takes over the Star Bar for a two-night show commemorating the re-release of their album ZOMBIFIED, with rockabilly faves Blacktop Rockets opening. Villain Family, who have been described as Edgar Allen Poe meets Hank Williams, headline a show at The Earl, along with the BareKnuckle Betties (for our Kool Kat interview with frontlady Julea Thomerson, click here) and Megan Jean and the KFB.

Mon Cherie’s Snow Queens of Burlesque dazzle in Santa Baby, a special wintry holiday edition of her Va-Va Voom series at The Shelter featuring special guest celebrity emcee Devin Liquor and performances by this week’s Kool Kat Fonda Lingue, Stormy Knight, Biloxi Brown, Katherine Lashe, Scarlet Page and more! For a tease at what’s planned, be sure and read our Kool Kat of the Week interview with Fonda here.

Fabrefaction Theatre Company gives Richard O’Brien‘s infamous ROCKY HORROR SHOW some seasonal shock treatment, resetting the Tony Award-nominated musical and inspiration for the cult classic movie, to the North Pole in a Christmas-themed run that opens today and  continues through Dec. 23. The Atlanta Symphony Orchestra begins two nights of its popular annual ASO Gospel Christmas concert at Atlanta Symphony Hall, featuring the Atlanta Symphony Orchestra Gospel Choir.

Saturday, December 3

Really Big Santa comes down the chimney of the Plaza Theatre, and he’s bringing with him a Christmas celebration even bigger than he is! This psychotronic party is perfect for kids and adults alike with Santa’s Super Saturday Show, kids matinee at 1 p.m. and grown-up evening show at 10 p.m. Show your kids what the holidays were like when you were a kid or relive the wonder of believing in Santa with vintage Christmas cartoons and shorts and a 35mm screening of cult classic SANTA CLAUS CONQUERS THE MARTIANS (1964), as well as live stage show by Santa and Blast Off Burlesque (no wonder that old elf is jolly), Christmas carol singalongs, goody bags, snacks, cider, and a chance to get a 5 x 7 photo of you and Santa. Kids matinee admission is $5 and 10 p.m. show is $10; get $2 off with each new, unwrapped toy for Toys for Tots. All proceeds benefit Toys for Tots and the nonprofit Plaza Theatre, Atlanta oldest continuously-running independent cinema.

Reservations are strongly recommended for the popular Holiday Cabaret Night at Feast restaurant in Decatur, featuring the powerful vocals of recent Kool Kat Kayla Taylor singing seasonal standards. Chef Sonya Jones, the author of SWEET AUBURN DESSERTS: ATLANTA’S LITTLE BAKERY THAT COULD and one of Ebony magazine’s top Black Pastry Chefs, today has a book signing from 1-4 p.m. at the High Museum of Art. Black Label Society, the rock band formed by Ozzy Osbourne’s former guitarist, Zakk Wylde, tonight performs at the Masquerade. The Center Stage Theatre honors The Allman Brothers  with REVIVAL, a show dedicated to bringing back their famous sound. On Sat. Dec. 3 and Sun. Dec. 4, peek begind the doors of some of Marietta’s historic homes decked out for the season during the Marietta Pilgrimage Tour organized by the Marietta Welcome Center & Visitors Bureau and Cobb Landmarks & Historical Society, now in its 25th year. And as usual, DJ Romeo Cologne transforms the sensationally seedy Clermont Lounge into a ’70s disco/funk inferno late into the wee hours.

Sunday, December 4

Western group Cowboy Envy plays Eddie’s Attic. At 5 p.m. at the Inman Park Methodist Church, Elvis & Jesus: A king meets The King, combines the music of the King of Rock and Roll with the story of the birth of the son of God, and features Elvis songs sung by Atlanta’s own king of swing, Big Mike Geier (of Kingsized fame), backed by the TCC (Taking Care of Christmas) Choir. The Callanwolde Fine Arts Center kicks off the holiday season with the Premiere Party of its Christmas at Callanwolde event. Come out and see the 1920 Gothic-Tudor mansion decked in holiday splendor, enjoy music by  jazz vocalist Marsha DuPree and the Ron Taylor Band and holiday shopping. Tickets are $75 and only available through advance reservation. Alick Gerard and the Dixie Limited serve up blues “dunch” between 1-4 PM at The Earl. Tony Bryant brings on the blues at Fat Matt’s, and Uncle Sugar blues it down at Northside Tavern.

The Misfits from Christmastown land on the Island of Misfit Toys. Photo credit: Clay Walker.

Ongoing

The Center for Puppetry Arts’ official stage adaptation of the Rankin-Bass misfit Christmas TV classic Rudolph the Red-Nosed Reindeer is back for a second year with Rudolph, Clarisse, Hermie. Yukon and all the beloved characters. Read our interview with adapter/director and Center Artistic Director Jon Ludwig here. Through Dec. 31.

Dad’s Garage offers a new take on the humbug Christmas classic with INVASION: CHRISTMAS CAROL, opening today and running through Dec. 23. This nutty interpretation of the Dickens’ favorite throws all the conventional aspects of the story out the window, replacing them with a delicious improv flavor as different spirits visit every evening, to the surprise of even the cast!

Explore one of America’s most iconic theaters in AIN’T NOTHING LIKE THE REAL THING: HOW THE APOLLO THEATER SHAPED AMERICAN ENTERTAINMENT, a special exhibition at the Atlanta History Center . Presented by the Smithsonian’s National Museum of African American History and Culture, in collaboration with the Apollo Theater Foundation, the display includes historic and contemporary costumes, playbills, music scores, graphic images and recorded music. Through March 4, 2012.

LIFE AND DEATH IN THE PYRAMID AGE: THE EMORY OLD KINGDOM MUMMY features the first public viewing in 50 years of the oldest Egyptian mummy in the Western Hemisphere, acquired from excavations at Abydos by Emory Theology Professor William A. Shelton in 1920. Watch for a Really Retro piece on this fascinating exhibit at Emory’s Michael C. Carlos Museum soon. Through Dec. 11, 2011.

PICASSO TO WARHOL, a special art exhibition at the High Museum of Art, features over 100 works of art from 14 of the most influential artists of the 20th century. Through Apr. 29, 2012.

If you know of a cool happening coming up soon, send suggestions to ATLRetro@gmail.com.

Are art and photography galleries now becoming endangered in the same way as your neighborhood record store, book shop or cinema? That’s the concern of Jennifer Schwartz, owner of the Jennifer Schwartz Gallery on the Westside, and like the campaign to Save Criminal Records, she’s not content to stand by and just let younger generations think of art collecting as a quaint tradition that their parents did. Instead she’s taking her mission on the road as part of an initiative she founded called the Crusade for Collecting. Merging Kickstarter, a high-tech Internet resource for fundraising, with the low-tech tried and true transportation of a used Volkswagen bus, she plans to take to the road.

While her husband and three kids will stay home, Jennifer will drive to 10 US cities, setting up pop-up events conducting meet and greets and selling photographs by exciting contemporary photographers—all to inspire what she sees as the “next generation of collectors.” It being Thanksgiving week, it just seemed right to spotlight someone committed to preserving something we love—artists and their livelihood. So we caught up with Jennifer to find our more about why she decided to undertake her future journey and what she’s doing now to get ready.

What inspired you to launch the Crusade for Collecting?

