ATLRetro

Splatter Cinema Presents ZOMBIE HOLOCAUST (1980); Dir: Marino Girolami; Starring: Ian McCulloch, Donald O’Brien, Alexandra Delli Colli; Tues. May 8; 9:30 PM; Plaza Theatre; Trailer here.

Splatter Cinema comes with the warning that the cult horror movies they screen at the Plaza Theatre are “not for the faint of heart or weak of stomach.” ZOMBIE HOLOCAUST (1980) certainly tests your limits when it comes to the latter with a hearty serving of gore. Billed as a 30th anniversary screening, the Italian exploitation film is mash-up of the cannibale and zombie subgenres which were popular grindhouse fare back in the cusp of the 1970s into early 1980s. It owes a heavy debt to Lucio Fulci’s ZOMBI 2 (1979); the Wiki on it even says it reuses footage but other reviewers simply say director Marino Girolami pushed the boundaries of borrowing.

The plot is a standard mad scientist tale. A Manhattan hospital staffer and pagan god Kito-worshipper from a Pacific Island has a taste for dining out at the facility’s morgue. Government scientist Dr. Peter Chandler, played by Scottish actor  Ian McCulloch (who also starred in Fulci’s ZOMBIE, as well as lots of British TV), and hot morgue assistant/anthorpologist Lori (Alexandra Delli Colli) investigate only to find the corpse-munching isn’t limited to their hospital. They launch an expedition to the island where they become the hunted by first by cannibals and finally by zombies (yes, the movie makes you wait for the undead but they do finally walk) created by the twisted Doctor Obrero (Irish character actor and perennial Nazi Donald O’Brien). And oh, attention, fanboys, Delli Colli “run[s] around naked a lot”, as one Amazon fan reviewer points out.

Yup, ZOMBIE HOLOCAUST is not exactly original in plot, but then the audience for a movie like this isn’t in it for the art. While online critics lament it’s not Fulci, they do seem to say that it works on the visceral level where over-the-top gore and humor collide. And seeing a 35mm print of something like this, well, is like a time capsule back to Times Square or, in Atlanta perhaps to the old Rialto, and that good unclean fun, right? And another good reason to remember that if it wasn’t for The Plaza, you wouldn’t have that opportunity here in Atlanta.

Be sure to come early to get your free photo taken in an incredibly realistic recreation of a scene from the movie by the crazy guys who make the Splatter Cinema series a one-of-a-kind event, Luke Godfrey and Nick Morgan.

TERRIFYING TRIVIA about ZOMBIE HOLOCAUST… 

1. It was re-edited and released in the US under the title of DOCTOR BUTCHER, M.D. by Aquarius Releasing in 1982. This version includes a 2.5 minute sequence from an unfinished student film by Roy Frumkes (writer of STREET TRASH [1987]) and a different music score.
2. A DVD version is available from Shriek Show (Media Blasters), both individually (yes, even in Bluray as of last year!) and in the triple feature ZOMBIE PACK, also including another Italian movie BURIAL GROUND: THE NIGHTS OF TERROR  (1981) and FLESHEATER (1988), directed by and starring the recently deceased S. William Hinzman (the original NIGHT OF THE LIVING DEAD [1968]). In a DVD extra, Frumkes talks about his footage, for which he netted $300, plus there are apparently lots of nifty other extras including a booklet with an essay about the 42nd Street grindhouse experience by Temple of Schlock‘s Chris Poggiali. We’re not saying that you can stay home and see it on DVD, just that you may want to check out the DVD later, of course.
3. Soundtrack composer Nico Fidenco also scored EMANUELLE AND THE CANNIBALS (1977), BLACK EMANUELLE (1975) and CONFESSIONS OF A DANGEROUS MIND (2002).

The Plaza Theatre is Atlanta’s oldest continually operating cinema, but this art-deco treasure is in serious danger of closing. In recent years, under the stewardship of the amazing Jonny and Gayle Rej, the Plaza has been undergoing a renaissance with edgy bookings of cult and classic movies, often accompanied by stage shows. It’s home to the Silver Scream Spookshow (CREATURE FROM THE BLACK LAGOON IN 3D June 30), Splatter Cinema (ZOMBIE HOLOCAUST this Tues May 8), Blast-Off Burlesque‘s Taboo-La-La (BEYOND THE VALLEY OF DOLLS on Sat. June 2), monthly screenings of THE ROOM (with star Tommy Wiseau and Greg Sestaro in person, May 11, 12 & 13), THE ROCKY HORROR PICTURE SHOW every Friday at midnight complete with stage show led by Lips Down on Dixie, as well as all sorts of special screenings and regular first runs of art, foreign, indie and just plain cool movies. For the next 30 days, we’ll be reminding you of what’s great about The Plaza – articles, fun facts, and more – and urging you to support this amazing Atlanta institution by seeing a show or making a tax-deductible donation. It’s really come down to use it or lose it. Atlanta has lost so many great places, and we don’t want to think of an Atlanta without The Plaza.

For our first day, we asked Gayle Rej to go back to the beginning and give us a little history lesson…

[Coca-Cola tycoon family] the Candlers built the Plaza shopping center and Plaza Theatre in December 1939. It was a big deal because it was the first place in the city with off-street parking – making it the first official shopping center in Atlanta. There were giant klieg lights from the city, and Mrs. Candler-Griffith (the builder’s daughter and the mother of the current owner) was very young and was in a hotel room across the street at The Ponce de Leon Hotel looking down at all of the excitement. The first movies shown were THE WOMEN and then Frank Capra‘s MR. SMITH GOES TO WASHINGTON starring Jimmy Stewart.

