ATLRetro

Monday March 12

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, March 13

Splatter Cinema opens the door to Lucio Fulci’s THE BEYOND (1981) at the Plaza Theatre at 9:30 p.m. Read Philip Nutman’s Retro Review of this over-the-top cult classic here. Legendary Jamaican ska band Toots & the Maytals groove at The Masquerade.  Jane’s Addiction rocks The Tabernacle. Davina & the Vagabonds bring a fresh spin to jazz swing at Smith’s Olde Bar with Brighter Than A Thousand Suns and Dan Coyle. During Darkland County Tuesdays at Eddie’s Attic, hear artists from the Stephen King/John Mellencamp production preview its music leading up to the premiere of GHOST BROTHERS OF DARKLAND COUNTY at the Alliance Theatre on April 4. 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. 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, March 14

“Spacey, spooky and stripped-down…their songs bring to mind the freakish contents of Victorian curiosity cabinets and would make for a great soundtrack to the most adorable little taxidermy shop you’ve ever seen,” writes Garrett Weindorf (Urban Tulsa Weekly). With a quote like that, we’re kind of intrigued by Daymoths in a Really Retro and totally now way. They’re playing Drunken Unicorn tonight with the Memes and Pink Pompeii, who are one of those bands who can rock a cello. John Hiatt and Lyle Lovett team up at Symphony Hall. Get ready to rumba, cha-cha and jitterbug at the weekly Swing Night at Graveyard Tavern. Frankie’s Blues Mission jazzes up 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 March 15

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 Cazanovas play the blues at Darwin’s Blues and Burgers. The Breeze Kings and Chickenshack bring on the blues respectively at Northside Tavern and Fat Matt’s Rib Shack. Larry Keel & Natural Bridge  jam at Red Light Café’s weekly Bluegrass Thursday.

Friday, March 16

The Atlanta Symphony Orchestra performs BOND AND BEYOND— a spy-themed program featuring a variety of James Bond themes in addition to classic songs from other spy films —  tonight and Saturday night at 8 p.m., in Atlanta Symphony Hall at the Woodruff Arts Center. Debbie Gravitte provides the vocals. Watch out for our Kool Kat interview with Principal Pops Conductor Michael Krajewskisoon!

Another weekend, another con rolls into Atlanta. This time, it’s Japanese anime/comics/costume fest MomoCon at the Marriott Marquis. The Plaza Theatre kicks off a week-run of VIGILANTE VIGILANTE (2011), a documentary about  a new breed of crime-fighter – the anti-graffiti vigilante.  These dedicated blight-warriors stop at nothing to rid their neighborhoods and cities of street art,

The F'n Heartbreaks. L-R: Brook Bolen, Stephanie Hudson, Carrie Manuel. Photo courtesy of the F'n Heartbreaks..

stickers, tags, and posters. The 7:30 sceening will include a panel discussion with director Max Good, producer Nate Wollman, and Atlanta street artists Hense and Michi Meko! The After School Special edition of Contraband Cinema features 16mm films rescued from the past, as well as advice on smoking, driving, dating and proper female hygiene; a short review on the new book Learning With The Lights Off, and a brand new film by Christopher Childs and Krista Strobel on the role of film archives today.  Come to the Ponce de Leon Library branch at 7:30pm for films, pre-school snacks, pop quizzes, book discounts and prizes! It’s another rockin’ night at Star Bar with a great line-up including The El Caminos; Jade Lemons & The Crimson Lust; The F’n Heartbreaks (featuring Kool Kat Brook Bolen); and Little 5 Points Rockstar Orchestra. Colin Hay, the former lead singer of Australian hit ’80s band Men At Work, rocks solo at Variety Playhouse. Melding brass with banjo, guitar, bass and drums, eclectic Greensboro, N.C. quintet Holy Ghost Temple Revival is at The Earl with Abby Wren & What It Is. Fat Back Deluxe blues it down at Fat Matts Rib Shack. The Last Waltz Ensemble channel The Band at Smith’s Olde Bar. Spice things up with sassy Latin rhythms including Salsa, Merengue, Cha-Cha-Cha, and Bachata during Salsa Night with Salsambo Dance Studio at Fernbank Museum of Natural History’s Martinis and IMAX. In the spirit of St. Paddy’s Day, Cineprov! makes green jest of LEPRECHAUN IN THE HOOD (2000) at Relapse Theatre. Stoney Brooks brings on the blues at Northside Tavern.

Saturday, March 17 St. Patrick’s Day

The Star Bar  throws an all-day St. Pat’s Day Party starting at 1 p.m., live music by Andrew and the Disapyramids (featuring Kool Kat Joshua Longino) and Fishhawk starts at 10 p.m. Celebrate St. Patrick’s Day Texarcana style with Burt and the Bandits, everybody’s favorite SMOKEY AND THE BANDIT tribute band featuring Kool Kats Jon Waterhouseand Barb Hays, at House of the Rock, 731 Peachtree St. Facebook event page here. Hot Rod Walt and the Psycho-Devilles rockabilly it St. Paddy’s style at Irish Bred in Douglasville. Little G. Weevil brings on the St. Paddy’s blues at Darwin’s Blues and Burgers. Spanish Harlem Orchestra jazzes up The Rialto. Soul Rebels Brass Band plays Smith’s Olde Bar.

For those more into Japanese anime than Irish green beer, MomoCon continues downtown at the Marriott Marquis. The Atlanta Rollergirls  have their second bout of the season, as always, at the Yaarab Shrine Temple. At 5 p.m., the recently-victorious Denim Demons battling the ladies in green, the Toxic Shocks. Will the luck of the Irish be with the Shocks? Or will the Demons’ winning momentum prove to be unstoppable? Then, stay put for bout two at 7:30 p.m., when the Rumble Bs take on Gainesville’s Roller Rebels. The Bs have a whole new roster and and have been practicing harder than ever. Will they send the Roller Rebels packing and win?  The High Museum of Art continues its MOMA movie series with showings of a 35 mm print of FOLLOW THE FLEET (1936), the fifth on-screen pairing of Fred Astaire and Ginger Rogers, collected by the New York museum at 2 p.m. and 8 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.

Sunday, March 18

Rise and dine with Chicken & Pigs at 1 p.m. dunch at The Earl. Bruce Springsteen & the E Street Band rock Philips Arena. Gwen Hughes joins The Trio to jazz up The Family Dog. Tony Bryant brings on the blues at Fat Matt’s, and Uncle Sugar blues it down at Northside Tavern.

Ongoing

7 Stages presents the world premiere of THE HIDDEN MAN, based on the true story of Robert Sherer and his mentor, Rev. Howard Finster. The unexpected and controversial story chronicles a young artist who arrives in 1980s Atlanta knowing three things for certain: he’s gay, he’s an atheist and he is destined to kill himself. Howard, a religious conservative preacher, created Paradise Garden in North Georgia, a folk art garden with messages from the Lord. These two unlikely artists become unlikely friends. Hidden Man Contains adult nudity. Through March 25. Read a behind-the-stage interview with 7 Stages Artistic Director Del Hamilton here.

Broadway musical BILLY ELLIOTT, based on the movie about the motherless boy who trades boxing gloves for ballet shoes with music by Elton John,  plays the Fabulous Fox Theatre this week through Sun. March 18.

DragonCon is still months away, but get your con fix now as the giant nerds of Dad’s Garage explores the eccentric and outlandish realm of sci‐fi fandom in THE WRATH OF CON. Get ready for blaster battles, ridiculous costumes and celebrity sightings all rolled into one night of comedy! Through March 17.

