ATLRetro

Nicolette Valdespino

By Torchy Taboo
Contributing Writer

A visit to Paris on Ponce always feels like stepping into New Orleans or indeed – Paris – in the middle of Midtown Atlanta. I adore its historical, yet timeless French aesthetic. The unique antique shop will be celebrating that French flavor with their first annual free Bastille Day Festival, Saturday, July 14 from 11 a.m. to 4:30 p.m. and Sunday, July 15 from 11 a.m. to 9 p.m. Sunday evening from 6-9 is the Party Fantastique with Baton Bob, Minette Manifique burlesque, magician Chad Sanborn, All Hands Productions puppetering and film premieres from Escobar Productions.

In the early 21st century I dreamed of having my own event there. However, the owners at that time shied away from getting into the complexities of running and renting a true event space and only did so sporadically. The year 2011 saw a change, however, with new owners, a new manager named Nicolette Valdespino and a fresh new take on sharing the space with the public.

“Le Maison Rouge is the 4,200 square foot event space that is over-the-top Moulin Rouge-themed within the heart of the store….In this last year, we have hosted two public auctions, participated in ‘The Next Cool Event,’ hosted the Atlanta Film Festival, made a film, been named the ‘Best Antique Store in ATL’ by Jezebel Magazine, and now we are kicking off a whole flush of new remodels with the Bastille Day Festival,” bubbled Nicolette. In a way chatting with her is like a conversation with the evolving space itself. Meaning of course, that ATLRetro could not resist making her Kool Kat of the Week.

ATLRetro: My first visit to PoP was to perform at an event in 2002. I walked in the front and was enchanted, but had to ask, “Why are we performing at an antique store?” Tell us how you first came there.

Nicolette: [While] shopping for a couch I walked into Paris on Ponce for the first time. I had my own interior design business [in Portland, OR] for eight years and then decided one day that it was time to try to be a East Coast girl. So I packed up the pug and drove across country in search of design adventures. When I walked into the shop in April 2011, I met Skip [Engelbrecht] and Dennis [Baker] [the new owners] and immediately recognized and respected their vision for the new Paris on Ponce. They had worked for the previous owners, George and Judi, for 11 and eight years respectively and had just bought the business weeks before.

Tell us a story about yourself as a budding designer. Did you rearrange your mother’s furniture and redecorate your bedroom seasonally?

Well, I was always described as a “busy child” and was constantly trying to build/sew/create something. At about four to five years old, my mother began hauling home large boxes from the San Francisco Children’s Hospital where she was a nurse, and I would build go-carts, furniture and once a sink complete with plastic bags of water and turn screws for faucets. Hard lesson there – water + cardboard = Not as much fun as you’d think.

I think the first interior design project that I really did was when I was seven – I wanted a canopy bed. My mother nixed that so I just took down my curtains and rods and staple-gunned them to the ceiling around my bed. Done.

You’re from Portland. What experiences there shaped your creative vision?

Portland is very DIY, very vintage, re-purposed, locally made and handcrafted – which is why I moved there in the first place. There is an easy sense of community that involves musicians, artists and philanthropy. But after 11 years, I had created what I needed to there in the arts/music/design/fund-raising scene.

What is the arts scene like  in Atlanta compared to Portland?

Frankly, the art scene [here] is just like Atlanta [itself]: bigger, bolder and from many more perspectives and mediums. It tends to be a louder and more high-minded scene and gets the attention it deserves.

Nicolette Valdespino with Paris on Ponce co-owner Skip Englebrecht.

What drew you toward Atlanta and were there other cities that you considered moving to?

I was actually plotting my new life in New Orleans when I got sidetracked to Atlanta by a girlfriend who lives here, suggesting that the original California kid might want to put her toe in the water in a large Southern city before I went “deep south” as she called it. The sense of history, craftsmanship and ornamentation that is on the streets, in the air, in the architecture and the culture on the East Coast as opposed to the West eases my soul and inspires me. I don’t know that I’ll have children in this lifetime, and when you start thinking that way, you start wondering who exactly is going to remember you. That leads me to start thinking about all of the hands and stories that created these cities and furnishings that were interesting, emotional and forgotten. By re-purposing, valuing, and preserving these artifacts, I feel more involved with those lives and more a part of humanity in general. Perhaps someday I will be distantly remembered for my interpretations as well.

What historical era of design is your personal favorite?

I should have been born in the 1930s. While I am delighted and really enjoy modern shapes and styles of clothing and furnishings, my personal aesthetic is and always has been a sort of twist on 1940s couture. My father used to refer to pocket money as “hat money” because that is exactly what I would spend my jingle on as a child. I love toppers, circle skirts and pin-up styles. They just feel the most natural to me. Feminine, timeless, and they seem to make people happy. My personal style in decor is greatly influenced by all of the traveling I did as a young person with my French grandmother. If it’s gilded, baroque, velvet, marbleized and slightly decaying, I’ll immediately start to squeal.

How does this inform you as a professional designer?

When I design someone else’s space, it has nothing to do with what I personally like. It is all about the interpretation of that person’s background, personality and resources. Style doesn’t have anything to do with expense as well. Often times, revamping what a client has and custom, locally crafted pieces are much less expensive than just purchasing ready-made items. Plus, you are fostering money within your community and really customizing a space towards the haven that everyone deserves to call home.

In what ways have you influenced the “new PoP”? In other words, when I walk into the venue, where will I see your fingerprint?

Skip, Dennis and I are most certainly a team when it comes to the direction of Paris on Ponce and PoP Marche. I will say though, that I am ridiculously focused on making sure that not only does our new “PoP Marche” have something for everyone, but that the individual booths are very specific to a given lifestyle. I want them to be little complete worlds unto themselves. I want PoP Marche to be startling. From space to space, you are jarred into a whole different vision. Eventually I would like a book store, a toy store, a cafe, a prop studio, an in-house upholstery shop, a gallery for local artists, even a barbershop would be fun. Come, play, experience, purchase, participate and enjoy yourself, and know that the next time you walk in, you will see whole new installations.

What event has been the most fun and exciting for you at PoP?

When we made the giant paper Marie Antoinette for “The Next Cool Event” that was a great crafting project, and the way it was received as compared to other businesses very expensive displays was really satisfying. Our aim was to show that we could make the most ordinary of mediums be extraordinary. Clever beats a dollar bill every time.

Truthfully, though, I’m most excited about the upcoming Bastille Day Festival. I’ve thrown a lot of parties, weddings and charity events before, but never a festival, and never for a guest count that I can’t even imagine. The idea of making it an annual festival is really thrilling, too. Cementing Paris on Ponce in the community as a bohemian playground for artists, writers, performers and dreamers feels like not only is it attainable, but just over the horizon.

If you hadn’t become an Interior Decorator, what might have you done?

I think that it is compulsive for me to create and interpret. Everything. I’ve been sewing and creating my own wardrobe since I was seven. I am no fine artist, but I love to sculpt. Industrial design and furniture design are fascinating to me because you genuinely get to create objects that engage people and serve practical purposes. I have built couches, tables, chairs, and the reinterpretation of leftover furniture pieces through re-upholstery and faux finishes has been a lot of fun lately.

Did you ever expect to be involved in events coordinating and what is your role in the events that take place there?

I throw parties. I love throwing parties. I love them so much I became an officiant so that I get an excuse to participate in other peoples’ parties – kidding – kind of!  Throwing an event is like a shorter, more satisfying version of designing an interior. You come up with a concept and a budget, pull it all together while trying to make it surprising and clever, and everyone has a great time. The one large drawback comparatively is that it’s all temporary. A great party is a great memory, and nothing practical that someone can utilize in the future. But, of course, one’s life is simply a collection of memories, so it is pretty important when you think of it that way. I love the idea especially of doing this Bastille Day Festival here, aligning and showcasing these artists and performers so that they can get paid for being brave and creative. In the future, I would love to make it a fundraising event for the Atlanta arts community.

As far as most of the private events in Le Maison Rouge goes, Dennis is the resident event coordinator, but concerning our previous opening gala, auctions, the upcoming Halloween party, I anticipate that my extra special brand of nonsense will be all over that.

What do you see yourself doing five years from now?

