Kool Kat of the Week: Sizzlin’ Dames Aflame Alum Josette Pimenta Gets Swanky and Shakes a Tail Feather While Singin’ For Her Life

Posted on: Dec 16th, 2014 By:

by Rex Reverb,9 poster Josette 12-18-14 show
Contributing Writer

Get entertained this Thursday, December 18, at Atlanta’s Jungle Club by our Kool Kat of the Week and one of Atlanta’s new young singers, Josette Pimenta (often just “Josette” or “Josette P”) during her and her co-headliner, Christy Clark’s Sing for Your Life performance at 8 pm! A noted dancer with several local Atlanta dance troupes (including the Dames Aflame), Josette combines cabaret, burlesque and high-energy dance with a powerful voice to create her own unique brand of entertainment. Josette will be doing at least five numbers at her upcoming show, which is part of the Sing for Your Life competition, where she’s a judge this year. Josette‘s shows are always full of surprises, and ATLRetro readers will get the chance to experience her unique rendition of Peggy Lee‘s song, “Black Coffee.” More information about the show can be found here.

For those too young to remember Peggy Lee, she might be best known today as the singing voice for Jessica Rabbit. For those who haven’t seen Josette perform, imagine Jessica Rabbit combined with Cher, along with another classic cartoon character, RED HOT RIDING HOOD from the ‘40s.

Josette’s tale is like something out of a movie. She was told as a child that she didn’t have a good voice and couldn’t sing, causing her to shy away from singing in public for almost a decade, but now suddenly has a singing career. Although Josette is only 23-years old, this diminutive dynamo brings fresh energy and excitement–and more than a touch of burlesque and cabaret–to songs ranging from retro classics to recent hits to her own compositions.

Before diving into Josette‘s story, check out her rendition of Peggy Lee’s “Coffee” here!

Josette wanted to be a performer since she was a small child. She remembers at age five, jumping on her parent’s coffee table in her underwear, putting on a show by singing at the top of her lungs like her idol, Cher. Her parents, grandmother (who’d been a vocalist with a band) and uncles filled the house with music from many eras, and Josette began a passion for retro music that continues to this day. Josette also loved to dance and becoming a singer/dancer became her main goal in life. Her supportive parents helped her begin dance lessons at age 9, but she soon faced her first obstacle.

"Black Coffee"

“Black Coffee”

Josette‘s ballet teacher took the youngster aside after class, and told her while it was clear she loved to dance, “you’re never going to be a dancer.” That was a hard thing for a child to hear, but she managed to get past it, and continue her dance training.

Josette never had voice lessons or vocal training, but when she was around 12, she took a class in musical theater. During one of her first classes, when all of the students were singing, the teacher singled her out, saying “Josette, can you just stop singing? You’re a lot louder than everyone else and you just don’t sound good.”

Such criticism, in front of the whole class, really stung the young Josette. She took it to mean that she didn’t have a good voice and couldn’t sing. It crushed her dream of becoming a singer/dancer like Cher, and for years afterward, she “shied away from singing.” For Josette, there was no chorus, no high school musical, no Glee Club, no singing lessons. She only sang at home with her family or close friends, or in the privacy of her own room. Instead, she focused on her dancing, working hard to pursue her scaled-down dream of becoming a (non-singing) professional dancer.

In high school, Josette experienced mostly success, but also some bullying, on the Dance Team.   She was so focused on her goal of becoming a performer after high school that she really didn’t have a back-up plan. She taught dance for a year, then became a bartender, to have the flexible schedule needed for dance auditions.

She first landed a spot with Davina and the Harlots, the local burlesque group with a flair for comedy, at which Josette also excelled. Josette then auditioned for the Dames Aflame, one of America’s premiere burlesque/cabaret groups, and was thrilled to be accepted. Josette‘s first public performance with the Dames Aflame took place at Trader Vics Atlanta in August, 2011, supporting the great “Big Mike Geier (See his Kool Kat feature here) and Tongo Hiti. The rookie Josette was joined by long-time Dames Aflame veteran Shockaboom, whose Polynesian dance performances at Trader Vic’s are legendary.

"Married to Medicine"

“Married to Medicine”Polynesian dance performances are legendary.

Josette wasn’t content to merely put on a good show, but worked hard to make sure that everyone had a great time. Shockaboom always goes all out for Mike’s finale, and I was surprised to see Josette keeping up with Shockaboom’s Samba-like gyrations, shake-for-shake and shimmy-for-shimmy.

Josette‘s performances with the Dames Aflame, and Davina and the Harlots, averaged only two or three per month (including a few seconds on Bravo’s MARRIED TO MEDICINE, shown in the accompanying photo). So Josette continued to audition for full-time, professional dance roles, in touring Broadway shows, cruise ship shows, and major theme parks. Sometimes, the auditions would go really well, but she would never get a call back–perhaps because Josette was only 5′ 2″, while most Broadway-type dancers are at least 5′ 7″ (the minimum height to even audition for a group like the Rockettes).

Away from those auditions, Josette gradually tried singing in public again. It had been nine years since she’d had her singing aspirations crushed, but once or twice a year she would work a comedy or novelty song into a burlesque skit, usually with a group or another singer.

By the fall of 2012, she’d sung a song in public less than a handful of times. When dared by fellow dancer Sarah Blackman to enter a new singing competition, Sing for your Life, Josette–perhaps helped by the bottle of wine they were sharing–said “sure, why not?” The next day, she realized she had less than 24-hours to pick a song, figure out how to perform it, film it and submit the tape by the contest deadline.

Josette had her mother tape her singing “Half Breed” by Cher, and gave it a comedy/novelty treatment by performing it on a rocking horse. Still plagued by doubt over her singing ability, she almost didn’t submit the tape, but finally entered at the last minute with no expectation of success. To Josette’s surprise, she made it into the contest. She performed “Valerie” by Amy Winehouse at Sing for Your Life‘s live auditions held at Atlanta’s Jungle Club. Halfway through the song, the judges told her to stop singing and summoned her to come down off the stage. Worried about what would come next, Josette was relieved when they asked her to sing a standard. Drawing on her love of retro music, she sang “Almost Like Being in Love” by Nat King Cole, and made it into the final 12 contestants.

"Diamonds Are A Girl's Best Friend"

“Diamonds Are A Girl’s Best Friend”

For the first week of the 12-week long competition, she chose “Someone to Watch Over Me” by George and Ira Gershwin. Josette planned an arrangement that showed her range in the middle of the song, and even though it was cut for time at the last minute, Josette advanced to next week’s round.

Josette began hoping she might have a future as a singer. Though she lacked the vocal training or singing experience of most of the other singers, from her dozens of dance recitals, she knew how to put on a show.

Week Two’s theme was “Divas” and Josette chose the “ultimate diva,” Marilyn Monroe. Josette planned to sing “Diamonds Are a Girl’s Best Friend” in an elaborate production. She’d sing the preamble while wearing a coat, then–when the main part of the song began–she’d drop the coat to reveal a sexy, jeweled costume. Josette planned to sing all over the stage and even go down the steep stairs into the audience. Despite all her planning, a huge problem arose once she began performing the song in front of the audience in the actual competition. She was so new to singing, that she didn’t know how to make sure the microphone was turned on!

The Jungle Club is a huge, warehouse-like space, so even her powerful voice could barely be heard past the first few rows. For most of those in the audience, she was almost inaudible, and not even as loud as a phone ringing. Finally, just after Josette dropped her coat to reveal her sexy costume, a sound technician went onto the stage to turn on her microphone, but her problems weren’t over. When the song started to replay from the beginning, Josette had to break character, explaining to the DJ that she wanted to resume where the song had originally stopped. The curtain even started to close on her, before someone pulled it back. Then, more agonizing seconds ticked by, as she stood in silence on stage, while the DJ tried to re-cue her music.

