ATLRetro

Jake La Botz and Kylie Brown in the Alliance Theatre’s world premiere production of Ghost Brothers of Darkland County. Photo by Greg Mooney.

As the highly anticipated world premiere production of the Stephen King/John Mellencamp/T-Bone Burnett GHOST BROTHERS OF DARKLAND COUNTY hits its final week at the Alliance Theatre, there’s one thing critics and audiences seem to be able to agree on. Jake La Botz lights the stage on hellfire as The Shape, a supernatural trickster, tempter and Greek Chorus to the Southern Gothic Cain and Abel tale. Arms and chest riddled with tattoos with a slicked back pompadour that conjures images of Jerry Lee “The Killer” Lewis, La Botz looks like the older man your mama warned you to stay away from but who you were certain held the keys to Elvis’s “One Night of Sin.” His untamed bump, grind and sensuosity can’t help to remind one of the scandalous early days of rock ‘n’ roll when church moms sought to ban Elvis and THE ED SULLIVAN SHOW refused to shoot the future King of Rock ‘n’ Roll from the waist down.

All of which makes it a bit of a surprise that GHOST BROTHERS is Jake’s first go at musical theatre. But he’s a veteran musician who often plays tattoo parlors and a character actor in movies ranging from independent cult features like Terry Zwigoff‘s GHOST WORLD to major Hollywood pictures such as RAMBO. His vocals and lyrics reverberate with dark poetry and raw energy. He even sings a song called “The Devil’s Lives in My Throat.” He’s been compared to Tom Waits, Bob Dylan and a “modern day Hank Williams” by Steve Buscemi who has cast him in two of his movies, ANIMAL FACTORY and LONESOME JIM.

ATLRetro recently caught up with Jake to find out more about how he approached the role of The Shape and what’s next for him after the curtain falls on this virgin run on Sunday May 13.

How did you land the role of The Shape and why did you personally want to play the part?

I got an email from Laura Stanczyk, a heavy-hitting New York casting director, a couple of years ago to come in and audition for a show called HARPS AND ANGELS that was set to Randy Newman’s music. At the time I was living in New Orleans, touring as a singer/songwriter, and occasionally acting in films… no background whatsoever in theatre. To this day I have no idea how Laura Stanczyk found me. After flying to New York to meet with Laura, Randy and director Jerry Zaks – and not getting the part – I thought ‘musical theatre… hmmm… what a fluke… but that was interesting.’ Laura must’ve kept me in her mental Rolodex because when GHOST BROTHERS came along, she sent me an email that said “Jake, I have something you are PERFECT for” She was right. I took the job because I wanted to work with an exciting group of people and explore new territory as an actor – both the role and the medium.

Jake La Botz as the malevolent character The Shape in Ghost Brothers of Darkland County. Photo by Greg Mooney.

Your performance can’t help but remind me of a time when rock n roll was down ‘n’ dirty and just emerging from blues and honkytonk, Elvis Presley was still scandalous with his hip grinds and Johnny Cash wore black. Which musical performers inspired you and why?

Thanks, I’ll take that as a compliment. That was an interesting time in music. It’s almost as if white people were able to touch back into their pre-Christian roots. The stuff Elvis was doing had been done for years by black blues and R ‘n’ B singers before him. Sex and music is primordial –  imagine a ‘pagan’ ritual, Greek god Dionysus.

I’m inspired by all the great roots-American music (blues, gospel, field hollers, hillbilly, ragtime, rock ‘n’ roll, soul, etc). My favorite singers are the ones that sound unique and otherworldly: Skip James, Hank Williams, Blind Willie Johnson, Bob Dylan, Tommy Johnson, Howling Wolf. I like to listen to music that sounds like it’s coming directly from “the source,” i.e. not manipulated too much by the entrepreneurial efforts of ego.

Seems like there could be quite a bit of Randall Flag (THE STAND) in The Shape, too—the manipulator, the trickster. Did Steve give you any background reading or direction in how to prep for the part?

No background or prep work from anyone particularly, although the entire cast was asked to watch Tennessee Williams films. The Shape I’m doing now is the same character I created for the audition, though he has filled out quite a bit since then. And I received quite a bit of good suggestions from John Mellencamp, director Susan Booth and choreographer Danny Pelzig along the way.

Your dialogue makes lots of intimations that The Shape might be The Devil. Is he?

Intimations? You mean like riding up from ‘below’ on an elevator? Wearing red? Talking about how I get bad reviews in church?

In the elevator down to the parking garage after the performance, two older blonde yuppie women told me they liked the show overall but that the language didn’t have to be so obscene, i.e. “tone it down.” Why are they wrong?

I’ve heard that a lot. I’m not sure they are wrong.

What was it like working with John Mellencamp and T-Bone Burnett? Did you collaborate with them at all on the music, or was it more just taking what they gave you and bringing the character to life?

What an honor to work with both of them. The direction I was given was to take the songs and make them my own… make them like The Shape. I’ve enjoyed doing that. I’m playing two of T-Bone’s guitars in the show… how cool is that?!?!

Have you heard anything about where GHOST BROTHERS OF DARKLAND COUNTY may be performed next and will you be reprising the part of The Shape?

There’s no telling at this point about the future of the show or the cast. I haven’t heard anything confirmed. Of course, I would love to be part of this if it goes to Broadway.

Have you had a chance to get out on the town at all while you’ve been in Atlanta? Any favorite hangout or local musician?

Haven’t had much time to explore. Cast member and country music legend Dale Watson had a Monday night residency at Smith’s Olde Bar that many of us frequented and also performed at. That was a hoot.

What’s next for you after GHOST BROTHERS? I saw something on your Website about a European tour and we’ll be seeing you onscreen in a new movie version of Jack Kerouac’s ON THE ROAD (Directed by Walter Salles; Starring Kristen Stewart, Viggo Mortensen) and in ABRAHAM LINCOLN: VAMPIRE HUNTER?

From here I head to Cannes for the premiere of ON THE ROAD, followed by a European tour. Then back to NYC to look for a job! Yeah, both movies [are] coming out this year.

If you missed James Kelly’s Retro Review of GHOST BROTHERS OF DARKLAND COUNTY, you can catch up on it here. To purchase tickets for the final performances, click here.

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

By Emily Jane McFarland
Contributing Writer

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

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

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

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

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

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

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

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

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

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

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

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

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

Video Links:

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

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

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

THE GRADUATE End Sequence.

