The 2018 Buried Alive Film Festival Raises Hell with its Lucky 13th and Gores it up with Five Days of the Best Global, US and Local Indie Horror Treasures!

Posted on: Nov 12th, 2018 By:

by Melanie Crew
Managing Editor

This haunted holiday season is alive and kicking as the Buried Alive Film Festival (BAFF) kills it with another year! BAFF is brought to you by Festival Director, Kool Kat Blake Myers and Event Director, Kool Kat Luke Godfrey and a helluva team of mad scientists working behind the scenes. Gore it up with five blood-filled days (November 14-18) of film terror, including 7 features, 59 short independent horror films from around the globe, and four extra special events, bringing its sinister shenanigans for a third year to 7 Stages Theatre in Little Five Points.

BAFF kicks off Wed. Nov. 14, at 8pm, with the ever-popular BAFF Sinema Challenge, giving local filmmakers the opportunity to bring to life a horror film in 13 days. Production starts on November 1 and films are screened on the festival’s opening night. The contest is judged by co-creator and exclusive programmer for Turner Classic Movies (TCM) weekly late-night cult movie showcase TCM Underground, Kool Kat Millie De Chirico and “Archer” animation director and Atlanta-based filmmaker, Marcus Rosentrater.

Thursday night kicks off with Shorts Program 1: For the Love of the Undertaker, which includes Kool Kat Dayna Noffke’s TEASER (USA) where death is a dance; Tyler Macri’s creaturific short WHAT COMES FROM A SWAMP (USA); Ilja Rautsi’s horror comedy where a woman must survive a horde of men’s frail egos in HELSINKI MAINSPLAINING MASSACRE (Finland); Daniel Stankler’s SHOULD YOU MEET A LADY IN A DARKENED WOOD (UK) and so many more! The Opening Night Feature is Joe Baden’s psychological weirdness, THE GOD INSIDE MY EAR (2017) featuring our Kool Kat of the Week William Tokarsky (interview coming soon) screening at 9pm, preceded by the short film BAGHEAD (UK), directed by Alberto Corredor Marina.

Tricks ‘n’ treats abound as Friday brings you Shorts Program 2: Bury Me with My Favorite Films, which includes Lorene Yavo’s animated supernatural short COUNT YOUR CURSES (Belgium); Kate Dolen’s cheap thrill(er) CATCALLS (Ireland); Joshua Long’s award-winning POST MORTEM MARY (Australia) and more!  Stick around for the 8pm Feature, Jason Trost’s THE FP2: BEATS OF RAGE (USA) for a bloody good time! And of course no respectable horror film festival would be complete without screening a few horror classics, and ATLRetro loves all the special events chosen this year, including a special screening of Carl Boese and Paul Wegener’s THE GOLEM (1920) with a live soundtrack by Atlanta-based jazz group Samadha, followed by a special midnight grind-house screening of Kool Kat James Bickert’s AMAZON HOT BOX (USA), preceded by Jill Gevargizian’s sinister short, 42 COUNTS (USA).

The heads just keep rolling as Saturday brings you Shorts Program 3: It’s Never Too Early to Start Digging Graves including Marinah Janello’s ENTROPIA (USA), a search for beauty at all costs; WIHFF co-director Sam Kolesnik’s award-winning MAMA’S BOY (USA); Fredrik S. Hanna’s crime-laden ROSALINA (Norway) and more followed by a 4pm Feature, Marc Martinez Jordan’s twisted film FRAMED (Spain), preceded by Guillem Dols’ short PSYCHO KINO (Spain). At 6pm, BAFF gets wickedly weird as they team up with The Eyeslicer, featuring shorts by Kool Kat Brian Lonano (CROW HAND (2014)/GWILLIAM’S TIPS FOR TURNING TRICKS INTO TREATS) and more! At 8pm get ready for another hellacious Feature with Ujicha’s torturous VIOLENCE VOYAGER (Japan), preceded by Laura Sparks’ short MADDER ISLE! And to top off the evening, BAFF offers a special treat with a screening of Joel Schumacher’s cult classic, THE LOST BOYS (1987), hosted by Atlanta’s award-winning Blast Off Burlesque, who will stage one of their signature TabooLaLa events including a performance inspired by the film before the screening! Last but not least is a midnight screening of local Tony Reams’ (et al) DEAD BY MIDNIGHT (USA).

For those early birds, Sunday kicks off with an encore presentation of Carl Boese and Paul Wegener’s THE GOLEM (1920) with a live soundtrack by Atlanta-based jazz group Samadha, followed by a 2pm Feature documentary, SURVIVAL OF THE FILM FREAKS (USA), where Directors Bill Fulkerson and Kyle Kuchta explore the phenomenon of cult film and film fanatics, preceded by Anthony Cousins’ short THE BLOODY BALLAD OF SQUIRT REYNOLDS (USA). Shorts Program 4: Why Bury Good Meat?! Vampires, Zombies and Cannibals. Humans Taste So Good! promises a monstrous good time with screenings of Dayna Noffke’s GENTLEWOMAN’S GUIDE TO DOMESTICITY (USA); Felipe M. Guerra’s MRS. OLDINA GOES SHOPPING (Brazil); Pete TompkiesONCE BITTEN (UK); Sam Kolesnik’s FRIENDSGIVING (USA) and more! And last but not least, BAFF presents the World Premiere of Todd SheetsCLOWNADO (USA) at 6pm as the Closing Feature, preceded by Brian Lonano’s BFF GIRLS (USA)!

The 7 Stages Theatre is located at 1105 Euclid Ave NE, Atlanta, GA 30307. Individual program block tickets are $12, and five-day festival passes are just $120.

For more information and the complete Buried Alive Film Festival schedule, visit the website here. And view the official BAFF bumper here.

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Kool Kat of the Week: Gayle Rej Directs Two Wild and Crazy One-Act Plays by Steve Martin

Posted on: Oct 12th, 2018 By:

The WASP family. Photo courtesy of Ultra Popcorn Theatre and used with permission.

Ultra Popcorn Theatre Company presents WASP and THE ZIG ZAG WOMAN, two one-act plays by comedian Steve Martin, October 11-19 at 7 Stages Black Box Theatre in Little Five Points. If being penned by an iconic comedian with his roots in super-Seventies Retro chops wasn’t enough, the wild and crazy pair are directed by a pair of Atlanta’s own Retro wild and crazy superstars, Gayle Thrower Rej, former co-owner of Plaza Atlanta and Persephone of Silver Scream Spook Show fame, and Barb Hays, Blast-Off Burlesque’s Barbilicious and LUST frontwoman, and these plays present a hilariously dark look at American familial and romantic relationships.

Pushed to amazing lengths to relive profound loneliness, the waitress in THE ZIG ZAG WOMAN encounters an old man waiting for his true love, a middle-aged man who has stopped looking, and a fiery young man who longs for a woman in pieces. In the fractured landscape of ‘50s suburbia, WASP’s prototypical, but perverse nuclear family exists in a dark limbo of expectation and routine, meandering blindly toward catastrophe. The two one-act plays share a talented cast portraying multiple roles including 2017 Suzi Bass Award winning actress Christina Leidel, Michael A. Cook, Jared Nipper, Elizabeth Hammontree, Melanie “Magnifique” Parker, and Michael Malone. The production will present a musical segue between the two plays featuring Allison Maier and Ashley Burton.

Barb Hays has already graced our ATLRetro’s Hall of Kool Kats (see interview here), but Gayle Thrower Rej’s turn in the spotlight is way overdue. Gayle has degrees in Psychology, Theatre, and English Education, has travelled to all 50 states, and has had several careers in her half of a century on this beautiful planet.  She taught high school theatre for nine years and directed over 50 productions, including six musicals.  We caught up with her for a whirlwind Q&A in the heat of last-minute prep for these Martin-iriffic productions!

Gayle Thrower Rej.

ATLRetro: Most readers might know you as the owner of the Plaza Theatre or the music booker for The Star Bar and The Echo Lounge. How did you get involved in theater?

Gayle Rej: I have been performing since middle school! I have two degrees in Theatre and taught high school Theatre for eight years. I took some time off to run the Plaza and to have two kids, but I couldn’t stay out of it for long. Luckily, the creators of the Silver Scream Spook Show and Blast Off Burlesque invited me to play with them.

How did Ultra Popcorn Theatre Company happen?

From our experiences with the Silver Scream Spook Show and Blast Off Burlesque, Barb Hays and I knew we worked really well together. She is simply brilliant and endlessly creative. We had bounced around the idea of directing a play together for years. Last year we finally starting reading and realized we have similar taste in plays. Our first production was extremely challenging, but was a huge success!