Many amateurs would have panicked at that point, but Josette’s dance training made her comfortable on stage. She slipped back into character, vamping for time until the music was finally ready. Still, Josette faced a daunting task: To avoid being the contestant sent home that night. She had only two minutes left of her song to impress the audience and the judges. A lifetime of hopes and dreams came down to those two minutes.

And then it happened! She started off good, becoming very good in a few more seconds. Soon, the amateur singer was performing the song as if she were a seasoned professional who’d sung it dozens of times. With the powerful delivery of a Broadway star, Josette unleashed a decade of pent-up singing talent in an amazingly confident performance. For the final note, her voice soared, as she sang longer and with more power than she

"I'm a Fool to Want You"

“I’m a Fool to Want You”

ever had before. It was as if she was determined to give the audience and judges something to remember instead of her microphone problems. And she did! See her performance here, which blurs the line between cabaret, burlesque and Broadway.

Needless to say, Josette advanced to the competition’s next round. It was as if that final powerful note had pierced her own personal sound barrier, because from that point on, she could seemingly sing anything. Her next song was an even more elaborate production of “Roxie” from CHICAGO, complete with two back-up dancers. Josette, the young woman who’d never sung in a musical, looked like an experienced pro.

For Week Seven, she chose “Bad Romance” by Lady Gaga, rendering an even more elaborately choreographed production, again with back-up dancers. But this time, the audience voted Josette down, into the bottom two. Whatever the reason, Josette found herself Singing for her Life against the other low-rated contestant (like Josette, also an excellent singer). Josette barely survived, and advanced to the next round.

As if determined to show that she could win on her voice alone, the next week Josette sang Pink’sGlitter in the Air” while seated. Using her body, hands and facial expressions, she still delivered an incredible vocal performance. In the coming weeks, she showed her increasing versatility (and growing confidence) by giving good performances of songs by Billy Joel, Pat Benatar and Willie Nelson.

"Black Coffee"

“Black Coffee”

In Week 10, she took the art of burlesque and cabaret to a new level, by singing the Billie Holiday classic “I’m A Fool to Want You” in a unique way. Not only did she not dance, she again didn’t even stand up! And near the end of the song–well, you’ll have to see for yourself. Take a peek at Josette’s rendition here.

Finally, it was down to Week 12, the final week, when Josette faced off against only one other contestant, Amber Renee. Each had to perform three songs, and for Josette‘s final song of the competition, she made a very unlikely choice: “Black Coffee” by Peggy Lee. In addition to being very obscure for most of the audience, it’s definitely a “downer” song and not an obvious crowd pleaser.

But she trusted her instincts. It was one of her favorite songs to perform alone in her room, in the not-too-distant past when she was afraid to sing in public. She always envisioned herself performing it in a sultry way, in a suitably lurid setting inspired by old movies and pulp covers she saw on the internet.

In her introduction to “Black Coffee”, the strain of the twelve grueling weeks of intense competition is evident. She knew all of her recently-revived hopes and dreams were riding on the outcome of that night’s performance. There was a cash prize, but more importantly for her, the first prize also included a producer and studio time to actually record three songs, plus a life solo show of her singing.

Josette found a way to make an obscure, downer of a song, the hit of the evening. You have to see her performance of “Black Coffee” for yourself. The effect on the audience was electric. I’ve studied burlesque for 25 years, and I’ve never seen a performance like that. Is it burlesque? Is it cabaret? I don’t know, but the audience loved it!

Still, Amber Renee was a formidable rival, and suspense filled the room as the last judge voted. When judge Barry Brandon finally announced that Josette had won the competition, she doubled over with emotion and burst into tears. Josette sobbed into the arms of her coach Michael Robinson, and she couldn’t have been more emotional or grateful if she’d won a million dollars or American Idol.

Josette told me that from the start, she hadn’t expected to win, and after three very stressful months, she couldn’t believe she’d actually prevailed. After regaining her composure, she tried to say a few words, telling the audience how she came to enter the contest. But when Josette started trying to explain about being told as a child that she couldn’t sing, she started to break down. Pulling herself together, she started to thank everyone, but broke down again. Pulling herself together again, she went out into the audience and gave a heartfelt, emotional thanks (and often a hug) to everyone she recognized or who came up to congratulate her.

Josette hadn’t just won a singing contest. She’d finally achieved the first step in a dream that had been shattered and shelved almost 10 years earlier.

But there was one final twist to her story, one that even Josette hadn’t seen coming. Impressed during the competition when a few contestants sang their own original songs, Josette wondered: Could she write her own songs as well?

"Here Kitty Kitty"

“Here Kitty Kitty”

Collaborating with Atlanta songwriter J. L. Rodriguez, Josette began writing her very first pop song. They worked on the musical parts together (since she doesn’t play an instrument or read music), and she wrote the lyrics, having been inspired by a drawing of cat women a fellow Harlots alum had created. Top local producer, Thomas Cary Walker Jr., pitched in and in October 2013, Josette‘s first single, “Here Kitty Kitty,” was released on iTunes.

Josette gave the first full performance of her very first song in front of 10,000 people at Piedmont Park, during Atlanta’s LGBT Pride Festival. This was a full production, with four professional backup dancers, great lighting and Josette on the huge Jumbotron screen next to the massive stage. As she admitted to the audience after the song, she was nervous when she first came out. But she quickly settled down and was soon delivering a powerhouse performance, singing and dancing all over the stage.

Remember Shockaboom‘s finale with Tongo Hiti at Trader Vics, that Josette emulated the first time she danced there for the Dames Aflame? What seemed like a Samba move to me a few years ago had another name by last fall: Twerking. On the big stage at Piedmont Park, Josette had taken what she learned from Shockaboom to a whole new level and was light-years beyond Miley Cyrus. The already-cheering crowd started to roar, and when Josette whipped her long hair around to the sound of a whip being cracked, 10,000 people went wild. Catch a video of the wild scene here!

At the end of the number, Josette paused to catch her breath and look out over the cheering crowd. Seeing 10,000 people cheering for her singing, her dancing, and her first song–less than a year after entering the singing contest–was like the improbable ending to an old Hollywood move.

Sing For Your Life Competition

Sing For Your Life Competition

While Josette is the living embodiment of Red Hot Riding Hood on stage and says she just naturally tends to dance in a sexy fashion, off stage she’s very much a down-to-earth, girl-next-door type, a kind and sensitive person. Instead of talking about becoming a star, she talks about being creative, the joy of seeing her artistic vision fulfilled, and how great she feels when she’s entertained (and surprised) an audience. Luckily, she’s got a very supportive network of people helping her, including parents, a large extended family, boyfriend, friends and fellow performers.

Josette continues to dance with the Dames Aflame, and on December 20, she’ll be performing with them as a dancer in “Big Mike” Geier’s Kingsized Holida Jubilee extravaganza at the Variety Playhouse. This past year, Josette has focused primarily on her dancing, after joining two additional dance troupes–the BELLES (from Belles Organics) and THE CHERRY BOMBS. The Cherry Bombs will be joining her for a performance at Josette‘s big December 18 show at the Jungle Club. That show marks a return to singing for the busy Josette, and she plans to get back into the recording studio in the new year.

Photos copyright 2012-2014 Whitney Fields Photography. Some have been cropped from their original appearance.

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ATLRetro’s Throwback to the 20th Century New Year’s Eve Guide – Our Top Ten Vitally Vintage Eras for Toasting 2014

Posted on: Dec 28th, 2013 By:
by Melanie Crew
Contributing Writer 

Ring in the New Year in vintage-style with Retro Atlanta!  Come celebrate what once was in 2013 and welcome with open arms what will be in 2014! Start your new year off with a bang with all the swell happenings we’ve found for you!