Smiling. Laughing. Building. Learning. Becoming better, brighter and more honest about everything I do. I know that I am extremely lucky to be where I’m at. In this city, in this store, with such great bosses who never red-tape my visions. And I know that I’m here because I work really hard to make this life as full as possible, and that means saying “yes’ when others say “no,” looking for the silver lining, and being creative with difficult situations. There is always a way to make things work if you just breathe, be humble about your perspectives, and take those big leaps. Kind of like when I jumped out of a plane last year on my birthday and the parachute collapsed 30 feet from the ground…Wait-that didn’t work out so well – but I’m still glad I did it.

If I can help to pull off this new vision, this bohemian playground, creating a new corner of culture, I will be a very happy girl and then maybe a whole new endeavor. I’ve been too lucky thus far to plot my future.

Note: All photos are courtesy of Nicolette Valdespino and used with permission.

Sabin Epstein. Photo courtesy of Georgia Shakespeare.

Georgia Shakespeare is going Wilde, as in Oscar Wilde, for the first time this summer with THE IMPORTANCE OF BEING EARNEST, running from Fri. July 6 through August 3 at the Conant Performing Arts Center at Oglethorpe University.  The plot is a familiar one – two young friends, Jack and Algernon, both masquerade as a libertine named Ernest, to win the hearts of their unsuspecting loves, Gwendolyn ad Cecily.

You may ask what’s 20th century about that? But in keeping with the notorious playwright’s own Bohemian lifestyle, what follows is no stiff Victorian comedy of manners but a frenzied farce with plenty of political incorrectedness that has stood the test of time. Plus we have to admit we just love both Oscar Wilde and Georgia Shakespeare and have great memories of sitting on the lawn, picnicking and watching some great theatre under the original tent in the late 1980s, so we think it’s mighty cool that the company has survived, grown and prospered into an Atlanta summer tradition that performs more than the Bard!

What better reason to name director Sabin Epstein Kool Kat of the Week. He may not be named Earnest but he was happy to sit down and share some secrets about why it was time to go Wilde, what he and the cast have done to keep this much-acted play fresh and funny and a few memories of  the festival’s early outdoor days.

ATLRetro: THE IMPORTANCE OF BEING EARNEST has been a standard for theatre companies for more than a century. What do you think is the secret behind its seemingly timeless appeal? 

It seems people have been falling in love since time began and sometimes the course of true love doesn’t run smoothly. We love complications, of our own making or other people’s making. EARNEST is one very complicated and clever love story with wonderfully droll and daffy characters and very clever logic.

In Shakespeare, there’s quite a bit of gender-bending. Is that why you decided to stir up the sexes with a couple of characters?

The reversed gender casting just happened, it wasn’t planned- these seemed the best actors for the role, each bringing interesting qualities to the characters that helped open up a new way of looking at them.

Cecily (Ann Marie Gideon, center) encourages Algernon (Caleb Clark, left) and her guardian Jack (Joe Knezevich, right) to make amends. Photo credit: Bill DeLoach.

Without giving too much away, what else have you played with to change things up and keep the play fresh?

The visual design of the piece is nontraditional. We started with the Lewis Carroll/Alice in Wonderland aspects of the play, the upside-down logic, and let the design evolve from there. We’re using a unit setting, so it has to accommodate both indoors and outdoors simultaneously – the overall look of the piece is theatrical, tightly controlled (like the world it is mirroring) and, I believe, not lacking in wit.

This play contains some marvelously witty dialogue and situations. Do you have a particular favorite scene to direct and why? 

The real challenge is in looking at so many famous scenes and famous lines and famous characters and forgetting about what made them famous in the first place and to just dive in to the piece as if its a brand new play. In that regard, every scene has been fun to work with and all the characters fascinating.

You’ve assembled a nice line-up of seasoned Atlanta actors including some long-time Georgia Shakespeare regulars, such as Megan McFarland. Can you talk a little about the cast?

We’ve had a wonderful time in the rehearsal room; the cast is a delightful mix of actors new to me and dear friends; the atmosphere has been relaxed, loose and playful, due largely to the trust and experience generated playing in rep over the years. I’ve wanted to challenge those actors I’ve worked with before with non-type-casting, and get to know the new actors playing into their strengths. They’re all adept at working with “high language,” which is a requirement for this piece – anyone who can speak Shakespeare and Shaw and make them make sense/resonate with contemporary audiences is perfectly suited to this material, and everyone in the cast fits the bill.

Jack (Joe Knezevich, center) discovers his true identity in the presence of Lady Bracknell (Mark Cabus, from left), Miss Prism (Marianne Fraulo), Algernon (Caleb Clark) and Cecily (Ann Marie Gideon). Photo credit: Bill DeLoach.

Finally you must be proud at how Georgia Shakespeare has grown and blossomed over the past nearly 30 years. Do you ever miss those early days under a tent in a field and do you have a favorite memory? 

The early days were full of adventure and the unknown – even though we’re now in air-conditioned rehearsal rooms, that spirit of adventure seems to thrive with Georgia Shakes and that’s why I love returning to the company. My first project here was MUCH ADO ABOUT NOTHING in the second season, in the tent; I’ve loved working on Moliere and Orton with the company as well as Shakespeare- wonderful memories of THE MISER, THE TEMPEST, TWELFTH NIGHT, MERCHANT OF VENICE, KING LEAR, WHAT THE BUTLER SAW, the black and white shows, the colorful shows – they’re all my children. How could I possibly single one or two out? It’s just wonderful to have the opportunity to do work I’m invested in with a company that isn’t afraid to take risks and be adventurous and truly supports its artists.

THE IMPORTANCE OF BEING EARNEST is running in repertory with this year’s other productions, MUCH ADO ABOUT NOTHING, ILLYRIA: A TWELFTH NIGHT MUSICAL and THE EMPEROR AND THE NIGHTINGALE, a world-premiere family musical based on a Hans Christian Anderson story (July 14-Aug 3), click here. A fun night to see the show is Friday July 13, when you can stay late and see cast members also present the Girls (and Boys) Gone Oscar Wilde Cabaret, no holds barred at this “Wildely” naughty performance (*Appropriate for ages 13 and up), after the 8 p.m show. For more information or to purchase tickets, visit www.gashakespeare.org or call the Georgia Shakespeare Box Office at 404.504.1473.

A free Joy Division Tribute Night this Friday June 29 at 9 p.m. at Famous Pub & Sports Bar in Toco Hills?! Being an old-school, heavy duty acolyte of Joy Division, who at one time drew my nose up even at New Order in loyalty to the ghost of Ian Curtis, ATLRetro had to prick up my ears. Turns out 1WB, aka One Will Burn, is a very recent entry to the Atlanta music scene (they played their first gig May 7, 2012!), but is made up of some seasoned Atlanta musicians, including vocalist Ross Henderson and bassist Todd Caras (Methods of Espionage), guitarist Michael Church and drummer David Goodwin (Other Voices, Candy Apple Black). Sleep The Owls and The Flannels also are on the bill as opening acts. In sum, the idea of a band dedicated to keeping Curtis’s ghost alive in the 21st century was so compelling that it just seemed to make perfectly unnatural sense to make Todd Kool Kat of the Week if only to find out why?

ATLRetro: Why a Joy Division tribute band in 2012?

Todd Caras: Like many who collect music or perform in band, I have personally experienced/seen a wide generational gap in what bands/sounds influence today’s 20-somethings. My generation – I’m nearly 40 – were influenced by bands like Joy Division, The Smiths, etc., and developed a connection with contemporary bands such as Interpol, The Doves and Suede not so long ago, etc. who draw directly from the same influences. Today’s 20-somethings are listening to bands who are influenced by bands who were influenced by the early 4AD/Rough Trade post-punk groups; there’s practically three to four generations of distance and separation leaving us with some very watered-down hints of what used to be. Nothing wrong with it. It’s inevitable, natural, but ultimately sad.  I personally feel that bands of Joy Division’s ilk were the last major movement in music from a creative standpoint. Yes, you had the shoe-gazers in the early ‘90s, and then grunge, and later the garage rock revival of the early 2000s; but they all drew from a warmed-over idea.

I understand One Will Burn was founded somewhat by accident. What’s the story?

