ATLRetro

Blair Crimmins and the Hookers. Photo credit: Scott McKibben.

With HUGO and THE ARTIST nominated for a bevy of Oscars this year, silent films seem to be getting a lot of love lately reimagined in creative ways for the 21st century. From what we’ve heard about OLD MAN CABBAGE, a short film co-produced by popular neo- ragtime band Blair Crimmins and the Hookers and Atlanta’s Ninja Puppet Productions, it sounds like a fantastic local addition to the oeuvre and a great reason to come out to the historic Plaza Theatre again this Sat. Feb. 4 at 10 p.m. But the night’s much more than just seeing a cool movie – Blair and the band will be playing the soundtrack live as the film unwinds on the big screen and then a complete concert afterwards in the alluring art-deco setting of the Plaza stage.

Based on a Blair Crimmins & the Hookers song and set in a farm forgotten by time, OLD MAN CABBAGE tells the tale of two dust bowl farm kids who find their lives flipped upside down when they are caught in an accident with an abusive father. Like so many classic children heroines, they run away to join the circus, only this particular one is distinctly supernatural. Without giving too much away, the cast features performers from the Imperial OPA Circus, well-known to the steampunk community. OLD MAN CABBAGE is directed by Raymond Carr, the founder of Ninja Puppet Productions, a collection of artists and professionals dedicted to the creation of innovative art and storytelling of all sorts.

As we pointed out in a previous short feature on Blair, you might think of ragtime as kind of quaint, but you wouldn’t be talking about his and the Hookers’ 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. Oh, did we mention that while the music swings, the lyrics to many of the songs are also delightfully decadent and dark.

ATLRetro has thought for a long time that it’s high time for Blair to be Kool Kat of the Week, but this week we had no excuse but to catch up with one of the Atlanta Retro scene’s most talented performers to get a sneak peek into what promises to be a sensationally surreal Saturday night at the Plaza. Tickets to the screening and concert are just $10 in advance and can be purchased here or $12 at the door.

What’s the story behind OLD MAN CABBAGE and your involvement with Ninja Puppet Productions?

“Old Man Cabbage” is a track off THE MUSICAL STYLINGS OF, which tells the story about a young man who moves into an old house and becomes possessed by the ghost of an old ragtime musician who lives there. It’s a biographical dramatization on how I became so enamored with early jazz. Raymond Carr took that ghost story and expanded it to give more backstory to the characters, and instead of the haunted house created a whole speakeasy of specters who reenact their gruesome demise every night. Quite a story. I won’t give the whole thing away.

So is it an extended music video or is it a movie? And what’s the running time?

Raymond calls it a short narrative film. I jokingly refer to it as my jazzy version of “Thriller.”  The film runs about 15 minutes long.

Is it performed with puppets or human characters since Imperial OPA is involved?

You won’t find any puppets or ninjas in the film, although we did use some sets built in miniature and green screens.  We brought in a lot of other local talent and used the video as an vehicle to showcase our Atlanta favorites. The circus group Imperial OPA, the cabaret troupe Davina and The Harlots, some aerial acrobats and a number of fantastic swing dancers all put their talents in the film, not to mention the people behind the scenes in makeup and costume who brought the prohibition style to the screen.

There seems to be a rebirth in fascination with circuses and carnivals, from the popularity of Cirque de Soleil to books like THE NIGHT CIRCUS, by Erin Morgenstern, which explore their darker, more mysterious side. There’s even that surreal, crazy Guinness commercial. Do you have any thoughts on the current appeal of circuses and where does OLD MAN CABBAGE fit in?

There certainly seems to be a renewed interest, and I’m glad to see troupes exploring all the different facets of the circus tradition. From the classic freak and sideshow acts to the more bohemian variety stuff, many young performers finding their place on the periphery of mainstream performance theater. I don’t know if that’s entirely new, but I can say I [have seen] a lot of very interesting [acts] just in the last few years.  I do think that Atlanta is grabbing a place in art and culture that can now compete with some other big cities.  There is a very youthful and unjaded excitement in the artistic community here.

How did you prepare for scoring OLD MAN CABBAGE?

I prepared for scoring the film by watching other silent movies. Of course, the classics METROPOLIS and CABINET OF DR. CALIGARI, which are always fantastic, but I also watched THE GOLEM for the first time, which was one of the earliest monster movies ever made. It was filmed in 1920 about a rabbi who makes a giant man out of clay and brings him to life to protect the Jewish neighborhoods of Prague. I really dug that one and would recommend that to anyone with an interest in silent film.

Anything you’d like to share about the why behind the 1920s speakeasy setting and what the filmmakers did to ensure set, costumes and music were authentic?  

There wasn’t a lot of discussion on why the film should have a Prohibition era style.  That’s where my inspiration lies. That’s where home is for me. I know Raymond did a lot of research and studied old photos to ensure that film looked authentic.

And it’s silent, which seems even more apropos given the popularity and Oscar nominations for THE ARTIST and HUGO, two movies that pay tribute to the silent era. I’m supposing that was just lucky timing? 

Current trends always herd people to different areas to search for new life, to find something that they’ve been lacking, an oasis. I can see people who are finding that needed refreshment in the silent film era. Being beat over the head with the GLEE stick and AMERICAN IDOL will get anyone to pay for a ticket to silence.

Blair Crimmins. Photo credit: Katie Bricker.

What else do you have planned for Saturday night at the Plaza and do we need to dig out our bowties, golf caps, spats and flapper dresses?

Seeing a well-dressed crowd always brings a smile to my face. You won’t be the only one dressed up if you choose to do so. Davina and The Harlots will be dancing onstage and throughout the room in full flapper gear. The OPA will also be working the crowd in their usual fashion. The whole evening promises to be taste of pandemonium.

How did you personally discover and fall in love with ‘20s ragtime music and vaudeville?

It’s just music that endlessly amuses me. You know when you’re doing something you truly comfortable with as an artist because you never get tired of it. Once my writing steered in the right direction, the ship took off on its own.

Your gigs are always packed and your music and performances embrace the past but sell so well in the 21st century. Are you surprised to see how many people enjoy a musical style that’s nearly a century old in a time of fast-passing fads? Any thoughts on why Retro is so hip?