1. Red Hot Jazz & Dixieland. There’s nothing like gettin’ brassy, super early 20th century-style, to ring in the New Year! So, head on over to Alpharetta, grab a few cocktails and celebrate the year with New Orleans Jon at The Atlantic Seafood Company at 7pm! His Been One Hell of a Year event will have you crooning for more! Or improvise and make your way to The Village Theatre in Decatur for their hilarious Hollabration 6 event with an after party featuring the ever jazzy New Orleans brass of the Wasted Potential Brass Band at 9 pm! Cover is $35 which gets you a drink ticket plus champagne to toast 2014, a world-famous improv comedy show, an after party with the band and more!

2. Puttin’ on the Ritz.  Roar into 2014 at STK Atlanta for their Great Gatsby-themed celebration!  The party kicks off at 5 pm in the lounge with 2 seating options, if you so desire! 5:30 for the early birds where $85 gets you a 3-course meal, 9:30 for the rest, where $115 gets you a 3-course meal with a complimentary champagne toast!  And for those who want to party the night away flapper-style, an open bar option is available for $75!  So, get glitzy and ring in the New Year in vintage style with the sounds of DJ London Thomas along with 20s-era performers, party favors and many more surprises! If you’ve got rhythm, then get ritzy and make your way to the Atlanta Symphony Hall and join the biggest band of them all, the Atlanta Symphony Orchestra as they head to Broadway to ring in the New Year!  Get glamorous 1930s-style and roll into the New Year to the tune of George and Ira Gershwin!  The ASO along with guest conductor, Jack Everly, vocalist Judy McLane and pianist Michael Chertock, lead the way to bring you your favorite Gershwin favorites including ‘I’ve Got Rhythm,’ and ‘They Can’t Take That Away from Me’!  Tickets range from $31 to $69 and show begins at 8 pm!

3. Deep Roots.  Ponder 2013 by getting to the root of it all!  For a New Year’s Eve filled with grit and soul, make your way to The Earl as they dispense a foot stompin’ night of celebration with Gringo Star, Turf War and MammaBear!  Or get sultry and spend New Year’s Eve with Michelle Malone and her old-school Americana and soul at Eddie’s Attic!  The Variety Playhouse hosts those infamous sons of Atlanta, Drivin’ n’  Cryin’ as they deliver some real rock, folk and country punk with special guests Ed Roland & The Sweet Tea Project! And for a cornucopia of rooty rock styles, swing on by Red Light Café for their New Year’s Eve party with Copious Jones, The Jugtime Ragband, Mary Lynn Buchanan and The Last Gonzo at 8pm!

4. That’s Why They Call it the Blues.  For some classic blues and jazz, shimmy on down to Blind Willie’s for their New Year’s Eve Party with the powerhouse vocals of Francine Reed & The Shadows! Doors at 7pm and $50 gets you guaranteed seating, party favors and a champagne toast at midnight!  And the Atlanta tradition continues at the Northside Tavern with Mudcat’s 20th New Year’s Eve Fiesta featuring Danny ‘Mudcat’ Dudeck, Eddie Tigner, Lola, the BluesDude and the Atlanta Horns!  $20 cover includes party favors and champagne with doors at 9pm!

5. It’s a Beach Party! Spend New Year’s Eve in paradise, Mai-Tai style at Trader Vic’s with the rockin’ surf, beach party tunes of Kool Kat Joshua Longino and Andrew & the Disapyramids!  $60 gets you a four-course dinner and admission to the party! Or, come for the show only which is $10 in advance or $15 at the door.  You won’t want to miss this island-style extravaganza!

6. Rock Across the Pond.  Kick off 2014 with Atlanta’s favorite Rolling Stones’ tribute band, The Jagged Stones with special guests The Big Chicken Beatles Band, paying homage to the Beatles, commemorating the 50th Anniversary of the British Invasion at The Strand Theater!  Doors at 9pm!

7. Groovin’ Up Slowly.  Get funky and ring in the New Year with a little psychedelic soul!  Toast the New Year at the Clermont Lounge, the seedy land of debauchery as they bring you a rockin’ celebration with Halls of Jupiter, the Kris Bell Band and Ledfoot Messiah at their New Year’s Eve Bash, where $15 gets you a groovin’ good time, party favors and a midnight champagne toast!  Or come on out to Smith’s Olde Bar and rock out with Zack Deputy, joined by the father of madness and absurdity himself, Col. Bruce Hampton along with Johnny Awesome and Voodoo Visionary!  Groove on over to Philips Arena and get psychedelic with Widespread Panic and their New Year’s Eve music and food-drive, ‘feeding people through music’ event!  Rock over to Terminal West and groove into the new year with Washed Out and the Mood Rings!  And join The Georgia Soul Council at The Family Dog for a funk-filled holiday fiesta!

8. We’re Stayin’ Alive!  In Retro Atlanta that is!  Boogie on down to Mary’s  in East Atlanta for their annual Attack of the New Year’s Eve Party Monster event, featuring DJ Bendito & DJ Sam Rothstein spinning your favorite disco, indie, house and rock!  There’s no cover and a complimentary champagne toast at midnight! Celebration begins at 9 pm!

9. The Cure for Bananarama.  New-Wave is the epitome of 80’s pop culture, so celebrate 2013 while toasting 2014 by making your way to The Shelter for their 5th Annual New Wave New Year’s Eve Retro Party!  Dress New-Wave, win prizes! The festivities begin at 9pm and $10 gets you party favors, a champagne toast at midnight, a ton of super rare New-Wave music videos and a bunch more surprises! Or for some New-Wave inspired synth-pop and a New-Wave revolution, slink on over to Noni’s Bar & Deli in the Old Fourth Ward for New Year’s Eve with Sonen!  Free cover, free champagne toast at midnight!

10. Hey! Ho! Let’s Go!  Get rebellious and rock into the New Year with some old school punk and plain ol’ retro-inspired rock-n-roll and metal!  Punk it up at the The Star Bar with The Biters, The Booze, The Forty-Fives’ MC45s, their all MC5 tribute, Fiend Without A Face, the Zoners and Dasher!  $10 cover.  Doors at 8pm!  Or spend New Year’s Eve in Hell hosted by the dynamic duo and circus side-show pair, Captain & Maybelle at The Masquerade featuring a gritty, rockin’ good time with The Six Shot Revival, Beitthemeans, the rockin’ all-female Elvis tribute band, the Pelvis Breastlies and Gunpowder Gray! $10 cover; Doors at 8pm.

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Fatty Claus Got Run Over By a Reindeer: A John Waters’ Christmas Finds Cheer in the Season’s Kookiest Carols and Whacked-Out Stories

Posted on: Dec 11th, 2013 By:

Forget a War on Christmas! A John Waters’ Christmas, Thursday Dec. 12 at Variety Playhouse, prefers X-Mas and puts a refreshingly raunchy “X” into it with a darkly comic adults-only one-man show of holiday mayhem and mischief. The variety show pays homage to the tradition both of the holiday album and the TV special, but for those who cringe at listening to Christmas carols, Waters digs out the most cringe-worthy of holiday tunes. But he delivers the kitsch with the mastery he’s known for as a twisted storyteller and showman, sharing anecdotes as much as music – offbeat stories drawn from his personal holiday experiences and a voracious appetite for scouring the media. From all accounts, the result is the absolutely perfect  glam/gross-out gift we expect from the director of PINK FLAMINGOS (1972), the odoramic POLYESTER (1981) and the knock-it-out-of-the-closet hit HAIRSPRAY (1988).

In a recent TIME Magazine interview about the tour, Waters laments so many lost opportunities for Christmas albums from Pussy Riot to rapper Ol’ Dirty Bastard. He seems genuinely giddy that Johnny Mathis has a new one out! But that’s Waters’ charm–his absolute enthusiasm and embrace of the tacky, the trashy and the odd–and sometimes even the insanely mainstream. If Pia Zadora ever recorded a holiday tune, you know Waters would be proudly playing it. And since she’s now torch-singing in Vegas, who knows?!

