ATLRetro

WILD AT HEART (1990); Dir: David Lynch; Based on the novel by Barry Gifford; Starring Nicholas Cage, Laura Dern, Willem Dafoe, Crispin Glover, Diane Ladd, Harry Dean Stanton, Isabella Rossellini; Sat. July 7, 9:30 p.m.; Co-presented by and featuring a live performance by Women’s Work, come dressed as your favorite Lynch character, coffee and pie in the lobby; Plaza Theatre; trailer here.

“I’d go the far end of the world for you, baby!”

“A man can’t ask for more than that.”

“You rope me, Sailor, you really do.”

These immortal lines are exchanged between Lula Fortune (Laura Dern)and Sailor  Ripley (Nicholas Cage), but in 1990, I’d have to admit I would have gone to the ends of the world to see any piece of celluloid created by David Lynch.

If you were a certain type of young person drawn to the deepest darkness but still enchanted by the lure that true romance can exist even if it kills you, you worshipped at the insane, amazing altar of Lynch back then. You saw a college or midnight revival of ERASERHEAD, and your head throbbed with pain while watching it, yet your eyes were glued to the screen. ELEPHANT MAN was even more excruciating because of the toll it took on your emotions, but you knew brilliance onscreen when you saw it. You really, really wanted to embrace DUNE and liked some of the visuals, but …well, but then came BLUE VELVET, and every time you heard that song ever after, it had a different meaning and while you didn’t want to admit it to anyone but your diary, Dennis Hopper made you all hot and bothered ever after. So, of course, you tuned into TWIN PEAKS like an addict desperate for a Lynch fix and told your lover “don’t let me too bad,” hoping just the opposite as you twisted a cherry stem into a knot behind your ruby lips.

Sailor Ripley (Nicholas Cage) in his iconic snakeskin jacket is WILD AT HEART for Lula Fortune (Laura Dern). Polygram/Propagada Pictures, 1990.

Into that era of Lynch euphoria arrived WILD AT HEART, perhaps the best example of how behind the violence, Lynch is sweetly sentimental about love. Based on the Barry Gifford novel of the same name (though Lynch changed the ending), the movie didn’t test well with audiences and was not completely critically well-received, but yet walked away with the Palme d’Or at Cannes. In other words, a typical Lynch movie. You either love Lynch or you don’t.

Without giving too much away for anyone who has not seen it before, the plot hinges on a simple love story–boy meets girl, they fall in love, girl’s mother (Diane Ladd) forbids them to marry and hires a hitman to take out boy, boy goes to prison and serves his time, girl picks him up and they hit the road, mom hires another hitman (J.E. Freeman) and craziness, violence – and yes, beauty ensue topped off by a cameo by Glinda the Good Witch (Sheryl Lee, aka Laura Palmer)! Yup, this road movie may be set in contemporary America and include all the requisite stops at seedy motels, but it’s also a fairy tale with heavy references to the Road to Oz.

Diane Ladd as Marietta Fortune in WILD AT HEART. Polygram/Propagada Pictures, 1990.

Like Woody Allen, Robert Altman or Quentin Tarantino, Lynch has been a genius in assembling an intriguing ensemble cast, and WILD AT HEART is no exception. It may be hard to remember now but Nicholas Cage was once a fine actor and just weird enough to make him a perfect Lynch leading man. In those days when he put on a snakeskin jacket and impersonated Elvis, he was sexy, not creepy. Pretty but still real-looking Laura Dern brings just the right mix of passion, forthrightness and stroppu Southern accent to pull off Lula without turning her into a cliche. Casting Laura’s mother, Diane Ladd, as her domineering, disapproving and crazy-as-a-Lynch-movie Marietta Fortune, though, was pure brilliance. At the time, Ladd was at that middle age where she wasn’t getting many great roles, and this one proved a comeback that earned her both Oscar and Golden Globe nominations. The supporting cast also includes Harry Dean Stanton as a private dick and Marietta’s boyfriend, a scary-toothed Willem Dafoe as a psychotic gangster hired to kill Sailor, Crispin Glover as Lula’s cockroach-eating cousin (isn’t insect-dining a David Lynch movie prerequisite?!), Lynch favorite Jack Nance as a loony rocket scientist, a gone-blonde Isabella Rossellini (then still Lynch’s lover) as a gangster moll, and a cameo by Sherilynn Fenn (Twin Peak’s Audrey and then every Lynch-boy’s fantasy and every Lynch- girl’s role model) as a car crash victim.

Sheryl Lee (TWIN PEAKS' Laura Palmer) as Glinda the Good Witch in WILD AT HEART. Polygram/Propagada Pictures, 1990.