One Will Burn was hastily formed by members of a few local bands in town to play a show and fill in for a band that couldn’t make it out. Our front man Ross and I belong to the band Methods of Espionage and were asked to fill a slot at a local venue, but two members of our band were out of town. Still wanting to play the show and help a friend -plus we wanted to help a struggling local venue, THE MUSIC ROOM – we pushed forward and reached out to drummer David Goodwin of Other Voices and Candy Apple Black. The trio decided to play a Joy Division tribute set since they had listened to the legends for years and knew the songs already. One Will Burn played the show and were so well received they decided to pursue the project seriously, since adding guitarist Michael Church.

Todd Caras of 1WB. Photo courtesy of 1WB.

How did you decide on the name?

After a one-night practice session with less than 24 hours before the show, we came up with 1WB – a name we came up with in two minutes from a lyric in Joy Division’s “Heart and Soul” – “One Will Burn.” I personally like it because it is enigmatic, looks like a British postal code, a license plate number, etc.  It [also] gives us the opportunity to use this moniker, should we turn into an original material band, which may be in the cards.

When/how did you discover Joy Division and what does JD mean personally to you?

I discovered them by accident in high school. I had a collection of cassette tapes – yes, cassette tapes – some belonged to others, some from my sister’s numerous boyfriends, etc. I was looking through them one evening and came across Joy Division’s “Still,” which contains live performance material. It made me sick to hear it! I hated it! I couldn’t stand the overuse of chorus effect all the time. The recording was old – 1979/1980? – so I’m sure that the original taping source was speeding up and slowing down – and you can hear it. Joy Division was playing sloppy, ferocious and fast as usual. Ian was bumming his notes every so often. Bernard had mistakenly left the pitch bender on his keyboard in the “on” position during “Decades” which created horrible sounds. Hook’s bass was too low, etc. etc. etc. I hated it! And kept returning to it, listening to it to see just how much I hated it.

I was trying to picture the way their singer (Ian) looked, based on his vocals; in my mind I kept seeing an older Bob Mould type. Obviously, I was dead wrong.  After discovering – pre-Internet days, mind you – what they looked like [and] spending many hours at Tower Records, pouring over “fanzines” for images and information, I discovered an immediate connection as they appeared to be “nobodies” from a “nobody” town with plain clothing – kind of like The Smiths. It was an image completely separate from punk or heavy metal. It is what you would see in the mirror.

Being a blossoming – horrible – musician at the time (bass, keyboards, drums), their music was easy to play (not easy to write, however) and accessible to a novice like myself – yet, their sounds created imagery. They spoke before the lyrics. After discovering the darker – unfortunate – background surrounding Joy Division, my intrigue was permanent. I learned to like them because they provided me a more “butch,” tough,” “dodgy” set of heroes to worship, apart from “nice heroes” like Depeche Mode.

Being a suburban sports bar, Famous Pub seems an odd location for a dark proto-industrial/goth band tribute show. Tell me why it’ll be perfect.

As the story goes, Joy Division started out in a bar/venue completely unsuited to their style of music, whatever it was at the time. I’m sure it was an odd place for such a gathering. Perhaps, today, playing such music at a place like the Famous Pub is almost as fitting in a way. We also anticipate that many of the old school fans of Joy Division have moved away from the city and started families, etc. Perhaps this venue is accessible to them given its proximity between the city and the ‘burbs. On the other hand, perhaps we can encourage the goth/industrial types to take this place over!!!! And, lastly……….it was available.

Anything special planned for the show?

Other than trying to look the part and sound the part, we will keep the theatrics to a minimum and stick to presenting the music as close to the way it was originally presented as possible – including some of the early, low-tech, outdate, electronic blips and synth sounds of Joy Division’s era. The set list is loaded with all of the popular and not so popular Joy division tracks. We are most proud to present some of the more obscure songs.   More importantly, there are some songs that Joy Division never properly played live in the first place. There was always some technical difficulty or reason why the song was always “butchered” live. Now is our time to rectify that, I hope?

What’s next for One Will Burn?

In the immediate future, our next show will be July 28 at Kavarna in the Oakhurst neighborhood of Decatur. It’s a fitting set of scenery and architecture for the music we are playing, we think.  Overall we plan to enjoy this project some more, play more shows, attract more audience who want to celebrate Joy Division, etc. However, given how the four of us click well musically, I imagine 1WB becoming an original band. All four of us write original song material; it’s no accident that we all found each other.

What else do you do when you’re not resurrecting Joy Division?  

I play in an original post-punk band called Methods of Espionage. During the day, I am an executive headhunter, providing companies/clients with highly sought-after, niche, talent for mission-critical roles within their organizations.  I get to put people to work – I like that! On occasion, I get to bump around from time to time with people who make a difference in the professional world in Atlanta, which is highly rewarding. I’m happily married; my wife and I called Northwest Atlanta home – for better or for worse.

This ornate lamp is just one of the 1000 magical design details in the Fox Theatre. Photo Credit: Jaclyn Cook.

By Lisa Stock
Contributing Writer

Can a building be a Kool Kat? If you know the Fabulous Fox Theatre as intimately as we do, we think you’ll say a resounding “yes!” After writing, directing and producing several fairy tale-inspired films (TITANIA, THE JULES VERNE PROJECT) and an unique experiential play of Neil Gaiman’s SNOW, GLASS, APPLES, we figured contributing writer Lisa Stock knows something about stage magic, so we asked her to take one of the Atlanta Preservation Center‘s walking tours and report back… 

As locals we’ve all been to the Fox Theatre, whether to see movies, concerts, or to show it off to visiting relatives. We love to sit under its starry sky and touch the wheel of the nautical ticket chomper as we enter. We drive past it every day, it’s always been there, and after almost losing it in the 1970s, we hope it always will be.

When I worked at the Metropolitan Museum of Art, the Annenberg Collection had acquired Van Gogh’s “Wheatfield with Crows.” It was exceptional. I ran past it every day on my way from one office to another, directed tourists to its gallery, confirmed that—yes it had been sold for $53 million and went on my way. Until one day at lunch I went in the gallery and sat in front of it—for about an hour. One of the curators was there and told me its story: where it had been painted, at what point in Van Gogh’s life, that there were several other versions, but this one had not been seen for 100 years because it had been in private ownership. Its thousand words spoke out, and suddenly the painting took on a new life and a new appreciation for me.

The nautical ticket chomper at the Fox Theatre. Photo Credit: Jaclyn Cook.

Similarly, on a rainy Saturday morning at the end of January, I had the chance to hear the thousand words of the Fox Theatre. It is a masterpiece of its own, and has quite a tale (or 200) to tell. If you haven’t been on the tour yet—GO! They’re led by knowledgeable volunteers who give individualized tours depending on how they love the theater.

We were taken around by Vic Jester, who focused on the extraordinary architectural details of the building. He wove tales of gatherings, performances and parties, of eras gone by and a landmark rising up from the cold days of almost being closed forever. I was intrigued by the design of the theater influenced by the Taj Mahal and the 1920s discovery of King Tut’s tomb—all stemming from a contest by its original owners, the Shriners, to “Out Baghdad Baghdad.” As you walk through the Egyptian Ballroom and the Grand Salon, you feel like a character in CASABLANCA or expect to see Pepe Le Moko come around the corner. There are hidden repetitions in the Islamic art of the stained glass ceiling and opulent chairs in the Men’s and Ladies lounges (which were designed to emulate the room structure of a Middle Eastern harem). It’s not just the ancient epochs that greet you here, but the decades of the 20th century and its inhabitants, too. A door leads to the old infirmary where in case one felt faint, a nurse was onsite to care for you. Private telephone booths in the lounges are available to make personal calls. The Mighty Mo‘, a grand Moller organ rises up from the orchestra pit to lend music to the show.

You even learn about how the starry ceiling is created, from paint to lights—just in case you’d like to do that to your own house. There’s a lot to be noticed and appreciated on the walls and floors, too. Just about every inch of the Fox has a story behind it. Going to the theater used to be an experience, one you saved up for, dressed up for, and looked forward to for weeks. There are few of these atmosphere theaters still standing in America of this caliber—but how lucky we are to have one here in our very own city that is still hosting performances and films, and welcoming you like member of royalty.

The stained glass ceiling of the Fox Theatre's Grand Salon. Photo credit: Jaclyn Cook.