MANDALA: SACRED CIRCLE IN TIBETAN BUDDHISM brings peace and harmony to the Michael C. Carlos Museum at Emory University. This amazing special exhibition explores Buddhism’s unique and beautiful perspective on sacred space and honor that through the tradition of mandalas. Be sure to read Lisa Stock’s Retro Review here. Through April 15

PICASSO TO WARHOL, a special art exhibition at the High Museum of Art, features over 100 works of art from 14 of the most influential artists of the 20th century. Through Apr. 29. If you know of a cool happening coming up soon, send suggestions to ATLRetro@gmail.com.

By Philip Nutman
Contributing Writer

Splatter Cinema Presents THE BEYOND (1981), fully remastered and uncut direct from Grindhouse Releasing; Dir: Lucio Fulci; Starring Catriona McColl, David Warbeck, Cinzia Monreale; Tues. March 13 9:30 PM; Plaza Theatre; Trailer here.

Originally an art critic who became a filmmaker (he made 18 comedies before becoming renowned as one of the most violent, gory Italian horror movie directors), the late, great – some might say “crazy” – Lucio Fulci made some of the coolest, most demented flicks of the late 70s/80s. Need a roll call? ZOMBIE (1979), promoted in Europe as a sequel to Romero’s DAWN OF THE DEAD; THE HOUSE BY THE CEMETERY (1981), THE BEYOND (1981), etc., etc (he made over 50 movies).

What accounts for the violence in his later films? His wife’s suicide back in 1969 and a daughter’s fatal car accident several years later always weighed heavily on him, and his hyper-violent films such as THE NEW YORK RIPPER (1982) caused him to be branded a misogynist by prentious critics, although he always claimed that he loved women. He also struggled with severe type 2 diabetes, a fact he tried to hide from colleagues, fearing he would be deemed unemployable.  And he was an inveterate gambler.

So what about THE BEYOND? For those who are not die-hard horror fans, the basic scenario is this:

…E tu vivrai nel terrore! L’aldilà, its original Italian title, also known as SEVEN DOORS OF DEATH, is Lovecraftian in tone. The film has gained a cult following over the decades, in part because of the film’s gore-filled murder sequences, which were heavily censored when the film was originally released in the United States in 1983.

Cinzia Monreale as the creepy Blind Girl in THE BEYOND (1981); Grindhouse Releasing.

In 1927, Louisiana’s Seven Doors Hotel is the scene of a vicious murder as a lynch mob crucifies an artist named Schweick, whom they believe to be a warlock. The artist’s murder opens one of the seven doors of death, which exist throughout the world and allow the dead to cross into the world of the living. Several decades later, a young woman inherits the hotel and plans to re-open it for business. But her renovation work activates the hell-portal, and soon she and a local doctor find themselves having to deal with the living dead, and Schweick, who has returned as a malevolent, indestructible corpse, apparently in control of the supernatural forces.

Need I say more? Other than get down to The Plaza Theatre Tues. night, March 13 for a rare, gory treat of Italian horror weirdness.

Contributing Writer Philip Nutman  knows a thing or two about zombies: he is the author of the cult classic undead novel, WET WORK, and recently produced ABED, the sickest zombie love story ever, in Grand Rapids, Michigan.

Southern Fried Burlesque Fest; Thursday, March 8–Sunday, March 11, 2012; Courtyard Marriot and Conference Centre, 130 Clairemont Ave, Decatur, Georgia 30030; Weekend passes and show tickets available online and at the door. For more info, click here.

The Second Annual Southern Fried Burlesque Festival again is bringing the best performers from all over the world to Atlanta for a weekend full of sparkle, sizzle and spectacle!

Thursday night, the festival kicks off with Just Hatched, performances by new and promising performers (doors at 7 p.m.; show at 7:30 p.m.) Then at 9 p.m. Burlesque Legend Satan’s Angel takes the stage for “Have Tassels Will Travel,“ a One-Woman Improvisational play about the life and times of the star nicknamed “The Devils Own Mistress,” the Queen and originator of fire tassel twirling.  She has performed this act for over 40 years, lighting her tassels approximately 25,000 times all over the world.  The show chronicles Angel’s career from how she began stripping in 1961 in San Francisco, to a peek at how hers was no ordinary life. From following Bob Hope and the USO in Vietnam, appearing on the Gypsy Rose Lee television show, dating Clint Eastwood, Bobby Darin, Hedy Lamarr, and Janis Joplin, defying the convention of The Folies Bergéré in Paris, working with Ann Corio, Harold Minsky, Barry Ashton and running with The Rat Pack in Vegas, and two near death experiences.

Satan's Angel.

Friday Night brings The Free Range Burlesque International Showcase, featuring performances by Burlesque Legends Satan’s Angel, Shannon Doah and Gabriela Maze; neo-burlesque star such as Perle Noire, and headlined by Miss Exotic World 2002, Kitten De Ville (this week’s Kool Kat) as well as other amazing performers from all over the world! Last year’s Free Range was one of the best burlesque shows ever to grace an Atlanta stage, so in ATLRetro’s humble opinion, this show is not to be missed.

Saturday Night is the main event: The Southern Fried Burlesque Pageant has performers competing for Best Duet, Group, Variety and the Southern Fried Burlesque King and Queen!  The Pageant will also include a farewell performance by the first-ever Southern Fried Burlesque Queen, Siren Santina!  After the awards ceremony, let your hair down at the Southern Scorcher Showcase with performers from all over the Southeast, a special performance by Sadie Hawkins from Blast-Off! Burlesque, and headlined by Atlanta native, The Lady Ms. Vagina Jenkins!

Perle Noire.

Be sure to stop by Sunday, however, for a Burlesque Legends Panel at 1 p.m., with neoburlesque star Kitten DeVille and classic performers Satan’s Angel and Shannon Doah.

From Friday to Sunday, you can also sign up for lectures and classes for all skill and interest levels. Whether you are a history buff, into crafting costumes, want to learn the basics, or fine tune your performance, this festival will have activities for all levels and aspects of burlesque. Learn entirely from seasoned burlesque performers, teachers, and legends, and leave the festival with all the tools you need to be the next Burlesque Aficionado! Don’t worry guys – all genders are welcome to attend classes!

As lovely and talented festival producers Katherine Lashe and Ursula Undress of Syrens of the South remind us, Burlesque is the art of the striptease, with a focus on the tease.  Performers occasionally strip to pasties, but there is no nudity in any festival productions. This festival is dedicated to the preservation of an art form that has become an international movement.

Two of Georgia’s best-known artists, Howard Finster, the architect of Paradise Garden, REM/Talking Heads album covers and “Picasso of folk artists,”  and nihilistic punk painter Robert Sherer, also internationally acclaimed but known for his depictions of the male nude, seem like they would be unlikely friends. This unusual relationship between two of Georgia’s arguably greatest artists is the subject of THE HIDDEN MAN, the latest play performed by the always intriguing 7 Stages company, which opens Thursday March 8 (opening night celebration on Sat. March 10; details at story end) and runs through March 25. The play, which is a joint University of Georgia production and premiered a couple of weeks ago in Athens, drew criticism from Finster’s daughter, Beverly Finster-Guinn, who disputes that her devout Southern Baptist preacher father would be friends with a producer of “porn.”

ATLRetro recently caught up with Del Hamilton, 7 Stages’ Artistic Director, to find out more about the play, the controversy and a special sneak preview of more music from the rescheduled DRACULA: THE ROCK OPERA.

ATLRetro: How did THE HIDDEN MAN come about?

Del Hamilton: Russell Blackman, one of the co-authors, approached me several years ago with his rock and roll play about Finster. I told him I did not think it was ready for a production process and introduced him to Pamela Turner, and they decided to make this new play based on the partly fictional account of when Howard Finster and Robert Sherer met in the early ’80s. They are each arguably among Georgia’s most important visual artists, so this is an important story for that alone.

