ATLRetro

This Saturday’s Rockabilly Luau (noon-8 PM at The Masquerade Music Park) promises an island paradise of musical entertainment from Atlanta bands such as Hot Rod Walt and the Psycho DeVilles, The Atomic Rockets, Pelvis Breastlies, The Mystery Men? and C.N. i. Cow to eclectic regional acts such as Alabama’s Japanese-monster-inspired band Daikaiju and Asheville’s The Go Devils. One band you may know a little less about because they’re new and from Nashville is The Rebel Surfers. But ATLRetro is guessing if you don’t, your ignorance won’t last very long. Like this week’s Kool Kats, Luau founders Chris Mattox and Jessica Vega, guitarist Pete Jamestone and Manda Lou are a dynamic duo of seasoned musicians who mean to cause some mighty fine trouble in the Retro music scene.

The Rebel Surfers Peter Jameson, Manda Lou and new drummer Vera Herten.

Both aren’t Music City natives but they were raised in music. Pete hails from Motor City, where he was a producer, writer and guitarist for such seminal rock and punk acts as Nikki And The Corvettes (Bomp Records), The Motor City Rockers ( The Romantics’ original incarnation), The Original House Of Blues Allstars (Boston) and Nick Kane (The Mavericks), as well as sessions with Rockin’ Ronnie Weiser and Ray Campi (Rollin’ Rock Records), Susan Tedeschi, Annie Rains, Ronnie Earl and Was (Not Was). Manda Lou (sax, bass guitar and lead vocals) comes from the Big Apple and led her own rockabilly band in Nashville which has included Johnny G. d’Artenay and Harry Fontana. Manda Lou also toured Europe with the American Music Abroad Empire Tour and played sax with Pete in Nashville’s Soul Reputations.

Maybe it’s that diverse background that makes them so ready to rebel against the idea of riding the wave of any particular rock genre. Don’t call them simply surf or rockabilly or psychobilly or surfabilly or any label. Or better call them all of that all of once and quite a bit more (see Pete’s thoughts on being boxed below). They’re also more than a little excited about the Rockabilly Luau. ATLRetro decided to sit down with Pete and get a sneak preview of what tiki-philes can expect when the Rebel Surfers come to town.

How did a Journey Man Detroit Guitarist and a New York Rockabilly Sax Kitten end up in Nashville?

Well I was on my way to LA and Nashville got in the way, and it just made sense to stay. Manda Lou moved here from upstate NY to play music. Eventually we crossed paths, followed the Muse, and it all took shape

The Rebel Surfers play The Mercy Lounge in Nashville.

You’ve worked as a producer, writer and guitarist for a lot of big names in Detroit. Is there a different flavor to the music scene in Nashville and what do you like about it?

Detroit is down and dirty where you play every note as if your life depended on it because it does and it has always been that way. Nashville is full of great musicians of all kinds. The unique and like minds seem to organically find each other and make something cool! I’m so lucky to be from the Motor City. It defines everything I do

What’s the origin story behind the Rebel Surfers?

The Rebel Surfers evolved from a recording project into a live act over the last year or so, The name just made more sense than some of the bad ones people come up with!

Your Facebook page describes your sound as “Rock and Roll, Surf, Rockabilly, Spy, Blues, Garage, Instro, Spaghetti, Hot Rod, Exotic, Fuzz, Tropical, Instrumental”? That’s like all my favorite Retro rock music styles meshed together into one happy sound, but is it challenging when you try to describe your sound?

Well, it’s pretty easy to wear our influences on our sleeves, We just love all the “kool” music and culture so much it’s impossible to limit ourselves. So we just go with it. People have to put things in boxes. You just can’t worry about it. You just have to do your thing. Happy Sound. I like that!

I just had the pleasure of interviewing Dick Dale last week for ATLRetro (read it here). How much of an influence is he on your music, and have you had a chance to catch him on his current tour?

Interviewing him must have been something. No, our hearts are sad as we will not get the pleasure of seeing Mister Dick Dale on this tour. Being a card-carrying Fender Man, The Stratocaster, Fender Reverb, Amps—all of it, he truly invented a timeless art form with the tools Leo gave him. His influence is beyond measure, as a performer, musician and human being. In fact, Manda Lou wants to marry him!