I don’t think it’s a fad or new thing. I feel as if people of every generation reach an age when they discover something cool from the past. Chances are, if you find something that you identify with, you’ll find a whole group of people that love it, too. As you watch new people discover it, there is a tendency to think “Wow, this is really catching on”; the reality is that it has never gone anywhere.  Its popularity is always fluctuating but never dies or becomes reborn. Some of the bad trends die and hopefully never wake up, i.e. polyester suits, but the really good stuff sticks around forever for generations to enjoy.

After Saturday’s screening, will OLD MAN CABBAGE be heading out on the film festival circuit or what are the plans for the film?

Yeah, Raymond is going to talk more about that at the film premiere.

And of course, what’s next for Blair Crimmins & the Hookers? 

We have a lot of great touring on the books for this year. There will definitely be new singles out this year and maybe a record. I’ve already been talking with some of my favorite local artists about the next music video, and I’ve got some other film opportunities in the pipe. Things are about to get real busy for The Hookers. I’m trying to do as much as I possibly can and never lose an opportunity to let the music take me somewhere new.

This Saturday night Jan. 28 at the Plaza Theatre, redneck street poet laureate Deacon Lunchbox will live again at the “The Love that Won’t Shut Up Memorial Show and Screening: A celebration of the lives, loves, music and friends of Benjamin and Deacon Lunchbox.” If you say, “who?” then shame on you; it’s time to get educated and why we’re declaring Deacon our first posthumous Kool Kat.

For Atlanta’s Cabbagetown alt-music scene, the April 1992 auto accident that cut short the lives of Timothy Tyson Ruttenber, aka Deacon Lunchbox, drummer Rob Clayton and bassist Robert Hayes of the incredible Jody Grind was the Day the Music Died—as impactful as the plane crash that stole away Buddy Hollen. Ritchie Valens and The Big Bopper was to a nation falling in love with rock ‘n’ roll in 1959. The Jody Grind was on the cusp of a national breakthrough and had been featured recently in Rolling Stone. Deacon Lunchbox coined the term “Redneck Underground” and had a crazy style all his own that went beyond performance artist and street poet and was, well… Cabbagetown personified and then some. The Sat. night event at the Plaza also honors Benjamin Smoke, the marvelously manic cross-dressing lead vocalist of Smoke and the Opal Foxx Quartet whose life was cut too short by hepatitis C in 1999. If you don’t know about Deacon, Benjamin and how pivotal the Cabbagetown art/music scene was back in the late 1980s/’90s, Creative Loafing wrote a great piece about it in the June 24, 2010 issue called “The Triumph and Tragedy of the Cabbagetown Sound.” The article was composed as an oral history featuring interviews with more than a dozen people who were part of that scene.

The Plaza event includes screenings of the short film, LAWRENCE OF LAWRENCEVILLE HIGHWAY by Neil Fried, which starred Deacon, and the documentary BENJAMIN SMOKE (2000) by Jem Cohen and Pete Sillen, as well as an amazing line-up of Atlanta independent music scene  veterans who were collaborators and friends with Deacon and Benjamin including Smoke That City, Debbey Richardson, Slim Chance and many others. The Jody Grind’s lead vocalist Kelly Hogan even is coming down from Chicago. And you know the Deacon Lunchbox set by Jim Stacy (AM Gold, Grand Moff Tarkin, GreasePaint, LaBrea Stompers, Pallookaville, Starlight Drive-In, etc.) will be something to behold. We hope the rumors are true  that he’ll be doing a choice selection of Deacon’s signature Atlanta-inspired numbers such as “Omni Beer” and “Lewis Grizzard, I’m Calling You Out!” Amazingly this whole crazy shindig is just $10, with proceeds supporting the nonprofit Plaza. Think about dropping a little extra at the door, though, because independent cinemas like the Plaza are having a really rough time right now and we don’t want to be singing about the Day the Movies Died in Atlanta, too. As Deacon would say, “Brown bag it Ladies and Gents!”

ATLRetro asked Jim Stacy to share a few personal memories of Deacon, one Kool Kat that Cabbagetown and Atlanta lost way too soon. If you have any stories to share about Deacon, drop us a line at atlretro@gmail.com and we’ll add them to this feature, too. Hope to see you Saturday at the Plaza when the South may not rise again, but Cabbagetown sure will.

ATLRetro: In your opinion, what was special about Deacon Lunchbox?

Jim Stacy: For me he was like an older brother or uncle. He was, for sure, one of my heroes. He was the first time I had seen someone craft a persona that was more than just a performance foil. He was Tim, but Deacon was larger than Tim. Deacon could be more outspoken because he was a character. Now that’s not to say that Deacon wasn’t Tim and Tim wasn’t Deacon; it’s just Deacon amplified whatever Tim needed to say. I was really influenced by this process. I’ve spent my career inventing persona after persona to do the same thing. I think being able to provide a voice from a Character rather than “a Guy” allows for much more concise points to be made, in a shorter time, with no questions. It works like this: Here’s this guy on stage, he looks like this, he said this, he did this, this is what I think about what he just did and said.

Deacon, it was almost a cartoon of Tim. Though he looked and acted like Tim, when he put on the “Deacon” persona, the audience didn’t have to get to know the performer, they only needed to get to know Deacon, listen to what he said and then viscerally react. That all can happen through a Character. It’s no different than Alice Cooper or Ziggy Stardust. I just didn’t know it could be done by regular people.

Do you have a favorite memory/story about Deacon?

I have tons, but the most special is not really the most fun. Deacon called me either before or after the last show the day they were killed. He always started the conversation with, “FUCK YOU!” I don’t remember when. He called asking if I wanted to do another Psycholympics with him at the old Cotton Club. Told me we’d talk more after he got home. It was sometime later I got the call Robert, Robert and Deacon had been killed.

I still have a random dream where an old dial phone will ring and I’ll pick it up and someone will yell “FUCK YOU!” out of it.