What drew you to it as a 7 Stages production and made you decide you wanted to direct it?

Even in these so-called enlightened times we live in, it’s still an incredible mystery to me that some people find fault with others based simply on what may be perceived as sexual inclination. This play directly addresses that significant cultural issue. How does a rabid anti-gay preacher look at a young, possibly atheist student? What do they see when they are with one another? How does Howard learn to forgive Robert for not being the person he wants him to be? When a person “hears” the call to be an artist, is it God? Is it an internal voice urging personal freedom?

How did Sherer and Finster meet and how much time did they spend together?

Don’t know how they met, although I heard stories, but can’t confirm. I believe they spent two summers together, more or less. Robert would travel to Paradise Gardens and stay over there for weeks at a time, helping Howard work on his art, being an apprentice.

What about your favorite aspect/scene?

I was hoping to create something beautiful – to look at, and to think about. I think there are many gorgeous scenes, even given our limited space and resources. I love the way scenes can be surprising and unexpected. I love the scene in the tub when the guys wash off the words SIN and LUST with Ivory Snow. And I love the shock of shooting the Tower of  Sodomy.

Paradise Gardens is a really unique location. What have you done at 7 Stages to recreate it?

Nothing.Paradise Gardens is a kind of sacred space, and we would not wish to do anything to disturb that, or to even try to recreate it. It’s truly unique, and dedicated to the full glory of God, something I don’t embrace intellectually. But I do respect that others hold this location with such high respect that it would be wrong to make it somehow secular by diminishing its beauty and stature. On the other hand, our scene designer has come up with a design that combines naive and sophisticated art concepts. The play is like a dream; in fact, it is a dream, alternating between the punk scene of Atlanta and Howard’s spiritual retreat in Summerville. As in dreams, locations, events, people get conflated, so we’re not sure if we are in dreams or reality from scene to scene. Sometimes the city and country locations are simultaneous.

A recent picture of Robert Sherer, Associate Professor of Art, Kennesaw State University. Photo courtesy of 7 Stages.

It’s partly his story, partly made up. He had nothing to do with the production, although he did lend early support to the writers, agreeing to interviews, and this formed the basis of the play. And he has stood up for 7 Stages as we were attacked by the religious folk who disagree that we should be allowed to do this play. In addition to being a great artist, Robert is one of the kindest, most sincere persons I have ever met.

Were you surprised at the derogatory response of Beverly Finster-Guinn?

Sure, especially the things she is saying that defame Robert. His reputation is on the line. He had nothing to do with the play, yet she is attacking him. She ought to go after 7 Stages and UGA, and in fact she tried this. But I guess she feels Robert is more vulnerable and an easier target. But my theatre has been marched on by the Klan, so it takes quite a lot to surprise me.

What was the reaction to the performances at UGA?

Well-received. I would say very positive reactions.

What do you hope audiences will walk away from THE HIDDEN MAN with?

That artists have to fight for a place in their culture. The fight involves personal goal assessment and a zest for life, including discovering ways to open doors to the imagination. Sometimes it’s drugs, sometimes it’s God, sometimes it’s how two artists interact that causes inspiration. If two distinct people such as Robert and Howard can be together, can’t others do it also? Can’t countries? Why can’t we all get along? How do artists find themselves, and the spark of inspiration? How are artists nurtured, and who does that in our society?

Rob Thompson as Count Dracula for HAUS VON DRACUL, the first act of DRACULA: A ROCK OPERA, performed at 7 Stages earlier this year.

Finally, many of our readers were disappointed to hear of the postponement of Rob Thompson‘s DRACULA: THE ROCK OPERA. How is the fundraising campaign for it going and when do you anticipate it will be ready to perform?

I am revealing here – you are first to know – that we will present songs from the second part of the show at the end of this month in a special concert-style presentation [date and time TBA] . The composers have now finished writing all the songs, and we have made a good cd of all songs from act 1. I love this music, and the second act is even better than the first act. And we are starting to organize the auditions and designs for a September Opening. So, lots of activity. WE ARE ALSO SEEKING PRODUCERS WHO WANT TO HELP US BY CONTRIBUTING MONEY; AND THEN THEY GET TO ATTEND REHEARSALS, SPECIAL EVENTS AND OPENING NIGHT. PLEASE TELL YOUR READERS.

I also add that we postponed DRACULA so we could do some needed facility renovation— a new roof, HVAC system and new bathrooms. It all came together and we decided to delay so we could do it better given more time, and raise enough money to pay people better than we often do. And we hope it won’t rain inside anymore.

Join 7 Stages for their Opening Night celebration of THE HIDDEN MAN Saturday, March 10. The festivities start at 7 p.m., and the evening will include food, wine and music by The Lamantations. Mix and mingle with the cast, playwright and Robert Sherer.

For some time, Atlanta has boasted a fearsome fright scene—we’d even argue that it’s one of the best in the nation—thanks to the mad maniacs behind the Silver Scream Spookshow, Splatter Cinema, Gorehound Productions, Netherworld, Atlanta Zombie Apocalypse, Chambers of Horror, Buried Alive Film Festival, Rock N Roll Monster Bash, DEAR GOD! NO!… But the city weirdly never has hosted a full-out horror con.

DAYS OF THE DEAD aims to right that wrong this weekend with a thieves’ gallery of men behind masks, scream queens and cult movie idols, both classic and contemporary. The action takes place a bit south at the Wyndham Peachtree Conference Center, south of the airport in Peachtree City, Friday 5 p.m.- 11 p.m., Sat. 11 a.m.-2 a.m. and Sun. 11 a.m.-5 p.m. Here are our top 10 Retro reasons why you need to go…

Riff Randell and Kate Rambo!
We’re still fantasizing of hanging with the Ramones and blowing up our high school, even after all these years, so we can’t think of anything more awesome than to meet and get the autographs of P.J. Soles and Dey Young, the actresses behind Joey’s biggest fan and the sexiest budding nuclear physicist ever to attend ROCK ‘N’ ROLL HIGH SCHOOL (1979). In case you’re too young to know this cult classic, get yourself educated by reading Mark Arson’s Retro Review here.

Sid Haig!
Sid is one of those rare B-movie icons and character actors whose career spans the decades from Jack Hill’s blaxploitation films of the 1970s to the chaotic Captain Spaulding of Rob Zombie’s HOUSE OF 1000 CORPSES and THE DEVIL’S REJECTS. In our book, the latter is a modern exploitation classic and arguably the best of Zombie’s movies. Quite frankly you scared the sh-t out of us and since we’re not easily scared, for that we salute you, Sid, as a true master of horror. And OK, it’s pretty darned cool that your co-star Bill Moseley is going to be there, too, and both of you share a panel at noon Sunday.

Sexy Scream Queens!
A horror con wouldn’t be a horror con without a bevy of beautiful scream queens. I know it’s fun, guys, to get an autograph and pose for a pic, but we’re jazzed to hear what these gals have to say about their stints as the victim, too. Looking forward to that opportunity at the Scream Queens Panel Sat. at 2 p.m. featuring Linnea Quigley (NIGHT OF THE DEMONS 1 & 2, RETURN OF THE LIVING DEAD), Barbara Crampton (RE-ANIMATOR, FROM BEYOND, TRANCERS 1 & 2), PJ Soles (who also of course was in John Carpenter’s original HALLOWEEN and CARRIE), and “honorary scream queen” Mark Patton (NIGHTMARE ON ELM STREET 2)

Vintage Zombies!
Being that THE WALKING DEAD is filmed inAtlanta, it seems perfectly unnatural to have a few of its zombies as con guests. But we have to admit we’re more excited about meeting George Koshana (Sheriff McClelland) and John Russo (screenwriter) from the original NIGHT OF THE LIVING DEAD (1968). In fact, we’re just tickled blood-red that they’re still on the con circuit, especially after the sad recent loss of Bill Hinzman. Glad we met him down at Spooky Empire in Orlando a few years ago.