Tune in tomorrow and visit ATLRetro every day for the next 30 to find out more about The Plaza!

Monday, May 7

Joe Gransden and his smokin’ 16-piece orchestra swing the bimonthly Big Band Night at Cafe 290 the first and third Mondey of every month. This show’s special guests are Toni Byrd and the Rialto Youth Jazz Orchestra. 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 Pead Boy and Steven Tea.

Tuesday, May 8

The fine folks of Splatter Cinema present cult classic ZOMBIE HOLOCAUST (1980), aka DR BUTCHER M.D. in glorious 35mm of gore at the Plaza Theatre. Show starts at 9:30 p.m. but get there early to pose for your pic with an unbelievably realistic recreation of a scene from the movie. Another great opportunity to support Atlanta’s only locally-owned nonprofit independent cinema. Gregg Allman signs his memoir MY CROSS TO BEAR at Eagle Eye Books from 7-9 p.m. Grab your horn and head to Twain’s in Decatur for a Joe Gransden jazz jam session starting at 9 p.m. Crosstown Allstars 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, May 9

Retro-’60s revivalist band extraordinaire Andrew & the Disapyramids continues their May residency at the Star Bar with special guests Senator Artie Mondello and The Buggs. If you missed our Kool Kat interview with the Disapyramids’ Joshua Longino, catch up here. Bonnie Raitt rocks Cobb Energy Centre. Mose Davis Trio jazzes up The Sundial. Get ready to rumba, cha-cha and jitterbug at the weekly Swing Night at Graveyard Tavern. Frankie’s Blues Mission 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 May 10

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. Big Mike’s off in Seattle till June performing with El Vez in Teatro ZinZanni’s CALIENTE SHOW, so Atlanta Funk Society’s Jonathan Lloyd will be filling in on vocals. Remember Lloyd’s Rockstead Review, his killer reggae collaboration with Kingsized? The Breeze Kings and Chickenshack bring on the blues respectively at Northside Tavern and Fat Matt’s Rib Shack. Johnny Roquemore & Apostles of Bluegrass jam at Red Light Café’s weekly Bluegrass Thursday.

Friday, May 11

Enter a secret garden of whimsy and spectacle at 7 Stages‘ 9th annual Taste for Theatre and support one of Atlanta’s most innovative and edgy nonprofit performance companies, including the completion of DRACULA: THE ROCK OPERA. The event is at Cator Woolford Gardens in Druid Hills and costs $50, a bargain for local and international wine, delicious catering by Sun in my Belly and performances in a  burlesque carnival theme, a departure from the event’s garden party feel in the past. One of Atlanta’s premier burlesque troupes, Musée du Coeur, will serve as hosts and hostess for the evening, Steampunk favorites Imperial Opa feature uncommon people doing wondrous things, and there’ll be live music, games and, a silent and live auction featuring unique items. The HELL NAW Summer Surf Party brings the tide in in The Masquerade‘s Purgatory with The Mystery Men?, The Clap, Ghost Bikini and more.

District Attorneys

The District Attorneys, The Quaildogs and Tedo Stone play special full band acoustic sets to support the Songs for Kids Foundation in the Atlanta Room at Smith’s Olde Bar. Tonight The Quaildogs will be pulling double duty downstairs and then upstairs to perform a cover of Prince’s “I Would Die 4 U.”  Derryl Rivers Band with Mose Davis bring on blues, jazz and funk at Fernbank Museum of Natural History’s Martinis and IMAX. Tommy Dean Trio honkytonks it at Big Tex.

Saturday, May 12

For just 10 bucks, from 1-11 p.m., enjoy a great line-up of some of ATLRetro’s favorite honkytonk, soul, rockabilly and ragtime acts during Springfest at Twain’s in Decatur including The Mighty Bison, The Stumblers (read our Kool Kat interview with front man Keith Martin here), Caroline and the Ramblers, Abby Wren and What It Is, Heather Luttrell, Grinder Nova, Uncle Daddy and the Kissing Cousins, Villain Family, The Soulphonics, featuring last week’s Kool Kat Ruby Velle and Blair Crimmins & the Hookers. Atlanta’s coolest musical family Spooky Partridge rocks Shorty’s in Tucker. And just in time for Mother’s Day, Spooky Partridge’s Katy Graves, the hottest rock n roll mama in Retro Atlanta, is this week’s Kool Kat. It’s a Mother of an Atlanta Rollergirls Saturday at the Yaarab Shrine Center with the Atlanta Rumble Bs going up against The Mad Rollin’ Dolls’ Team Unicorn from Madison, Wisconsin at 5 p.m. and then Atlanta’s All-Star Dirty South Derby Girls battlin’ The Dairy Dolls at 7:30 p.m. The District Attorneys come back to Smith’s Olde Bar to cover David Bowie’s “Ziggy Stardust.” Read our Kool Kat interview with lead vocalist Drew Beskin here. Jimmy Hall of Wet Willie headlines Riverfest 2012 with Drippin’ Wet and special guest Diane Durrett. Also performing are The New David Decker Band, Jeff Robinson and the Barry Richman Band and more. Garrison Keillor’s Prairie Home Companion comes to the Fabulous Fox Theatre. And as usual, DJ Romeo Cologne transforms the sensationally seedy Clermont Lounge into a ’70s disco/funk inferno late into the wee hours. Cineprov mocks it doggie style with the Lassie classic, THE PAINTED HILLS (1951), at Relapse Theatre.

