ATLRetro

A broad view of the interior of Dante's Down the Hatch. Photo courtesy of Dante's.

All good things must come to an end, the old saying goes, so it was with a heavy heart that we learned that Dante’s Down the Hatch will be closing its doors at the end of July 2013. One can understand why owner Dante Stephensen would decide to finally sell the property–he’s had a 42-year run living his dream and surely it’s time to allow him a comfortable retirement. In fact, it seems amazing that located on such prime real estate, Dante’s lasted as long as it did; it even survived a fire. What we can be thankful for is that at least, unlike so many Atlanta iconic restaurants from The Mansion (also designed by Dante; building now owned by SCAD) to Dailey’s, we have a chance to say good-bye.

I can remember the first time my dad took me to Dante’s as a child. How cool it was to step inside a coffin and descend even deeper into Underground Atlanta, the restaurant’s original location. Remember, that in the 1970s, Underground wasn’t an Epcotlike tiled shopping center. It was dark, lit only by gaslight, and one really felt transported into a bygone era of turn-of-the-century arcade machines, an old soda counter which even served Moxie, general shops full of those marvelous striped hard stick candies in every flavor you could imagine, a wax museum and a giant “Mighty Mortier” organ at the very end of the street. Its crown jewel was Dante’s, decorated to appear like a old sailing ship with a live jazz band performing and live crocodiles in the moat (you can see the graves of the original Throckmortons as you approach the current restaurant). Even the menu–fondue and cocktails in hurricane glasses–was all about sharing a true drinking and dining experience. It was the epitome of a ’70s theme restaurant, yes, but owner Dante, who was sure to stop by your table (he still does!), ensured it was never tacky or kitschy like so many of today’s attractions.

Photo courtesy of Dante's Down the Hatch.

In 1981, when crime forced the old Underground to close, Dante moved the Hatch north to Buckhead, which was quickly taking over the mantle of Atlanta’s fine restaurant hub from a pre-Olympics increasingly daytime-only downtown. The relocation offered him the opportunity to redesign the restaurant in a larger space and make it even more magical, including outdoor space for his antique car collection. While he did reopen the original Dante’s from 1989-99 when Underground underwent its more mall-like rebirth, the Buckhead restaurant became the flagship and a chance for Dante to be a perfectionist in creating a truly special dining experience.

A while back, Dante gave ATLRetro a private tour of some of the many artifacts that decorate the Hatch, including stories about why they appealed to him and, how he found them–many come from antique auctions in Commerce, California, in the early ’80s. Sometimes the items trigger memories of his colorful life or observations on his passion for animals or the study of the world’s religions. I read a quote recently from author Theodora Goss that some people have adventures and other people are adventures. Dante surely is the latter. We hope you’ll enjoy this candid journey with Dante Stephenson to nine special places around the Hatch and also visit and support this Atlanta landmark treasure as many times as you can before it closes.

A stained glass window made of pieces from different eras. Photo credit: ATLRetro.com

1) The Art of Stained Glass Windows and Feng Shui. “With all the bombing [in Europe in WWII], somebody was going around digging up scraps of glass. Take this piece that I just happened to buy. The person who picked up the pieces must have been an art historian because the eight pieces of glass that were placed into it come from different periods by different artists over about a 400-year period. I just thought it was interesting and had a very unique story. It would have been built overseas, probably in Britain because I picked it up at an auction in California in 1979 or ‘80 when I was buying the antiques for this place. I had drawn the plans, and I had a very talented builder. Very few builders could build something like this, so he was able to take the antiques and the structure and blend them together artistically. I mean, this place is feng shui all over the place, although at the time I didn’t know what the word meant.”

Dante's interior incorporates many elements from Church fixtures to vintage signs and stained glass. Photo credit: ATLRetro.com.

2. Faith and Fondue. “There are two areas that I could cover in general. One is religion, and one is animals. I am a Biblical archaeologist. That’s a hobby of mine. My degrees are in archaeology, and I have grown to have a great interest in theology. In 2010, I was in Japan to satisfy another two hobbies—one is steam locomotives and I also visited some Shinto sites, which is one of the seven major religions of the world. The year before it was the Hindus and Sikhs in India, and before that the Buddhists in Tibet. In my quest to understand theology, I’m philosophically looking at all theologies. In the Hatch, I have artifacts from a number of different churches, primarily the Christian churches. I have a Lutheran pulpit behind me. I have a Presbyterian pulpit underneath one of the sails on the ship. I have Baptist pews, the red benches sitting over there. I have a Methodist communion rail up here. Those iron railings and banisters are all Church of England, which is our Episcopal church. On the lower deck, I have a Catholic confessional, and at the uppermost spot in the restaurant I have a Jewish Torah [guard-]rail.”

Owner Dante Stephensen and his broom of two personalities. Photo credit: ATLRetro.com.

3. Sailing the Seas of History. “The sails on my ship came from the 1800s ship called the Barba Negra, in Savannah. It was a Norwegian capital ship that was brought over here by a Danish-German skipper at the request of Mills Lane, who founded the C&S Bank, to be parked in the harbor at historic Savannah. It’s not there any more because it sank, but the only tall ship captain that we had in the state of Georgia was Gerhard Schwisow. He not only provided us with the sails. He did all the rigging and all the rope-tying here.

4. A Grin-worthy Garage Sale Find. Talk about interesting artifacts which I found in someone’s garage sale, I have a broom over there. It’s for people with split personalities. The restaurant is full of ways in which you can laugh at yourself.

5. Yes, Virginia, the Crocodile is Real. Pinocchio the Crocodile got his name because of the length of his nose. I could talk a lot about the crocodiles. It could be a whole article. In the late ‘60s, our Atlanta zoo lost its accreditation. I was one of those that organized to save it. I was not a major donor—I had no money back then—but I was a major volunteer. We had to work at the zoo while they were hiring new people, and because one of my degrees is in geology, I got placed into the reptile department. It was the only rescue house of its kind, as far as I know, in the nation for confiscated Crocodilia. That’s crocodiles and caimans, not alligators.

I was seeing parents show up at the zoo with their three-foot semi-tame crocodile that they innocently bought at a pet store thinking it was a lizard for their child when it was about 8 inches long. Because of my degree in zoology which makes me almost a ranger, I decided to apply for a permit for my downtown club to receive the confiscated animals, because up until that time when they were brought to the zoo, they were ultimately put to sleep by Fish and Game. You can’t take an animal that’s been hand-raised like that and let it loose in the swamps. These came from South and Central America. These were not alligators, so the cost to send them down there and let them loose was ridiculous, too.

Pinocchio and friend. Photo courtesy of Dante's Down the Hatch.

This one [Pinocchio] almost did harm to me, because we had to give him a shot and you wouldn’t think that an animal like that would have a sense of pain nerves as we do. But the three of us—a vet, my manager and I—we snuck up on him while he was sleeping. I wear a rubber suit because it’s waist-deep water. All of a sudden all three of us grabbed him at the same time because crocodiles are very strong. One holds the head, the other holds the body, and the other holds the tail. Then we put a towel over the head so that it’s dark to him, and then he calms down for the complete physical. Well, the vet had to give some intravenous fluids to this particular animal, and that was fine. But then he wanted to give him an injection of an antibiotic, and I’ve got to tell you when that needle went into[Pinocchio], he jolted to the point that all three of us were almost thrown. He’s only seven feet long. We held him, but he held his anger so that at the end of the event, the vet pulled away first, and then my manager pulled away. I’m holding him alone with the towel at one end and the tail at the other. As I removed the towel and stepped back, he went for me, and his head hit the pole because he was angry because I was part of this event that caused him to get pricked. That’s the only time in 40 years I’ve had a really close call. God’s on my side. She’s always been on my side.

Since Aunt Agatha is photo-shy, here's a different angle into the main bar area. Photo credit: ATLRetro.com.

6. The Witch in the Ladies Room. So let’s go to the bathroom. All my older four sisters said to me when I was much younger and thinking about building a unique place for people to relax that I had to protect the woman’s right to dine alone. So we do that here. If you come in alone or with a girlfriend that you hadn’t seen in years, you would particularly care if strangers came up and started to put the make on you because you’re talking to an old friend from way back. This is not a pick-up bar. So what happens is I’ll walk over to the table and just stand next to the guy. Nothing makes a guy madder than some other guy listening to his line, which he thinks is very unique but it isn’t. So finally the guy says “who are you?” “Oh, I’m Dante; I own the place. I see you’ve found my niece Louise.” He goes back to his table, and the ladies thank me.

Now let’s take that into the bathroom. I’m out at an antique auction in Commerce, California. I’d already drawn the plans and we’d already started the building. I’d gone to a restaurant with a group of guys who have chain restaurants, the Chart House, the Steak and Ale and so forth. I’m in the bathroom washing my hands after attending to business and looking in the mirror, as males like to do, wondering why they aren’t getting more dates. All of a sudden the lights go up over my head and a light comes on behind the mirror I’m looking into, and there sits a naked, elderly woman, topless with a crystal ball, winking at me. Well, I’ve had just enough wine that I believed it, so I’m hitting myself in the head as the light goes off and wondering if am I hallucinating. I go out of the door, come back in and the same thing happens again. I say, wow, what a neat idea. So I quickly run to the phone, wake up my builder and say “I know you’re on the lower bathroom level. Where are you in the structure?” “Well, I just finished closing in the mens room and the ladies room will be done tomorrow,” he says. I say, “don’t close in the last wall. I’ve got an idea.”

Mark Twain is one of several famous wax figures you may encounter at Dante's. Photo credit: ATLRetro.com.

Have you been to the bathroom? Have you met Aunt Agatha? Well, she is a Madame Tussaud wax figure, ugly as sin. I had an actress do the first set of voiceovers, and then when [Agatha] got wet in our fire, I had it redone by one of my staff. There are seven speeches that she gives where she makes fun of the women. That has really become the most popular singular thing in the restaurant. People remember Aunt Agatha more than anything else. I have to be careful with children, though. Different personalities react differently to the witch, and if the child screams and is really scared, we let them use the handicapped bathroom obviously. That’s the only problem that comes up.