Before the wreck, during Desert Storm I, he called me, telling me I had been drafted and hadn’t shown up at my induction. Told me that a car would be pulling up to “Get your pansy ass ready to serve your Country.” He had me convinced for 15 minutes I was going in the Army that night.

What will you be doing Sat. night at The Love That Won’t Shut Up Memorial?

I’ll be doing a few Deacon numbers as Deacon on some of Deacon’s props. It will be a pale substitute for the real thing. Pale indeed.

Photo courtesy of Sofia Talvik.

Singer/songwriter Sofia Talvik may hail from Sweden but she’s no stranger to America, with five full-length albums and nine EPs, having blown away audiences at Austin’s SXSW and holding the distinction of being the first Swedish artist to play Lollapalooza. In fact, she’s likely more popular here than in her native Scandinavia. Her current two-year American tour rolls into the Drunken Unicorn this sat. Jan. 21 where she’ll be opening at the release party for Divine Isis‘s new EP SCREAM, with Pocket the Moon also on the night’s bill.

Photo courtesy of Sofia Talvik.

You’ve been compared to Joni Mitchell, Nick Drake, Belle and Sebastion, The Cranberries and Aimee Mann, but who do you consider your influences—especially more classic Retro performers (i.e. ‘60s, ‘70s or before)?

It’s hard to pin down influences I think. All the things you listen to and experience become your influence. I did listen to a lot of ’60s music when I was a teenager and I love Janis Joplin, but I don’t think anyone will hear her as an influence in my music. I actually started listening to Nick Drake – who by the way is one of the big 60’s artists – after being compared to him and I love his music, but he was way better at playing the guitar than I’ll ever be (laughs).

You’ve said you’ve had a stronger response to your music in America than in Sweden. What’s the music scene like in Sweden and how do you fit into it? And how does it compare with what you’ve experienced here?

I think mainly because Sweden is so much smaller than the US, there’s not enough people to keep the diversity going. If say five percent of the Swedish population listens to my music, compared to if five percent of the American population does, that’s a huge difference. That’s the difference that will make you being able to live off your music or not. I also think Sweden is more of a trend-sensitive country, so when something is in trend all the radio stations will play it, and if it goes out of trend, no one will care all of a sudden. Here in the US, everything goes on at once. You have radio stations that just play folk or just play pop here. There’s always an audience here for your music, you just have to find it, and that’s what I’m doing with this tour.

How does a Swedish artist come to write a song about “Florida”?

Well, in 2009, my husband was on an exchange program on his job and we stayed in Orlando,FL for three months. As Sweden is kind of a cold and rainy country, I was looking forward to coming to “The Sunshine State.” But the first two weeks when we arrived it rained constantly. My husband was working so I was basically just sitting in the apartment writing songs. “Florida” is like a diary note from those two weeks, and the forecast in the beginning of the song on the album is actually a real one from that time.

Is there any story about how you became the first Swedish female artist to score a spot at Lollapalooza?

I was part of an online music competition called Famecast and got to the finals in my genre. So they actually flew me over to Austin, TX where I got to perform for a jury and an audience. I didn’t win, but the booker for Lolla saw me there and I got the gig. Playing the Lollapalooza was one of the coolest things I’ve done. That festival is huuuuge!

You’ve got a VW bus on one of your posters and you’re traveling around the US in an Old RV. That sounds mighty Retro to us – how’d you score those wheels, where did you start, how long have you been on the road and what’s your favorite on-the-road Americana experience so far?

My tour is called Drivin’ & Dreaming, because it’s all about touring and living the dream. We actually don’t tour in a VW bus even though that would have been really cool, however, it would probably also have been a lot colder than a newer RV. My husband and I started out the tour in Florida in December where [we] bought this old Gulfstream Conquest from ’94 which we fixed up. It looked pretty good until we started tearing off the wallpaper and discovered it had water leaks all over. But we just tore everything out and now it’s really nice inside – our little home on the road.

So far the tour has been amazing. We’ve met so many wonderful people who invited us into their homes, for dinner and brunch, helping out with stuff etc. We’ve also got to see a lot. We were around Florida in December which was nice and warm and then we headed up to GA, SC and NC. Savannah, GA was wonderful and we stayed there for a few days. In Charleston, I woke up in the middle of the night because someone tried to steal the bikes we had mounted on the back of the RV. That was scary. But mostly it’s been positive experiences. One of the best things is that I get to do this with my husband. He actually quit his dayjob back in Sweden to come with me on tour.

You’ve also been described as emerging like a Lady of the Forest, the slideshow accompanying your current shows brings the mystical world of Scandinavia to life, and your Website asks “do you believe in fairy tales?”  Now that sounds like your music also has roots in the rich folktales and traditional music of Sweden or do you mean something else and more universal?

I think I’d label my music as a mix between the melancholy of Scandinavia and the mysteriousness of the American South. You won’t find me singing about trolls and elves or anything, but I guess my music does have a bit of that overworldly feel to it. I think you can definitely tell that I’m not American in my way of writing lyrics and melodies, even though I am singing in English.

What would you like to share about this Saturday’s show at the Drunken Unicorn? We’ve heard that you’re performing with an acoustic guitar and some 3D video visuals.

I’m really looking forward to playing there, and I hope there will be a big crowd that will be there for the music. I’m solo on stage, and my music isn’t crafted to overpower drunk people talking and watching TV (laughs). I’ve been fortunate enough to be able to play a lot of listening rooms and coffee shops on the tour, and I always try to make my show the best one so far. A girl with an acoustic guitar – you may think you’ve heard it before, but I promise there’s more in this show than that.

What’s next for Sofia Talvik?

My new album, THE OWLS ARE NOT WHAT THEY SEEM, will be released January 31 and is up for pre-orders on my Website now. My tour will go on for two years so that will also keep me busy. In February, I’m doing an official showcase at the Folk Alliance International Conference in Memphis, so I’m really looking forward to that too. In the nearest future, thoug,h I think we’ll have to find a campground so we can charge our house battery in the RV a little.

The District Attorneys. Photo courtesy of Drew Beskin.