Sunday, May 13

Tony Bryant brings on the blues at Fat Matt’s, and Uncle Sugar blues it down at Northside Tavern. Todd Prusin plays dunch at 1 p.m. at The Earl.

Jake La Botz and Kylie Brown in the Alliance Theatre’s world premiere production of GHOST BROTHERS OF DARKLAND COUNTY. Photo by Greg Mooney.

Ongoing

The long-awaited Stephen King-John Mellencamp collaboration GHOST BROTHERS OF DARKLAND COUNTY plays at the Alliance Theatre. Through May 13. Catch our exclusive interview with Jake La Botz who raises hell as The Shape here and our Retro Review by Contributing Music Editor James Kelly here. 

AKA BLONDIE plays at the Plaza Theatre for a one-week run. An intimate view of the most famous exotic dancer in the Southeastern U.S., the new documentary provides a fresh, provocative look at the complex, morally ambiguous world of the 55-year -old Atlanta icon. Anita Rae Strange, also known as Blondie, recounts her childhood with an absent father, her brief stint as a prostitute, the loss of loved ones to AIDS and the infamous Clermont Lounge. Through May 10.

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

By James Kelly
Contributing Music Editor

The recent splash of international attention for retro soul music in the mainstream with artists such as Adele, Duffy, and Bruno Mars has been a welcome event. However, it should be no surprise that there has been a thriving deep soul underground that features artists who are just as good, if not better, than a lot of the major label acts. For about five years Atlanta has been the home for the amazing Soulphonics and Ruby Velle. This coming Friday they are performing at the 16th annual River Revival, a fundraiser for Upper Chattahoochee Riverkeeper. The event is May 4 at Park Tavern in Piedmont Park starting at 6:30 p.m. and also featuring Burnt Bacon, Julia Haltigan and Ben Sollee.

ATLRetro.com caught up with the lovely Miss Velle this week, and she was kind enough to answer a lot of questions. We officially declare Ruby Velle (and the Soulphonics) the Kool Kats of the Week.

ATLRetro: What inspired you to become a singer, and how did you find your “voice” in such a commercially underappreciated genre?

Ruby Velle: I’ve been singing since I was 8, with early hand-me-down inspiration from my aunt and uncles musical influences. They were constantly providing me with vinyl listening parties, live jams with friends and creating an environment where I could perform at a young age. They were great friends with the late Luther Allison, [an] amazing blues artist.

Growing older, my parents and friends along the way were all very into soul, so I soaked up the greats and some of the lesser known artists through auditory osmosis. However, I don’t see the genre itself as commercially under-appreciated; it just will never gross as much as other genres such as pop or country. But there are some great acts out there making a good living from playing soul. I think the commercial factor is less relevant in the genre than the emotion portrayed in the music itself.

How and when did you and the Soulphonics end up in Atlanta, and why?

I had just graduated from college and wanted to study graphic design in Atlanta because I knew it was a career that could be useful to being a recording artist. The band’s creator, Spencer Garn (also the band’s leader, keyboardist, co-writer, producer and engineer), wanted to expose our music to a new audience, as we had a pretty good hold on the market in Florida. I moved, then Spencer, then Scott Clayton, the original guitarist/co-writer.  Atlanta seemed like a great next step and has proven to be a great place to call home. Our music has been able to evolve here into something Atlantans are proud to call their own, and since we’ve been here we have been voted Atlanta’s Best Soul Band by Creative Loafing, two years in a row! So Atlanta has quickly become home to us.

You have often mentioned Aretha Franklin, Marvin Gaye and Otis Redding as big early influences, who are some of your favorite contemporary artists, and why?

Oooo… there’s such a long list. I always say my music is a collection of inspirations from all types of artists and genres, so it’s hard to just name a few. The biggest influences for songwriting lyrics have been Paul Simon, Fiona Apple and even Ani DiFranco. These artists are storytellers and their writings speak to me in a deeper more intellectual way. That is what I aim to do with the soul music we’ve been creating. Sure, anyone can write a soul ballad, but can it be deep and introspective? Can soul music make you move and make you think? I believe the answer is yes. I think my need to offer a new take on soulful lyrics is a result of the influences from these writers.

As far as musical influences that are contemporary, I’ve really been enjoying Alex Clare’s music lately. He just released his album to the states; he is originally from the UK. I love his soulful voice, and I can tell that he, like me, has been pulling pieces of styles, inflections, and vibe from the greats, but he makes it his own. I recommend his album because it mixes genres well with some soul, electro and dub-step (with credit to Diplo and members of Major Lazer). I think the melding of these genres is intoxicating.

Lastly, as far as contemporary artists go it doesn’t get much better for me than the Black Keys. I really admire Dan Auerbach’s talent and his ability to carry the torch for the blues and blues rock. I’m always impressed by whatever they put out, so soulful and simply genius.

What do you think brought about the re-emergence of deep soul and classic R&B over the last several years? 

Well, I’m glad you said “re-emergence” instead of “resurrection” because I hold the belief that soul never really died; it’s just become an evolving genre because the context has shifted so much from the days it originated.  I think more than anything people were craving that old sound made by new artists, so new interpretations have been born  a la Sharon Jones & The DapKings, Amy Winehouse, Adele and The Dynamites featuring Charles Walker. I’m grateful these artists have fueled the re-emergence because we have been doing soul music for almost 10 years as a underground act. It’s great to know that the genre itself has growing appeal to all ages on a wider scale.