7. Some Famous Regulars. There used to be a [Josephine] Tussaud’s Wax Museum in Underground Atlanta in the 1970s. Then David Hawthorne, who had it, moved it to Helen, Georgia. He sold off some of his figures, and I bought some for here. I’ve got Einstein. I’ve got Huck Finn, Tom Sawyer, General Hood who burned Atlanta, John Wilkes Booth and a pirate – who originally was the detective holding Oswald when Ruby shot him. People ask me why do I have so many wax figures. I say at every full moon, they wake up and clean.

Dante relaxes in the downstairs Barbershop lounge. Photo credit: ATLRetro.com

8. The Basement Barbershop.  The barbershop is interesting, too. It dates back to 1880-something from England. We had this room that’s the butt-end of the moat of the crocodile, and the bathroom is below us—an ideal place for a lounge. Well, I decided, well, wait a minute, I bought this barbershop—why don’t I use it for the reason why I bought it. I bought it with the thought of being part of a lounge. I remember haircuts when they were 17 cents. I’m that old.

9. Magnificent Murals. One of the beauties of this place is you can totally think you are taking off. You look at this wall here and you don’t see much, but if you sit on the steps there, it’s three-dimensional, and you’re looking down a street. If you stand at the top of the stairs looking over there, you’re looking at a building, but if you get up next to it, it’s a flat surface. So I have a muralist who is a bit of a magician who can draw things in three dimensions which at the right angle will take you to one place.

A seascape mural adds to the nautical ambiance. Photo courtesy of Dante's.

Let’s walk up there right quick. The diorama of the ship was built by a handicapped worker whose hobby and passion was to build ships from scratch without kits. My hobby is trains and I did the train-setting which is much less interesting but nevertheless a part of it. It was built from the plans I drew.

Located at 3380 Peachtree Street just south of Lenox Square, Dante’s Down the Hatch  features live jazz six days a week (Tues-Sun) with acoustic guitar and vocalist on Mondays. But get there quick as the restaurant closes its doors forever on March 31, 2013. Reservations are recommended. Call 404-266-1600.

Joe Gransden.

Monday, Dec. 17

Monday is big band night at Café 290! Come out and catch Joe Gransden with guest Francine Reed at 8 p.m.  Northside Tavern hosts its weekly Blues Jam featuring blues and southern soul singer, Lola Gulley. Head over to Fat Matt’s Rib Shack for a hearty serving of BBQ and Dry White Toast.

Tuesday, Dec. 18

Chickens and Pigs plus 23 guest singers celebrate the Seventh Annual Keith Richards Birthday Bash, as Rock’s Worst Role Model continues to outlive everyone who tries to be Keith Richards. The party at The Earl benefits Ovarian Cycle, a local organization raising funds for ovarian cancer research.Don’t miss this week’s retro cinema classic, IT’S A WONDERFUL LIFE (1946) at Northlake Festival Movie Tavern. The Christmas classic is directed by Frank Capra and starring James Stewart, Donna Reed and Lionel Barrymore. Check out the Tommy Dean Trio at the Georgia Shrimp Company in Peachtree City as they play favorites from The Rat Pack, classic soul and great American songbook standards. Recent Kool Kat Calu Cordeira mixes tiki libations at Mai Tai Tahitian Tuesday starting at 9 p.m. at the Dark Horse Tavern. Grab your horn and head over to Twain’s in Decatur for a Joe Gransden jazz jam session starting at 9 p.m., or you can blues it down with Nathan Nelson & Entertainment Crackers at Northside Tavern.

Wednesday, Dec. 19

Alex Cooley presents a special benefit for the Cystic Fibrosis Foundation, The Acoustic Road of Drivin ‘n Cryin – Kevin Kinney – and the Mystery Roadsters, Dave V. Johnson, Sadler Vaden, Dave Franklin, Ed Roland, Tom Gray, Mark Johnson, Thad Cockrell and special guest from Drag The River at Eddie’s Attic. Warm your bones and spread some holiday cheer with a good ‘ol fashioned ho-ho-ho down at the Star Bar Country Christmas with Willie Heath Neal, Rod Hamdallah and Grim Rooster (with special guest drummer TigerBeat Tony). Concrete Blonde rocks the Variety Playhouse. Don’t miss Joe Gransden’s Big Holiday Show with Francine Reed at the Red Clay Theater! Head out to see this 16-piece big band pair up with the legendary jazz diva to bring you great holiday classics. Come out to Sweet Georgia’s Juke Joint to listen to the sweet blues sounds of The Breeze Kings at 6:30 p.m. Get ready to rumba, cha-cha and jitterbug at the weekly Swing Night at Graveyard Tavern. Disco in the Village at Mary’s is your midweek neighborhood dance party and Danny “Mudcat” Dudeck brings the gospel blues to Northside Tavern.

Jeffrey Butzer.

Thursday, Dec. 20

Jeffrey Bützer and T.T. Mahony perform Vince Guaraldi’s A CHARLIE BROWN CHRISTMAS at Nine Street Kitchen in Roswell . This all-ages show is one of the new Christmas traditions in Atlanta and you can read up on it in our interview with Jeffrey here. Get into the Irish Christmas spirit when you attend Joy, An Irish Christmas at the Cobb Energy Performing Arts Center. Don’t miss acclaimed Irish singers, songwriters and recording artists Keith and Kristyn Getty for an unforgettable celebration of Christmas, the show starts at 7 p.m. and tickets range from $25 – $55. Head over to Atlanta’s dirty little secret, Clermont Lounge, to attend a Christmas party you don’t want to miss. Today is the last Terrific Thursday when downtown Decatur stores offer discounts and wine and refreshments. After your shopping, attend Joe Gransden’s Big Holiday Show with Francine Reed, this time at Eddie’s Attic! Head out to see this 16-piece big band pair up with the legendary jazz diva to bring you great holiday classics. Take $7 with you to The Five Spot to hear the jazz-funk sounds of Nick and the Grooves with Questionable at Best. Catch another screening of this week’s retro cinema classic, IT’S A WONDERFUL LIFE (1946) at Northlake Festival Movie Tavern. It’s 80s vs 90s Thursdays at The Shelter. New Wave classics versus Booty-shaking Eurodance will get your moving and rare and underground music videos will be playing on the screens throughout night. Relax with a tropical cocktail at vintage tiki bar, Trader Vic’s, where Tongo Hiti plays Retro-Polynesian luxurious live lounge sounds, as well as trippy takes on iconic pop songs, every Thursday night. Go to Northside Tavern to hear the classic 50s Chicago-style blues of The Breeze Kings. Get your groove back at Sweet Georgia’s Juke Joint withThe Mar-Tans at 6:30 p.m.

Friday, Dec. 21

The world ends today so why not spend your last night on earth at the Atlanta Xmas Apocalypse, this year’s incarnation of “A Krampus Christmas” with the Little 5 Points Rockstar Orchestra (the same feral folks that brought you DRACULA: THE ROCK OPERA) at 7 Stages. Take a five spot to The Five Spot to groove to the classic funk hits of the 60s, 70s and 80s with the Atlanta Funk Society and The Apostles. You will have two chances to catch a Christmas show at Eddie’s Attic with indie singer-songwriter, Ryan Horne along with Micah Dalton, Nathan Angelo and Jonathan Rich. The Ron Kimble Band plays southern rock at Cooper’s Corner in Grayson. Swing down to Northside Tavern to hear Stoney Brooks original tunes and swinging covers. Spice things up with sassy Latin rhythms and free dance lessons from Salsambo Dance Studio under the dinosaurs at Fernbank Museum of Natural History’s Martinis and IMAX.

Saturday, Dec. 22

Two chances to catch the Silver Screen Spookshow presents ABBOT AND COSTELLO MEET FRANKENSTEIN (1948) at the Plaza Theater at 1 p.m. and 10 p.m.! Professor Morte offers a unique brand of eerie entertainment, complete with a cast of creepy, colorful characters, scares, comedy and horrifically hip hijinks! Watch out for our Retro Review soon! Joe Strummer/Clash tribute band Know Your Rights thrashes The Earl, along with a screening of THE FUTURE IS UNWRITTEN, a 2007 documentary on Strummer directed by Julien Temple. The Band/Bob Dylan tribute band The Last Waltz Ensemble play their annual holiday show at Smith’s Olde Bar. Come out to Cooper’s Corner to party with The Rolling Stones cover band, The Jagged Stones, at 9 p.m. Read our Kool Kat interview with lead singer Keef Richards here. And as usual, DJ Romeo Cologne transforms the sensationally seedy Clermont Lounge into a ’70s disco/funk inferno late into the wee hours of the night. Hear the legendary R&B and jazz stylings of Nat George & The Nat George Players at Sweet Georgia’s Juke Joint at 6:30 p.m.

Hustle for the Homeless.

Sunday, Dec. 23

Hustle for the Homeless at The Earl with J.J. and the Hustlers, Tag Team, The Dirty Knockouts and the original bad Santa, Santa Dang at 8 p.m. Free admission when you donate two or more cans which go to the Atlanta Community Food Bank. The Georgia Legacy Foundation presents Stoop Down Sunday: A Benefit for Georgia Great, Chick Willis at Northside Tavern. Concert starts at noon features several of Atlanta favorite blues performers. David Ellington performs A CHARLIE BROWN CHRISTMAS at Eddie’s Attic at 3 p.m. Check out the Tommy Dean Trio at Big Tex Cantina in Decatur at noon as they play favorites from The Rat Pack, classic soul and great American songbook standards. Enjoy some hangover-friendly live music with Hoofingly playing dunch at 1 p.m. at The Earl.

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

Seasonal Activities

Are you dreaming of a WHITE CHRISTMAS? Head to The Strand Theater to catch the musical based on the beloved Bing Crosby and Danny Kaye film. Now through Sunday, Dec. 23.

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 third year with Rudolph, Clarisse, Hermie, Yukon and all the beloved characters. Read our interview with adapter/director and Center Artistic Director Jon Ludwig here. Now through Jan. 6.

Take part in an Atlanta tradition dating back more than 50 years! The Pink Pig is back at Macy’s in Lenox Square Mall. Ride the Macy’s Pink Pig Train on top of the mall through the 170-ft., 1950’s themed Pink Pig Tent. A portion of the ride’s proceeds will benefit Children’s Healthcare of Atlanta. The Pink Pig will be at Lenox until Jan. 1.