The temps are supposed to be dropping again by the weekend. So when we heard several reviewers peg The District Attorneys’ sound as summery and that they were opening for Modern Skirts along with Tedo Stone at The Earl this Saturday Jan. 14, it was easy to warm us up to interrogating lead singer/guitarist Drew Beskin as the first Kool Kat of 2012.

True, the Athens-based quintet only have been around since 2009, but they’ve been turning a lot of heads and getting some rave reviews for their first two EPs. Atlanta Music Guide’s Eileen Tilson even suggested that the seven songs on their debut EP, ORDER FROM (2010), “would easily make them an appropriate opener for The Rolling Stones circa 1963.” As for WAITING ON THE CALM DOWN:THE BASEMENT SESSIONS (2011), Eric Chavez, also in Atlanta Music Guide, effused that “With southern rock riffs mixed in with some dreamy pedal steel and a touch of surfer vibes soaked in reverb, these guys make you want to chillax on the porch with an ice cold Lone Star and reminisce about the good ‘ole days.” The District Attorneys also just finished recording their first full LP produced by Drew Vandenberg (The Whigs, Drive By Truckers, Deerhunter, Futurebirds, Modern Skirts), due out around March. And hey, Drew lists The Replacements, Jesus and Mary Chain and The Smiths as the band’s biggest influences.

Enough back story already. Download their first two EPs for free here, and while you’re chilling and listening, let Drew fill you in on how the DAs got started, some more 20th century musicians he and the band dig and why you need to come out to The Earl Saturday!

What’s the secret origin story of The District Attorneys and what’s in the name?

The band started when me and Chris (Wilson, drummer) decided to form a band after I graduated and he was still at UGA. After that, we acquired a few friends to play with us until it became the line-up that it is today. The District Attorneys became something real when we discovered Frank Keith IV (bass) who is basically Love Potion #9 in human form and has been the main reason we’ve been able to get cool shows to play on. The band name is a tribute to the Bob Dylan song “Subterranean Homesick Blues,” as well as a love for bands like Interpol and The Police.

Your Facebook page describes your sound as Americana and rock, and reviewers have likened you to California country rock and described your EPs as summer music. How would you describe your sound to someone who’s never heard you and what song should they listen to first?

I would def be confident in my answer if the new record was already out. The first two EPs were just as much about finding out our strengths and weaknesses as well as rushing to get something out there to show people we have our own original material that isn’t awful. I’m cool with the summer music vibe, but I think one of my favorite things about this band is that our songs are starting to get very different with each song. Some are fast and rockin’ 2-minute pop songs and some are like the California summer rock stuff. I think if you check out “California Fire” and “Slowburner” from the most recent EP of demos (WAITING ON THE CALM DOWN: THE BASEMENT SESSIONS), you can hear a big difference in style. I always really liked “Sweetheart All Reckless And Humble” from the first EP as well, which reminds me more of a Cure/Jesus and Mary Chain song than anything else.

Can you name a few 20th century musicians who have been key influences and inspirations for you and the band, and why?

I’ll just mention the first few that come to me…um…I always say The Replacements, The Jesus and Mary Chain and The Smiths. I probably say that because I love their guitar tones and how soundtrack-like they sound. I love those bands and I def try to add some of that to our stuff. I will always be obsessed with Elton John and Prince, but I don’t think I have found a good way to showcase those influences in the band…yet.

How do you approach songwriting and select which tunes make it onto your recordings?

I don’t really have a formula for songwriting. It happens differently every time, but I have noticed that it’s usually not the stereotypical sitting down at the keyboard or guitar and writing. I usually come up with something in [my] head or the start of something in my head, and then I bring it to an instrument to accompany whatever new random idea I might have. When bringing new songs to band, I like to play two or three of them at a time and then have the band pick which one they are most eager to add their own ideas to. If it sucks, we can just move on to another one. The new record started out as an 18-song record, but after some options were thrown out, we recorded 14 good songs but ended up ditching two of them because they didn’t fit the vibe we were going for.

What can you tell us about your first full-length album and when will it be available?

The album will be 12 tracks. We are close to deciding what the name of the record will be ,so I don’t want to say just yet. It was produced by Drew Vandenberg at Chase Park Transduction in Athens and will be released hopefully in March, if not a little sooner. We will be releasing it through This is American Music which is a label that houses one of our favorite artists ever, Glossary.

Will we hear any of those new cuts at the Earl on Saturday night?

I’m pretty confident that 97% of the material we play on Saturday will be from the new record. We have been living with these songs for the album for a good while now so we actually are pretty eager to start bringing out some brand new and unrecorded material. But we will try and wait a little bit before we do that.

What else can you tell us about the show and playing alongside the Modern Skirts and Tedo Stone?

The Earl is one of my favorite venues to see shows at. I’ve seen The Tallest Man on Earth, AA Bondy and most recently the Diamond Rugs show [there], which was an eye-opening experience. The venue and all the bands playing this Saturday night will make it a very fulfilling night of music. Modern Skirts are incredible, and we are so excited to share the stage with them. Tedo Stone is a pretty new band with some of the best music I have heard in awhile.

How did you first get into making music? Is this a passion that goes back to when you were a kid?

I always wanted to be a drummer, but I was given a guitar at age 13 because drums would have been too noisy for my rents. At first I just wanted to learn the riffs to “Day Tripper,” “Crazy Train” and “Heartbreaker,” and then I wanted to get all the way through “All Apologies.” After about three years of that, I wanted to start writing my own songs to see what I could come up with.

What did you do musically before the DAs?

Everyone in the band has a colorful musical past, but before The DAs I spent most of my time writing songs by myself, occasionally playing open mic nights in Bloomington, Indiana, when I was at Indiana University. I also played bass for a local art-punk band while I was up there, but mainly I just wanted to work on my songwriting and demo as much as possible.

What do you do when you’re not writing and/or playing music?

We are all working or in school at the moment so whenever we aren’t focusing on The DAs or other musical projects we are busy with that not-so-fun stuff.

Any other news you’d like to share about what’s coming up in 2012 for the District Attorneys?

We are hoping to get to Austin for SXSW and tour more behind this record and hopefully get it in the ears of many new listeners. We have some exciting local shows coming up and hopefully a CD release gig sometime in the spring. We can’t wait for everyone to hear the record, and then we can’t wait to start working on the next one and any EPs in-between.