This weekend there are several great Retro reasons to return to the Fox. Norah Jones will be jazzing it up on the Fox’s magnificent stage Saturday night June 17.  Or sing-a-long with Julie Andrews and the Trapp Family children during a special screening of THE SOUND OF MUSIC (1965) at 2 p.m. on Sunday June 18 in The Fox Theatre’s Coca-Cola Summer Film Festival.  But to really get to know the history and tales of this wonderful local landmark for just $10, consider taking an Atlanta Preservation Center walking tour of the Fox or a historic Atlanta neighborhood such as Sweet Auburn, InmanPark and Grant Park.  While you’re there, keep an eye out for all the scarabs!

See more photos of the Fox Theater by photographer Jaclyn Cook, who took the shots included in this article, here.

Photo courtesy of Cletis Reid.

By Torchy Taboo
Contributing Writer

When I first began frequenting the Star Community Bar in L5P in the early ’90s, like so many locals, I couldn’t get enough of the amazing selection of country and rockabilly bands that were being booked there. The excitement was consistent and palpable—we were starved for “it.” Late weekend nights, we clambered for more—even demanded more. Before long it came to my attention that a notable battle-cry had developed. “Alright God-damn-it!” would holler a couple of kids from up front. They clearly had a feel for the real thing ’cause if the show was good they were there and raisin’ a ruckus. “More!!!” Young Cletis Reid knew what he wanted to hear and had no compunctions about making it known.

Now Cletis has his own band, Cletis and his City Cousins, and since they just released a new CD, CITY COUSINS MOVIN’ IN, and are playing this Fri June 15, at The Earl, ATLRetro thought it was a great time to make him Kool Kat of the Week. Make sure you get out because the 9 p.m.-starting show is a mere $10 and they’re sharing the stage with three other ATLRetro favorites, Three Bad Jacks, Hot Rod Walt and The Psycho-DeVilles and Whiskey Dick. 

TORCHY TABOO: I know you grew up in M’retta…how’d you end up at the Star Bar yelling for encores from Redneck Underground greats?

CLETIS REID: In 1992, I saw The Blacktop Rockets play with a band called Donkey at The Roxy in Buckhead, and I basically hauled ass down this path of riches and fame. I had been listening to country music my whole life but never saw people only a little older than me play it before.

I remember The Hepburns with you and your brother Ryan—you were just kids. What was it like being a “child prodigy”? 

The Hepburns is kind of a blur simply because it went from an idea on one of those crazy Stein Club Mondays to kaput within a year, yet we recorded an EP, had heavy airplay on Album 88, did Live at WREK, had an article in The Loaf and Stomp and Stammer, and played a sold-out Point opening for Kelly Hogan. It was like being hit by a truck since, yeah, it was my first “normal” band. I thought it would always go that fast. It went out with a keg on Morgan Road in Marietta.

Photo courtesy of Cletis Reid.

So seeing bands like Backtop Rockets and The Vidalias put the country music of the 1960s and ’70s and earlier into a current and personal context for you. Was it easy to find like-minded people to play with before the Redneck Underground?

Always easy. It was easy when I started out because none of us knew what the hell we were trying to do anyway. I didn’t really develop that direction until Redneck Underground was already a term.  I never identified myself with the Redneck Underground name, just kinda got identified with it through association. I never went through the official hazing ritual with the Witches of the Ozarks. By the time the RU came around, I was surrounded by like minded people all the time. Still am.

I know what Hank III thinks of current mainstream “country'” music. I know what I think of it. What do you think of it?

First of all, I would never call it country. When you say you love country music in my circles, people know what you mean. If I say that out in the real world, people think you mean something totally different and will ask you what you think of the new Taylor Swift record. “I haven’t heard the [___], sir.” But to answer your question I think it should be “mainstreamed” up Toby Keith‘s …..[the terminology gets musically “technical” here…we’ll spare the reader.]

Who was your first rockabilly band, and don’t I recall you on stand-up bass?

The first “rockabilly” band I played with was Flathead Mike and the Mercurys, which was kind of a rockabilly turned up to 11. I was just starting out on upright bass. Definitely hard to keep up with those monkeys at that time. Soon after started playing upright with Caroline and the Ramblers which was a new experience. Already established, total professionals, and more traditional in their sound. I played with them for eight years and learned a lot. Caroline has a new CD out, by the way. I’m her agent. Starting now.

Your band The Holy Smokes brought us the timeless and technical favorite “Hubble Space Telescope,” as I recall.

Hard to remember exact years, but around 2000, I started The Holy Smokes with my buddies Bill Quigley and Mark Griffiths, and a revolving door of drummers. I figured I was ready to front a band. We did a few originals and a number of covers of Sun Records-era rockabilly. That song was written for a Monday night songwriter thing at the Star Bar. I think we may have played it once with The Snakehandlers (another band I was in), but that’s about it. I didn’t have it written down and accidentally forgot it. I remember the relevant part. I guess I could always write some new crap around that.

Tell us about your current band, Cletis and his City Cousins?

After everybody moved away on me, after a couple of years I asked my buddy Johnny McGowan to help me out and it turned into Cletis and his City Cousins around 2002. It evolved into more of a ’60s or ’70s trucking vibe, which seemed like the natural order of things.

For the erudition of the general public, why truckin’ songs?

Truckers to me have always been the cool, loner guys. I would go on vacations with my grandparents as a young kid and we would roll into this truckstop diner around foggy sun-up, and I thought all these guys were living a real life Smokey and The Bandit or Tom T. Hall song, and in a way they were. Those old truck-driving songs have a way of painting a picture of that life that I could never do in sentences. Always felt I could relate to them in a sense. Plus, all my Trapper Keepers [Marietta-speak for school notebook] had some rigs with some sweet sleepers on them. Wanted to live in one.  I got a CB for Christmas one year. My handle was “Honkey See, Honkey Do.” I guess it still is if I ever get another one.  [if?!]

The Cousins frame the talents of Johnny McGowan, and the chemistry seems perfect.

Johnny and I were friends from his early days in the Blacktop Rockets when we raised a little hell at Sleazefest ’97. When I needed somebody to play with after the great Exodus of ’02, he was a no-brainer. Even then he had some of the craziest chops in town. We would set up for hours on end in his basement and record stuff until we were plain sick of each other, and eventually it became a natural working relationship. He and I actually plan on releasing some of those early basement recordings some day. He’s the best musical mind I know, and the only guy I know who can play a Jerry Reed-type run exactly the way we need it done. Turned out we wrote well together too. It hasn’t always been sunshine and teacups, but I’ve never had a second thought about calling him up. Throw in Blake and Hammer, and I can’t imagine a more perfect band for me.

It’s been predicted that “The Man Behind the Woman Behind the Man Behind the Wheel” will top the charts as a single. Say something about the new CD to entice the Fans.

First off, it’s very shiny. Secondly, it’s been in the works since the Vietnam era, and finally, $10 is a small price to pay for the most staggering achievement in the annals of human endeavor. CD is called CITY COUSINS MOVIN’ IN. [Buy it or they will. Ed’s note: Watch out for an ATLRetro review coming soon.]

To close, I asked Cletis the ubiquitous question, “where’d  the name ‘Cletis and the City Cousins’ come from?” But it was the top of the Ninth, and an answer nearly as dismissive as “Woman, get me a beer” told me my magic moment with the rising star was done. “I just came up with it off the top of my head as just something to call it and it ended up sticking,” he said. ” need to come up with a more exciting story for my next interview.”

Yes. Well, the truth is Cletis Reid sees himself as that guy all Southern people have in their family so the name is a straightforward description of sorts. That is, if they all had a notorious biting wit for remarks such as, “If there was any justice in this world, URBAN COWBOY would be thought of in the same way people think of CITIZEN KANE.”

Summer may officially still be a few weeks away, but things are sure to get hot and steamy Thursday, May 31, when Atlanta’s youngest and most Paris-inspired burlesque troupe Minette Magnifique presents Minette Magnifique Goes to the Movies at the Warren City Club in Virginia-Highland. So we thought there couldn’t be a more marvelous time to celebrate the rising temperatures by declaring the vivacious and voluptuous Vyolet Venom as Kool Kat of the Week. She sweetly agreed to a sneak preview of what she and the other lovely ladies will be doing once the lights go down and the curtain goes up for this cinema-tacular evening of evocative entertainment.