Why Steve Martin plays?

Steve Martin has always been one of my heroes. There’s something about his physicality and comedic timing that just kills me. I had loved his novels and his screenplays, but these plays really impressed me. They’re funny, but they’re pretty dark. I feel like I’ve had a glimpse into his brain and so will everyone who sees the plays.

Is it a challenge to get the word out about plays?

Starting a new theatre company is really an ambitious thing to do in this town. There are several great theatre companies, but they have extensive sponsors and great relationships with the press. We don’t have those resources, so we are relying on word of mouth to reach people who might not normally go to see theatre. Barb and I both have a rock and roll background, so we hope those audiences will give theatre a shot, too!

THE ZIG ZAG WOMAN. Photo courtesy of Ultra Popcorn Theatre and used with permission.

Showtimes for the two one-act plays, WASP and The Zig Zag Woman, will be 7:00 and 9:00 p.m. 7:00 on Thursday 10/11, Friday & Saturday, 10/12 and 10/13, and 8:00 on Thursday 10/18 & Friday 10/19. 7 Stages Black Box Theatre is located at 1105 Euclid Ave NE, Atlanta, GA 30307.

Tickets are available through ultrapopcorn.com

 

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The 2017 Buried Alive Film Festival Gores it up with Five Days of the Best Global, US and Local Indie Horror Treasures!

Posted on: Nov 14th, 2017 By:

by Melanie Crew
Managing Editor

The Buried Alive Film Festival is back for its 12th chilling year, brought to you by the Buried Alive team of Kool Kat Blake Myers, Luke Godfrey, Mark Malek and Alyssa Myers, with five killer days (November 15-19) of film terror, including six features, 54 short new independent horror films from around the globe, and three extra special events.  Its sinister shenanigans return for a second year to 7 Stages Theatre in Little Five Points.

This year’s festival features five brand new movies, including our Kool Kat of the Week, Ashley Thorpe’s BORLEY RECTORY is a documentary feature (rotoscope/animation), described by Thorpe as “an ultrasound of a haunting” (see ATLRetro’s exclusive interview with Ashley here). The opening (Thursday) night feature is the latest from director Mickey Keating (POD; DARLING; CARNAGE PARK), a bloody tale of seven serial killers and their deadly agendas as they cross paths over one night, PSYCHOPATHS, which premiered at the Tribecca Film Festival earlier this year. Other feature films include AMERICAN GUINEA PIG: THE SONG OF SOLOMON, a story of satanic possession and the clergymen who confront it directed by Stephen Biro (AMERICAN GUINEA PIG: BLOODSHOCK); WHO’S WATCHING OLIVER, the tale of a mentally unstable loner and his killing spree directed by Richie Moore (CRAZY MEDICINE); and the World Premiere of BB, a provocative psycho-sexual thriller outlining the dangers of technology and who just may be peeking on the other side directed by CJ Wallis (DEAD HOOKER IN A TRUNK[editor]).

This year BAFF features will go beyond the usual horror narratives and include documentaries. FOOLISH MORTALS: A HAUNTED MANSION DOCUMENTARY explores the fan culture surrounding Walt Disney’s Haunted Mansion ride from director James H. Carter II featuring interviews with Disney legend Rolly Crump, artist Topher Adams, AMERICAN MARY’s Tristan Risk, Robert Kurtzman, SpookyDan Walker and more.

Buried Alive also continues to show its love for the local Georgia horror scene. This year’s festival includes six local shorts, with two  directed by our very own Kool Kats Dayna Noffke (UNDER THE BED about a girl and her favorite monster fiend) and Vanessa Ionta Wright (I BAKED HIM A CAKE). Other local shorts include AHEAD IN THE ROAD about three college girls learning the dangers of “the middle of nowhere” directed by Walt Guthrie and Matt McGahren, WEED WHACKER MASSACRE about a grumpy old man-turned-deadly machine vs. the HOA directed by Benjamin R. Dover, MONGO’S GOT A SPIDER GUN changing the world one arachnid at a time directed by Tim McGahren, and SKY TRIPPER featuring ancient artifacts and perilous actions directed by Philip Freeman.

Back by popular demand is the BAFF Sinema Challenge, which challenges local filmmakers with the opportunity to make a horror film in 13 days. Production starts on November 1 and the films will screen on the festival’s opening night, Wed. Nov. 15, at 8 p.m., judged by co-creator and exclusive programmer for Turner Classic Movies (TCM) weekly late-night cult movie showcase TCM Underground, Kool Kat Millie De Chirico and “Archer” animation director and Atlanta-based filmmaker, Marcus Rosentrater.

One of the real strengths, and our favorite part, of Buried Alive Film Fest is the shorts programs. This year brings five shorts sets (The Groundkeeper’s Faves; Cult of the Grave Worm; Weirdness from 6 Feet Under; If These Tombstones Could Make Movies!; and If this is all there is my friend? Then let’s keep digging.) presenting 54 new films that will enlighten, scare and disgust you to the fullest extent. A few highlights from the selections include Huseyin Hassan’s 2AM about a middle-aged man, a white rabbit and supernatural events, the American premiere of Finnish animator and Buried Alive awardwinner Tomi Malakias’ THE ZOO and Mathew E. Robinson’s RIGOR MORTIS about gory and guilt-ridden sibling rivalry. 

Finally, no respectable horror film festival would be complete without screening a few horror classics, and ATLRetro loves the two special events chosen this year. On Friday night at 10 p.m., BAFF will present a special screening of Robert Wiene’s silent horror classic THE CABINET OF DR. CALIGARI (1921) with a live soundtrack by Atlanta-based jazz group Samadha! And on Saturday night at 10 p.m., BAFF offers a special treat with a digitally remastered Tim Burton’s ED WOOD, the 1994 biopic starring Johnny Depp, Martin Landeau (as Bela Lugosi) and more. The screening will be hosted by Atlanta’s award-winning Blast Off Burlesque, who will stage one of their signature TabooLaLa events including a performance inspired by the film before the screening. With Plan 9 Graveyard photo-ops, auditions for ED, drag races for prizes and costume contests…let’s just say, things will get wonderfully bizarre.

The 7 Stages Theatre is located at 1105 Euclid Ave NE, Atlanta, GA 30307. Individual program block tickets are $12, and five-day festival passes are just $100.

For more information and the complete Buried Alive Film Festival schedule, visit the website here. And view the official BAFF bumper here.

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A Lot More Fear and Loathing: 2016 Buried Alive Film Festival Expands to Five Days of the Best Global, US and Local Indie Horror!

Posted on: Nov 15th, 2016 By:

buriedalive2016The 2016 Buried Alive Film Festival is bigger than ever, expanding to five days (November 16-20) with 10 features and 75 short new independent horror films from the around the globe at 7 Stages Theatre in Little Five Points.

“Everything about this year takes Buried Alive to a new level–the same high-quality horror movies but more of them, and our move to 7 Stages means a whole new level of entertainment, dining and bars for attendees and filmmakers alike,” says Blake Myers, Buried Alive’s festival director and ATLRetro Kool Kat. “We’re excited also that Atlanta Pro AV will be supplying the most pristine image quality of any projectors on the market today.”

The 11th annual festival features nine brand new movies, including two hit films from SXSW, Bobby Miller’s THE MASTER CLEANSE (starring Johnny Galecki and Anjelica Huston) and ANOTHER EVIL directed by Carson D. Mell (screenwriter, EAST BOUND AND DOWN and SILICONE VALLEY). The opening night feature is the U.S. premiere of vampire-clown-’80s-cult-homage (ATLRetro got a sneak and we loved it!THE NIGHT WATCHMEN from director Mitchell Altieri (THE HAMILTONS) featuring James Remar (THE WARRIORS), Matt Sevitto (THE SOPRANOS) and Tiffany Shepis (TROMEO AND JULIET). (Read an exclusive ATLRetro interview with Mitchell here). Other feature films include HERE ALONE, a survivor’s story of a quiet and bleak existence in a decimated future directed by Rod Blackhurst (AMANDA KNOX Netflix Series), and FOUND FOOTAGE 3D, which provides a great new twist on the found footage genre from director Steven DeGennaro and producer Ken Henkel (TEXAS CHAINSAW MASSACRE, EATEN ALIVE).

night watchmenThis year BAFF features will go beyond the usual horror narratives and also include a documentary and an animated sci-fi movie. SYMPATHY FOR THE DEVIL: THE TRUE STORY OF THE PROCESS CHURCH OF THE FINAL JUDGEMENT  is a documentary about “one of the most dangerous satanic cults in America” from director Neil Edwards, featuring interviews with John Waters, George Clinton and original cult members. NOVA SEED is a fully 2D hand drawn science fiction  adventure directed and animated by Nick DiLiberto.