Any special plans for the Rockabilly Luau?

We now have our new permanent drummer Vera Herten. We did our first big show with her last week with Los Straitjackets, and we are just reborn as a stripped-down, lean machine. She was the true missing link we have been searching for. We have to pull out all the stops at the Rockabilly Luau as we will be following opener Daikaiju who will just destroy the place. Atlanta, here we come. We can’t wait!

Are you and/or Manda tiki collectors, and if yes, what do you love about vintage Hawaiiana?

We are mostly collectors of musical instruments and vintage clothes, but everything inspires us. Right now we are all living in Tiki World!

When I visit Nashville and want to hear great music like yours, where should I go?

There is some amazing rockabilly on Sundays down on Lower Broad at Robert’s Western World with The Chris Casello Trio. Layla’s, The Basement, The FooBar Too and The Mercy Lounge are my favorites!

What do you and Manda like to do when you’re not performing?

We are always working on something. Right now it’s putting the finishing touches on our first full proper all-original studio album. It should be out around the end of August just before we go on our East Coast tour, You can preview much of it on Reverb Nation and Facebook, as well as see our videos. Our “Live Bootleg” Limited Edition CD will be available at the Luau. Thanks!

The Earl, Friday June 11, 8:30 PM; with Laramie Dean opening; nonsmoking.

Photo courtesy of Dick Dale.

Dick Dale insists he’s not a master of any trade, but fans of the undisputed King of the Surf Guitar would disagree. After all, who else pioneered the Fender Stratocaster guitar and rocked the strings so hard that he blew up a battalion of amps before Leo Fender developed one that could withstand Dick Dale? The man, after all, has a career spanning more than five decades. At age 74, he hasn’t tuned down the noise and even a recent bout of cancer and extreme high blood sugar episodes from diabetes haven’t slowed down his touring. In fact, you get the impression that touring and playing is what keeps him alive in a way that most people would envy.

Dick’s current tour is a special treat, in that he’s hitting smaller clubs like The Earl in a 17-city circuit. Former-roadie-turned-protégé Laramie Dean (Agent Orange) is the one to thank for suggesting the idea, as well as Dick’s wanting to support his son Jimmy Dale, who plays with Dean and is blossoming into one hell of a drummer himself. I had a list of 10 or so questions prepared, but as soon as I dialed up Dick, relaxing in his hotel room before his Austin gig on Tuesday night, it was clear he had a few things on his chest that he wanted to talk about. So I just rode the wave he offered, enjoying surfing through Dale’s passion for supporting Jimmy, recent highlights from the road, his health challenges, the pleasures of clean living (he’s never drank alcohol nor taken drugs, and he quit smoking and red meat years ago) and his lifelong love affair with country music. I’ve edited the conversation down a little bit only for space and repetition and divided his comments by subject, but what follows is mostly unexpurgated, authentic Dick.

On how martial arts gave him his philosophy of life – the joy of living in the moment

To set a foundation for this conversation, I’ve been doing martial arts all my life, and I’ve been all over the world with different masters. I’ve been with the monks with their way of thinking, and that’s the way I can put up with the cancer and all the crap that’s happened with me and being on stage without taking drugs. I once asked my master, “why I can’t I be the best of something and just be unbeatable?” He said, “yes, you can, but you have to give up everything in your life. You must eat and sleep and breathe it.” So he said, “let me ask you something, “would you rather be a master of one or you would rather be a jack of all trades, master of none?” He said, “if you are master of one, you’d be awfully dull at a gathering, wouldn’t you?” It’d be like Einstein. He wouldn’t be able to talk to somebody who’s a contractor or flies an airplane or is shooting bows and arrows or surfing huge waves and surfing little waves. So I chose to learn about as many things as I could—everything from raising canaries to welding to building houses to whatever. I’d have libraries ceiling to floor on all these things, and I’d then ask people who are very successful and be humble in asking.