I feel very strongly that there is a disconnect between the younger generations and buying original art. I created The Ten to encourage people to buy high-quality, exclusive, very-limited, signed photographs at an affordable price point I call it the “gateway drug to larger collecting,” but I wanted to do more. I wanted to get out there and talk about this issue. We are all so over-saturated with information online, that I wanted to do something different to get people’s attention.

Do you feel that collecting photography, or even art in general, has just been stalled by the recession or do you think there’s been an actual change, with young people less interested in it? If yes, why are younger people losing their connection to art?

I think a lot of people in the art world are blaming the economy, and certainly that doesn’t help, but I see it as a cultural issue. People don’t think twice about buying designer jeans or going out for coffee or spending money on a good meal. And I’m right there with them! Generationally, we care about the things in our world. We just haven’t considered adding art to that world.

I think if you stopped someone who was about to buy a mass-produced canvas art piece at Z Gallery or Urban Outfitters and said, “Wouldn’t you rather spend the same money and buy something original? Wouldn’t you rather find something that you connected with and knew the story of? Wouldn’t you like to buy a piece of art that has value, both monetarily and to you personally?”, most people would stop and say that, yes, of course they would. They just hadn’t thought about it like that before.

I want people to think about it. I want people to know that they can afford real art and that being a collector just means buying an original piece and being thoughtful about that choice. There are a hundred million pieces of art that will match your throw pillows buy one that matters to you.

Jennifer Schwartz at the door of her Westside photography gallery. Photo courtesy of Jennifer Schwartz,

Why travel across country in a vintage VW bus? And have you already picked that bus or are you still shopping around?

I want to do something dramatic to get people to stop and listen. I want to bring art to the people, to get them excited about it and want to extend that excitement to start visiting their local galleries and museums.

I have not picked the bus—a vanagon it’s called—yet. I would love to have a car dealership or website sponsor the Crusade by donating the vanagon so that I could spend the money I have raised on outfitting the interior with shelving for artwork and other tweeks, which will be a considerable cost.

What cities will you be visiting and how did you pick them?

We just announced the cities in this video update where I fumble with a map and show the route. It’s pretty amusing. We decided to go to New Orleans, Houston, Denver, Los Angeles, San Francisco, Portland, Seattle, Minneapolis, Chicago and New York City. It was difficult to decide, but I wanted to hit major cities where I would have the best chance of reaching the most people. I will also most likely do one or two “trial run” cities closer to home in advance of the big tour; suggestions welcome! And if the tour goes well, and there’s clamoring for it, I’d love to do mini-tours in the future.

What’s the connection between the Crusade and The Ten?

I created The Ten to give people who are new to looking at and buying art an opportunity to buy an original, limited edition, signed photograph. The work is very exclusive, because the photographer is retiring the image from sale, so only 25 of each image are ever available for purchase. Part of collecting is education learning what you like, learning how it all “works” in terms of what it means to edition a photograph and the importance of buying signed, original work.

Beyond the opportunity to purchase, The Ten gives potential collectors a chance to look at a complete collection of work by a single photographer. They can read the photographer’s statement and see how the individual images work together and fit into a larger concept. The Ten allows the viewer to start thinking about photography as more than individual, pretty images. They will start to see the depth and layers that fine art photography has and connect to work more profoundly.

Jennifer Schwartz. Photo courtesy of Jennifer Schwartz.

The pop-up shows on the Crusade tour will be all work from The Ten again, to get people used to looking at, appreciating, and buying photography at a price point that feels comfortable. In my opinion, collecting photography sells itself. Once you start, once you connect to a photograph and are able to bring it fully into your life by hanging it in your home and personalizing your space, you won’t want to stop.

You’re using Kickstarter to raise $15,000 for purchasing a VW bus? How’s that going and what are some of the perks you’re offering to those who donate to support your trip?

It’s going really well [Ed. note: last time we checked backers had pledged up to $12,116] , and I’ve been overwhelmed by the outpouring of good vibes and support for this project. Backers have a ton of rewards to choose from at all different price points, from t-shirts to joining us on a leg of the tour. We have also had many generous photographers donate a few prints, tin types, books everything, and we have been announcing those as limited reward offers as they come in.

You’ve estimated you need an additional $50,000 to cover gas, food, lodging, photo printing and framing and promotion. How will you raise that?

We will have a silent art auction at the gallery next year and a couple of other fundraising events. I am also hoping to get some corporate sponsors—who wants their logo on the back of the van?!—especially a hotel sponsor.

How did you get interested in photography?

I have always loved photography. Photography is contemporary, and it is accessible— both in price and in technique. We understand photography. We know how it is done, and we appreciate its fresh, modern, and visually stimulating takes on our world. We can look at an image and be amazed that someone was able to use a camera a piece of equipment we all own and use and create something that moves us so powerfully.

"Eve Was Framed." Photo by Lori Vrba

What contemporary photographers inspire you and get you the most excited, and why? My tastes have evolved over the years as I have seen and purchased more photography, and I have a wide range of work I like, from the haunting, feminine, ethereal imagery of Lori Vrba [Ed’s note: Schwartz will present Southern Comfort, an exhibition of Vrba’s work from Dec. 2-Jan. 28 with opening reception 6-9 p.m. on Dec. 2] to the stark landscapes and intense portraits of Ben Huff.

When will you leave on the Crusade for Collecting, and how can we keep up with your adventures?

I will be blogging and posting video and audio podcasts from the road on the Crusade blog on The Ten website. I definitely plan to stay connected!

Finally with Thanskgiving this week, what are you most thankful for when it comes to the impact of art on your life?

Honestly, I don’t know where to begin. I am thankful every day for the richness, depth and joy I get from collecting and supporting art and artists. I am thankful my husband and I are sharing that love with our children so they will value art in their lives as well. And I am thankful to be able to do something I love every day.

By Jordan Barbeau
Contributing Blogger

Monday, November 21

Joe Gransden and his 16 piece orchestra bring big band jazz back to Cafe 290, along with special guest, Nashville-based jazz vocal great Annie Sellick. From 3 PM on, savor tropical sounds and libations, as well as a Polynesian dinner during Mai Tai Monday at Smith’s Olde Bar. Northside Tavern hosts its weekly Blues Jam. To break up the Monday monotony, head over to Fat Matt’s Rib Shack for dinner and a show, as local blues/jazz band Dry White Toast performs at 8 PM.

Tuesday, November 22

Monstrous metal heavy hitters GWAR ravage Masquerade, along with Every Time I Die and Warbeast. Grab your horn and head to Twain’s in Decatur for a Joe Gransden jazz jam session starting at 9 p.m. Crosstown All Stars play Fat Matt’s Rib Shack. Catch Tues. Retro in the Metro nights at Midtown’s Deadwood Saloon, featuring video mixes of ’80s, ’90s and 2Ks hits.

Wednesday, November 23

Get ready to rumba, cha-cha and jitterbug at the weekly Swing Night at Graveyard Tavern. The Hollidays make it a soulful night at Fat Matt’s Rib Shack. Danny “Mudcat” Dudeck blues it down at Northside Tavern. Dance to ‘70s, ‘80s and ‘90s hits during Retro in the Metro Wednesdays presented by Godiva Vodka, at Pub 71 in Brookhaven.