Buried Alive also continues to show its love for the Georgia horror scene. This year’s festival also has more local films than ever with six shorts and two features James Bickert’s 35mm Grindhouse epic FRANKENSTEIN CREATED BIKERS and Tim Reis’s amphibious werewolf BAD BLOOD: THE MOVIE which will be our closing night feature on Sunday.

New to this year’s festival will be the BAFF Sinema Challenge, a challenge for local filmmakers to make a horror film in 13 days. Production starts on November 1 and the films will screen on the festival’s opening night, Wed. Nov. 16, at 8 p.m. We’re super excited to have Mindy De Chiciro, co-creator and exclusive programmer for Turner Classic Movies (TCM) weekly late-night cult movie showcase TCM Underground, as our Kool Kat of the Week. Read our exclusive interview here.

sympathyOne of the real strengths, and our favorite part, of Buried Alive Film Fest is the shorts program. This year brings seven shorts sets presenting 75 new films that will enlighten and disgust you to the fullest extent. A few highlights from the selections include Calvin Reeder’s THE BULB about two strangers experiencing an alien phenomenon through the public access in a motel room, the American premiere of Finnish animator Tomi Malakias’ VOODOO RIGHTS and the award-winning THE STYLIST by director Jill Gevargizian making its Atlanta premiere. The festival also includes a few animated shorts such as the stop motion masterpiece, UNDER THE APPLE TREE, by Erik van Schaaik, and the amazing strangeness of James Siewert’s THE PAST INSIDE THE PRESENT.

Finally, no respectable horror film festival would be complete without screening a classic, and ATLRetro loves the one they picked. On Saturday night at 10 p.m.,  BAFF will be showing the 40th anniversary digitally remastered bluray of Brian DePalma’s CARRIE, the 1976 classic adaptation from Stephen King’s novel starring Sissy Spacek, William Katt and P.J. Soles. The screening will be hosted by Atlanta’s award-winning Blast Off Burlesque, who will stage one of their signature TabooLaLa events including a performance inspired by the film before the screening. With a ´70s photo-op and costume contest…let’s just say, there will be blood.

foundfootageThe 7 Stages Theatre is located at 1105 Euclid Ave NE, Atlanta, GA 30307. Individual program tickets are $12, and five-day festival passes are just $120.

For more information and the complete Buried Alive Film Festival schedule, visit www.buriedalivefilmfest.com. View the official BAFF bumper here.

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KOOL KAT OF THE WEEK: Blast-Off Has Their Cake and…! Dickie Van Dyke Celebrates Kissing, Shaving and a Decade of Burlesque Madness!

Posted on: Sep 7th, 2016 By:
Photo credit: Chris Buxbaum.

Photo credit: Chris Buxbaum.

Blast-Off Burlesque is back and going UNDER THE COVERS Friday Sept. 9 and Saturday Sept. 10 at Sychronicity Theatre in Midtown. Atlanta’s sci-fi punk vaudeville burlesque goofballs are celebrating their 10th year with this burlesque “performance explosion” inspired by some famous, and some not so famous album covers with emcee extraordinaire Ms. Gayle Thrower Rej and featuring with special guests P-Lo aka Patricia Lopez, Baby Doll and JuWanna Pimpmee!

With such an auspicious anniversary for some of ATLRetro’s favorite performers–all Kool Kats in our world!– we caught up with founding member Tricia Chenard, aka Dickie Van Dyke, to get the inside scoop on the creative cacophony which we know will ensue this weekend, as well as the troupe’s secret scooter origins, her own first album purchases, and an update on her other pastimes, including banjo and harmonica antics with her jugband Uncle Daddy and the Kissin’ Cousins, as well as bringing back traditional barbering at Rutabaga in Decatur.

ATLRetro: What’s the “secret origin” story of Dickie Van Dyke and how did you join the Blast-Off Burlesque? Aren’t you one of the founding members?

Dickie Van Dyke: In the beginning, Blast-Off was just me, Barbalicious, Sadie Hawkins and Ferris Hilton. We met through riding vintage scooters and meeting up for weekly beers with fellow scooter enthusiasts. Barb and Sadie were members of the burlesque troupe The Dollsquad and decided to start something new when The Dollsquad was ending its run. They approached me and said they wanted me to be their drag king. I replied, “But, I’m not a drag king.” They replied, “But you look so good in a suit.” I guess a little flattery went along way. I knew I wanted to use the name Dickie to tip my hat to my beloved, big gay, hair-dressing uncle, Richard. Barb and I started tossing around cheesy variations like Dickie Diamond or Dickie Dean etc… Eventually, Dickie Van Dyke fell out of my mouth and it fit on so many levels. The Van Dyke part was obvious because of, well, my being queer as a pink fuzzy football. I also love Dick Van Dyke. He’s one of the greatest entertainers that ever lived. Truly a classy gentleman.

underthecoversGosh-groovy-wow, it’s hard to believe Blast-Off is celebrating its 10th year. What does that feel like?

It feels shocking and great! We’ve had highs and lows like any long-term relationship. We are people. We’ve evolved; we are evolving. Blast-Off is like a favorite pair of jeans. It’s frayed around the edges, there are weird stains in strange places, and it’s worn thin in the knees, but nothing in the world feels the same. Nothing hangs off the hips in just that perfect way. People can sell overpriced, cheap versions of those distressed jeans, but they aren’t molded to your ass with the sweat and tears of hard work and hard play the way your favorite jeans are. That’s what being together for so long feels like. It’s biscuits, fried chicken and collard greens. It’s falling in love with your sweetheart all over again, despite the urge to strangle them because they are a beautiful, messy pain in the ass and you’ve been through a lot together, but you love that about them so much.

Photo credit: Regean Powell.

Photo credit: Regean Powell.

A new Blast-Off Burlesque show is a much anticipated treat. You zany kids have tackled the Wild West, TV, sci-fi, to name a few themes. How did you guys come up with the idea of bringing album covers to life, and we assume the show title “Under the Covers” is a double entendre?

Oh yeah, it’s most definitely a double entendre. It was one of those moments where we were surprised by our own cleverness. Our brainstorming process is pretty simple. We order a couple pizzas, bust open a bottle of Jameson or other lubricant of choice, and we throw ideas out. We haggle, we plead, we let go, we rationalize, we deconstruct, we get side-tracked, we analyze, we cuddle and we keep sipping whiskey until things we say to each other start sounding like good ideas. That usually doesn’t take too long because we are all nuts.

Blast-Off recently ran a contest that you judged in which people were invited to post a pic of the first album they ever bought to win a pair of free tickets to the show. What’s the first album you ever bought? And the story behind that purchase?

My first actual music-buying experience involved three albums. My family frequented a rinky dink flea market on GA-2 outside of Varnell, Ga. It was the kind of flea market where you could get some army BDUs, a live chicken, some boiled peanuts, the best handmade quilt, a fist full of Weirdo magazines and a tattoo from a biker working out of a repurposed school bus. There was a guy that sold awful bootleg copies of records. Everything was on a tape with the name of the album scribbled on the side. The insert was a one-sided Xerox of the original cover. They were bad, but three for $5. I bought horribly bootlegged copies of Motley Crüe‘s SHOUT AT THE DEVIL, Cyndi Lauper‘s SHE’S SO UNUSUAL and a random Patsy Cline BEST OF. I guess I will forever be a bargain shopper and lover of a wide variety of music.

Without giving away any surprises, can you give us a little tease as to the album cover(s) you’ll be unwrapping in the show?

Oh man, we touch on a wide variety of albums and genres! Icons, essences, obscurities, explorations of everything from The Who to The Boss to The Cramps to Vanity 6. The process of creating this show was interesting in the sense that we all got to express some sort of musical admiration for our personal favorites. It is our ultimate tribute album in some sort of burlesqued, interpretive dance movement, party-time experience.

Photo credit: Marc Turnley

Photo credit: Marc Turnley

What else has Blast-Off been up to lately and any more shows/activities planned for the near future?

In November, we are looking forward to working with Splatter Cinema again. Those guys have always been super awesome. They are letting us desecrate their stage by bringing back a horror version of our Taboo-La-La film night. We are currently working out the details, but it should be fun!

