ATLRetro

By Jordan Barbeau
Contributing Blogger

Monday, October 24

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, October 25

The Toasters, one of America’s most important ska bands in the ’80s, plays The Masquerade. Grab your horn and head to Twain’s in Decatur for a weekly Joe Gransden jazz jam session starting at 9 p.m. JT Speed is at 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. Eddie’s Attic tonight features the talents of the soulful Ruby Velle Trio and the jazzed-up Vortex Park Trio.

Wednesday, October 26

It’s hard to believe Japanese band Shonen Knife are on their 30th anniversary tour when they play The Masquerade tonight .  The all-female punk/pop groups cites ’60s girl bands and The Ramones as influences, and counts Sonic Youth, Redd Kross and Sultans of Ping and among their fans. They may no longer be sporting their trademark blonde locks, but that doesn’t mean Hanson has lost their edge. In fact, they may have found it as they grew older. Catch them tonight at the Variety Playhouse alongside Charlie Mars. Get ready to rumba, cha-cha and jitterbug at the weekly Swing Night at Graveyard Tavern. Frankie’s Blues Mission plays 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.

Kenneth Anger's INVOCATION OF MY DEMON BROTHER

Thursday, October 27

For a creepy cinematic way to get ready for Halloween weekend, head over to The Arts Exchange for EXPERIMENTS IN TERROR, a three-part short-film horrorfest co-presented by Contraband Cinema and the upcoming Buried Alive Film Festival (Nov. 10-12). Co-curated by previous ATLRetro Kool Kat Blake Myers, this horror marathon includes Phil Mucci’s award-winning silent gothic fable, THE LISTENING DEAD; English filmmaker Ashley Thorpe’s THE SCREAMING SKULL, a cell animation piece which Hammer fans will love; POSSESSED, in which Sam Green, documentary filmmaker of The Weather Underground, follows an undertaker searching for the tomb of Meredith Hunter, the teen murdered by the Hell’s Angels at the 1969 Rolling Stones Altamont Free Concert; legendary director Kenneth Anger‘s INVOCATION OF MY DEMON BROTHER (1969, 16mm) an abstract ceremony featuring the Rolling Stones smoking from a skull; and more. Admission is just $6.66 and includes free horror cocktails!

Attention, Deadites, also on the big screen tonight at GSU’s Cinefest is a rare 35mm print of  ARMY OF DARKNESS (1992), the third part of the EVIL DEAD trilogy where Ash goes all Medieval. It’s in a double feature with THE MONSTER SQUAD (1987), a comedy featuring the classic monsters directed by Fred Dekker (NIGHT OF THE CREEPS).

The Masquerade  showcases the rockabilly honkytonk hijinks of Reverend Horton Heat, along with  The Supersuckers and Dan Sartain. Tongo Hiti are back after a two week hiatus, with Retro-Polynesian luxurious live lounge sounds, as well as trippy takes on iconic pop songs, every Thurs. night at Trader Vic’s. The Breeze Kings and Frankie’s Blues Mission bring on the blues respectively at Northside Tavern and Fat Matt’s Rib Shack. BlueBilly Grit play Bluegrass Thursday at Red Light Cafe.

Friday, October 28

Fred Schneider of The B-52s does what he does best: partying it up, ’70s style, as the host of DISCOWEEN, a ’70s-themed Halloween party, full of music, dancing, food, drinks and everything else ’70s at the Retro-tastic Paris on Ponce! 100% of the proceeds of admission ($60 in advance, $75 at the door) go to Canine Companions for Independence, a nonprofit organization that helps provide the disabled with trained guide dogs. Purchase tickets from Dixie Dog.

Salem witches, frontier wilderness beasts, freak show oddities, alien invasions, Freddie Krueger. What better time than Halloween to contemplate the historical and cultural significance of horror and monsters in American culture from our colonial past to the present and what makes them quintessentially American. And who better to discuss that terrifying topic than South Carolina author Scott Poole (MONSTERS IN AMERICA: OUR HISTORICAL OBSESSION WITH THE HIDEOUS AND THE HAUNTING) and author and ATLRetro contributing blogger Philip Nutman (Wet Work, Fangoria) from 7-9 p.m. at Eagle Eye Books in Decatur. Both authors also will have books available for signing.

Bareknuckle Betties

It may be a little ways away from the Atlanta area, but for a unique Halloween celebration, head out to Ranger, GA for the 1^st Annual Hillbilly Halloween! Continuing from Friday night to Sunday morning, this country spookfest features tons of dancing and live bands, including The Bareknuckle Betties (featuring Kool Kat Julea Thomerson). If you’re really in the mood to dance, Tango-Rio will teach the Argentinean Tango in costume tonight from 8-9:15 p.m. or just come at 9:15 p.m. for a Costume Tango Night dance party in 1920s mansion Callanwolde Fine Arts Center.

The 529 hosts the East Atlanta Black Mass, an “evil musical theatrical experience” with vocals by Molly Harvey (The Residents) and Tom Cheshire, music by Jeffrey Bützer and the LaVey-Tones, puppet performances by Ninja Puppet Theatre, plus 4th Ward Afro – Klezmer Orchestra and burlesque by Musee du Coeur. For Southern rock/country, head to the Buckhead Theatre to check out The Jayhawks and Tift Merritt. Former Black Crowes guitar player Rich Robinson  rocks Smith’s Olde Bar. Fernbank Museum of Natural History’s Martinis and IMAX‘s annual Fright Night has a ’70s/ ’80’s prom theme this year, but with a screening of Stephen King’s CARRIE (1979) among the tricks and treats, you’ll have to decide whether you really dare be crowned Prom King or Queen in the night’s contest. The music though is sure to bring back memories as BACK TO THE FUTURE-inspired Flux Capacitor provide 1.21 gigawatts of high voltage ‘80s rock & pop classics from A-Ha to ZZ Top.

Saturday, October 29

If cars and bikes are your thing, then the Hell on Wheels Beer Fest is for you! With hot cars, cold beer and good music, including Kool Kat Hot Rod Walt and the Psycho-Devilles, there’s no excuse not to show up! Everyone can appreciate a great cover band with Retro favorites, and Noni’s serves up several at their HALLOWEEEEEEEN event, including Andrew and the Disapyramids featuring Kool Kat Joshua Longino.

If you read this week’s Retro Review, you already know that the Blue Tower Gallery’s annual Halloween party coincides with the opening of a unique art exhibition of Jemimi Fowlkes’ never-before-seen collection of more than 200 portraits of horror actor/icon Sir Christopher Lee. Costumes are radically encouraged for the event, featuring DJs So Fly and AntXX, which also is a fundraiser for Change to Humanity, a non-profit organization benefiting Atlanta’s youth.  The night of freak-o-fied fright, friends, and fun includes a vampire costume contest; body-painting; live bands Spaceseed, Headless Mary, The Cold Ones; food; spirits of the alcoholic variety; and all-night scary movies hosted by ATLRetro contributing blogger Dean Treadway in the Panorama Ray Theater.

The Sexual Side Effects

Ghost, witches and creatures of fright, don’t miss one Hell of a night as DJ Evil Jet spins a ghoulishly good time at the 24th Annual Euclid Avenue Yacht Club Halloween Bash, which promises specials, contests and fun gore…ahem…galore! Not witches, but bewitching Kool Kat Amber Taylor sets a glam-ourous spell as her band The Sexual Side Effects takes the stage at Halloween Complex Chaos, a huge Halloween party with multiple stages on the combined patios of QUAD and Spring4th Center . DJs and VJs of many genres spin music and videos, watch a Zombie Fashion Show, burlesque, eat soul food, enjoy live music also by frequent neo-glam collaborators The Unsatisfied from Chattanooga and Starbolt 9  from New York, and much more.