What sort of crowd comes to see Ruby Velle and the Soulphonics? Does the age range surprise you?

ALL TYPES and ALL AGES. I’ve seen gay, straight, black, white, Indian, Chinese – you name it, they have been in the front row dancing till the last song ends. I’m very fortunate that our music resonates with all ages; it really has a way of bringing the community together when we play shows or benefit festivals. I’m not particularly surprised because the music is about emotion and feeling. And everyone of all ages can relate to certain emotions.

How challenging is it to maintain a band and keep things fresh and exciting in the Atlanta music scene?

Well, maintaining an eight-piece band can be hectic and can bring you to your knees if you begin to focus on logistically how hard it is, but I certainly can’t take credit for great management to date. We’ve become a tight knit team of multi-taskers and multi-talented folk. Spencer Garn, for example, manages the band, owns a record label [Element Records], and also records and mixes our music. I’ve had the band as my graphic design client for the past seven years, creating merch and posters to album art and vinyl labels. I also work as a creative director with stylists and designers, such as Bill Hallman, to maintain our dapper image and keep up looking sharp. Our guitar player and co-writer Scott Clayton is also an expert with sound equipment and repeatedly has the band sounding great. I’m very fortunate to work with some amazing people that believe in what we do.

In the Atlanta music scene, if you did not put out a song yesterday, you are pretty much obsolete. You have to really create here on a large scale and frequently to be recognized. I think Atlanta has prepared us well to deliver on a larger scale. Luckily we’ve been playing shows in Atlanta for the last five years at a pretty constant rate so we are seeing some of the fruits of that labor. The fans here, though, are incredibly supportive, more so than I’ve seen anywhere else. Sometimes I wish they would let go, lose it all and dance a bit more, but I came from a hippie town in Florida so it’s been a little adjustment for me to see the more refined fans here.

You and the band have put out a few great singles, which have whetted the appetites of your fans. Was this a strategic plan, or simply a business decision?

This has been a little of both. Just internally, we’ve had some of these songs written and recorded for a while, but we are very particular about what gets heard when. We love to build suspense around our releases, which is why we’ve been putting out a steady stream of singles since 2010. Our fans are losing their minds in anticipation of the album, and I’d like to think the singles have had something to do with that hype.  We are just as excited for the release of our debut album IT’S ABOUT TIME.

When will we finally see a full-length recording of the band?

This Summer we will FINALLY release the full-length debut album. Keep an eye out for our album release party in early August. The street date for the release will be around July 24. And we will party till the sun comes up. It’s been a very long road to put out the album, but we are pleased with it and are looking forward to the reviews and press to help it grow legs.

You are playing a benefit for the Upper Chattahoochee Riverkeepers this coming weekend, so how important are the environment and other social causes to you?

Environmental and civil rights issues are a huge cornerstone for the Soulphonics and myself. A lot of the lyrics in our songs are about inspiring change, in ourselves as well as in others. We are just a group of folk that feel a need to use our musical influence to bring about change. In addition to working with the Riverkeepers to promote their benefit, we will be working with a number of nonprofit organizations dealing with sustainability, economic recovery in struggling regions and environmental causes. Although some of these plans are just getting going, we are partnering with CTC International in Kenya on some sustainability efforts for the communities there. We’ve also made an impact here in Atlanta with benefit shows and song donations for the Atlanta Humane Society and the Ovarian Cancer Research Fund, and are always looking for more opportunities to promote social and environmental causes.

What does the future hold for Ruby Velle and the Soulphonics?

Positive change on a mass scale. With the release of the album and planning a tour, we will be able to bring our music to more ears than ever before. We are thrilled to be on the road soon touring and spreading the word about this little soul outfit with a big sound from Atlanta. There is a lot going on over the next year, but I look forward to being more involved in social causes as well as continuing to write for the follow-up album. IT’S ABOUT TIME chronicles our struggles and setbacks since we were established in 2007, but now that it’s releasing soon I guarantee there is no stopping this soul machine. The future, for all of us, is as bright as we think it to be.

All photos courtesy of Element Records and Ruby Velle and the Soulphonics and used with permission. For more information and to purchase tickets for the River Revival on May 4 at Park Tavern, go to their website at: https://www.xorbia.com/e/ucr/rr2012. 

Monday April 30

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 dinner and a show, with local blues/jazz band Dry White Toast performing at 8 p.m.

Tuesday, May 1

Grab your horn and head to Twain’s in Decatur for a Joe Gransden jazz jam session starting at 9 p.m. Crosstown Allstars 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, May 2

The Eagles take it to the limit one more time at Verizon Wireless Ampitheatre. Get ready to rumba, cha-cha and jitterbug at the weekly Swing Night at Graveyard Tavern. Frankie’s Blues Mission brings on the blues at Fat Matt’s Rib Shack. Danny “Mudcat” Dudeck blues it down at Northside Tavern. Lefty Williams strums at Moe’s Original Bar-B-Que. Dance to ‘70s, ‘80s and ‘90s hits during Retro in the Metro Wednesdays at Pub 71 in Brookhaven.

Thursday May 3

Nick Lowe plays Variety Playhouse. 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. Big Mike’s off in Seattle till June performing with El Vez in Teatro ZinZanni’s CALIENTE SHOW, so Atlanta Funk Society’s Jonathan Lloyd will be filling in on vocals. Remember Lloyd’s Rockstead Review, his killer reggae collaboration with Kingsized? The Breeze Kings and Chickenshack bring on the blues respectively at Northside Tavern and Fat Matt’s Rib Shack. Culliton, Dean & Lloyd jam at Red Light Café’s weekly Bluegrass Thursday.