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Art Opening & A Movie Presents THE DARK CRYSTAL (1982); Dir: Jim Henson and Frank Oz; Starring Jim Henson, Kathryn Mullen, Franz Oz; “The Small Game of Revilo”art exhibition featuring works by Brian Colin; also appearing will be Heidi Arnhold, artist, LEGENDS OF THE DARK CRYSTAL. Tues. June 7, opening reception 8-11 PM with movie at 9:30 pm; Fri. June 10 at MIDNIGHT; Sun. June 12 at 3 PM; Plaza Theatre; Trailer here.

Cover art for LEGENDS OF THE DARK CRYSTAL: TRIAL BY FIRE, the series' second volume written by Barbara Randall Kesel, illustrated by Heidi Arnhold and toned by Jessica Feinberg. (Tokyopop, 2007)

With the popularity of Yoda and the success of stop-motion movies like NIGHTMARE BEFORE CHRISTMAS, it may be hard to imagine how revolutionary THE DARK CRYSTAL actually was when it came out in 1982. Long before CGI, Muppets creators Jim Henson and Franz Oz wanted to show the celluloid potential of puppetry—they even billed it as the first live-action movie with no humans on screen—and take fantasy. So they came up with a mythic tale that provocatively took place in “in the age of wonder,” in which two noble, elf-like Gelflings set out on a quest to a fulfill a prophecy that will free their world from the grip of the evil Skeksis. For the imaginative character designs, they turned to fantasy illustrator Brian Froud, with whom they would collaborate again on LABYRINTH (1986). The project was highly anticipated by science fiction and fantasy fans and won some critical acclaim, but sadly tanked at the box office.

Like BLADE RUNNER (also 1982), DARK CRYSTAL was perhaps ahead of its time and destined to gain more appreciation with age. The fantasy film is the latest in a parade of under-appreciated and cult features which the Plaza Theatre has brought back to the big screen. If you’ve only seen it on a TV screen or haven’t seen it at all, here’s a rare chance. Afterwards, be sure and visit The Center for Puppetry Arts’ museum to appreciate all the craftsmanship and detailed costuming that went into an actual Skeksis which appeared in the film.

The screening is part of the Plaza’s Art Opening and a Movie series, featuring an opening reception for the exhibit “The Small Game of Revilo,” a collection of surprising sculptures featuring whimsical and fearsome small forest animals by Brian Colin which will be on display in the lobby through July 3. Also on hand will be Heidi Arnhold, the artist of two volumes of LEGENDS OF THE DARK CRYSTAL (THE GARTHIM WARS and TRIAL BY FIRE), a manga graphic novel prequel published by Tokyopop and set hundreds of years before the film. She’s also drawn a manga version of STAR TREK and is one of the artists for Archaia Entertainment’s upcoming FRAGGLE ROCK, VOL. II anthology, out July 2011. ATLRetro caught up with Heidi to find out how an unknown artist won a professional debut as cool as DARK CRYSTAL, why she thinks the movie has such staying power, and a little bit about her affection for rabbits.

How did you get the opportunity to be the artist for LEGENDS OF THE DARK CRYSTAL?

When I was a senior at the Savannah College of Art (SCAD), I met Tim Beedle [former Tokyopop editor] at Editor’s Day. The Sequential Art Department hosts the event once a year and invites editors from various publishers to visit and give portfolio reviews. I made [Tim] my top priority because my style seemed best suited for them. Much to my surprise and excitement, he liked my stuff and gave me his card! I walked out of the review room clutching it in my hands like he’d just given me the golden ticket.

The evil Skesis, as drawn by Heidi Arnhold in LEGENDS OF THE DARK CRYSTAL (Tokyopop).

I kept in touch with Tim after I graduated in hopes that a project in need of an artist would open up. Little did I know that he was working on LEGENDS at the time, and the first artist had decided to walk. Initially Tim had intended for me to work on something else, but he needed someone to take over the book fairly quickly. One day he asked me if I was a fan of THE DARK CRYSTAL, and I thought he was just making small talk and didn’t respond right away. Shortly afterward he hinted that there was a reason he was asking me that, and I got it through my thick skull that this could be my chance to move forward in the career of my dreams. After sending him sketches and several test pages over the next couple months, I was approved! Tim told me over the phone, and I did an awkward victory dance in the back room at my workplace—thank goodness nobody was looking! And that’s how it all began.