Thimblerig Circus

More into the SOMETHING WICKED THIS WAY COMES? For an old-time carnie-style Halloween, head down to Underground Atlanta for the free Elevate Carnival, which boasts more than 20 acts with over 100 performers including fire breathers, stilt walkers, dancers, acrobats, aerialists, magicians, hula hoop by Hoop Essence, Thimblerig Circus(well-known on the steampunk circuit) and more! Family-friendly events run from 5-7 p.m., following by Daring and Dangerous Performances 7-9:30 p.m. and an adults-only burlesque (including the lovely Syrens of the South) and sideshow from 9:30-11.

As Halloween is mere days away, it’s customary to see tons of horror movies. Continuing their numerous horror showings, Cinefest screens Stephen King’s horror classic, CARRIE(1974). Travel to transsexual Transylvania and wear your sexiest costume to THE ROCKY HORROR PICTURE SHOW, famous for being so bad it’s good and only made better by Atlanta’s own Lips Down on Dixie, who present an encore Halloween performance tonight at midnight the Plaza Theatre. The High Museum of Art continues its MODERN MASTERS OF FILM series with Martin Scorsese’s ITALIANAMERICAN (1974).

For some spooky 80s fun, Fadó Irish Pub hosts its Thriller Monster Bash: A Retro 80s Halloween Party. Partnering with the ATL Pink Foundation to educate about breast cancer, festivities include a costume contest, cocktails and all the ’80s music you can handle! Soulphonics and Ruby Velle  pull out all the stops for a soulful night at the Star Bar. The blues stylings of Mudcat light up the Northside Tavern. Twain’s features the New Orleans sounds of Dirty Bourbon River Show and the Americana style of Megan Jean & the KFB. And as usual, DJ Romeo Cologne transforms the sensationally seedy Clermont Lounge into a ’70s disco/funk inferno late into the wee hours.

Sunday, October 30

Stephen Stills of Crosby, Stills & Nash  headlines a show that also features Josh Hisle at the Variety Playhouse. Blues chanteuse extraordinaire Francine Reed shakes up Eddie’s Attic. Los Meesfits serve up blues “dunch” between 1-4 PM at The Earl. Fatback Deluxe brings on the blues at Fat Matt’s.

Ongoing

Dad’s Garage‘s  ZONKERS – An Eighties Tit Comedy has been extended through Oct. 29. Yup, the zany guys and gals at Dad’s celebrate a beautiful and largely forgotten movie genre – films about girls with big boobs that are out of the league of the nerdy boys that crave them. At a summer camp! Plus zero gravity scenes set in outer space and a Boob Bot. Main Stage.

The Supremes at the Apollo Theater. Photo courtesy of The Apollo Theater Foundation, Inc. Photo by Kwame Brathwaite.

Explore one of America’s most iconic theaters in AIN’T NOTHING LIKE THE REAL THING: HOW THE APOLLO THEATER SHAPED AMERICAN ENTERTAINMENT, a new special exhibition opening today at the Atlanta History Center and running through March 4, 2012. 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.

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.

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

By Dean Treadway
Contributing Blogger

“My love, my eidolon, my substance of dreams, my Dark Lord. Tension maker, Faery dweller, Protean visaged. You are part of the edifice of a painting more gigantic than any other, maker of dreams more vast than any painter ever dreamed. Guide of my brush, companion of my learning, child of my knife, builder of my painter’s life. I have returned to you. I see you again in your austerity, your splendor, your animal grace, your pain. I see you as Michelangelo heroic, as Leonardo grotesque. I see you and only you, my Dark Lord, my Prince of the Night, my Master of my hand and eye. And I am home. My blood-dabbled canvases. My rough linen. My dream images of the crowded man. I am home and secure.”

—Jimimi Fowlkes, August 19, 1979

Years after her death, a prolific painter named Jimimi Fowlkes is having her first show. Being that the entire exhibition is devoted to paintings of actor Sir Christopher Lee, best known for playing Dracula on film, the world premiere opening party/fundraiser (this Saturday, October 29 at the Blue Tower Gallery at the West End’s Metropolitan Arts Complex) surely qualifies as Atlanta’s most unique Retro-Halloween festivity.  It’s not often that one can say they’ve never seen anything like one thing or another. But we can certainly say such about Jimimi’s works. This show will be a one-of-a-kind event.

Mrs. Fowlkes was a quiet, enigmatic presence in Atlanta’s Morningside community, where she lived for decades with her scientist husband Roy. It’s quite likely that most of her neighbors never realized there was a dedicated and talented artist living in their community, because Jimimi (called Mim for short) rarely talked about her work, and even more rarely showed any of it to anyone. She began painting portraits in 1970, first of herself and her sister. Then she tapped into her love of history by composing views of Victorian parliamentarians, and then of Russian icons like Ivan the Terrible and Rasputin. She went on to portray such diverse figures as Thurgood Marshall and Joan of Arc. But in 1978, she launched into a realm that would capture her passion, along with her hungering hands and eyes, nearly exclusively for the next few years.

In the face of the actor Christopher Lee, Mim found a set of features that truly possessed her. In the copious diary entries she penned alongside her paintings, she confessed her fascination with what she came to call her “Enigma”:

“I am resigned to spending this year learning the trade, painting the Enigma until I can do it blindfolded. How I love him! What beauty illuminates the face. Such joy to be permitted to spend my days in contemplating that face.

—J.F., June 6^th, 1978

This goes beyond mere fandom; Fowlkes enjoyed seeing Lee in movies, but only so she could study his every move, his very structure. Ultimately, Jimimi Fowlkes painted Sir Christopher’s likeness some 250 times, always in acrylic paint (sometimes mixed with her own blood) and most often on modestly-sized canvases. She at first used promotional stills from his many DRACULA films, filmed by Britain’s Hammer Studios, as her models. But after a while, she was able to paint him in any way she imagined. She’d use brushes for a smoother texture to the works, then discovered working with a knife enabled her to build portraits with a surplus of tactile energy. There’s one painting of Lee as Rasputin (a role he played in 1965’s RASPUTIN, THE MAD MONK), and another of the actor as Lord Sommerdale from Robin Hardy’s 1973 film THE WICKER MAN. And there are some portraits that look like straight-up promo shots of the actor. But most are of Lee as Dracula—sometimes disintegrating as sunlight hits his face, sometimes regal and posed, and often with multiple images of the face superimposed impossibly atop one another. To see 175 of these paintings hanging side by side on theBlueTower’s gallery walls is…well, creepily astonishing.

Chalk this phantasm of a show up to Mrs. Fowlkes, yes. But credit must be given also to Giselle Malluche, Mim’s neighbor who was bequeathed the artist’s entire output (over 500 works) after helping Mim through her last years of life. Malluche is now in the process of starting up her own long-dreamed-of charity organization, called Change to Humanity, and she’s hoping Mim’s paintings will act as a springboard for good acts to benefit Atlanta (and the world’s) underprivileged youth. The show she’s curated for October 29—complete with bands, DJs, food, drink and costume contests—has a $35 admittance fee (after 11 pm, the price goes down to $10), and it’s all going to the kids. There’s also a printed collection of the paintings in the works, complete with Jimimi’s diary entries (full disclosure: edited by me); this project, titled MY ENIGMA, should be completed sometime in 2012. Until then, this Halloween show will be your foremost opportunity to see this beyond-unique collection. Don’t miss it.

The Blue Tower Gallery is located at 675 Metropolitan Parkway, in the Metropolitan Arts Complex. The October 29 show also features music by Spaceseed and the Cold Ones, lights by Area 51 and a night of horror films in the Panorama Ray Theater. The cover is $35 ($10 after 11 p.m.), with all proceeds going to Change to Humanity. 

Dean Treadway is a longtime Atlanta film analyst and film festival programmer with more than 25 years of published works. His popular film blog is called filmicability with Dean Treadway.  He is also a correspondent for Movie Geeks United, the Internet’s #1 movie-related podcast.

Atlanta’s only Halloween haunted attraction inside the Perimeter, Gorehound Productions‘ Chambers of Horror doesn’t settle for the usual scares. Definitely not for everyone, the adults-only haunt behind The Masquerade, open every night in October and the first weekend of November, aims to be the most extreme in ultra-violence, depravity and gore, and from our recent visit, we can testify they succeed and then some.