Friday, May 4

It’s a big night for charity with three big fundraisers featuring awesome Retro bands. Come support the Chattahoochee River Keepers for their 16th Annual River Revival blowout benefit , now with more music from Ben Sollee, Julia Haltigan, Burnt Bacon and Kool Kat of the Week Ruby Velle & the Soulphonics. The event also will honor River Rock Stars Ben Sollee, Johnny Colt and Gareth Asher. A $45 ticket at the Park Tavern also gets you food, wine and beer from SweetWater Brewery as they kick off their Sweep the Hooch Campaign!

Andrew & the Disapyramids, featuring Kool Kat Joshua Longino, play a gig at Smith’s Olde Bar which includes Lou Reed’s “Walk on the Wild Side,” song #405 in the 500 SONGS FOR KIDS 10-day live music marathon running from May 3-12. Part of the largest musician-involved charity event in Georgia. SONGS FOR KIDS FOUNDATION is a nonprofit foundation that brings musicians year-round to hospitals and special needs kids camps.

Blair Crimmins

Lords of the Neo-Ragtime Blair Crimmins & The Hookers headline A Wilde Night, the ScoutMob After-Party for the Bard’s Bash benefitting Georgia Shakespeare at the Goat Farm. Don your best modern-day-meets-Victorian attire for costumed revelry in the theme of Oscar Wilde, also featuring dance and performance by Dames AFlame, circus spectaculars from Imperial Opa, the Good Food Truck & other late-night mobile snacks (cash only) and more oddities and curiosities all around.

AKA BLONDIE opens at the Plaza Theatre for a one-week run. An intimate view of the most famous exotic dancer in the Southeastern U.S., the new documentary provides a fresh, provocative look at the complex, morally ambiguous world of the 55-year -old Atlanta icon. Anita Rae Strange, also known as Blondie, recounts her childhood with an absent father, her brief stint as a prostitute, the loss of loved ones to AIDS and the infamous Clermont Lounge.

Va-va-Princess-Leia-in-a-bikini! Mon Cherie presents: “May The 4th Be With You!” – a STAR WARS-themed Burlesque Show, featuring performances by Devin Liquor, Stormy Knight, New Orleans Jon, Scarlett Page, Hada Pixie, Katy Malmquist and Christine Hoffman, as well as a midnight costume contest. The Hot Rod Walt Trio rockabillies it up at Dixie Tavern in Marietta. Viceroy makes it a Swing Dance Night at Fernbank Museum of Natural History’s Martinis and IMAX. The Hollidays bring some soul to Fat Matt’s Rib Shack. Or garage rock it hard with Biters, The Head, Jade Lemons & the Crimson Lust and Gun Party at the Star Bar. Cineprov presents A Night of 1950s Sex Ed Shorts at Relapse Theatre.

Saturday, May 5

Reading is Retro so celebrate Free Comic Book Day at Criminal Records in Little 5 Points between 11 am and 6 pm and meet ATLRetro Editor/Publisher Anya99. I feel a little nervous about plugging myself, but yeah, it’s my first-ever comic book store signing and I’m pretty excited to have a short graphic collaboration with Spanish artist Mado Pena in the amazing WOMANTHOLOGY,  a groundbreaking anthology including work by 150 female comics creators which raised a record $109,000 on Kickstarter; proceeds go to charity! Of course, there are many more great reasons to drop by, including FREE COMIC BOOKS, bands Viet Huyn at 1 p.m. and Tribe One  at 1:30 p.m.;  ATLRetro good friends Atlanta Radio Theater Company  at 3 p.m.; and of course, some amazing Atlanta-based comics creators including fellow WOMANTHOLOGY creator Blue Delliquanti, 
Hunter Wook-Jin Clark, Marcus Carson, Jason Flowers, Joseph Wheeler III, Meg Golding, Cara Mcgee, Remington Veteto  and Ted Murphy.

Eat great barbecue, shop one of Atlanta’s most eclectic and cool artist markets and enjoy live music at the annual ART-B-QUE  in Avondale Estates. Bands playing today include Biters; El Caminos; Young Antiques; Heather Luttrell; Smokey’s Farmland Band; AM Gold; Wasted Potential; High Strung String Band; and Tone Star.

See some of Atlanta’s most talented burlesque performers rally in support of one of their own at Leg Up! for Fonda Lingue at Elliot Street Pub at 8 p.m. Devin Liquor hosts a line-up which includes the newly returned to Atlanta Torchy Taboo. Suggestion donation starts at just 5 bucks and there’s also a raffle and silent auction to help Fonda pay some bodacious health care bills for cancer treatment. If you don’t know Fonda, you can read all about her in our Kool Kat of the Week story here.

Cadillac Jones plays the funky music at Vinyl. And as usual, DJ Romeo Cologne transforms the sensationally seedy Clermont Lounge into a ’70s disco/funk inferno late into the wee hours.

Sunday, May 6

ART-B-QUE continues in Avondale Estates with Pelvis Breastlies; The Joy Kills; Joe McGuinness & Oliver Wood; The Dirty Knockouts; My Homework Ate My Dog; Jackwagon; Green Bracelet; and Donnie Piccou. Rise and dine with Joel Hamilton at 1 p.m. dunch at The Earl. Park Tavern gets rootsy with The Whiskey Gentry; Folk Soul Revival; and Royal Tinfoil.  Tony Bryant brings on the blues at Fat Matt’s, and Uncle Sugar blues it down at Northside Tavern.

