ATLRetro

Monday July 18

From 3 PM on, savor tropical sounds and libations, as well as a Polynesian dinner during Mai Tai Monday at Smith’s Olde Bar. Kingsized and Tongo Hiti lead singer Big Mike Geier is Monday night’s celebrity bartender at Sister Louisa’s Church of the Living Room and Ping Pong Parlor. Northside Tavern hosts its weekly Blues Jam.

Tuesday July 19

Paul Collins.

Power pop icon and cult favorite Paul Collins (The Nerve) plays The Earl with his follow-up and equally seminal band Paul Collins’ Beat, and New Orleans garage band King Louie’s Missing Monuments and The Barreracudas opening. Grab your horn and head to Twain’s in Decatur for a Joe Gransden jazz jam session starting at 9 PM. Johnny Roquemore and the Apostles of Bluegrass strum at Eddie’s Attic. JT Speed plays the blues at Fat Matt’s Rib Shack. Notorious DJ Romeo Cologne spins the best ‘70s funk and disco at 10 High in Virginia-Highland. Catch Tuesday Retro in the Metro nights at Midtown’s Deadwood Saloon, featuring live video mixes of ’80s, ’90s, and 2Ks hits.

Wednesday  July 20

Nat King Coal Miners bring their slightly more redneck version of the famous cocktail guitar/piano/bass trio to Blind Willie’s. If you missed ATLRetro’s recent interview with Spike Fullerton, give it a read here. Get ready to rumba, cha-cha and jitterbug at the weekly Swing Night at Graveyard Tavern. Deacon Brandon Reeves bring the blues to Fat Matt’s Rib Shack and Danny “Mudcat” Dudeck blues it down at Northside Tavern respectively. Dance to ‘70s, ‘80s and ‘90s hits during Retro in the Metro Wednesdays presented by Godiva Vodka, at Pub 71 in Brookhaven.

Thursday  July 21

Catch a rare chance to see a newly remastered 35 mm print of critically acclaimed 1975 movie SHAMPOO, directed by Hal Ashby and starring Warren Beatty, Julie Christie and Lee Grant at Cinefest tonight at 7:30 p.m. Read Dean Treadway’s Retro review here.  Rod Hamdallah alas has had to cancel his show tonight, so there’ll be no live music this Thursday at Kathmandu Restaurant & Grill. Go Retro-Polynesian to Tongo Hiti’s luxurious live lounge sounds, as well as some trippy takes on iconic pop songs, just about every Thursday night at Trader Vic’s. Seventies disco rocker Peter Frampton celebrates the 35th anniversary of his FRAMPTON COMES ALIVE LP at Classic Chastain. Party ‘70s style with DJ Romeo Cologne at Aurum Lounge. Breeze Kings and Chickenshack bring on the blues respectively at Northside Tavern and Fat Matt’s Rib Shack.Bluegrass Thursday at Red Light Cafe features The Red Light All-Stars Band.

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By Dean Treadway
Contributing Blogger

SHAMPOO (1975); Dir: Hal Ashby; Screenplay by Robert Towne and Warren Beatty; Starring Warren Beatty, Julie Christie, Lee Grant, Jack Warden, Goldie Hawn, Carrie Fisher; Thurs. July 21; Newly restored 35 mm print; 7:30 p.m.; Cinefest at Georgia State University. Trailer here.

Released in 1975, Hal Ashby’s SHAMPOO very well may rank as the great director’s most cynical film. Ashby had previously given us THE LANDLORD, HAROLD AND MAUDE and THE LAST DETAIL, and would go on to deliver BOUND FOR GLORY, COMING HOME and BEING THERE before beginning a cocaine-fueled downward 1980s slump that would end in his untimely death in 1988 at age 59. It’s been years since I’ve revisited SHAMPOO because it strikes me as a truthful, mildly funny but ugly movie. It’s hard to watch, but extremely worthwhile. I know I’ll be at Cinefest on Thursday, July 21 at 7:30 pm to check out what is probably the first 35mm screening of Ashby’s film since the old days of the Rhodes and the Silver Screen, two long-gone Atlanta repertory theaters that closed their doors in the mid-1980s. We’re lucky to have a venue like Cinefest, which seems to be cultivating a desire to expand Atlanta’s repertory movie options these days.