Grab a drink at the Splatter Bar, then head down the hill to see a short news clip by intrepid Atlanta reporter Monica Coffin, which reveals that a black van bearing the logo of Chambers of Horror has been spotted near the mysterious disappearances of several locals. All of which is meant to wander if you’ll be taking a one-way journey through the meat-locker-metal doors of Torture Co. And beyond, indeed, the emphasis is on realism of the sickest kind, nothing supernatural but torture of all kinds—fire, assorted blades, chainsaw, firearms and even a gynecological scene so sensationalistic that it makes Cronenberg’s DEAD RINGERS seem like a Disney movie. Inside it’s more vignettes of increasingly shocking and gory body mutilation than monsters jumping out of dark corners. The acting is unnervingly good from torturers to victims, but it’s no fun to reveal too much. Much of it draws from contemporary splatter—though that has its roots in the limits pushed by Fulci, Argento and Clive Barker. A nod to the dungeons of Hammer and AIP’s Poe pictures, though, can be found in the Torture Museum, exhibiting Medieval gadgetry that Vincent Price’s WITCHFINDER GENERAL might have employed with gruesome glee in a dank dungeon. And then there’s a certain minister of mayhem, but hush, we can’t tell you any more except everything is meant to make more than uncomfortable and maybe, like a certain movie also playing this week, scream DEAR GOD NO!

ATLRetro managed to chain up Luke Godfrey, one of the mad masterminds behind Chambers, to get a sneak peek inside. And while we had him talking, we got him to confess a little about some of his other creepy contributions to Atlanta’s thriving horror scene as one of the co-creators of the Zombie Walk Atlanta (Sun. Oct. 16); Splatter Cinema, which won the Creative Loafing readers’ award for Best Film Series again this year, and is presenting a Halloween bonus screening this month of Lucio Fulci’s 1979 cult classic ZOMBIE (Fri. Oct. 21) at the Plaza Theatre; and the Buried Alive Film Fest, which rises again at the Plaza, Nov. 10-12.

Photo Credit: Thomas Kerns.

ATLRetro: How and when did Chambers of Horror get started?

Luke: In 2009 After doing horror events like Zombie Walk, Atlanta Horrorfest, Splatter Cinema, and an adults-only haunted house in the basement of the Graveyard Tavern called Crypt of Terror, I received a phone call from a good friend, Rene Arriagada, a local artist and event producer, asking me if I would like to start up a haunted house with him. I brought in my partner in Gorehound Productions, Ian O’Brien, and we began the creation of the sickest thing this city has ever seen.

What separates Chambers from Atlanta’s other haunts? 

Chambers is about as sick and twisted as you can get. It’s unlike anything you’ve ever seen—pushing the limits and boundaries to an extent that really sets peoples nerves on edge. We are an adults-only attraction with a full bar and there are many reasons for that. We kicked all the monsters—ghouls, goblins and zombies—out the f—ing door to make room for real horror. It’s like being dropped right in the middle of a SAW or HOSTEL-type movie. All well-trained actors delivering skits that will have you on the floor screaming in fear or crying in laughter. We hold hard to the 18+ policy due to extreme situations, simulated nudity and vulgar language. It’s real. It’s just like what you would expect at an R-rated movie—no censoring here.

Photo Credit: Thomas Kerns.

Definitely more of the SAW/ HOSTEL/ torture porn genre. We want to keep with the times and do something none else is doing. I love the classics and zombies and the such, but there’s a place for that and we are not it. No rednecks in overalls here; we have people in suits and ties cutting titties off.

What’s new and different in this year?

Lots of new actors, some seriously amazing new additions to our cast that really bring our show together, as well as many new rooms and additions. We amped up the gore and skin throughout the entire place. I mention simulated nudity before, yeah…there’s a lot more of it this year.

Without giving too much away, do you have a favorite scene or one that you’d like to especially warn visitors about?

Three words….”I got peed on”

How long did it take to create the sets? Any behind-the-scenes trivia or secrets?

Myself and Rene have been at it since February of this year—building most of the props ourselves and coming up with some ridiculous ideas. Many people ask us “how the hell do you come up with this shit?” Our constant reply is “lots of drunken nights sitting in rooms and spurting off some of the most ridiculous ideas ever.” I really wish someone was around recording some of our impossible and bad ideas.

How many zombies participated in last Sunday’s walk and how did that go?

I would say we probably had around 750 zombies this year. We did over 1000 last year and it was way outta control. I warned everybody that I would punch them in the face if they stepped out of line and its seemed to work. Everybody was really cool and respectful to both Wonderroot where we started and Oakland Cemetery. I was very pleased with the walk this year. It was awesome.

Splatter Cinema is presenting a bonus show this month of Fulci’s ZOMBIE. What do you love about that movie and what else is coming up for Splatter?

Whats not to love. It’s gory as hell. I think my favorite scene is the eyeball splinter scene. I love Fulci’s eye torture gags. They are ridiculous. The one from THE BEYOND always gets me, too, with the spiders,

The Buried Alive Film Festival is also right around the corner. What can you share about this year’s line-up and is there anything Retro or Retro-inspired?

We do have an film called CHILLERAMA that has a bunch of grindhouse/retro shorts from different acclaimed directors. It’s a pretty awesome flick. Definitely the highlight of the fest this year. As CHILLERAMA’s Website states, “In the spirit of classic anthology films like CREEPSHOW and TWILIGHT ZONE: THE MOVIE and containing films that not only celebrate the golden age of drive-in B horror shlock but also span over four decades of cinema, CHILLERAMA offers something for every bad taste. With titles like Wadzilla, I Was a Teenage Werebear, The Diary of Anne Frankenstein and Zom-B-Movie and featuring appearances by Joel David Moore (AVATAR), Lin Shaye (INSIDIOUS), Ray Wise (X-MEN: FIRST CLASS), Kane Hodder (FRIDAY THE 13TH), Eric Roberts (THE DARK KNIGHT) and more cameos than you can count, CHILLERAMA is sure to have you screaming for more. From the depraved minds of Adam Rifkin (DETROIT ROCK CITY), Tim Sullivan (2001 MANIACS), Adam Green (FROZEN), and Joe Lynch (WRONG TURN 2).

Finally gotta ask, you’ve built an entire career/lifestyle around horror. How did you get into horror and what’s the appeal to you?

I was exposed to horror at a pretty early age. NIGHTMARE (ON ELM STREET) and Freddy Krueger were a pretty regular occurrence. My mom is a huge horror fan, too, and was always letting me watch the stuff. Or I would sneak up after hours to catch some cheesy after hours horror flicks. I just love the rush I get from horror films. They don’t scare me anymore, but they still get me pumped when I find a good flick that somehow manages to surprise me with something new.

Chambers of Horror is open seven evenings a week for the entire month of October and the first weekend of November and offers many ticket options from $17 general admission to a limited $45 VIP Pass (which includes getting to skip the line and a free drink) to satisfy even the most discerning torture connoisseur at Ticketmaster.com. No one under 18 admitted.

The Little Five Points Halloween Parade and Festival may be chock full of the craziest costumes you’ll see in Atlanta during the spooky season, but zombies, vampires and Elvis impersonators don’t hold a candle to us compared to real ’70s rock star Jayne County who will be playing the Main Stage behind the Star Bar with her new band, the Electrick Queers, at 10 p.m. Every real American punk rocker knows that musical revolution didn’t start across the Pond with the Sex Pistols, but at a couple of smoky clubs in lower Manhattan called CBGB and Max’s Kansas City – and Jayne, formerly Wayne, County was at the audacious heart of that then-burgeoning scene along with the New York Dolls, Iggy & the Stooges, Patti Smith, the Ramones, Blondie, Television, Pere Ubu, Cherry Vanilla, the list goes on. As Andy Warhol said, “Max’s Kansas City was the exact place where pop art and pop life come together.”