Waters’ Christmas live show takes off from his own 2004 compilation of hellacious and hilarious holiday tunes, from ditties that celebrate Santa’s weight like “Here Comes Fatty Claus” by Rudolph and Gang and the jazzy, jingly “Fat Daddy” by Paul “Fat Daddy” Johnson, Baltimore DJ and the “300-pound King of Soul,” to the twangy, whispery  “First Snowfall” by Chicago lounge-core band The Coctails. There’s also “Little Mary Christmas,” by Roger Christian, who co-wrote Jan and Dean’s “Dead Man’s Curve” and several Beach Boys tunes,  head an excruciating sentimental and horrible tale of a crippled orphan named Mary who finds new parents on Christmas Day. Tiny Tim, perhaps the most frightening pop star ever, creepily croons the worst ever warped version of “Rudolph the Red-Nosed Reindeer,” and Waters, never afraid to push our racial comfort boundaries, also includes the chirpy and controversial “Santa Claus is a Black Man, a soulful revision of “I Saw Mommy Kissing Santa Claus” sung by AKIM, the daughter of  Grammy Award-winning songwriter/producer Teddy Vann with his Teddy Vann Production Company. It wouldn’t be Waters, without indulging his inexplicable love for the ear-shatteringly squeaky with Alvin and the Chipmunks‘ “Sleigh Ride.” Oh, and nothing may be more horrifying than Little Cindy’s “Happy Birthday, Jesus (A Children’s Prayer). Little Cindy apparently also released such singles as “If Santa Was My Daddy” and the B-side “It Must Have Been the Easter Bunny.”

What else can we say about John Waters except that we’d be happy to listen to him read the phone book! Because we know by the 10th name, he’d have an anecdote to unleash which would make us laugh and maybe gag, too. After all, this man is the master of the gross-out from his one-time comment that every filmmaker can afford a barf scene to Divine devouring dog poop. With that in mind, to get you into the Merry Mondo spirit, here are five more things you may or may not know about John and Christmas!

1) His favorite Christmas movie is the B-horror CHRISTMAS EVIL (1980). From the TIME interview: “It’s about the guy who is so obsessed with Santa Claus that he gets a job at a toy factory and spies on all the children to see if they are good or bad. And then he gets stuck in a chimney on Christmas Eve. It’s really good. It’s hard to beat CHRISTMAS EVIL.”

2) For the past five years or so, he’s tried to make a kids’ Christmas movie called FRUITCAKE which had Johnny Knoxville and Parker Posey attached to star.

3) John hates the Easter Bunny. (Source: The Gothamist).

4) Don’t give John a fruit basket for Christmas. “I can buy a pear, you know? It’s not so hard to find a pear. I think gift baskets should be drugs or cigarettes, things you’d never buy for yourself. I don’t take drugs or smoke cigarettes anymore, but I think a gift basket filled with them would terrific.” (Source: Oh, No, They Didn’t)

5) He sends out lots of Christmas cards. Over 1,700 according to TIME!

ATLRetro hopes to see you Thursday at the Variety! For $35 general admission or $100 VIP tickets, click here. Oh, and don’t forget to wear a “nice” sweater!

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Kool Kat of the Week: Amanda Palmer Finds Peace and Perfection in The Cure, a Beating Fish Heart and Peeling Up Rugs

Posted on: Sep 15th, 2012 By:

Is Amanda Palmer a Goth Goddess? A Steampunk diva? Sally Bowles? Super-heroine? The publicity photos for her new band the Grand Theft Orchestra suggest Geisha meets AMADEUS. Atlantans will find out tonight (Sat. Sept. 16) when she steals into the Variety Playhouse.  A creative chameleon who has played in many Retro eras from costume to sounds, Amanda Palmer has reimagined herself again with a new album, THEATRE IS EVIL, released on Sept. 11. Some critics have dubbed this album poppier than previous projects such as the Dresden Dolls, but we’re intrigued by the list of many of our favorite ’70s and ’80s Goth/alternative bands, which she lists as influences yet how she makes the songs very much her own.

THEATRE IS EVIL also is testament to her savvy social networking skills and a passionate fanbase. It’s already music industry legend how she produced the LP without label support through a Kickstarter campaign in which she asked for $100,000 but raised $1.2 million. You have to imagine plenty of musicians are tilting their heads and analyzing the hows and whys of her success – could crowdsourcing be the golden ticket to being able to stay true to your artistic vision without interference by over-zealous marketing suits?! In any case, Amanda sure seems to be living the artistic dream life with enough money to follow her creative bliss and even married to Neil Gaiman, award-winning leather-jacketed punk rock author of dark fantasy best-sellers and creator of the ultimate dream-weaver comic, SANDMAN.

Yet all the while Amanda stayed true to her busking performance art spirit  including fun Kickstarter incentives that radiated a reciprocative passion for her fans including an artbook, personal sketches and private concerts. And she even took a time out during a busy week on the tour bus to zip out a last minute Q&A for readers of a humble local blog like ATLRetro, for which we have to say she’s a mighty Kool Kat

ATLRetro: On NPR’s ALL SONGS CONSIDERED, the two critics Bob Boilen and Robin Hilton  couldn’t get enough of THEATRE IS EVIL, even comparing it to Bowie’s THE LODGER. You’ve mentioned that you had The Swans, My Bloody Valentine, The Cars and VIOLATOR era Depeche Mode on your mind with particular songs. Since we’re ATLRetro, we have to ask which critic comparisons have pleased you the most and are there any other Retro musicians/bands who particularly influenced the work on this album?

Amanda Palmer: Oh, where can I start? Soft Cell. Gary Numan. The Cure, all over the place…I feel like some songs like “The Killing Type” are more early-era stripped down Cure whereas “Want it Back” is more KISS ME, KISS ME ,KISS ME me era, and “Smile” was directly an homage to “Plainsong” from DISENTEGRATION, right down to the fact that I chose it to kick off the record and the fact that we open the live show with it. One of my deepest and influential moments was the first 30 seconds of seeing The Cure live in around 1989, on The Prayer tour. They opened with Plainsong, and I felt like I was listening to the voice of god.

You embrace live performance with a passion and bravado unparalleled by many contemporary musical artists. Why the album title, THEATRE IS EVIL?

Because it’s hilarious.

Your songs not only tell stories but also always seem to have interesting stories behind how you came to write them. Pick one song on THEATRE IS EVIL that you’d like to tell Atlanta fans more about.

Wellllll - “Tour Heart Replica” has a good one. I was going through a really rough breakup, and I was visiting Neil Gaiman at his house with my whole touring crew, before we started dating. I was also really feeling the tour grind, the caged feeling. He took us to a trout farm. We piled into his car on a freezing Wisconsin day right before Christmas – a few of the actors in the tour, my opener and cellist Zoe Keating. The trout farm was this set of shacks where they had the trout swimming and swimming endlessly in circles in these big metal tubs. They clobbered a dozen of them to death and brought us into the fish surgery where they gutted them, and as the dude sliced into one of the fishes, he said “look” to us, and a fish heart was laying there in his hand, still beating. And for about 20 seconds, it kept going, in his hand, beating. “This happens sometimes,” he said. Then he put the heart on the counter and he left, and Neil followed him out. And Zoe and I stood in the room, looking at the fish heart on the metal counter. And it kept going, it kept beating. Everything about my life was reflected in that moment. And Zoe, Neil and I joked in the car that the moment was the perfect song, the perfect poem. And we all went off to write. Neil’s poem was published in a journal, and my song found its way onto the album.

Some of my favorite songs by you with the Dresden Dolls and solo have been those that have been angry/angsty but also clearly about empowerment and moving on. In other words, not getting derailed by relationships that end bitterly. Can you talk briefly about what those kind of songs do/mean for you or are you moving away from that thematically since you’re happily married to Neil?