Stephen King attending the Alliance Theatre's world premiere musical . Photo credit: Greg Mooney.

Ongoing

The long-awaited Stephen King-John Mellencamp collaboration GHOST BROTHERS OF DARKLAND COUNTY plays at the Alliance Theatre. Through May 13. Catch our Retro Review by Contributing Music Editor James Kelly here. 

GREASE remains the word as the Atlanta Lyric Theatre revives the 1950s-themed musical at the art deco Earl Smith Strand Theatre in Marietta. Through May 6.

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

Megalon Days

By Tim McGahren
Contributing Writer

Silver Scream Spookshow Presents GODZILLA VS. MEGALON (1973); Dir: Jun Fukuda; Starring Big G, Megalon, Jet Jaguar; Sat. April 27;  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.

Down, down deep in Seatopia,

Those water cats drillin deep, deeply.

In their ocean, in their souls,

they rise to call and call to rise.

Raise up Megalon, raise baby, raise.

Goro, Rokuro, Hiroshi, what did you see?

What did you see, down by the sea?

Furious sound and motion.. ambush!

They grab through you to your metallic brother.

Brother in spirit, Jet Jaguar is turned against.

Second controls, hidden core,

Twist the button agents don’t know.

To and from, then a battle joined.

Gigan, Megalon, Godzilla, Jet..

a wailing waltzing warring quartet.

Smash smash smash

till the break break break of day.

Around and around, clowning rounds,

Victory for the victory goes.

And away Gigan and Megalon goes.

Plaza Theatre Benefit Presents VALLEY GIRL (1983); Dir: Martha Coolidge; Starring Nicholas Cage, Deborah Foreman, Elizabeth Daily; Fri. April 27 at 8:30 PM; Special guests, including Blast-Off Burlesque,VALLEY GIRL costume contest, contest for the best VALLEY GIRL impression; silent auction from local Atlanta businesses, including Libertine, Adult Swim, The Euclid Avenue Yacht Club, Slopes BBQ and more; tickets $16 with a $1 discount per ticket for cash payments; All proceeds from ticket sales and the silent auction go directly to keeping The Plaza Theatre alive. Trailer here.

By Emily Jane McFarland
Contributing Writer

When I first learned that The Plaza Theatre had plans to screen the 1983 classic teen romantic comedy, VALLEY GIRL, on Friday, April 27 at 8:30 pm, I could not stop talking about how hot Nicholas Cage is as a young ’80s Hollywood punk rocker. The Plaza is not just Atlanta’s only independent, nonprofit cinema, it is also a historical landmark and an important part of our community.   Owners Jonny and Gayle Rej have always had to fight to keep the Plaza’s doors open, a difficult one that many would probably have given up long ago. But the Rejs are two very special people. Unfortunately, as of late, The Plaza’s situation has turned more dire than usual and the decision to host a fundraiser centered around a screening of VALLEY GIRL was made in an effort to raise both money and awareness that The Plaza needs help.  If it does not receive that help, this art deco gem will sadly become another ghost of Atlanta’s past.

In 1983, I was busy being born, so I never had a chance to see VALLEY GIRL in the theater when it first opened. Once in middle school, I was finally able to watch it, forming a slew of girlhood memories that made VALLEY GIRL very special to me. I sadly came to the realization that the likelihood of seeing VALLEY GIRL on the big screen, let alone on a 35 mm print, was slim to none, even when I lived in New York for seven years. My dreams of staring into the dopey eyes of a 30-foot Randy as he falls in love with Julie were crushed.

Nicholas Cage and Deborah Foreman in VALLEY GIRL (1983). MGM Home Entertainment.

When I was in the seventh grade, I had not yet seen VALLEY GIRL and those young memories were just starting to develop. Every Saturday, while my best friend’s parents would stay out all night for their weekly “date night,” we would walk to the now defunct Movies Worth Seeing video store off Highland Avenue, before ordering a pizza, to rent a movie.  Often we would ask the guys at Movies to recommend films, which would almost always turn out to be not age-appropriate for us – titles such as A CLOCKWORK ORANGE, MEET THE FEEBLES, BLUE VELVET and SHIVERS. We never hesitated to rent their picks because, like most young girls who frequented Movies at that time, we were madly in love with staff-member John Robinson.

This particular Saturday evening, however, John was off somewhere with his long-term relationship girlfriend, so instead of making an effort to impress him, we picked VALLEY GIRL, a movie neither of us knew very much about. All I knew was that I had just seen CAN’T BUY ME LOVE for the first time and I was ready to watch anything in that genre.  Although VALLEY GIRL is nothing like SHIVERS or A CLOCKWORK ORANGE, it is rated R, so that meant it had to be at least a little inappropriate or us, making it all the more fun to watch.

That night, as we popped the tape into the VCR, I was almost relieved to watch a romantic comedy instead films with bizarre rape scenes set to the tune of “Singing in the Rain.” Little did I know that VALLEY GIRL (and its intelligent and honest depiction of teens in love with an ending that as I grew up I would come to see as melancholy and thought-provoking) would affect me more deeply than the films mentioned earlier, albeit for entirely different reasons and in different ways.