Recently Jayne County, though, returned to her Georgia roots, and ATLRetro couldn’t resist making her this week’s Kool Kat especially since we caught up with her while she was making homemade chicken soup for her own ever-growing family of cats. Of course, we couldn’t miss the opportunity to find out what outrageous plans she has for Saturday night’s gig, her take on the scene in Atlanta in the ’60s and now, and what else she’s up to now, from her artwork to her passion for protecting homeless felines.

Back in New York in the late ‘60s/early‘70s, did you feel like you were at the start of something new – first hanging with Warhol and then glam and the punk rock? Or was it just the way things were?

We knew it was something new.  A lot of people didn’t think anything of it. I knew Glam was gonna loosen things up with fashion and all. Now you have metrosexuals… all the things that we were doing then were outrageous, but now they seem normal.  I knew what we were doing would eventually change things.

You’re born and raised in Dallas, Ga, and it’s easy to imagine why you’d leave and head to New York. Why did you decide to come back to Georgia?

I came back to Georgia because of tragedies in my family. My parents had been sick, my sister’s suicide and my brother’s murder made my mind up to come home and help the family as much as possible. Plus, I was sick to death of paying a fortune to live in a tiny, grimy shoe box in NYC. (laughs)

What do you think of the music and creative scene here in Atlanta and how does it compare to being here in the 1960s?

Well, the scene is a lot bigger, and then there’s more happening. It doesn’t compare to the ‘60s because it was totally radical. We were changing things. When I came back to Atlanta, I was pleasantly surprised at how much was going on and I wanted to be a part of it. I have Dick Richards to thank for that. He brought me back here in the ‘80s and ‘90s to places like Club Rio and Velvet.

Do you have a favorite memory of Atlanta back then? Maybe one that would surprise us?

That could go either way. Good memory or bad. One of my best memories was when they started having BE-INS and art shows in Piedmont Park. Seeing Atlanta’s own Diamond Lil perform for the first time at Miss Pea’s. Worst memory: there was a law that if you were male and your hair touched your ears you could be arrested for female impersonation. They used that to harass people and give them “free haircuts.” That memory sticks with me.

Coming back to the present, what did you enjoy most about playing the L5P Halloween Festival last year?

What I enjoyed most was having an opportunity to perform here, on my home ground, in Atlanta. All these years I concentrated on California, New York City and Europe, never concentrated on the South at all. I totally enjoyed letting people experience my own brand of musical mayhem and madness. Also, some people are still surprised to find out that Jayne County is actually from the state of Georgia and not New York City.

What’s the story behind your current band, the Electrick Queers, and who’s playing with you?

This goes back to doing things on my home ground. I’ve never had what you call a local band. I’ve always wanted to have an opportunity to work and record with a band from the South. I worked all over the world, but not here. I was asked to perform at the DebuTAUNT Ball, a benefit for PAWS Atlanta, and needed a band. I met my guitar player Jet [Terror] through close friends. He put together a lineup of homegrown musicians: Jet Prickett, Gary Yoxen and Rob Kirkland.

Will you be playing old favorites or are you throwing in some new material? Any other special plans for this year’s gig?

I will be performing mostly old favorites like: “Are You a Boy Or Are You a Girl,” “Max’s Kansas City,” “Man Enough To Be a Woman,” “Nighttime” and, of course, “Cream In My Jeans.” People tend to want to hear the songs that I’m most famous for performing. Every once in awhile we do throw in a few new ones. All of these songs are available on Youtube. People become excited at the chance of hearing and seeing them performed live.

You’re known for pushing the limits at being outrageous and audacious on stage. Is it challenging to keep up that reputation after all these years?

It is especially because simply being transgendered is no longer as outrageous as it was. I’m famous for using “street language” as well which is now commonly used in a lot of our pop culture. I just happen to be the best at doing all of these things.  I also consider myself a natural comedian. I enjoy making people laugh and giving them a good time.

If you had to describe your music to someone who’s never heard you play, what would you say?

I always considered my music to be my own special brand of Rock and Roll, really. You can try to classify it as Glam Rock, Punk Rock or Alternative, but to me it’s just basic raw Rock and Roll. I always thought that was what rock and roll music was. Rock and Roll is Rock and Roll and when I do it, it ROCKS. Although, I think my music transcends being categorized, a lot of people consider me a transgendered Punk Rock pioneer and I can live with that.

Do I recall correctly that your last album was AT THE TRUCKS in 2006? Any plans for recording with the new band?

My record company released my first three complete albums in CD form this year. In the past my music has been released as compilations. This is the first time the full albums are available as they were recorded: THE ELECTRIC CHAIRS, STORM THE GATES OF HEAVEN and THINGS YOUR MOTHER NEVER TOLD YOU. I’m really looking forward to recording with the Electrick Queers. It’s exciting for me to be creative in the same in the place I was born and raised.

Where can people find Jayne County merchandise online?

All my material can be found on iTunes, eMusic and loads of my material is available on Cherry Red Records.

You also are an artist. When did you start painting, what mediums do you work in and what inspired you to take up the brush?

I’ve been an artist since I was a little kid. I had stacks of coloring books. I’d usually color outside the lines. I’ve always been artistic. Since I’m basically retired from constant touring, I’ve been painting again. A lot of my art is starting to become known and people really like it. This makes me extremely happy. I very often can express more emotion and feeling in my art than in my music. It’s a lot easier on my body these days to paint than frantically jumping up and down, rolling around on stage!

What else are you up to?

I care for 20 cats. If anyone would like to adopt one, please call me asap! (*she giggles*) No, I’m enjoying my new house and being able to take care for abandoned animals. Helping animals is very important to me. My touring schedule never allowed for pets, so I’m really enjoying this time and the ability to help abused animals.

Please get your cats fixed!!  It makes me sick how people treat animals. It makes me so mad. I couldn’t bear the thought of these cats being euthanized, so I took them all in and had them fixed. People should not have animals they can’t take care of! It makes me so mad.

What question does no one ever ask you but you wish they did?

I always wondered why no one ever asked me, “Do you know the way to San Jose?”

Special thanks to Jennifer Belgard for her help with this article.

When DEAR GOD NO! launched its world premiere at the Plaza Theatre last month, the Star Bar must’ve been empty. But while cast, crew and Kickstarter contributors filled many seats, the enthusiastic crowd also included plenty of curiosity-seekers, wondering if this homegrown homage to ’70s exploitation movies could deliver the over-the-top shocks it promised. From the enthusiastic audience response, it did and then some, making even this blogger, who has a high tolerance for cult flick violence, want to shout “DEAR GOD NO! they didn’t go there!” Now those who didn’t make it out will another chance to see it on the big screen when it starts a one-week run at the Plaza Theatre this Friday Oct. 21 through Thursday Oct. 27.

Shot in 16mm with ’70s period-authentic effects, DEAR GOD NO! follows outlaw motorcycle gang The Impalers on a tri-state rape and murder spree which culminates in a bloody massacre with rival club Satan’s Own in a dive bar (actually Tucker Saloon) with the added bonus of strippers in Richard Nixon masks with machine guns. Still keen to continue their rampage, the survivors invade a mountain cabin occupied by a scientist and his geeky daughter. And that’s when the depravity really begins as the bikers realize the scientist is mad, his wife is madder and the monster that lurks in the wilderness outside is maddest of all. Those who’ve been around the Atlanta alt-garage, Redneck underground and horror movie scene for a while will recognize plenty of familiar faces in the cast and crew including Shane Morton (Silver Scream Spookshow, Gargantua, Atlanta Zombie Apocalypse), Jett Bryant (Bigfoot), Nick Morgan (Splatter Cinema), Bill Ratliff (Truckadelic), Madeline Brumby (if you missed last week’s Kool Kat on Madeline, which includes her DEAR GOD NO! experience, read it here), Jim Stacy (Starlight Drive-In, Palookaville, Get Delicious!, AM Gold) and many more.