How did you get started in burlesque and how did you come to join Minette Magnifique?

Being someone whose life has always revolved around the stage, and also someone who has never really been a big fan of wearing clothes. Two years ago when I was approached by our Madame [Kellyn Willey] and Baroness [VonSchmalhausen, aka Shellie Schmals] about a new burlesque troupe they were creating, I didn’t hesitate for even a moment to accept.

Why the name Vyolet Venom and how does that name embody your personal approach to the art of burlesque?

Oh, man, finding the perfect name… one of the most trying things I’ve ever experienced in my burlesque life! To be honest, and as strange as it may seem, my approach and personal style of performance is what ultimately led to the name Vyolet Venom. I’m not really sure how to explain how or why that makes sense, but when you come to the show I promise you’ll understand. (winks)

Photo credit: Jason Travis.

Minette Magnifique is very young, feisty, sexy and most importantly – classic! Every member of Minette has very different and unique talents to offer, but as a whole, it’s very important to us that we stay true to our original, French, classic burlesque roots. And our greatest strength? We are madly in love with every audience member we’ve ever had.

What can you reveal about this week’s show and why folks should come out?

There will be an overwhelming amount of glitter, feathers, rhinestones and beautiful women taking off their clothes. Need I say more?

Without giving too much away, can you give us a gentle tease about Minette Magnifique Goes to The Movies and what you’ll be doing personally?

A perfect blend of the “art of the tease,” and the “magic of the movies.” And as for my piece personally, it’s got a little something for everyone; the sportos, the motorheads, geeks, sluts, bloods, wastoids, dweebies, dickheads – they’ll all adore it.

Photo credit: Jason Travis.

What’s your favorite burlesque memory so far?

July 2010, our very first Hot and Sticky show at Eastside Lounge, I performed to “Pour Some Sugar On Me” by Def Leppard. And after filling an entire venue full of icing, glitter and countless beyond coundless amounts of sprinkles… I truly feel that was the night Vyolet was born.

Who are your biggest burlesque icons and role models and why?

There are so many talented people in the burlesque world it’s hard to say. Immodesty Blaize is my current obsession, but the people I have always looked up to the most are not really a part of the burlesque world – Ann Margaret, Rita Hayworth, Marilyn Monroe and (above all) Barbie! Because of who they are, what they did and the sparkle that just their names hold.

When you’re not doing burlesque, what do you do for work and play?

It’s honestly hard to differentiate between the two.  I love to play, and I refuse to work on or for anything that I don’t love. Plain and simple: You will always find me singing and dancing, laughing about absolutely nothing, eating Skittles and drinking Cherry 7UP.

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

What question should you have asked… “Should we be afraid?” My answer… “Terrified.” 😉

Minette Magnifique Goes to the Movies has doors at 8 pm with Act I at 9 p.m. and Act II at 10:15 p.m. Regular and VIP tickets are available here. 

Photo courtesy of Yolanda Rabun.

The Atlanta Jazz Festival brings a national and international who’s who of the art form to Piedmont Park for an amazing free concert every Memorial Day Weekend. With so many incredible artists, we decided we couldn’t pick just one, so this week, look out for two Kool Kats.

Kool Kat #2 is Yolanda Rabun, one real lady of jazz who’ll be singing both her own originals and classic pieces on Memorial Day Monday, May 28 at 3 p.m. The former Atlantan now lives in North Carolina but is excited to be returning home in support her debut CD SO REAL, and we can’t wait to hear her, whether she’s channeling classic chanteuse Billie Holliday or showing us with her voice how the true meaning of love embodies peace and harmony and even when true love means it’s time to leave. She has sung with Isaac Hayes for President Ronald Reagan, performed with Clay Aiken, been the lead vocalist of the Stanley Baird Group opening for Jennifer Holliday and traveled the world. All at the same time as serving as corporate counsel for a Top 5 Forbes company. We caught up with her to find out more about her eclectic background, what her mother taught her about music and life, and what it means to be So Real…

How did you discover jazz?

My mom introduced me to Nancy Wilson and Nina Simone when I was younger. Billie Holliday was a really big hero of mine. And Diane Reeves. My background is musical theater. I always think of musical theater as a story being told to music and that’s what jazz does too. As I got older I was called by jazz bands asking me to come play with them, and I began stepping out. In fact, throughout school I would sing with different jazz bands. I’d do things here and there, but I really got into my jazz vocal career five to six years ago when I became the official lead jazz singer for a band in North Carolina.

Who are some of your favorite classic jazz singers and why?

Billie Holliday, her music changed during the course of her career and that was very impressionable on me because it gave me meaning behind what jazz what can be. When I think of jazz, I think of improvisation—feeling through music based on what’s going on around you, being more straightforward with tones, more purposeful with meaning. As Billie got older and had been through more, her music became slower, energy more focused either in the emotion of anger or the emotion of sorrow. That was amazing for me. This woman could take music and deliver a message basically through the emotion going on in her life and the song. That’s a skill that I’ve worked on through my years studying music.

Sara Vaughn and Dinah Washington also made an impression on me, and Nancy Wilson is one of my biggest influences.

Trumpeter Al Strong and Yolanda Rabun at Raleigh's Artsplosure Festival 2012. Photo credit: Frank Myers.

Do you consider your style to be traditional jazz or contemporary jazz?

I don’t even think I want to be labeled. I like to be considered both so I’m not put in one corner or other. There’s a photo of me with a flower in my hair on my album, and that’s part of my brand. When you see it, you probably think Billie Holliday. I almost want to you, I sing traditional jazz in live shows. But listen to all of my music and you’ll find out it’s a mix. I want to send the message that whether I am singing contemporary or classic jazz as it was back in the day, whether soulful jazz or gospelly jazz, in the end it is jazz. And jazz is delivering emotion through the actual sound you hear in the music.

There must be a great story about how you came to sing and do a recording with Isaac Hayes and sing for President Reagan?

I was a junior at Northside School of the Arts and President Reagan was visiting. There was a big production and they wanted a song. They said Isaac Hayes was producing it and my face lit up. When I met him, he said he was so glad I was singing it. He was amazing. He was very caring about what needed to happen but also very stern and concerned that I was at my best. When I did it, it was on CNN and all the news stations. As soon as the song was over, I got so excited that I turned around and shook President Reagan’s hand. The Secret Service didn’t expect that. But he grabbed me and hugged me. It was a great experience all around, meeting the President and working with Isaac Hayes.

You often quote the statement: “Half of what I say is meaningless but I only say it so that the other half may reach you.” Where did you get that from?

It was something my mother said to me. I always wondered what she was saying. But I know now it means to pay attention to everything that is said since the portion that you need the most comes when you are ready to receive it.  The story about Isaac Hayes and being able to meet the president—what does that all mean? Mr. Hayes said a lot to me in the course of our working, I remember him reiterating that I would be a singing lawyer and that I am! In the end, it’s about having been blessed and continually being blessed to be able to work with really great people in my career. I’m based in NorthCarolina now, have traveled all around the world and I get to come back home to Atlanta for the Atlanta Jazz Festival. Did you know I used to sing the theme song for Atlanta and now I am coming back toAtlantato sing my music. I’m really, really excited.

Can you take a little about your debut CD SO REAL?

SO REAL is smooth and soul jazz. I started writing the song “So Real” for my husband. It was exciting for me, doing a demo and getting back into the field of music. As a corporate lawyer,  I’d gone full surge into that career but I wanted to get back to music. I wrote the song “So Real” as part of a demo and then set it aside.  Finally, the hard start of stepping out on my own and starting on my own album began in 2010. Because everything became  “so real,” that’s the music I wanted to sing and make my own. I took the single and created a full HD video, and then it toured to Portugal, Spain, Turkey and Jordan. I sang for it for the US troops because what they are doing for us was so real. Then I finished the album and took it back to Diego Garcia, and the  response  was amazing. The “So Real” song and album did well on the charts for the independent labels in the UK. I can’t even tell you how overwhelmed and excited I am.

Can you give us a taste of what you’ll be performing at the Atlanta Jazz Festival?