As we watched, it was obvious to us that the story of VALLEY GIRL was timeless, utilizing universal literary themes, most notably ROMEO AND JULIET, which VALLEY GIRL has been cited as being very loosely based upon. It doesn’t stop there, however; lyrics from numerous Motown girl group songs floated in and out of my head as I watched, such as “He’s a Rebel” by The Crystals and The Shangri-La’s “Leader of the Pack.” We also see these themes in a number of films that were made prior to 1983, such as GREASE, MY FAIR LADY, THE PALM BEACH STORY and, my personal favorite, IT HAPPENED ONE NIGHT.

When all is said and done in VALLEY GIRL, the punks stay punk and the girls stay valley. Many characters become much more self-aware and some even change. These transformations, however, are all on the inside. One of the central messages of the film is very much the opposite of both GREASE and MY FAIR LADY, in which the female protagonists must change the way they dress, speak and their mannerisms and, in GREASE, her morals. This outward alteration is not only in order for their respective men to realize that they are deeply in love, but necessary for these relationships to succeed, or even happen at all. In VALLEY GIRL, as well as THE PALM BEACH STORY and IT HAPPENED ONE NIGHT, the lesson to be learned is not that you must change who you are and how you dress in order to be with the one you love, no matter how different the two may be from one another.  Sometimes we simply cannot help who we love, even when it makes no sense.

The closing limousine scene in VALLEY GIRL (1983). MGM Home Entertainment.

Another central message of VALLEY GIRL that goes hand in hand with the one above is that love has absolutely nothing to do with how we dress or which side of the tracks we come from. Instead, it is much more about a connection inexplicably felt between two people. In fact, during their first night together, Julie blushingly tells Randy that she is experiencing this exact feeling. By the look in his eyes at that moment, it is obvious that he feels it as well. IT HAPPENED ONE NIGHT uses a similar concept – these two people, one rich and stuck-up and the other a drunk out-of-work newspaperman, should in no way be in love. In fact, throughout the entire movie, they fight it all the way. But in the end, they give in and the Walls of Jericho come tumbling down, because this lesson is the same as that of VALLEY GIRL – you cannot help who you love.

At the close of the film, Randy and Julie ride off in a limousine, slipping out of Julie’s prom as a food fight ensues. The last image of VALLEY GIRL is Julie in her prom dress and Randy in his nice-for-a-punk-rocker suit, seated side by side in a limo, looking straightforward. One is left to wonder if the film’s ending is a happy one, full of promise, or if it is meant to be reminiscent of THE GRADUATE (1967). In that film, Benjamin (Dustin Hoffman) interrupts the wedding of Elaine (Katharine Ross) and Carl (Brian Avery), causing a physical altercation. Elaine and Benjamin are able to break away from the chapel and proceed to board a bus. They sit in the very back seats, with Elaine in her wedding gown and Benjamin in his tattered clothing. For a moment, there is a feeling of triumphant possibility and an infinite future, where nothing is too late, as spoken by Elaine to Benjamin upon his arrival at the chapel.  This moment, however, is a fleeting one, quickly overshadowed by reality and the uncertainty of the future that at one time felt magical. When the director of VALLEY GIRL, Martha Coolidge, mimics this ending, she subtly brings up similar reality-based questions involving what is next for our couple.  By doing so, she is able to set VALLEY GIRL apart from many other films of its genre.

Katharine Ross and Dustin Hoffman in the closing scene of THE GRADUATE (1967). MGM Home Entertainment.

Interestingly, when I was younger I could only see that in the end the boy got the girl, despite all of the obstacles placed in front of him. Years later, when I was no longer a teenager, I still could see VALLEY GIRL as I did in the seventh grade, but also began noticing the melancholy nature of the end as well as the director’s ability to turn ridiculous ’80s teen stereotypes into characters that feel as though they are actual human beings. I cannot wait to find out what I am able to learn about VALLEY GIRL this time around.

Video Links:

VALLEY GIRL well known loooooove montage: “I Melt With You”

Break Up Scene from VALLEY GIRL: Nicolas Cage does a great impression of a Valley girl (lots of F-bombs).

Club Scene from VALLEY GIRL: when Julie and Randy fall in love and she mentions that connection she feels for him and so on “it’s like we’re linked or something.”

THE GRADUATE End Sequence.

THE PLAZA (2010): Documentary by Matt Rasnick about The Plaza Theatre’s struggle to survive in a world of multiplexes.

If you have any additional questions or to make a donation to Save The Plaza Theatre via Pay Pal, please visit www.PlazaAtlanta.com.

Emily Jane McFarland is an Atlanta-based photographer and the Manager of The Plaza Theatre. This is her first article for ATLRetro.com. 

By James Kelly
Contributing Music Editor

Sonoramic Commando
HANG AROUND
Sonoramic Records

Atlanta has had a rich and thriving country/rockabilly/roots music community for over 25 years, and while the bigtime glory days of the storied Redneck Underground may fade a bit, there are still plenty of talented bands making good music that fits in the genre. On HANG AROUND, their second album, Sonoramic Commando exhibit significant maturity and a strong command of their eclectic style. Over 18 quick tracks (clocking in under 50 minutes), the boys cover most of the musical bases well, including the rockin’ groove of “Gina L.,”  the sweet honky tonk “Pony” and the surfy sultry “The Stalker.” Lead singer-bassist Rodney Bell, guitarist Chad Proctor, and drummer Matt Spaugh cut the record over a three-day stretch, and the rawness of the “live in the studio” recording effectively captures their energy and intensity.