For the uninitiated, B-movies date back to the beginnings of film-making, but the ’60s/’70s variety – also called “grindhouse” movies thanks to the seedy cinemas they often played (when they weren’t at the dying drive-ins) – pushed the limits of onscreen sex and violence in such an audacious way that they gained a cult following and a new generation of contemporary imitators from Quentin Tarantino, who, with Robert Rodriguez, even produced a double-feature called GRINDHOUSE, to the makers of last year’s HOBO WITH A SHOTGUN. It may be tempting to dismiss DEAR GOD NO! as just the latest in that subgenre, but the level of affection, craftsmanship and fun (yes, strange words perhaps to be paired with an ultraviolent flick) elevate it – that is, if you have a strong stomach and buy into the filmmakers’ sense of humor. Yup, this movie is NOT for everyone.

Since last month’s opening, director/screenwriter/executive producer James “Jimmy” Bickert has taken DEAR GOD NO! out on the road to two festivals and it’s won at least one award.  We caught up with Jimmy recently to find out more about how DEAR GOD NO! is exploding Atlanta onto the underground film map, go behind-the-scenes during production and find out what’s next for the movie and its makers.

ATLRetro: Since the sold-out world premiere in Atlanta on Sept. 9, you’ve taken DEAR GOD NO! to two film festivals. What’s been the reaction there?

Insane. I knew a party would break out with the home team, but the reaction in Tucson & Las Vegas was equally outrageous. People were sneaking in cocktails, yelling, laughing, cheering, applauding and even giving me free beer and shots in appreciation. We picked up an award for Best Exploitation Film at the Arizona Underground Film Festival. I received so many handshakes and pats on the back in Vegas [Pollygrind 2011] it felt like we were running for office. Haven’t heard if we won anything there yet. I just got back. It’s starting to gain momentum as an ultimate party movie. Film festivals are rescheduling us at midnight, and that’s perfect for an exploitation film.

Let’s start in the beginning, what’s the story behind how you came up with the idea for DEAR GOD NO! and got it off the ground?

Shane Morton, Nick Morgan and I were tossing around some ideas and came up with the idea of a Bigfoot vs. Biker crossover exploitation film. Something you would see at the end of a genres cycle. Originally we were going to attempt to make a lost film from the ‘70s that had somehow resurfaced on DVD, but as I began writing it, the pacing was too fast for a ruse. It almost becomes an action film. I’ve always been a big fan of ‘70s exploitation trailers so I tried to create something that would incorporate the fun ballyhoo they delivered and sustain it for a feature-length running time. DEAR GOD NO! gives you bikers, horror, sexploitation, cool cars, blood, laughs, gross outs, explosions, boobs, Nazis, Bigfoot, lofty themes, crazy dialoguw and incestual lesbian rape! Never seen that one before? Well, we got it. According to the reviews, it all works. Whew!

What classic exploitation and horror films served as inspirations for DEAR GOD NO!?

It’s hard to pinpoint all of them because many are subconscious. The ones I’ve noticed the most coming through are DEATH WEEKEND (a.k.a. HOUSE BY THE LAKE) and I DRINK YOUR BLOOD. But there are some moments from Something Weird Video collections of stag loops, SAVAGE SEVEN, WEREWOLVES ON WHEELS and NIGHT OF THE BLOOD BEAST. We even rip on SCHINDLER’S LIST. The film is packed with obscure exploitation references, but they only enhance the script. If you don’t catch a reference, it won’t hinder the experience. Visually there are many pop culture influences like E.C. Comics and Men’s Adventure pulp magazines.

With DEAR GOD NO!, you push the limits for onscreen violence, nudity and gore. What were your parameters for what was too extreme, does anything in the movie make you uncomfortable, and is there anything you filmed that went on the cutting room floor because it was too much even for you?

I don’t feel anything is off limits if it fits the story. DEAR GOD NO! has ‘60-‘70s style nudity and gore so it may push the boundaries for what some people expect from that time period, but it never enters the realm of what critics currently call the torture porn genre. We crossed over into that realm with one scene involving a pregnant character. I kept enough in to give the audience a good jolt but most of it hit the cutting room floor. There has to be a good balance to keep things fun for the crowd and it was starting to push into nausea. The genre is packed with that stuff now and it’s not what DEAR GOD NO! is about. We’re more John Waters than HUMAN CENTIPEDE 2. It’s suds cinema for drunken friends and not porn for loners in raincoats.

OK, bikers and Nazis are classic ingredients for exploitation movies, but why Bigfoot?

Bigfoot is a staple of the Southern drive-in, and I wanted to cast him in a good movie for a change. He has been getting crappy roles since NIGHT OF THE DEMON. Atlanta has the ultimate Sasquatch/Yeti in Jim Stacy, so we had to exploit him.

What was your favorite scene in the movie to shoot and why?

The squibs were the most fun to shoot because the extras love it. There is such a look of shock when it goes off and everyone on set breaks into applause. I could shoot squibs all day. It doesn’t get old. My favorite scene in the film is when the inebriated biker gang runs across a hillbilly kid who has them completely perplexed. Even after seeing it 100 times, I cannot watch a festival screening without laughing out loud.

Why did you decide to shoot DEAR GOD NO! all in Super 16mm with equipment from the ‘70s? Were there any specific effects which you’re particularly proud to have accomplished in the traditional way, versus CGI?

I wanted it to be authentic as possible, and we really immersed ourselves in things from the era. There were props that didn’t make it on screen from the ‘70s, but it helped create the illusion that we were making a film in 1973. I want to go back as soon as possible. We were all pretty proud of our van explosion. That’s a classic practical effect that Hollywood has been getting away from by using computer overlays in After Effects. There’s a poorly [executed] CGI explosion in MACHETE when a car blows up but doesn’t move or fall apart. We couldn’t have that, and what good Southern film doesn’t have an explosion in it? Not much that I want to see.

The cast and crew boasts a who’s who of Atlanta grassroots indie scene of actors and artists including many of the same folks behind the Silver Scream Spookshow, Atlanta Zombie Apocalypse, Splatter Cinema, Starlight Drive-In, etc. You’re the writer/director/exec producer, but are you proud to share the credit with a homegrown team, especially as DEAR GOD NO! gets screened across the country and around the globe?  

When we show up at a festival, people know we are from the ATL. We ran up such a large tab at the gay bar next door to PollyGrind 2011, the owner said he should change his theme by replacing the rainbow flag with an Atlanta Falcons banner. Shane Morton and I drank a torture porn crew from L.A. under the table in Tucson. We even had an 8-hour start on them. Yeah, they know where we are from and we’re proud of it.

There are a ton of talented people in this town. I’m still amazed we got them all together. One of the aspects of DEAR GOD NO! that I’m most asked about is the music by The Forty Fives and the score from Richard Davis of Gargantua. There is a whole cast of musicians like Johnny McGowan, The Biters, The Booze, Adam McIntyre and Kris Dale involved that essentially come from The Star Bar including our lead actor Jett Bryant from the band Bigfoot and actor Billy Ratliff from Truckadelic. Just about everyone from Dusty Booze and The Baby Haters was involved. You will see a ton of Atlanta musicians as extras and Gargantua’s Creepy Kenny even built us a flame wand now in use at The Atlanta Zombie Apocalypse. There is a very big Star Bar connection with this film.

Seems like typical movie investors might get squeamish funding something this extreme, so it’s not surprising that to hear you used Kickstarter to raise some of the money and pulled some out of your own pocket. What was the budget and how was it funded?

You’re right. We had cast and crew drop out because they didn’t understand what we were attempting. Many people thought we were making porn or God knows what. It’s hard to convey that you are making a unique exploitation film when they don’t understand any of the references. Even worse if you’re asking someone to invest money.

It’s hard to really gauge the budget because so many talented people contributed time for free. Jonny Rej (Atlanta Zombie Apocalypse /The Plaza) gave us some free film and equipment, Slopes BBQ fed us, Fuji North America gave us ½ off on film stock for shooting a feature. It went on and on. It was a very quick shoot with a massive amount of preplanning between A.D. Michelle McCall, cinematographer Jonathan Hilton and I which helped keep cost, time and favors down. We didn’t wear out our welcome too bad. I do have a budget number, but I save that information for when someone buys me a beer.