Star Warren Beatty also acted as producer and co-writer, along with CHINATOWN and LAST DETAIL scribe Robert Towne. As such, he labored for almost a decade to get the film made. When it finally reached screens, it arrived like a bombshell designed to blow apart the sexually revolutionary Me Decade and everything connected to it. Set in 1968, on the eve of Richard Nixon’s election to the White House (which held particular resonance to 1975 viewers, who were still reeling from the Watergate debacle that drummed Nixon out of office), SHAMPOO tells the story of a philandering self-obsessed hairdresser named George Roundy (Beatty). The beautifier and sexual partner of choice for many of his clients, George is sick of life as a mere employee at a Beverly Hills salon. And so he finally steps up to realize his ambition of opening his own hairdressing business. But he’s broke and the banks won’t lend to such a flighty guy. So he sets his sights on a private investor, an equally self-absorbed, aging millionaire named Lester Karpf (played by Jack Warden, who tellingly has the worst hairstyle in the whole film).

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Friday, July 15

Veteran rock/Texas country singer-songwriter Steve Earle & the Dukes play the Atlanta Botanical Garden, while R&B performer and former Gap member Charlie Wilson is at Classic Chastain. Randy Travis celebrates 25 years of “genuine country” at Cobb Energy Centre. Catch an IMAX movie and learn to salsa dance with Salsambo Dance Studio at Fernbank Museum of Natural History’s Martinis and IMAX. Vocalist Julie Dexter performs at Friday Jazz at The High Museum of Art from 5-10 p.m. Visit the galleries through the evening and enjoy food and cocktails. And the Plaza Theatre dishes out a Full Moon Midnight Encore of 1981 John Landis classic horror flick AN AMERICAN WEREWOLF IN LONDON. Read our Retro Review by veteran FANGORIA writer Philip Nutman here.

Saturday July 16

It’ll be honkytonk heaven at Star Bar with Shovels & Rope, BareKnuckle Betties and bassist Joel Hamilton. I hear there’ll be some table dancin’ going in, but for the full foot-stompin’ scoop, read our exclusive sneak preview with Kool Kat of the Week Julea Thomerson of the Betties here.

Also playing today at the Yaarab Shrine Center are the Atlanta Rollergirls. At 5 p.m., the Dirty South Derby Girlstake on Brewcity Bruisers, and at 7:30 p.m. it’s the Denim Demons vs. Apocalypstix. Help Daniel Timms, who was in a motorcycle accident, and Sussi “Chevy” Shavers, who was in a moped accident, recover from some serious medical bills at the Bone Breakers Ball at Elliott Street Pub and Deli. Performers include boylesque/burlesque beauties Fonda Lingue and Ruby Redmayne, and there’s a silent auction of cool art, tattoos, pin-up photography and more. Andrew and the Disapyramids stir up the surf at 529 Club with FishHawk and Winter Ransom. In case you missed our Extra Kool Kat of the Week feature with guitarist Joshua Longino, you can still catch it here. Two Atlanta classics, Michelle Malone and Col. Bruce Hampton are at Eddie’s Attic and The Five Spot. Fedora Blues performs at Fat Matt’s Rib Shack. Holliday Brothers blues it up at Hottie Hawg’s. And, of course, DJ Romeo Cologne transforms the sensationally seedy Clermont Lounge into a ’70s disco/funk inferno late into the wee hours.

The Serenaders.

Sunday July 17

The Serenaders serve up a retrobilly “dunch” gig between 1 and 4 PM at The Earl. At Eddie’s Attic, groove to Grammy Award-winning drummer Yonrico Scott‘s Band and legendary New Orleans mojo soul performer Coco Robicheaux.

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Monday July 11

From 3 PM on, savor tropical sounds and libations, as well as a Polynesian dinner during Mai Tai Monday at Smith’s Olde Bar. Kingsized and Tongo Hiti lead singer Big Mike Geier is Monday night’s celebrity bartender at Sister Louisa’s Church of the Living Room and Ping Pong Parlor. Northside Tavern hosts its weekly Blues Jam.