Well, a lot of the album does feel like it’s about coming to peace with things. But in order to truly come to peace, you always have to peel the rug up and look at the truly rotting stuff. You can’t have one without the other, I think. To me songs are the perfect way of doing both things at once: the peeling up, and the coming to peace with what you find there. And then the best part: sharing what you find with everybody else, and seeing the heads nod in “you too?” agreement. You can find anything under the rug if you don’t feel alone in the finding.

Without giving away any crucial spoilers, can you share a little sneak peek into why no one should consider missing your show in Atlanta this Saturday whether or not they have seen you perform live before?

Well, I’m backstage in North Carolina right now, and we just had the audience split up into a “lamb of god” divide and wield disco balls and peace twigs at each other. ANYTHING is possible. But in seriousness: be prepared to dance. The dancing is key. Bring a tissue as well, for the sad bits.

Finally, we know that you are goddess queen of the Earth, so what secret weapon could we use to save us from your wrath?

A towel, obviously.

Category: Kool Kat of the Week | Tags: , , , , , , , , , , , , , , , , , , , , , , , , , , ,

Slim’s Jukebox: Willie Nelson, Mercyland, Todd Snider, Chelle Rose & Darrell Scott

Posted on: Jun 5th, 2012 By:

By James Kelly
Contributing Music Editor

There is so much great music coming out these days, and I will try to keep you posted on what I am listening to the most. This week’s column is a mix of legends, newbies, and a very nice compilation of sorta gospel songs. A lot of these are on small or independent labels, and don’t get the sort of publicity push that the horrible commercial radio crap has, so please spread the word if any of these hit your sweet spot.

Willie Nelson
HEROES
Legacy Recordings

Willie Nelson is my hero. He can pretty much do no wrong, and I do not know a soul who doesn’t appreciate his work. HEROES is a collection of duets and more, featuring his old pals Merle Haggard, on a rerecording of “A Horse Called Music,” and Ray Price on the classic “Cold War With You.” There’s a slew of cuts with Willie’s kid Lucas, and their voices are so similar it’s spooky. There are a few oddities here, but they work in Willie’s own peculiar way. The almost novelty song “Roll Me Up And Smoke Me When I Die” includes a few lines from Kris Kristofferson, hardcore honkytonker Jamey Johnson, and… Snoop Dogg? Yep, that Snoop. There’s a really nice take on Tom Waits’ “Come On Up To The House” with Sheryl Crow and son Lucas, but the show-stopper is Willie’s stunning version of Coldplay’s “The Scientist.” I’m not a Coldplay fan by any definition, but in Willie’s hands, this is a jewel.

[ Editor’s Note: Willie Nelson plays Chastain Park Amphitheatre with Jamey Johnson on Fri. June 15. Tickets here.]

Various Artists
MERCYLAND: HYMNS FOR THE REST OF US
Mercyland Records

Nashville is an interesting place. There are so many small music communities that have little or no relation to the mainstream industry, and what comes out of these enclaves inevitably is so much better than the major label drivel. One borderline fringe group consists of several really talented studio musicians and writers, who fit more into the “Americana” mold than anywhere else. And interestingly, most of them are Christians. Not the type that sit in pews every Sunday and listen to the good word, then treat people like crap the rest of the week, but Christians who are comfortable enough with their faith to be respectful and tolerant of others with different beliefs. They live it instead of simply talk it. Phil Madeira pulled a group of like-minded artists together and has constructed a wonderful collection of tunes that take a much different perspective on faith and spirituality than your usual “Gospel” record. From Buddy Miller’s plaintive “I Believe In You” to the very traditional “Lights In The Sun” by the Carolina Chocolate Drops, each song provides a unique and ultimately entertaining discourse on some aspect of faith. Atlanta’s own Shawn Mullins scores with “Give God The Blues,” and Madeira’s title track is a captivating slow groove. Even this card-carrying atheist felt a little spark of something, mostly respect.

Todd Snider
AGNOSTIC HYMNS & STONER FABLES
Aimless Records

A joker with a dark side, Todd Snider has been making provocative and polarizing music for over two decades, and on AGNOSTIC HYMNS, he takes a bit of a step out of his unusually wide comfort zones. Snider’s been on both major and indie labels, while never compromising the type of music he makes for anyone.  Over the years he has always had a fine backup band on deck, and the records always sounded really clean and neat in spite of his sometimes bizarre lyrics and stories. Well, this time around Snider sounds like he is backed up by a hillbilly punk band, with crashy drums, raw electric guitars and slightly dissonant harmony vocals. It’s all very primitive and deceptively simple sounding, but lyrically this is some of his roughest work. Life has been tough for everyone for the past few years, and obviously for Snider as well.  His provocative observations on life, love and the state of affairs in the world can be a bit depressing, if they weren’t so entertaining. Throw in a few bouncy acoustic tracks, crank it up, and appreciate Todd.

[Editor’s Note: Todd Snider performs at Variety Playhouse on Wed. June 13. ]

Chelle Rose
GHOST OF BROWDER HOLLER
Lil’ Damsel Records

After making a few ripples in the underground Nashville scene a decade ago, the bluesy-voiced Chelle Rose disappeared into motherhood for a few years, only to be recently rediscovered by the legendary Ray WylieHubbard, who produced this fine album. The original tunes on GHOST OF BROWDER HOLLER perfectly channel Rose’s Smoky Mountain heritage, and anybody who covers Julie Miller’s “I Need You” is OK in my book. Rose is bit grittier than Miller’s girlish sound, and gives the song a rock hard edge that works on all levels. Hubbard’s production (and the accompaniment of some of Texas’ finest) provide Rose with the perfect canvas, and even with 10 years of cobwebs and dust to knock off, she still has it.

Darrell Scott
LONG RIDE HOME
Full Light Records

A near-perfect songwriter, Darrell Scott has penned monster hits for people like the Dixie Chicks, Garth Brooks, Travis Tritt, and both Faith Hill and Tim McGraw. Lucky for us, he keeps the really good ones for himself. With the freedom to do whatever he wants, Scott decided to do a straight-up country record, and on this 16-track jewel, he nails it to the wall. Joined by a band of Nashville studio legends – Hargus “Pig” Robbins on piano,  drummer Kenny Malone, along with steel player Lloyd Green and harmonica master Charlie McCoy, Scott delivers an amazing collection of rich classic country tunes, not a clunker in the bunch. His duet with Guy Clark on “Out In The Parking Lot” actually improves on Guy’s original recording, and “You’re Everything I Want Love To Be” is a love song as country as it gets. Scott has a clear and comforting voice, a way with words, and has once again made a truly great album.

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Happy Birthday, Elvis! Big Mike Geier’s Top Five Picks for Songs Elvis Would Have Covered Had He Lived

Posted on: Jan 5th, 2012 By:
Elvis Presley was born on Jan. 8, 1935, and while it’s a big unnerving to think about the King of Rock n Roll as a 76-year-old, wouldn’t it have been just grand if he was still enjoying a recording and concert career into the ’70s, ’80s and today? A big part of the fun at the Elvis Royale, the spectacular annual Vegas-style birthday celebration thrown by KingSized and the Dames Aflame, isn’t Big Mike Geier crooning the same old hits but having some fun by speculating “W.W .E.D.?” with audience members submitting requests for song s that they think Elvis would have covered. The band selects their favorite of these requests and plays them as the show’s encore. In honor of this year’s show Sat. Jan. 7 at the Variety Playhouse (doors 7:30 p.m., show at 8:30 p.m.), ATLRetro asked Big Mike to recall some of the best “W.W.E.D.?” selections from previous Elvis Royale shows:

 

1. “Thunder Road” and “Born To Run” (Bruce Springsteen)
No doubt Elvis would have been a Bruce Springsteen fan with his triumphant lyrics for the blue collar rebel.