Thursday, November 24

ATLRetro wishes you a Happy Thanksgiving! After stuffing yourself with turkey and Aunt Betty’s casserole, consider heading to Lenox Square for a longtime Atlanta tradition, the 64th Annual Lighting of the Macy’s Great Tree, officially welcoming the Christmas season. Originally placed on top of Rich’s department store in downtown Atlanta in 1948, after that store closed and Federated consolidated most of their holdings under the Macy’s brand name, it was renamed and moved to the top of the Macy’s at Lenox. Thousands of Atlantans still show up to watch it live with contemporary music performers such as Scotty McCreary, Mary Mary, and SO YOU THINK YOU CAN DANCE winner Melanie Moore; a holiday gospel choir, Santa Claus and a spectacular fireworks display, Or stay home and watch from your couch on WSB-TV, Channel 2. Or relax after overeating with a tropical cocktail at vintage tiki bar Trader Vic’s where Tongo Hiti, featuring Big Mike Geier, play Retro-Polynesian luxurious live lounge sounds, as well as trippy takes on iconic pop songs, every Thursday night . The Breeze Kings and The Chickenshack bring on the blues respectively at Northside Tavern and Fat Matt’s Rib Shack.

Big Mike Geier. Photo courtesy of Kingsized Productions.

Friday, November 25

Swing-dance to Kingsized swings Fernbank Museum of Natural History’s Martinis and IMAX back to the big band era. While lounging around under the dinosaurs, check out the Winter Wonderland exhibition of evergreen trees decorated in holiday traditions of countries around the world. The Whigs Plymouth Rock Show comes to Variety Playhouse, headlined by The Whigs, an indie band that melds ’90s grunge, ’60s pop and southern rock with a distinct Cobain-Westerberg vein. Also performing are Ponderosa, who brings more southern rock into the mix, and Jonny Corndawg, a motorcycle-riding, school-dropout country singer whose sound reminds of obscure ’70s gay country.

Hot Rod Walt and the Psycho-Devilles. Photo courtesy of Hot Rod Walt.

Saturday, November 26

Dad’s Garage offers a new take on a Christmas classic with INVASION: CHRISTMAS CAROL, opening today and running through Dec. 23. This nutty interpretation of the Dickens’ favorite throws all the conventional aspects of the story out the window, replacing them with a delicious improv flavor as different spirits visit every evening, to the surprise of even the cast! Former Kool Kat (click here for the interview) Hot Rod Walt and the Psycho-Devilles and Whiskey Belt burn up the Dixie Tavern with their rockabilly honkytonk sounds. For those itching to get on Santa’s naughty list, head over to the Star Bar to kick off the Christmas season like a true metalhead with Death of Kings,
Lazer/Wulf, Sons of Tonatiuh and Iron Whip. And as usual, DJ Romeo Cologne transforms the sensationally seedy Clermont Lounge into a ’70s disco/funk inferno late into the wee hours.

Sunday, November 27

Spanky and the Love Handles serve up blues “dunch” between 1-4 PM at The Earl. Tony Bryant brings on the blues at Fat Matt’s. Even more blues come in the form of Uncle Sugar at Northside Tavern.

Bumble menaces Rudolph, Hermey and Yukon in The Center for Puppetry Arts' live production of RUDOLPH THE RED-NOSED REINDEER. Photo credit: Clay Walker.

Ongoing

The Center for Puppetry Arts’ official stage adaptation of the Rankin-Bass misfit Christmas TV classic Rudolph the Red-Nosed Reindeer is back for a second year with Rudolph, Clarisse, Hermie. Yukon and all the beloved characters. Read our interview with adapter/director and Center Artistic Director Jon Ludwig here. Through Dec. 31.

Explore one of America’s most iconic theaters in AIN’T NOTHING LIKE THE REAL THING: HOW THE APOLLO THEATER SHAPED AMERICAN ENTERTAINMENT, a special exhibition at the Atlanta History Center . Presented by the Smithsonian’s National Museum of African American History and Culture, in collaboration with the Apollo Theater Foundation, the display includes historic and contemporary costumes, playbills, music scores, graphic images and recorded music. Through March 4, 2012.

LIFE AND DEATH IN THE PYRAMID AGE: THE EMORY OLD KINGDOM MUMMY features the first public viewing in 50 years of the oldest Egyptian mummy in the Western Hemisphere, acquired from excavations at Abydos by Emory Theology Professor William A. Shelton in 1920. Watch for a Really Retro piece on this fascinating exhibit at Emory’s Michael C. Carlos Museum soon. Through Dec. 11, 2011.

PICASSO TO WARHOL, a special art exhibition at the High Museum of Art, features over 100 works of art from 14 of the most influential artists of the 20th century. Through Apr. 29, 2012.

If you know of a cool happening coming up soon, send suggestions to ATLRetro@gmail.com.

Bumble menaces Rudolph, Hermey and Yukon in The Center for Puppetry Arts' live production of RUDOLPH THE RED-NOSED REINDEER. Photo credit: Clay Walker.

“Could it be that you don’t know the story of Rudolph?” Sam the Snowman poses at the beginning of the Center for Puppetry Arts’ live stage production of Rankin-Bass’s stop-motion animated TV show about RUDOLPH THE RED-NOSED REINDEER, which runs through Dec. 31. It’s unlikely if you grew up in America any time within the past nearly half-century since the show, based on a popular 1949 song by Johnny Marks, premiered in 1964. In the ‘60s and ‘70s, the TV networks aired and re-aired a magical assortment of holiday specials for kids, and even when they cut back and many of these classics (including other Rankin-Bass treasures like SANTA CLAUS IS COMING TO TOWN and THE YEAR WITHOUT A SANTA CLAUS) became relegated to secondary cable, video and DVD, CBS continued to broadcast RUDOLPH (this year’s air-date is Dec. 4 at 8 p.m.). In fact, if you don’t get your tickets quickly, you may even miss the Center’s production. The Center for Puppetry Arts sold out its two-month run of RUDOLPH last year and deservedly so.  Already almost all of this December’s performances are now sold out, and only limited tickets are available for the remaining November shows.

What’s behind the enduring appeal of a tale of a reindeer with a deformity that causes derision not just from his fellow deer (we all know children can be cruel) but surprisingly from Santa himself? At ATLRetro, it was always easy to understand. Rudolph, Hermey the elf who wanted to be a dentist, the misfit toys were us—the different kids, the geeks, the readers, the ones with glasses. And as we grew up, we found out, like Rudolph, we weren’t alone and that our differences were great reason to band together and declare ourselves “independent,” whether as science fiction fans or punk rockers or proud of being gay. As Clarice tells Rudolph, the fact that his nose is different from the rest is what makes it “special,” and it’s interesting and seems unlikely to be coincidental that RUDOLPH first aired in the heart of the Civil Rights Movement. Even the Bumble Snow Monster has a role to play; all he needed was a friend like Yukon Cornelius, willing to look beyond his monster-ness and listen. Well, after he removed his teeth—but who said that a 1964 TV special would or should be completely politically correct. I’d like to think that RUDOLPH taught me key lessons about tolerance, and hopefully it does for the kids, like me, who embraced it. I’m proud to say that I have watched it every Christmas season since I was two.

The raccoon and bunny pairs in the Center's RUDOLPH match perfectly with the CBS special. Photo Credit: Clay Walker.

Seeing it again at the start of this season reminds how true it is to the look and spirit of the TV show, which seems perfectly suited to puppetry. Even King Moonracer, the identical pairs of woodland creatures and the Christmas trees are perfectly crafted to match what we saw in our living rooms. The voices match unexpectedly well, too, including then-famous folk/ballad singer Burl Ives, who voiced the original Sam. Last year I was a little disappointed at the simplistic projected graphics intermingled with the show, but I’m over that now, and have to say that as a package, it’s nearly picture-perfect. Even RUDOLPH purists like me cann’t complain about a few subtle changes and additions here and there, such as a playful hide and seek between Dolly and King Moonracer, because they weave seamlessly into the action and remain true to the characters. And it was so cool to hear the audience of school children around me singing and clapping along to all the iconic tunes! “We’re all Misfits” indeed!