Sigh, because I’ll only be there “In Dreams.” Nope, I won’t be able to take that wild ride with Sailor and Lula tonight because I alas already am committed to other plans. So all I’m going to say is I hope you’ll go in my stead and fill up the Plaza as it should be for a special screening like this (come early and see STAND BY ME for a double feature if you can! If you missed Plaza Day 19, catch up here). If you haven’t seen WILD AT HEART, you should and encourage all your friends. If you haven’t seen it in a while or even more if you’ve never seen it on the big screen, this is a rare opportunity and another reason why Atlanta needs The Plaza.Remember, your ticket and any concessions purchases help keep Atlanta’s longest-running, locally owned historic independent cinema and Retro treasure alive!

Sabin Epstein. Photo courtesy of Georgia Shakespeare.

Georgia Shakespeare is going Wilde, as in Oscar Wilde, for the first time this summer with THE IMPORTANCE OF BEING EARNEST, running from Fri. July 6 through August 3 at the Conant Performing Arts Center at Oglethorpe University.  The plot is a familiar one – two young friends, Jack and Algernon, both masquerade as a libertine named Ernest, to win the hearts of their unsuspecting loves, Gwendolyn ad Cecily.

You may ask what’s 20th century about that? But in keeping with the notorious playwright’s own Bohemian lifestyle, what follows is no stiff Victorian comedy of manners but a frenzied farce with plenty of political incorrectedness that has stood the test of time. Plus we have to admit we just love both Oscar Wilde and Georgia Shakespeare and have great memories of sitting on the lawn, picnicking and watching some great theatre under the original tent in the late 1980s, so we think it’s mighty cool that the company has survived, grown and prospered into an Atlanta summer tradition that performs more than the Bard!

What better reason to name director Sabin Epstein Kool Kat of the Week. He may not be named Earnest but he was happy to sit down and share some secrets about why it was time to go Wilde, what he and the cast have done to keep this much-acted play fresh and funny and a few memories of  the festival’s early outdoor days.

ATLRetro: THE IMPORTANCE OF BEING EARNEST has been a standard for theatre companies for more than a century. What do you think is the secret behind its seemingly timeless appeal? 

It seems people have been falling in love since time began and sometimes the course of true love doesn’t run smoothly. We love complications, of our own making or other people’s making. EARNEST is one very complicated and clever love story with wonderfully droll and daffy characters and very clever logic.

In Shakespeare, there’s quite a bit of gender-bending. Is that why you decided to stir up the sexes with a couple of characters?

The reversed gender casting just happened, it wasn’t planned- these seemed the best actors for the role, each bringing interesting qualities to the characters that helped open up a new way of looking at them.

Cecily (Ann Marie Gideon, center) encourages Algernon (Caleb Clark, left) and her guardian Jack (Joe Knezevich, right) to make amends. Photo credit: Bill DeLoach.

Without giving too much away, what else have you played with to change things up and keep the play fresh?

The visual design of the piece is nontraditional. We started with the Lewis Carroll/Alice in Wonderland aspects of the play, the upside-down logic, and let the design evolve from there. We’re using a unit setting, so it has to accommodate both indoors and outdoors simultaneously – the overall look of the piece is theatrical, tightly controlled (like the world it is mirroring) and, I believe, not lacking in wit.

This play contains some marvelously witty dialogue and situations. Do you have a particular favorite scene to direct and why? 

The real challenge is in looking at so many famous scenes and famous lines and famous characters and forgetting about what made them famous in the first place and to just dive in to the piece as if its a brand new play. In that regard, every scene has been fun to work with and all the characters fascinating.

You’ve assembled a nice line-up of seasoned Atlanta actors including some long-time Georgia Shakespeare regulars, such as Megan McFarland. Can you talk a little about the cast?

We’ve had a wonderful time in the rehearsal room; the cast is a delightful mix of actors new to me and dear friends; the atmosphere has been relaxed, loose and playful, due largely to the trust and experience generated playing in rep over the years. I’ve wanted to challenge those actors I’ve worked with before with non-type-casting, and get to know the new actors playing into their strengths. They’re all adept at working with “high language,” which is a requirement for this piece – anyone who can speak Shakespeare and Shaw and make them make sense/resonate with contemporary audiences is perfectly suited to this material, and everyone in the cast fits the bill.

Jack (Joe Knezevich, center) discovers his true identity in the presence of Lady Bracknell (Mark Cabus, from left), Miss Prism (Marianne Fraulo), Algernon (Caleb Clark) and Cecily (Ann Marie Gideon). Photo credit: Bill DeLoach.

Finally you must be proud at how Georgia Shakespeare has grown and blossomed over the past nearly 30 years. Do you ever miss those early days under a tent in a field and do you have a favorite memory? 