 

2. “Hallelujah” (Leonard Cohen)
We’re pretty sure Elvis would have been drawn to the dramatic lyrics and gospel appeal.

 

3. “Under Pressure” (Queen and David Bowie)
Elvis constantly struggled with the pressures of celebrity and also seemed to have compassion for the have-nots.

 

4. “My Heart Will Go On” (Celine Dion)
Elvis loved the melodramatic Broadway tunes, and this theme from TITANIC is just such a tear-jerker.

 

5. “Do You Realize?” (Flaming Lips)
It would have been great to hear Elvis interpret this tune in a recording produced by Rick Rubin a la Johnny Cash’s AMERICAN RECORDINGS.

 

Which songs will Big Mike and the Kingsized crew perform for the “W.W.E.D.?” encore this Saturday?  You’ll just have to come to the show to find out.  Better get your ticket in advance, though.  With this being Big Mike’s last Kingsized performance before he leaves for his residency in Seattle (he is performing in Teatro ZinZanni’s CALIENTE show from February through June), it looks like the show is going to sell out in advance. Get your advance tickets here.
All photos courtesy of KingSized and the Dames Aflame. Photo credit: Emily Butler. 

Category: Tis the Season To Be... | Tags: , , , , , , , , , , , , , , , , , , , , , , , ,

ATLRetro’s Ultimate Stuck in the 20th Century New Year’s Eve Guide – Our Top Seven Picks for Partying Like It’s 1999

Posted on: Dec 28th, 2011 By:

OK, the New Year is about passing the torch and moving in the future, but at ATLRetro, we think you ought to be able to do that with vintage style. Here are our top seven picks for counting down 2011 and toasting 2012 while partying like it’s 1999 or earlier.

1. Disco ain’t dead. No decade knew how to get down like the 1970s and no DJ knows how to play that funky music than the Funk Godfather himself, Romeo Cologne. Plus since the venue is the sensationally seedy Clermont Lounge, for extra points, wear a bit of blue velvet with your silver lame and have a David Lynchian flashback to the ‘80s. All night long; $6 cover 10-11 pm; $10 cover after 11 p.m.

 

 

2. Get back to the roots. The Variety Playhouse serves up a double portion of roots, rhythm & funky blues, rock and country with JJ Grey & Mofro and Honey Island Swamp Band. The former hail from Jacksonville, Fla., and are proudly influenced by classic soul heroes and other native Southern sounds. Founded by New Orleans musicians stuck in San Francisco after Hurricane Katrina, the latter play a Bayou Americana sound that is both their own and yet forged in the spirit of a heady blend of Little Feat, Taj Mahal, Earl King, Jerry Garcia, Clarence “Gatemouth” Brown and Jimmy Reed. Doors at 8 p.m., Show at 9 p.m.; $35-40.

3. Ring the Holiday Inn. Relive the glamour of a 1930s/1940s New Year’s Eve with Atlanta’s biggest band, the Atlanta Symphony Orchestra. Michael Krajewski conducts an eclectic line-up of music ranging from Offenbach’s “Orpheus in the Underworld” (Can-Can) to Gershwin, Berlin and Rodgers and Hammerstein.London and Broadway stage stars Joan Hess and Kirby Ward dance to the swing classics in a tribute to Fred Astaire and Ginger Rodgers. 8 p.m.; $30-$68.

 

4. Do the Monster Mash. Greet the New Year in ghoulish and goofy style with Professor Morte and the Silver Scream Spookshow gang at the Plaza Theatre. In addition to the antics of their always entertaining stage show, on the big screen is a rare special treat—MAD MONSTER PARTY (1967). This stop-motion puppet story was the only feature made by Rankin-Bass, the same folks that created RUDOLPH THE RED-NOSED REINDEER and so many beloved holiday specials, but features a cast of classic creatures such as Dracula, the Werewolf, the Creature from the Black Lagoon and more. Boris Karloff voices Baron von Frankenstein and Phyllis Diller is his creation’s Bride. Proceeds benefit Atlanta’s longest continuously running vintage art deco (and now nonprofit) cinema, which is currently up for sale. Let’s not let the Plaza become another lost landmark of Atlanta’s past. Evening show starts at 10 pm (tickets are $12), plus if you’ve got glamorous evening plans or don’t want the kids to stay up too late, there’s also an afternoon matinee at 1 pm (kids free; adults just $7).

 

5. Who Knows Where the Time Goes? It’s been three decades since Guadalcanal Diary formed in Marietta, but one of metro Atlanta’s top seminal alt-rock bands regrouped last summer at Athfest and Smith’s Olde Bar and tonight they are “Bringing It on Home to The Strand,” the art deco former movie palace in Marietta’s Square, along with special guests Flamingo Royale and the Dex Romweber Duo. If you missed our feature interview with lead singer/guitarist Murray Attaway last summer, catch up on your reading here. The all ages show has doors at 7 p.m.; tickets are $30 for concert only, $20 for after-midnight party only, and $45 for both show and party, with proceeds supporting fine and performing arts in City of Marietta Schools.

6. Lady Sings the Blues. Classic blues and jazz chanteuse Francine Reed brings her powerhouse vocals to Blind Willie’s with The Shadows and special guest Houserocker Johnson. $50 gets you party favors and champagne. Doors at 7 p.m.

 

 

7. Carry on, Way Downtown. Seventies superstar rockers Kansas headline Peach Drop 2012, the Southeast’s biggest NYE celebration at Underground Atlanta. Festivities test your stamina by starting at 11 am Dec. 31 with loads of family-friendly activities from carnival rides to photos with exotic birds, and running until 3 am on Jan. 1.There’s also a slew of other bands on two stages.  It’s free if you’re willing to brave the crowds and the likely chill of being outdoors.

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‘Tis the Season To Be Merry: Hark the Honkytonk Devils Sing! Whiskey Gentry Throws a Merry Y’All Tide Celebration at Variety Playhouse.

Posted on: Nov 28th, 2011 By:

When a band named The Whiskey Gentry throws a Merry Y’All Tide Celebration for the holidays, you might be expecting the same old twangy country renditions of favorite carols. But this spirited band loves to defy expectations, and their seasonal shindig at the Variety Playhouse this Friday Dec. 2  is no exception to that raucous rule. It’s not that The Whiskey Gentry aren’t influenced by the kind of ballads that came down from the hills of Appalachia, but like a certain rebellious red-nosed reindeer, they’re bound and determined to be musical misfits with a diverse list of influences that spans from Patsy Cline to Bela Fleck to Social Distortion. Yeah, that Social Distortion. The accent is on the Whiskey in this Gentry who speed things up with some fiery, high-energy licks that suggest punk and old-time rock ‘n’ roll and even a touch of vaudeville in their stage shows.

The Whiskey Gentry’s 3rd annual Merry Y’All Tide also features The Packway Handle BandShovels and Rope and My Three Keanes, an act made up of veteran producer John Keane, who has produced CDs for R.E.M., the Indigo Girls and The Whiskey Gentry’s 2011 CD, PLEASE MAKE WELCOME, and his two daughters. All proceeds from the $15 in-advance/$17.50–at-the-door benefit the Atlanta Community Food Bank, and fans are encouraged to bring at least three cans for donation. As an extra incentive, the band will be giving our a specially designed poster to everyone who participates.

While The Whiskey Gentry prefer not to nail down their sound into any one genre, ATLRetro managed to corral lead singer Lauren Staley and guitarist Jason Morrow—a couple both musically and in real life—into a sneak preview of Merry Y’All Tide. While sitting an spell, they also opened up more than a bit about the band’s origins, why they love the holidays and their favorite whiskey. And when you’re done reading, check out this this nifty little video they made about this Friday’s show.