Hi, I’m Yolanda Rabun here and this is my new contemporary jazz album “So Real.” That’s a big deal. I’ve been the lead singer for a jazz group and now I’m stepping out and here I am. You will see a mixture of a lot of musical influences, Nancy Wilson,  Billie Holliday and others that will surprise a few. I will do some songs from my SO REAL album, and a song by one of the biggest influences in my life out of all my influences, Gladys Knight! My songs involve a journey of love, a journey of freedom, a journey of harmony and peace. My show is centered around the idea of real love and what that is, whether it’s blossoming, wonderful and happy or searching and unclear. In the end it’s about harmony and peace.

I’m from Florida but grew up in Atlanta. I went to Warren T Jackson Elementary, SuttonMiddle School and Northside School of the Performing Arts. I met my husband, Rick, in Atlanta, I was married in Atlanta (formerly known as Yolanda Williams) , one of my children was christened in Atlanta at my home church (Cascade United Methodist), my mom, (Kappitola) is in Atlanta where I was raised as her only child.  Atlanta is my home. I’m coming full circle. I started in Atlanta with my music, went off and became a lawyer, and now I’m coming back with my music.

The Atlanta Jazz Festival brings a national and international who’s who of the art form to Piedmont Park for an amazing free concert every Memorial Day Weekend. With so many incredible artists, we decided we couldn’t pick just one, so this week, look out for two Kool Kats.

Nadav Remez. Photo credit: Dana Merison.

The first is guitarist Nadav Remez. He’ll be playing Sunday, May 27 at 6:30 pm. Lauded as one of today’s top emerging jazz voices, he grew up in Israel, scored a full scholarship to attend the prestigious Berklee College of Music in Boston, also studied at the New England Conservatory and now resides in New York. Last year he released his debut CD, SO FAR. As for his music, it has been called “haunting” and reflects the versatility of jazz as an art form merging modern jazz, alternative rock and traditional Israeli folk music.

You have a really interesting background having grown up in Israel and had your first music education there. How did that shape your approach to jazz?

I grew up in the Tel Aviv area and into a situation that resembles many other places in the Western world in the ‘90s. I listened to a lot of pop music, British and American. We had MTV Europe, which was different from MTV in America because it actually played a lot of music, not just reality shows. So when I was a teenager, my musical inclination was very pop-oriented. However, in Israel, international pop was just one channel feeding us musically. We also got some other types of music, what we call mizrahi music which is our folk pop music, popular Middle Eastern music. So we grew up listening on the radio here to one song from the UK Top 40 and then the next song would be Middle Eastern. As time went by, from the ‘90s into the 2000s with the Internet, more people [in Israel] were exposed to different kinds of music, and musicians started mixing these kinds of music together. If you turn on the radio today, you find our pop has a lot of Middle Eastern elements.

Then I went to Thelma Yellin High School of the Arts, a famous art high school with a jazz major that produced many famous Israeli jazz artists. That’s where I first heard about jazz, and it was very exciting experience. I was woken up to a new reality. Jazz was a music that’s not just something around you, not just something that you played coincidentally but something very serious and very deep. That’s when jazz came into place for me, into my world. I was lucky to have many teachers dedicated to jazz as an art form, who really taught me a lot about what the music means—teachers who had lived in the US in New York. So they brought their love of jazz over toIsraeland to many of my peers.

Nadav Remez. Photo credit: Dana Merison.

Who are your favorite classic Retro jazz musicians and why?

For me, going into high school, I was so shocked by this new thing in my life called jazz. I just wanted to explore it all around, but my teachers told me that in mu first years of listening to jazz, I should be listening to jazz from the first half of the 20th century up to the ‘60s. That’s when a lot of the innovations in jazz were taking place—Charlie Parker in the ‘30s and ‘40s, John Coltrane in the ‘50s and ‘60s, Miles Davis, Louis Armstrong, etc. I was focusing a lot on bebop, hard bop and post bop, styles that emerged in the early  ‘40s to mid ‘60s. With jazz in those days, it really was about listening to different musicians but whoever I was listening to, they stood out as geniuses because they all were. That being said, I was very much into Coltrane. He and Charlie Parker are like the gods of that era. There are no rules but I’d say to someone who is an aspiring jazz musician in their teens, before you go to newer music, you should check out the roots because that’s where the music comes from.

Your approach is very eclectic and innovative, blending Eastern and Western sounds. Can you talk a little about how you developed your unique style and sound?

That all started when I was at the Berklee College of Music in Boston about five to seven years ago. I and a group of other Israeli musicians started to experiment with long improvisation forms that came from jazz and added Middle Eastern aesthetics to it. That’s where our ears pulled to naturally. After I started playing with it, I also started writing my own music and thinking about my first album, SO FAR. At this time, I was trying to absorb what was around me. Jazz musicians stay close to their roots. So I started to listen to more Middle Eastern music and trying to apply those concepts and ideas into my jazz, and also rock and pop, mainly ‘90s sounds. Radiohead was a very big influence.

Your Atlanta performance is with a special project, right?

Yes, the Nadav Remez/Omer Avital Quintet. It brings together songs that I wrote and songs that Omer Avital wrote. He’s a very important figure in jazz right now and a bass player with many albums behind him, both as a leader and a sideman – currently with Yemen Blues and Third World Love. This [performance] will be a combination of tunes by me and tunes by him. Like all music, it’s in a way both similar and different because we both grow up inIsraelin similar settings. But he’s older than me—he’s 40 now—so he has other Israeli influences from when he was growing up. Even though one could hear both the pop/rock influences, as well as the mizrahi influences, in both our musics, Omer’s music leans more towards the mizrahi, while my music leans a little bit more towards rock. The quintet also includes Greg Tardy [tenor saxophone], Jason Lindner [piano and keyboards] and Yoni Halevy [drums]. It’s a high profile line-up which I am very excited to perform with.

Playing Smalls in NYC. Photo credit: Dana Morgan.

If we go to New York, where should we go to listen to some great jazz?

Personally I like going to places like Smalls, Village Vanguard and Fat Cat. But these days in New York, you can hear great music all over the city, not only in Manhattan. There is a vibrant scene in Brooklyn as well. All you have to do is pick up a newspaper and see what’s going on tonight or look online. I recently found an iPhone app called NY Jazz, that displays a comprehensive list of jazz shows as far as a month in advance. The New York scene is very alive with contemporary jazz, cutting edge jazz and also traditional jazz—which also is cutting edge.

You just said traditional jazz is cutting edge. What do you mean?

Because jazz is a music of the moment. Even if you play with the traditional language from the ‘50s and ‘60s, you can still have lot to say and make very strong statements.

What’s next for you?

[Omer and I] have a few more shows [together]. In June and July, we have a residency in Smalls Jazz Club in New York with Omer’s new band called Band of the East, and then there are several other projects in 2012 that are going to involve us playing and performing together. With my own group, I will be travelling in July to Germany to play at the Palataia Jazz Festival and plan to perform in Israel in August and September.

By James Kelly
Contributing Music Editor

For the last couple of years Cabbagetown’s Whiskey Gentry has been blazing a trail across the Deep South, gathering a massive number of rabid fans wherever they play. Their cranked up “Pogues go to old time Nashville” style is addicting and infectious, and their live shows are memorable parties. With one excellent album under their belts, the band is currently planning a three-night stint at Smith’s Olde Bar on July 12, 13 and 14 to record a live album. But before that we get the chance to hear them a few blocks from home at the second annual Tunes From The Tombs festival this weekend. The two-day event (Sat. May 19 and Sun. May 20) is a benefit for the Oakland Cemetery and features a ton of great local, regional and national acts on several stages throughout the amazing and historic cemetery. The music starts around 11 a.m. and lasts until dusk. Tickets are $10 each day, or $15 for both days.

With the Whiskey Gentry closing out the event Sunday night at 6 p.m., ATLRetro.com decided that  lovely and talented lead singer Lauren Staley Morrow would be  a mighty swell Kool Kat Of The Week! Following a busy weekend on the road, Miss Lauren was kind enough to answer a few questions for us.

ATLRetro: How did you first get involved in music, and when did you ultimately consider yourself a professional singer?