All this week at The Horizon Theater, catch David Sedaris in THE SANTALAND DIARIES. An outrageous holiday comedy, written by award-winning satirical writer David Sedaris, stars Crumpet, a rebel without a Clause who recounts the true-life tale of an out-of-work writer’s stint as a Macy’s Department Store elf. Now through Dec. 30.

Award-winning Dad’s Garage offers a new take on the humbug Christmas classic with INVASION: CHRISTMAS CAROL. 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! Shows run through Dec. 23 every Thursday, Friday and Saturday.

At Fernbank Museum of Natural History, enjoy the 3rd annual WINTER WONDERLAND, featuring trees and other displays from around the world. New this year will be special photo opportunities with Fernbank’s holiday mascot, Santa-saurus and hop aboard the Santa-saurus Express train, through Jan. 6.

Ongoing

Every Tuesday and Thursday night is Retro Cinema at Movie Tavern. Check out classic movies on the big screen weekly at 7:30 p.m.

Visit the High Museum of Art to see the Fast Forward: Modern Moments exhibit featuring artistic development from the past 100 years, 1913-2013. Artists include Henri Matisse, Salvador Dalí, Georgia O’Keeffe and Jeff Koons. Closes January 10, 2013.

Take retro to another level at the Genghis Khan special exhibition at Fernbank Museum of National History. Closes January 21, 2013.

Stormy Knight. Photo credit: Jeffrey Ling.

Holy smokin’! One of Retro Atlanta’s coolest ongoing events, Mon Cherie’s Rockabilly Lounge, will be shakin’, rattle and rolling its fifth anniversary this Sat. Dec. 15 at The Masquerade. Doors open at 9 p.m., The Sideburners (formerly Junior Dolan & Cash) are headlining, Reverend Andy will be spinning, free jello shots will fly, vendors such as East Atlanta’s Grease Monkeys and jeweler extraordinaire Jezebel Blue will help you with your retro revival holiday shopping, the usual Ragin’ Raffle will be drawn and the entire shindig will be topped off with a bright red maraschino cherry: a Christmas-themed burlesque show at midnight. The latter, as usual is emceed by Miss Mason, and performers include Stormy Knight, Hada Pixie, Scarlett Page and Miss Kitty Love. All for a bargain cover price of 10 bucks!

Seeing that the holidays are a time for unwrapping and staying warm by a hot fire, ATLRetro thought this would be the perfect time of year to make our Kool Kat of the Week that red-hot performer named Miss Stormy Knight. We caught up with her recently to find out more about what drives her to dance, her soft spot for sci-fi and to get a tease about this holiday-inspired Rockabilly Lounge

I’ve been an artist for as long as I can remember and the burlesque, belly dance, and other performance arts that I do grew out of that love of creating something unique and beautiful. The fact that I get to share this lifetime love with others is an added bonus!

How did you decide upon the stage name of Stormy Knight and how does it reflect your unique style?

I’ve always loved listening to storms and the fact that they can be so many things — anything from thunderous and intense to relatively soft and light. There is great diversity in what storms are and they cannot be caged or contained. As a performer, I love the energy and diversity in my acts and love to explore different performance styles.

Nighttime is my favorite time of the day; it seems that my muse wakes up as soon as the sun goes down! Also—and here is where my geek comes out to play—my favorite comic book character has always been Batman. Since he is also known as the Dark Knight, I incorporated that spelling into my name as a little inside joke to myself.

Stormy Knight. Photo credit: Van Brown/Soul of View Photography.

When did you first perform burlesque onstage, and is there any story about how you got that first gig?

I have been on various stages since late teens and started belly dancing and doing various fetish and martial arts performances under the name Starphoenix 15 years ago. I originally joined Big City Burlesque many years ago as a bellydancer and performance artist, but soon fell in love with the burlesque art form so much that I added it to my repertoire.

Can you name one classic and one contemporary burlesque performer who is an inspiration to you and why?

Why choose just one? Sally Rand, Mae West and Satan’s Angel have been big influences on me. All three pushed boundaries, and when faced with opposition in something they wanted to achieve, they simply went about it in a new way. None of them compromised on their performances and were very forward for their times. Between the three of them, there was plenty of glamour, innovation, intelligence and ballsy wit. I have had the honor of meeting Satan’s Angel and learned quite a bit in a short time with this bluntly honest Legend.

As for contemporary performers? To narrow it down, I’ve got to ponder that one for a minute. There are so many. Catherine D’Lish is a big influence on my level of costuming. She pours her heart into her creations, and they look amazing. One day I hope to be able to create on the scale that she does. One of my inspirations is a fairly new performer who has an immense amount of raw talent and dedication. Every time I watch her perform, I am re-inspired by the creativity and imagination that she brings to her acts. I met her while working with Big Mamma D’s House of Burlesque [Charlotte, NC], of which she is a member, and am privileged to call her friend: Silver Kitsune.

You’ve recently been very instrumental in organizing burlesque shows at science fiction cons such as DragonCon and Anime Weekend Atlanta. What does sci-fi mean to you, and how have those shows gone over with fandom?

I am a huge geek. Yes, in fact I proclaim it loudly! And I have been involved with both conventions, as well as a few others for *ahem* quite a while. In fact I often got into trouble in school for reading my books in class, then breezing through the exams. Sci-fi, comic books, and later anime and manga, were ways for me to escape. Even now I revel in breaking open and pouring through a new book and follow many different series from different genres.

In mid 2007, I had the idea that a burlesque show might go over well at a con. I mean, who doesn’t like boobs? They’re pretty awesome, but hey, maybe I’m a bit biased here. But I didn’t just want to throw a show together; I wanted to give the fans an amazing show. I produced the first show at DragonCon to a standing-room only crowd. It did so well that I got the opportunity to do one at AWA, with the same results. Every year I produced both shows, the rooms were completely packed to the point that after the second year at each convention the show was moved to one of the main rooms to accommodate the crowd. To give the fans a little something different each year, I changed up the themes and pulled performers from across the country and abroad. For various reasons, I did not produce the 2012 DragonCon burlesque show though I  continue to produce the AWA Cabaret. Keep your eyes peeled though, as there just might be a development for this year’s DragonCon. (*wink*)

You recently returned from Great Southern Exposure 2012, didn’t you? Can you share a little about what that was like and maybe your favorite memory?

I did and I had a fabulous time meeting so many new people! There was a little nervousness because it was a competition, but for the most part I was so excited to see so many new performers and acts that I forgot to be nervous! My favorite memory had to be taking Perle Noire‘s movement class. That woman is such a talented dancer and I learned a LOT from her.

Without giving away too much, can you tease us a little about what you have planned for this Saturday’s Rockabilly Lounge?

Now that would be telling! All right, I’ll give you a wee hint: I will be doing something completely new. *wink* But you have to come out to the Rockabilly Lounge on Saturday night to see it!

You’ve been somewhat of a regular at the Rockabilly Lounge and other Mon Cherie Presents events. Why do you enjoy working with Mon Cherie and what do you think has made her Rockabilly Lounge such a long-time success?

I love working with Mon Cherie and, as a performer and fellow producer, can appreciate that she’s an honest person who is full of ideas, class and gumption. She’s true to her word and takes care of her people. Those qualities are rare in today’s world and are in great part why she has been a long-time success.

Besides, who else would let me play with fire?

Stormy Knight. Photo credit: R.J. Newton Photography.

Beyond the Rockabilly Lounge, what’s next for Stormy Knight?

Lots of sewing and crafting. I have a big act that has been pounding away in my head for little over a month now and a few others that, while less insistent, are still quite loudly proclaiming their will to live and be seen!

Finally, you have some beautiful artwork on your body and especially on your back. Can you talk a little bit about how you arrived at the particular designs, and do you consider your body as a canvas now to be complete or will there be more to come?

Thank you! My body is a canvas, and yes, there shall be more tattoos eventually, though they have to be *just right*. I am so very picky about what goes on my body, where it is placed and who does the work that I am content to go slowly. I do know what my next tattoo will be, but have not yet decided on the placement.

Splatter Cinema Presents GREMLINS (1984); Dir: Joe Dante; Starring: Zach Galligan, Phoebe Cates and Hoyt Axton; Tue. Dec. 11 @ 9:30 p.m.; Sun. Dec. 16 @ 3:00 p.m.; Plaza Theatre; Trailer here.

By Aleck Bennett
Contributing Writer

One of the most notable aspects of the classic Warner Brothers “Looney Tunes” series of cartoon shorts is that while they were created for the enjoyment of children, they were written to also entertain those parents accompanying their kids to the theater. They’d frequently wink at the audience, breaking the fourth wall and commenting on the ridiculousness of what was transpiring. Few directors have the right touch to pull this off in live-action filmmaking the way that Joe Dante does, and fewer films succeed at this to the extent of GREMLINS.

From his more cartoonish collaborations with Allan Arkush (HOLLYWOOD BOULEVARD, ROCK ‘N’ ROLL HIGH SCHOOL) to his somewhat more restrained horror features (PIRHANA, THE HOWLING), Dante’s modus operandi is to pepper his films with sly humor that acknowledges the fact that we’re all watching a movie. In the hands of some, it could come off as condescending—a kind of “look at us: we’re intentionally making a bad movie, hyuk hyuk!” attitude. But Dante loves this stuff too much to be condescending. In his hands, it all comes across as gleeful subversion; he seems to say that it’s okay to have fun with this medium and the things we love about it. That it’s okay to throw in a special appearance by Robby the Robot for a laugh because who doesn’t love Robby the Robot? That casting Dick Miller in every movie you make and frequently crediting him as “Walter Paisley” (his character from A BUCKET OF BLOOD) is fine, because Dick Miller is a legend and A BUCKET OF BLOOD is fantastic! More than even Tarantino, Joe Dante is the movie nerd’s movie nerd. His films take the attitude that they can have fun with established movie tropes because you should be having fun, and nothing is more fun than the movies.