Home-Grown Horror!
While the Hollywood stars may be the headliners, another cool thing about Days of the Dead is it also embraces our local Atlanta scary subculture. At midnight Friday, the gory gang at Atlanta’s adult haunted attraction Chambers of Horror is hosting an adults-only Rock N Roll Torture Lounge. Watch lovely ladies spin the Wheel of Torture and win prizes as the Right Reverend Andy, of Psychobilly Freakout on Garage 71, spins horror rock and punk hits. Then at 8 p.m. Professor Morte, Persephone and the Silver Scream Spookshow will be throwing a special bonus show exclusive to Days of the Dead. Be there and be scared!

Macabre Movies!
Don’t just meet the stars, take a little time out to catch a few movies. Our favorite picks, of course, are cult classics, both old and new. Linnea Quigley hosts a special workprint screening of ‘80s cult classic RETURN OF THE LIVING DEAD, featuring alternate scenses, takes and 15 minutes of footage never screened to the public, Friday night at 9 p.m.  Then on Saturday, DEAR GOD! NO! has been generating quite a buzz on the festival circuit for its over-the-top authenticity as a homage to ‘70s exploitation films, and you have another chance to see it at 3 p.m. Catch up on our crazy interview with director Jimmy Bickert here.

Creepy Costumes!
Be sure and pack your most frightening recreation of a horror icon, or at least your camera, as Days of the Dead serves up several costume events. On Friday night, dance until you drop dead at the Monsters Among Us Costume Ball, a Phantom Ball-themed costume party with DJs spinning. Then the best of the best compete at 4:30 p.m. Sat. in Wickedbeard’s Costume Contest. Finally Sunday, don your best zombie make-up with a Zombie Best in Show Contest, co-horror-hosted by Argos T. Fleam and Atlanta’s own Professor Morte. We’re informed that experts will judge on zombie poise, form, dexterity and talent. Dripping, dribbling, drooling and loss of appendage will reflect negatively on your final scores.

Custom Hearses!
Even if you’re not ready for that final ride to the graveyard, it’s always pretty amazing to see custom hearses done up with all the creativity of vintage hotrods. All day Saturday members of Atlanta’s Dead Ends Hearse Club will be showing off their wheels the Hell on Wheels Hearse Show, with raffles and giveaways and a contest for best of hearse at 2 p.m.

The Man Behind THE CROW!
THE CROW began as a comic book with a cult/goth following about a mild-mannered guy returned from the dead to wreak revenge on the human monsters who raped and murdered his true love. Beautifully drawn and written, the haunting and violent tale by James O’Barr inevitably caught Hollywood attention but seemed destined for another fatal turn with the tragic death of star Brandon Lee, son of Bruce Lee, on the set. James has made Atlanta comics con and DragonCon appearances before, but it always make us smile to see him back because not only is he an amazing artist but also one of the sweetest guys on the planet. Be sure and ask him to show you the portfolio of what he’s been up to lately, and yeah, you can tell him we told you to.

Spooktacular Shopping!
Horror cons are a great place to stock up on , and from the list of vendors booked for this weekend, we’re definitely bringing some extra cash and credit card. Hollywood Book & Poster always packs a super selection of vintage horror posters, stills, books, scripts and more at reasonable prices. And stop and say hi at the Diamond Star Halo table to ATLRetro Contributing Editor and Libertine proprietress extraordinaire Jennifer Belgard, who has really revved up our own Shop Around section. For a full vendor and artist line-up, click here.

Those are just our top 10 reasons to come, of course. Yours may be Gary and Jake Busey, Roddy Piper, Jeff Burr, Tyler Mane or any of the other many guests. We don’t judge. We just say if you don’t support your local horror con, the first could be the last so get yourself down to Peachtree City and let’s have a fiendishly fun time together.

By Philip Nutman
Contributing Writer

Nils Lofgren, OLD SCHOOL
Ian Hunter Live at Rockpalast, Featuring Mick Ronson
Public Image Limited Live at Rockpalast
MVD Entertainment

In 1971 I would wear my sister’s stack-heeled red boots, steal Mum’s mascara, lipstick and face powder.

I wanted to be Bowie/Ziggy. Mott the Hoople were my favorite band. Yes, I was a Glam Rock kid pretending to be a rock n roller (I can’t play any instrument or sing; I will never play Madison Square Garden and open for Aerosmith). As I grew older, it was Blue Oyster Cult, Motorhead and The Damned…then Cheap Trick (but I grew up listening to early Beatles, The Rolling Stones and The Who)…

MVD have just released a CD of rare Nils Lofgren songs and two DVDs of German Rockpalast performances: Public Image Limited (PiL) and Ian Hunter (of Mott  plus Mick Ronson of Ziggy-era Bowie fame). They are “must haves.”

Nils makes my heart soar. The PIL performance with John Lydon (rather fat, but performing “Anarchy in the UK”) made me pogo on the couch and throw myself on the floor.

The Hunter/Roson DVD drove me nuts…visuals fluctuate, but audio nearly destroyed my sound system.

You love music? BUY THESE NOW (and thank me later).

Note: This is a preview of more extensive reviews of all three that will appear on ATLRetro.com soon.

Contributing Writer Philip Nutman has been FANGORIA magazine’s longest running reporter ­ 30 years this May ­ but also knows a thing or two about rock music. He is also the author of the cult classic zombie novel, WET WORK, and just wrapped filming ABED, the sickest zombie movie ever, in Grand Rapids, Michigan.

Kitten DeVille. Photo credit: Neil Kendall.

Anyone who’s spent any time watching Atlanta’s burlesque scene knows we have some amazing performers and troupes, but Southern Fried Burlesque Fest finally put Atlanta on the map as having its own weekender featuring nationally known stars, legends and local and regional performers. At last year’s premiere event, we had an amazing time watching some of the most creative acts ever to hit local stages and mixing and mingling over cocktails in between. So needless to say, ATLRetro can’t wait for the second annual festival this weekend (March 8-11) at the Courtyard Marriott/Decatur Conference Center.

Look out for a full preview soon, but in the true spirit of tease, we couldn’t wait to titillate you with an exclusive interview with headliner Kitten DeVille, Miss Exotic World 2002 and the Queen of the Quake. Kitten is the shake-rattle-and rock ‘n’ roll 3-D embodiment of the cat’s meow, the quintessential Kool Kat, and one of the key founders of the neo-burlesque revival. So listen up, kids, as she divulges some sexy secrets about the pioneer days of the early ’90s (to find out how Atlanta’s own burlesque revival began, check out Torchy Taboo‘s tale of the city’s first show here.), as well as what she’ll be up to this weekend. Oh, and we  just couldn’t resist asking her what it was like to shoot the “Ultra Twist” video with The Cramps… Lux Interior, Kitten and we miss you more than you could ever imagine!

ATLRetro: When you got started in burlesque, the art form was mostly dead. Yet around the country in the early-mid ‘90s, it seemed like there was almost a simultaneous energy to bring it back. Can you talk a little bit about the early days of the Burlesque revival and what inspired you to perform?