Were you a big fan of the film already, and if yes, when did you first see it and what impact did it have on your art?

When the prospect of illustrating LEGENDS was placed on the table, I’m embarrassed to say I had yet to see THE DARK CRYSTAL at all. I missed out on many awesome things when I was younger, mostly because VHS tapes were pretty costly—or so my parents tell me—and my family wasn’t doing so great financially. I never saw LABYRINTH or FRAGGLE ROCK as a kid either. I’m very glad I was able to grow up watching shows like SESAME STREET and MUPPET BABIES at least!

Another page drawn by Heidi Arnhold for LEGENDS OF THE DARK CRYSTAL (Tokyopop).

However, once I had seen the movie, I was enchanted by the characters and backgrounds. I’ve always had a connection to the fantasy genre, its whimsical elements in particular. Even before I was green lit as the artist, I could tell the world of THE DARK CRYSTAL was going to give me the opportunity to cut loose and have some fun.

Your artwork is very detailed and really makes the movie come to life in the graphic medium. How did you prepare, any funny stories and how many times did you visit the actual skeksis at the Center for Puppetry Arts museum?

Back then I was working at the UPS store, and on my slow days I used their printer to fill a binder full of Dark Crystal reference material—shhh, don’t tell them. I watched the movie over and over. I sketched from screenshots. I referenced Brian Froud’s art book [THE WORLD OF THE DARK CRYSTAL]. I coveted the days when it was quiet at work because I’d get to practice drawing Gelflings and Skeksis to my heart’s content. Skeksis anatomy turned out to be a source of frustration for me. I could not draw the Chamberlain with the correct

Artist Heidi Arnhold.

proportions to save my life. Tim was being so patient as he repeatedly tried to help me visualize how Skeksis were supposed to look. Before too long I began to have dreams about drawing the Chamberlain constantly, and I think that made something inside me die a little—I stopped sending revised drawings for a brief period after that. Tim graciously allowed me to send several test pages containing Gelflings only, claiming that I’d be able to draw Skeksis in my sleep the more I worked on the comic. Luckily, he was right!

And yes, I did visit the Center of Puppetry Arts in 2008. I remember how exasperated I was, because I wish I had gone sooner! I could actually examine the Garthim Master up close, and I understood certain details in his robes much better in person than I ever would have from a screenshot. I was kicking myself that I’d never even considered going down there earlier to use such a valuable resource.

DARK CRYSTAL was really groundbreaking in its use of puppetry in a feature film. How do you feel it holds up today and why should people come see it?

The Dark Crystal has always been such a unique film to me. It gives a fascinating insight into the scope of Jim Henson’s vision, and it redefined the boundaries of puppetry, both technologically and in subject matter. I’ve never seen anything quite like it before or since. I think the movie sits in a specific category all its own, and for that reason it has earned a special place in cinematic history. Everyone should see it at least once!

The cover of Archaia's FRAGGLE ROCK Vol. 2, coming July 2011.

You’ve also drawn FRAGGLE ROCK for Archaia’s anthology. Is that out yet and what was that like and are those stories from the TV series or original ones?

I illustrated a lead story for Volume 2 , Issue 2—that’s a mouthful, isn’t it?—titled “The Meaning of Life,” written by Joe LeFavi, which came out in January of this year. It’s part of a three-issue run that will be collected into a hardback book in the coming months. Volume 1 is already available, and I highly recommend it! All the stories in the anthology are original, and they really hold true to the feel of the show. I think they’ll hit home with a lot of longstanding FRAGGLE fans and give newcomers a chance to fall in love with them as well.

A page drawn by Heidi Arnhold for FRAGGLE ROCK, VOL. II (Archaia Entertainment)

What are you working on right now?

Currently I’m in a holding pattern to see if a project I’ve been visually conceptualizing will be picked up. The story is really fantastic, and I hope that we’ll be able to share it with everyone soon! In the meantime, I’m working on a short-term project that I’m also not allowed to talk about. I know, it’s super interesting, right? Being sworn to secrecy doesn’t make for fun interview responses.