What question do you wish a reporter would ask you but they never do? And what is the answer? 

Let’s see, no one ever asks me what my favorite John Travolta/Nicolas Cage movie is. It is FACE/OFF (1997). Thanks for asking finally!

J.J. Tomlinson of Half Baked Casseroles.

When picking a Kool Kat for this week, we thought a long time about the ingredients for a Retro Christmas in the South which had to make us think of food. And being the south, that means not just a ham or a turkey, not just sugary cookies—but a feast fit for an extended family with a seemingly endless supply of casseroles made by your mom, your grandma, your aunts and maybe nowadays a male relative or two as well. That tasty thought led us to two Atlanta chef/entrepreneurs Lee Bradshaw Johnson (Dog Days doggie daycare) and J.J. Tomlinson (The Fickle Manor boutique) who this year co-founded Half Baked Casseroles, a Buckhead bakery specializing in the quintessential seasonal comfort food.

Traditionally, casseroles became a winter staple because they put good and long-lasting use to winter vegetable and meat staples like potatoes, sweet potatoes and pork—or in my Finnish mom’s case, rutabagas and liver (No, casseroles aren’t just a American holiday tradition!). At Half Baked, Lee’s and J.J. give recipes handed down from their grandmothers a modern twist, with fresh ingredients, no preservatives and all-natural, antibiotic-free, hormone-free meat. The dishes are prepared for convenience, oven-ready or frozen. They come in recyclable pans in three different sizes, and most bake in 45 minutes or less. Larger sizes are available upon request for special events or a hungry family. Half-Baked even delivers for a small extra charge or mails gift casseroles to nonlocal family and friends. And if you want to fill out the entire holiday feast, the menu also includes yummy appetizers, soups and desserts!

In the spirit of the season, ATLRetro asked J.J. if she’d tell us a little bit about what Christmas casseroles mean to her, what customers are hungry for in the holidays and the lucky side of a special New Year’s treat cooked up to bring you luck in 2012 and even share a recipe!

Casseroles and the holidays just seem to go together, especially in the south. What role did casseroles play in your Christmases growing up and who made them?

As a child, my grandmother was the chief cook, and I can’t remember a Christmas without casseroles. My personal favorite was the sweet potato casserole. Every time I smell it, it brings back a picture of Grandma’s holiday cooking.

How did you both get the idea of a casserole specialty bakery, and why do casseroles seem to have such staying power?

We got the idea for frozen casseroles after my business partner Lee had a baby. She received some casseroles as gifts from friends. Everyone is so busy these days, and we are always in need of quick dinners.

We’re guessing you’re pretty busy this week. What menu items are most popular this holiday season?

We are slammed this week! Many people are buying appetizers for drop-in guests. All casseroles, appetizers, soups, bread and desserts can be frozen up to three months, too.

Which casserole hasn’t been as popular but folks really ought to try it and why?

There doesn’t seem to be an item on our menu that people aren’t buying. That may be because we thought long and hard before we opened in order to have a variety that would be appealing. The word-of-mouth aspect has been wonderful. It seems that friends are telling each other about their favorites. Of course, there are also many different tastes and we seem to have something that will appeal to most everyone.

Chicken and Half Baked Biscuits.

What’s the deadline to mail or schedule a delivery for a gift casserole?

We will try to accommodate your requirements for a gift casserole, but as a rule, we need at least one day’s notice.

You don’t just bake casseroles, but appetizers, soups and desserts. What other holiday delights do you recommend to start or finish off a meal.

My recommendation for the holidays is that you try our pecan pie. It’s crustless, so those calories are saved for the extra rich filling—and maybe some vanilla ice cream to top it off. We also have gluten-free casseroles.

Finally, we understand you’re cooking up a special dish for New Year’s celebrations called the Hoppin’ John Casserole (black eyed peas, collard greens, rice, and pork). Why should we put it on our menu and will it bring us good luck?

Southern tradition says that eating Hoppin’ John on New Years Day will bring you good luck and financial rewards all year long. We can’t guarantee that, but you’ll feel mighty lucky when you taste this dish.

Recipe: Hoppin’ John

1 bag of dried of black-eyed peas
1 stick of butter
1 chopped onion
16oz of cooked collard greens
2 ham hocks
10 cups of cooked white rice
1/2 cup hot sauce
2 tablespoons of sea salt

Soak black eyed peas overnight in water. Drain peas. Add onion, hot sauce, ham hocks, butter, and salt to peas in crock pot. Cook for 8 hours on high. Take bones from ham hock out of black eyed peas. Combine rice, collard greens and black eyed peas into a pan. Cook in oven on 350 for 30 minutes.

Cage. Photo courtesy of Nine Inch Neils.

Forget the Elvis impersonators. The Rocking Around the Christmas Tree benefit on Sat. Dec. 17 treats you to a rarer form of superstar tribute and a delightfully different holiday party courtesy of Nine Inch Neils, who channel Neil Diamond in his ‘70s heyday, and Jagged Stones, whose name should give away the act they idolize that also came of age in the late ’60s/’70s. In addition to two rockin’ fun bands, a humble cover charge of just $7 and one can of food entitles each guest to one complimentary Chick-fil-A sandwich, unlimited sodas and a free dessert bar. Those 21 and older can enjoy up to two glasses of complimentary beer or wine. Such a deal! Proceeds benefit the House of the Rock (also the site of the party;731 Peachtree St., NE) and Lutheran Community Food Ministries, which do amazing work feeding Midtown’s homeless five days a week.

ATLRetro caught up with Cage, lead singer of Nine Inch Neils, to find out what made him and the band a believer in Neil Diamond, where Neil fits in the wacky world of rock tribute bands and what they have planned when they rock around the Christmas tree this Saturday night.

ATLRetro: When’s the first time you heard Neil Diamond and was it love at first listen?

Cage: I think it was “Love On the Rocks” and yes. I remember seeing it performed as well in some GLEE-like show and thinking, “I can do that song. …It’s in my range.” And his voice has a kind of a growl to it unlike the pop icons of that era. While the other songs on the radio at the time were all for tenors, that was something I could sing.