ATLRetro caught up with the Center for Puppetry Arts Artistic Director Jon Ludwig, who adapted and directed RUDOLPH, to find out more about how he managed to pull it off with such integrity and reverence to the original source material and yet keep it fresh for a new generation of kids.

How old were you when you first saw the Rankin-Bass Rudolph on TV and what impact did it have on you as a child?

I was 11 years old when I saw the first broadcast in 1964. I thought they had written it just for me. How did they know I felt like a misfit? What an inspiration it was to learn misfits, too, have a place in the world.

How did you and the Center for Puppetry Arts come to produce the first licensed puppet version of RUDOLPH?

We researched the trail to who held the rights, Character Arts, and then made a proposal that won them over. We really wanted to be very faithful to the original. It is a great story and a great script. We didn’t want to change it or ruin it by adding crazy ideas just to be different. They trusted us and were a monumental help in creating the piece.

Sam the Snowman supervises the decorating of "Silver and Gold" decorations on dancing Christmas trees with the help of some woodland friends. Photo credit: Clay Walker.

Last year’s production sold out early in its run. How gratifying was that and why do you think this show has such an enduring appeal?

A sold-out run is the best any theater can hope for. The story and characters are still relevant today. It is about coming to grips with yourself and finding your place in the world. This is a theme that never gets old.

I know of plenty of adults who were as excited or more so than the kids to see it last year. Do you have any sense of how adults came to see it on their own out of nostalgia? Will you have any night performances targeted at adults, and are adults welcome to make their own Rudolph puppet, too?

We have seen many couples and groups who come without kids. I think they are re-living their childhood. It makes for a very good date. There are 3 p.m. shows Saturdays and Sundays and a 7 p.m.  show on November 25.

What was the biggest challenge you faced in adapting RUDOLPH from TV screen to stage and how did you surmount it?

We had to change the visual language from film to stage.  We have used supplemental projected animation to help with transitions. We use a change in scale to get long shots, i.e., we use small versions of the same characters. There are many set changes to get a sense of the journey that is essential to the story. Sometimes we had to add lines and business during entrances and exits. In the film, they just cut away. We found out that the live puppet actors still had to walk off. So we added some lines that are totally in character that allow the puppets to get off stage. We had to combine some scenes to get a better theatrical flow. All of this was a lot of fun and challenging.

Rudolph's nose is revealed to Fireball & other fawns during Reindeer Games. Photo credit: Clay Walker.

Did you make any changes this year or is it the same production?

The script has not change. Why mess with something that has worked since 1964. There have been improvements with the puppets. What is different about this year is the energy and fun that the performers are bringing to the show. It is the same cast. So they are really focused on the characters and the story. Having gone through the process of getting it on its feet already, they are a championship team. They are having a blast and that is reaching our audiences.

RUDOLPH has so many colorful characters from the misfit toys to the elves to the rabbit and raccoon pairs and that squirrel and that ornery gold nugget. Beyond the misfit heroes Rudolph and Hermey, do you have a personal favorite among the secondary characters and why?

When I was a kid I loved monsters; still do. So I really liked the Bumble Snow Monster of the North. And, in the end he finds his place in the world, too. The monster is accepted.

One thinks of puppetry as a skill in movement, but it also requires a lot of vocal flexibility. Did you consider vocals in casting and did the puppeteers use any special techniques to get their voices so close to the original TV cast?

We held several long sessions with many of our regular and, I must say, gifted puppeteers. We recorded them reading for multiple characters. We even had Allison Murphy, who plays Rudolph, read for the Bumble just for fun. We then spent a lot of time listening to the reading and made our selection. They all did great, but we had to narrow down the field. Those who were chosen then spent many hours listening to the original voices. They still listen to them when they feel they might be drifting from the original voices.

For the most part, you stuck faithfully to the plot, dialogue and songs, but in a few places, you added a few fun—let’s say—embellishments. I hate to give away any surprises, but how did you decide when it was OK to make a change, and how has the audience reacted to that?

We only changed when it was necessary to further the story along for the stage. We threw in some puppet trickery. And the cast understands these characters so well that they were allowed to ad lib if they felt an urge during the rehearsals. This led to some embellishments which deepen the characters rather than just go for a cheap laugh.

Our audiences are very smart. They know that we must make some changes in order to adapt the film for the stage. We keep any changes in character. And any changes were put by Character Arts first.

The Misfits from Christmastown land on the Island of Misfit Toys. Photo credit: Clay Walker.

It’s interesting how you handled a couple of spots of political incorrectedness.  At the first point where Dasher says searching for Rudolph is “man’s work,” you maintain the comment but beef up the bonding between Mom and Clarice who obviously disagree (and did in the original, too!). Later, after the apparent vanquishing of Bumble, you omit Sam’s statement about how they “had to get the womenfolk back to Christmastown.” Any comments?

Yes, Dasher’s statement about “Man’s work” is very much made fun of in the original by Sam the Snowman. As far as getting the “women folk” back to Christmastown, “the times they are a changing.” It was easier just to omit that line. The mood is very sad at that moment because they thinkYukonhas perished from the fall off the cliff. The “women folk” line would probably have gotten a laugh or been distracting to the moment.

Do you have any interest in adapting any of the other Rankin-Bass stop-motion animated holiday specials such as SANTA CLAUS IS COMING TO TOWN, THE YEAR WITHOUT A SANTA CLAUS or HERE COMES PETER COTTONTAIL?

We have not considered other titles at this time. However, Character Arts has been very open about further collaborations, so we’ll see where that leads.

What question did I not ask that you’d love to answer about RUDOLPH? And what’s the answer?

You have really done your homework! Great questions. There are long debates about why the elf tosses the bird that cannot fly but swims off the sleigh without an umbrella. You can hear the laughs at that moment from those who really know the film. So, if anyone knows the reason for this moment, please let us know.

By Melanie Magnifique
Contributing Blogger

FEMALE TROUBLE (1974); Dir: John Waters; Writer: John Waters; Starring Divine, Mink Stole, Edith Massey; Taboo-La-La Series hosted by Blast-Off  Burlesque at Plaza Theatre, Sat. July 23; 10 PM; free makeup, meatball sandwiches (while supplies last), costume contest, Filthy Fashion makeovers with prizes from Libertine! Special guests include Patricia Lopez, Poly Sorbate, Babydoll & Baltimore’s own Elle Devene; age 18 & over only; trailer here.

This Saturday night, Blast-Off Burlesque will serve up a veritable cornucopia of camp while hosting John Waters‘ dark comedy, FEMALE TROUBLE at the Plaza Theatre as part of their sin-sational new cinema series—Taboo La-La! Before viewing the film in its original 35mm format, moviegoers will be able to compete for fantastic prizes in costume and makeover contests, as well as enjoy performances by Blast-Off and their very special guests, Patricia Lopez, Poly Sorbate, Babydoll and Baltimore’s own Elle Devene.

Released in 1974, FEMALE TROUBLE tells the story of Dawn Davenport (played by infamous drag queen, Divine), a bratty bad-girl who lives a hard-knock life of juvenile delinquency, experiencing sexual assault, subsequent single motherhood, employment in the sex industry, obsession with fame and victimization by sensationalists masquerading as artists. Did I mention that it’s rated NC-17?