Finally, how many rabbits do you have and have you played with them today?

I have three bunnies! Two boys, a Netherlands Dwarf and a Rex, and one girl, a Mini Rex. The boys are roommates and haven’t bonded with the girl yet, so playtime is sectioned off to different areas of the house. The boys have a room all to themselves, and my little lady is downstairs with me right now! She keeps nudging my feet while I’m sitting in my office chair, because she knows it will make me turn around and pet her. Bunnies are the BEST.

Viva Las Vegas Rockabilly Weekend may be a lot bigger and more famous, but down home here in Atlanta, the heartland of the Redneck Underground, we have our own mighty fine shindig called Bubbapalooza. Like all good and crazy ideas, it started with a man with a dream. Gregory Dean Smalley was a prolific guitarist and songwriter who settled in Cabbagetown and used to play in one band or another practically every night in Atlanta and Athens bars and clubs until he succumbed to AIDS in the mid-‘90s.

While Greg’s physical presence may have passed away, his no-holds-barred musical soul still burns brightly every Memorial Day weekend at the Star Bar. It’s hard to believe that Bubbapalooza is celebrating its 20th anniversary, and yet to anyone who’s been in the Atlanta scene for any amount of time, it seems impossible to imagine that there ever

Ghost Riders Car Club

was a time when it didn’t happened. On Friday May 27 (doors at 7 PM) and Saturday May 28 (doors at 3 PM), feast on BBQ, knock down a PBR, see some of the city’s most lovingly restored pre-‘70s hot-rods and rock and ramble to 20 rockabilly, Redneck Underground, cowpunk, surf and county-inspired bands, as well as have a chance to win prizes from Little 5 Points retailers in a raffle and have your 20th anniversary picture taken at the PBR Photo Booth.

ATLRetro caught up with Star Bar Booking Agent Bryan Malone (The Forty-Fives) and Ted Weldon (Truckadelic, Ghost Riders Car Club) for a sneak preview.

Bubbapalooza 20 is dedicated to Gregory Dean Smalley who founded the first Bubbapalooza and raffle proceeds go to his family. For those who haven’t been in Atlanta that long, can you briefly recap who he was and how Bubbapalooza got started and got its name?

Blacktop Rockets

Greg Smalley came down from Cedartown GA. in the ‘80s and was a founding member of The Grease Guns, The Diggers and The Bubbamatics and played with The Chant, Blacktop Rockets, Slim Chance & the Convicts & who else?

He played with Amy Pike, Kelly Hogan and several more. God, everyone from those days. But, yeah, Bubbapalooza was his bastard love child from the early days of 1991. It started as a festival to showcase the Redneck Underground which was a bunch of bands from the Atlanta/Athens area and even North Carolina. Plus it was to celebrate the early Star Bar’s trailer trash extravaganza of bad ideas & all things southern. It was a great excuse to have a show where all your friends play a bunch of rowdy songs & drink all night.

There’s more bands than we could even mention that have played Bubba, but here are a few: Southern Culture on the Skids, Deacon Lunchbox, Drive-By Truckers (they have a song about Greg Smalley called “The Living Bubba”), Kevn Kinney, Dex Romweber, BR-549, The Delta Angels, Kingsized, Truckadelic, Charlie Pickett, Redneck Greece Delux, Slim Chance & the Convicts, The Belmont Playboys, Greasepaint, Rocket 350. This list could go on and on.

Every year seems like a big family reunion for Atlanta’s rockabilly/Redneck Underground/old Star Bar scene crowd. Having hit a milestone 20th year this year, do you think it’ll be even more so?

A ton of the bands that are playing this year were actually onstage during the first Bubbapalooza, so yeah it is most definitely a homecoming. There will be a lot of friends and family all weekend and the kind of familiar faces that you only see at certain shows or in some cases just this one time of year. Even Mama Smalley will be here also to oversee the proceedings.

Are you doing anything special for the 20th year?

Hahahaha. The big thing is we’re still doing it 20 years later. That’s pretty crazy. It’s unbelievable having a get-together like this that’s lasted that long. It kind of says something about the crowd that was here at the very beginning, as well as all those who’ve joined in over the years. You can count on three things these days: Death, taxes & Bubbapalooza. Hahaha.