After the Plaza limited engagement, what’s next for DEAR GOD NO! More festivals? Is there a distribution deal and when will it be commercially available on DVD/download? Is it true there’s going to be a sequel?

We currently have a quite a few distributors interested from all over the world. At the end of our festival run, we’ll sit down and start seriously negotiating which rights and territories we want to part with. We currently have festivals lined up in Raleigh, Erie, Mobile and Bogotá, Colombia. Theatrical screenings (mostly midnight) are booked in Portland, Ottawa, Toronto, Hamilton, Las Vegas and London. We’re adding screenings every week, and people can keep up to date by liking our Facebook page or checking the website at www.deargodnomovie.com. If you live in a town that shows midnight movies, ask for us or send me information about the theater.

It’s true there is a sequel in the works called FRANKENSTEIN CREATED BIKERS. It will have your jaw on the floor….again.

All art and photos courtesy of Big World Pictures.

By Jordan Barbeau
Contributing Blogger

Monday, October 17

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. For a classy, laid-back evening, head over to Café 290 around 8:30 PM for their Big Band Night, featuring the jazz talents of Joe Gransden and his 16-piece band.

Tuesday, October 18

Grab your horn and head to Twain’s in Decatur for a Joe Gransden jazz jam session starting at 9 p.m. JT Speed is at 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.

The Serenaders

Wednesday, October 19

Get ready to rumba, cha-cha and jitterbug at the weekly Swing Night at Graveyard Tavern. Frankie’s Blues Mission plays 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. For a down-home good time, Retrobilly/country bands The Serenaders and Waller are both playing at Park Tavern.

Thursday, October 20

The Breeze Kings and Frankie’s Blues Mission bring on the blues respectively at Northside Tavern and Fat Matt’s Rib Shack. BlueBilly Grit play Bluegrass Thursday at Red Light Cafe. Smith’s Olde Bar showcases the talents of New Orleans-based funk/brass band The New Orleans Suspects and sweeter-than-honey honky-tonk band The Honeycutters . Southern belle Sonia Leigh  shows off her powerful voice and moving lyrics at the Variety Playhouse.

Friday, October 21

Who says charity events have to be boring? The Morningside-Lenox Park Association holds their fourth annual Monumental Ball at MagnoliaPark. It’s $60 a head for admission, but the Ball benefits the restoration of the Morningside-Lenox area. Guests will enjoy food, drinks, dancing and live music courtesy of Kingsized. Big Mike‘s inspired by Elvis, and with their Vegas-y rock/swing/ lounge feel, your hips will be moving just like the King’s.

Part of an 80s triple threat, Denim Arcade performs in 37 Main’s “3 Bands 1 Night,” along with Reason Y and Asphalt Eyes. If you missed our Kool Kat interview with Denim Arcade leading lady Becky Cormier Finch (also of Three Quarter Ale), read it here. Eighties big hair may be scary, but as Halloween approaches, no October weekend would be complete without some real horror movies. Splatter Cinema presents Lucio Fulci‘s brain-munching classic ZOMBIE(1979) in full remastered and uncensored 35mm gory glory at 9:30 p.m. at the Plaza Theatre, and homegrown neo-exploitation movie DEAR GOD NO! starts a not-for-the-squeamish week run at the Plaza, too. Read our exclusive interview with director James Bickert here. Meanwhile The Mansion Hotel on Peachtree unleashes Alfred Hitchcock’s infamous THE BIRDS (1963) in its English garden; pre-screening reception starts at 7:30 p.m.

Salsambo provides the music and gives lessons in the fiery Latin dance style during Salsa Night at the Fernbank Museum of Natural History’s Martinis and IMAX, where drinks and food compliment several showings on Atlanta’s largest IMAX movie screen. Stoney Brooks performs at Northside Tavern. Head over to The Basement for some southern-style head-bangin’ as The Six Shot Revival and Floored (take the stage.

Saturday, October 22

The Little 5 Points Halloween Festival takes Atlanta by spooktacular storm! From Noon until 11 PM, Little 5 Points is transformed from boho business and arts district to one of the best and most creative Halloween treats in the southeast! Food, drink, live music and a huge parade combine to offer tons of frights and fun. A little bat tells us that ATLRetro may even be joining that phantasmagoric parade (Care to march with us dressed up as your favorite 20th century decade? Drop a line to atlretro@gmail.com). The day’s band line-up includes some ATLRetro favorites such as hell-raisin’ honky-tonk honeys The BareKnuckle Betties and the glam-tastic, groovy ghoulie The Sexual Side Effects. Catch up on our Kool Kats on Julea Thomerson (The BareKnuckle Betties) here and Amber Taylor (The Sexual Side Effects) here. And we can’t think of a more fitting end to the night than the one and only Jayne County and the Electick Queers conjuring up the spirit of legendary Max’s Kansas City behind the Star Bar at 10 p.m. Jayne’s our Kool Kat this week, too.

Kermit Ruffins

The Rialto Center for the Arts at Georgia State University holds the opening night of A Night in Treme: The Musical Majesty of New Orleans, based on the HBO Spike Lee film TREME. Kermit Ruffins and the Soul Rebels Brass Band and other top ‘Nawlins musicians chronicle the history of the Big Easy’s music and traditions.

If you grew up in the ’80s, consider the Red Brick Brewing Company your time machine for the night: TAP is throwing an ’80s themed party there! Food from TAP, beer from the Red Brick Brewing Company and live music by ’80s band Girls, Girls, Girls assure that festivities will stretch on into the night! Tease your hair big and bring on your best ’80s outfit, as costumes will be judged for three best awards. For more ’80s music and fun, head over to the Dunwoody Music Festival in Brook Run Park. Headlining are special guest appearances by Liberty DeVitto (Billy Joel’s drummer), Jim Peterik (the writer of Survivor’s hit “Eye of the Tiger“), Jeff Carlisi (one of the founding members of .38 Special), and many more!

For a more artsy affair, the High Museum of Art continues their month-long film event, Modern Masters of Film: From Edison to Scorsese, with a rare showing of the 1916 silent Western HELL’S HINGES. An extra treat is an introduction and silent-film accompaniment by distinguished composer and scholar Dr. Philip Carli.

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

Hot Rod Walt and the Psycho-Devilles are back at the Dixie Tavern, for what always is a rockabilly great time and maybe set a guitar on fire. Read our Kool Kat on Hot Rod Walt here. Tommy Womack, former lead singer of ’80s post-punk band Government Cheese, takes the stage at Eddie’s Attic. If you’re in the mood for blues, Fat Matt’s showcases the high energy style of blues act Big C & The Ringers, while Breeze Kings rock the blues at Northside Tavern. And as usual, DJ Romeo Cologne transforms the sensationally seedy Clermont Lounge into a ’70s disco/funk inferno late into the wee hours.

Sunday, October 23

The Serenaders serve up “modern retrobilly” at blues “dunch” between 1-4 PM at The Earl. Fatback Deluxe brings on the blues at Fat Matt’s. Eddie’s Attic houses the musical talents of the Jan Smith Student Showcase, a group of student performers led by their teacher, Jan Smith. Smith’s Olde Bar gets you ready for the week ahead with a musical triple threat in the form of Homefront, The Deacon Brandon Reeves and Summer More than Others.

Ongoing

The Supremes at the Apollo Theater. Photo courtesy of The Apollo Theater Foundation, Inc. Photo by Kwame Brathwaite.

Dad’s Garage‘s  ZONKERS – An Eighties Tit Comedy has been extended through Oct. 29.Yup the zany guys and gals at Dad’s celebrate a beautiful and largely forgotten movie genre – films about girls with big boobs that are out of the league of the nerdy boys that crave them. At a summer camp! Plus zero gravity scenes set in outer space and a Boob Bot. Main Stage.

Explore one of America’s most iconic theaters in AIN’T NOTHING LIKE THE REAL THING: HOW THE APOLLO THEATER SHAPED AMERICAN ENTERTAINMENT, a new special exhibition opening today at the Atlanta History Center and running through March 4, 2012. 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.