Tuesday July 12

It’s a full moon movie Tuesday as two 35 mm classics featuring creatures on the prowl return to the big screens of Atlanta two most Retro cinemas. Elizabeth Taylor slinks like A CAT ON A HOT TIN ROOF at the Fabulous Fox Theatre. Read Dean Treadway‘s review of the 1958 film based on the Tennessee Williams play of the same title, also starring Paul Newman and Burl Ives here, and be sure to be there by 7 p.m. for the Mighty Mo‘ organ singalong, cartoon and vintage newsreel. Then at 9:30 p.m. at The Plaza, Splatter Cinema presents AN AMERICAN WEREWOLF IN LONDON, the 1981 John Landis-directed cult favorite that introduced audiences to the full-body monster transformation with special make-up effects. Read Philip Nutman‘s review here.

Sultry and sexy ’80s torch-singer Sade performs with John Legend at Philips Arena. Grab your horn and head to Twain’s in Decatur for a Joe Gransden jazz jam session starting at 9 PM. JT Speed plays the blues at Fat Matt’s Rib Shack. Notorious DJ Romeo Cologne spins the best ‘70s funk and disco at 10 High in Virginia-Highland. Catch Tuesday Retro in the Metro nights at Midtown’s Deadwood Saloon, featuring live video mixes of ’80s, ’90s, and 2Ks hits.

Wednesday  July 13

Sade plays a second night with John Legend at Philips Arena. Vocalist Boz Scaggs sings American classics from Gershwin to Rodgers and Hart at Classic Chastain with former Doobie Brother Michael McDonald. Get ready to rumba, cha-cha and jitterbug at the weekly Swing Night at Graveyard Tavern. Deacon Brandon Reeves bring the blues to Fat Matt’s Rib Shack and Danny “Mudcat” Dudeck blues it down at Northside Tavernrespectively. Dance to ‘70s, ‘80s and ‘90s hits during Retro in the Metro Wednesdays presented by Godiva Vodka, at Pub 71 in Brookhaven.

Thursday  July 14

The Craigger White Band bring back the spirit of ’70s rock at Kathmandu Restaurant & Grill in Clarkston. All Thursday shows at the Vietnamese restaurant are free and all-ages. Go Retro-Polynesian to Tongo Hiti’s luxurious live lounge sounds, as well as some trippy takes on iconic pop songs, just about every Thursday night at Trader Vic’s. Party ‘70s style with DJ Romeo Cologneat Aurum Lounge. Breeze Kings and Chickenshack bring on the blues respectively at Northside Tavern and Fat Matt’s Rib Shack.Bluegrass Thursday at Red Light Cafe features Hunger Valley Boys.

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By Philip Nutman
Contributing Blogger

Splatter Cinema Presents AN AMERICAN WEREWOLF IN LONDON (1981); Dir: John Landis; Starring: David Naughton, Jenny Agutter, Griffin Dunne; Special Makeup Effects: Rick Baker; Tues. July 12; 9:30 PM; Plaza Theatre; Trailer here.

Yugoslavia, 1969. Teenage PA/gopher, John Landis, was working on the Clint Eastwood World War II comedy caper, KELLY’S HEROES. While traveling to one of the movie’s many locations, the film crew came to a standstill at a crossroads as a large group of locals performed an ancient burial rite. The corpse that was the subject of all the attention was being buried due to local custom because the dead was believed to be a lycanthrope – a werewolf.

The image of this ritual and the experience stayed with Landis, the future director of THE KENTUCKY FRIED MOVIE (1977) and the huge box office successes NATIONAL LAMPOON’S ANIMAL HOUSE (1978) and THE BLUES BROTHERS (1980), finally finding its place in cinema history as the basis for the classic 1981 horror flick, AN AMERICAN WEREWOLF IN LONDON.

As the movie’s been so popular since it came out in the summer of 1981, you probably know the story: two clean-cut American college students decide to back-pack around England and make the mistake of going off the beaten path and end up being attacked by a werewolf. One dies; the other (David Naughton) is mauled and becomes a werewolf and the results aren’t pretty. As the body count goes up, the victims come back to haunt the lycanthrope. Tthe scene in a London soft-porn movie theatre is both creepy, amusing and disturbing as the mutilated victims urge the titular werewolf to kill himself and end the accursed chain of predator and victim.

David Naughton begins his transformation in AN AMERICAN WEREWOLF IN LONDON. Copyright 1981 Universal Pictures.

While Landis is a huge fan of the original Universal Pictures’ THE WOLF-MAN (1941), the director also is a natural comedian and decided to see if he could balance horror with comedy – which he largely succeeded in doing.