ATLRetro: How did Whiskey Gentry get started?
Lauren: Jason and I met around Christmas 2007, and we were both in separate bands at the time. Once we started dating, we decided to join forces and begin writing tunes together. We both came from different musical backgrounds, but we immediately found a niche together with this style of music.

For those who haven’t heard the band before, how do you describe your sound, how did it come about and how does it relate to what’s come before musically?
Jason: Describing our sound is probably the hardest thing we have to do in this band. We’re not country. We’re not bluegrass. We’re not punk or rock or old-timey. Yet we ARE all of these things at the same time. I think we take the formula of an old country tune, turn it up to 11, give it some punch, add pretty vocals, and top it off with a few of the best pickers in the southeast. This came about from all of our shared love for country and bluegrass, but we wanted to really dig in and add the fire behind it.

The Whiskey Gentry. Photo courtesy of The Whiskey Gentry.

Many contemporary bands couldn’t rush further away from the sentimentality of Christmas, but you’ve become known for an annual live holiday show, which is even bigger this year. What’s the origin story behind the Merry Y’All Tide Celebration?
Jason: We love everything about the holiday season – anything from cinnamon broomsticks to watching our nephews and nieces open gifts. It’s a festive time of year, and we’re a festive type of band. We love this season whether it’s “cool” or not.
Lauren: I think people love to get in the holiday spirit in general. People go bananas over it. Did you see the Black Friday riots? I mean, come on.

At Merry Y’All Tide, will you be playing your own takes on traditional carols or original songs? Is it all Christmas music or will you be playing non-holiday fare, too?
Lauren: Back in the day, any artist who was somebody cut a Christmas record. Those tunes are classics, and we like to do our own takes on those as well as newer Christmas tunes. The majority of our set will be non-holiday fare, but we’ve got some awesome holiday songs picked out to cover. But we can’t tell you which ones they are – it’s a surprise. :)

What other shenangans are planned? Is Santa gonna be there, tapping his feet, clapping his hands and swigging a PBR?
Jason: We hired the crappyist Santa we could fine, and he’s going to be there chugging whiskey and PBR and trying to get pretty girls to sit on his lap.

Much merriment was had at last year's Merry Y'All. Photo Courtesy of The Whiskey Gentry.

Why We Three Keanes, Packway Handle Band and Shovels and Rope?
Jason: Shovels and Rope because they are our new favorite band, also a husband and wife duo. Packway Handle Band because Josh and the boys are some of our good friends and were part of our Christmas show last year. We Three Keanes because John Keane helped us make the best record of our career thus far, and he and his twin daughters will be doing a 20-minute, all-holiday song set promoting their Christmas record. He will also be sitting in on pedal steel with us.

Why did you want to partner with the Atlanta Community Food Bank and the Georgia Conservancy?
Lauren: We think the holidays are about giving, and we wanted to do our part to help out.

Why does your CD, PLEASE MAKE WELCOME, make the perfect Christmas present, and will there ever be a MERRY Y’ALL TIDE CD?
Lauren: Because it fits easily into a stocking and is also super easy to wrap—if you suck at wrapping like I do. And who knows—maybe we will have a Merry Y’all Tide CD for next year’s show!

What’s next for the Whiskey Gentry? You’re about to embark on a Southeast tour, right?
Jason: We are basically on tour every weekend, Thursday to Sunday. We already have 36 dates booked in 2012, so yes, we will be busy.

Finally, got to ask, what’s the band’s favorite whiskey, why and how do you drink it­- straight up or with ice?
Lauren: Ironically, I hate whiskey, so I’m a terrible person to answer this question.
Jason: If I had to speak for everyone, probably Jameson. In shots!

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Kool Kat of the Week: Va-Va-Voom for Vinyl! Amber Lu Plans a PinUp Pageant to Help Save Criminal Records

Posted on: Nov 1st, 2011 By:
By Shellie Schmals
Contributing Blogger
During World War II and the 1940s, a PinUp was more than a picture on the wall. She was a glamour girl captured in an intimate moment. A cheeky expression of surprise reminding our soldiers there was something worth fighting for back home. As war waged on, countless women graced the bunkers in battle – ­Betty Grable, Veronica Lake, Lauren Becall and Ingrid Bergman, to name a few. We see the image of the PinUp Girl every day in popular culture, from burlesque stars like Dita Von Teese to pop tart Katy Perry on tour as a Teenage Dream.

Today, we are also fighting a war of our own ­ the recession. The current unemployment rate in Georgia is 10.3%, which is higher than the national rate of 9.1%. Everyday the reality of foreclosure hits with homeowners displaced and businesses closing.  When Criminal Records announced plans to shut their doors, the outcry from fans could be heard from all over Atlanta. Since September, The King of Pops, Variety Playhouse, WonderRoot and Pamela Caltabiano have coordinated projects to SAVE CRIMINAL RECORDS ATLANTA.

The list of advocates continues, as Amber Lu, a PinUp model and longtime friend of Criminal Records, becomes the producer of the Criminal Cuties PinUp Pageant on Saturday November 5 at 7:30 p.m. (doors at 6 p.m.). As a benefit for Criminal Records, Amber Lu’s own war on the recession touches on several retro loves we share with her – PinUps and the neighborhood music and comics store – so we had to make her Kool Kat of the Week.

Amber Lu channels her inner Julie Newmar. Hair and make-up by Cherry Dame. Photo credit: Robin Cook.

ATLRETRO: Why a benefit for Criminal Records?

Amber Lu: When I found out Criminal Records was on the brink of closing its doors, I decided I wanted to throw a benefit of some sort to help them stay open.  I have a lot of close friends that work at Criminal, and it has become a home away from home for me. I am a PinUp model myself, so I thought it’d be fun to integrate the idea of Classic PinUps with what is becoming the retro aspect of the modern record store.  Plus, a pinup pageant is a great way to draw people in to the store for the rest of the fundraising events going on that night, i.e., our silent auction, bake sale, photobooth and DJ!!

What qualities are you looking for in Miss Criminal Records 2011?

A real PinUp should have the qualities I like to refer to as “The 3 P’s of PinUp”:

1) Personality! - She should be fun! Playful! Open to talking to people!
2) Presentation! – She should look the part with her hair, makeup, costuming, etc! We are calling for a little ‘twist’ in the costuming dept here for Criminal, being that it’s a comic book and record store, contestants are encouraged to dress as their favorite comic/ sci-fi characters or [in a] music-inspired costume!
3) Poise! – How they carry themselves and relate to others! This, by far, is the most important quality a PinUp should have!! Call me old fashioned, but a PinUp is a lady, and should act like one. The beauty of PinUp for me personally, is the fact that a girl can be cute and sexy and provocative at the same time… But she’s still a Lady! Less is more ’cause it’s all about the tease……

Amber Lu Amazes as Mary Jane, Spider-Man's girlfriend. Hair and make-up by Cherry Dane. Photo credit: Grant Beecher.

These qualities, along with a love for music and everything awesome, are what will help Miss Criminal Records 2011 earn her crown!!

What fabulous prizes will Miss Criminal Records 2011 and Runner Ups win?
PinUp Photographer Grant Beecherand stylist Cherry Dame are providing a free photoshoot for the winner of the pageant! Mother Pucker Lemonade will shoot the winner for a possible ad for their Vodka Lemonade. Lovely Beauty Shop  is providing gift certificates to their website for the winner and two runners up. Artist Scott Blair is providing a FREE personalized sketch for the 2nd Runner Up.

How is Criminal Records an asset to the Little Five Points community?