Kitten DeVille: At the time  I was go go dancing along with Michelle Carr at an underground gay club inLos Angeles called Club Fuck. I was collecting vintage men’s magazines and had always been inspired by the photos of burlesque dancers. Their photos seemed to capture  incredibly, fierce and glamourous women having  fun on their own terms. Their costumes inspired me to make all my go-go costumes in their style . When Michelle and Elvia ( the creators of [Los Angeles burlesque troupe] The Velvet Hammer) started talking about putting together a burlesque supper club I was sold on the idea. The first Velvet Hammer was held on Valentines Day 1995. Lux & [Poison] Ivy (of The Cramps) were in the  sold-out audience. I was hooked from the very start – one-upping my costumes, always in search of the next song. Backstage was like a girls night out – champagne, laughter, catching up on the latest stories. (I still feel this way backstage today.)

Kitten DeVille Miss Exotic World 2002 Promo shot. Photo credit: Don Spiro.

Some things that were different in the start that maybe girls do not think about today [include]:

In the 1990s, there was really nowhere to go for  8x10s. There were no modern pin up photographers like there are today. We had to make it up as we went along, designing our shoots, telling them we wanted a certain mood and lighting. Most photographers did not ‘get it right off the bat.

There was no place to buy costumes. The lingerie industry was pretty boring, very plain compared to what is out there now (also pretty burlesque-inspired if you ask me). There are so many things that seem so common now that were really hard-to-find objects in the ’90s, from hair ornaments [to] shoes, clothing. Most things we could only obtain in vintage form; now there is so much off the rack .

At the 2000 Miss Exotic World & Tease-O-Rama in 2001 there were only a handful of neoburlesque girls. It was an exciting world to ourselves. Each year our numbers grew. We returned with new stories and adventures. Our world expanded. We helped each other along; we were inspired by the legends. We witnessed the burlesque explosion. It is pretty amazing to watch a scene grow, to be a part of it from the very beginnings. Because when you are in the midst of it, you do not understand that you are part of this history, that people will one day be inspired by you, that we were creating and forming this thing that has become modern burlesque. It is quite an honor.

What kinds of people came to those early Velvet Hammer shows?

Gays, straights, hipsters. We had an underground mixed crowd right from the start. It was its own scene. People dressed up. It was an event, a real night out on the town affair.

Today’s burlesque performers can learn their craft in classes through schools of burlesque such as yours. How did you develop your stage style and did you have any mentors/early inspirations/role models in the art of burlesque?

In 1994, when I started creating my first burlesque act, there was no YouTube and very little vintage burlesque easily available on video. I took what I saw in vintage burlesque  photos and blended it with what I believed they must have been doing on stage with their bodies and created my own style of burlesque. My main inspirations for my movements are Lilie Christine‘s photos and Lux Interior’s and Iggy Pop‘s no-holds-barred stage presence.

Kitten DeVille & Lux Interior.

What was it like working with the Cramps? 

Working and performing with the Cramps has been amazing and intimidating. I had been a huge fan of Lux and Ivy for years. At first, I felt so meek sitting in the same room with them. But they are such wonderful people, very friendly and funny.  At one point Lux was asking our opinion on which heels he should wear for the shoot and if we would mind doing an extra scene riding in a back of a convertible with them. Lux also liked to take 3D photos, and backstage at the Key Club, he was doing an impromptu photo shoot of Michelle and me when we opened for their show. Now that was a mix of horror and amazement because the event was over-sold so people were packed in standing room only from stage to exit and here we were opening for The Cramps!  Not really a burlesque show audience, people had only one thing on their minds and that was Lux & Poison or so it felt to me. I remember walking onto stage and looking into their faces. It seemed as if  half the audience was super into what I was doing  and half had that look of, “OK, now bring on The Cramps!  But the best thing from that night was what the DJ and some people in the booth overheard Lux saying to Ivy as they watched me perform. Lux had leaned over to Ivy and said  “now how are we going to follow that!”

What about being shot by Bunny Yeager and David LaChapelle?

Bunny Yeager is such a pro, such an eye and very easy to work with. I only wished I would have filmed the shoot so I could remember all the little tricks she was telling me, just an inch here or a hand held there. Her direction and photos came out flawless. I remember she kept wanting me to be naked and in the end I was. Ha ha, she has her ways of getting what she wants, and, well, it’s Bunny and who else should be the first photographer to shoot nude photos of me?!

David LaChapelle is so fun to work with. It is always a crazy party; you never know what to expect out of the day. I had first met him with a mutual friend  in the Hollywood Forever Cemetery watching movies being projected on the wall. He said that he liked the dress I was wearing and asked if he could put my number in his phone. I have done a few photos, videos and commercials with him. He is such an artist and very sweet.

What’s your favorite performance thus far and why? 

I cannot choose only one. Many of my performances have a special place in my heart for different reasons, but the one that shines is “The Casting Couch” that Dixie Evans personally taught to me back at the Ranch.  I love Dixie. She is the most enthusiastic, knowledgeable and kindest lady I have ever met in the field of burlesque. She is the glue that binds this whole scene from the beginnings to the modern day. When I was asked to perform a tribute number at the Burlesque Hall of Fame, I instantly chose Dixie.

I spent a couple  days with her teaching me her routine, filming her, taking down notes on what songs she had used. And in the end she was insistent that I finish the routine with something of myself, with my bumps and grinds, because she had said “no one can shake the way you shake and you have to make this your own.” So I added “The Man with the Golden Arm” song to the end and made her routine have a bit of myself mixed into it.  This is the only time I have ever performed someone else’s choreography and such a well-known routine.  Although it went off wonderfully, it was such a challenge of nerves to perform it in front of her and my peers at BHoF that I put the routine away for about five years. I brought it back out again for Viva Las Vegas and spent the next two years touring with it because I loved doing it so much. Funny how things go sometimes .

Kitten DeVille. Photo credit: Luca Rome.

For us East Coast Southerners, what’s the Rock & Roll StripShow, how did you get the idea and is that still happening?

The Rock & Roll StripShow is a joint effort of Joseph Brooks, Annie Sperling and myself. It came about because of a few different reasons. First, there are no large-venue burlesque shows in Los Angeles. Second I wanted to co-produce something with Joseph Brooks who is hugely responsible for the underground club scene in LA starting in the late 1980s which I loved dancing at. And thirdly I wanted to combine my two favorite worlds – rock  & roll and burlesque – something most people were not doing back in 2005. Rock & Roll StripShow features our own band and guest singers which have included David J of Bauhaus fame, Pearl Harbor, Kitten on the Keys and other wonderful  performers. We handpick a headliner roster of performers, and the night is filled with burlesque performances set to live Rock & Roll in a proper venue with amazing sound and lightin . It is a main event attracting everyone from Dita [Von Teese], David LaChapelle and a who’s who in LA  to attend. Right now we are looking to take StripShow on tour. We also want to attach it to larger burlesque or Rock & Roll festivals .

Kitten DeVille Onstage in New Orleans.

What will you be up to at Southern Fried Burlesque Fest?

I am performing on Friday night [at Free Range Burlesque] and judging the [Southern Fried Burlesque] Pageant on Saturday. I am also teaching two classes. I have a movement class [Sat. 3:15] that is guaranteed to have the students feeling their bodies,  and also a question/answer [Sat. 4:30 p.m.], ask-me-anything sort of a class that should be really fun because I never know what I will be asked and they maybe surprised by my answers.

What else, other than your own performance and classes, are you looking forward to the most at SFBF?

Watching the other performances. I love Perle [Perle Noire, the Black Pearl] and Angel [ Satan’s Angel]. They are both always so inspiring. I am excited to watch and meet all the wonderful  performers. My favorite things about festivals are meeting and making new friends. I have never been to Georgia before so I am also excited to be in a new place, to soak up my surrounding and sample the food.