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

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

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

By Philip Nutman
Contributing Writer

A labor of love for Atlanta filmmaker, Mike Malloy, who researched, wrote, directed, produced, edited  and even contributed a small amount of instrumental funk to the score, EUROCRIME! THE ITALIAN COP AND GANGSTER FILMS THAT RULED THE ’70s screens at the Atlanta Film Festival on Friday, March 30 at 7 p.m. at the Landmark Midtown Art Cinema. EUROCRIME! is a  feature-length cinema documentary concerning the violent Italian ‘poliziotteschi’ (a literal translation is “policesque”) cinematic movement of the 1970s which, at first glance, seem to be rip-offs of American cop/crime films like DIRTY HARRY or THE GODFATHER, but which really address Italian issues like the Sicilian Mafia and red terrorism.

What sets these movies apart from American cop movies of the era were the rushed methods of production (stars performing their own stunts, stealing shots, no live sound) and the dangerous bleed-over between real-life crime and movie crime. EUROCRIME! is an excellent, exhaustively researched, fascinating chronicle of this action-packed sub-genre of low budget Italian cinema.

ATLRetro scored an exclusive interview with the busy movie maker earlier this week.

ATLRetro:  What inspired you to make EUROCRIME?

Mike Malloy: I got my first book contract – to write a cinema biography [of Spaghetti Western star Lee Van Cleef] – when I was 19, and over the next decade, I was slowly but surely building a career for myself writing for movie magazines [(FLAUNT, FILMFAX, VIDEO WATCHDOG, etc] and for newspapers [AP, Knight-Ridder, SUNDAY PAPER]. Then, one morning in 2007, I woke up and learned that the whole world had apparently decided overnight that film journalism was no longer going to be a paying profession. So I decided to try to parlay my film commentary into cinema documentaries.

The Eurocrime genre was my cinematic fascination at the time, so I made a three-minute demo video, and a colleague got it in front of an acquisitions VP at a major cable broadcaster. They said they’d be interested in buying the broadcast premiere if I could get it made. That allowed me to jump headlong into the project.

Mike Malloy dons a police badge himself in an acting role. Photo courtesy of Mike Malloy.

Looking back, I see what caused me to fall so madly in love with Eurocrime movies. I love cinema that rings true to life. And it may seem strange to say this, considering the Eurocrime genre’s over-the-top violence and action, but these movies are about as real as it gets. And that’s because of the way they were made. Sometimes the organized crime down in Naples got involved in producing these films, so you got a pretty hairy blurring of real-life crime and movie crime. And because the leading men of these films – even big international stars – performed their own dangerous stunts, the action had a certain authenticity to it too.

How long did it take to make EUROCRIME!?

Getting the interest from the broadcaster launched me on a four-year odyssey. I know nothing about raising money, and I was in a bad place to do it anyway, as these movies weren’t experiencing the revival here in Atlanta that they were in places like Los Angeles and Austin. So I just did the doc on my own, basically, with a few small private investments and with some help from some colleagues who also loved these movies. And I ended up starting the project Standard Definition and starting over midway as HD, teaching myself all the necessary editing and VFX software along the way.

Having no real budget meant that most of the things that other pop-culture docs farm out – like stylish, graphics-oriented opening credits sequences – I just had to do myself. In fact, because I realized that many of our filmmaker interviews were shot on the fly and with less-than-ideal circumstances, I wanted to compensate by creating as many graphics, montages and other touches of style as possible.

I started the doc in my living room and finished it in the upstairs of my fiancée’s parents house, as this project even cost me my ability to pay my rent for a while!

How did you obtain all the amazing footage (in addition to all the great interviews)?

These films have gotten some pretty great-looking DVD releases in other parts of the world. So it’s a matter of finding those good-looking releases, than finding cruddy-looking gray-market copies of the same films with English dialogue, then matching up the good-looking print and the English audio. Of course, NTSC (North American) and PAL (European) video run at different speeds, so it takes plenty of trial-and-error adjustments to sync it.

We also were very grateful to receive some 8mm home movie footage from one of our interviewees – John Dulaney. And we got some other cool materials from people like Italian cinema documentarian Federico Caddeo.

Wasn’t Quentin Tarantino supposed to be involved at some point?

We were interested in interviewing him regarding the important part he played in the revival of these movies, setting up Eurocrime screenings at The New Beverly inLos Angeles, the Alamo Drafthouse in Austinand at events like The Venice Film Festival. He said yes a couple times to the project, but we never could make it happen.

What’s next for you?

I’m now in production on PLASTIC MOVIES REWOUND: THE STORY OF THE ’80s HOME VIDEO BOOM. And I’d like to do DAVID CARRADINE: THE LOST AUTEUR.

Where would intrigued viewers of the doc go to find these movies?

Last time I checked, Videodrome on North Avenue had a Eurocrime section. And the longtime Italian DVD company, RaroVideo, just started releasing some of their titles in theU.S.last year -movies like THE ITALIAN CONNECTION and LIVE LIKE A COP, DIE LIKE A MAN. And for years now, the U.S. DVD label Blue Underground has been championing Eurocrime movies in the U.S., releasing films like STREET LAW and THE BIG RACKET. All these titles from Raro and Blue Underground are available through Netflix, too.

Contributing write Philip Nutman, is a long-time film journalist, author, screenwriter and occasional director. He recently produced the forthcoming, controversial zombie love story, ABED, in Michigan.

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

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

ATLRetro: How did THE HIDDEN MAN come about?

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

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

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

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

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

What about your favorite aspect/scene?

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

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

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

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

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

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

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

What was the reaction to the performances at UGA?

Well-received. I would say very positive reactions.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Photo credit: Anka Jurena

At first glance with all the top hats and bustles, steampunk seems more like a refined tribute to Victoriana congeniality, but at AnachroCon, a three-day alternate history convention Feb. 24-26 at the Holiday Inn Select Perimeter, don’t expect to see everyone waltzing. A diverse musical genre has grown up that’s every bit as imaginative and DIY as the books and costumes. And perhaps no band puts the “punk” into steampunk sound than an in-your-face feisty little duo named Frenchy and the Punk who take the stage at 10 p.m. Sat. night.

Samantha Stephenson (Frenchy) and Scott Helland (the Punk) started their musical collaboration as the Gypsy Nomads in 2005, but she being French-born and he having played guitar in several punk bands, the nickname stuck. As for their musical style, one could call it eclectic stirring up and twisting around elements of cabaret, gypsy, Celtic and steampunk. The resultant unique sound has won them fans across the US and Europe, and like gypsy performers of old, they are constantly on the road, touring and performing at some of the biggest steampunk and faerie gatherings, including DragonCon, Steamcon, The Steampunk World’s Fair, Wicked Faire, Sirius Rising, Faerieworlds and FaerieCon.

While driving their van down I-75 towards Atlanta, Samantha was kind enough to answer a few questions about what attendees can expect from their act and in general at AnachroCon. Which means, of course, that this interview was composed literally in motion.