Which brings us to GREMLINS. Like the classic Warner Brothers cartoons (hey, there’s Chuck Jones in the bar scene!) and Dante’s previous work, it blissfully screws with expectations about what you’re watching. And what it’s playing around with is Steven Spielberg’s E.T. the Extra-Terrestrial. Like E.T., the film is about a small-town kid who winds up taking care of an adorable, otherworldly creature, gets in over his head and madcap antics ensue. The first twist to the formula is that Billy (Zach Galligan), unlike E.T.’s Elliot, is college-aged, pursuing his old high school crush (Phoebe Cates) and still living with his folks. But still, that’s not such a departure that it necessarily alters the story dynamic, right? I mean, after his dad (Hoyt Axton) presents him with a precious little Mogwai named Gizmo, even if he breaks the final two of the creature’s three rules (1. Keep him out of bright lights. 2. Don’t get him wet. 3. Never feed him after midnight.), how bad can it get? It’s a Christmas movie, for crying out loud!

GREMLINS' Gizmo is darned cute when he's not wet. Warner Brothers, 1984.

Things can get really bad.

Rather than the film conforming to the E.T. template by having a force from outside threaten the poor little guy and his human pal, and eventually giving us a warm and affectionate send-off, Dante and screenwriter Chris Columbus have Billy make a couple of boneheaded mistakes and potentially doom the entire town. Thanks to Billy, an army of scaly, green and ugly little beasties are running about the place and gleefully killing and eating townspeople just for kicks. Gremlins are gruesomely killed in food processors and microwaves. Phoebe Cates recounts a horrific story about her father’s death. Nobody is safe. It’s almost as if Dante knew that the movie-going public would see Gizmo looking like a little bipedal pug and making high-pitched Howie Mandel noises and generally being so adorable you can barely stand it, and bring their kids to unwittingly witness THE MOST VIOLENT PG-RATED FILM OF ALL TIME. Okay, maybe INDIANA JONES AND THE TEMPLE OF DOOM has it beat, but not by much, bucko. Instead of the heartwarming and heartbreaking farewell of E.T., Billy’s family gets chewed out at the end as a proxy for the entirety of Western Civilization being a bunch of jerks. And all the while, you can practically hear Joe Dante, standing just off-screen, laughing himself half to death.

Predictably, parents were horrified. One of the teachers at my high school refused to let her kids see the film because the Gremlins “were obviously demons from the pit of Hell.” Outrage from Responsible Parents over the violence in this (and yes, in TEMPLE OF DOOM) is what led to the establishment of the PG-13 rating. But kids? Kids ate this up. They ate it up like pancakes covered in ice cream. Because even if the Responsible Parents didn’t get it, the kids did. And the Irresponsible Parents (like mine, bless ‘em) got that this was all a huge, happy joke.

Don't be fooled. The caroling GREMLINS aren't here for good cheer. Warners Brothers, 1984.

Unfortunately, GREMLINS wasn’t originally released at Christmastime. Fearing that they had nothing to offer for competition during the summer of GHOSTBUSTERS and (again) TEMPLE OF DOOM, Warner Brothers rushed the release of the film and pushed it up by six months. It’s a shame, too, because despite the absolutely epic violence of the film, it’s practically the perfect Christmas movie. Let’s face it: the best Christmas entertainments are fueled by a perverse viewing of Things Going Wrong. Would IT’S A WONDERFUL LIFE be what it is without spending the vast majority of the film watching everything that could possibly go wrong in George Bailey’s life go even worse? Would HOW THE GRINCH STOLE CHRISTMAS be as enjoyable without watching the Grinch attempt to ruin everybody’s life? Santa Claus in MIRACLE ON 34TH STREET may just actually be insane. RUDOLPH, THE RED-NOSED REINDEER runs away from home and hangs out with a bunch of losers and reprobates. There was that YEAR WITHOUT A SANTA CLAUS. It’s not A CHARLIE BROWN CHRISTMAS without watching Chuck’s life spiral into a void of existential dread. Christmas is a time for joy and merriment…and bloodshed and death.

…All of which makes GREMLINS the perfect choice for Splatter Cinema to screen at the Plaza Theatre this month. Even if it doesn’t seem to make sense at first (Spielberg produced it! Its hero is a little fuzzy critter!), sit back and enjoy one of the few Christmas movies to fully embrace the notion that over-the-top violence can be joyful.

Aleck Bennett is a writer, blogger, pug warden, pop culture enthusiast, raconteur and bon vivant from the greater Atlanta area. Visit his blog at doctorsardonicus.wordpress.com

By Zohra Yaqub
Contributing Writer

Be sure and check back throughout the week for updates!

Jeffrey Butzer.

Monday, Dec. 10

Avoid making inappropriate photocopies of yourself on the office copy machine this year by coming out to Mary’s Holiday Office Party! Dance to some vintage and lounge-y seasonal music and drink some (probably spiked) punch – party starts at 8 p.m. Jeffrey Bützer and T.T. Mahony perform Vince Guaraldi’s A CHARLIE BROWN CHRISTMAS at Nine Street Kitchen in Roswell . This all-ages show is one of the new Christmas traditions in Atlanta and you can read up on it in our interview with Jeffrey here. The Plaza Theatre and Atlanta Film Festival 365 kick off the holidays with a celebration at The Plaza at 7 p.m. Come for karaoke, games, Guitar Hero and of course, free beer! At Sweet Georgia’s Juke Joint, listen to the sweet blues sounds of The Breeze Kings at 6:30 p.m. Northside Tavern hosts its weekly Blues Jam featuring blues and southern soul singer, Lola Gulley.

Tuesday, Dec. 11

Splatter Cinema presents GREMLINS (1984) at The Plaza Theater, directed by Joe Dante and starring Zach Galligan, Phoebe Cates and Hoyt Axton. Catch Aleck Bennett’s Retro Review. Don’t miss this week’s retro cinema classic, NATIONAL LAMPOON’S CHRISTMAS VACATION (1989) at Northlake Festival Movie Tavern. The Christmas classic is directed by Jeremiah S. Chechik and starring Chevy Chase, Beverly D’Angelo and Juliette Lewis. Check out the Tommy Dean Trio at the Georgia Shrimp Company in Peachtree City as they play favorites from The Rat Pack, classic soul and great American songbook standards. Recent Kool Kat Calu Cordeira mixes tiki libations at Mai Tai Tahitian Tuesday starting at 9 p.m. at the Dark Horse Tavern. Grab your horn and head over to Twain’s in Decatur for a Joe Gransden jazz jam session starting at 9 p.m., or you can blues it down with Nathan Nelson & Entertainment Crackers at Northside Tavern.

Wednesday, Dec. 12

Remember when Peter Gabriel was the lead singer of Genesis? Windstorm Productions presents The Musical Box – The Exclusive Authorized Re-creation of Genesis’ “THE LAMB LIES DOWN ON BROADWAY” at Variety Playhouse. Get ready to rumba, cha-cha and jitterbug at the weekly Swing Night at Graveyard Tavern. Disco in the Village at Mary’s is your midweek neighborhood dance party and Danny “Mudcat” Dudeck brings the gospel blues to Northside Tavern.

Thursday, Dec. 13

Windstorm Productions presents A John Waters Christmas at Variety Playhouse. Spend a night with the legendary actor/director/writer as he puts the “X” in Xmas. VIP admittance is at 6:45 p.m. and make sure you wear that awesome Christmas sweater which your aunt knit you for a meet-and-greet after the show. Gas South Broadway Series presents WEST SIDE STORY at the Cobb Energy Performing Arts Center thru Sunday, Dec. 16. Don’t miss the Broadway classic as it makes its way through Atlanta this weekend, tickets range from $17 – $60 and show times are at 8 p.m. Head over to Atlanta’s dirty little secret, Clermont Lounge for the Dirty Santa Party with Bethamines, southern rock band, Six Shot Revival, all female Elvis tribute band Pelvis Breastlies and Capt. Stubb Tuggo. Abby Wren and What It Is CD Release Dance Party at The Earl! The jazz/rock driven-funk band got their start in East Atlanta Village and will be joined by the vaudevillian rock and roll act from New Orleans, Dirty Bourbon River Show, and the soul/funk/jazz/classical Indian/world sound of Norman Frank and The Ghost Dance. Nothing says “Happy Holidays!” like Silent Night Deadly Night: Mary’s Holiday Goth Night. DJs Santa/Satan will be spinning classic goth anthems, death rock, industrial, new wave, cold wave, noise rock; party starts at 9 p.m. Catch another screening of this week’s retro cinema classic, NATIONAL LAMPOON’S CHRISTMAS VACATION (1983) at Northlake Festival Movie Tavern. It’s 80s vs 90s Thursdays at The Shelter. New Wave classics versus Booty-shaking Eurodance will get your moving and rare and underground music videos will be playing on the screens throughout night. Relax with a tropical cocktail at vintage tiki bar, Trader Vic’s, where Tongo Hiti plays Retro-Polynesian luxurious live lounge sounds, as well as trippy takes on iconic pop songs, every Thursday night. Go to Northside Tavern to hear the classic 50s Chicago-style blues of The Breeze Kings.

Friday, Dec. 14

The Star Bar throws its 14th annual Toys for Tots Celebration hosted by the Dream Team of Ted Weldon and Rotkee and featuring a local all-star band line-up including Mystery Men, Bully, Ghost Riders Car Club, Lizard Men, Roswell Hillbillies (Kinks cover band) and Swingset. Jeffrey Bützer and T.T. Mahony perform Vince Guaraldi’s A CHARLIE BROWN CHRISTMAS at The Earl. Read up on it in our interview with Jeffrey here. Joe Gransden performs his holiday show with the Augusta Symphony Orchestra under the direction of Shizuo Z. Kuwahara at 8 p.m. The Ron Kimble Band plays southern rock at Cooper’s Corner in Grayson and catch the Chatham County Line Special Holiday Show at Variety Playhouse at 8:30 p.m. Swing down to Northside Tavern to hear Stoney Brooks original tunes and swinging covers.

Photo courtesy of Yacht Rock Revue.