There’s got to be a great story about how you came to found a Neil Diamond tribute band?

It is a long story, but it starts with a picture in some magazine of this ’60s pop star playing a small club in England. He was dressed to the nines in his glitter and glam, but his back-up band at that particular gig were punk rockers with the spiked hair and dressed in all leather. The picture was priceless.

Cage performs with Nine Inch Neils. Photo courtesy of Nine Inch Neils.

What about the name, Nine Inch Neils? Goth-industrial doesn’t seem very Neil, or do you ever perform Diamond songs with a Reznor edge?

Guitarist 211 came up with that name after we decided to change the band’s name from Hot August Knights. There is a Neil Diamond tribute band in Canada that took that name this year, so there is no going back. It was funny at the time, and you have to admit it’s catchy. It also gets us gigs at some rock clubs who otherwise would snub their noses at a Neil Diamond tribute no matter how much it rocks. Our renditions don’t go the Goth way. It has the edge of the classic rock gods of the ’70s.

How many Neil Diamond bands are out there and where do you fit in?

In a quick estimation, there are about a dozen bands here inAmericaand others abroad and maybe 50 individuals using background tracks. The well-known acts are traditional acts that use the synthesizers and female singers and everyone knows what to expect. There are very few, if any, that do it the way we do. I think that with exposure on a wider level, we could be one of the top.

What can audiences expect from Nine Inch Neils at Rocking Around the Christmas Tree? Diamond holiday favorites? Greatest hits?

We’ll perform two sets. The hits, of course, gems as always and a couple of new songs for us as a band not covered on any of Neil’s albums. They were popularized by the Monkees but written by Neil Diamond. “Look Out, Here Comes Tomorrow” and “A Little Bit Me, a Little Bit You.” We “Neil” them up, and rock them out. We haven’t found the right holiday song to perform. Maybe next year.

Some people might think the event can’t be hip, because it’s at a church. But to us this just tells us the House of the Rock is mighty hip. Tell them why they’re wrong.

The House of the Rock is a great venue. It is set up for live music. The sound will be amazing, plus it’s smoke free and clean! I hope they keep having shows there. Give it a chance. You won’t be disappointed.

What do you do beyond the music to perfect your Diamond impression?

I honestly don’t think of it as an impression. I do what music and lyrics move me to do. Beyond the music I draw inspiration from some great picture books of early Neil Diamond at live shows. The photographers seem to capture the emotion on his face and passion in his contorted body in those still shots. I listen to early live recordings and imagine what was happening on stage, what he was doing, feeling and thinking. I read and listen to interviews he’s done in the past and research the meanings and inspiration of the lyrics. It’s like an actor studying a role. The good ones embody the spirit of the person they portray.

What’s the coolest part about being a Neil Diamond impersonator?

The hair.

What’s next for you and the Nine Inch Neils in terms of gigs? Any recordings?

Cage. Photo credit: Lindsay Appel.

We hope to record something in the near future to give to fans. Nothing over-produced, just a live studio session. There will be a few festivals and events in the coming year along with some local bar gigs. We will keep you posted on facebook/nineinchneils.

What do you do when you’re not impersonating Neil Diamond?

I like to DJ weddings, mix music, run sound for bands at private events, and encourage my talented friends to pursue their dreams.

The Krampus toasts PBR, his Xmas spectacular sponsor, during last Saturday's Krampus pub crawl. Photo courtesy of 7 Stages.

Rock ‘n’ roll, irreverent black humor, a Christmas demon, beer. It’s fair to say that the PBR-sponsored A VERY KRAMPUS XMAS SPECTACULAR at 7 Stages,(Thurs. Dec. 8 through Sat. Dec. 10) is not your average holiday pageant and not for everyone. But the manic and original musical production aims directly at anyone who wants an absurdist antidote to the same old carols, cuteness and tinsel gone mad and obsessive shopping. If that’s you, read on.

He’s making a list and gonna find out who’s naughty and nice. We all know the famous lyrics to “Santa Claus is Coming to Town,” and that now you even have that pesky Elf on the Shelf watching your every move. But in the holiday tradition of Germany and other Alpine countries, being bad has bigger consequences because Santa brings the devilish Krampus along to warn and punish misbehaving kids. If you’re really bad, he may even stick you in his sack and take you back to his lair to devour you as dinner.

For the second year in a row, 7 Stages takes Santa’s dark counterpart, adds a hard rockin’ soundtrack performed by the Little 5 Points Rock Star Orchestra, and tosses in some iconic characters  and situations like an ultimate holiday office party and a quest for the Messiah; with contenders including not just Jesus but other seasonal icons such as Frosty the Snowman and Santa. You may have already got a visual sneak preview if you saw the demented Krampus Float in the Little 5 Points Halloween Parade or were out bar-hopping last Saturday when the Krampus crew did a pub crawl in costume, but for a closer look, ATLRetro caught up with one of the twisted elves behind the KRAMPUS XMAS SPECTACULAR, Rob Thompson. Rob plays the Devil himself, as well as being maestro of the Little 5 Points Rock Orchestra and proprietor of Java Lords, the pleasingly affordable bar next to 7 Stages which he has nurtured into a salon of sorts for Atlanta’s craziest artists and musicians. We also took the opportunity to find out where he’s at with a certain other monstrous production that we can’t wait to see completed at 7 Stages this spring – DRACULA: A ROCK OPERA. If you missed our review of the first act, which premiered earlier this year, catch up your reading here.

A vintage postcard depicting the Krampus punishing a naughty child.

ATLRetro: We’ve always heard that naughty kids don’t get gifts, but the Krampus isn’t just about leaving a lump of coal in your stocking, right? For the uninitiated, what is the German traditional story behind the Krampus?

Rob Thompson: Krampus is a Christmas Demon,  the antithesis of Santa Claus. He is the culture of years, and they both have their agenda. Santa pleases the good kids, while Krampus has his list as well. Krampus does the most dirty work. If you’re naughty, Krampus will whip you, put you in his sack made of pig bladder, throw you in a river at the beck and call of the elements. Possibly, he will take you to his cabin in the black forest and devour you and maybe even take you to hell! (Mwahahahhahaha!!!!)… But, it depends on how good you’ve been, little victim. Just wait and see. You should have been careful.