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.

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

In epic tales of man vs. nature, we find champions in MOBY DICK, THE OLD MAN AND THE SEA and 20,000 LEAGUES UNDER THE SEA: fierce battles to overcome insurmountable challenges from the deep. If these heroes can confront such odds, then surely we can take on whatever troubles we are facing in real life. We use these stories as illustrations of bravery, loyalty (to ourselves and others) and endurance. Literary symbols of courage when things get to be too rough.

Now, take that concept, add some slapstick, put it on the silver screen – and you have Lisa Stock’s next venture: THE JULES VERNE PROJECT. This short film aims to combine all the physical humor of Buster Keaton, the cut-throat survival tactics from LORD OF THE FLIES and the unblinking focus of a voyeur come across a scene of outrageous monster mayhem. ATLRetro readers will remember Lisa as the director who staged Neil Gaiman’s SNOW, GLASS, APPLES in East Atlanta this past August (read our Really Retro piece on Lisa here). We recently sat down with Lisa to discuss THE JULES VERNE PROJECT and her crow-funding efforts to make it happen.

Ed. Note: If you’d like to be a part in bringing this film to life – an Indie Go-Go campaign to raise its modest production financing runs only until Friday Oct. 21! (details below)

ATLRetro: What is THE JULES VERNE PROJECT?

Lisa Stock: THE JULES VERNE PROJECT is a short live-action sea monster movie. I refer to it as: THE BLAIR WITCH PROJECT meets LORD OF THE FLIES meets Laurel and Hardy meets Jules Verne. It’s a story of shipwreck, bravery and the dire consequences of alienating your allies. Basically – we take a Strongman, a Deck Hand, and a Lady with a Parasol and strand them on a desert island with a big giant tentacle on the loose! Oh – and there’s a hot-air balloon shot out of the sky too.

How would you classify it? Comedy, adventure, silent film, steampunk, retro?

Yes.

Your creative projects, such as SNOW, GLASS, APPLES and TITANIA, have often been staged/filmed unconventionally. How is THE JULES VERNE PROJECT different in that respect?

Well, first of all we’re going to do the entire film in one take, one shot. No editing of multiple angles. The camera will even be stationary. So most of our tricks will have to be done “in the camera” – which is why I’m opting for a fabricated sea monster tentacle as opposed to a CGI one. I really want to push my boundaries as a storyteller and filmmaker and do something I’ve never done before.

There will be some effects done in post-production, such as the hot air balloon, but 90% will be done on a beach, one shot, all in one tableau – my actors and puppeteer are going to love me. Haha! But that’s the fun of it – we’ll all be pushed passed our normal limits, and who knows what we’ll discover.

So, if it’s all done “in the camera,” what won’t we see? 

Hopefully, our tentacle puppeteer! We’ll have to do this several times, I’m sure, to get a take that is mistake-free. But it’s short. And we’re going to have to do a lot of wiping footprints and tentacle marks from the sand in between each run-through.

In addition, I’m planning to do something really cool with the actual image in post – in terms of frame rate, that might be a nice surprise for our epic battle sequence.

What are you going to do with the film once it’s complete?

As much as I think film festivals are valuable to the indie realm, I want as many people to see this as possible. So we’re going to put it up online in April. There’s little to do in post, and that will give us a very short turnaround time. I want people to see it and enjoy it. The movie will also be a good example of what we (me, my cast/crew) can achieve as filmmakers, and it will give us the opportunity to tell a story that is hilarious and poignant.

Tell us about the Indie-Go-Go campaign.

We’re currently doing an Indie Go-Go campaign to raise funds for the film. But only until this Friday – Oct. 21! I did a Kickstarter campaign last year for my film THE TITANIA PREQUEL and was successful. I like getting my projects funded this way – because it comes directly from an audience I can give back to directly. No middleman to take away all their money, and take away all of my inspiration. So many independent artists are getting funded this way now. People who like your work or are interested in what you’re doing can donate. And what you see is what you get. I’ve supported a lot of projects like this myself. It’s important to let artists be artists – I think the results are much stronger.

We’re raising funds now mostly for the massive tentacle puppet. We need to get started on that for it to be ready for our April shoot date. And give ourselves ample time to rehearse with it. Donations for THE JULES VERNE PROJECT start at $1, $10 and go up from there. And this time we’re getting really creative and fun with our donor rewards! Everything from messages in a bottle to downloads and personalized notes and treasures from the set. To donate visit: https://www.indiegogo.com/The-Jules-Verne-Project

You’re also giving 10% to a charity?

Yes, when I do a large project, I like to give back. A couple of months ago I lost a friend I’d grown up with. He was only 37. There was an animal rescue he was fond of and we’ve decided to give 10% of what we raise with this campaign to that animal rescue in his name.

Lisa Stock. Photo credit: Jaclyn Cook.

It seems you like the sea. Recently, you started an Internet radio show called SRN: THE SIGNAL.

That’s right! Sirens, sea monsters – the ocean inspires me! SRN stands for the mythic siren. The show discusses all things mythic, fantasy, fairy tale, sci-fi, etc. I’d like to say we have a traditional format with a twist – but as it’s looking each show will be really different. Our next broadcast is Oct. 30 and we’re discussing graveyards and ghost stories with some Atlanta-based cemetery caretakers. In future broadcasts, we’ll be talking to the folks at High Rez Studios about their forthcoming game, SMITE, based on Greek mythology, and we will also have some well-known writers and actors coming by. Hope you’ll tune in!

Anything else our readers can see of yours currently?

I have a poem being published in Burial Day Books’ GOTHIC BLUE BOOK out on October 28. It’s all about the legend of the Wild Hunt and Furious Host. And, not currently, but in the spring, I hope to do a dark and scary stage version of HANSEL AND GRETEL.

By Angie Weiss
Contributing Blogger

Before I tell you about Netherworld, I must give full disclosure: I am easily scared. Like crazy scared. There can be the mere suggestion of something potentially frightening about to happen, and I curl up in a little ball. I can know that something lurks around the corner, but if said thing jumps out at me, I will scream like a baby anyway. So this post is not about whether or not Netherworld is scary. I’m certainly not the one to ask. But if you are looking for something that is psychologically thrilling, visually stunning and an overall can’t-miss Halloween experience, then I can tell you that Netherworld, open every night in October (and Nov.4-5), is the haunted house for you.

Now in its 15th year, Netherworld is divided into two attractions. “The Nightmares” is the main event, a huge haunted house that feels like it goes on forever, through hallways of old manors and gardens of gargoyles. “Raw Meat” is smaller, gorier and chock full of turn-your-stomach scenes.

In “The Nightmares,” a mix of illusions, animatronics and stellar actors work together to play off your worst fears. Monsters? Vampires? Voodoo priests? They’re all here to toy with your mind. The suspense factor in this one is quite strong, as the hallways wind through mirrors and tunnels and you never know what lies waiting around the next bend. Sure there are some jump-out-of-your-skin moments, but for me, this is more of an overall creeptastic experience that you’ll want to take time to enjoy. It may be tempting to run through the house out of fear, but slow down and absorb everything that’s going on. The intricately detailed sets alone are well worth the price of admission.

“Raw Meat” is, well, much like if you took a subway into a sewer and encountered THE TEXAS CHAINSAW MASSACRE. Gone are the supernatural beasts of “The Nightmares,” and here come the cannibals and clowns. These earthly horrors make the situations in “Raw Meat” all the more real. The special effects are aimed at your senses, fully taking advantage of what sight, touch and sound can do to your psyche.

I had an absolute blast at Netherworld. I left feeling adrenalized, my mind racing with what I’d just seen. I had to find out more about what’s behind this brilliant haunted house, so I asked Billy Messina, Netherworld’s co-creator and co-owner with Ben Armstrong, a little more about it.

ATLRetro: This is your 15th year. How has your vision for Netherworld evolved over the years? If someone hasn’t been to Netherworld since its first year, what is the one big difference they would see? 