Saturday, Dec. 15

The Yacht Rock Revue brings back the sweet sounds of 70s light rock to the Yacht Rock Holiday Special at Variety Playhouse. Jeffrey Bützer and T.T. Mahony perform a second night of Vince Guaraldi’s A CHARLIE BROWN CHRISTMAS at The Earl. The Academy Theatre and the Atlanta Radio Theatre Company presents, for the 13th consecutive year, An Atlanta Christmas. Memories of Christmas past, our city’s past, and our past are told in a series of short, distinct vignettes, joined together by the image of a family gathered around the Christmas tree at 8 p.m. 25% of total ticket sales will be donated to the Center for the Visually Impaired. Make sure you check out our ATLRetro preview of last year’s show. Come out to Cooper’s Corner to party with AC/DC cover band, Sin City Atlanta, at 9 p.m. And as usual, DJ Romeo Cologne transforms the sensationally seedy Clermont Lounge into a ’70s disco/funk inferno late into the wee hours of the night.

Sunday, Dec. 16

Get yourself on over to Variety Playhouse at 6 p.m. to party at the 2^nd Annual Holiday Hootenany with Deep Blue Sun, Papa Mali, Oteil Burbridge, Larry Keel, Col. Bruce Hampton Ret, The Mosier Brothers, Ike Stubblefield, Jeff Sipe, Count M’Butu, Grant Green Jr., and Gaurav Malhotra. Catch Joe Gransden at the Heritage Winter Classics in Sandy Springs with guest Francine Reed. Concerts start at 4:30 p.m. and the shows run one Sunday each month through February 2013. You have a second chance to enjoy Atlanta Radio Theatre Company presents An Atlanta Christmas at 2:30 p.m. at Academy Theatre in Avondale Estates. Catch another screening of GREMLINS (1984) at The Plaza Theater at 3 p.m. Lola Gulley’s Bluesin’ Toy Drive Festival is at Northside Tavern   from 1 p.m. until 10 p.m. Admission is a donation – money donations will go to the Atlanta Red Cross and toy donations will go to the Atlanta Union Mission. Enjoy some hangover-friendly live music with The Skylarks playing dunch at 1 p.m. at The Earl.

Photo courtesy of Atlanta Lyric Theatre.

Seasonal Activities

Are you dreaming of a WHITE CHRISTMAS? Head to The Strand Theater to catch Atlanta Lyric Theatre‘s production of the Broadway musical based on the beloved Bing Crosby and Danny Kaye film. Now through Sunday, Dec. 23.

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 third year with Rudolph, Clarisse, Hermie, Yukon and all the beloved characters. Read our interview with adapter/director and Center Artistic Director Jon Ludwig here. Now through Jan. 6.

Take part in an Atlanta tradition dating back more than 50 years! The Pink Pig is back at Macy’s in Lenox Square Mall. Ride the Macy’s Pink Pig Train on top of the mall through the 170-ft., 1950’s themed Pink Pig Tent. A portion of the ride’s proceeds will benefit Children’s Healthcare of Atlanta. The Pink Pig will be at Lenox until Jan. 1.

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

Catch THE SANTALAND DIARIES at The Horizon Theater.  An outrageous holiday comedy, written by award-winning satirical writer David Sedaris, it stars Crumpet, a rebel without a Clause who recounts the true-life tale of an out-of-work writer’s stint as a Macy’s Department Store elf. Now through Dec. 30.

Award-winning Dad’s Garage offers a new take on the humbug Christmas classic with INVASION: CHRISTMAS CAROL. 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! Shows run through Dec. 23 every Thursday, Friday and Saturday.

At Fernbank Museum of Natural History, enjoy the 3rd annual WINTER WONDERLAND, featuring trees and other displays from around the world. New this year will be special photo opportunities with Fernbank’s holiday mascot, Santa-saurus and hop aboard the Santa-saurus Express train, through Jan. 6.

Ongoing

Gas South Broadway Series presents WEST SIDE STORY at the Cobb Energy Performing Arts Center through Sunday, Dec. 16. Don’t miss the Broadway classic as it makes its way through Atlanta this weekend, tickets range from $17 – $60 and show times are at 8 p.m. with a special afternoon performance on Sunday at 2 p.m.

Every Tuesday and Thursday night is Retro Cinema at Movie Tavern. Check out classic movies on the big screen weekly at 7:30 p.m.

Visit the High Museum of Art to see the Fast Forward: Modern Moments exhibit featuring artistic development from the past 100 years, 1913-2013. Artists include Henri Matisse, Salvador Dalí, Georgia O’Keeffe and Jeff Koons. Closes January 10, 2013.

Take retro to another level at the Genghis Khan special exhibition at Fernbank Museum of National History. Closes January 21, 2013.

If you have a Retro event you’d like to see listed in this weekly calendar, don’t forget to drop the details to atlretro@gmail.com. 

Nostalgic adults and kids will dig Jeffrey Butzer and T.T. Mahony’s jazzy musical tribute to Vince Guaraldi’s A CHARLIE BROWN CHRISTMAS.  This year, the duo will be presenting their holiday treat at The Earl Fri. Dec. 14 and Sat. Dec. 15 and performing a more family-friendly reprise at Nine Street Kitchen in Roswell Mon. Dec. 10 and Thurs. Dec. 20. All shows will start with an instrumental set by Jeffrey’s band, The Bicycle Eaters and also feature surf favorites from THE VENTURES CHRISTMAS ALBUM  rendered by Chad Shivers and the Silent Knights.

As noted last year, the seasonal sell-out shows of A CHARLIE BROWN CHRISTMAS are a labor of love for Jeffrey, a musician/composer whose solo works tend towards the minimalism of the simple Christmas tree in the iconic Charles Schultz special. His band, the Bicycle Eaters, takes a different bend, inspired by Ennio Morricone spaghetti western scores, klezmer and gypsy. And he’s been collaborating with recent Kool Kat The Residents’ Molly Harvey lately, too. Frankly that’s just a small taste of the musical adventures of this diverse Atlanta performer and affirmed cineaste, who was our Kool Kat of the Week last March.

ATLRetro caught up with Jeffrey to find out more about this year’s A CHARLIE BROWN CHRISTMAS, and what’s next for him with The Bicycle Eaters and as a solo composer/musician.

How old were you when you first saw A CHARLIE BROWN CHRISTMAS on TV and what did the show and its music mean to you when growing up?

I don’t remember a time NOT knowing who Charlie Brown was. It is like Bruce Lee, Elvis or Grandma, something that seemed to always exist to me. Growing up, it was always my favorite special. I liked how blue it was. Both literally and figuratively. Cartoon music in general affects you strangely. Like Carl Stalling and Raymond Scott with the Looney Tunes, I wasn’t aware of them until I was older and started playing music. But again, it is hard to remember a time when I didn’t listen to that record every year.

How did you and TT Mahony get the idea of developing A CHARLIE BROWN CHRISTMAS holiday show, and for how many years have you been doing it?

This is year four. I approached TT after he played a Leonard Cohen/Tom Waits/Nick Cave tribute show I worked on. He is an amazing piano player, very witty , too. I had kicked around the idea of doing a holiday show in the past but never really knew a pianist that could handle Guaraldi. Robby Handley is the best upright bass player I know. Great hair, too. And here is an odd fact about TT. He can jump really, really high. I’ve told him he should find some way to compete. I once saw him jump from the ground onto the top of a Toyota.

I understand last year’s shows were packed. Are you surprised that so many adults are so enthusiastic about music from a 1960s kids TV show/Christmas LP? What kind of comments do you get after your performances?

Yes, we were hoping for the best, that our fans and friends would enjoy the show and hopefully some new faces would come out. But the response has been overwhelming. Last year we had to start doing two nights. As far as comments, the one we get the most is “Can you do an all-ages one too…for the babies?” The reason we haven’t is because. the mood we set in The Earl seems to really suit Snoopy and the gang. It is cozy, dark, and has energy almost like a rock show. We are really looking forward to playing Nine Street Kitchen, it sounds like it is going to turn into a great venue. And playing for children will be a blast. My 3-year-old son Francis is happy he can come out to “Dad’s Show.”

What can audiences expect at The Earl this weekend?

Cookies, dancing… It is basically a big Holiday Party with 300 of your closest, newest friends.

What are you doing at Nine Street Kitchen (in Roswell) to make it even more kid-friendly?

The show will not change much.

Why pair Peanuts with The Ventures? 

Well, the albums were released around the same time for one thing. They are both classic ‘60s albums. They are both easy to dance to.

And what about that opening set from Jeffrey Butzer and the Bicycle Eaters?

My band (The Bicycle Eaters) play Frenchy-Jazzy-Spaghetti Western-inspired instrumentals. We are releasing a limited EP at the show

What else are you and the Bicycle Eaters up to? Any more collaborations with Molly Harvey or new 2013 recordings you’d like to tell readers about? 

We have a vocal album on the way called collapsible with our new singer Cassi Costoulas and French singer Lionel Fondeville, as well as several other great guests: Brent Hinds, Don Chambers. Possibly Molly Harvey.

WAKE IN FRIGHT (1971); Dir: Ted Kotcheff; Starring Gary Bond, Donald Pleasence and Chips Rafferty; Through Dec. 13 at Landmark Midtown Art Cinema; Dec. 14-20 at The Plaza Theatre. Trailer here; Tickets here (visit website for prices and showtimes).

By Aleck Bennett
Contributing Writer

“Have a drink, mate? Have a fight, mate? Have some dust and sweat, mate? There’s nothing else out here.”
– WAKE IN FRIGHT poster tagline

The 1970s and 1980s were ground zero for a renaissance in Australian filmmaking. Beginning December 7, Landmark Midtown Art Cinema offers a rare chance for you to witness one of the groundbreaking films that sparked that boom: Ted Kotcheff’s 1971 film WAKE IN FRIGHT.

In the late 1960s, the film industry in Australia was basically nonexistent. To remedy this, John Gorton (Australia’s Prime Minster from 1968-1971) set into motion several policies and governmental agencies to promote local filmmaking. Sensing a need for native Australian film, local production companies began collaborating with outside studios in the first few years of Gorton’s administration, the most notable results being Michael Powell’s AGE OF CONSENT (1969), Tony Richardson’s NED KELLY (1970), Nicolas Roeg’s WALKABOUT (1971) and Ted Kotcheff’s WAKE IN FRIGHT.