Blast-Off’s Co-founder (and ATLRetro Kool Kat), Barb Hays, says the film’s caustic content fits right in with the sprit of Taboo La-La. “You know, the Plaza Theatre used to show adult films, so we decided that we would host a series which paid homage to its roots,” she explains. “They can’t show X-rated stuff anymore, but there’s plenty of great films out there which push the boundaries of societal taboo as decreed by the MPAA.”

Melanie Magnifique. Photo credit: March Turnley

Hays adds that now is a crucial time to support the Plaza Theatre. This week Plaza Owners Jonathan and Gayle Rej announced that they are looking for a buyer forAtlanta’s oldest cinema, adding that they do not wish to close, and are seeking individuals or organizations which might preserve the landmark theater as a historical site. Since purchasing the theater in 2006, the Rejs have focused on event-centered films with live audience-interactive elements, including Splatter Cinema, the Silver Scream Spookshow, Flicks & Giggles, Summer Camp, Art Opening and a Movie and Taboo-La-La! In 2009, the Plaza Theatre received nonprofit status.

Supporting the Plaza Theatre is a rare chance to do something special for this community and gifts of all sizes will make a big difference. The Plaza Theatre Foundation is a 501(c)(3) organization and all gifts are tax  deductible. All funds generated will be used toward restoration, furnishings, equipment, operations and community initiatives for The Plaza Theatre.

Saturday’s events kick-off at 10 p.m., and the first 50 people in the door will receive free makeup! They can also eat meatball sandwiches (while supplies last), and the most beautiful, glamorous audience member in the costume contest will win a basket of makeup! The winner of the Filthy Fashion makeovers will win prizes from Libertine!

Are you willing to die for Art? As Dawn Davenport says, “Being executed will make you famous, like winning an academy award.” Put on your biggest hair and your cha-cha heels! The bad girls are back in town!

Atlantans who love classic jazz won’t be surprised to hear that Kayla Taylor’s new and sixth CD YOU”D BE SURPRISED hit #23 on the CMJ Jazz charts this week and is receiving airplay across the nation and throughout Europe. Instead, we’re liable to say it’s delovely and just one of those things that had to happen. But then local audiences have had the treat of listening to this Atlanta native and chanteuse extraordinaire resurrect top tunes from the ‘30s,  ‘40s and ’50s  live for a decade or more with musical partner/guitarist Steve Moore. And because this Friday night, Kayla will be performing at one of Atlanta’s coolest vintage venues, the courtyard of the Artmore Hotel in Midtown whose building dates back to 1924, we thought the timing couldn’t be more perfect to make her Kool Kat of the Week.

One of those rare actual Atlanta natives, Kayla literally grew up singing, in her school chorus, church choir and in the shower, but winning two awards in a 7th grade talent show cemented her ambition to make music a career. Along the way, she has performed country music, gospel, R&B and classic and original rock ‘n’ roll until she finally found her heart resided in the golden era of Cole Porter, George Gershwin and Irving Berlin—all of whom are represented on YOU’D BE SURPRISED’s playlist. ATLRetro caught up with Kayla to find out more about why she decided to embrace one of our favorite musical eras, what she has planned for this Friday night at the Artmore, her new CD, what’s next and where you might catch her singing while shopping…

ATLRetro: According to your bio, you always sang even as a little girl, and through the years, in addition to jazz, you’ve performed country, gospel, R&B and rock n roll, too. How did you come to embrace vintage jazz?

Kayla Taylor: I have always loved vintage jazz. The charm and romance of the ‘30s and ‘40s was something that always attracted me. I love how clever the lyrics are. When I was a kid, I watched a lot of old movies that were filmed and set during that time period and found all of it to be a natural embrace. Then in the mid-‘80s, Linda Ronstadt—one of my rock heroes—came out with her Big Band albums with The Nelson Riddle Orchestra and the romance started all over again.

Photo credit: John Lee Matney.

I understand that your earliest award was for singing Irene Cara’s “Out Here on My Own” from FAME? What’s the story and how big an early influence on you was the movie, FAME?

I wouldn’t say that FAME had a big influence on me, but the music and Irene Cara’s voice definitely did. I loved the pure emotion that was in her voice when she sang “Out Here On My Own.” The school talent show was coming up, and so I decided that I’d sing that song. I practiced for weeks in my room with the door closed. I must have played that record hundreds of times. My parents had no idea. I wasn’t trying to win—I just wanted to sing in front of all those people. I was also in a girls’ trio that performed “Sincerely”— a tune from the ‘50s. Well, the trio took 1st place, and I took 2nd place. I was so thrilled and excited. My parents had always been supportive of whatever I wanted to try, but at that point, they jumped completely onboard with my singing adventures.

Who are some of your favorite classic jazz composers and performers, and why do you think their music remains so timeless and relevant today?

Cole Porter, The Gershwins, Rodgers & Hammerstein, Johnny Mercer . . . there are so many amazing composers from that era that I adore, but these are just a few of my top picks. As far as performers, Julie London, Ella Fitzgerald, Nina Simone, Peggy Lee, Etta James, Dean Martin and Frank Sinatra. I think the music is so well-crafted that it can’t help but remain timeless and relevant. Most of the songs are about love or the loss of love—that will always be timeless and relevant.

How did you meet Steve Moore and end up working together?

Great Story! Steve Moore was in a rock band called A Fine Line—an original rock project. They ran an ad in the Creative Loafing looking for a female vocalist. (That’s what you did 19 years ago—you ran an ad in a printed publication if you were looking for a musician.) I called about the position. They sent me a demo of some of their tunes, and I thought they were really cool, so I learned them and showed up at the audition. Later that night, Steve Moore was the one who called me to tell me I had gotten the job. That was the beginning of an amazing relationship as friends, co-writers and business partners. We went through several original rock projects together (A Fine Line, OneWithout) and even an acoustic duo (The Adventures of Kayla & Steve). One day we were talking about all these great jazz standards that we both loved and how much we would both love to play that music one day and to have our own jazz combo. Five minutes later we had made a decision to start working towards that direction. That was over 10 years ago, and we’ve been at it ever since.

Kayla Taylor and Steve Moore. Photo credit: John Lee Matney.

Can you tell us a bit about YOU’D BE SURPRISED came together, and what it means to you that it’s doing so well?

To say we are excited is an understatement. OVER THE MOON with excitement might scratch the surface. All of this came about because we hired an expert to handle it for us. We’re indy artists—SmartyKat Records—that’s our own label. We don’t have the connections personally to make this kind of airplay and exposure happen, so we hired Kari Gaffney and Jeff Williams of Kari-On Productions to handle all of it for us. Kari has over 21 years experience promoting and marketing CDs to radio and print media. I have never seen anyone work as hard as she has been working. I don’t know when she even has time to sleep. She’s done a fabulous job for us.

What’s your favorite song on the CD to perform and why?

WOW. To pick one tune—that’s tough because I love every song that’s on the CD. It’s like asking a parent to choose a favorite child. If I have to pick one, though, I’d have to say the title track—“You’d Be Suprised.” What I love about that song are the great lyrics. They are so clever!!! I love the Marilyn Monroe version.