But, yeah, we have 20 bands this year, enough bands for a three-day festival. It’s gonna be a great mix of the regulars like the Blacktop Rockets, Caroline & the Ramblers, The Billygoats, plus a whole bunch of newcomers this year like Bareknuckle Betties & Uncle Daddy & the Kissin Cousins, Midway Charmers & some crazy surf from the Disasternauts, too. There’s so much music we’re even having bands downstairs in the Little Vinyl Lounge and tons of stuff on the back patio as well.

[Web-based radio station] Garage 71 is hosting a pre-1970 hot rod car show on Saturday. We’re expecting 20 or 30 entries for that. Oh, yeah, and there’ll be free Slope’s BBQ Saturday afternoon. Haha. It’s just gonna be a big old helping of Bubba hyjinks.

Can you tell us a little bit about the Redneck Cruise-In Hot Rod Show?

The car show will be hosted by Garage71. All the cars and motorcycles will be pre-1970. That will be Saturday afternoon starting at 5 PM. There’ll be some cool stuff down here for sure. There’s a trophy, too, I hear, so someone will drive out a winner of something to brag about. Not sure what the trophy looks like, but I’m sure it’ll come with something greasy like a bucket of chicken. Anything’s possible.

Uncle Daddy & the Kissin' Cousins

Expect a healthy dose of good country music, rockabilly, country-punk, southern rock, surf bands, hot rods, BBQ and a whole lot of good times and cold beer. You don’t necessarily have to drink PBR but it sure helps. Helps with most things really. Ha.

This is the kind of event that could really only happen at the Star Bar though, and it’ll be full of people who like good country and rockabilly music and are ready to let loose for Memorial Day weekend. Every year someone comes up and says “Happy Bubba” and makes a toast. It’s down-home stuff.

Sonoramic Commando

What’s the craziest, funnest thing that’s ever happened at a Bubbapalooza?

One of the funnest things that happens every year is when the stage is packed with about 40 people for a drunken rousing rendition of “She’s Breakin My Heart While I’m Drinkin’ Her Beer”—the old Diggers tune. It’s always brings down the house and is quite a moment.

What question did I not ask you that I should have and what’s the answer?

What’s a bad idea that became a tradition? Boone’s Farm Saturday.

HAIR: The American Tribal Love-Rock Musical; Fox Theatre; May 17-22; Ticketmaster; presented by Broadway Across America.

When actress Allison Guinn showed up for a 700-person cattle call audition for Tony Award-winning revival of HAIR, she had 16 bars to show she had what it takes to join what most people think of as a celebration of peace, love and understanding. She picked Janis Joplin’s “Turtle Blues” and screamed “I’m a mean, mean woman, and I don’t mean one man no good.” She was certain that she wouldn’t get cast.

Then three weeks later, Allison found out that seemingly risky choice was exactly the right one to make, scoring her the part of a disgruntled hippie in the Tribe ensemble. “Director Diane Paulus took my hand and led me down a hall of pictures, then she pointed at one of Grace Slick looking really heavy and giving me the finger,” Allison recalls. “She said, ‘That’s you.’” Later Allison would also get two more roles as the conservative Mother of draft-resistor protagonist Claude and a Buddhist monk called Buddhadalirama.

HAIR has a reputation for being the hippie-dippie musical. After all, what’s more New Agey sounding than “Let the Sunshine In” and “Age of Aquarius.” But Guinn, who’s more into the less cheerful early ‘60s beat generation than the late ‘60s Summer of Love counter-culture says, not so fast. “It’s easy to paint with broad strokes and say this show has such wonderful bright colors and we say ‘love’ every fifth word,” she adds. “But it’s not just all laidback and groovy. It’s about this quest for a new life because the old way of life obviously isn’t working. Society is at a boiling point. All these people have been killed [in Vietnam], all these riots happened, it’s a period of great change, and these people are at the pinnacle of it.