How did you and Scott first team up as a duo?

Yes! We met in 1998 while we were both living in NYC. We started collaborating in 2000 when Scott was doing solo shows. He had left the band he was in back in 1996 and had launched a solo project switching from bass guitar to acoustic guitar. I had been heavily involved in the performance arts since childhood and was focused more on painting and sculpture when we met. I was using his music for art installations, and he used one of my paintings for a CD cover. From 2000 through 2004, I was booking his 70+ shows a year and promoting his music on the radio and other media. From my own previous performance background as a dancer and singer, in 2005, I joined him onstage to play percussion on some of his instrumentals and it all snowballed from there. We released several CDs, one entirely in French and another a mix of French, English and instrumentals, then in 2010 we released HAPPY MADNESS.

Frenchy and the Punk perform at the Time Traveler's Ball at DragonCon 2011. Photo credit: Mark Rossmore.

You’ve been compared to Siouxsie Sioux and your music could be said to have a punk energy about it that might be surprising to folks who think old-world and gypsy means polka retreads. Is that why you’re Frenchy and the Punk?

We started under the name The Gypsy Nomads but we were also dubbed Frenchy and the Punk early on. We thought about switching the name for a few years as it seemed more fitting and finally committed to it last year. I was born in France and come from French and British parentage. French was my first language although I started school in England. The song “Yes, I’m French” on the HAPPY MADNESS CD is a comical song of my coming to America. I get compared to Siouxsie a lot as I have a similar vocal style; ironically she is also of French and English parents and there is even a slight physical resemblance. Scott started playing in bands when he was 13 years old. He was the bass player of Deep Wound, the seminal Western Massachusetts hardcore punk band that he co-founded with Lou Barlow. The band also included J Mascis. Lou and J later formed Dinosaur Jr. Scott continued in the punk scene with the Outpatients. So his moniker of “the punk” comes from his musical beginnings.

Our music and performance style are high energy so we do get the gypsy punk label quite a bit, but there are so many different influences in our sound. The name really is a reflection of who we are as opposed to a music style. We do what we do, how people define us really boils down to their own interpretation based on their own frame of reference. The pervading consensus seems to be that we are spirited and fun, sonic anti-depressant! We are a visceral, theatrical band, we love to perform and we especially love to inspire people to move.

Did your music lead you to steampunk or was it vice-versa, you discovered steampunk and then embraced a musical style that fit into it?

We’ve always played the music that came naturally to us. Our sound is very eclectic with elements of cabaret, vaudeville, punk, rock, world, french chanson and folk. We also have a segment of our show that is all-drum instrumentals which can be described as a cross between Taiko and Blue Man Group. Scott has played drums since he was a kid,  and I was obsessed with the drumming and percussive sound of the samba school when I lived in Brazil for a short time as a child. We did not actively seek out the steampunk scene but rather we were embraced by it. Having lived in Europe as a kid and studied the visual arts – sculpture and painting – I was very drawn to the creative aesthetic and maker’s spirit of the movement. The people that populate the scene are crossovers from other scenes we were already a part of so it was a very organic process. I am the lyricist of the group,  and my personal history happens to blend well with the steampunk spirit. We also play faerie festivals which have strong roots in European folklore. Scott’s blending of old world melodies with the more modern live looping technique gels well with the steampunk idea of bringing the old and new together. The guitar looping also gives us a very full rich sound making it hard to believe there are only two people on stage.

Do you have anything special planned for your AnachroCon performance?

We will be sneaking in some of our brand new songs this weekend so we’re very excited about that, and you never know, there are lots of bands playing so there are likely to be some spur of the moment collaborations.

Other than your performance, what are you personally most excited about at AnachroCon?

These events are like reunions, we look forward to seeing the Atlanta crew again. We haven’t seen them since we played DragonCon last fall. Whether it be a convention or a festival, it is always fun to reunite with people that we may not have seen in quite a while. We do this musical life full-time, year round and we travel all over the U.S., as well as Europe, playing shows. The performers and attendees are equally nomadic so you never know who will show up. We’ve played shows with almost everyone on the bill before so it’ll be great to share the stage with them all again. It’s quite the cast of characters!

Photo credit: Frank Siciliano.

What about a steampunk convention is most likely to surprise someone who is new to the subculture and has never attended one before?

If someone hasn’t been to a convention like this before they will probably be surprised at the costuming as it can be quite elaborate and make you feel like you are in a different time period. That should not deter anyone from going though, even if they don’t have the steampunk costume, they should check it out. There will be lots of really cool vendors who have great accessories that they can throw on for some last minute steampunk flair! Also, I have heard mentioned from attendees that they are amazed at the wide age range at these events and also the sheer high spirited mood and vibe that seems to pervade. And of course, there’ll be tons of awesome live music, DJ’ing and other performances.

What’s next for Frenchy and the Punk?

We are working on a 2 CD release set for this spring thanks to a very successful Kickstarter campaign last Fall. We have lots of conventions and festivals coming up in April and May, as well as a European tour in June. All of our dates are on our tour page of [our] website. And we post our goings-on on our Facebook page regularly. Overall, we continue to build the world of Frenchy and the Punk with our music and art. And to your readers, don’t forget that there is nothing quite like seeing live music! There are lots of independent bands out there like us who drive all over tarnation to bring their sounds to you. By attending the shows you not only have an unforgettable experience you also keep independent music alive, and we thank you!

For the full scoop on the rest of what’s going on at AnachroCon, be sure to check out our Ultimate Guide here.

Bryan Fenkart as Huey Calhoun and the Broadway Cast. Photo credit: Randy Morrison

By Jordan Barbeau
Contributing Writer

The Tony Awards are the theater equivalent to the Oscars – the most prestigious awards any production or stage actor/actress can earn. As huge of a feat as this is, MEMPHIS, a Broadway hit show about a boy with rock ‘n’ roll in his heart, easily did just that. With its emotionally gripping story and fun numbers, MEMPHIS had no trouble winning the award for Best Musical in 2010. Overwhelming praise from fans and critics alike, along with its earning of this prestigious award, prompted a national tour of the show, and lucky for Atlantans, it’s here at the Fox Theatre for a week run from Tues. Jan. 31 through Sun. Feb. 5.

Julie Johnson, a singer and actress from Texas, holds the distinct honor of getting to portray one of the more interesting characters in the play – the mother of the main character, Huey. Scared and staunchly against her son’s plans, “Mama” does everything in her power to keep her son away from “black music,” refusing to accept his love of the art. It can’t be a coincidence that she has the same name, Gladys, as the mother of Elvis Presley, Memphis’s most famous rock n roll son.

Julie Johnson.