The early days were full of adventure and the unknown – even though we’re now in air-conditioned rehearsal rooms, that spirit of adventure seems to thrive with Georgia Shakes and that’s why I love returning to the company. My first project here was MUCH ADO ABOUT NOTHING in the second season, in the tent; I’ve loved working on Moliere and Orton with the company as well as Shakespeare- wonderful memories of THE MISER, THE TEMPEST, TWELFTH NIGHT, MERCHANT OF VENICE, KING LEAR, WHAT THE BUTLER SAW, the black and white shows, the colorful shows – they’re all my children. How could I possibly single one or two out? It’s just wonderful to have the opportunity to do work I’m invested in with a company that isn’t afraid to take risks and be adventurous and truly supports its artists.

THE IMPORTANCE OF BEING EARNEST is running in repertory with this year’s other productions, MUCH ADO ABOUT NOTHING, ILLYRIA: A TWELFTH NIGHT MUSICAL and THE EMPEROR AND THE NIGHTINGALE, a world-premiere family musical based on a Hans Christian Anderson story (July 14-Aug 3), click here. A fun night to see the show is Friday July 13, when you can stay late and see cast members also present the Girls (and Boys) Gone Oscar Wilde Cabaret, no holds barred at this “Wildely” naughty performance (*Appropriate for ages 13 and up), after the 8 p.m show. For more information or to purchase tickets, visit www.gashakespeare.org or call the Georgia Shakespeare Box Office at 404.504.1473.

By Thomas Drake
Contributing Writer

STAND BY ME (1986); Brand New 35mm Print; Dir: Rob Reiner; Starring Wil Wheaton, River Phoenix and Corey Feldan; Plaza Theatre, Fri. July 6 and Sat. July 7, 7:30 p.m.; and Sun. July 8, 3 p.m.; trailer here.

Short: Vern: Do you think Mighty Mouse could beat up Superman?
Teddy: Boy, you don’t know nothing! Mighty Mouse is a cartoon. Superman’s a real guy. There’s no way a cartoon could beat up a real guy.

Medium: A coming of age story about four young men who decide to go find the body of a lost boy and become heroes. Along the way, they learn about themselves and are confronted by external hazards from nature and generic thugs.

Maximum Verbosity: For a long time, there were rumors that this was actually based on something that actually happened to Stephen King. The movie itself was based on “The Body,” a novella he wrote in 1982. It wasn’t actually true. There was actually an accusation labeled against him of plagiarism by a manuscript submitted by a fan. King denied the accusation and hasn’t read manuscripts for others since then. Now, it is possible that Stephen King stole the idea, but, quite frankly, given that he’s written 49 novels, many of which are best sellers, and most of which have sold significantly better than “The Body,” we can establish that King is not some one hit wonder that needs to steal ideas.

A lot of King’s movies have been made into movies. So what makes this one stand out? What makes STAND BY ME so exceptional that you’ll want to see a 25-year-old movie with all that’s coming out this Friday? Well, that’s an interesting question…perhaps I should say Magic? I speak not of the Magic of thunder, lightning or fireballs (or Magic Missiles into the darkness) but the Magic of Childhood. I put it on par with THE GOONIES in terms of what it means to be a kid, the wonder thereof, etc. But here’s the difference: Do you remember that ubiquitous Facebook meme where people put “What I think of” “What My Mom Thinks of” that ended with “What it Really Is”? THE GOONIES is “What I thought of my Childhood” whereas STAND BY ME is what it actually is.

Sure, there are dramatic moments, but there are also anticlimactic ones. The great quest to become heroes doesn’t go anywhere. But every single one of them comes out of the experience with something greater, something that helps them move on. It is also a parable told by the storyteller character, Young Gordie (Wil Weaton), who also learns the value of establishing a good relationship with his sons.

So there you have it. There is a magic in the theater, and if you’re looking to recapture something about what it was like to be a kid; not the romanticized world that never was, but the gritty adventure that you and maybe some of your friends had that you remember that you had to be there to understand. On top of everything else, it also helps that the acting is fantastic and the story is really good. It captures the visceral reality merged with cinematic fantasticness.

Go and see this movie.

By James Kelly
Contributing Music Editor

Imagine my good fortune when a package arrived at my door with five incredible jazz collections, each one by a true legend in the genre. As much as I love country music, every now and then I have to have a good jazz fix. When I was a wee lad, my Dad used to play some old Dixieland jazz records for me – Acker Bilk, Chris Barber and Ottilie Patterson, and many more, so the seeds were planted early. In the ’60s & ‘70s, I was  influenced by Frank Zappa’s jazz odysseys, and I eventually found a path back to the classics through the notorious Weather Report–Mahavishnu “jazz fusion” enchantment of my high school years.  So here is a brief summary of five of the most essential artists in the history of jazz, all of whom have brand new compilations on the amazing Prestige/Riverside labels now under Concord Music Group. Please keep in mind that each of these greats has very deep catalogs, and these are mere samples of a certain time span in their illustrious careers.