Both Powell’s and Richardson’s films were critical and commercial failures, and as a result, didn’t contribute much to the notion of Australia as a hotbed of cinematic activity. Roeg’s WALKABOUT, on the other hand, was a critical and commercial triumph, yet its authenticity as a truly representative Australian film was in dispute immediately upon release. It was based on a novel by British author James Vance Marshall, featured a screenplay written by British playwright Edward Bond, was directed by British director Nic Roeg, starred his son alongside British actress Jenny Agutter, was produced by American businessmen Max Raab and Si Litvinoff (whose production company was incorporated in Australia), financed with funds raised in America and distributed by US-based company 20th Century Fox.

WAKE IN FRIGHT, however, sported a much more authentic Aussie pedigree. Whereas WALKABOUT used the Australian outback as primarily a vehicle for Roeg’s surreal vision, WAKE IN FRIGHT engaged the oppressive landscape as almost a character in itself. Based on the 1961 novel by Australian journalist Kenneth Cook and based on his own experiences, the screenplay by British writer Evan Jones—who consulted with Cook on its creation—hewed as closely to the original text as possible. The story finds a young schoolteacher from the city, John Grant (Gary Bond), posted to a tiny school in the outback town of Tiboonda. As the Christmas holiday begins, he plans to take a flight to Sydney to visit his girlfriend, but finds himself waylaid at a train station in the nearby mining town of Bundanyabba (aka “the Yabba”) as he waits to make the flight. After getting sucked into the hard-drinking ways of the townspeople, he loses his money gambling, loses his chance to make his plane…and slowly begins to lose his mind.

Jack Thompson in WAKE IN FRIGHT (1971), Drafthouse Films.

The screenplay was initially to be filmed in 1963 by Joseph Losey, with whom Jones had collaborated on the ’63 Hammer film THE DAMNED. A lack of financial backing doomed the project, and the screenplay was kicked around for nearly a decade. In 1968, Jones collaborated with Canadian director Ted Kotcheff (FIRST BLOOD, UNCOMMON VALOR, NORTH DALLAS FORTY) and felt that the director would be a good match for the screenplay. Kotcheff fell in love with the script, and immediately set about the business of raising funds and casting the film.

Kotcheff arrived with his family in Australia in 1969, determined to soak up Aussie culture in order to more realistically depict the people and locations described in the novel and screenplay. With his assistant director Howard Rubie, Kotcheff explored the worlds of illegal casinos, kangaroo hunters, Returned Services League veterans’ clubs, and the blue-collar pubs of dock workers and the like. As Kotcheff related to Australia’s National Film & Sound Archive, the pair sought out the kind of places “whose clientele clock off work at 6 a.m. and are heavily into the drinking by 9 a.m.—we did a lot of drinking.”

In many cases, it takes an outsider’s eye to catch details or present a perspective that might be glossed over by one more familiar with a place or subject. In this instance, Ted Kotcheff perfectly captures the bleakness of life in the outback before the internet, decent roads and efficient train and plane travel increased connectivity. In this much larger world, everything and everyone bakes in the 100-degree weather, and dust coats every surface. Likewise, an attitude of aggressive friendliness also coats the culture of drinking, gambling and game hunting that pervades the community. And in the Yabba, the mateship and seemingly out-of-place Christmas decorations also mask the sinister and menacing eye cast upon the outsider in its midst.

Donald Pleasance in WAKE IN FRIGHT (1971) Drafthouse Films.

The film opened in Sydney to worldwide acclaim. Ted Kotcheff was nominated for the Palm D’Or award at the Cannes Film Festival, and the film was tremendously commercially successful in France and Great Britain. However, it failed to find an audience in Australia. Said co-star Jack Thompson in the 2008 documentary NOT QUITE HOLLYWOOD: THE WILD, UNTOLD STORY OF OZPLOITATION!, “Australians at the time didn’t want to see it (the film) as Australia. People would walk away saying ‘That’s not us. We don’t behave like that.’” Kotcheff counters, “As a foreigner, you see things that Australians take for granted or accept as part of the dailiness of their life. They don’t see what’s eccentric or idiosyncratic about their life.”

However, the critical and (at least overseas) commercial success of WAKE IN FRIGHT and WALKABOUT lent credence to the notion that Australia was indeed a place to be taken seriously as a cinematic force. Jack Thompson confirms this, saying “What they provided was the knowledge for would-be Australian filmmakers that we had the ability to tell tales about ourselves in a way that was dynamic and interesting.”

In the wake of these early films came what would be known as the Australian New Wave of cinema, producing such soon-to-be-internationally-known talents as directors Peter Weir, Bruce Beresford, John Duigan and Fred Schepisi. The exploitative elements of WAKE IN FRIGHT (released stateside as OUTBACK) also proved to be influential in the development of what would later be known as “Ozsploitation.” Filmmakers such as George Miller, Russell Mulcahy and Richard Franklin seized upon the needs of the action and horror marketplace that was opened up by WAKE IN FRIGHT with films like MAD MAX, MAD MAX 2: THE ROAD WARRIOR, RAZORBACK and ROAD GAMES. Echoes of WAKE IN FRIGHT’s depiction of building dread can be found in films as recent as Aussie Greg Mclean’s 2005 film WOLF CREEK.

For years, the film WAKE IN FRIGHT was thought to be essentially lost. While it was released on VHS in the US, prints of the film were nearly impossible to find. 16mm prints of the movie were found, but were in poor condition for screening. The only full 35mm print of the movie, which was found in Dublin, was deemed to be of insufficient quality for commercial release. The film’s editor, Anthony Buckley, began searching for the film’s original elements in 1996. After years and years of false leads, prolonged negotiations with foreign rights holders and digging through cut and mangled prints of the movie, Buckley found the original film negatives in a shipping container marked “For Destruction.” Were it not for his efforts, the film would be nearly impossible to see today. Australia’s National Film & Sound Archive completed a full digital restoration in 2009, and premiered the new print at the Sydney Film Festival that year. It was later selected by Martin Scorsese as a Cannes Classic and was screened at that year’s Cannes Film Festival—with Michelangelo Antonioni’s L’AVVENTURA, it is one of only two films to ever be screened twice at Cannes.

Brutal in its honesty, bleak in its vision and startlingly original in its approach, WAKE IN FRIGHT is a long-hidden masterpiece of cinema, ranking with the best of the Australian New Wave and transcending even that pigeonholing. It’s where the Australian filmmaking renaissance started, and set a nearly impossible standard for all that followed.

Aleck Bennett is a writer, blogger, pug warden, pop culture enthusiast, raconteur and bon vivant from the greater Atlanta area. Visit his blog at doctorsardonicus.wordpress.com

MIAMI CONNECTION (1987); Dirs: Y.K. Kim & Woo-sang Park; Starring Y.K. Kim, Vincent Hirsch; Plaza Theatre, HELD OVER for second week through Dec. 13; Trailer here.

By Andrew Kemp
Contributing Writer

The first thing you need to know is that MIAMI CONNECTION takes place not in Miami, but on or around the beaches of landlocked Orlando.

Still listening? Then the other thing to know is that MIAMI CONNECTION is a movie out of time, a gift from the past that you didn’t even know you wanted. Congratulations, The Plaza got you motorcycle ninjas for Christmas, but you have to go this week to pick them up.

The history of MIAMI CONNECTION is so unbelievable that it’s already a movie legend. In 1987, Korean immigrant and self-described “modern philosopher” Y.K. Kim collected a modest budget and a gang of amateur actors and taekwondo students to craft a martial arts epic about a black-belt rock band’s struggle against drug-dealing ninjas, starring Kim, of course, as the improbable college student hero, Mark. After failing to find distribution, the movie disappeared into obscurity, never officially released.

Twenty-five years later, an employee of the Alamo Drafthouse in Austin, Texas, stumbled upon the last remaining film print on an online auction site. The Drafthouse is a kind of national church for movie fans, and they’ve been aggressively searching out and stockpiling 35mm film prints for years, defying the conventional wisdom that film is dead. After negotiating a $50 price for the MIAMI CONNECTION print—sight unseen—the Drafthouse decided to show the film as a random oddity for their midnight crowd. The audience erupted and, somehow, MIAMI CONNECTION became a hit. Now, the Drafthouse has made the movie an official release for their distribution arm, remastering it and shipping it to theaters nationwide. They’ve even mounted a tongue-in-cheek Oscar campaign and produced a new trailer, cut by Jason Eisener, director of CONNECTION’s spiritual soulmate, HOBO WITH A SHOTGUN (2011).

For decades, THE ROCKY HORROR PICTURE SHOW (1975) was the king of ironic entertainment, beloved for being bad long enough to become an institution, but today’s audiences have been seeking new guilty pleasures. First, we had SHOWGIRLS (1995) and its silly drinking game, and then TROLL 2 (1990) became popular enough to spawn its own documentary. Most recently, crowds pack the Plaza for regular showings of THE ROOM (2003), bringing forks and costumes to make themselves part of the experience.

And now, for these folks, MIAMI CONNECTION feels almost like a culmination. It’s an honest-to-godawful classic, something that’s normally found and championed by the few, now delivered by a major theater entity in a pristine presentation. It’s a movie literally plucked off the scrap heap, polished and mass-produced. Ready-made cult movies tend to flop because audiences are savvy and they know when they’re being pandered to (REPO: THE GENETIC OPERA, anyone?), but the vibe around MIAMI CONNECTION is completely different. This is one group of movie-fanatics speaking to others and saying “you have GOT to see this,” just as they’ve done for years, but never before on this scale.

Part of the film’s charm is that it’s so damn sincere. Y.K. Kim’s college student is just one member of the band Dragon Sound, all of whom are badass taekwondo students/total dorks. For some reason, Dragon Sound’s very existence seems to be standing in the way of a growing drug cartel based out of Miami, but doing business through the band’s club in Orlando. This thin premise kicks off an escalating series of martial arts battles between the band and the cartel’s thugs and, yes, eventually leads to a confrontation with motorcycle-riding, cocaine-dealing ninjas.