The Jazz in the Courtyard series at the Artmore, where the building dates back to 1924, promises an urban escape with “sultry music, sexy vibes and sinful drinks.” And the signature cocktail is “The Prohibition.” Can we surmise that the goal is to create a speakeasy atmosphere, and will you be tossing some Roaring ‘20s tunes into the mix?

Artmore is a great hotel, and the courtyard is a beautiful venue. We have a great time playing there and love that they have embraced our music. We’ll still be hanging out in the ‘30s and ‘40s era but love that they have created a speakeasy feel—with a modern twist. All concerts take place in the courtyard, and there is a fabulous firepit and heaters to keep everything warm. If it should rain or turn freezing cold—we’ll move the show into their basement speakeasy lounge. I think we might be good to have this final concert of the season out in the courtyard, though.

Anything else you’d like to share about Friday’s gig at the Artmore?

Reservations are not required, but if you want to reserve a seat, you can email them at sales@artmorehotel.com. Come prepared to have a great time. I have a retro-styled microphone that is wireless so I can move all over the courtyard, and I love to come by and sing to anyone who seems like they might be receptive. Trust me, though—if it’s clear you’re there with a date and you just want to make eyes at each other—I’ll stay out of your way.

Where else will you be playing in Atlanta soon, and any plans for a tour to promote YOU’D BE SURPRISED?

Our next big show will be at Feast in Decatur on Saturday, December 3. This will be a great show because it’s the beginning of the holiday & Christmas season, and we’ll have some of the great jazzy Christmas tunes from the era to throw into the mix. This show generally sells out, so it’s a really good idea to call them to make a reservation. We play from 7:30 p.m. – 10:30 p.m. with the five-piece combo. The food at Feast is fantastic and we always have a great time. [Call] 404.370.2000 – for reservations.  As far as a tour to promote YOU’D BE SURPRISED—definitely something we are thinking long and hard about we just have to make the numbers work out.

Do you really burst into song at the grocery store? If yes, where do you shop?

Not every time I’m in the grocery store, but yes, I have been known to burst into song in the middle of a shopping excursion. My sweet husband, Scott, has been so good about dealing with those moments and I know they have been embarrassing—but sometimes a song just wells up inside and I have to blurt it out. For the record, my favorite place to shop locally is Publix—the stores are smaller and easier to navigate and everyone is super-friendly. If I’m going to travel away from my neighborhood to shop, you’ll find me at Whole Foods.

Finally, we’ve got to ask. What would we be most surprised to know about you?

Two things: first, I am an avid gardener. I love digging holes and putting plants in them and then nurturing them and watching them grow. It fascinates me! The next thing . . . I actually suffer from stage fright on occasion. It’s true.

By Jordan Barbeau
Contributing Blogger

Monday, November 14

The dark, moody sounds of Peter Murphy can be heard at Masquerade tonight, along with 2000s dark dance band She Wants Revenge. From 3 PM on, savor tropical sounds and libations, as well as a Polynesian dinner during Mai Tai Monday at Smith’s Olde Bar. Northside Tavern hosts its weekly Blues Jam. To break up the Monday monotony, head over to Fat Matt’s Rib Shack for dinner and a show, as local blues/jazz band Dry White Toast performs at 8 PM.

Tuesday, November 15

The self-proclaimed “most sophisticated hillbilly you’ve ever seen,” Michelle Shocked brings her classy country to Eddie’s Attic. Lisa Richards opens the show. Check out the southern blues/jazz stylings of Pokey LaFarge and The South City Three at Smith’s Olde Bar. Grab your horn and head to Twain’s in Decatur for a Joe Gransden jazz jam session starting at 9 p.m. Crosstown All Stars play Fat Matt’s Rib Shack. Catch Tues. Retro in the Metro nights at Midtown’s Deadwood Saloon, featuring video mixes of ’80s, ’90s and 2Ks hits.

Wednesday, November 16

Get ready to rumba, cha-cha and jitterbug at the weekly Swing Night at Graveyard Tavern. The Hollidays make it a soulful night at Fat Matt’s Rib Shack. Danny “Mudcat” Dudeck blues it down at Northside Tavern. Dance to ‘70s, ‘80s and ‘90s hits during Retro in the Metro Wednesdays presented by Godiva Vodka, at Pub 71 in Brookhaven.

Tongo Hiti.

Thursday, November 17

Tongo Hiti play Retro-Polynesian luxurious live lounge sounds, as well as trippy takes on iconic pop songs, every Thursday night at Trader Vic’s. The Breeze Kings and The Chickenshack bring on the blues respectively at Northside Tavern and Fat Matt’s Rib Shack.  Brandon Rickman of Lonesome River Band plays Bluegrass Thursday at Red Light Cafe.

Friday, November 18

After 15 years, Stomp and Stammer, Atlanta’s finest music monthly, is still going strong! Celebrate their success at The Earl with the first night of the Stomp and Stammer 15^th Birthday Jamboree , a free rockfest with what Publisher Jeff Clark dubs “four of Atlanta’s finest and freshest bands”:  Biters, Gold-Bears, Lucy Dreams and The Head! The Artmore Hotel  showcases the vintage jazz talents of Kayla Taylor Jazz, who also is our Kool Kat of the Week. Spice things up with sexy Latin dances such as Salsa, Merengue and Cha-Cha during Salsa Night, featuring Salsambo Dance Studio, at Fernbank Museum of Natural History’s Martinis and IMAX, where live music, drinks and food compliment documentaries on Atlanta’s largest IMAX movie screen.

Focusing on audio art in place of visual art, the High Museum of Art’s  Friday Jazz features the piano talents of Joe Alterman. The Yacht Rock Revue is coming to The Earl Smith Strand Theatre, a landmark vintage cinema in Marietta Square, paying tribute to smooth hits of the late ‘70s including Michael Mcdonald, Hall & Oates  and Steely Dan. Johnny Scales brings on the blues at Fat Matt’s.

Saturday, November 19

It’s all about the ladies at the Plaza Theatre! Well, a certain sort of ladies when Blast-Off Burlesque screens its latest Taboo-La-La feature, John Waters’ outrageous cult classic FEMALE TROUBLE, along with costume contests and food galore! Check out our sexy sneak preview from Blast-Off’s own Melanie Magnifique here.

Night two of the Yacht Rock Revue’s gig at The Strand features the cover band playing two legendary rock albums live in their entirety. The night kicks off with a performance of The Beatles’ album Sgt. Pepper’s Lonely Hearts Club Band, followed by an uncanny live synchronization of Pink Floyd’s DARK SIDE OF THE MOON with THE WIZARD OF OZ (1939).

Part 2 of Stomp and Stammer’s 15th Birthday Jamboree brings even more rocking fun with three great regional bands – Middle Tennessee’s Those Darlins, New Orleans’ Missing Monuments and Athens, GA’s Lera Lynn. During the day, the National Museum of Aviation is holding a sale of different vintage airline items, including toys, DVDs, seat belts, etc. The Variety Playhouse tonight holds a community benefit concert, showcasing several different jazz acts. The Last Waltz Ensemble, a Bob Dylan and The Band tribute band, rocks Smith’s Olde Bar. America’s loudest lounge singer Richard Cheese & Lounge Against the Machine  applies his unique swinging style to popular rock, metal, hip-hop and rap songs at Center Stage.

The Star Community Bar whets your appetite for southern rock with a show consisting of Gringo Star, Sovus Radio  and Lightnin’ Ray Jackson. For a bluesy/country rock evening, check out Burning Time at Fat Matt’s. And as usual, DJ Romeo Cologne transforms the sensationally seedy Clermont Lounge into a ’70s disco/funk inferno late into the wee hours.