Sonny Rollins
THE VERY BEST OF
From 1956 to 1958, tenor sax man Sonny Rollins released a series of tracks that stand as some of the finest cool jazz ever. Joined by a cavalcade of equally talented sidemen including drummer Max Roach (who whips out some stunning solos on this disc) and amazing trumpeter Clifford Brown, Rollins was equally melodic and experimental, combining his own material with classic standards and improvising with other legends such as the Modern Jazz Quartet and John Coltrane, whose duet with Rollins on a 12-minute jam called “Tenor Madness” is jaw-dropping good. Even the funky version of “I’m An Old Cowhand” shines with originality. His rich tone, precision playing and keen ear for great material coalesced into audio beauty, and while he continues to blaze new trails in his 80s, Rollins’ baseline set an incredibly high standard of excellence early on.

The Miles Davis Quintet
THE VERY BEST OF
Everybody loves Miles. He was a chameleon who followed his internal musical muse in whatever direction it took him, and sometimes he seemed a bit possessed. There is no shortage of great Davis compilations, and these tracks from 1954-1956 have been well documented in the past. The 10 cuts provide some insight into the transition Davis was making from a bebop player to a more mature, stylistically focused band leader. His Quintet at this time consisted of John Coltrane, Red Garland, Paul Chambers and Philly Joe Jones, basically a jazz supergroup. Garland’s hypnotizing piano solos permeate and complement Davis’ muted and buttery smooth tone, which eventually became his trademark sound. “’Round Midnight,” My Funny Valentine,” we’ve heard these plenty of times, but they never fail to generate a deep visceral feeling of being in a dark smoky club, whiskey on the rocks in hand, and the best band in the world playing just for you.

Wes Montgomery
THE VERY BEST OF
A life cut short too soon, Wes Montgomery’s work has been a standard by which all decent and respectful guitarists must compare themselves. His treatments of rock and pop classics on the CTI albums are legendary, and showcased his amazing improvisational skills. But this compilation is a real treasure, as it covers a lot of his lesser known early work on Riverside Records. Montgomery played with his thumb instead of a pick, which resulted in a very smooth tone that became immediately recognizable as his sound. Like his peers, Montgomery utilized the best of the best sidemen, which enhanced his own visibility. With Hank Jones on piano, Ron Carter on bass, the incredible Milt Jackson on vibes (where is Jackson’s “Best Of…” album?), and multiple drummers, Montgomery’s early work is a perfect example of the late ‘50s early ‘60s jazz groove – subtle but confident, melodic but challenging, and manna for the ears.

John Coltrane
THE VERY BEST OF: THE PRESTIGE ERA
He’s the other giant of modern Jazz, standing equally tall as his occasional bandmate Miles Davis. There is no need to elaborate on the importance and influence of Coltrane’s legacy. It permeates most real jazz that has been written and performed since he passed away. Captured here are 10 tracks from 1956 to 1958; each piece is a blast of confident control, a mini musical dissertation on how to make a perfect Jazz record. His time in the trenches with Davis and pianist Thelonious Monk had given Coltrane an education, and obviously inspired a push toward total excellence. With equal parts skill and soul, he blazed through multiple pieces of music, branding each as his own with a rich and powerful command of the saxophone, one that has not really been matched since then. His unique interplay with trumpeter Donald Byrd on “Lover Come Back To Me” is a schoolboy lesson in collaboration and exploration, and simply unforgettable. Fast, slow, jammy or moody, Coltrane could do it all.

Chet Baker
THE VERY BEST OF
He had it all – the looks, the sound, the charisma, the reputation, and sadly, the taste for dope.  Chet Baker has long been an icon, an incredible trumpet player and vocalist whose life circled down into a tragic tale of wasted talent and untimely death, eloquently reinvigorated in a fawning documentary by Bruce Weber (now almost impossible to find).  But putting aside the drama, Baker was a master, who sang and played like an impressionist painter, delivering the “essence” of a melody in a way that pulls you toward it, and allows you to construct the framework in your own mind. From his early 20s, working with Gerry Mulligan, Baker got noticed immediately by both other players and jazz aficionados, and the 14 tracks on this fine compilation give a fairly comprehensive and profoundly entertaining panorama of Baker’s skills.  His ability to turn standards into his own tunes was remarkable, and each cut is a treat. His tender half tempo version of “How High The Moon” is a prime example. As one of the very few jazzmen who also sang, Baker had a honey smooth voice that oozed sensuality. During these sessions, Baker played with an energy and smoothness that belied his impending battles with the demons of excess and temptation, and while he recorded sporadically in later years, he maintained that magic touch until the end.

Millicent Patrick poses with the head she designed of THE CREATURE FROM THE BLACK LAGOON. Photo credit: Universal Pictures, 1954.

Silver Scream Spookshow Presents THE CREATURE FROM THE BLACK LAGOON in 3D (1954); Dir: Jack Arnold; Starring Richard Carlson, Julie Adams, Richard Denning and Ricou Browning; Sat. June 30;  kids matinee at 1 PM (kids under 12 free & adults $7) and adult show at 10 PM(all tickets $12); All proceeds of today’s shows benefit Atlanta’s oldest running independent cinema, the nonprofit Plaza Theatre; Trailer here.