Music was always a big deal in my household as a child. None of my immediate family are musicians, but they are all avid fans. I got my first guitar for Christmas when I was 14 and started officially writing songs then. Unfortunately, I spent the next six years trying to hide the fact that I could sing from everyone. I was always so nervous that I would only play my music to a very select group of friends in my bedroom closet so my parents wouldn’t hear. I moved to England to study abroad when I was 20 years old and played my first open mic there. After that, I was hooked to performing live. I don’t do drugs or jump out of planes or anything like that, so I get my adrenaline rush from performing in front of people. Despite all that, I don’t know if I consider myself a professional singer just yet! I’ve always thought that once I was able to make a full-time living from music, then I would consider myself a professional. I’m not there just yet – but soon!

Photo courtesy of The Whiskey Gentry.

Who are some of your most important musical influences, and why do you consider them so essential?

Gosh, my musical influences are all over the place and keep evolving through the years. U2 is my favorite band of all time, and I loved Britpop when I was in high school. When I moved to England, I was so homesick for the South that I started listening to a lot of alt-country, Americana, and old country. I also started reading a lot of Southern folk literature and listening to Child Ballads (written tunes that influenced old-time and Appalachian music). That was really when I felt my Southern roots started working their way into my songwriting.

What do you think brought about the vast difference between the type of country music you play, and what is heard on commercial radio?

Currently, I think there is a great divide between those of us who want to honor a more traditional type of country music versus the amount of that which is played on commercial radio. Thankfully, I feel like people are ready to embrace country acts that aren’t so commercial but have the ability to cross over into the mainstream without losing their integrity. I was very encouraged to see acts like The Civil Wars, Avett Brothers, Mumford & Sons rise to success this past year. Even the Zac Brown Band, who is very successful in commercial country markets, stay true their sound without writing about “honky-tonk badonkadonks” and “red solo cups.” I think that’s an encouraging sign for those of us who want to honor the country genre that’s inspired us without looking like a bunch of hacks trying to make a dollar on CMT.

Please tell us a bit about the members of the Whiskey Gentry, and how you found them. Why do you think this lineup “clicks” so well?

The Whiskey Gentry really began when I met my husband, Jason. We knew we both wanted to play music together, and we assembled the rest of the players in the group. Jason was in punk bands with Price Cannon (drums) and Sammy Griffin (bass), and we found Chesley Lowe (banjo) through a good friend. The five of us were the core band for a long time aside from a few hired guns along the way. Last year, we were introduced to Michael Smith who plays mandolin, and we finally met a fiddle player, Rurik Nunan. We also met Waylon Elsberry who plays harmonica and lap steel and can write one hell of a tune. Having spent the last few months on the road every weekend, I feel like we’ve finally found the band line-up we want forever – all of these guys are like my extended family. Like any family, we have our issues and disagreements. But at the end of the day, we all understand, respect and love each other immensely.

Photo courtesy of The Whiskey Gentry.

How did the Whiskey Gentry develop such a rabid and large fan base? What do you think is the most interesting aspect of your audience?

Initially, I think it helped that we all played in relatively successful local bands before forming The Whiskey Gentry, and we all had large social networks who, through word of mouth, told friends about our band. Over the years, I think we have made a name for ourselves through our live shows. I’ll meet people who will say, “I saw you guys last month and now I’ve brought 10 friends!” It’s a loyalty that has carried us from show to show and town to town. I think the most interesting aspect of our audience is how diverse it is – I don’t feel like there is any certain group that responds better to us than others. We have fun when we play, and I think people like to see that energy, regardless of background and musical tastes.

What do you see as the greatest attribute of the Atlanta music scene? What do you think is the greatest need in the local music scene?

I think one of the best things about the Atlanta music scene is that we have a lot of really great venues run by really great people who are willing to help up-and-coming acts get gigs in the city. We would have never been able to get a start in this town if it weren’t for a few concert promoters and venue booking agents who took a chance on us, and now, we have great relationships with those people and they continue to help us to this day. As for a need, I’ve been really excited to see Music Midtown making its comeback the past two years. Other cities around us have huge music festivals that not only draw in loads of revenue for their respective cities, but the festivals also help people pay attention to that town for music. Atlanta has a lot to offer musically that’s not just hip-hop or rap, and I just hope the city continues to show that.

The Whiskey Gentry put out a great debut album, so why record a live album at this point, instead of a second studio album?

I’m very proud of PLEASE MAKE WELCOME, and I think it does a great job of capturing our live sound. Having said that, however, I do feel like there is something undeniable about coming to one of our shows. It’s a party. People are screaming and dancing and singing the words, and we want to display that through a live recording. Also, as musicians, I think the live shows really showcase the musical abilities of the people in the band. We feed off of the energy from the crowds, and it just makes everyone play so well. Also, the live record will not take the place of a second album – we plan on releasing our second record next year, and the live album will be sold in coordination with that.

Do you have anything special planned for the upcoming Tunes From the Tombs show that you are willing to share with us? We know y’all love to whip out the odd cover tunes…

Ha! Who knows what we’ll come up with – we learned “Sabotage” in the van home from Virginia two days after MCA died and played it at show that evening. We love a good cover tune.

If you could book a “dream gig” who would you have on the bill with the Whiskey Gentry, and why?

This is tough. We all come from so many different musicial influences that I would want to honor all of them at our dream gig. Here’s the line-up: U2, Loretta Lynn and Dolly Parton and Gillian Welch all signing three-part harmony to every song, Social Distortion, Flatt & Scruggs (you said dream gig!), Gram Parsons (dreaming…again), Weird Al Yankovic, a comedy hour with Louis CK, Madonna, Bob Dylan, Ryan Adams, Wilco, Bad Religion and OutKast.

Katy Graves and son Nick in Spooky Partridge. Photo courtesy of Katy Graves.

By James Kelly
Contributing Music Editor

With Mother’s Day approaching, ATLRetro wanted to find someone special who represents both the Atlanta music scene and makes motherhood look easy. Local musician Katy Graves is one of the most energetic, friendly and interesting people in town. She has been part of the rock & roll community for many years in such bands as Doll Squad and Catfight, and while she is currently working on her teaching degree, she is also in an amazing and entertaining band called Spooky Partridge, with HER 10-YEAR-OLD SON, Nick Christian!!! Those credentials and the fact that Spooky Partridge are rocking Shorty’s Pizza in Tucker this Saturday May 12 at 8 p.m. are more than sufficient for ATLRetro to make Katy Kool Kat of the Week just in time for Mother’s Day!

ATLRetro: How did you initially get involved with performing music in Atlanta? What was your first band experience?

Katy: I sang in a couple bands in high school starting in about the 9th grade, and by the 11th grade, our band, The Doughboys, was playing out at the infamous Margaritaville as well as The Dugout in Emory Village. We did mostly covers by bands like The Police, Squeeze, The Jam, Ramones, Echo and the Bunnymen and loads of REM. Our guitar player loved REM! Can you imagine me singing REM covers? We had some originals, but mostly covers. I played cello and and piano as a kid. Susanne Gibboney (who plays with Tiger! Tiger!, Lust and Catfight), and I started Doll Squad while I was in college. We both worked at Junkman’s Daughter at the time. We all loved The Runaways and ’60s girl groups, but also L7 and the Lunachicks so we wanted to be in an all-girl band. Doll Squad opened for Shonen Knife at the Masquerade, that was so fun! 

Catfight was an incredibly popular band for several years. what do you think was the source of the appeal, and what was going on in Atlanta at that time to make the scene so open to the band? How was David T. Lindsay involved?

Ann Beaman and I had been in Doll Squad for a while, and that had kind of run its course. We ran an ad for a guitar player so we could start a new band, and Jennifer Leavey answered. She was the only person who answered that wasn’t nuts! Jennifer is just an incredible songwriter, and Catfight really took off. I think the reason we managed to do well was that we had songs with elements of a several kinds of genres and we could fit in on a lot of shows, appeal to a lot of people. We were a little garage, a little punk; we liked rockabilly; we did some girl group type songs; we also covered Van Halen, though!

David Lindsay put out a Doll Squad 7″, and he and I were friends. He had had a disagreement with someone in Doll Squad and wasn’t keen to put out any more of our records. I didn’t know if I would want to work with Catfight, but I brought a tape over of us and gave it to him. I told him I just wanted him to give me some feedback. He called me like an hour after I gave him the tape and told me he had to put out our stuff! David put out two singles and two CDs on his label, Worry Bird Records.