Sunday, November 20

Rocksploitation serves up blues “dunch” between 1-4 PM at The Earl. Tony Bryant brings on the blues at Fat Matt’s. Even more blues come in the form of Uncle Sugar at Northside Tavern. For a more intense hard rocking evening, head over to 529  for a show including Hellbender, Demonaut and Meen.

Ongoing

The Center for Puppetry Arts’ official stage adaptation of the Rankin-Bass misfit Christmas TV classic Rudolph the Red-Nosed Reindeer is back for a second year with Rudolph, Clarisse, Hermie. Yukon and all the beloved characters. Watch for an interview with adapter/director and Center Artistic Director Jon Ludwig soon. Through Dec. 31.

Fabrefaction Theatre Company brings Stephen Sondheim and Hugh Wheeler’s chilling, suspenseful, heart-pounding masterpiece of murderous barber-ism and culinary crime to the stage. A tale of retribution and in essence, obsession, SWEENEY TODD, THE DEMON BARBER OF FLEET STREET serves up a delicious portion of gruesome humor, sinister spite and suspicious meat pies. Through Nov. 13.

Explore one of America’s most iconic theaters in AIN’T NOTHING LIKE THE REAL THING: HOW THE APOLLO THEATER SHAPED AMERICAN ENTERTAINMENT, a special exhibition at the Atlanta History Center . Presented by the Smithsonian’s National Museum of African American History and Culture, in collaboration with the Apollo Theater Foundation, the display includes historic and contemporary costumes, playbills, music scores, graphic images and recorded music. Through March 4, 2012.

LIFE AND DEATH IN THE PYRAMID AGE: THE EMORY OLD KINGDOM MUMMY features the first public viewing in 50 years of the oldest Egyptian mummy in the Western Hemisphere, acquired from excavations at Abydos by Emory Theology Professor William A. Shelton in 1920. Watch for a Really Retro piece on this fascinating exhibit at Emory’s Michael C. Carlos Museum soon. Through Dec. 11, 2011.

PICASSO TO WARHOL, a special art exhibition at the High Museum of Art, features over 100 works of art from 14 of the most influential artists of the 20th century. Through Apr. 29, 2012.

If you know of a cool happening coming up soon, send suggestions to ATLRetro@gmail.com.

When The Artifice Club presents the 2nd annual Mechanical Masquerade: A Paranormal Fantasy this Saturday Nov. 12 at Blue Mark Studios, a renovated 110-year-old church, they couldn’t have picked a better judge for their ghost story contest than S. J. Chambers, co-author with Jeff VanderMeer of the critically acclaimed THE STEAMPUNK BIBLE (published by Abrams Image this spring). S.J., you see, suffers from Poepathy, a dread affliction whose symptoms include “daydreaming…reveries that include black birds, scents of an unseen censor or aberrant alliterative applications.”  She contracted it, she says mournfully (or enthusiastically, depending on your point of view), from excessive contact with the works of  seminal American horror author, Edgar Allan Poe, on whose works she has penned a frightful quantity of essays and journalistic works.

Lately though, S.J.’s journalistic adventures have sailed towards Steampunk, a fast-growing international movement whose participants dream of an alternate world powered by steam technology and resplendent with airships, corsets, goggles, mad scientists and other fantastical wonders of a Jules Verne-ian nature. Lavishly illustrated, THE STEAMPUNK BIBLE is the first definitive guide to the wildly, weirdly imaginative literature, art and costuming of the subculture, which has a vibrant chapter here in Atlanta. A Tallahassee resident (she also treated us to the Cute and Creepy art exhibit review here), SJ also will be signing that esteemed tome at the Mechanical Masquerade, The Artifice Club’s most elaborate event yet—planned to play out like a story itself in which a supernatural-themed masquerade ball is staged on a magical rift accidentally created by one infamous Montague Jacques Fromage whle experimenting with a curious invention in service of her majesty Queen Victoria. And yes, masks are not just encouraged but required (come unfashionably without one, and we’re told you may be asked to leave or to purchase one from the lovely Dread Sisters). The fantastical festivities start with afternoon seminars on topics such as Steampunk Burlesque (see this week’s Kool Kat feature on Indigo Blue here). Then the main event runs from 5 p.m. to way past midnight and features a bazaar, libations, costume contest and performances by an eclectic ensemble of talent including the Mezmer Society, Doc Volz and his Steampunk Trunk, The Ghosts Project, Vauxhall Garden Variety Players and the Fantasia de Mode Fashion Show presented by The Steampunk Chronicle.

ATLRETRO asked S.J. to demystify steampunk for the uninitiated, tell us what she learned about steampunk abroad on her recent book tour to England and France, and tease us with a sneak peek into her role in the Paranormal Fantasy. She not only kindly obliged, but then some…

What’s the origin story behind THE STEAMPUNK BIBLE (Abrams Image) and how you personally became involved? 

It did some editorial work for Ann and Jeff VanderMeer with [surrealist flash-fiction anthology] LAST DRINK BIRD HEAD and some other miscellaneous projects, so my role with THE STEAMPUNK BIBLE began as an editorial assistant. However, Jeff loved what I was doing, and saw how much I was getting into the project, that he asked me to contribute to the writing. One thing lead to another and we were co-authors. I can’t say enough what a great experience it has been to work side-by-side with Jeff. He’s full of wisdom and one of the best writers alive, imho.

Why are you excited to be attending THE MECHANICAL MASQUERADE: A PARANORMAL FANTASY and what will you be up to while you’re here?

There are several reasons why I am excited about this event.  First, I have an extreme case of Dance Party deficiency, so I can’t wait for DJ Doctor Q to start spinning at midnight. Second, I’m excited about wearing a costume, which I don’t usually do.  The clothes I wore on tour are pretty much what I wear normally, even the more Pre-Raphaeliteish pieces, so this is my first true sojourn into Steampunk chic. Not sure how great it’ll be, as everything I touch seems to turn Regency, but it should be fun.

But vanity aside, what I am REALLY excited about is the ghost story contest that I am judging. From 8 p.m. to 9 p.m., I am challenging guests of The Mechanical Masquerade to scare me! Contestants will have five minutes to spin a paranormal yarn—doesn’t have to be gruesome horror, but must have something of the unexplainable and strange.  If participants are reading this, I’ll give them a clue as to what endears me most.  I love stories—and this goes for any type of story really—that strike me emotionally. So, if you make me split my petticoat with laughter, or drown my veil in tears, you’ll get a lot of bonus points. Being the Poepathist that I am, some of my favorite tales involve haunted houses and dead lovers, and the more monsters the merrier.

In any case, we will have lots of prizes for winners, including a first prize of signed copies of THE STEAMPUNK BIBLE and Ann and Jeff VanderMeer’s wonderful, new anthology THACKERY T.LAMBSHEAD’S CABINET OF CURIOSITIES, which I have a sundry tale in, and a $25 gift certificate to Octane Coffee.  Not bad for five minutes.  If you don’t want to vie for a copy of THE STEAMPUNK BIBLE via the competition, they will be available for purchase and signing throughout the night.

The Mezmer Society. Photo credit: Farad Rezei of Rakadu.

THE STEAMPUNK BIBLE seems to be thriving in a time when books and authors in general are having a tough time. You even had a whirlwind signing tour which took you through New England and to England and France. What’s the secret to its success and why is steampunk so popular right now? 