YELLOW SUBMARINE (1968); Dir: George Dunning; Starring and featuring music by The Beatles; Plaza Theatre, Thurs. June 28, 9:30 PM ($9); Fri. June 29, 8:30 p.m.; and Sun. July 1, 3:30 p.m. (adults, $7.50 and kids under 12, $4); trailer here.

This animated wonder starring The Beatles is made for viewing on the big screen. You may be thinking I’ve seen it, but take our little trivia quiz to see if you really remember how cool it is and all the psychedelic details. If not, take advantage of three chances to see it at The Plaza tonight and this weekend, including a Sunday matinee for the kids. My parents took me to see a reissue of it when I was very little and they weren’t even Beatles fans! And yeah, I just thought Lucy in the Sky was a pretty chick.

1. First off, an easy one, who are the villains and what weapons do they pummel at the good people of Pepperland?

2. How is John Lennon introduced in the movie?

3. In which sea are our heroes sailing in the Yellow Submarine to “Only a Northern Song”?

4. What is the name of the Nowhere Man?

5. Who defeats the Indians?

6. What does John announce after looking through the telescope?

7. From what show, is George Harrison‘s recurring line, “It’s All in the Mind,” taken from?

8. What type of skies are above the boat on the river in which viewers are asked to picture themselves in “Lucy in the Sky with Diamonds”?

9. What would happen if the Nowhere Man spoke in prose, instead of in rhyme?

10. Which Liverpudlian poet was responsible for much of the humorous dialogue in the movie?

Scroll Down for Answers

1. Blue Meanies and big green apples (or terrible flying hand).
2. As Frankenstein’s monster who drinks a potion and turns into himself.
3. Sea of Science
4. James Hilary Boob PhD
5. The US Cavalry
6. Newer and bluer Meanies have been sighted “within the vicinity of this theatre” and there is only one way to go out: “Singing!”
7. The Goon Show
8. Marmelade
9. “You’d all find out I don’t know what I talk about.”
10. Robert McGough

A free Joy Division Tribute Night this Friday June 29 at 9 p.m. at Famous Pub & Sports Bar in Toco Hills?! Being an old-school, heavy duty acolyte of Joy Division, who at one time drew my nose up even at New Order in loyalty to the ghost of Ian Curtis, ATLRetro had to prick up my ears. Turns out 1WB, aka One Will Burn, is a very recent entry to the Atlanta music scene (they played their first gig May 7, 2012!), but is made up of some seasoned Atlanta musicians, including vocalist Ross Henderson and bassist Todd Caras (Methods of Espionage), guitarist Michael Church and drummer David Goodwin (Other Voices, Candy Apple Black). Sleep The Owls and The Flannels also are on the bill as opening acts. In sum, the idea of a band dedicated to keeping Curtis’s ghost alive in the 21st century was so compelling that it just seemed to make perfectly unnatural sense to make Todd Kool Kat of the Week if only to find out why?

ATLRetro: Why a Joy Division tribute band in 2012?

Todd Caras: Like many who collect music or perform in band, I have personally experienced/seen a wide generational gap in what bands/sounds influence today’s 20-somethings. My generation – I’m nearly 40 – were influenced by bands like Joy Division, The Smiths, etc., and developed a connection with contemporary bands such as Interpol, The Doves and Suede not so long ago, etc. who draw directly from the same influences. Today’s 20-somethings are listening to bands who are influenced by bands who were influenced by the early 4AD/Rough Trade post-punk groups; there’s practically three to four generations of distance and separation leaving us with some very watered-down hints of what used to be. Nothing wrong with it. It’s inevitable, natural, but ultimately sad.  I personally feel that bands of Joy Division’s ilk were the last major movement in music from a creative standpoint. Yes, you had the shoe-gazers in the early ‘90s, and then grunge, and later the garage rock revival of the early 2000s; but they all drew from a warmed-over idea.

I understand One Will Burn was founded somewhat by accident. What’s the story?

One Will Burn was hastily formed by members of a few local bands in town to play a show and fill in for a band that couldn’t make it out. Our front man Ross and I belong to the band Methods of Espionage and were asked to fill a slot at a local venue, but two members of our band were out of town. Still wanting to play the show and help a friend -plus we wanted to help a struggling local venue, THE MUSIC ROOM – we pushed forward and reached out to drummer David Goodwin of Other Voices and Candy Apple Black. The trio decided to play a Joy Division tribute set since they had listened to the legends for years and knew the songs already. One Will Burn played the show and were so well received they decided to pursue the project seriously, since adding guitarist Michael Church.

Todd Caras of 1WB. Photo courtesy of 1WB.

How did you decide on the name?