AN AMERCIAN WEREWOLF is first and foremost a fun movie. It’s also loaded with weirdness and more than a few shock moments. And Oscar-winning make-up effects artist Rick Baker’s pioneering use of prosthetic bladder technology made the werewolf transformations physically painfully to watch (no crap CGI here, folks!). A few months later, Joe Dante’s adaptation of a trashy horror novel, THE HOWLING, came out, and FX artist Rob Bottin (best known for John Carpenter’s version of THE THING) used the same principles. These two very different werewolf movies together heralded a new breed of cinematic wolfman. Gone were the old-fashioned in-camera effects, the lap dissolves as groundbreaking monster make-up trailblazers such as Jack P. Pierce (who created Karloff’s Frankenstein monster) had to work with back in the day. Baker and Bottin’s characters stretched, howled in pain – and physically expanded in front of your eyes for the first time.

Since ATLRetro doesn’t believe in plot spoilers, no more details here for the uninitiated. For the faithful, who probably grew up watching the flick on VHS or DVD, now’s the chance, thanks to the Splatter Cinema gang, to get your werewolf fix on the big screen at The Plaza.

Just be wary of naked men stealing your balloons…

By Dean Treadway
Contributing Blogger

CAT ON A HOT TIN ROOF (1965); based on the Tennessee Williams play; Dir: Richard Brooks; Screenplay by Richard Brooks and James Poe; Starring Elizabeth Taylor, Paul Newman, Burl Ives, Judith Anderson; Tues. July 12; pre-show at 7 PM/film at 7:30 p.m.; Coca-Cola Summer Film Festival at Fox Theatre. Trailer here.

Surely, the recent passing of superstar Elizabeth Taylor is behind the programming of 1958’s CAT ON A HOT TIN ROOF at the Fabulous Fox on Tuesday, July 12.  And it’s a good choice, too. Taylor’s sultry, skimpily-dressed Maggie The Cat is one of her most iconic performances, and is certainly the definitive filmed (or televised) portrayal of scribe Tennessee Williams’ most cunning heroine.

Still, the film version of Williams’ Pulitzer Prize-winning 1955 play could be better. In it, Paul Newman plays Maggie’s husband Brick, a former football star who’s literally been crippled by booze (he spends the whole film hobbled by crutches). Living on his bloated, bellowing father’s “plantation,” he’s constantly getting jabbed from all sides. His needling father and mother (the excellent Burl Ives and Judith Anderson) are wondering why he and Maggie don’t have any children while his brother Gooper (Jack Carson) has had a whole passel of kids with his woman (Madeleine Sherwood). Meanwhile, Maggie has moved into full seduction mode; the play takes place on a hot summer day, but that’s not the only reason she’s often seen in her skivvies. She’s trying all she can do to put the fire back into their romance. But Brick won’t have any of it; the idea of he and Maggie together has become distasteful to him, because he still blames her for driving his best friend to suicide.

The problem with the film comes with this final detail. In the original play, it was pretty clear that Brick and his friend, Skipper, were engaged in a homosexual relationship, and that Maggie slept with Skipper in order to break the duo up. But none of this is alluded to in the film, because it was 1958 and the studio, MGM, would have none of it. So the central conflict in the film is incapacitated, just like Brick (Williams himself was disappointed with the film version, telling the press that the movies “would set the industry back 50 years“). And yet Paul Newman wisely conveys some pained undertones that let us know what was REALLY going on.

Paul Newman and Elizabeth Taylor in CAT ON A HOT TIN ROOF. Copyright MGM Pictures, 1958.

The film bogs down in its middle, too, but it’s always handsome to look at, thanks to the Oscar-nominated color cinematography by William Daniels. And it boasts of one of the finest supporting performances in any Tennessee Williams adaptation: that of Burl Ives, reprising his Broadway triumph as the imposing Big Daddy Tabbitt, bemoaning the family’s danged “mendacity” while suffering, as a terminal case, through what might be his last birthday celebration. Somehow, Ives escaped an Oscar nomination himself, but Taylor and Newman got one, as did the film, its director (Richard Brooks) and its screenplay (by Brooks and James Poe).

In the end, although it’s not entirely successful, the main reason to see CAT ON A HOT TIN ROOF is for Ives and for Taylor. Both are forces of nature, but for wildly different reasons, of course.  Ives blusters magnificently, while Taylor slinks around like the beautiful cat she is. The Fabulous Fox is the place to be on Tuesday, July 12 (the pre-show, with the Mighty Mo singalong, cartoon and trailers, starts at 7 p.m.); one cannot miss a chance to see the stunning Elizabeth Taylor writ large on the big screen, where her beauty and talent were always meant to be experienced.