Criminal Records is the reason I venture into Little Five Points most days… There is ALWAYS something going on there! Bands playing live in-store shows to promote their records… vegan bake sales… Record Store DayFree Comic Book Day… book signings… Asshole Santa every Christmas?! Too many good things to count! I’ll never forget the day I [first] walked up to Criminal Records, when they were in their old location, and I saw the Indigo Girls playing on the curb there! Where else could you see that?!  I was new to Atlanta at the time, and had no idea that shows like that were a regular occurrence at Criminal. I also had the opportunity to meet Michael Cera and, my personal favorite, Jason Schwartzman, due to the fan-girl antics of the amazing Lillian Hughes, who set up a Fan Meet-n-Greet for the movie: SCOTT PILGRIM VS. THE WORLD! Criminal is always on the look out for fun exciting events for comic book and music fans alike. It is a very neighborhood-oriented store and focuses on supporting local artists,  as well as the communities’ well being. Only a few small reasons we need to preserve indie record stores, [and] Criminal Records in particular!!

Some say that vinyl and even CDs are considered Retro now. How are they still relevant  in a world of MP3s and digital downloads?

Vinyl has made a huge comeback in the past few years. Many people prefer its sound to the digitally remastered CDs out there. In fact, most bands nowadays put their music out on vinyl before they’d think about putting a CD out to sell. It is sad to me that CDs have somehow become a thing of the past – “retro” if you will; iTunes obviously changed the music industry immensely, and in my opinion, for the worse. Although I do enjoy being able to have my music available on my phone and at the touch of a button, I can’t help but be sad for newer generations of music fans who may never experience the excitement of going to a record store, discovering a new band, taking their CD home, enjoying reading through the album cover, and appreciating the artwork while they experience the music out loud!

Thank goodness for the Vinyl Revival, but if we don’t do something to protect indie record stores like Criminal Records and Wax n Facts, even vinyl enthusiasts will have nowhere to go.

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Weekend Update, Aug. 12-14, 2011

Posted on: Aug 12th, 2011 By:

Friday, August 12

Hear some great garage rock and rockabilly, pose with a pin-up girl, see burlesque acts, win raffle prizes and support a great animal charity at Little Darling’s Pinups for Pitbulls Presents: Dog Days of Summer! starting at 8 p.m. at The Basement beneath Graveyard Tavern. Check out our first-ever Kool Kitten interview with April 2001 Pinups for Pitbulls Calendar model Brook Bolen here. Performers include ’60s girl group revivalists The F’n Heartbreaks (of which Brook is a bandmember) and The Hot Rod Walt Trio (read our Kool Kat interview with Hot Rod Walt here); local burlesque stars Talloolah Love, Barbalicious and Sadie Hawkins of Blast-Off Burlesque, and Pinups for Pitbulls charity-founder Little Darling herself!

It’s another honky tonk rockabilly Friday at Star Bar with Caroline & the RamblersVillain Family and The Serenaders. It’s also always good news to hear about a too-rare Subsonics show, so we’re happy to report Buffi Aguero & Co. will be garage-rockin’ it out at The Earl tonight with Carnivores and Howlies. Bela Fleck & the Flecktones and Bruce Hornsby & the Noisemakers are at Classic Chastain. Swing to jazz, earthy blues and a little rock n roll by vocalist Gwen Hughes and her band The Retro Jazz Kats at Callanwolde Jazz on the Lawn tonight. Catch an IMAX movie and dance to blues, jazz and a slight bit of funk courtesy of Derryl Rivers & the Flying Circus at Fernbank Museum of Natural History’s Martinis and IMAX.  Recent Kool Kat Julea Thomerson and the BareKnuckle Betties plays The Five Spot with Midnight Revival and Silent Coyote. And CineProv pokes good-natured fun at THE ROCKETEER at Relapse Theatre.

Saturday August 13

Yet another clone-worthy day and night in Retro Atlanta. It’s almost impossible to pick just one of the vintage wonderland of activities tonight. First, the good news is a couple of things are in the afternoon. Kids and their parents are in for tricks and treats as the Silver Scream Spookshow‘s Professor Morte teaches a Monster Make-Up Class at Main Street School of Art at 1 p.m. Learn how to turn your kid and you into a werewolf or zombie using classic monster movie make-up techniques from realistic bruises and oozing wounds to deathly ghoulish faces and how to apply latex and hair.

Meanwhile over at The Plaza Theatre, see Sergio Leone/Clint Eastwood classic Western THE GOOD, THE BAD AND THE UGLY at 3 p.m. and 7:30 p.m. as it was meant to be seen in glorious widescreen 35 mm. The movie is the last and best part of Leone’s “Man With No Name” trilogy, which the Plaza has been screening throughout the summer. Hurray for AM1690 for sponsoring! Be sure to hang around, come early or just stop by The Plaza at 6:35 p.m., too, for COMING SOON TO A THEATRE NEAR YOU!, 35 min. of rare 35 mm trailers from Plaza Manager Ben Ruder‘s private collection. Admission for the latter is free, but donations to support the nonprofit theatre are encouraged.

The Derby Strikes Back as the Atlanta Rollergirls‘ four teams face-off in their annual play-offs. The Apocalypstix battle the Toxic Shocks at 5 p.m. while theDenim Demons get one more shot against the undefeated Sake Tukas at 7:30 p.m. Both bouts, as always, are at the Yaarab Shrine Center on Ponce, and advance tickets are recommended for these sure-to-sell-out matches. Arrive early to browse the cool vendors.

The King may have passed away from this earth on Aug. 16, 1977, but oh, does his spirit live on in ELVIS ROYALE, an annual Vegas-style multimedia extravaganza staged by KingSized and the Dames Aflame at Variety Playhouse. Hear the one-and-only Big Mike Geier sing songs from every point in Elvis’s career and experience the glittery Cavalcade of Elvis during the fabulous finale. Read our Kool Kat exclusive interview with Big Mike here.

BURLESQUE WITH A HITCH, the latest in Mon Cherie‘s Va-Va-Voom series at Masquerade, celebrates the genius of film director Alfred Hitchcock with each act based on a different film by the master. Alabaster JuJu stars, with master of suspense and mystery Miss Mason hosting, and the all-star line-up of performers includes Sadie HawkinsRebecca DeShon (Hoop Essence)Stormy Knight, Fonda Lingue, Evil Sarah, The Chameleon Queen, magician Chad SanbornKatarina Laveaux (Birmingham, AL), Nicolette Tesla (Charlotte, NC), and Peachz de Vine (Greensboro, NC). Before and after, DJ 313 spins alternative dance, Allison Kellar offers body-painting, and there’s also a RAWKIN’ RAFFLE with lots of vintage-inspired vendors donating prizes. Cover is a bargain 5 bucks, and doors open at 9 p.m. In suspense about what’s happening? Click here for a sneak preview of this Spellbound affair from Chad Sanborn.

It’s Man Day at Twain’s starting with first-come-first-serve manly tattoos at noon, but the main event gets rolling at 5 p.m. with a night of live music, manly competitions (examples include Handyman Challenge and Best Beer Gut), aerial dance performances by Blast-Off Burlesque‘s Sadie Hawkins, boob cupcakes by Sugar Dolls, the Wheel of Destiny and much more.

And that’s not to mention Big Bad Voodoo Daddy swinging with theAtlanta Symphony Orchestra at Verizon Wireless AmphitheatrePsycho

Big Bad Voodoo Daddy.

DeVilles rockabilly it up at the world-famous Dixie Tavern in Marietta. Little Joey’s Big Band is at Fat Matt’s Rib Shack. Blues pianist extraordinaire Ike Stubblefield plays Northside Tavern. And of course, DJ Romeo Cologne transforms the sensationally seedy Clermont Lounge into a ’70s disco/funk inferno late into the wee hours.

Sunday August 14

Chickens and Pigs plays blues “dunch” between 1 and 4 PM at The EarlThe Whiskey Gentry bring their misfit country-to-punk twang to the Park Tavern Unplugged in the Park series at Piedmont Park. Tony Bryant reps four generations of Georgia blues at Fat Matt’s. And the Michael Hutchence-less INXS brings back the ’80s at Chastain Park Amphitheatre. Continue reading “Weekend Update, Aug. 12-14, 2011” »

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