You’re quite the multitalented Renaissance woman of burlesque. What else are you up to right now in movies, music, modeling?

I have been doing some interesting modeling work with Annie Sperling. I am in talks with a producer about doing  a TV show. I am thinking about doing some writing, and I am working on setting up another European tour for late summer early fall. I am also traveling the states doing festivals. I have Viva Las Vegas and the Texas Burlesque Festival in April and The Windy City Burlesque Festival in July .

What question does no one ever ask you that you wish someone did? And what’s the answer? 

Wow, what a great question! I think I am too much of a Scorpio to give away all my secrets, but now you have my mind spinning for the perfect question. I will have to get back to you on that one.

In addition to Kitten DeVille’s main Website, she invites you to enjoy more pics and clips at https://kittendeville.tumblr.com/.

Joe Gransden.

By Jordan Barbeau
Contributing Writer

Monday March 5

Joe Gransden and his swingin’ 16 piece jazz ensemble present Big Band Night on the first and third Monday of the month at Café 290, with special guest star song stylist Jennifer Wrobleski tonight. 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, March 6

During Darkland County Tuesdays at Eddie’s Attic, hear artists from the Stephen King/John Mellencamp production preview its music leading up to the premiere of GHOST BROTHERS OF DARKLAND COUNTY at the Alliance Theatre on April 4. 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. 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, March 7

For those who want nothing more than to immerse themselves in Burlesque culture, the Atlanta Burlesque and Cabaret Society is holding their monthly meeting today at Manuel’s Tavern. Performers and fans both welcome. Cute Boots, Naked Gods and Gemma Ray bring some sweet southern sounds to the Star Bar. For the movie lover in all of us, Emory University continues its Painting with Light: 13 Masterpieces of the Art of Cinematography (1928-2002) with a free screening of director Elia Kazan’s rendition of Tennessee Williams’ BABY DOLL (1956) in White Hall 208. Get ready to rumba, cha-cha and jitterbug at the weekly Swing Night at Graveyard Tavern. Frankie’s Blues Mission jazzes up 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 March 8

The Marriott Courtyard in Decatur gets sexy with the start of the second annual Southern Fried Burlesque Fest! This weekend-long event takes its name from two things the south loves (sexy ladies and Southern hospitality) and kicks off tonight with the Just Hatched Showcase, featuring acts by new-to-the-craft starlets-to-be.  Then at 9 p.m. Burlesque Legend Satan’s Angel takes the stage for “Have Tassels Will Travel,“ a One-Woman Improvisational play about the life and times of the star nicknamed “The Devils Own Mistress,” the Queen and originator of fire tassel twirling. For a full festival preview, click here. Jekyll and Hyde’s Sports Bar in Peachtree City will be the place to be today for horror movie fans  as the aforementioned eatery hosts the pre-party for another weekend-long event, horror convention Days of the Dead. Hosted by fright-loving rock band First Jason, this pre-show also promises costumes, food, karaoke and more.

Eat, Drink and Play with Mon Cherie & Friends at Mad Lib-Ations, sponsored by Lux De Ville, at L5P Corner Tavern. The fun-filled night of games and prizes brings back that beloved word game of our youth, with an adult spin! Bring a Pencil! Bring a friend!  7PM – Midnight (last round at 11:30PM). And while the game is going, DJ Rev Andy spins alternative faves.The Cazanovas bring the blues to Darwin’s Blues and Burgers. 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. Blueberry Grit jams at Red Light Café’s weekly Bluegrass Thursday.

Kitten DeVille. Photo credit: Neil Kendall.

Friday, March 9

Southern Fried Burlesque Fest continues with a day full of classes and workshops, vendors, and The Free Range Burlesque International Showcase (doors at 8 p.m.; show at 9 p.m.). Last year’s Friday night show was one of the best burlesque shows ever in this city featuring performances by some of the biggest regional and national performers in the business. Taking the stage will be burlesque legends Satan’s Angel, Shannon Doah and Gabriella Maze (watch for an interview with Shannon Doah soon, and if you missed our feature on Gabriella, catch up on your reading here), as well as revival stars Kitten DeVille from California (read our exclusive Kool Kat interview with her here); Perle Noire, the Black Pearl; and more!

Days of the Dead officially commences today at the Wyndham Peachtree City Conference Center. Starting at 5 PM, Atlanta’s first-ever all-horror media convention kicks off in a big way, with an evening filled to capacity with movies, cosplayers, screams and stars. For our Terrifying Top 10 Retro Reasons why to go, click here. Some of our favorites include a reunion for ROCK N ROLL HIGH SCHOOL BFFs PJ Soles and Dey Young, Sid Haig (DEVIL’S REJECTS, GALAXY OF TERROR), Linnea Quigley (NIGHT OF THE DEMONS), Barbara Crampton (RE-ANIMATOR), John Russo (NIGHT OF THE LIVING DEAD), artist James O’Barr (THE CROW), and the one actor just crazy enough to star in the movies he has, Gary Busey! Friday night festivities include a Monsters Among Us Ball, RETURN OF THE LIVING DEAD workprint screening with Linnea Quigley, comedy act by “Rowdy” Roddy Piper, and at midnight Atlanta’s own Chambers of Horror Presents Rock N Roll Torture Lounge.

Bareknuckle Betties

See this year’s Oscar-winning Best Picture THE ARTIST in a venue worthy of its vintage glory, the Fabulous Fox Theatre, which opened in 1929 just at the cusp of silents to talkies. For fans of one of the most famous rock bands of all time, the Pink Floyd Experience revives the sound of the famous band in all its glory on stage at the Variety Playhouse. Hot Rod Walt (of Hot Rod Walt and the Psycho-Devilles) plays a rare solo acoustic show at The Grove in Locust Grove. Blair Crimmins and the Hookers return the Ragtime to the Strand Theatre. The Star Bar gets honky-tonky with the Bareknuckle Betties (Vocalist Julea Thomerson is a Kool Kat), The Defibulators, Rolling Nowhere and DJ Speedtrap.  The Hollidays bring some soul to the Northside Tavern. Electromatics serve up a classy combo of Chicago/west coast Blues, blue-eyed soul and an essence of standard jazz and Sinatra at Fernbank Museum of Natural History’s Martinis and IMAX. Cineprov! goes to the dogs with werewolf cult classic THE HOWLING at Relapse Theatre. All proceeds from tonights show go to German Shepherd Rescue of GA with a silent Auction and actual German shepherds to play with, too!

Sadie Hawkins. Photo courtesy of Sadie Hawkins.

Saturday, March 10

Saturday is the big day at the Southern Fried Burlesque Fest with performers competing for the second crown in the Southern Fried Burlesque Pageant at 8 p.m., including a farewell performance by last year’s winner and reigning queen Siren Santina. Then at 11 p.m., stay up late for the Southern Scorcher Showcase, starring some of the best performers was across the Southeast, including aerialist extraordinaire Sadie Hawkins of Blast-Off Burlesque and headlined by Atlanta native, the Lady Ms. Vagina Jenkins!

Days of the Dead also has its big days with Q&As with the stars; movie screenings including DEAR GOD NO! (If you don’t know this homegrown Bikers and Bigfoot exploitation movie, read our interview with director Jimmy Bickert here), Hell on Wheels Hearse Show and contest, a special edition of the Silver Scream Spookshow, costume contest and more. Autographs will be signed, costumes will be worn and screams will be screamed.