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Atlanta’s quintessential weekend in the park, the Dogwood Festival at Piedmont Park has always been a crowded but laidback affair with bands, art vendors, food, kids’ activities and dogs who chase Frisbees. So when organizers looked for something to make its 75th anniversary year even more memorable, ATLRetro is jazzed that they decided to think backwards to a ride that has been the signature of world’s fairs, expositions and festivals of bygone days—a Ferris wheel.

And what a Ferris wheel they found—the Seattle Wheel. The largest traveling Ferris wheel in the nation at nine stories high, it seats four abreast in each car and was built in 1963 for the Seattle World’s Fair. That’s big for most Ferris wheels of today with the exception of stationary giants such as the London Eye. To put it into perspective, the first Big Wheel, designed to rival the Eiffel Tower in its mechanical wonder, was built for the legendary Chicago World’s Fair in 1893. Its cars were 24 feet wide and carried up to 60 people!

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As tickets go on sale for next year’s Southern Fried Burlesque Festival, Atlanta burlesque maven Talloolah Love looks back on an absolutely fabulous first year…

I have to give my eyes a rest, as I may develop rhinestone cataracts after seeing such an array of magnificent, world class acts as graced the stage March 10-13 for the first-ever Atlanta burlesque convention: The Southern Fried Burlesque Festival. Plenty of articles have been put out there about the two gals behind the event. Masterminds and inner puppeteers, Ursula Undress and Katherine Lashe, were certainly exercised to the extreme as they worked their little tail feathers off to put this show on, and boy, didn’t it show! The vendors room alone could have struck you blind for all the fabulous glitter, rhinestones and color. As someone who has been to many festivals all over the country, ATLRetro asked me to share my experience as a spectator with a sweet nod and smooch to everyone behind the event who volunteered and assisted in their own ways to make it all happen.

Lydia DeCarllo

I arrived Friday night, just before doors. The moment I came in, the fabulous Lydia DeCarllo, the international sensation from Vancouver, swept me up. Now that’s my kind of welcome wagon! We chatted about her trip in and about how she’s been since we last saw each other at the Texas Burlesque Festival. Derek Jackson, Atlanta photographer and avid burlesque advocate, arrived soon after along with world-famous Rick DeLaup, founder of the New Orleans Burlesque Festival. I took a quick jog over to the bar, as I am quite familiar with the Decatur Holiday Inn and Convention Center, which has been newly renovated and also is the home of TribalCon, a national bellydance convention I try to attend every year. The bar was literally dripping with burlesque stars, but the most fabulous in attendance at that moment as Ms. Torchy Taboo, Atlanta’s own burlesque Godfather. She held court there as only she can, a moment I so sorely missed out on because there was so little time to commiserate before the first big show began.

Talloolah Love and Derek Jackson

I took my seat in the VIP section with Rick and Derek and used my commemorative Jo Boobs pen to take notes on the festival’s first all-star show. My only disappointment was that when Derek invited me to sit VIP, my vision of it would be some kind of small gift bag or at the very least drink tickets for the conveniently located hotel bars in the ballroom. But not this year. Happily the bar’s prices were so reasonable it wasn’t as big of a deal as it could have been had the event been held in Atlanta. Still, if I were to critique the VIP experience for its price, a small gift of appreciation would have been nice and usually expected at most festivals.  All of this, though, was again mitigated by the national celebrities who came to chew the fat with us, like Atlanta’s own Mike Geier, the evening’s emcee, and Margaret Cho, along with the cast of DROP DEAD DIVA.

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By Philip Nutman, Contributing Blogger

In 1968, a white, pissed-off liberal decided it was time to mess up the private eye sub genre of detective fiction and create an African-American version of Raymond Chandler’s Philip Marlowe, and Dashiell Hammett’s Sam Spade—a tough BLACK private eye (“that’s a sex machine to all the chicks”).

The writer: Ernest Tidyman. The character: John Shaft.

In 1971, MGM unleashed SHAFT, a movie based on that fictional detective directed by the preeminent African-American LIFE Magazine photographer Gordon Parks. Tidyman cowrote the screenplay, and that year won an Oscar for his adapted screenplay for THE FRENCH CONNECTION, the movie which made Gene Hackman and his stinky feet a star.

Richard Roundtree backstage at the 2011 Trumpet Award ceremony. Photo courtesy of the Trumpet Foundation.