In between attacks, the band hangs out at their favorite eateries, spars on campus and fails to score with chicks at the beach. Oh, and one member of the band has about three scenes dealing with the search for his long-lost father, handled entirely via mailbox. Did I mention that the band also writes and performs a song about friendship? That song shares stage time with a ditty about fighting ninjas, which they sing before any member of the band has encountered even a single one.

But no plot synopsis can completely capture MIAMI CONNECTION’s charms. Sure, there are laughs to be found in the schlocky gore effects, bizarre plot twists and bad dialogue (“…because of that stupid cocaine…”), but people don’t go to these movies again and again to simply sit and make fun of them. That’s a mean-spirited reaction, and the crowd with whom I watched MIAMI CONNECTION showered it with love. No, what makes the movie resonate with people is that it’s an endearing reflection of the types of movies it wants to be. When you watch MIAMI CONNECTION, you can recognize the notes the film is trying to play, even if it comes off more than a bit tone deaf. Film is a language, and this is an American urban action movie made by someone who doesn’t quite speak that language, but who was passionate enough to try anyway. This is true, too, of the Italian ambition behind TROLL 2 or, um, wherever the hell Tommy Wiseau came from to produce THE ROOM. If any of these filmmakers had managed to make the movie they attempted, the result would have been a magnitude less interesting. Are these movies bad in the strictest sense? Sure, but they’re also minor miracles. In a sea of low-budget mediocrity, it takes a special spark of passion to fail this spectacularly and entertainingly.

MIAMI CONNECTION doesn’t make much sense as a story, but the action is fun and for real, and it’s a blast to watch the random plot threads bang together and make noise. Most of all, it’s a reminder that films inspire and speak to all of us, even those who don’t quite know the words. Come for the irony and the motorcycle-ninjas, but don’t be surprised if you get caught up in the fun of going to the movies.

Andrew Kemp is a screenwriter and game writer who started talking about movies in 1984 and got stuck that way. He writes at www.thehollywoodprojects.com and hosts a bimonthly screening series of classic films at theaters around Atlanta.

Chris Buxbaum and Caryn Grossman.

By Torchy Taboo
Contributing Writer

Have you ever known two people from utterly separate times and places in your life, and then one day you learn that your worlds collided and they have become a couple, and it’s one of those rare “aha” moments? It happened right before my eyes. Caryn Grossman and Chris Buxbaum are two wonderfully creative and fascinating people. Then suddenly BANG! They are collaborating on an installation as part of “The South’s Next Wave: Design Challenge” at the Museum of Design Atlanta (MODA). The special exhibit  began November 11, 2012 and runs though March 31, 2013

The sum of Caryn’s and Chris’ creative energy is formidable, making them the perfect candidates for Kool Kats of the Week. So I took the opportunity to chat with them about their dynamic cross-pollination

Torchy Taboo/ATLRetro: Chris, when I first met you, you were a DJ with an amazing record collection and a lifelong David Bowie fan. Is there a fave Bowie period? How have his styles influenced you creatively?

Chris: If pushed, I would say my favorite period was the “Berlin Era” (Low/Heroes/The Idiot/Lust for Life) – all that angst and faded glamor. Other than the “lost decade” (most of the ’80s), I love all Bowie’s work. The fact that it varies wildly in sound and vision is what attracts me to it. And never sticking to one look or genre – borrowing like a magpie from a wild variety of sources, both high and low art, is the most important thing I took away from it.

I see Glam-rock influences in the MODA installation….

Chris: Everything I did as a young fashionista in London (glam/early punk/ club kid/fetish pioneer) informs what I do now – an obsession with androgyny and fluid identity being the main thing that carried into this project. The photos in the installation, from a yearlong collaboration with supermodel David Richardson, are actually from another project that is nearing completion called “Schizophrenic Photogenic.” We are in talks with some galleries with a view to presenting these early next year.

You’ve both been shop keepers and lived the retail life. Thoughts on that?

Caryn: I think we both really miss it – I know I do. There’s something about the hunt for a fantastic mix of things, and then watching and interacting as people come through. We’re about to open a little retail space in Paris on Ponce, and I can easily see it growing into something more.

Chris: What I learned from being a shopkeeper is that while I am very good at creating a “look” and an atmosphere, I am no business man.

Chris and Caryn's installation "Darkly Deeply Beautifully Blue" at MODA's South's Next Wave exhibition.

Chris, when did photography become part of your picture?

Chris: I have always carried a camera since i was a teen, but originally just to document what I was doing. It stemmed from having such a bad memory – just so I could remember where I had been. I only started getting “arty” about it when I had my Gallery “Boho Luxe.” The advent of digital really freed me up to experiment and learn -not so much for the ease of manipulation, but because you could now afford to make lots of mistakes and learn by trial and error, which is the only way for me. I don’t think I have ever read an instruction manual in my life. Meeting Caryn was the final ingredient. She pushes me to achieve and then is wonderful in helping me collate and publicize the work. She really is the magical final ingredient.

Caryn, tell us a little about how cross-pollinating your fantastic interior design skills with Chris’s photography. Talk to me about the mixing of your styles.

Caryn: On a job, there’s actually this wonderful synergistic flow; we both have an eye for color, shape and form, so the projects we do for our clients come together really easily – and beautifully. As far as a personal style, I love a sense of irony in design, a surprise tucked around a corner. It’s really evident in the MODA installation, and pretty much the same here at home.

My space is always a reflection of how I feel, and when I met Chris I was in a very melancholy, introspective kind of place. The loft I was living and working in really reflected that – lots of soft tones and heavy drapes to envelop me. Some things were overly lush, others were worn by time, but overall the space had a very soothing vibe, which was exactly what I needed it to be. I’d had a number of artists come through, so there was a lot of graffiti on the walls, so I think the sense of color and joy was there, it was just tucked away a bit more.

When Chris and I moved into our first loft together, the space was quite a bit smaller, and things had to condense. All of a sudden the graffiti wall was center-stage and Chris’ leopard bar was kind of integral to the mix. We still have a pretty soft surround, with the heavy drapes, but the space is much livelier, much more colorful, and much more in keeping with the boldness of Chris’ photos. I love it – it’s a happy space, really filled with a lot of laughter and love.

Caryn and David Richardson at MODA's opening night party.

I know that you are both versed in the organizing of unique events. It’s apparent that projects like this huge MODA event are second nature for you as a couple.

Chris: Before I discovered photography as an art form, I would say that putting together events, club nights, parties was my only talent – it’s like cooking – you have to have the right balance of ingredients and a pinch of magic. Caryn moved in very different circles from me, and she has a knack for publicity and finessing the right people. She can really write, and she has the education, technical skills and connections to make crazy ideas become reality. “Darkly Deeply Beautifully Blue” was a true collaboration in every sense of the word. We worked shoulder to shoulder for five months to make that happen. Then we called in all our amazingly talented friends to make it real:  Milford Earl Thomas to make the film, Timo Evon and James Hoback for their artisan skills.

Caryn: I’ve always believed a collaborative process is the best, so even when I was working alone I always had other artists in and out of the space. Sometimes we shared the space and produced events together, sometimes it was just me inviting an artist in to show or play. It always brought me joy, and I loved seeing the creative process of others. It’s what makes my own work thrive, so producing events just came naturally. For a number of years I did it quarterly, opening my space up for all kinds of works, and all kinds of people, and I know my own creativity grew exponentially.

Happy Blue Family Chris Buxbaum, Caryn Grossman and Henry Jack Buxbaum!

What exactly is the MODA event?

Caryn: The exhibit, called “The South’s Next Wave,” is actually a design contest:  each design group chose or was assigned a color (ours was blue) and then assigned an object.  Ours was cake.  The only directive the curators gave was to design a monochromatic setting for the object. I envisioned ours as a room.

I thought it’d be great for Chris and I to do the space together. Chris had the idea to have a silent film made so that the “set” would remain animated after the opening. The film was shot on black and white 8 mm with a handheld camera and then tinted blue, frame by frame.

There were actually three openings: one for the press, one black-tie for wealthy patrons, and then the grand opening night.  The first two were so serious we decided to go all out on the third night and have David in the space as Marie Antoinette.  People loved it – they went nuts!  The event was sold out.

And how did you get involved?

Caryn: Sixteen designers from across the Southeast were chosen by the curators, Tim Hobby and David Goodrowe of a firm called Goodrowe/Hobby.  They had put out a call for entries for the object designers, so I approached Tim Hobby and asked him how the set designers were going to be chosen. I knew Tim from some design work we had done together years ago. He said the designers were going to be individually selected based on innovative style and merit – I presented him with some of my more recent work, and we were in.

David Bowie and a young Chris Buxbaum.

Give us more of the juicy details and logistics about the MODA installation.

Caryn: Creating the space for MODA was an amazing process. I had a vision of something over-the-top, kind of an ironic play on Marie Antoinette, and Chris’ photos were just a natural fit. Glam, punk, drag and my vision for design all came together almost seamlessly. Chris’ work and aesthetic was the perfect irony and surprise I was looking for, and the rest of the project kind of rolled on from there. I’ll let Chris tell most of this one, as once the vision came together, he really took it that step further by assembling this amazing team that ultimately included a filmmaker, drag performer, artistic finisher, Chris’ photos of course, and some pretty over-the-top furnishings and these unbelievable cakes by a company called Couture Cakes Inc. The museum crowd went nuts over it, especially the second opening night, which was the night we had our own Marie Antoinette – all seven-plus feet of him in platform heels, in the space.

I guess MODA is the perfect example of how our styles mix, and how we work together. I’m hoping it’s the start of a lot of great things.

Chris: “Darkly Deeply Beautifully Blue” came together really organically. We went with blue because we were in the middle of a big project for CG CreativeInteriors [Caryn’s interior design firm]. When we have a project, we cover the walls of the loft in paint chips, fabric samples, inspiring pictures, etc, so we literally have to look at it all day. Since we were loving the colors we had chosen for this residential project, we decided to pull them over into the MODA one. We decided to use my pics of David Richardson to pull it out of being just decorative and give it an edge (and also to get them a wider audience). When we learned that our featured product was to be high-end designer cakes, the Marie Antoinette theme seemed the obvious way to go. Caryn worked tirelessly to find fantastic furniture and architectural products – the floor alone took almost a month to sort out [and] our first two ideas (mirrorball tiles/glitter wall paper) would not come together. In the end she sourced 40,000 silver rose petals. We drained six whole wedding stores of their supplies.