Julie, unlike her character, fully appreciates and embraces the art of singing and performing. According to the actress, it’s been her destiny since she was a child to perform in front of people. “It’s almost like my DNA was in the shape of a microphone,” she laughs. One glance at the list of Julie’s past productions assures that no one is going to argue that fact. Besides being an accomplished solo artist, Julie has performed in plenty of Broadway productions ranging from SWEENEY TODD to CABARET.

Even to an experienced actress such as herself, one would think that performing in such a widely loved production in front of thousands of people a year would be intimidating. To Julie, this is apparently not the case. She says the fact that the audience already knows and loves the play makes it easier. “It’s like being an ambassador,” she says of bringing the once Broadway-exclusive show to those around the country. “You feel like Bruce Springsteen.”

It goes without saying that one cannot perform in a musical about 1950s rock ‘n’ roll without having some prior knowledge of the genre. It would be like a child trying to run before he learned how to crawl. Julie is no exception. W hen asked about the time period, Julie says that her favorite artist from the ‘50s is one of the most famous blues artists of all time, Mr. B. B. King himself.

Felicia Boswell (Felicia) and the Touring Cast of MEMPHIS. Photo credit: Paul Kolnik.

Huey’s mom may be a very close-minded character, but Julie does not fault her for that. In fact, she understands her fears, having grown up surrounded by similar feelings and thoughts. In the end, despite all of the initial hesitation to accept the change, Julie says that the music is what makes everyone and everything whole, allowing folks to do what seemed impossible – unifying a split time.

Fortunately for the people of Atlanta, Julie says that audiences here will connect with MEMPHIS even more than most, due to the city’s deep roots in black music. She adds that she has not had the opportunity to spend much time here in the great ATL, but when MEMPHIS comes to the Fox this week, Julie hopes to explore the city and see what she’s been missing!

Photo courtesy of Gabriella Maze.

The Tits for Toys for Tots benefit not only will bring out a bevy of the best local burlesque beauties but also marks the return to the stage of legendary international performer Gabriella Maze Sat. Dec. 17 at the Five Spot in Little Five Points. Born in London, Gabriella first danced in Spainin the early 1970s, embracing a 20-year glamorous career that took her across Europe and the Middle East, even sharing a hookah with the Shah of Iran. “Would I change anything in my life?” she says. “No way! I am a lucky gal!”

Gabriella now lives inSouth Carolina and says she had no idea until recently about the burlesque revival. ATLRetro caught up with her earlier this week to find out more about what the international burlesque scene was like in the 1970s, as well as see if we could coax out a little tease at what she has planned for her Saturday night grande finale appearance—the first time she has performed live since 1989.

Tits for Toys for Tots Details: Doors open at 7 p.m., a Tease U Student Showcase at 8 p.m. and sintastional main show at 9 p.m. which also features last week’s Kool Kat Fonda Lingue, Katherine Lashe, Lola LeSoleil, Ruby Redmayne, Talloolah Love, Kisa von Teasa of Knoxville’s Salome Cabaret and more. Produced by Syrens of the South. Admission is either $20 or just $10 with a new unwrapped toy worth at least $5. Purchase advance tickets here.

ATLRetro: You grew up in England and began dancing in the early 1970s. How old were you, what made you decide to embrace burlesque, and how did you end up performing in  Spain?

Gabriella: I always wanted to dance. I guess I’m just artistic in nature. I began going to different auditions and trying to get into the London dance scene, but it was pretty tough. A girlfriend brought to my attention an ad in the local Variety newspaper. I had that audition in somebody’s kitchen for a lady named Jackie Harris and her husband Luciano Migliorini, after whom the troupe was named. I started as a showgirl at the end of line and worked my way to the front of the line. Then I began doing solo acts which were burlesque acts. In between the quick changes of numbers, they did burlesque acts. The show was an hour, and it was a troupe that worked at a regular nightclub. There were probably five to six different numbers and maybe four to five dancers that danced in between the acts. I never worked inLondon. I worked in Spain, Greece, Cyprus, Egypt, Abu Dhabi, Bahrain, Dubai, lot of places in the Middle East. I mainly did six-month tours and then come back

Photo courtesy of Gabriella Maze.

In America, it seemed like the art of burlesque was losing its sheen in the 1970s, but you talk about the burlesque way of life, glamour and travel across Europe and the Middle East. Were things different on the other side of the Atlantic?

InLondonat the time, I don’t think there was much burlesque going on. If it was, it was very underground and kind of seedy. A lot of dancers started out as showgirls and you were offered more money if you were willing to do topless. I was like, feathers and rhinestone, why not? It was more money—more money does motivate a lot of people—but also a lot of fun. The clubs in the Middle East were extremely opulent, but there were very tight rules. You weren’t allowed to date waiters or musicians in the band. For instance, I worked in Baghdad at the Embassy Club, and most of nightclub performers were all housed in places that were kind of like a pensione. The doors were locked, but you had young boys who slept on the ground floor, usually with no blankets, and if you needed anything—food, groceries—they’d run and get it for you. We were transported from the pensione to the nightclub every evening and back, and at night there were guards on the door. It was like being in a gilded cage in the Middle East. I got spat on a few times going from rehearsals or from the pensione to the nightclub in Tehran which was called La Boheme and was right next door. Even though we wore  jeans over our leotards, we were spat upon. You couldn’t go into a coffee shop unless you were escorted by a man.

I was there four times when Shah in power, and Tehranwas one of the most beautiful cities I have ever been to as far as opulence. Everything was very European with a French flavor, but if you turn the corner, you’d see people living on the sidewalks, lots of beggars. You’d only see two classes—the rich or the poor. It was almost like being in a very unreal place, seeing all this opulence as a dancer, and you’re meeting some of the most rich and famous people—sheikhs and princes. It was a very, very crazy world.

Can you talk a little bit about the types of routines you performed and do you have any favorite performances?

One of my favorite performances which I will be performing at Tits for Toys for Tots is a classical piece to Ravel’s Bolero. It’s just a beautiful piece. The music tells the story. The costume is feathers and rhinestones and very elegant, more in a showgirls 1920s time style. Then I also like a lot of modern stuff, and I hope to be doing a second performance called Bedtime Story. It’s basically a story of a young girl’s transition from child to sex symbol to princess and then a little humor at the end. I’m kind of an eclectic person so there’s a mixture of styles and I’d go so far to say even a hint of the Muppets. It’s a very cute show and one of my favorites.

At the beginning, I was told what to do. All costumes were provided by the troupe. But once I was comfortable in what I was doing and I showed that to the choreographer—who always traveled with us—he let me put my own artistic marks into what I wanted to do. There are people who can freestyle to music, but to me, choreographed numbers are best. When I started traveling by myself once I left the troupe, I had total control over what my dancing and costumes. But my experience with that troupe gave me everything I needed to know.