After a one-night practice session with less than 24 hours before the show, we came up with 1WB – a name we came up with in two minutes from a lyric in Joy Division’s “Heart and Soul” – “One Will Burn.” I personally like it because it is enigmatic, looks like a British postal code, a license plate number, etc.  It [also] gives us the opportunity to use this moniker, should we turn into an original material band, which may be in the cards.

When/how did you discover Joy Division and what does JD mean personally to you?

I discovered them by accident in high school. I had a collection of cassette tapes – yes, cassette tapes – some belonged to others, some from my sister’s numerous boyfriends, etc. I was looking through them one evening and came across Joy Division’s “Still,” which contains live performance material. It made me sick to hear it! I hated it! I couldn’t stand the overuse of chorus effect all the time. The recording was old – 1979/1980? – so I’m sure that the original taping source was speeding up and slowing down – and you can hear it. Joy Division was playing sloppy, ferocious and fast as usual. Ian was bumming his notes every so often. Bernard had mistakenly left the pitch bender on his keyboard in the “on” position during “Decades” which created horrible sounds. Hook’s bass was too low, etc. etc. etc. I hated it! And kept returning to it, listening to it to see just how much I hated it.

I was trying to picture the way their singer (Ian) looked, based on his vocals; in my mind I kept seeing an older Bob Mould type. Obviously, I was dead wrong.  After discovering – pre-Internet days, mind you – what they looked like [and] spending many hours at Tower Records, pouring over “fanzines” for images and information, I discovered an immediate connection as they appeared to be “nobodies” from a “nobody” town with plain clothing – kind of like The Smiths. It was an image completely separate from punk or heavy metal. It is what you would see in the mirror.

Being a blossoming – horrible – musician at the time (bass, keyboards, drums), their music was easy to play (not easy to write, however) and accessible to a novice like myself – yet, their sounds created imagery. They spoke before the lyrics. After discovering the darker – unfortunate – background surrounding Joy Division, my intrigue was permanent. I learned to like them because they provided me a more “butch,” tough,” “dodgy” set of heroes to worship, apart from “nice heroes” like Depeche Mode.

Being a suburban sports bar, Famous Pub seems an odd location for a dark proto-industrial/goth band tribute show. Tell me why it’ll be perfect.

As the story goes, Joy Division started out in a bar/venue completely unsuited to their style of music, whatever it was at the time. I’m sure it was an odd place for such a gathering. Perhaps, today, playing such music at a place like the Famous Pub is almost as fitting in a way. We also anticipate that many of the old school fans of Joy Division have moved away from the city and started families, etc. Perhaps this venue is accessible to them given its proximity between the city and the ‘burbs. On the other hand, perhaps we can encourage the goth/industrial types to take this place over!!!! And, lastly……….it was available.

Anything special planned for the show?

Other than trying to look the part and sound the part, we will keep the theatrics to a minimum and stick to presenting the music as close to the way it was originally presented as possible – including some of the early, low-tech, outdate, electronic blips and synth sounds of Joy Division’s era. The set list is loaded with all of the popular and not so popular Joy division tracks. We are most proud to present some of the more obscure songs.   More importantly, there are some songs that Joy Division never properly played live in the first place. There was always some technical difficulty or reason why the song was always “butchered” live. Now is our time to rectify that, I hope?

What’s next for One Will Burn?

In the immediate future, our next show will be July 28 at Kavarna in the Oakhurst neighborhood of Decatur. It’s a fitting set of scenery and architecture for the music we are playing, we think.  Overall we plan to enjoy this project some more, play more shows, attract more audience who want to celebrate Joy Division, etc. However, given how the four of us click well musically, I imagine 1WB becoming an original band. All four of us write original song material; it’s no accident that we all found each other.

What else do you do when you’re not resurrecting Joy Division?  

I play in an original post-punk band called Methods of Espionage. During the day, I am an executive headhunter, providing companies/clients with highly sought-after, niche, talent for mission-critical roles within their organizations.  I get to put people to work – I like that! On occasion, I get to bump around from time to time with people who make a difference in the professional world in Atlanta, which is highly rewarding. I’m happily married; my wife and I called Northwest Atlanta home – for better or for worse.

So many of us tend to only get down to The Plaza Theatre when there’s a special screening, but that’s part of the reason we could lose this Atlanta treasure if we’re not careful. So before you head down to the multiplex, how about instead seeing that first-run movie down on Ponce. You might even see a cool indie or foreign film that you didn’t even know about…

I WISH (Ends Thurs. June 28!)