Dean Treadway is a longtime Atlanta film analyst and film festival programmer with more than 25 years of published works. His popular film blog is called filmicability with Dean Treadway and can be perused here at https://www.filmicability.blogspot.com/.  He is also a correspondent for Movie Geeks United, the Internet’s #1 movie-related podcast, at https://www.blogtalkradio.com/moviegeeksunited.

By Philip Nutman
Contributing Blogger

FOR A FEW DOLLARS MORE (1965); Presented by AM 1690; Dir: Sergio Leone; Starring Clint Eastwood, Gian Maria Volonte, Lee Van Cleef; Sat. July 9; 3 PM and 7:30 PM; Plaza Theatre. Trailer here.

In 1965, following the spur-burning European success of his second film as director, Italian filmmaker Sergio Leone returned to the genre he had unwittingly created with 1964’s A FISTFUL OF DOLLARS – the “spaghetti western” – again working with a young actor named Clint Eastwood. Eastwood was yet to become an international star and was still working on the hit US TV show, RAWHIDE, as cattle wrangler Rowdy Yeates. But outside of America, FISTFUL had been a huge box office hit, and Eastwood as “the man with no name” was already becoming a cinematic icon – so much so, Leone was immediately given the green light to make the second of what would become known as his “Dollars” trilogy (The Plaza will screen a restored print of the ne plus ultra of the sequence of films, THE GOOD, THE BAD AND THE UGLY on August 13).

Eastwood dons the poncho again, this time with Lee Van Cleef in A FEW DOLLARS MORE.

A FISTFUL OF DOLLARS can be considered the template all further spaghetti westerns would follow: mysterious, amoral, cynical stranger either arrives in a small town and upsets the status quo, playing the various sides against each other, or said amoral, ethically-questionable stranger is after the money…the only item of value in an emotionally and politically corrupt landscape where a fistful of dollars (or more) are the only things worth fighting for…and death is always lurking outside a saloon swing doorway. The first film in Leone’s trilogy can also be considered as an experiment; with FOR A FEW DOLLARS MORE, the director escaped the typical curse of a lame sophomore effort to transcend his groundbreaking western debut and set the stage for the cinematic shake-out which he would deliver in 1966’s THE GOOD, THE BAD AND THE UGLY. The three films were finally unleashed on an unsuspecting American public in 1967, and Eastwood finally escaped his career doldrums and became a full-fledged movie star.

Lee Van Cleef in A FEW DOLLARS MORE.

The plot of DOLLARS MORE is as simple as that of A FISTFUL, but in this case, the film delves into a psychological/motivational grounding the former film lacked. It is the work of a filmmaker finding his footing as he reinvents a genre as old as American movie-making itself. The movie sets up a potential conflict between bounty hunters – Eastwood’s squinting, cheroot-smoking nameless stranger and Lee Van Cleef’s steely-eyed Colonel Mortimer.  After conflicts, the two loners team up to go after the psychopathic killer bandit, Indio (perfectly played by Gian Maria Volonte). The final scenes are killer – literally. But whereas Eastwood’s stranger is just after the money, Mortimer has a personal score to settle with scumbag Indio.  No spoilers on ATLRetro – go do yourself a favor and support the Plaza and enjoy a classic movie, even if you’re not a fan of westerns or Clint.

ATLretro Movie Trivia: Eastwood, who is highly anti-smoking, is on record as stating that if Leone wanted him to turn up his bad-ass volume, all the director had to do was get him to stick one of those stinky cigarillos in his mouth and light up. No wonder Clint had no problem shooting so many sleazy outlaws…

Contributing Blogger Philip Nutman is a regular broadcaster for the cinematic podcast The Night Crew, and for the past few months has discussed “The Wild, Wild West,” his eclectic, personal primer on cowboys movies every film lover should watch. His current verbal essay is on the other Sergio – Sergio Corbucci – director of MINNESOTA CLAY, THE HELLBENDERS…and one of the other greatest spaghetti westerns, 1968’s THE GRAND SILENCE (Here’s wishing the Plaza would screen that!)