OK, so how do you get from a dark German counterpart to Santa to a hard rocking KRAMPUS XMAS SPECTACULAR musical play at 7 Stages?

The little 5 Points Rockstar Orchestra has experienced an evolution since we have developed this partnership with 7 stages. This show is the child of several creative people working together on and with many other players for several years. I could have never guessed that we would be where we are now.

What’s your role in this year’s production, and who are the other key demented masterminds behind this twisted holiday…dare, I say, pageant?

I am the musical director and play Satan in our cast of immortals and was a consult for the script. Andrew “Cutty” McGill and James McDougal wrote the original script, Heidi S. Howard from 7 Stages is directing with Andrew assisting, Andrew also plays Santa. We all wear a lot of hats in these productions and everyone is deeply involved in the process of creating the show.

Who’s the target audience—the same folks who prefer Dr. Seuss’s THE GRINCH and Tim Burton’s THE NIGHTMARE BEFORE CHRISTMAS? And should we bring the kids or get a sitter?

If you like rock and roll, irreverent, absurdist comedy and good ol’ entertainment, it’s a must see! Leave the kids at home!, Krampus will eat them. NOT A KID SHOW!

The Krampus float in the L5P Halloween Parade. Photo courtesy of 7 Stages.

Some folks might say, well, I saw Krampus last year and I don’t need to go again. Without giving away too much, how will this year’s show be different from last year’s?

It is a brand new play!  We will perform some of your favorites. However, we do incorporate some new songs as never before. We have pushed our boundaries farther than last year and you will be surprised!

The production certainly doesn’t shy away from being provocative and offensive. How did you decide what fit and didn’t fit, and was there anything that didn’t make it onto the stage?

It is all in the process. We spend a lot of time in the space feeling out ideas and making sure they work for the story. Our director lets us share our ideas and we decide together what works or not. There is a ton of material that didn’t make it.  New material is added nightly in rehearsal.

Red is the color of both Christmas and blood. How much of the latter can we expect in KRAMPUS, and does any of it splatter beyond the stage?

We won’t damage your clothes as much as your mind. Unlike some of our previous shows, there is not as much blood. But there are plenty of other bodily fluids! We won’t know how far the fluids splatter till show night. It is more exciting that way. There is plenty of red in surprising ways, as well as green and even some black and white.

Last year Creative Loafing called the songs  “sinister Christmas carols.” Can you talk a bit about composing the music and lyrics?

We use songs that we like. No originals for this one—we saved all those for our DRACULA: A ROCK OPERA. We do change some lyrics to fit the scene or for comedic effect. Some are Christmas songs, but all rock! This is a rock show after all!

Krampus at the Wrecking Bar during the pub crawl. Photo courtesy of 7 Stages.

Is it true that many of the masks used in this year’s production were made by children through a partnership with the Goethe Institute?

The Goethe Institute sponsored our show, and we have quite a bit of German language in the show that was developed through this process; they have been a great asset to us. We had a Krampus mask workshop for our Krampus run, which coincided with the L5P Halloween Parade.

There’s a party after the show, too. I’m guessing it’s not just another average holiday cocktail party, especially with PBR on board as a sponsor?

Yes, we have some surprises in store! There are never average parties at Java Lords/ 7Stages!

Looking ahead, the full-length DRACULA: A ROCK OPERA premieres this April. Can you give us an update on where that show is at?

We are working steady on it; it is very close to complete. We are working to complete a recording of a full-length double CD, too.

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

Financing a project as big as DRACULA: A ROCK OPERA must be challenging. How is fundraising going, and what can readers do to help?

It’s a bigger job than I ever imagined, and I can’t thank 7 Stages enough for the support and motivation they have given me. Your readers can become a producer! Or just donate. Call 7 stages for more information.

Are you up to anything else interesting right now, either solo or in collaboration with the Little 5 Points Rock Star Orchestra?

Well,  Krampus and Dracula are dominating our minds right now. We have plans for a CD and maybe a film as well. Other than The L5PRO, I work with Shane Morton at the Silver Scream Spookshow at the Plaza Theater. We do a show on the last Saturday of every other month, next show DEC. 31 [Rankin-Bass’s MAD MONSTER PARTY]!

Fonda Lingue. Photo credit: Rah Benton.

Place a wide ostrich feather fan in the hand of Fonda Lingue, and she’ll tease you with an act that captures the classic beauty of vintage  Sally Rand. She’s mastered “Let Me Entertain You,” the signature striptease number of Gypsy Rose Lee, and she’s even developing a tribute to Lili St. Cyr. But as you watch her graceful moves that recapture the glamour of burlesque’s golden era, chances are it may take you a while to realize Fonda’s ultimate tease. While burlesque has its share of boys, Fonda is one of the very few who dances as a woman and not just that, but as the awards and accolades she’s accrued in just a few years of professional performance in the field attest, with all the skill and sex appeal of today’s top female burlesque revival performers.

Atlanta’s burlesque scene has had its share of rising stars, but when we heard that Fonda was heading to Europe to compete against some of the best international performers for the prestigious Milan Burlesque Award, as well as a whirlwind performance tour through England, France and Italy, we knew it was high time to declare her Kool Kat of the Week. This Fri. Dec. 2, she’ll also be one of the Snow Queens of Burlesque in Santa Baby, a special wintry holiday edition of Mon Cherie‘s Va-Va Voom series at The Shelter featuring special guest celebrity emcee Devin Liquor and Stormy Knight, Biloxi Brown, Katherine Lashe, Scarlett Page and more of Atlanta’s best dancers. Then on Sat. Dec. 17, she’ll be performing in the Syrens of the South-produced Tits for Toys for Tots show at The Five Spot. Headlined by burlesque legend Gabriella Maze, returning after almost 30 years, that holiday-themed spectacular features a glitzy all-star line-up of local performers including Talloolah Love, Katherine Lashe, Ruby Redmayne, Kittie Katrina, Kisa Von Teasa and Lola Lesoleil.