Twelve-year-old Koichi lives with his mother and grandparents in a small town by a smoking volcano. His parents’ divorce has split the family, with his younger brother Ryu and their feckless rock musician dad living over a hundred miles away. Koichi yearns for his family to be reunited, and when he learns that a new bullet train line will soon open—linking the two towns—he starts to believe that the combined energy when two trains pass each other at top speed could make his wish come true. With the help of friends, Koichi organizes an expedition to the mid-point of the train lines, with Ryu coming from the other direction—all of them thinking about what they would most like to wish for. A sweet ode to what we value in life, written and directed by acclaimed filmmaker Hirokazu Kore-eda (NOBODY KNOWS, STILL WALKING, AFTER LIFE), who is known for his keen depictions of the trials and tribulations of everyday existence, the innocent minds of children and the warmth of family life.

MARLEY

HUNGER GAMES

Starts Friday June 29…

Monday, June 25

From 3 p.m. 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. Head over to Fat Matt’s Rib Shack for BBQ and Dry White Toast.

Tuesday, June 26

It’s Mai Tai Tahitian Tuesday with tiki cocktails starting at 9 p.m. at the Dark Horse Tavern tonight. Grab your horn and head to Twain’s in Decatur for a Joe Gransden jazz jam session starting at 9 p.m. Burning Time rock the blues at Fat Matt’s Rib Shack. Nathan Nelson & Entertainment Crackers blues it down at Northside Tavern. Dance the night away at Tues. Retro in the Metro nights at Midtown’s Deadwood Saloon featuring video mixes of ’80s, ’90s and 2Ks hits.

Wednesday, June 27

Nashville Pussy rocks their first-ever Summer Showdown with special guests The El Caminos and Dusty Booze & the Baby Haters at the Star Bar. Bareknuckle Betties honkytonk it up with Megan Jean & the KFB at The Five Spot. Get ready to rumba, cha-cha and jitterbug at the weekly Swing Night at Graveyard Tavern. J.P. Blues brings on the blues at Fat Matt’s Rib Shack. Danny “Mudcat” Dudeck blues it down at Northside Tavern. Dance to ‘70s, ‘80s and ‘90s hits during Retro in the Metro Wednesdays at Pub 71 in Brookhaven.

Thursday June 28

New Orleans’ Dirty Bourbon River Show brings their unique take on gypsy folk circus rock to the Five Spot. Take a drug-free hallucinogenic journey with the Nowhere Man and Lucy in the Sky and dodge the Blue Meanies with this rare chance to see the Beatles’ animated classic YELLOW SUBMARINE (1968) at 9:30 p.m. at The Plaza Theatre. Eighties-synth-rock-inspried Fader Vixen‘s new music video, “Hang Onto Me” has been selected to be screened at this month’s Get Connected! at The Foundry at Puritan Mill. Eat, drink and play a classic game with an adult spin every Thursday night as Mon Cherie presents Mad Lib-Ations, Atlanta’s newest Retro weekly pastime, starting at 7 p.m. at the Corner Tavern in Little 5 Points. The fun-filled night includes games and prizes from some of the city’s most fun Retro retailers, Psychobilly Freakout and punk faves spun by DJ Rev. Andy and a raffle. Relax with a tropical cocktail at vintage tiki bar Trader Vic’s where Tongo Hiti play Retro-Polynesian luxurious live lounge sounds, as well as trippy takes on iconic pop songs, every Thursday night. Also on Thursdays in June , enjoy the live Jubilee Jazz Series, featuring Os Ossos tonight, at Tower Stage in Vinings Jubilee.  The Breeze Kings and Chickenshack bring on the blues respectively at Northside Tavern and Fat Matt’s Rib Shack. Culliton, Dean & Lloyd jams at Red Light Café’s weekly Bluegrass Thursday.

Friday, June 29

Tiger! Tiger! featuring Subsonics drummer Buffi Aguero, take a love for 60’s garage, Velvet Underground and Motown as their inspiration, but manage to not limit themselves to the constraints and dogmas usually associated with those genres. Hear them rock The Earl tonight with Andrew and the Disapyramids and Piss Shivers. The Bonaventure Quartet swings at Fernbank Museum of Natural History’s Martinis and IMAX. Joe Gransden and Maria Howell bring classic cabaret and swing to Callanwolde Jazz on the Lawn. Kevin Bales plays Friday Night Jazz at the High Museum of Art from 5 to 10 p.m. Pour Some ’80s Sugar and worship at the real Rock of Ages at Aaron’s Amphitheatre @Lakewood as Def Leppard headlines with glam hair metal band Poison and ex-Runaway and ace rock guitarist Lita Ford. Spanky & the Love Handles rocks the blues at Fat Matt’s Rib Shack. And love will tear you apart again at One Will Burn‘s Joy Division Tribute Show at Famous Pub in Toco Hills starting at 9 p.m.