We hear Uncle Daddy and the Kissin Cousins has a super great new line up and a bunch of new songs. What’s up, where can we find you playing and are the rumors true that the band will be hitting the recording studio soon?

The jugband is creating a lot of new songs and sounds. Expanding our minds for sure. We figure after nine years of playing together, we might actually cut a record so we have something to give the folks who keep asking for it. We are going to be playing at 529 in East Atlanta on Sept. 26 with Banjaline and Glen DeMeritt, Oct. 1 for Garage 71’s Hell on Wheels in Canton, Ga. There are a lot of great folks playing and cool stuff going on with that day—classic cars, vintage bikes, sideshow acts, etc. We are also playing Oct. 8 at Ciderfest hosted by Concrete Jungle. Ciderfest is one of our favorite gigs of the year. Super laidback, lots of great people from all different walks of life, and fresh pressed cider!

Your day job is as an old school barber in downtown Decatur at Rutabaga boutique and salon. Can you tell us a bit about that and what types of styles you specialize in for the Retro gentleman? Do you think barbering is becoming a lost art?

I specialize in short cuts, tight fades, razor work, hard parts, classic, as well as modern styles. Anything from an old school pompadour, to a neat and tidy businessman’s coif, to an edgy, razor faded high and tight. As far as the face goes, I offer a classic straight razor shaves with aromatic lather and soothing hot towels, beard and mustache trims, and 15-minute facial massage for when you need a little R&R on the go.

Disco disco dick: Barb HaysAs far as barbering becoming a lost art, I could argue yes and no. At some point, having a barber seemed to have become more trendy than having a stylist. Perhaps it is meterosexual blowback from the ’90s? Perhaps it is the rise of the lumbersexual image? I don’t know. It seems the word “barber” has been simultaneously saved and diluted. There are a lot of folks calling themselves barbers these days. Pick up a pair of clippers and some Pinaud powder, and BOOM, you’re a barber. But to me, there is a difference between a barber who has studied and performs traditional tonsorial arts and a stylist who can perform men’s cuts. I know plenty of excellent stylists that can knock out awesome men’s cuts, and that’s great, but they don’t shave faces or use straight razors; they didn’t study anatomy of the face with all the muscles and arteries, as well as various skin conditions and ways to care for them. I think having that specific training and knowledge is the point of being a true barber. Having a barber pole tattoo doesn’t make you a barber. Knowing how to execute a proper shave and the importance of the 7th cranial nerve does. I’m glad that there has been a revival of barber culture and classic grooming because it is totally ok for dudes to take care of their skin and beards. It’s totally ok for women to opt for shaves as opposed to waxing. Marilyn Monroe and Elizabeth Taylor did. Now more than ever, anyone can have access to a classic barbershop experience. I’m proud to call myself a traditional barber because of my training and the respect I have for the craft.

Finally, we gotta ask but thinking back over the past 10 years, what’s the craziest caper that you’ve been involved with as a member of Blast-Off and why? And yes, you can define by what we mean by “craziest” and “caper”!

Ya see, there is this little thing we call floor cake. For some reason, we had a grocery store sheet cake after a show. We were imbibing a few celebratory beverages, and before anyone could even get a piece of cake to eat, the entire cake ended up on the floor. Shortly after, everyone ended up in the cake on the floor. My favorite crazy caper happened when we decided to recreate floor cake for a photo shoot with the Burlesque Camera Club. We didn’t tell anyone we were going to drop a cake and writhe around in it for our final shots. At first, nobody knew what to do. These kids bring a cake into a photo shoot and “accidentally” dump it in the floor and start going nuts. Then suddenly everyone just started taking photos like crazy, whipped cream was sprayed all over the studio, sprinkles were sprinkled and jimmies were jammed. It was pure confectionary chaos and everyone loved it. We all had such a great time!

MORE INFO: Limited seating. Blast-Off shows sell out so they highly encourage you to buy tickets in advance to guarantee a seat! VIP front row experience includes four front row seats, drink tickets and very special goodies.Comfy seats for your butt, beer and wine in the lobby, and mixed drinks available at Tavern Pointe, which is right across the lobby. $5 parking will be validated with ticket purchase. Purchase tickets here.

Dick at the earl: Caroline Smith

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ATLRetro’s Throwback to the 20th Century St. Valentine’s Day Guide 2016 – Our Top Picks for Gettin’ Comfy With Cupid, Retro-Style!

Posted on: Feb 10th, 2016 By:

by Melanie Crew
Managing Editor

Hey all you dapper fellas and glitzy gals! Cupid got your tongue? “Be Mine”, vintage-style this year and celebrate all that is vintage and Valentine’s in Retro Atlanta! Get romantic, retro-style and see what we have in store for you during this week of love and saucy seduction!2.14Venkman's

1. Crooners and Red Hot Jazz. Swing on by The Earl Smith Strand Theatre for Douglas Cameron’s 17-piece Big Band at 8pm (Feb. 12)! Rat Pack Now croons on down to the Red Clay Theatre (Feb. 12 at 8pm; Feb. 13 at 1:30pm)! Or jazz it up during the Emory Jazz Fest’s Big Band Night at the Schwartz Center for Performing Arts, featuring the Gary Motley Trio (Feb. 13) and includes free admission; performance at 8pm. Get lovey-dovey at Rialto Center for the ArtsValentine Love Concert featuring Michael Henderson, The Dramatics and Jean Carne, from 7-9pm (Feb. 14)! Venkman’s begins the day with their Valentine’s Day Brunch with the Higher Ground Jazz Duo, and follows that up with a Valentine’s Day Dinner featuring classical jazz with Le Grand Fromage and an a la carte menu prepared by Chef Nick Melvin (Feb. 14)! The Fox Theatre gets some soul and jazzes it up with their Valentine Celebration for Lovers & Friends featuring El DeBarge and Ken Ford (Feb. 14)!

12509808_10153171444695044_6348372291262665029_n2. Blackhearts Unite. It’s a night of murder ballads made popular by Nick Cave, Tom Waits, Nirvana and a whole lotta’ bloody maniacal mayhem at The Earl with their second annual Bloody Valentine’s event, featuring Kool Kat Aileen Loy with Till Someone Loses an Eye; circus shenanigans with The Thimberling Circus and more bloody romantic fun (Feb. 11)! Boogie down at The Star Bar’s Blackheart’s Ball, featuring The Midnight Larks, Shantih Shantih, Coma Girls, and Emily Marie Palmer & Kool Kat Jeffrey Butzer (Feb. 13)! Hey all you Kool Kittens and Kinky Kats! Grab your favorite guy or gal and rock on down to The Earl for their Sadie Hawkins Dance: Valentine’s Day Rock Show/Women’s Shelter Benefit featuring performances by Hymen Moments, Hank & Cupcakes, StarBenders and Kool Kat Kate Jan with SEX BBQ (Feb. 14)!12509526_950773688321079_8299033307681823085_n

3. Oh là là! Get sinfully seductive at 7 Stages during Kool Kat Katherine Lashe and the burly-Q gals of Syrens of the South’s 9th Annual Vixen’s Valentease Vaudeville & Variety Show (Feb. 12)! The Famous Pub welcomes you to the Spectacular! Come see what’s behind the red curtain at RITUAL’s Moulin Rouge Valentine’s Day Ball featuring The Black Sheep Ensemble and more! $10 gains entrance to this exciting extravaganza starting at 10pm (Feb. 12)! Or shimmy on down to the Shakespeare Tavern for Hearts A’Blaze Entertainment’s Pantheon of Divini-TEASE with Kool Kat Talloolah Love, Kool Kate Persephone Phoenix and more! (Feb. 13). Get a little naughty this Valentine’s Day at Paris On Ponce with Valentine’s Mischief with Madeline featuring a little jazzy cabaret with Suzy Sazerac & the Peels and Cat Vigor’s burly-Q troupe, Cat’s Kittens (Feb. 13)!

4. It’s Boogie Time. Boogie down because FUNKY GOOD TIME is coming to Aisle 5 for their Funky Good Time Valentine’s Dance bringing you the best Funk, Soul, Disco, Latin, Boogie, and R&B love songs on some piping 2.11Highlanderhot vinyl (Feb. 13)!