How did working in the music business affect your perception of playing music as a profession? Any good sleazy Green Room stories?

I remember when I got a job working for a record company, this boyfriend (a musician) said, “You are working for the enemy now!!!” I had a great run working in the music business for 15 years, but sometimes I was conflicted. It’s hard when you have to sell art like it is shoes or office supplies or something. Also, I figured out quite early on that I did not care about meeting a lot of famous people, which I thought initially would be really fun. Yawn! That being said two of the nicest people I met while working at a record company were Brittany Spears and Notorious B.I.G. Seriously! There were a few who were complete jerks – if you see me out sometime I’ll tell you who!! I can’t think of any super sleazy stories, but I do remember we took this guy from a New York band to the Clermont Lounge after his show one night. He has irritated all of us with this superior attitude, like he had seen it all/done it all in NYC. We introduced him to Blondie, she personalized a beer can for him as she does, and he just about lost it. He was completely freaked out by the whole Clermont scene! We couldn’t believe it – he was playing Mr. Badass rock guy but he got all nervous at the Clermont! Come on!

What must one do to reconcile motherhood with a rock & roll lifestyle?

Well, I began my rock’ & roll mom lifestyle when Nick was in utero – I kept playing shows with Catfight until I was more than eight months pregnant! I would have played up until I went into labor, but Jennifer but the kibosh on that. Probably the girls were sick of loading all the equipment without me at that point. Anyway, you have to rock & roll at home a lot more when you are a mom, because as you might guess it becomes difficult to be out at shows until 2 a.m. on a regular basis. The child watched THE KIDS ARE ALRIGHT from an early age, which is a questionable decision when you think about how The Who treat equipment, but we escaped any serious damage around the house somehow. When I still worked for a record company I brought Nick to every daytime in-store appearance by a band that I was working. One year I took him to Ozzfest. I always tried to take him to any daytime shows I could find – he went to Warped Tour a few times. And yes – we made him wear earplugs to every show, of course! Finally I ended up being in a band WITH my son so I could still play but also keep kid-friendly hours!

Spooky Partridge's Nick poses with a pair of drumsticks.

Tell us about Nick. Do you think he will become a professional musician? Or a baseball player? He seems equally great at both…

Nick turned 10 in February. He has been in Montessori school since he was 3. He plays drums and guitar; he can play bass and fools around on piano as well. He is dyslexic, which I believe is why he is so good at music and art; I think that the things in his brain that often make reading hard make music easy. He loves to draw. And yes, he does love baseball and soccer. I am the only mom in Americawho actually asks her child to please use the Wii or the Nintendo DSI, because we have these expensive games and the kid never uses them! He loves Led Zeppelin, The Beatles, The Who and The Cartoon Network. Nick cooks a lot – he puts red pepper flakes and/or Siracha in almost everything, however, so if you don’t like spicy food, you have to watch out. At different times he has told me that when he wants to grow up he wants to be a musician, a baseball player, a soccer player or a pathologist. Yes, a pathologist! Recently he has gotten way interested in bird-watching, of all things! He can identify lots of birds, and he draws them all the time.

Where did the idea for “Spooky Partridge” come from, and what was the formation of the band like for everyone?

Nick’s dad is Shawn Christian from X-Impossibles and Rock City Dropouts. Shawn and I met because we were in bands that played shows together all the time, so it was only natural that we wanted our child to be a musician. Nick was almost named Marshall – after the amp, of course! Shawn and I made sure that Santa brought Nick a drum set when he was two years old. By the time he was seven, he was getting pretty good, and since I had a friend teaching at a rock band camp, we sent Nick there that summer. That is when we could see he was really progressing, when we saw him play with a band. So we sent him again two years ago. He wanted to play “No Action” by Elvis Costello, but the kids in the band couldn’t learn it fast enough to perform it, which bummed him out. There were so many songs Nick wanted to play and no one to play them with. I was like “Why am I paying for this rock band camp when we can just have rock band camp at home for free?” Those camps are crazy expensive, and we already had a practice room in our house. What was I thinking?

Shawn and I decided that we would have a family band. Shawn and I have not been a couple since Nick was two, but we get along extremely well, so the band was nothing but fun from the start. We started by learning songs that Nick wanted to do, we started writing originals. Nick has written some on guitar, and he writes words and works with his dad to write songs, like “I Hate Chores.”

Spooky Partridge performs at last year's Tunes From The Tombs.

Any plans to release a Spooky Partridge record anytime?

We have three songs recorded that we are really happy with, and we need to record some more! We recorded the songs with Jimmy Demer from The Accidents, and his two daughters sing back up on our song, “Robots Don’t Poop.” It’s me that is holding this record up, really – around the time we started the band I went back to school to become a Montessori teacher. I work full time, I am in school, I’m a single mom, and I’m in two bands since Catfight has been out playing again this year. I’m hoping after I finish my class at the end of the summer we can really focus on getting out a CD. Vinyl would be cool, too! Right now we have music up on our Facebook/ReverbNation page, so everyone go listen to that!

How do you go about booking a band in Atlanta, with a 10-year-old drummer?

Very carefully! We have been very lucky; Nick doesn’t even know how lucky he is, what great shows he has played! Before he turned 10, he got to play not only [Rock n Roll] Monster Bash and Drive Invasion, but he got to open for CJ Ramone at Masquerade! We started by playing in restaurants owned by friends, we got everyone we knew out to see us, and we were lucky that a lot of folks posted videos of us on youtube. We got a lot of good word of mouth, and that led to more shows. I have played some of the most interesting shows with this band. We have played at Atlanta Rocks rock climbing gym on top of a huge boulder! You have to get creative booking shows when you have a 10-year-old in the band, but really I would say it’s good to do that no matter what kind of band you have.

What’s coming up for the band in the near future?

Well, we are playing at Shorty’s Pizza in Tucker on Saturday, May 12. We have wanted to play Shorty’s because the food is great! This is a special show because it’s also an end-of-season party for Nick’s baseball team. The coach wanted Spooky Partridge for the party, and we were only too glad to oblige. There is one kid on Nick’s team who loves Led Zeppelin as much as Nick, so we are going to do an abbreviated “Moby Dick” for him. We are also playing an art opening at the Defoor Centre on June 10! That should be great.

Catfight is playing Tunes From the Tombs at Oakland Cemetery on Sat. May 19 at 3 p.m. in the Criminal Records tent. Also we are playing at the Plaza Theatre before the [Blast-off Burlesque Taboo-La-La] screening of BEYOND THE VALLEY OF THE DOLLS June 2 – my dream show!

Spooky Partridge. Photo credit: Rose Riot.

Any words of wisdom for aspiring female musicians? Mothers?

I have a little anecdote about being a female musician in Atlanta 20 years ago for everyone, and I hope this is something that does not happen to women in bands anymore! Doll Squad was playing at Masquerade one night, and when we finished we got off stage and wandered around, as you do, waiting to see the next band. This guy came over and said, (imagine redneck kind of voice) “Y’all were pretty good. But you’d be better if you played naked.” We just had to laugh – what can you say?? That was not the only incident like that I experienced with Doll Squad or Catfight, but it’s been a long, long time since I heard any nonsense like that. I hope no women in bands have that experience these days, but unfortunately I bet they do . . . Just keep playing ladies! Ignore the crap and get out there and play.

Moms: Expose your child to music as soon as possible – in the womb! Play every kind of music for them. Let them explore what they like. Even if you can’t sing or play anything sing with your child anyway. Get silly, have fun! Nick and I will sing “Ma-na-ma-na” from The Muppets in the car, then we sing “Bohemian Rhapsody.” It’s all music, it’s all good.

One more word of wisdom for mothers – no matter how much you want to absolutely do not watch THE STOOGES LIVE IN DETROIT DVD with your toddler thinking that he is too young to notice what obscenities Iggy Pop is yelling out. You could find yourself in the middle of Kroger with a child who yells “F****** dirt!” in the middle of the produce department. If this does happen, do what I do – pretend you are horrified and have no idea where the child could have learned this! If you are lucky, as I was, you ask him where he learned that word and he says, “From Daddy!”