Friday, July 8

Purchase a cool drink from a glamorous gal and support local animal shelters and rescue nonprofits when Pin-Up Girl Cosmetics in Grant Park sets up Ernie’s Lemonade Stand between 2-9 p.m. Delectable owner Kellyn Willey is this week’s Kool Kat. Blair Crimmins & The Hookers take their ’20s ragtime sound OTP to the 1935 art-deco Earl Smith Strand Theatre in Marietta. Catch an IMAX movie and swing the night away under dinosaur bones with sultry gypsy jazzy The Bonaventure Quartet (featuring Amy Pike of The Lost Continentals) at Fernbank Museum of Natural History’s Martinis and IMAX.

Come on and get swanky tonight with Las Vegas surf trio Thee Swank Bastards at Mon Cherie’s Rockabilly Lounge in Purgatory at Masquerade. Also live on stage are burlesque beauties The Chameleon Queen, Stormy Knight, New Orleans Jon, Scarlett Page, Hollie De Veaux and Kittie Katrina, plus as usual Rev. Andy spinning Psychobilly Freakout, free jello shots, vendors and a Ragin’ Rockabilly Raffle. Indigo Girls plays under the stars at Atlanta Botanical Garden (We guess they’re kind of getting Retro by now). Take your tambourine to the park as the Classic Chastain series teams the  Atlanta Symphony Orchestra with ABBA tribute band The Arrival to perform the hits of Swedish ’70s super-group.

Saturday July 9

The Mystery Men? seek to hypnotize audiences with their energetic surf sounds at 529. Surf compadrees eL fOSSIL and drive-in horror movie-inspired Kill Baby Kill from Alabama open. The Hot Rod Walt Trio is at the Jailhouse Brewing Company in Hampton. Blues pianist extraordinaire Ike Stubblefield tickles the ivories at Northside Tavern. Indigo Girls do a second night at Atlanta Botanical Garden. And of course, DJ Romeo Cologne transforms the sensationally seedy Clermont Lounge into a ’70s disco/funk inferno late into the wee hours.

Sunday July 3

Nineties Hip hop/rap duo Tag Team return to headline blues “dunch” between 1 and 4 PM at The Earl. Return to the glory days of ’80s hair metal at Lakewood Amphitheatre with Motley Crue and Poison, with oddly and appropriately what’s left of the New York Dolls opening to screw with audience’s heads.

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Kellyn Willey, owner of Pin-Up Girl Cosmetics. All photos courtesy of Kellyn Willey.

Warning. If you drive down Boulevard near Grant Park on Friday between 2 and 9 p.m., Kellyn Willey doesn’t want you to get distracted by the bevy of beauties selling lemonade in front of the red storefront of Pin-Up Girl Cosmetics and wreck the car. Instead, stay safe and beat the heat by stopping a while to sip some refreshing juice and support animal shelters and nonprofit rescue groups.

While Kellyn didn’t found the boutique which aims to help any gal capture the glamorous look of the movie stars of the ‘30s, ‘40s and ‘50s, but since 2009 when she took over as owner, she’s been living a dream come true. She was hired as a make-up artist/shop girl with little responsibility in 2007, but her talents in photography and graphic design helped persuade her boss not just to promote the then-just-23-year-old to manager but eventually to take over the entire business. In just a couple of years and proving that Retro style is timeless and recession-proof, Kellyn moved Pin-Up Girl Cosmetics to Grant Park, tripled the square footage and partnered with Christine Starr Cookus’s Lucky Starr to sell vintage clothes on site as well.

ATLRetro caught up with Kellyn recently to find out more about Ernie’s Lemonade Stand and what’s new with Pin-Up Girl Cosmetics, as well as get a few make-up tips and keep up with her upcoming misadventures in her alter-ego as Madame Willey of burlesque troupe Minette Magnifique.

What’s Ernie’s Lemonade Stand and why should ATLRetro readers be sure to drop by on Friday?

Ernie’s Lemonade Stand is the brainchild of myself, Jillian Udelson and Liz Henderson—two major advocates for rescuing animals on a local and global scale. I was just speaking with them a few weeks ago at a photo shoot I was doing with Jillian and Liz’s pit [bull], Dash, about how I have an annual lemonade stand, complete with genuine pin-up girls as servers, in front of my shop to bring in extra business. We just thought giving it an actual cause to support was an exciting way to bring new attention to it.

Is that also a good time to take a look around the shop? Anything new you’d like us to notice?