5. Art, Comedy & Theatre, OH MY! Blackhearts and anti-V-day miscreants, rock on down to The Highlander for their Broken Hearts & Bloody Valentines Art Show, delivering a night of multi-media art, including our pal Kool Kat Chris Hamer of Urbnpop and so much more (Feb. 11)! The Highwire Comedy Co. presents their Happy Valentine’s Day Mr. President comedy show at the Highland Inn Ballroom Lounge (Feb. 12)! The Red Light Café presents two THE VAGINA MONOLOGUES Valentine’s performances, benefitting One Billion Rising at 8pm (Feb. 12 & Feb. 13) at 8pm! Dig up some swell goodies for your sweet/blackheart and make your way to My Parents’ Basement for The Valentine’s Day Bizarre Bazaar featuring 13 local artists and designers, including Kool Kat Chris Hamer of Urbnpop, from 1-5pm (Feb. 13)! The Center for Puppetry Arts presents their Valentine’s Date Night (adults-only) with puppet shenanigans and complimentary desserts (Feb. 13)! The Cobb Energy Performing Arts Center transforms into a Parisian bohemian cabaret as the Atlanta Ballet presents “Moulin Rouge: The Ballet”, shaking a tail at 8pm (Feb. 13)!2.12ParkTavern

6. Medieval & Classic. And for all you knights in shining armor, get really retro and romantic with the royal one in your life and joust on down to Medieval Times for their Valentine’s Day Couples Package! $99 gets you 2 admissions, a photo, Valentine’s scroll, champagne in keepsake glasses, a light up rose and 2 admissions to the dungeon! Get classically romantic at Atlanta Symphony Hall as they present their Be Mine performance, featuring songs from the greatest young romances in classical music; Bizet’s “Carmen”; Puccinni’s “La Boheme” and more!

7. Groovin’ Up Slowly. Be a smooth operator and sail on down to Park Tavern in Piedmont Park for Valentine’s Day Eve-Eve (Feb. 12) with Yacht Rock Schooner! It’ll be an evening of smooth 70s and 80s love songs, so put on Casablancayour dancin’ shoes and come aboard! Doors at 7 pm! ATL Collective presents Sade’s “Love Deluxe” at Venkman’s (Feb. 13)! $15 advance/$20 door. Doors at 9:30pm.

8. Lovin’ on the Silver Screen. ‘Here’s looking at you kid!’ Take a peek at love and romance Old Hollywood-style at The Strand Theater as they screen Michael Curtiz’s classic romantic drama, CASABLANCA (1942), starring Humphrey Bogart and Ingrid Bergman at 8pm. Live organ pops variety show and sing-along featuring The Strand’s Mighty Allen Theatre Organ at 7:30 p.m. Tickets are $8 for adults and $7 for students, seniors, and military (Feb. 13).

9. Cupid’s Culinary Delights! Hula on over to Trader Vic’s and escape into the island atmosphere of love with their Tropical Valentine’s Day special entrée, Hong Kong Sea Bass at $35/person (Feb. 13 & 14). Have a bloody fantastic time and snag a few tasty morsels during Blast-Off Burlesque’s Cardiac Arrest: Eat Your Heart Out Bake Sale at the Euclid Avenue Yacht Club from 1-5pm (Feb. 14). 2.14EAYC

10. We Goth You Covered. For the darkly romantic, The Oakland Cemetery offers their Love Stories Tour, complete with tales of loves past led by a Victorian-era clad docent. Tours last an hour, just long enough to meet a kindred spirit or even a new love! Get loved to death while traversing the land of passionate souls longing for love. Tours haunt 3-5pm! $16 adults/$10 students (Feb. 13 & Feb. 14)! Or for a pre-Valentine’s event (Feb. 11) get your bloody heart ripped out at Mary’s for their Goth Nite St. Valentine’s Massacre event! It’ll be a Goth throw down featuring classic Goth rock, synth pop, post-punk and even tunes from the New Romantic era!

 

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Kool Kat of the Week: David Richardson, a.k.a. “Baby Doll Schultz,” Glams and Hams it up with Chris Buxbaum during Their “Schizophrenic Photogenic” Opening Party at Luckie Street Gallery!

Posted on: Jun 25th, 2014 By:

by Melanie Crew
Managing Editor/
Contributing Writer

Get dolled up in your sleaziest glam get-ups because David Richardson, a.k.a. “Baby Doll Schultz” and Kool Kat Chris (Beat) Buxbaum [December 2012; see ATLRetro’s Kool Kat feature on Chris Buxbaum, here] have a phantasmagoric ballyhoo of sizzlin’ sights, sounds and tastes awaiting your deviant little hearts at their “Schizophrenic Photogenic” opening event invading Luckie Street Gallary this Saturday, June 28, from 7 to 11 pm! So, get scandalous and strut your stuff down to the Luckie Street Gallary for a night of mischief and mayhem!

David has been rockin’ the glammed up club scene since the early ‘80s, donning provocative style and inventive transformative creations, birthing the evolution of his stage persona, “Baby Doll Schultz”!  In the late ‘80s to mid ‘90s, he was a member of Elaganza, a comedic drag troupe that performed at Atlanta hot spots: the White Dot, Blake’s, Backstreet, the Metro and various other clubs that have since closed. He’s performed with ATLRetro’s sci-fi vaudeville Burly-Q faves, Blast-Off Burlesque, was a member of The Anatomy Theatre, a band that combined electronica with performance art and even had the opportunity to portray his idol, Divine during performances at The Plaza Theatre’s screenings of John WatersFEMALE TROUBLE (1974) and PINK FLAMINGOS (1972)!

ATLRetro caught up with David for a quick interview about his love of dramatic costuming, his stimulating past performances, his love of John Waters and his upcoming rockin’ art show, “Schizophrenic Photogenic,” with Chris Buxbaum . And while you’re gettin’ voyeuristic with our little Q&A with David, experience Baby Doll Schultz in action with his former drag comedy troupe, Eleganza at the Metro, performing a parody of Tammy Faye Bakker, here.

ATLRetro: Your taste for the glamorous drag scene erupted in the early ’80s when you began getting dolled up while clubbing and performing at some infamous ATL hot spots, such as the White Dot, Blake’s, Backstreet and the Metro. What drew you to this energetic sub-culture of erotic and phantasmal proportions?

David Richardson: The fantasy and possibility that is inherent in nightlife has always had a lot of appeal for me. You can be anything or anyone you wish to be, if only for one night. You’re not required to be real or politically correct or anything. You can be a different person every night if that is your desire. The donning of makeup and dramatic attire is freeing in the sense that it allows one to play a character and inhibitions are lowered, thus allowing you to be more yourself and more the way you would like yourself to be.

Having rocked the glam club scene of the early ’80s to the ’90s, would you say the scene has changed? Any nostalgia for the old days? What would you say has improved?

The scene is definitely different now. There aren’t as many large clubs and 24-hour clubs are extinct. The average club-goer doesn’t put as much effort into their look now as back then, when everyone seemingly strived to be a fashion plate. That’s not to say it isn’t vibrant and fun today, because it is! The thing I miss most about the old days is the music; maybe because it was all new to me, but I prefer older music. Somehow it seems more meaningful. What I really dig about clubbing now is the young drag queens. They are really great. The makeup is more extreme, the looks are more fashion forward and they seem totally prepared when they hit the stage. I can’t tell you how many times I stumbled onto a stage, not knowing the words to my song and not having worked out a routine of any kind. Luckily my improvisational skills and the spontaneity of the moment saved me on more than one occasion!

You’ve shared the stage with our sci-fi punk vaudeville pals, Blast-Off Burlesque.  What was your favorite performance with them, and why?

My favorite was when we performed BARBARELLA (1968) at Dragon Con 2013 in the Glamour Geek Revue [See performance here]. It was my first time at Dragon Con and I loved it! There was such a sense of wonder and joy at Dragon Con; the dedication to costuming and achieving perfection in a look was completely evident. I got to play the “Great Tyrant”, complete with a golden unicorn horn. I made the costume for that show, which was covered with hundreds of hand-sewn feathers and took a full month to make. I am very proud of that look! I have loved every performance with Blast-Off Burlesque, but our show at Dragon Con 2013 was extra special!

Can you tell our readers a little about your glory days as a drag performer with the troupe, Eleganza?