Saturday, June 30

All-day, family-friendly Surf Fest 2012 moves to Douglasville City Hall with 12 instro-surf bands including Daikaiju, The Monterreys, Rebel Surfers, The Mystery Men?, The Intoxicators, eL fOSSIL and more. The Silver Scream Spook Show presents the immortal CREATURE FROM THE BLACK LAGOON IN 3-D at The Plaza Theatre with kiddie matinee at 1 p.m. and adult show at 10 p.m.Big C & The Ringers rock the blues at Fat Matt’s Rib Shack. And as usual, DJ Romeo Cologne transforms the sensationally seedy Clermont Lounge into a ’70s disco/funk inferno late into the wee hours.

Sunday, July 1

Snake Legs bring on the blues at Fat Matt’s, and Uncle Sugar blues it down at Northside Tavern. Os Ossos plays dunch at 1 p.m. at The Earl.

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

This ornate lamp is just one of the 1000 magical design details in the Fox Theatre. Photo Credit: Jaclyn Cook.

By Lisa Stock
Contributing Writer

Can a building be a Kool Kat? If you know the Fabulous Fox Theatre as intimately as we do, we think you’ll say a resounding “yes!” After writing, directing and producing several fairy tale-inspired films (TITANIA, THE JULES VERNE PROJECT) and an unique experiential play of Neil Gaiman’s SNOW, GLASS, APPLES, we figured contributing writer Lisa Stock knows something about stage magic, so we asked her to take one of the Atlanta Preservation Center‘s walking tours and report back… 

As locals we’ve all been to the Fox Theatre, whether to see movies, concerts, or to show it off to visiting relatives. We love to sit under its starry sky and touch the wheel of the nautical ticket chomper as we enter. We drive past it every day, it’s always been there, and after almost losing it in the 1970s, we hope it always will be.

When I worked at the Metropolitan Museum of Art, the Annenberg Collection had acquired Van Gogh’s “Wheatfield with Crows.” It was exceptional. I ran past it every day on my way from one office to another, directed tourists to its gallery, confirmed that—yes it had been sold for $53 million and went on my way. Until one day at lunch I went in the gallery and sat in front of it—for about an hour. One of the curators was there and told me its story: where it had been painted, at what point in Van Gogh’s life, that there were several other versions, but this one had not been seen for 100 years because it had been in private ownership. Its thousand words spoke out, and suddenly the painting took on a new life and a new appreciation for me.

The nautical ticket chomper at the Fox Theatre. Photo Credit: Jaclyn Cook.

Similarly, on a rainy Saturday morning at the end of January, I had the chance to hear the thousand words of the Fox Theatre. It is a masterpiece of its own, and has quite a tale (or 200) to tell. If you haven’t been on the tour yet—GO! They’re led by knowledgeable volunteers who give individualized tours depending on how they love the theater.

We were taken around by Vic Jester, who focused on the extraordinary architectural details of the building. He wove tales of gatherings, performances and parties, of eras gone by and a landmark rising up from the cold days of almost being closed forever. I was intrigued by the design of the theater influenced by the Taj Mahal and the 1920s discovery of King Tut’s tomb—all stemming from a contest by its original owners, the Shriners, to “Out Baghdad Baghdad.” As you walk through the Egyptian Ballroom and the Grand Salon, you feel like a character in CASABLANCA or expect to see Pepe Le Moko come around the corner. There are hidden repetitions in the Islamic art of the stained glass ceiling and opulent chairs in the Men’s and Ladies lounges (which were designed to emulate the room structure of a Middle Eastern harem). It’s not just the ancient epochs that greet you here, but the decades of the 20th century and its inhabitants, too. A door leads to the old infirmary where in case one felt faint, a nurse was onsite to care for you. Private telephone booths in the lounges are available to make personal calls. The Mighty Mo‘, a grand Moller organ rises up from the orchestra pit to lend music to the show.

You even learn about how the starry ceiling is created, from paint to lights—just in case you’d like to do that to your own house. There’s a lot to be noticed and appreciated on the walls and floors, too. Just about every inch of the Fox has a story behind it. Going to the theater used to be an experience, one you saved up for, dressed up for, and looked forward to for weeks. There are few of these atmosphere theaters still standing in America of this caliber—but how lucky we are to have one here in our very own city that is still hosting performances and films, and welcoming you like member of royalty.

The stained glass ceiling of the Fox Theatre's Grand Salon. Photo credit: Jaclyn Cook.

This weekend there are several great Retro reasons to return to the Fox. Norah Jones will be jazzing it up on the Fox’s magnificent stage Saturday night June 17.  Or sing-a-long with Julie Andrews and the Trapp Family children during a special screening of THE SOUND OF MUSIC (1965) at 2 p.m. on Sunday June 18 in The Fox Theatre’s Coca-Cola Summer Film Festival.  But to really get to know the history and tales of this wonderful local landmark for just $10, consider taking an Atlanta Preservation Center walking tour of the Fox or a historic Atlanta neighborhood such as Sweet Auburn, InmanPark and Grant Park.  While you’re there, keep an eye out for all the scarabs!

See more photos of the Fox Theater by photographer Jaclyn Cook, who took the shots included in this article, here.