Other than support on two tracks by pedal steel player Bill Fleming, the boys pretty much did this one by themselves, and manage to create a full and well balanced sound.Chad’s guitar rings loud and clear, Matt’s backbeats keep the rhythm rolling, and Rodney’s confident vocals deliver the quirky material with harmonic accompaniment from his cohorts. The band wrote 16 of the 18 tracks, and received some help with the words for a couple of tunes from Commando Emeritus John McLean and the Bluejays’ Jay Murphree. All in all, a fine piece of work, and an excellent representation of Atlanta’s roots rock community.

The cast, creators and director of GHOST BROTHERS OF DARKLAND COUNTY following the world premiere on April 11, 2012. Photo credit: Raymond McCrea Jones.

By James Kelly
Contributing Music Editor

Over 12 years in the making, the collaborative effort of John Mellencamp and Stephen King, GHOST BROTHERS OF DARKLAND COUNTY, finally comes to life at Atlanta’s Alliance Theatre in a world premiere run that lasts through May 13.  Based on a true story, the tale of brotherly hate combines Mellencamp’s neo-americana songs (with live music, directed by T-Bone Burnett), King’s dark horror gothic tale spins, and first class direction by Alliance Artistic Director Susan V. Booth.  It is an endeavor that works incredibly well on many levels, but inevitably leaves something to be desired at other points.

Set in a family cabin outside of a small town in rural Mississippi, the story alternates between 1967 and 2007, telling parallel tales of two pairs of brothers, each with their own rivalries and conflicts. The adult father of the 2007 brothers is the younger brother of the 1967 brothers. Having witnessed a horrific family tragedy as a ten year old, he finally decides to disclose the secret he has kept for 40 years in order to save his own sons from a similar fate. The deeply convoluted story line meanders a bit in the first act set-up, but picks up steam in the second act and catapults the viewer into a shocking and unpredictable conclusion that is trademark Stephen King.

Stephen King attending the Alliance Theatre's world premiere musical . Photo credit: Greg Mooney.

The music propels the story, and while Mellencamp’s songs are basically tailor-made for the plot advancement, the quality varies from wonderful standalone tunes that would be great to hear in and of themselves, to a few numbers that seem to struggle to fit in the context of the story, and a few that are more or less “show tunes.” The live band is tight and on the mark, and overall the vocalists are adequate. Standout performers include Jake LaBotz as “The Shape” a devilish storyteller who narrates and “choreographs” the action while performing some of the show’s best songs, young Royce Mann perfectly captures a 10-year-old’s reactions to the unfolding horror, and Christopher Morgan, playing both a bartender and “spirit guide” whose songs bring depth and emotion to the story. The other performers all deliver adequately; although some of the ensemble music pieces seem a bit forced and mechanical at times.

The most obvious star of the show is the absolutely stunning staging. The set is a work of art, and the lighting and use of projections create an atmosphere of true Deep Southern gothic drama. With ephemeral images wandering aimlessly around the stage, characters casually sitting and walking from one place to another, a well done “Lover’s Leap” and functional water tower, the stage actually seems as big and spooky as Darkland County, while simultaneously retaining the intimacy of a small cabin living room.  There are multiple homages to King’s prior projects, including a bar scene reminiscent of THE SHINING, and of course, a car (not named “Christine”).

A lot of work and effort obviously has gone into this very complicated and powerful production, and risks were taken with mostly good results. For fans of live theater, contemporary music, and Stephen King, there is something for everyone.

By Jennifer Belgard
Contributing Editor

The moment I saw the Zagnut pillow, I was in love. I had to meet the genius that came up with it. Happily, I was soon included in a show with the very talented Jolene Wheeler and did just that. If you are not familiar with her wonderfully-weird work at Dingogirl’s Den, today is your lucky day.  Jolene set her needle and thread down long enough to let us sneak a peek through her looking glass.

ATLRetro: Tell me a little about yourself. 

Jolene: I’m a self-taught artist who grew up in North Georgia. My favorite things to create are plush toys, textile taxidermy, and my latest interest is real taxidermy.

What led to the creation of DingoGirls Den? 

Dingogirl is a nickname that was given to me by a group of friends when I was young, and when I created my online store it felt like the appropriate thing to call my shop. It’s something that amuses me and like my creations, I think it’s fitting.

I absolutely love these creatures.  They are sweet and slightly sinister.  Where do you find inspiration?

I am inspired by many things. Nature, music, animals and overall the people I surround myself with. As far as being sweet and sinister…well, I guess that would just be my sense of humor. I want everything I create to be a little cute and a little creepy.

It seems like you’re always working on something new.  What events and projects are on the horizon?

I always like creating new things once I finish a project. I never replicate things; all of my pieces are one of a kind. I never want my work to look manufactured or mass-produced. It keeps things fresh; I would get bored if I created the same things over and over.

My latest project is a life-sized sequined taxidermy buffalo. It’s huge. I am excited to see what the finished piece is going to look like. I am creating the patterns as I go.

The latest thing in the horizon is I will be showing at Doogallery on April 28 for the 1st Art Party, I will also be participating in the Pancake and Booze show May 19 at Gallery 1526, I am also going to be doing a Body show and an Art Box show, but the exact dates have not been confirmed yet.

Where can people find your creepy-cute creatures?

You can find my work at www.dingogirl66.etsy.com, at The Highlander, [and] Libertine.

ATLRetro Contributing Editor Jennifer Belgard is Co-Conspirator at Libertine, Curator of Curios at Diamond*Star*Halo,  Barkeep at Euclid Avenue Yacht Club, and Co-Coordinator of Chaos for the Little 5 Points Halloween Parade & Festival.  In her spare time she enjoys Turnin’ TriXXX and playing Queen of Your Distraction.