We (Eleganza) lampooned the ‘70s and ‘80s, with our best shows being thematic. For example, we had a “Fashionquake,” where each member made a mini-collection with two models sporting fashions made of trash and disposable materials. All of our fabulous fashions were destroyed in the finale when an “earthquake” hit the club. We also had a STAR WARS night where all of the numbers were of a sci-fi nature. That night culminated in me wrestling a heckler, who was a collaborating performer planted in the audience, in a kiddie pool full of pork and beans, no less. We also had “The Joey Heatherton Bleach Marathon”, a new-wave night, a show that was a homage to the LOVE BOAT and our “Beautify America” night, where we did makeovers on audience members who we then attacked with cans of shaving cream. The troupe even created a feature length video, directed by David A. Moore, called HAVE YOU SEEN KRYSTLE LITE?, which premiered at Backstreet. The other members of Eleganza were Trina Saxxon, Clive Jackson, Superchic, Krystle Lite, Lurleen and Judy La Grange. We even had Lady Bunny as a special guest one night. Our performances were all pretty irreverent and unpolished, but we had a blast and did it with enthusiasm.

What can you tell our readers about your ’90s band, “The Anatomy Theatre”? And your rock opera play, “The Asylum” that you’d perform at the Masquerade?

The Anatomy Theatre was the brain child of my friend Myron, blending electronic music with performance-art theater. “The Asylum was an electronic rock opera of sorts set in an insane asylum. Myron was “Dr. Boris” and another friend, Carla, was “Nurse Needles”. They cured the patients by killing them. I played “Harold”, a psychosexual. My cure was electro shock therapy in an electric chair. Stacy, another friend, got a lobotomy with a power drill in the show while our friend Scott was given a scalpel to eviscerate himself. It was replete with gore and black humor. We performed the play three times at the Masquerade. Myron released two self-produced cassettes and performed numerous times, even opening for The Legendary Pink Dots and Frontline Assembly.

You’ve stated that you had the opportunity to play your favorite idol, “Divine”, on a few occasions during The Plaza’s screenings of FEMALE TROUBLE and PINK FLAMINGOS. What about her do you admire? Are there other drag queens you’d like to impersonate?

When I was a kid, I remember reading a review of PINK FLAMINGOS (1972) in the newspaper and it really fascinated me. I didn’t get to see the film until a decade later, on home video, and it got me hooked on John Waters and Divine. What inspires me most about Divine is the absolute fearlessness and ferocity she projected. She also showed me that big girls don’t have to hide in the shadows but can shake it up there with the best of them. I was really honored to play “Dawn Davenport” and “Babs Johnson” with Blast-Off Burlesque. It would be fun to impersonate Lady Bunny because her look is so iconic and recognizable.

You stated that in the late ’90s you withdrew from the rowdy nightlife and became ‘domesticated’.  It seems you’re back, and better than ever! What was the catalyst that drew you back into the fabulously raucous flame of female impersonation?

(It was a) Midlife crisis, I guess. I was wondering if my best years were behind me and decided not to withdraw quietly into seclusion. I returned to my passion, dressing up. I believe that my looks now are more accomplished and thoughtful, and I find inspiration everywhere. I even dream of outfits and concepts to hybridize into my collection of characters.

How did you and Chris (Beat) Buxbaum meet? You two seem to have a vibrant artistic relationship; one that screams out in the wicked art you two create. How did you become Chris’ saucy and sinister subject?

I met Chris Buxbaum back in the late 1980s. We had a ton of mutual friends. We didn’t actually start working together until about three years ago when he was photographing the fabulous performers of “Sukeban, a very creative group of individuals performing at My Sisters Room in East Atlanta Village [FENUXE, November 2010]. His photographs at “Sukeban eventually became his “Transformers show. From there, he approached me with the “Schizophrenic Photogenic project and naturally, I was intrigued. It doesn’t hurt that I’m a big old camera hog and a ham! It all seemed so natural and easy.

I also participated in a MODA (Museum of Design Atlanta) event with Chris and Kool Kat Caryn Grossman titled, “The South’s Next Wave: Design Challenge” [December 2012; see ATLRetro’s Kool Kat feature on Chris Buxbaum and Caryn Grossman, here]. During this event, an interior designer was paired with an object-maker and given a color theme to produce a vignette installation. They (Chris and Caryn) were paired with a fabulous cake-maker and given the color blue. The vignette was inspired by Marie Antoinette in a futuristic rococo boudoir setting. Our team went on to win the challenge, which was decided by patron’s votes for their favorite vignette.

What can our readers expect when they come to ‘Schizophrenic Photogenic’ at the LUCKIE STREET GALLERY?

A Happening! A Warhol Factory-style event is the goal of our opening. I’m very pleased and proud of what we have accomplished. The photos are stunning and hopefully each character depicted tells a story. We are encouraging patrons to attend decked out in the most extreme glamour-sleaze looks they can get their hands on. The best look will win a prize!

Do you have anything special planned for ‘Schizophrenic Photogenic’? A little rockin’ hell-raising and deviant shenanigans, maybe? Give our readers a little taste of what mischief and mahhh-velous mayhem they may find themselves mixed up in!

I will be getting into face for the bulk of the opening at a pink satin vanity, adding and layering more and more until my face is completely covered. I plan to be a cross between Liz Taylor in the film BOOM (1968) and Incan Princess Yma Sumac. A silent film, LA BOITE DE BIJOUTERIE, shot by Milford Earl Thomas, will be playing on loop for the duration of the night. There will also be live music performed by Weary Heads, featuring Chris’ son Henry Buxbaum on vocals and bass along with his band mate Andrew Boehnlein. Usually a very feedback noisy band, they are doing a special unplugged set that may include some glamorous and sexy covers. Drinks will be provided by Jennifer Betowt and Deep Eddy Vodka will be featuring four different flavored vodka cocktails!

What’s next for Baby Doll Schultz?

I fully expect the world to entertain me with experiences not yet anticipated! Foregoing such, I will create my own experiences, continuing to explore the magic of transformational costuming. There are many upcoming events which I will attend in order to support the creative efforts of others, but, as of now (for me) I am in the hands of vagabond winds and will set sail to whatever destination they take me.

What question do you wish somebody would ask you? And what’s the answer?

I wish someone would ask, “Are you bringing Disco back?” to which I would reply, “I’m bringing sexy back!”, but really, just kidding (I am bringing Disco back)! But seriously, to answer the question, I wish someone would ask me if I enjoy what I do. Too often I get asked where my ideas come from and how I come up with what I do. The answer is innate to who I am, so my looks and outfits come out of my experiences and what I want to portray. And the answer to whether if I enjoy what I do is a resounding, “Yes, yes, yes!”

Can you tell folks something about you that they don’t know already?

I am a big time movie buff; my favorites are the Italian Giallos of the ‘60s and ‘70s. Anything by Dario Argento of course, and there are also some wonderful offerings from Mario Bava. Any of the Giallos starring Edwige Fenech are stand outs for me!

All photos courtesy of Chris Buxbaum and used with permission.

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Kool Kat of the Week: Lola LeSoleil Talks Feathers, Fun and Frolic at Southern Fried Burlesque Festival 2014

Posted on: Mar 19th, 2014 By:

Lola LeSoleil. Photo credit: Your Mojo by Jojo.

The Southern Fried Burlesque Festival is back for its fourth sizzling year March 20-23, bringing the best performers from all over the world to Atlanta for a weekend full of burlesque classes, panels and performances  at the Wyndham Atlanta Galleria.  Founded and presented by Syrens of the South Productions, it’s not just bringing a high standard of burlesque entertainment to the city but also getting Southern performers noticed on the national scene.

One of these is Lola LeSoleil, who won the crown of Southern Fried Festival Queen 2013 in last year’s pageant competition. Lola will be giving a special farewell performance on Saturday night before this year’s queen receives her crown, but in the last year, she’s come a long way, baby. It’s our royal pleasure therefore to declare her Kool Kat of the Week and find out more about what she’s been up, her plans for the future and what she’s looking forward to the most about Southern Fried 2014!

How did you get started in burlesque? 

In 2001, my mom and I went to Las Vegas. While there we saw Gladys Knight, Charo– in all of her “Coochi-Coochi” glory – and the signature JUBILEE show at Bally’s. JUBILEE is the quintessential glamorous Las Vegas floor show  – huge feather headdresses; elegant, statuesque ladies dripping in rhinestones; and lighted staircases. I was in love and realized come hell or high water, I needed a big feathery headdress. And sequins. And rhinestones.

It took a few more years before I saw a few burlesque shows in Atlanta – Big City Burlesque, Dames Aflame – and realized this art was in my city! I just needed a way in. After detouring to pole dance class and a one-off burlesque choreography class, I attended a Blast Off Burlesque show with a friend who introduced me to Talloolah Love -at the time of Syrens of the South [Read our Kool Kat profile of Talloolah here]. They offered a burlesque class series. I couldn’t get my butt to class fast enough.