Absolutely, my newest vendor, Lucky Starr, who sells incredible vintage apparel for both men and women at unbeatable prices is having her huge SUMMER BLOWOUT SALE! It’s 25% OFF everything she has and we will also be doing the same in my shop with various vintage-inspired corsets size S-XXL, stockings, ruffle panties, hair accessories, jewelry and even cosmetics!

How’s it going having Lucky Starr as a partner? You’ve been together now for six months, rights?

I <3 Christine, owner of Lucky Starr! I can’t imagine having my business without her. She adds a flavor of authenticity to my boutique which truly gives our customers that feeling of being swept away to Paris and stumbling into a tucked away, chic yet naughty little boutique with everything you’ve been looking for as a fashionable woman, since you were a young girl.

How did you first get interested in glamorous make-up and hair? Is it a love that goes back to childhood dress-up or did someone inspire you?

My mother really. She is still the most glamorous woman I know and she takes such amazing care of herself. She taught me that you CAN have it all as a woman. You can have a career, family and be beautiful all at the same time. Her biggest secret to her success was waking up early. She always taught me to wake up early—like two to four hours earlier than wherever you have to be first in the morning—and take care of YOURSELF FIRST! Whether it’s doing your hair, makeup, working out, eating a balanced breakfast, meditating or all the above. The morning time is the best time for “me-time”.

Kellyn in her Madame Willey persona poses with some members of Minette Magnifique.

Does Pin-Up Girl Cosmetics only do appointments or are walk-ins welcome, and about how much does it cost to have a makeover?

We mainly are by appointment only, but we accept walk-ins for all beauty services. The one and only PinUpGirl! Makeover costs $85 and includes full vintage hair styling, makeup, brow sculpting, false lashes and a spa quality skin prep. During the warmer months, we also apply a flexible sealant spray to your makeup after it’s completed to hold it in place for hours and hours against perspiration, humidity and smudging at no extra charge.

What’s the most fun makeover you’ve done and why?

I love giving makeovers to people who never have the opportunity to treat themselves. I guess one of my more fun makeovers was a client in her 60s who was a teacher, a breast cancer survivor and had been growing her hair back from the numerous chemotherapy treatments. She just came out radiant, and her smile blossomed the second I got her on set. There’s nothing more rewarding than seeing clients enjoying to look in the mirror at themselves and simply smile.

Who are your clients—burlesque queens, theater performers or just ordinary women who want a little glamour in their lives? Do you have a typical client?

All the above. Our most popular client, on average, is in their mid-30s and looking to glam up their life with something more unique and tailored to their personality. Unlike many other beauty bars, my staff and I really get to know our client, even if they are only with us for a few minutes. We give the client what they are looking and make them feel self-assured.

Who’s your favorite vintage pin-up girl and why?

The incomparable Rita Hayworth. She knew how to turn it on, and she made it all look so easy. She could either be soft and innocent with her wide eyes and bright smile making you feel so joyful and carefree like in her musical, COVER GIRL, with Gene Kelly. Or she can smolder and sizzle with her luscious curves and quick yet perfectly timed hair flips in GILDA. She really teaches us women how fun it is to be a woman, and when you are having fun, you are confident and confidence is so very sexy!

What’s the biggest make-up mistake women make when trying for a vintage look and how can you correct it?

The cursed black cat eye. The look that we see Dita wear as her signature style. So many woman don’t find the right type of liner or the curve of the wing off the eye lid is too curvy or large. My best trick to fixing this common mistake is using a felt-tip liquid eye liner. My favorite liner for the perfect cat eye is by NYX Cosmetics called “Super FAT Eye Marker” sold at ULTA. It’s around $6 and HUGE and takes me less than 30 seconds for the perfect cat eye. If you don’t like a fat line or have smaller eyes, this product also comes in a “skinny” marker. It’s the BEST felt marker liner I’ve ever used and lasts all day, even in the heat. It’s so gentle that I can even line the bottom lash-line of my eyes. It’s instant sex appeal.

Performing with Minette Magnifique.

We have a few private events this month, and next Saturday, July 16, Miss Darcy Lemmonier and Luna Lynxx are performing in the Shakespeare Follies at 7 Stages. It’s going to be a great show and the girls have some new pieces to share. Many more shows and appearances to come in the fall.

By Philip Nutman, Contributing Blogger

“If music be the food of love, play on…”
– Some old geezer named “Shakespeare.”