Tell me more about your crew selection and how they fit together.

Chris: The final thing that helped separate us from the pack was having David in the vignette live on opening night. It’s hard to ignore seven-and-a-half feet of drag queen with a Marie Antoinette wig and a birdcage on her head. And the cake maker, Lisa Humphreys, of Couture Cakes Inc.,  did an amazing job – even those shoes are cake.

We were also very honored to have Milford Earl Thomas (CLAIRE: A SILENT MOVIE) make a short film for us also featuring David. It turned out so beautifully and was designed to hold the viewers’ attention when David himself was not in the installation. I would love to work with him again in the future.

Caryn Grossman.

Share your vision of the future five or 10 years from now.

Chris: Vision for the future: an April wedding on the rooftop of the Telephone Factory, a solo gallery show for “Schizophrenic Photogenic” early 2013;  a group show with Rose Riot at Cherrylion and, last but not least, to grow CG Creative into a flourishing modern design firm.

Caryn: Wow. I have no idea, expect I know it will include the two of us, and some amazing intriguing happenings going on. I can easily see what we created at MODA taking on a life of its own. Whatever it is, and wherever we’ll be, I’m sure it will be fascinating – and happy.

Visitors to MODA get to vote on their favorite vignette and object. Chris and Caryn’s installation, “Darkly Deeply Beautifully Blue” is #6. The voting ends February 15.  Each vignette is set up with the Skovr app, so that viewers can access facts and video about the designers while in the galleries or from home.  More info on the museum hours, etc., can be found at www.museumofdesign.org.

Monday, Dec. 3

Come out to Sweet Georgia’s Juke Joint to listen to the high-energy jazz sounds of the Jacob Deaton Trio at 6:30 p.m. Northside Tavern hosts its weekly Blues Jam featuring blues and southern soul singer, Lola Gulley. Head over to Fat Matt’s Rib Shack to check out Pead Boy & The Pork Bellys at 1:45 p.m.

Tuesday, Dec. 4

Catch this week’s retro cinema classic, A CHRISTMAS STORY (1983) at Northlake Festival Movie Tavern. The Christmas classic is directed by Bob Clark and starring Melinda Dillon, Darren McGavin and Peter Billingsley as “Ralphie,” the little boy who tries to convince everyone that a Red Ryder B. B. Gun is the perfect Christmas gift. Check out the Tommy Dean Trio at the Georgia Shrimp Company in Peachtree City as they play favorites from The Rat Pack, classic soul and great American songbook standards. Recent Kool Kat Calu Cordeira mixes tiki libations at Mai Tai Tahitian Tuesday starting at 9 p.m. at the Dark Horse Tavern. Grab your horn and head over to Twain’s in Decatur for a Joe Gransden jazz jam session starting at 9 p.m. The Crosstown Allstars are rocking the blues at Fat Matt’s Rib Shack, or you can blues it down with Nathan Nelson & Entertainment Crackers at Northside Tavern.

Wednesday, Dec. 5

The Shelter is playing all your Brit pop favorites, from classics by New Order and The Stone Roses to new favorites by The Good Natured, and the party starts at 9 p.m. Head over to Sweet Georgia’s Juke Joint to listen to the sweet blues of The Breeze Kings at 6:30 p.m. Get ready to rumba, cha-cha and jitterbug at the weekly Swing Night at Graveyard Tavern. Disco in the Village at Mary’s is your midweek neighborhood dance party! Frankie’s Blues Mission is on a mission to bring the blues to Fat Matt’s Rib Shack, and Danny “Mudcat” Dudeck brings the gospel blues to Northside Tavern.

Thursday, Dec. 6

Three Bad Jacks and Kool Kat Rod Hamdallah are opening at The Earl at 8:30 p.m. Are you interested in burlesque performers, shows, performing and photography? Come down to the Elliott Street Pub for the Atlanta Burlesque & Cabaret Club Meeting to watch a burlesque show, followed by a local burlesque to-do’s and events from all over the world, and highlight a photographer in Atlanta who contributes a lot to the burlesque community. Catch another screening of this week’s retro cinema classic, A CHRISTMAS STORY (1983) at Northlake Festival Movie Tavern. It’s 80s vs 90s Thursdays at The Shelter. New Wave classics versus Booty-shaking Eurodance will get your moving and rare and underground music videos will be playing on the screens throughout night. The Breeze Kings and Chickenshack bring on the blues respectively at Northside Tavern and Fat Matt’s.

Fader Vixen

Friday Dec. 7

Gallop over to Drunken Unicorn to hear the synthpop sounds of Fader Vixen, Mr. Gnome and Nobra Noma at 9 p.m., $8 in advance, $10 at the door. Don’t miss the longest and dirtiest show of the year at Cineprov! This is the fifth year of the Ruining Childhood Memories Holiday Shows, lots of your old favorites and lots of new surprises at Relapse Theater at 8 p.m. Come down to Cabbagetown and enjoy the 6th annual Stacks Lofts and Artist Tour this Friday and Saturday night. The lofts will be hosting local artists and restaurants so come out to buy some art, sip on wine and sample the hot delicious food! The Ron Kimble Band plays southern rock at Cooper’s Corner in Grayson, and Zydefunk is bringing the sounds of the bayou to Northside Tavern. Kool Kat Bernadette Seacrest will be performing under the dinosaurs at Fernbank Museum of Natural History Martinis & IMAX.

Saturday, Dec. 8

Blast-Off Productions presents SANTA’S SUPER SATURDAY at Plaza Theater! Live holiday floor show with sing-a-longs, a dance party, hot cider and a screening of EMMETT OTTERS JUG BAND CHRISTMAS! Come traverse the spans of time and space as the Imperial Secret Society Speakeasy rolls out the plush red carpet at Blue Mark Studios at 5 p.m. to take you to the times of American Prohibition, Victorian spectacle, and the pulp fiction mystery of the 60s, hearkening to everyone’s favorite British spy. The Academy Theatre and the Atlanta Radio Theatre Company presents, for the 1th consecutive year, An Atlanta Christmas. Memories of Christmas past, our city’s past, and our past are told in a series of short, distinct vignettes, joined together by the image of a family gathered around the Christmas tree. 25% of total ticket sales will be donated to the Center for the Visually Impaired. Make sure you check out our RetroReview of last year’s show. Syrens of the South Productions presents the 6th Annual Tits for Toys for Tots Burlesque Show at The Five Spot in Little Five Points. Tickets are $20, or $10 with the donation of a new unwrapped toy worth $5.

Krampus Krawl

Have you been naughty? Celebrate the German anti-Santa with the annual Little 5 Points Krampus Krawl. Meet behind the Plaza Theater at  9 p.m. and meander your way through Little 5 Points singing carols and raising money for Toys for Tots. Make sure you dress up as Krampus! Mixtape Atlanta’s annual holiday bash X-Mix 2012 is back and this time it’s at Smith’s Olde Bar and features Kool Kats The District Attorneys along with several other rocking bands. Cover is $10 plus 2 cans of food; the money benefits Songs for Kids and the cans go to the Atlanta Community Food Bank. Come out to Cooper’s Corner to party with classic rock cover band, Rockasaurus, at 9 p.m. Head over to Northside Tavern if you are looking for a night of blues with Mudcat. And as usual, DJ Romeo Cologne transforms the sensationally seedy Clermont Lounge into a ’70s disco/funk inferno late into the wee hours of the night.

Sunday, Dec. 9

Holy Cow, Batman! It’s time for the Atlanta Comic Con at the Marriott Hotel Century Center! Nathan Massengill, current artist of BUFFY THE VAMPIRE SLAYER, and other comic favorites will be signing autographs, walkers from The Walking Dead will be there, along with several other comic artists and writers. Tony Bryant’s music represents four generations of family Georgia Blues going back to the turn of the 2th century when music was an expression of life. Listen to his musical history lesson at Fat Matt’s at 1:45 p.m. Uncle Sugar blues it down at Northside Tavern and enjoy some hangover-friendly live music with Spanky and the Love Handles playing dunch at 1 p.m. at The Earl.

Seasonal Activities

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 third year with Rudolph, Clarisse, Hermie, Yukon and all the beloved characters. Read our interview with adapter/director and Center Artistic Director Jon Ludwig here. Now through Jan. 6.

Take part in an Atlanta tradition dating back more than 50 years! The Pink Pig is back at Macy’s in Lenox Square Mall. Ride the Macy’s Pink Pig Train on top of the Lenox Square Mall through the 170-ft., 1950’s themed Pink Pig Tent. A portion of the ride’s proceeds will benefit Children’s Healthcare of Atlanta. The Pink Pig will be at Lenox until Jan. 1.

All this week at The Horizon Theater, catch David Sedaris’ THE SANTALAND DIARIES. An outrageous holiday comedy, written by award-winning satirical writer David Sedaris, stars Crumpet, a rebel without a Clause who recounts the true-life tale of an out-of-work writer’s stint as a Macy’s Department Store elf. Now through Dec. 30.

Award-winning Dad’s Garage offers a new take on the humbug Christmas classic with INVASION: CHRISTMAS CAROL. 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! Shows run through Dec. 23 every Thursday, Friday and Saturday.

At Fernbank Museum of Natural History, enjoy the 3rd annual WINTER WONDERLAND, featuring trees and other displays from around the world. New this year will be special photo opportunities with Fernbank’s holiday mascot, Santa-saurus and hop aboard the Santa-saurus Express train, through Jan. 6.

Ongoing

Every Tuesday and Thursday night is Retro Cinema at Movie Tavern. Check out classic movies on the big screen weekly at 7:30 p.m.

Visit the High Museum of Art to see the Fast Forward: Modern Moments exhibit featuring artistic development from the past 100 years, 1913-2013. Artists include Henri Matisse, Salvador Dalí, Georgia O’Keeffe and Jeff Koons. Closes January 10, 2013.

Take retro to another level at the Genghis Khan special exhibition at Fernbank Museum of National History. Closes January 21, 2013.