Lola LeSoieil. Photo credit: Derek Jackson

Is there a story behind the name Lola LeSoleil?

Burlesque names can be a challenge. I wanted a name to reflect my abundant energy and honored who I am, but also paid tribute to beauty icons I grew up with. LeSoleil is my heat, my sun. Lola was for Lola Falana who was a black actress and entertainer in the 1970s, and who also appeared on THE MUPPET SHOW.

Who are a few of your role models in burlesque, both classic and from the burlesque revival, and why?

To be honest, Carol Burnett was my first comedic variety role model. She was silly, endearing, dynamic and versatile. I didn’t really know conventional burlesque tease artists until I started taking classes and began  research. Toni Elling and Jean Idelle are two special ladies whom I’m delighted to have met, and their lives as entertainers resonate with me and I have immense respect for them. Contemporary artists share my Gen X/Y perspective on balancing art and work and creativity. It’d take more space than I have here to name them, but suffice to say I’m delighted to have perfomed with and for revivalists whose opinions mean a lot to me.

A few years ago, you were interviewed about being an African American performer in the burlesque revival. Traditionally there haven’t been as many but at least on Atlanta stages, I’ve been seeing more. Can you talk a little about why this has been so and do you see a change or not?

Having more faces that look like mine in the burlesque revival I believe comes down to exposure to the art, and a desire to participate. The burlesque community in Atlanta is welcoming and supportive of everyone’s artistic journey. The change is gradual, and what I’ve seen is encouraging!

Lola LeSoleil. Photo Credit: Marc Turnley

What did winning the Miss Southern Fried Burlesque crown mean to you, and how has it affected your career over the past year? 

The joke of my winning Southern Fried Burlesque Queen was that my third time was the charm. I competed in 2011 and 2012 winning awards, but not the BIG one. Turns out there were a lot of people who were excited to see a nerdy/fandom-inspired act win a burlesque pageant title. I had the opportunity to be invited to perform in cities I may otherwise not have. It’s been a damn fine year!

Without giving away any big spoilers, can you give us a little tease about your farewell performance?

If I told you, I’d have to exterminate you.

Are you teaching any classes at SFBF?

In year’s past I’ve taught, but this year at SFBF, you’ll see me volunteering and being a student because I heartily believe there’s always room to improve as an artist. And I like helping.

What else are you looking forward to personally about SFBF?

I am really excited to have my Beginning Burlesque Choreography class perform in the Newcomer’s Showcase on Thursday night! And of course, I’m abuzz to see friends I’ve met at other festivals and shows come in to town for a gigantic glittery weekend! It’s like the start of “Burlesque Summer Camp” season.

What’s next for you?

I’m fortunate to be performing at the first Nerdlesque Festival in New York in a few weeks, and I’m opening my travel horizons to other festivals and events outside the South. Windy City [Burlesque Fest], here I come! I’m really looking forward to teaching more at  The Atlanta School of Burlesque.

Anything else you’d like to tell ATLRetro readers about Lola LeSoleil?

Follow your strengths as a performer, but don’t limit yourself. Take all the classes. Learn anything/everything and don’t allow yourself to stagnate. As long as you have breath in your body, you can improve.

To read ATLRetro’s preview of the Fourth Annual Southern Fried Burlesque Festival, click here.

 

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Take a Savage Journey with Blast-Off Burlesque and the Plaza Theatre as TABOO LA-LA presents FEAR AND LOATHING IN LAS VEGAS!

Posted on: Sep 17th, 2013 By:

Blast-Off Burlesque’s TABOO LA-LApresents FEAR AND LOATHING IN LAS VEGAS (1998); Dir. Terry Gilliam; Starring Johnny Depp and Benicio del Toro; Saturday, September 28 @ 10 p.m. (pre-show cocktails at 9 p.m.); Ages 18+ only; Plaza Theatre; Trailer here.

By Aleck Bennett
Contributing Writer

It’s time for Blast-Off Burlesque to tempt us with TABOO LA-LA at the Plaza Theatre! This time we venture into Bat Country with Hunter S. Thompson and Terry Gilliam for FEAR AND LOATHING IN LAS VEGAS!

It’s easy to celebrate Dr. Hunter S. Thompson for all the wrong reasons. FAR too many people see him only as a caricature: senses blazingly altered by some high-octane combination of hard drugs and bourbon, firing his guns at anything that dares blink in and out of his peripheral vision and ranting unintelligibly at imaginary phantasms. For these people, he’s become a counterculture hero not because of his accomplishments or the words he’s written, but because of a persona.

Sure, it’s a persona that he called into existence and encouraged to a large extent. Why? Because, goddammit, you need a larger-than-life personality to stand up next to those works of his. You can’t be some milquetoast beat reporter and deliver epic pieces of immersive journalism like “The Kentucky Derby Is Decadent and Depraved,” “Freak Power in the Rockies” or “The Banshee Screams for Buffalo Meat.” Nor can you be a typical Washington Beltway insider and compose the incredible series of articles that would eventually make up FEAR AND LOATHING: ON THE CAMPAIGN TRAIL ’72, perhaps the greatest piece of political journalism ever written. No, you’ve got to be a daredevil. You’ve got to be a shaman, using sacramental substances to achieve the frenzied mental state needed to venture into the heart of darkness and divine the inner essence of a situation. You’ve got to be the kind of drug-crazed madman who is unafraid to sacrifice accuracy on the altar of journalism to summon forth the Elder Gods of Truth.

And if you’re not that person, then you need to invent that person and become that person.

Which brings us to Raoul Duke and his journey with his personal attorney, Doctor Gonzo, into the godforsaken land of Las Vegas in 1971—the story of which would become Hunter S. Thompson’s landmark novel FEAR AND LOATHING IN LAS VEGAS: A SAVAGE JOURNEY TO THE HEART OF THE AMERICAN DREAM.

Benicio del Toro and Johnny Depp find FEAR AND LOATHING IN LAS VEGAS (1998).

Thompson’s tale is actually a portmanteau of two trips into the desert city with his friend Oscar Zeta Acosta, lawyer and Chicano activist. The first was intended to be a retreat for the two of them to discuss an article Thompson was writing about the death of Mexican-American journalist Rubén Salazar. Thompson used an invitation from SPORTS ILLUSTRATED to write a series of photo captions about the Mint 500 motorcycle race as an excuse, and the two of them descended onto the city.

250 words. That’s all they wanted.

Instead, he spent 36 hours straight, “feverishly writing in my notebook,” describing the pair’s wild adventures in Las Vegas and creating the expansive first part of the novel. And then, after the insane experience they undertook, they went back. Thompson took an assignment from ROLLING STONE to report on the National District Attorneys Association’s Conference on Narcotics and Dangerous Drugs held a few weeks later in Vegas, and further explored an idea that manifested during the first trip: that the rebellion of the 1960s had failed, and that the American Dream was now manifest in the crass, loud and materialistic oasis of Las Vegas.

Thompson combined the two trips into one story, which ROLLING STONE published as a two-part serial illustrated by Ralph Steadman, and which was later compiled into a novel. In creating what he admitted was “an essentially fictional framework,” Thompson assigned himself and Acosta pseudonyms: Raoul Duke (a nom de plume frequently used by Thompson and originally used as his byline for the ROLLING STONE serialization) and Doctor Gonzo. As for the book itself, it’s hard to say how much of what is written about is strictly accurate. It’s easy to say that the whole thing is true. What may have appeared at first as a wacky drug-fueled adventure turned into a work mournful of the failure of the ‘60s revolution, furious at the insane excess of artifice and celebration of the futile pursuit of money that is Las Vegas, and aghast that Vegas survived the revolution to stand in representation of the American Dream.

For years, the thing was regarded as being as unfilmable as NAKED LUNCH. Surreal, hallucinatory and depicting any number of illegal and violent acts by its protagonists, it just seemed to be too much to exist on a movie screen. Sure, they tried. Martin Scorsese and Oliver Stone both gave it a shot, but only one movie wound up being made in the wake of those early efforts. WHERE THE BUFFALO ROAM (which attempted to shoehorn “Fear and Loathing at the Super Bowl,” “The Banshee Screams for Buffalo Meat” and LAS VEGAS into one movie) starred Bill Murray, and was widely panned, particularly by Thompson himself. He praised Murray’s performance, but said the movie was saddled with “a bad, dumb, low-level, low-rent script.”