7 Stages holds its grand opening of the world premiere of THE HIDDEN MAN, based on the true story of Robert Sherer and his mentor, Rev. Howard Finster. The unexpected and controversial story chronicles a young artist who arrives in 1980s Atlanta knowing three things for certain: he’s gay, he’s an atheist and he is destined to kill himself. Howard, a religious conservative preacher, created Paradise Garden in North Georgia, a folk art garden with messages from the Lord. These two unlikely artists become unlikely friends. Hidden Man Contains adult nudity. Through March 25. Read a behind-the-stage interview with 7 Stages Artistic Director Del Hamilton here.

Fear and Loathing in ATL, an art show inspired by Hunter S. Thompson‘s iconic work, opens tonight at ABV, featuring Kool Kat Chris Hamer and other Atlanta artists. The Star Bar punks out with the X-Impossibles, Catfight, Kentucky Bridgeburners and horror salsa Misfits cover band Los Meesfits. Northside Tavern goes back in time to the days of Motown thanks to Ike Stubblefield. Indigo Girls’ Amy Ray and The Shadowboxers play Variety Playhouse. The High Museum of Art continues its MOMA movie series with showings of a 35 mm print of BONJOUR TRISTESSE (1958) collected by the New York museum at 2 p.m. and 8 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.

Sunday, March 11

The weekend comes to a close as both the Southern Fried Burlesque Fest and Days of the Dead wrap up the festivities. The former ends with a Legends panel at 1 p.m., with headliner Kitten DeVille and classic stars Satan’s Angel and Shannon Doah. Days of the Dead moves onto the afterlife with several more film showings, panels and a Zombie Best in Show contest. The Masquerade hosts Rock Out Hunger, a fundraiser featuring performances by Starbolt9, The Sexual Side Effects, Last Five Standing and the Kimberly Sutton Band. If you missed our Kool Kat interview with amazing and beautiful neo-glam chanteuse Amber Taylor, catch up here. Francine Reed joins The Trio to jazz up The Family Dog. Rise and dine with Rev David Reed Roth at 1 p.m. dunch at The Earl . Tony Bryant brings on the blues at Fat Matt’s, and Uncle Sugar blues it down at Northside Tavern.

Photo courtesy of Opera Theatre of St. Louis.

Ongoing

The Atlanta Opera presents THE GOLDEN TICKET, based on Roald Dahl’s CHARLIE AND THE CHOCOLATE FACTORY, at Cobb Energy Performing Arts Centre. Read our Kool Kat interview with director Michael Shell here.

DragonCon is still months away, but get your con fix now as the giant nerds of Dad’s Garage explores the eccentric and outlandish realm of sci‐fi fandom in THE WRATH OF CON. Get ready for blaster battles, ridiculous costumes and celebrity sightings all rolled into one night of comedy! Through March 17.

MANDALA: SACRED CIRCLE IN TIBETAN BUDDHISM brings peace and harmony to the Michael C. Carlos Museum at Emory University. This amazing special exhibition explores Buddhism’s unique and beautiful perspective on sacred space and honor that through the tradition of mandalas. Be sure to read Lisa Stock’s Retro Review here. Through April 15

PICASSO TO WARHOL, a special art exhibition at the High Museum of Art, features over 100 works of art from 14 of the most influential artists of the 20th century. Through Apr. 29. If you know of a cool happening coming up soon, send suggestions to ATLRetro@gmail.com.

Photo courtesy of Yacht Rock Revue.

Shamrock with Yacht Rock Revue kicks off Atlanta’s St. Patrick’s Day shenanigans early this year with the ultimate U2 tribute experience on Sat. March 3 at Park Tavern at Piedmont Park. The event, featuring one of Atlanta’s most popular classic rock cover bands, kicks off at 2 p.m. and live music starts at 4 p.m. with special guests Saturday Night Beaver presenting a glamorous stage show that celebrates the artists that brought sex appeal to popular music such as Rick James, Rod Stewart and George Michael. Then U2 tribute band Uno Dos Tres Catorce performs followed by two sets by Yacht Rock Revue. Drink and eat up with an ultimate Bloody Mary bar, green beer and plenty of hearty fare. ATLRetro caught up with two of the six members of Yacht Rock Revue, Nick Niespodziani and Peter Olson to find out more about the Gaelic goings on and what it’s like to step into the shoes of so many classic rock icons.

What do you have planned for March 3? Will it be an all-U2 show?

Our plan starts with Irish Car Bombs. Then Uno Dos Tres Catorce – starring Bueno and the Wedges. I play Bueno, everyone else is a version of the Wedge. Then it’s a long block of soft rock in our Yacht Rock Revue persona. Actually two long blocks. That’s a lot of music, especially after doing Led Zeppelin IV and Dark Side [of the Moon] last night at the 40 Watt and Sgt. Pepper’s tonight at Smith’s.

Yacht Rock Revue does so many specialty shows from Beatles tributes to Pink Floyd‘s Dark Side of the Moon played in sync with WIZARD OF OZ at the Strand last fall. Fans of different bands can have high levels of scrutiny, so what do you do to prepare in general for gigs that focus on a specific band? And what will you be doing to prepare for stepping into the shoes of Bono and The Edge?

Each of the shows requires a totally different approach. It’s a lot like being an actor in the theater. Led Zeppelin is the guns-blazing action star. Yacht Rock is the like-able bad guy in an ’80s movie. How do you play Prince and MJ without coming off as a perverted prick who can’t dance as well as those guys? How do you pay tribute to the Beatles without coming off as a smarmy mop-top wanna-be? These are the questions that challenge us at our job.

U2 is the unironic one-dimensional sci-fi hero.  It’s not much of a stretch for me to play the self-righteous, self-aggrandizing social activist role of Bono…  since it’s basically who I am in real life, without the religion and millions. Their music definitely gets your adrenaline pumping. Vocally, it’s a real workout. So I’ve been increasing my throat push-up regimen in preparation.

Photo courtesy of Yacht Rock Revue.

Is there a particular U2 song you are especially looking forward to playing live?

We’ve never done “Pride” before, and we’re trying it this year.  It’s impossible to sing, so we’ll see how it goes. It seems especially appropriate to play it in the home city of MLK.

What’s your favorite tribute show you’ve done so far?

Purple Rain and Thriller was pretty epic last year – we had a 25-person choir in purple robes singing all of the backing vocals. We’re all big Prince fans, so taking on that album for the first time was a very fulfilling challenge. And then we played Thriller in Storm Trooper outfits.

What’s been your most challenging gig? 

The most challenging gigs are the ones where the music isn’t the reason people are there.  We’re spoiled, in that every time we play a show in public we get so much positive energy back from the audience.  When we get into some (not all) of these corporate event situations and we don’t get that vibe back from the crowd, it becomes a lot more difficult to do our job.

Is there a tribute show you’re really dying to do but haven’t had the opportunity yet?

Queen’s “Night at the Opera” versus Janet Jackson’s “Rhythm Nation 1814.”  Also, some of our guys have a project called “Dwight Snake” that re-envisions White Snake’s best tunes through the lens of Dwight Yoakam.  I can’t wait for that show.

How do stay fresh while working with classic cover material?

We always try to put some of our own stank on the tunes – it’s the only way to make it happen.  The key is not to treat the music with kid gloves, you’ve got to smack it around and roll with it in the dirt.  We treat these tunes irreverently, as if they’re our own songs.  That’s the attitude that makes the music and the show compelling.

What are your parameters in terms of what qualifies as a Yacht Rock Revue song?

Whatever we say goes.  And it can’t be written by Jimmy Buffett.

What’s the story behind how Yacht Rock Revue get started?

We were doing a variety show at the 10 High called the Surprise Party where we did a different show every week, including classic albums, comedy, our own original material, etc.  We thought a ’70s AM Gold Show would be hilarious.  It was spearheaded by our drummer Mark and our guitarist Mark.  I didn’t even know half of the songs.  And now it’s the joke that keeps on giving, as the saying doesn’t go.