How did you end up in America?

I spent in some time in Germany, where I met one of my friends whom I’m actually staying with when I’m in Atlanta. I’ve known her for 40 yrs. Her father was American and her mother was European. One day I came and visited her and met my husband and got married.

When and why did you stop dancing? And what have you been up to?

Age could be one factor. It was in 1989. I was dancing at one club in Charleston, SC, which was still doing a burlesque style, though mot exactly. That then died out in about a year. I remember the first pole coming into the club and how it changed the nightclub as I knew them. Of course, when the poles came, then the age factor came. I told myself, you had to wean yourself off. My days are up.

What made you decide to start dancing burlesque again after 20 years away from the stage?

My daughter said you need to get on Facebook.  I did, and I put in word “burlesque,” and it’s like my computer just lit up. There was all this amazing stuff. I said, ‘You’ve got to be kidding me. Burlesque is still alive?!”

What I’ve noticed with neoburlesque is that it doesn’t seem to have that age criteria.  It’s really refreshg. All ages, all types, shapes and forms performing. I contacted Angel Walker (Satan’s Angel) and said I want to perform again, I miss the life, this is fantastic. I said, tell me the truth, how do I get back into this? I said, don’t I have to attend these competitions and win prizes and crowns? She laughed at me [and said], no, you don’t need to enter any competitions, we just need to find you some work. So here I am. I guess you’d call it my grand coming out. I’m feeling that hard to describe feeling of nervousness to excitement to pure pleasure. You know what I’m talking about if you’re any kind of performer, whether a singer, magician, actress or a burlesque dancer.

How did you get involved with Tits for Toys for Tots?

I contacted Angel, and she has taken me under her wing. She is my angel. She contacted Katherine [Lashe] and Ursula [Undress] and told them about me and asked if I could still get into the show. Lucky for me, Katherine and Ursula contacted me, and I will be there on Dec. 17, and I am absolutely honored to be doing it. I’m looking forward to meeting all of the wonderful neoburlesque performers.

Photo courtesy of Gabriella Maze.

Did you ever think that you’d be dancing burlesque for a children’s charity like Toys For Tots, or is that another way the scene has changed?

I think it’s fantastic, but no, I don’t think it would ever happen in the ‘70s. Burlesque in the ‘70s or before was kind of taboo and risqué.  In today’s world, risqué is what you see over dinner when you turn on the TV looking at the commercials. In the past, you wouldn’t have a fundraiser unless maybe it was something personal in the burlesque community or a troupe maybe would raise money for another girl. I think it’s wonderful.

What’s next for Gabriella Maze?

I’m not sure. I’m just so excited. Once people see me on Dec. 17 and see what do, my style and the way I perform, I hope I get bombarded with “come join us” emails. That’s be fantastic. I’m hoping it comes to that, and if it doesn’t, I’m just going to enjoy the embrace offered from Atlanta and from the burlesque community. I’m also thinking about teaching. If there is a request for me to, by all means I’d be more than happy to teach or talk with people in the burlesque community and give them my experiences.

I feel like I’m Sleeping Beauty. I’ve  been asleep for a long time and suddenly the endorphins have been triggered in my head. I’m still kind of nervous as to what to expect from the community, but what I’m seeing so far is really loving and very outreaching. I never thought I’d have a second opportunity at this life at age 60. I thought it would be something I’d look back on and have my fond memories and that would be it.

Is there anything else you’d like to add?

Just a big thank you to Angel Walker, to my costume maker Karma Blake Originals, and to Delorean Chase for my sound mixes.

Atlanta Traditions: Plus ca change, but thank goodness Atlanta—the city so quick to tear down its landmarks—has a few holiday traditions that have endured and a few more that have come back. While we’re supposed to be all grown-up, because Christmas brings out the kid in all but the surliest Scrooges, our favorite has to remain Priscilla the Pink Pig. Though nothing can match the sheer terror I felt as a child at the thought of riding what was then a suspended monorail on the roof of Rich’s Department Store downtown. The first time I flatly refused, left the line and made my parents take me home. Fortunately, my courage grew significantly over the next year, and I can proudly I say I earned my “I Rode the Pink Pig” sticker with my dad. Then Rich’s was bought up by Federated Department Stores in the 1970s, the downtown Rich’s eventually closed, and the Pink Pig became history. Fortunately history can repeat itself, and some brilliant exec resurrected the tradition at Lenox Square to benefit Children’s Healthcare of Atlanta. While it’s quite not the same as a train ride, Priscilla’s face still retains that cheerful grin of delight among the vintage sets in a big tent for a new generation of kids. Our only complaint—the Macy’s name attached to the front. We don’t hate Macy’s and understand, but this tradition, as well as the Great Tree, will always belong to Rich’s, and we’d feel better if it was “presented by Macy’s” or something more subtle and respectful of their Atlanta born-and-bred origins.

Another Atlanta tradition that disappeared for a while is Christmas at Callanwolde. From Dec. 5-18, the 27,000-square-foot Gothic-Tudor-style mansion, built by the Candler family in 1920 and now an arts center, opens its doors so we can enjoy its breathtaking interior in seasonal splendor as decorated by top local interior and floral designers. Special events include an ongoing Charming ARTifacts craft market, music played on the home’s magnificent vintage Aeolian Pipe Organ, kids activities from Santa Breakfasts to Teddy Bear Teas, and Cabaret Nights with Libby Whittemore on Fri. Dec. 9 and Janet Metzger on Fri. Dec. 16. A gala $75-per-person Premiere Party on Sun. Dec. 4 from 7-10 p.m. features jazz vocalist Marsha DuPree and the Ron Taylor Band.

For more than 50 years, the Atlanta Ballet has been presenting its version of THE NUTCRACKER to delighted audiences of all ages, and if you haven’t experienced it in the magical setting of the Fabulous Fox Theatre, you haven’t experienced Christmas in Atlanta. It may not be as glittery as the Radio City Rockettes Holiday Spectacular in New York, but in additional to creative costumes and fanciful sets, it’s guaranteed to snow! This year’s run is Dec. 8-24.

Finally, it’s not quite a tradition yet, but the Atlanta Radio Theatre Company’s AN ATLANTA CHRISTMAS by Thomas Fuller brings back poignant and funny memories of Christmas traditions in our city at the Academy Theatre in Avondale Estates from Dec. 10-18. Watch for an ATLReview preview by ARTC VP David Benedict, co-producer/co-director of the show earlier that week.