Billy Messina: The Scale! Netherworld has always been about intense scares and extreme detail, but now we have more resources to bring to the table. In the early years, we still did a pretty good job of creating cool stuff, but now the scale of what we are able to do each year is much greater!

“Nightmares” plays off fears that many have. I have to ask – after all this time in the business, does any of it scare you?

We have lots of things that come from above. If I am not paying attention, it is a natural reaction to duck when something is coming down on you!

There is a really cool Victorian/steampunk aesthetic in “Nightmares.” Can you talk a little about how that subculture has affected your design? 

We loved that entire steampunk look long before we ever heard the term! Fifteen years ago we talking about looking like the Nautilus or Jules Verne. A lot of what we do in Netherworld is influenced by H.P. Lovecraft, one of the progenitors of modern horror and science fiction.  I think we have always had sort of a more mythic, more literary focus than most haunts, and we also always loved the look of classic horror like the original James Whale BRIDE OF FRANKENSTEIN. Now that sort of thing is almost mainstream, it suits us just fine!

Your actors are incredible. Where do you find them? And who does their makeup? 

Many of our actors have been with us for years. Generally we don’t go looking for them any more, they sort of come to us, as most of them are former patrons. The makeup staff is lead by Roy Wooley who has been with us for 14 years, and this season on an average evening we have approx 8-10 make-up artists working.

“Raw Meat” is gory, dirty and downright disgusting. In other words, fantastic. Do you have more license to push the boundaries with the smaller haunt?

When we started Netherworld, we wanted to stay away from outright gore, but over the years that has obviously changed! The concept is to have the main show be something almost anyone can attend ( if they are not too freaked out) but to have the downstairs show be a little more nasty. If the upstairs show is THE LORD OF THE RINGS, the downstairs show is SAW. We wanted to have both haunts sort of work together to be a total package, so yes the boundaries are pushed further in “Raw Meat”!

The houses are so detailed and elaborate. When do you start planning for the next Halloween? Do you work in that space all year? 

We are always planning . Every day I have to push the new ideas away because we  have to focus on running the 2011 shows! You can bet we are already to get going on 2012.  Normally we don’t touch the physical haunt until about April, but this year we started in February. Of course, we begin at once on theming, planning, beginning complex effects, costuming and new creatures, basically anything that doesn’t require clearing any scenes. We like to keep it intact until we are 100% sure about what is coming down.

Speaking of next Halloween, can you reveal any details about what’s to come for Netherworld in the future? How do you continue to top yourself? 

Well, one thing we are planning in 2012 is a very expanded gift shop that is more like a themed walk-in store. It should be pretty cool when we are done and will be open year-round; at least that is the plan! As far  as the shows themselves, it is a bit too early to reveal anything, but you can be assured they will be way over the top!

Thank you so much for your time! If you have one piece of advice for attendees, what would you tell them?

Come see us this year because every year the shows change! We are open every night in October and the first Friday and Saturday in November, so come on down anytime, we will be lurking for you!

Netherworld is located at 6624 Dawson Blvd. in Norcross (30093). For tickets, hours and directions visit www.fearworld.com. 

With Halloween right around the corner, the Kool Kats behind the Rockabilly Luau are taking Mexico’s DAY OF THE DEAD and giving it literally to the dogs to raise money for three animal rescue charities on Sat. Oct. 15. EL DIA DE LOS PERROS a free family-friendly public festival features Mexican-themed games, food, craft vendors, a costume contest (for both humans and dogs), kids craft and activity area, and a mariachi band from noon to 5 p.m. at 559 Flat Shoals Ave. (30316), the same open meadow that hosts the East Atlanta Village Farmers Market.

You don’t have to dress up, but ATLRetro agrees with Ink for Paws cofounder and event organizer Chris Mattox that you’ll have more of a treat of a time if you do. “Any costume (for people or dogs) is acceptable, but we’re most fond of ‘sugar skull’ faces,” he says. “Women can dress in Mexican tunics which are often embroidered, or they can wear Mexican flamenco dress. Men can wear Quechquémitl, which is similar to a festive poncho. Anything is welcome, but the more elaborate the better.”

The vendors’ market isn’t vintage per se or dog and Day of the Dead-themed exclusively, but being full of handmade items, it’ll definitely take you back in time. Chris says there’ll be dolls, hats, blankets, baskets and crafts of all kinds, as well as a groovy Dia de Los Perros-themed raffle. “For those diehard Dia de Los Muertos fans, we have some amazing items up for grabs,” he adds.

Be sure to bring the kids for bouncy village, piñata, face-painting, puppets, and a crafts corner, too. “Kids can purchase a slab of tickets and play all day,” Chris says, which he compares to Chucky Cheese—but with a much more creative twist. Indeed, we’d much rather think about kids learning about a different culture’s take on Halloween and playing with skulls, though.

By Philip Nutman
Contributing Blogger

Silver Scream Spookshow Presents THE HAUNTED PALACE (1963); Dir: Roger Corman; Screenplay by Charles Beaumont; Starring Vincent Price, Lon Chaney Jr., Debra Paget; Sat. Oct. 15;  kids matinee at 1 PM (kids under 12 free & adults $7) and adult show at 10 PM(all tickets $12); Plaza Theatre; Trailer here.

Vincent Price is back to haunt The Plaza in THE HAUNTED PALACE (1963) another H.P. Lovecraft adaptation, and Halloween’s on its way! Cthulhu bless The Silver Scream Spookshow! Yes, yet another chance to see classic AIP/Roger Corman cinematic madness on the big screen in 35mm this Sat. Oct. 15! More Professor Morte and his madcap gang of monsters and monster babes! Oh, and some old Spookshow family members may return, too. Yowza!

THE HAUNTED PALACE was promoted as another Corman-Price-Edgar Allan Poe film, but while the title comes from a line in a Poe poem, it’s actually a very loose adaptation of Lovecraft’s THE CASE OF CHARLES DEXTER WARD, one of his more famous novellas. If you’ve never read it, you should. But more importantly, you should make a date for seeing the film at The Plaza this weekend because it’s the fifth anniversary of the Spookshow, it’s a terrific print of the movie, and Professor Morte is promising a magical event (literally).

“THE HAUNTED PALACE has become a favorite movie here at Morte Manor,” the Professor cackled to ATLRetro from his crypt in his secret batcave. “I watch this movie once a week, and I listen to the soundtrack [composed by Ronald Stein], which is amazing, all the time.” Before laying back down in his coffin, Atlanta’s favorite master of the macabre whispered in ATLRetro’s ear that there will be some stunning legerdemain this weekend (that means magic tricks, as in sleight-of-hand, as in smoke and mirrors, gang), including a certain supernatural experience which, if we understood Morte’s whisper correctly, has never happened live on stage before…

Now, back to the movie. THE HAUNTED PALACE is one of the best Lovecraft adaptations to make it onto celluloid. Not only does it star Saint Vincent Price, it also features everyone’s favorite Wolfman, Lon Chaney, Jr., and hot babe, Debra Paget, from THE TEN COMMANDMENTS and who smooched with Elvis in LOVE ME TENDER (both 1956). The excellent script was written by the late, great Charles Beaumont, one of the finest short story writers of his generation, who penned over two dozen classic episodes of Rod Serling’s THE TWILIGHT ZONE TV show (He also wrote the screenplay for the Zsa Zsa Gabor turkey, QUEEN OF OUTER SPACE [1958], but, hey, no one’s perfect).

So, there’s only one place to be this Saturday: The Plaza Theatre! And as Professor Morte says, “be prepared to be scared!”

ATLRetro terrifying trivia:

• THE HAUNTED PALACE was Debra Paget’s last movie before she retired after marrying a Chinese millionaire and later became a devout Christian.
• Charles Beaumont is the subject of a terrific documentary by Jason V. Brock, CHARLES BEAUMONT: THE SHORT LIFE OF TWILIGHT ZONE’S MAGIC MAN (2010).
• Beaumont’s birth name was Charles Leroy Nutt.