St. Paddy’s Day is still coming, so do you have plans for any more U2-inspired shows?

Not this year – Park Tavern is the only one.  So catch it whilst thou can.

What else does Yacht Rock Revue have planned for this spring?

We’re recording a studio album, mixing a live album, planning more national-scale tours, launching another Summer Series at the Park Tavern, and cloning ourselves.

What question do you wish someone would ask you but nobody ever does? And what’s the answer?

Q:  Where’d you get your boots?  A:  I’ll never tell.

Photo courtesy of Opera Theatre of St. Louis.

Oompa Loompa, Pudding and Pie! Most of us might think of opera as Really Retro, but fans of the blissfully tart children’s book CHARLIE AND THE CHOCOLATE FACTORY by Roald Dahl and its iconic cinematic interpretation with Gene Wilder as enigmatic chocolatier Willy Wonka are in for a real treat. The Atlanta Opera is dipping into the 20th century for its 2011-12 season-opener, THE GOLDEN TICKET, with performances March 3, 6, 9 and 11, 2012 at the Cobb Energy Performing Arts Centre. Commissioned by the American Lyric Theater and Dahl’s widow, Felicity Dahl, THE GOLDEN TICKET serves up all the scrumptious delights familiar from the book, including chocolate rivers, inflating blueberries and magic elevators.

The Atlanta Opera production will be the third for THE GOLDEN TICKET which premiered in June 2010 at Opera Theatre of Saint Louis and was written by Donald Sturrock (libretto) and Peter Ash (music), who also composed a children’s opera of Dahl’s THE FANTASTIC MR. FOX. Many singers from the original Saint Louis cast will joing the Atlanta company to reprise their roles in Atlanta, including bass-baritone Daniel Okulitch as Willy Wonka/Mr. Know, tenor Andrew Drost as Augustus Gloop, and baritone David Kravitz as Lord Salt. In another treat, Composer Peter Ash will conduct. And don’t worry. You and the kids don’t need to brush up on your Italian, as the performers will sing in English with English supertitles projected above the stage.

ATLRetro recently caught up with the Atlanta Opera’s Michael Shell, who had the delicious opportunity to direct this opera of pure imagination, to find out more about how it will delight all ages.

ATLRetro: How did the Atlanta Opera come to perform THE GOLDEN TICKET?

Michael Shell: My understanding is that Dennis [Hanthorn, Zurich General Director of the Atlanta Opera] knew of the piece when he was in Milwaukee and wanted to produce it there. They never got to, and then when St. Louis decided to produce it, he came to see the production and wanted to bring it to Atlanta.

Photo courtesy of the Opera Theatre of St. Louis.

When the Tim Burton movie version of CHARLIE AND THE CHOCOLATE FACTORY came out a few years ago, a lot was made about it being closer to the book than WILLY WONKA & THE CHOCOLATE FACTORY (1971) and having the blessing of Felicity Dahl; yet a lot of people love the Gene Wilder version as an iconic part of their childhood. What can you say about THE GOLDEN TICKET’s relationship to the book and those two movies?

I think it is more closely tied to the book. With a few additional characters, Peter and Donald have tried to stay close to the narrative in the story while making changes to aid in bringing it to life onstage. In particular, the role of Charlie. When reading the book, the reader essentially becomes the character of Charlie.  So in the opera, Peter and Donald, found a way to give Charlie a voice through his relationship with his grandparents. In his aria in Act I Charlie is observing his grandparents, all four sleeping in one bed because they can only afford one. He wonders what they must have felt like when they were young and if they also longed to, “escape far away into dreams…”

The physical production also took its inspiration from the book rather than the movies. There are words and letters hidden in the set.  The set unit that is Charlie’s home spells out the word “HOME.” There are letters all over the set that gives us a unity that is tied to the written word. I think the best use of it is in the gates of the factory and also when those gates open. It keeps the audience engaged the same way they are when reading the story. It doesn’t tell you exactly what the factory looks like but allows you to see what you imagine to be the factory.

Backstage at the Atlanta Opera production. Photo credit: Charles Wenzelberg.

How does directing THE GOLDEN TICKET compare to directing classic operas? 

Directing this piece is certainly one of the most exhilarating and terrifying things I have ever done. With shows that have a performance history, you can look at that history as a guide for what you want to do or what you don’t want in a production. With a new piece there is no blueprint.  All you have is the score and the imagination of your collaborators.  With this production having the composer as the conductor has given us amazing insight to meaning behind certain  musical and dramatic moments.  My approach though is the same regardless of the piece.  I want to understand what the story is about or the theme of the story and how that theme relates to the characters. With this answered I can then go further into why characters behave and make the choices they do throughout the course of the opera.

What’s the score like?

The score is lyrical, beautiful, inventive and complex. But even in its complexity, it has a simple accessible style that makes it perfect both avid opera-goers and new audiences alike. The lyrics so skillfully crafted by Donald Sturrock are perfectly musicalized by Peter Ash that you are thrust into the story and the journeys of the characters. There is also plenty of humor that is brought out in the music. The grandparents’ snoring quartet is a prime example. Here are four people coming in and out of dreams, snoring and talking in their sleep. But as you can imagine four older people in one bed, there are bound to be other noises that occur.  We have dubbed this quarter as the “gastric” quartet.  This is the only opera that I have ever directed that I have had to instruct someone how to “pass gas.”

Michael Shell oversees a scene in THE GOLDEN TICKET. Photo credit: Charles Wenzelberg.

The description reads that “THE GOLDEN TICKET is a poignant tale about wishes coming true.” But there’s also a cautionary tale and quite a bit of dark humor in Dahl’s story. How does the opera approach the contradictions in the character of Willy Wonka and balance those two aspects?

I think the darkness is there both in the music but also in the portrayal of Willy himself.  Daniel Okulitch is brilliantly cast in this role. His childlike curiosity mixed with his intelligence and depth of feeling make him the perfect Wonka.

Are there any particular scenes/segments that you think will particularly delight fans of the book and movie(s)?

I think our depiction of the oompa loompas will make fans of the movie happy.  They are a unique take on these characters.  Very unique to the opera is their attitude about life in the factory and life in general.  They are, for me, the heart of the factory.

Apparently Donald Sturrock and Peter Ash, who created the opera, had a lot of trouble getting funding because the opera community had a problem getting a grip around an opera that would appeal to children. How have ticket sales been so far and are you concerned at all that your regular opera audience won’t embrace it for that reason?  

I hope that people who are patrons of opera already come to this with an open mind.  Very often people are turned off to new opera because they are comparing it to their favorite Puccini opera or their favorite Verdi opera. This comparison cannot be made nor would we make on Verdi if he were still composing today.  As we evolve as a society, our expression in artistic endeavors will change. If we don’t begin to accept these new pieces on their own terms and evaluate them in terms of story telling etc rather than if they are as good as TOSCA, we will kill the future of new opera and potentially the art form in general.

Photo courtesy of the Opera Theatre of St. Louis.

Turning the question around, what do you say to people who love the book and movie(s) but are nervous that they won’t enjoy the story as opera?

Any story brought to life onstage is going to require changes to bring it to life for live theater. So I would ask these fans of the book and the movies to come with an open mind and to follow the words of Willy Wonka and “Imagine.”

I think this opera is perfect for both avid opera-goers and people who are new to opera And families. The complexity of the orchestration and score makes it interesting for a music lover. The accessibility of the music’s overall harmony makes it perfect for people who are new to modern opera.  The humor and heart of the story make it perfect for all types of audiences including children.