He’s A Mean One, But Let’s Be Merry Anyway: The Broadway Musical version of DR. SEUSS’ HOW THE GRINCH STOLE CHRISTMAS slinks into the Fabulous Fox Theatre Nov. 29-Dec. 4. Then 7 Stages makes naughty the new nice with its KRAMPUS XMAS SPECTACULAR, an anti-holiday rock and roll musical featuring the German anti-Claus that runs Dec. 8-10. “This is the best damn Christmas show there is,” says 7 Stages Artistic Director Del Hamilton. “It’s bloody and spooky like Halloween; and light and pink like Valentine’s Day; and down and dirty like strip joints. There’s something for everyone. Well, maybe not the younger kids. And there’s free beer [from sponsor Pabst Blue Ribbon] at the end!” Watch out for a bloody red preview with our Kool Kat of the Week Rob Thompson soon. Dad’s Garage offers a new take on the humbug Christmas classic with INVASION: CHRISTMAS CAROL, opening today and running through Dec. 23. This nutty interpretation of the Dickens’ favorite throws all the conventional aspects of the story out the window, replacing them with a delicious improv flavor as different spirits visit every evening, to the surprise of even the cast!

Get Your Gifts from Independent Artists & Shops: We’ll be unwrapping a series of gift guides highlighting local shops and artists over the next few weeks, but in the meantime, check out several Decatur events. On Thurs. Dec. 1, eat, drink, be merry and shop at Decatur’s PushPushTheatre’s Artist Market from 4-11 p.m. Entry fee is just $5 (which supports the theatre), and there will also live entertainment, beer, wine and bar specials. Another great reason to come out—ATLRetro has a booth and we’ll have a bunch of our cool new T-shirts with our rockin’ DerekArt logo, some rare vintage paperdolls and other vintage and vintage-inspired items. Help us support our costs to bring valuable vintage info to you and pay our writers and artists! On Dec. 1, 8 and 15, shops in the City of Decatur stay open late and offer discounts, wine and snacks on Terrific Thursdays. Kudzu Antiques Vintage Home Market inDecatur will be throwing its annual weekend holiday shopping parties on Sat. and Sun afternoons with live music, wine, snacks and sales.

Hark the Honkytonk Angels Sing: Notice we didn’t say country. The folks we list here take their inspiration from old-time country-western, Appalachiana and recharge it with a sound that never grows old. The Whiskey Gentry serve up their Third Annual Merry Y’All Tide Celebration on Fri. Dec, 2 at Variety Playhouse. The annual holiday shindig also features Packway Handle Band, Shovels and Rope and My Three Keanes, and all proceeds benefit the Atlanta Community Food Bank. Read our exclusive preview from the Whiskey Gentry here. Ghost Riders Car Club headlines the Star Bar Toys for Tots benefit on Fri. Dec.16, supported by some of Atlanta’s best old-school country, Redneck Underground and garage bands including the vivacious BareKnuckle Betties, Grinder Nova, Bully, Midway Charmers and Slim Chance and the Convicts, as well as DJ Dusty Booze and Chinchilla the Killa. Best of all, admission is free with an unwrapped Christmas toy valued at $10 or more. Catch up our Kool Kats on Spike Fullerton of the GRCC or Julea Thomerson of BareKnuckle Betties.

Burlesque Means Naughty & Nice: On Fri. Dec. 2, Snow Queens of Burlesque dazzle in Santa Baby, a special wintry holiday edition of Mon Cherie’s Va-Va Voom series at The Shelter featuring special guest celebrity emcee Devin Liquor and performances by Kool Kat Fonda Lingue, Stormy Knight, Biloxi Brown, Katherine Lashe, Scarlet Page and more! On Dec.11, catch Devin Liquor, Aqualencia Litrè and Regina “Boom Bomm” Simms at Friends on Ponce for a show benefitting Toys for Tots and The Atlanta Community Food Bank. Then, on Sat, Dec. 17, it’s a tough choice between the 5th annual Tits for Toys for Tots show, produced by Syrens of the South, at the Five Spot, and Davina and the Harlots’ Christmas Cabaret at the Highland Inn Ballroom. Headlined by burlesque legend Gabriella Maze, returning after almost 30 years, the former features a glitzy all-star line-up of some of Atlanta’s top performers including Fonda Lingue, Talloolah Love, Katherine Lashe, Ruby Redmayne, Kittie Katrina, Knoxville’s Kisa Von Teasa, Lola LeSoleil and more. Admission is $20 or $20 with an unwrapped toy worth at least $5 for Toys for Tots. The latter, themed The Desperate Housewives of the North Pole, tells the plight of poor Mrs. Claus through a variety of acts including special guest appearances by our favorite ragtime man Blair Crimmins, Jessica “Sugar” Cayne Urick, Aqualencia Litre, Ninja Puppet Theater and St. Mikal the Mediocre Santa. In addition to gals that shimmy in their skivvies, prizes and pictures with Santa also are promised, and be sure to bring your dancing shoes so you can enjoy pre- and post-show music spun by DJ Doctor Q of The Artifice Club!

Visions of Sugar Plums & Sweet…Transvestites: Fabrefaction Theatre Company unwraps a special Christmas-themed version of Richard O’Brien’s THE ROCKY HORROR SHOW. Brad and Janet’s car still breaks down, but this time Dr. Frank-N-Furter’s castle is relocated to the north pole and costumes and sets reflect a holiday spectacular spirit.

Get in that Old-Time Gospel Spirit: The Atlanta Symphony Orchestra’s annual ASO Gospel Christmas concert takes place Fri. Dec. 2 at 8 p.m. and Sat. Dec. 3 at 2 p.m. Patdro Harris’ THE NATIVITY: A GOSPEL CELEBRATION retells the original Christmas story with soul-stirring music and dance from Nov. 30-Dec. 30 for Kenny Leon’s True Colors Theatre Company at Southwest Arts Center. Meanwhile up at Theatre in the Square in Marietta, A SANDERS FAMILY CHRISTMAS uses gospel music of the bluegrass vein to tell the story of a sunny-voiced Southern family just before the start of World War II.

Santa Meets Psychotronic for the Whole Family!: That jolly old elf arrives at the Plaza Theatre on Sat. Dec. 3 to host two Santa’s Super Saturday Shows, kids matinee at 1 p.m. and grown-up evening show at 10 p.m. Show your kids what the holidays were like when you were a kid or relive the wonder of believing in Santa with vintage Christmas cartoons and shorts and a 35mm screening of cult classic SANTA CLAUS CONQUERS THE MARTIANS (1964), as well as live stage show by Santa and Blast-Off Burlesque (no wonder that old elf is jolly), Christmas carol singalongs, goody bags, snacks, cider, and a chance to get a 5 x 7 photo of you and Santa. Kids matinee admission is $5 and 10 p.m. show is $10; get $2 off with each new, unwrapped toy for Toys for Tots. All proceeds benefit Toys for Tots and the nonprofit Plaza Theatre, Atlanta’s oldest continuously-running independent cinema.