An Evening with the Psychedelic Furs; two sets, including TALK TALK TALK in its entirety; The Masquerade, Wed. July 6, 7 p.m.

For me, The Psychedelic Furs are one of the sexiest bands in the world.

No, I don’t have a decades long crush on Furs’s main man, Richard Butler, like so many of my gal pals, and no, I’m not a “groupie.” I’m just a hardcore lover of the body of music the band has produced since the late ‘70s (although taking gal pals to early Furs concerts has often resulted in interesting sensual experiences… [say no more]).

For mainstream American audiences, The Furs were largely off their radars until the late “Brat-Pack” writer/director, John Hughes, immortalized the band  by using the title of one of their songs, “Pretty In Pink” (from their second album, 1981’s TALK TALK TALK) as the title for one of his cotton candy bittersweet cinematic confections back in the mid-‘80s. Of course, the movie PRETTY IN PINK devolved the original metaphor of the song “Pretty In Pink.” According to singer/front man/chief lyricist Richard Butler, it was about being “naked” – not the message Hughes was trying to convey.

Promotional photo of lead singer Richard Butler for the TALK TALK TALK Tour.

THE PSYCHEDELIC FURS, the band’s first LP, was released in 1980 and became a cult album in the UK, but failed to score in the slow-to-catch-on US except among music rebels. Channeling The Velvet Underground, glam-era Bowie, heaps of mood and post punk, European-flavored sturm und drang, the lack of American mainstream love was not a surprise. In other words, there were no radio-friendly singles.

When TALK TALK TALK hit the following year, a sea change started. The atmosphere of the eponymous disc transformed into an aggressive post-punk fury which radiated more punk energy than “post.” This was a disc which burned up your turntable and could make your stylus melt. Take “I Just Want To Sleep With You,” a song filled with a manic passion that screamed, “I want to f*** you now!” backed by a propulsive Velvets’ discordant arrangement of clashing guitars, backbeat and Duncan Kilburn’s wailing sax. The opening rumble of “Dumb Waiters” blasts into the original incarnation of “Pretty In Pink” – the first song which proved THE FURS could create a real post-punk pop song with hooks that barbed the listener’s flesh and wouldn’t let go. “PIP” is/was, perhaps, the first true post punk pop song. In other words, John Hughes was hipper than his personal style indicated; he knew something great when he heard it.

Make no mistake about it: TALK TALK TALK is an album that takes no prisoners and is filled with an unrestrained passion. “Dumb Waiters” was the opening salvo, “Pretty In Pink” was the seduction before the no-holds barred growl of “I Just Want To Sleep With You,” followed by the powerful dismissive, “No Tears.” Then The Furs assault the listener with the obtuse, but Bob Dylan-inspired roar of “Mr. Jones.” And if you didn’t get the message, girls, The Furs wanted *YOU* as they plowed “Into You Like A Train.” The rest of the album just keeps hitting you with an emotional brick and never lets up: “It Goes On,” “So Run Down” keep moving the listener through an aural photo album of lust misspent, of hearts broken and the bad guy trying to be good but incapable of escaping his basic instinct – it goes on, indeed. Guitars chime against Tim Butler’s powerful bass line as original drummer Vince Ely’s back beat pounds you into submission making you feel “So Run Down,” culminating with Butler seemingly remorseful about the emotional damage inflicted with the still soaring but more plaintive “All Of This And Nothing.” (N.B. Track listing refers to the original UK record release which was totally resequenced by the A & R idiots at CBS records  for the US release.).

There’s so much that could be written about how terrific this transitional, second LP is, but tomorrow night, July 6, at The Masquerade, you can discover just how intense the album was/is when the current line-up of the band (core, founder members Richard and brother Tim Butler minus former long-term guitarist, John Ashton, who joined the band for the sophomore disc and has been replaced by Rich Good) will perform the entire disc before playing a second set of songs spanning the group’s 32-year recording career. If you’ve never listened to TALK TALK TALK – shame on you! Go buy it now and prepare for a concert that if it lives up to the original will – like the recent Echo and the Bunnymen tour recapping their first two albums – remind you of the raw visceral energy of those early days. This is a passionate record, and it’ll be interesting to see what the band do with it live.

Be at The Masquerade Wednesday night or take a musical vow of celibacy. This is one sexy show you don’t want to miss.