A direct adaptation eluded filmmakers for years, but that ended in 1998. After Rhino Films went through protracted tangling with director Alex Cox (whose screenplay Thompson viscerally hated), Terry Gilliam was brought on board to helm the film adaptation of the novel, and his surreal vision was a perfect match for the material. Though Gilliam had never used drugs, he researched the effects of all the chemicals used by the characters to create a series of visual effects that would mirror how the drugs would have affected their perception. The end result, while not exactly matching the horrifically ugly darkness of Ralph Steadman’s illustrations, stands on its own as a fully-formed take on Thompson’s subject matter.

Johnny Depp and Benicio del Toro were cast as Duke and Gonzo, respectively, and both underwent extensive preparation for their roles. Del Toro gained 45 pounds and immersed himself in studying the life of Oscar Zeta Acosta, and Johnny Depp spent four months living with Thompson at his Woody Creek ranch. Depp assembled his wardrobe from Thompson’s clothes of the time, wore a pendant of Thompson’s that was a gift from Acosta, and shaved his head in imitation of Thompson’s own male pattern baldness. The research and work paid off in spades. Depp and del Toro inhabit their roles perfectly. While they may come across as slightly cartoonish exaggerations of both Thompson and Acosta, it must be remembered that the Duke and Gonzo of the novel are slightly cartoonish exaggerations of Thompson and Acosta.

More gonzo antics by Depp and Del Toro in FEAR AND LOATHING IN LAS VEGAS (1998).

Terry Gilliam stated that he wanted the film to be polarizing—that he wanted it to be known as both the greatest and worst film of all time. And, thusly, it sharply divided critics: it currently holds a 50% average on the review aggregator ROTTENTOMATOES.com. Meanwhile, the film was a huge commercial failure. Filmgoers wanting to see the handsome Depp and del Toro got presented with a pair that were deliberately ugly. Filmgoers wanting to see a modern drug comedy wound up with something less a comedy and more a tragedy. And filmgoers wanting to see the Thompson perpetuated by DOONESBURY’s Uncle Duke character (and practically every other mass media depiction of the author) wound up with the only-slightly-fictionalized Thompson of the book, which is far closer to Thompson the man than Thompson the caricature.

Thankfully, due to home video releases, the film has built up a large, faithful audience, and it’s that crowd which is invited to the Plaza Theatre as Blast-Off Burlesque’s TABOO LA-LA brings us a screening of Gilliam’s adaptation. The pre-show kicks off at 9 p.m. with complimentary cocktails served up in the lobby, and then things kick into high gear with a live stage show from Blast-Off Burlesque featuring special guests Tom Jones, Elvis (somehow I’m guessing that these might not be the actual Tom Jones and Elvis) and Batastic. There will also be a Gonzo Costume contest and an Ether Walk contest with prizes from Libertine and the Cherry Blossom Salon, as well an art display of Lucy’s Barbara Streisand portraits! So come down and enjoy one of the greatest films of the 1990s while celebrating Hunter S. Thompson for all the right reasons.

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

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Retro Review: Sometimes Filth Can Be Divine! PINK FLAMINGOS Nest at Blast-Off Burlesque’s TABOO-LA-LA at the Plaza Theatre!

Posted on: May 30th, 2013 By:

Blast-Off Burlesque’s TABOO-LA-LA presents PINK FLAMINGOS (1972); Dir. John Waters; Starring Divine, Mink Stole, David Lochary, Cookie Mueller, Edith Massey, Danny Mills and Mary Vivian Pearce; Saturday, June 1 pre-show entertainment starts @ 9:00 p.m.; Plaza Theatre; Ages 18+ only; Tickets $12; Trailer here.

By Aleck Bennett
Contributing Writer

It’s time once again to push across the boundaries of good taste and delve head-first into the outré, the out-of-bounds and the delightfully wrong as Blast-Off Burlesque and the Plaza Theatre bring us another heaping helping of TABOO-LA-LA!

This is it. The film that put John Waters and Divine on the map. The film that made Baltimore famous. The filthiest film in the world. PINK FLAMINGOS.

It’s crude, it’s angry and it wants to rub you the wrong way. It wants to offend you. It wants to provoke you. It wants to push you face-down in the ugliness that lurks just under the surface of everything and laugh at you. It will poke you with a stick. And you don’t know where that stick’s been.

All that, and it’s hilarious to boot.

“I’m all dressed up, and I’m ready to fall in love!” – Divine / Babs Johnson

The entire film is centered on the fact that Divine (played by Divine, as only she could), who is living under the alias of “Babs Johnson,” has been named the Filthiest Person Alive. This angers her arch-nemeses, Connie and Raymond Marble (Mink Stole and David Lochary). The Marbles are running an entire criminal empire entirely dedicated to being filthy. They force their gay servant Channing to artificially inseminate kidnapped women. They then sell the babies to lesbian couples. Then, the money they make from their black market baby ring is used to push heroin to elementary school students and fund their chain of pornography shops. Meanwhile, Raymond has a nice sideline going in flashing unsuspecting females and then stealing their purses. Understandably, the Marbles think that they are more deserving of this major award, so they set out to destroy Divine and unwittingly start a war that can only end in the destruction of all life on this planet. Or at least the lives of a few people in the Maryland boondocks.

PINK FLAMINGOS' Egg Lady (Edith Massey).

PINK FLAMINGOS takes the unusual step of making its heroine someone who has no moral qualms with killing anybody or everybody who dares look at her the wrong way. Someone whose raison d’être is summed up in the quote “Kill everyone now! Condone first degree murder! Advocate cannibalism! Eat shit! Filth is my politics! Filth is my life!” Divine is not just an anti-heroine, but an anti-human. You are dared to root for her, and you acquiesce because you fear that she may hack you to pieces with an axe for not doing so.

From a sex scene in which a live chicken is crushed to death to an orgy of oral sex spurred on by licking furniture; from one woman’s insatiable love of eggs to an anal sphincter singing Surfin’ Bird; from a trailer fire to, yes, the actual on-screen consumption of dog shit…PINK FLAMINGOS is not for the weak of heart, stomach, mind or constitution.

This was John Waters’ third feature film after MONDO TRASHO and MULTIPLE MANIACS, and featured his much-beloved Dreamland Productions ensemble. To get a handle on the Dreamlanders’ retro-trash aesthetic, imagine the B-52’s if they’d joined the Manson Family. Driven largely by a lack of money and a surplus of a camp sense of flash, their thrift store style was cemented by the Baltimoreans’ shared memories of the city back when it was the hairdo capitol of the world, and their sensibility shaped by Waters’ fascination with those who live outside the law. The Dreamlanders’ performances are all perfect. They exist beyond criticism. There’s nothing natural about them, but there’s nothing natural about the characters either, so who are we to judge? And while it’s not Waters’ most technically proficient film, its raw and blunt stylistic approach is the only thing suitable to capture the intense taboo-shattering of the subject matter. Anything prettier would take away from the transgressive attitude on display. And, quite literally, you can’t polish a turd…

Divine archnemeses Connie and Raymond Marble (Mink Stole and David Lochary).

Did I just say “taboo-shattering?” Because that’s what TABOO-LA-LA is about. And as such, this film practically screams to be shown. Because as transgressive and deliberately offensive as this film is, it’s also unbelievably positive. Remember, this was a mere three years after the Stonewall riots, where drag queens, lesbians and poverty-stricken gay street kids were on the front line against armed squadrons representing a society that would rather beat them down. In the wake of this, John Waters dared to turn a drag queen named Divine into a larger-than-life symbol of rebellion against anyone who’d dare take away anything that she claimed as hers. And in becoming the Goddess of Bad Taste, Divine was almost saying, “so you think all of us outsiders—drag queens, lesbians and gay men—are disgusting? Let me show you what disgusting really is, you prigs.”

It’s not just a fist in the face of a world that deserves it. It’s a celebration.

And it’s a celebration that Blast-Off Burlesque and TABOO-LA-LA are fully prepared to bring off the screen and into your faces. Enjoy complimentary cocktails in the lobby starting at 9 p.m.! A titillating live stage show featuring Blast-Off Burlesque, Baby-Doll and Poly Sorbate! A Filthy Fashion Contest and Sexy Doggie-Doo Eating Contest with prizes provided by Libertine and Cherry Blossom Salon! A raffle for PINK FLAMINGOS artwork by Zteven! And then, AS IF THAT WASN’T ENOUGH, the movie itself! How can you NOT go? If you decide to go anywhere else, know that I and my gang of fellow filth fanatics will sneak into your home and lick your furniture so that it will reject you when you return.

Now, if you’ll excuse me, I’ve got some hard-boiled eggs to eat.

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

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