Two Kings, One Church: No man ever loved Christ’s birthday more than Elvis Presley, so it just seems so right that the Inman Park Methodist Church is celebrating both men with Elvis & Jesus, A king meets The King. Enjoy the King of Rock n Roll’s holiday favorites sung by Atlanta’s own king of swing, Big Mike Geier (Kingsized and Tongo Hiti), the TCC (Taking Care of Christmas) Choir and tough-guy Angel Gabriel (even too cool for a halo and played by Tom Bell) for a hour and 15 minute performance Sun. Dec. 4 at 5 p.m. and Fri. Dec. 9 at 7:30 p.m. The celebration is free, but contributions are gratefully accepted to support for the United Methodist Children’s Home.

Deck the Halls: One of our favorite pastimes during the holidays is getting a chance to sneak a peek behind the doors of some of Atlanta’s historic homes. Two of the best holiday home tours take place the first weekend of December. Decatur’s Holiday Candelight Tour of Homes (Fri. Dec. 2 and Sat. Dec. 3) features seven homes in the historic neighborhoods of Glenwood Estates and Winnona Park, as well as two historic chapels and the Clairemont Holiday Marketplace. On Sat. Dec. 3 and Sun. Dec. 4, take the Marietta Pilgrimage Tour organized by the Marietta Welcome Center & Visitors Bureau and Cobb Landmarks & Historical Society, now in its 25th year. The historic Davison’s (later Macy’s) Department Store building at 200 Peachtree in downtown Atlanta gets a festive new lease on life as the headquarters of CHRISTMAS ON PEACHTREE, featuring 70,000 square feet of fun family-friendly activities, live music and dance, food and shopping. Expect to meet favorite characters from THE CARTOON NETWORK, the signature sponsor, and part of the proceeds support Children’s Healthcare of Atlanta. Open through New Years Eve.

Oh, Christmas Trees & the More, the Merrier! Nothing says Retro Christmas than over-the-top light displays and insane amounts of decorations crammed into the smallest possible yard, house or—in the case of Der Biergarten—restaurant. The Luckie-Marietta district German restaurant has pulled out all the stops with nearly 10,000 ornaments, 72 nutcrackers and 26 Christmas trees! Decorations are in place every night through Jan. 8, or come on Dec. 8 for the Nikolaustag Holiday Celebration featuring grown-up reindeer games like beer pong on the patio, hide the pickle (a real German tradition where a pickle ornament is hidden on a tree for prizes), $5 liters of draft beer, comp appetizers and a DJ from 5-7:30 p.m. At Fernbank Museum of Natural History, enjoy WINTER WONDERLAND: CELEBRATIONS & TRADITIONS AROUND THE WORLD, featuring trees and other displays from cultures around the world, through Jan. 8. Martinis & IMAX officially takes a break in December but returns for one special Salsa Night allowing evening viewing of WINTER WONDERLAND on Dec. 16. Other special events include Caroling and Cupcakes Weekend Dec. 3-4 with performances by the Georgia Boys Choir and Atlanta Ballet, ornament-making crafts, a special appearance by holiday mascot Santa-saurus and cupcakes!

BABES IN TOYLAND: No, we don’t mean another burlesque show, but the magical Christmas classic ballet in its 21st annual performance by Atlanta Dance Theatre at the Roswell Cultural Arts Center on Dec. 9-10. Bring the kids and come join Tom, Mary and all their Storybook friends as they journey through Toyland to the Toymaker’s shop, while dodging the evil antics of villain Barnaby and his cohorts.

Jingle Bell Rock: Go back to the ‘60s and ‘70s with the 3^rd Annual Yacht Rock Revue Holiday Special at Buckhead Theatre on Fri. Dec. 9. A veritable variety of sounds from rock to country-western to blues are on the menu of Atlanta’s Holiday Hootenanny at Variety Playhouse on Sun. Dec. 18 featuring a who’s who of the Atlanta music scene and well-known regional and national acts including Jimmy Hall, Tommy Talton, Col. Bruce Hampton, Ret., Charlie Starr, Rev. Jeff Mosier, Ike Stubblefield, Grant Green Jr., Jeff Sipe, Count M’Butu, Caroline Aiken, Yonrico Scott, Johnny Mosier, Diane Durrett, David Blackmon, Ralph Roddenbery, Donna Hopkins, Wildman Steve, Benji Shanks, Ted Pecchio, Gaurav Malhotra, Copious Jones, plus more surprise guests!

Swing and Jazz Christmas: Does your holiday heart long for the days of Bing Crosby, the Andrews Sisters, Nat King Cole and other ‘30s/’40s/’50s greats—or make you want to dance like you’re at the Holiday Inn? Never fear, Atlanta offers a Santa’s sack full of concerts and theatre productions to satisfy your timeless tastes. Reservations are strongly recommended for the popular Holiday Cabaret Night at Feast restaurant in Decatur on Sat. Dec. 3 featuring the powerful vocals of recent Kool Kat Kayla Taylor singing seasonal standards. The Atlanta Jazz Chorus under the direction of jazz saxophonist and minister Rev. Dwight Andrews join with some of the city’s finest musicians and singers, including Kathleen Bertrand and Alex Lattimore, to present Holiday Jazz Vespers at the vintage Rialto Center for the Arts on Sat. Dec. 10. Or for a merry mix of holiday standards and rock/lounge classics redone in Vegas-sized big band style, head to the Variety Playhouse that same night for the Kingsized Holiday Jubilee, backed by the gorgeous Dames Aflame Dancers. Be sure to bring a new unwrapped toy for Toys for Tots. Holiday Friday Jazz at the High Museum of Art on Fri. Dec. 16 from 5 to 10 p.m. features saxophonist/vocalist/band leader Will Scruggs, who at age 28, has already shared the stage with Dave Brubeck and toured and recorded with Natalie Cole. Locally you may have heard him playing with Kingsized. Joe Gransden presents the first of two Big Band Holiday Shows with his 16-piece orchestra at Café 290 on Mon. Dec. 19. Then on Dec. 22, he’ll be at Eddie’s Attic for Joe Gransden’s Big Band Christmas Show, with special guest jazz vocalist Maria Howell.

THE 1940S RADIO HOUR is back at Marietta’s Theatre in the Square Dec. 17-Jan. 1 after a five-year hiatus with swing music, dance routines and heartwarming characters at a vintage radio station. The nostalgic 16th annual CHRISTMAS CANTEEN 2011 takes audiences down memory lane at the Aurora Theatre in Lawrenceville. And A 1940s RADIO CHRISTMAS CAROL takes audiences back in time at Onstage Atlanta.