But SHAFT gave African–Americans their first superstar actor: a 28-year-old former football player and EBONY magazine model.

Ernest Tidyman, sadly, passed way in 1984. But Richard Roundtree is still with us and promises his best work is yet to come.

ATLRetro had the privilege to interview him immediately after he received a prestigious Trumpet Award for his contribution to the arts on January 28 at the Cobb Energy Performing Arts Centre. The awards ceremony will be broadcast on Sunday April 24 on TVONE.

You’ve seen him in ROOTS. He’s worked with legendary actor Peter O’Toole in MAN FRIDAY (1975). John Shaft is an American icon. Richard Roundtree is a legend…(still in the making…)

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Forget Hollywood’s cheesy 3-D CLASH OF THE TITANS. In fact, ATLRetro hopes you already have. Instead you’ll have much more fun at this week’s Martinis & IMAX at Fernbank Museum of Natural History, redubbed “Night of the Kraken,” which promises to be fantastically out of time and marvelously in tune with the recently opened MYTHIC CREATURES: DRAGONS, UNICORNS AND MERMAIDS special exhibition. Attendees are encouraged to compete in a fantasy-inspired costume contest hosted by Professor Morte, “ghost host with the most” of the Silver Scream Spookshow. Bartenders will be serving up mythic-themed cocktails including a Krakentini, featuring Kraken rum. And playing in the shadow of the skeletons of the world’s most gigantic dinosaurs—primeval beasts whose bones perhaps inspired medieval belief in dragons—fittingly is one of Atlanta’s most imaginative bands, Blair Crimmins and the Hookers.

You might think of ragtime as kind of quaint, but you wouldn’t be talking about Crimmins’ take on this 1920s form of jazz. Remember that they didn’t call the Twenties Roaring for nothing. In fact, you might even describe Crimmins’ high-energy style as “in your face” as rock ‘n’ roll. Except the groupies would be flapper girls, and the band is playing instruments your grandparents would approve of from banjo to accordion, saxophone to piano, trumpet to trombone—and may be accompanied by antics inspired by the best vaudeville comedy. What does this have to do with mythic monsters? Well, let’s just say in the midst of the madcap mania, some of the lyrics are also decadently dark.

ATLRetro caught up with the mastermind behind this one-of-a-kind act for a last-minute preview of this not-to-be-missed hootenanny themed around a giant monster of the deep.

1. What drew you personally to the ragtime, 1920s sound?

Early Ragtime jazz and Dixieland represents a time when jazz was brand new and exciting. People [were] taking classical instruments and making these wild sounds with them. It’s like the first time someone turned up the overdrive on their guitar amp. It made people turn their heads and say “What the hell is that sound?!”

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Atlanta certainly has earned its place on the map of the Neo-Burlesque Revival with amazing performers and troupes. Now this steamy Southern city finally is getting its first bonafide burlesque festival, too. In case you’ve been too naughty to notice, Southern Fried Burlesque Fest dances into town next weekend, Thurs. March 10- Sun. March 13, 2011, at the Holiday Inn Hotel and Conference Center in Decatur. But co-founders Katherine Lashe and Ursula Undress (Syrens of the South Productions) kindly have agreed to pull back the curtains and strip down to some of the delicious details…

Katherine Lasche & Ursula Undress invite you to some Southern-fired fun at Atlanta's first burlesque festival.

1. Is there any story behind how you hatched the idea for Southern Fried Burlesque Fest and why Atlanta needs its own festival?

Katherine Lashe: Atlanta’s the biggest city in the Southeast and a hot bed for burlesque with guest performers coming in all the time so it seemed to make sense that we should have a festival to show off all of the amazing talent from all aspects of burlesque that the Southeast had to offer, in addition to showing the Southeast what the rest of the world has to offer as well.

Ursula Undress: I had heard some talk about how we needed to do something like it here at a few of the Atlanta Burlesque & Cabaret Meet-Ups and had been to a few other state-specific festivals. So I supported Katherine with wanting to move forward with one here and told her I would do whatever I could to help. We definitely have the talent in the city and surrounding areas—so it has become sort of a regional thing.

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