I would say publishing is in a state of transition right now, thanks to e-publishing, and in trying to figure out what that means in the grand scheme of things, on top of the recession, authors and books are having to work double-time to stay afloat. I definitely know that I, Jeff, our editor Caitlin Kenney, our publicist Amy Franklin, and the wonderful people at Abrams, as well as our contributors, believed very strongly and worked really hard on promoting this book. So, I attribute a lot of the success we’ve had to our collective sweat and tears.

The fact that, in this burgeoning world of two-dimensional and grey e-books, the THE STEAMPUNK BIBLE is very tactile and visually pleasing hasn’t hurt. This is a book with a lot of textual as well as visual content, and it invites people to peruse it in both ways, which really appeals to readers.  I think this attraction ultimately ties into the same technological fatigue that is making the Steampunk spirit very resonant: the world is tired of being spoon-fed culture and knowledge. We need Steampunk in our lives because it promotes imagination and ambition, it promotes awareness of how things work and also sustainability. People think of Steampunk as a fashion fad or a science fiction trend, but it is an umbrella term for a lot of reactionary and revolutionary philosophies on modern life, which we try to touch on in the book.

Speaking of England and France. You even went to a steampunk convention over there, didn’t you? How do English and French steampunks or steampunk fans differ from the American variety?

While I did an event in London, and an event in Paris, I am afraid I didn’t make it to the Weekend at the Asylum in Lincoln.  Towards the end of planning the Europe Tour, an assignment in Paris came up, so I had to take those few extra days to make sure I had time to work on it.  I was sorry to miss it, as I had just met Jema Hewitt and Kit Cox who were going, and I would have loved to spend more time with them, as well as meet some of the U.K. Steampunk luminaries like John Naylor and Professor Elemental.

The differences between U.K., French and U. S. Steampunk are subtle. U.K. tends to be more Victorian-oriented because that’s where she reigned and that’s their direct history.  However, I think we over here in the states misunderstand U.K. Steampunk as nostalgists ignoring skeletons in the Empire closet, and I found that to not be true. At the Last Tuesday Society event, there was a lot of interest in multicultural Steampunk, and I think that dialogue is just waiting to burst through the gates there.  French Steampunk was very interesting because a lot of its participants are interested in CosPlay, but there aren’t really any venues for that. The fine folks of French Steampunk, like Morgan Guery and Franck Gouraud are trying to promote conventions around France, and I think that will contribute to a very strong and cohesive scene there. Also, just like U.K. Steampunk operates within their history, so do the French Steampunks.  Queen Victoria and the Empire is irrelevant, and while we had our Civil War, they were dealing with their own strife with the Paris Commune and the reign of Napeoleon III. It has led to a lot of beautiful and innovative art like Sam van Olffen, Futuravapeur and Anxiogene.

The “Sultan’s Elephant” at The Machines of the Isle of Nantes exhibit, Nantes, France. Photographed in 2009 by Yann Langeard - Le Chatrou Electrique.

What makes a literary work, piece of art, costume steampunk at the most basic level and do goggles have to be involved?

Ha! No goggles do not need to be involved, nor necessarily cogs, nor gears. Tor editor Liz Gorinsky explained Steampunk best when she compared it to porn—“I know it when I see it”—which perfectly encapsulate the difficulties of defining this aesthetic. I know I should have an elevator pitch-like answer for this, but the real answer is too complex.  It is why we wrote a book about it.

As just flipping through the book will show, there are a lot of characteristics that bind artists together under the umbrella Steampunk—like the iconic goggles, a retro ambiance, gears, cogs, rayguns, hoop skirts, leather corsets, mecha animals, steel and steam—but it is also an ever-changing and evolving aesthetic that can feature a lot of versatile and disparate characteristics informed by cultural history, and even era. What was once a retro-futurist movement that looked only as far back as the 19th century has participants looking back even further, evaluating our present on all aspects of past failures and successes. The Steampunk of today will not be the Steampunk of tomorrow.

To the uninitiated person who wants to experience steampunk, what three authors could they read and get a good sense of what it’s all about?

Jules Verne, Cherie Priestand Scott Westerfield. I know I am cheating with Jules Verne, but I feel like if you don’t understand Verne’s world, you are missing a key part of Steampunk history and its context. Also, since I’ve already cheated once, it won’t hurt to cheat again. I would say Steampunk newcomers would find a lot of guidance in Ann and Jeff VanderMeer’s two STEAMPUNK anthologies, as they do a wonderful job of displaying the movement’s full literary spectrum.

What was your favorite part about researching THE STEAMPUNK BIBLE?

Getting to talk with artists, makers and writers about their craft, and finding contemporary work that I really identify with.  The past 10 years of my life can be characterized as observing Remodernism, but not quite understanding where I fit in with it. THE STEAMPUNK BIBLE changed that for me.

S.J. Chambers.

What did you learn about steampunk that surprised you the most?

That most people working within the Steampunk aesthetic, icons like Jake von Slatt and Libby Bulloff, did not begin doing so consciously. Steampunk adopted them. To me, the fact that all of these disparate figures were unknowingly working within a common aesthetic attests more to the aesthetic’s importance. It’s a zeitgeist, not a fad.

The art direction on the book was stunning. Were you involved with that part or what can you tell us about that side of the book’s development?

Jeff and I were very much involved with the art direction. Jeff had the wonderful idea of the Jules Verne Hetzel cover, and Abram’s designer Galen Smith did a wonderful job of that.  We were responsible for gathering the images, and organizing them with the text.  The nice nuances that really tied it all together, like the margins, the font and chapter covers were all Galen Smith’s genius.

How’s the popularity affecting you personally and your career? Do you have any time left for Poe, and where else can we read your work?

This has been one of the most stimulating and positive experiences in my writing life.  There are numerous outcomes that I am thankful for, including getting to go on tour and meet people that have quickly become kindred spirits and friends. I have been busier than I am accustomed too, but it has been a good busy, and I’ve been able to begin a few projects that I hope will really pick up steam next year. One of them does involve Poe, but on that for nonce, I’ll say nothing more.

I try to keep my blog The Flightless Philosopher updated, but lately my Twitter [@selena_jo] has become a more immediate marquee for my whereabouts and publications.  You can also find other work in the wonderful and very curious THACKERY T. LAMBSHEAD’S CABINET OF CURIOSITIES, in which I adapted my “Poe-Bug” essay into a short story, and I’ve been reviewing a lot lately for Bookslut.

Tell me more about THE STEAMPUNK BIBLE, VOLUME 2.0?

Volume 2.0 is our sister site that has been running extra content from the book, like raw interviews, dispatches and exclusive interviews.  There is a lot in our archives, and I had to construct an automaton, Mecha Underwood, to help me manage and man the helm of this beastly webship. Poor Mecha! She really has it hard since I built her with a Lachrymose 5000 chip, and seeing Jeff and I gallivant around the states last summer has made her a bit morose.  She yearns for sand in her gears, and forgets to post sometimes, but I have found that a gauntlet of oil and some Keats poems rolled into her printing case cheers her right up.

Finally, what question has nobody asked you yet which you wish they had? And what’s the answer?

Is Spongebob Steampunk taking it too far?  [The answer is] I don’t know. It would depend on whether the movie version incorporating Spongebob Steampunk, Geary Gary and Colossal Squidward in a battle against Corporate Nemo’s Krabby Patty takeover will successfully capture the Steampunk Spirit. Can’t be worse than THE THREE MUSKETEERS (2011), but you never know.