We’re All Misfits! The Center for Puppetry Arts’ official stage adaptation of the Rankin-Bass misfit Christmas TV classic Rudolph the Red-Nosed Reindeer is back for a second year with Rudolph, Clarisse, Hermie. Yukon and all the beloved characters. Read our interview with adapter/director and Center Artistic Director Jon Ludwig here. Through Dec. 31. Or there’s the black humor of THE SANTALAND DIARIES at Horizon Theatre Company, the true-life tale of writer David Sedaris’ writer’s odd job as a Macy’s Department Store elf.

Larry, Carols, Mo & Muppets! We already said there was no more magical way to enjoy the holidays inAtlanta but to visit the Fox Theatre. Too cash-strapped to make it to THE NUTCRACKER or THE GRINCH? Then mark your calendar for Mon. Dec. 12 at 8 p.m. for LARRY, CAROLS & MO, a free annual holiday event featuring a singalong with Fox organist Larry Douglas Embury playing carols on the Mighty Mo, plus a screening of THE MUPPET CHRISTMAS CAROL, photos with Santa and snow on Peachtree Street and inside the Fox!

Chatham County Line.

I’m Dreaming of a Ragtime Electric Christmas. When the Chatham County Line Electric Holiday Tour hits the Variety Playhouse on Fri. Dec. 16, Atlanta’s own Blair Crimmins & The Hookers provide a ‘20s-style opening to Massachusetts folk-rocker Johnny Iron. Then Chatham County Line hit the stage for a full acoustic set, followed by an electric set with special guests.
You can read more about it on https://cliniccare.com.au/phentermine/, but don’t forget to establish necessary dosing with your attending doctor.

Jeffrey Butzker.

A Charlie Brown Christmas: The iconic ‘60s TV holiday special permanently made PEANUTS and Christmas synonymous, and the proof of that is not one, but two Atlanta events centered around the festive holidays songs and arrangements made famous by Vince Guaraldi in that special. “The jazz that comes from Charlie Brown is a happy jazz, it’s a feel-good jazz,” says five-time Grammy-nominated pianist David Benoit. Hear him play those tunes in David Benoit’s “A Charlie Brown Christmas” at Georgia Tech’s Ferst Center on Fri. Dec. 16. Then Jeffrey Butzer and T.T. Mahony presents their Charlie Brown Christmas Tribute on Tues. Dec. 20 at the Earl Smith Strand Theatre in Marietta, an art-deco former movie palace, at both 3 p.m. and 8 p.m.. The family-friendly Atlanta tradition also features Chad Shivers and Friends opening with ‘60s surf favorites from The Ventures Christmas Album.

IT’S A WONDERFUL LIFE in Art Deco. The 1946 Frank Capra-directed Christmas movie classic, starring Jimmy Stewart, plays on the big screen at the Earl Strand Smith Theatre in Marietta on Wed. Dec. 21 at 8 p.m.

Holiday on the Rails: The Southeastern Railway Museum features a variety of family-friendly seasonal activities including a chance to watch THE POLAR EXPRESS movie aboard a real vintage train car. Intown at Atlantic Station, kids can enjoy charming miniature Steel Mill Express Train Rides, with a brand-new Santa’s sleigh car, for just $3, weather-permitting.

By Melanie Magnifique
Contributing Blogger

FEMALE TROUBLE (1974); Dir: John Waters; Writer: John Waters; Starring Divine, Mink Stole, Edith Massey; Taboo-La-La Series hosted by Blast-Off  Burlesque at Plaza Theatre, Sat. July 23; 10 PM; free makeup, meatball sandwiches (while supplies last), costume contest, Filthy Fashion makeovers with prizes from Libertine! Special guests include Patricia Lopez, Poly Sorbate, Babydoll & Baltimore’s own Elle Devene; age 18 & over only; trailer here.

This Saturday night, Blast-Off Burlesque will serve up a veritable cornucopia of camp while hosting John Waters‘ dark comedy, FEMALE TROUBLE at the Plaza Theatre as part of their sin-sational new cinema series—Taboo La-La! Before viewing the film in its original 35mm format, moviegoers will be able to compete for fantastic prizes in costume and makeover contests, as well as enjoy performances by Blast-Off and their very special guests, Patricia Lopez, Poly Sorbate, Babydoll and Baltimore’s own Elle Devene.

Released in 1974, FEMALE TROUBLE tells the story of Dawn Davenport (played by infamous drag queen, Divine), a bratty bad-girl who lives a hard-knock life of juvenile delinquency, experiencing sexual assault, subsequent single motherhood, employment in the sex industry, obsession with fame and victimization by sensationalists masquerading as artists. Did I mention that it’s rated NC-17?

Blast-Off’s Co-founder (and ATLRetro Kool Kat), Barb Hays, says the film’s caustic content fits right in with the sprit of Taboo La-La. “You know, the Plaza Theatre used to show adult films, so we decided that we would host a series which paid homage to its roots,” she explains. “They can’t show X-rated stuff anymore, but there’s plenty of great films out there which push the boundaries of societal taboo as decreed by the MPAA.”

Melanie Magnifique. Photo credit: March Turnley

Hays adds that now is a crucial time to support the Plaza Theatre. This week Plaza Owners Jonathan and Gayle Rej announced that they are looking for a buyer forAtlanta’s oldest cinema, adding that they do not wish to close, and are seeking individuals or organizations which might preserve the landmark theater as a historical site. Since purchasing the theater in 2006, the Rejs have focused on event-centered films with live audience-interactive elements, including Splatter Cinema, the Silver Scream Spookshow, Flicks & Giggles, Summer Camp, Art Opening and a Movie and Taboo-La-La! In 2009, the Plaza Theatre received nonprofit status.

Supporting the Plaza Theatre is a rare chance to do something special for this community and gifts of all sizes will make a big difference. The Plaza Theatre Foundation is a 501(c)(3) organization and all gifts are tax  deductible. All funds generated will be used toward restoration, furnishings, equipment, operations and community initiatives for The Plaza Theatre.

Saturday’s events kick-off at 10 p.m., and the first 50 people in the door will receive free makeup! They can also eat meatball sandwiches (while supplies last), and the most beautiful, glamorous audience member in the costume contest will win a basket of makeup! The winner of the Filthy Fashion makeovers will win prizes from Libertine!

Are you willing to die for Art? As Dawn Davenport says, “Being executed will make you famous, like winning an academy award.” Put on your biggest hair and your cha-cha heels! The bad girls are back in town!