ATLRetro caught up with Fonda to find out what flamed her passion for classic burlesque and to see what we could tease out of her about her December performances and that upcoming European tour!

ATLRetro: Before you became a classic burlesque performer, you were a ballet dancer and female impersonator for 20 years. How did you get started in burlesque and what captivated you to embrace recreating the golden era of burlesque?

Fonda Lingue: I got started in burlesque when Devin Liquor and I had a show at The Stage Door in Tucker called “The Dirty South Dukes and Dolls Show.” It was primarily a drag king show, and I was the only “female” in the show. I never wanted to do traditional drag acts of just standing there and lipsyncing to popular songs so I would create these dance numbers to use all of my talents. I did a number to “Let Me Entertain You” from GYPSY where I did the first part as the young Gypsy, then ran off the stage, quickly changed and became Gypsy in her striptease years and stripped down to pasties and panties. The audience loved it! I began adding those numbers more and more into my act and was asked by The Lady Miss Vagina Jenkins to participate in one of her burlesque shows. That was the start.

Fonda Lingue. Photo credit: Derek Jackson.

As far as the Golden Era of Burlesque, I am a purist, almost to an OCD extent. I figure if I am going to do it, I am going to do it right and do it accurately. I have studied videos, read books—I am reading GILDED LILI [about] the life of Lili St. Cyr right now—and talked to legends, and to me, that time was the height of what burlesque used to be. You were a star back then and you were paid well to do your craft. You were taken care of and respected for what you did as an artist. I love the glamour, and I love the social aspects of the burlesque scene. I also think it is important to keep that part of our history alive. Right now there is a more contemporary approach to burlesque throughout the country, and my goal is to keep classic burlesque alive. There is room for both and many performers do both styles. For me, it is a preference, and I think it suits my movement style and my look.

It strikes me that the burlesque world is very open-minded and embracing, but did you have any challenges as a boylesque performer among your fellow performers or with audiences?

I can’t believe how well I have been received in the burlesque world. Much more than in the drag world. I am one of only a few males that perform as a woman. In fact, I know of no one else who does what I do. That’s not saying there isn’t someone, I just don’t know of anybody. I am different in that my goal is to fool the audience until the final reveal, then they realize I am a man. Really, I am the definition of the word “Burlesque.” I love to challenge people’s sensibilities and prove to them that they can enjoy my performances from an entertainment standpoint and not necessarily a sexual one. I also like the fact that I may challenge their sexual tendencies as well. The only real problem I have is when I apply to a festival or competition, they don’t always know where to put me. They want me, but they just don’t know if I am to be placed with the boys or the girls. In the Great Southern Exposure pageant last year, I won King of Burlesque. Some other competition might place me as a female. If it is not a competition, there is no problem.  I don’t care myself where I go, i just want to be able to perform.

Who are a few of the performers—both classic and from the contemporary burlesque revival—who most inspire you?

Lili St. Cyr is my absolute favorite. I have been compared to her in my performances, and I take that as the highest compliment. I have been inspired the most by Kisa Von Teasa, Sally Rand, Gypsy Rose Lee, Dirty Martini, Catherine D’Lish and Michelle L’Amour. Each of them inspire me in different ways.

You’ve won quite a few honors in just a few years in the profession, including King of Burlesque in the Great Southern Exposure Burlesque Competition. Do you feel that ballet and drag experience gave you a leg up, so to speak?

Drag not so much. I would like to say that it had, but I have to be honest. Other queens told me my make-up was wrong, my numbers weren’t current, and they all tried to “correct” me. Even my partner at the time tried to change my make-up. It was only when I went back to following my own instincts that I got any recognition. Plus, it’s all too political in Atlanta, but that is another interview!

Ballet has definitely helped me with my burlesque career. I would not have the carriage and vocabulary I have if it weren’t for my experience as a ballet dancer. Also my ability to portray different characters can be attributed to my ballet training. In ballet, you have to convey the story to your audience through your movements. Your voice is your body. It’s the same in burlesque. Burlesque is just another form of dance. People argue with me on that, but aren’t we called burlesque DANCERS?

Without giving away too much, what can you tease us with about your performance in this Friday’s winter-themed Va-Va-Voom?

Well, I have been asked to do a fan dance by Mon Cherie herself, so that I will do. It will be set to classical music, it will be very sparkly—of course—and I hope it will be very beautiful!

You’ve done a lot of performances at Mon Cherie’s events, including the Rockabilly Lounge. She’s really gone a long way towards making burlesque a regular activity in Atlanta and nurturing so many performers. Can you talk a bit about Mon Cherie’s impact on the local burlesque scene and why folks should come out to her events?

Well, Mon Cherie has done a lot for me personally as far as my performing here in Atlanta. She has allowed me to perform in front of audiences that I didn’t know if they were going to like me or hate me. Fortunately they have all been favorable experiences, and I have opened some peoples eyes through her. Mon brings in performers from all over the south and also tries to give “Newbies”—that’s a term I have learned through my dealings overseas—a chance to perform as well.

Money is tight these days, and there are not a lot of outlets for burlesque performers right now. I am very lucky I perform as much as I do. She has had a HUGE impact on Atlanta’s burlesque scene in that she makes it possible for us to work consistently. Just about every independent burlesque performer in Atlanta has graced her stages at one time or another. I admire the fact that she tries to keep us employed and often reaps no benefits herself. I know her day will come. You can’t give of yourself like she does and not be rewarded somehow. Her events are professional, she has high standards, and the atmosphere is that of those early years of burlesque when it was just as social as it was performance. I always feel like I have stepped back in time!

We just heard the exciting news that you’re about to set off on a European tour. Where are you going and what acts are you taking on the road?

Right now I am going to London, Rome, Paris, and I am still waiting confirmation on Milan. There are other things in the works but not confirmed. I am taking six acts with me! Am I crazy? Yes! I am performing three nights inParis, and they want two numbers each night! I am taking “Zip Strip” (the act I won Great Southern Exposure with) my “funny fan dance,” “Cry Me A River” (my signature piece), “Moon Indigo” (a new act that is in rehearsals now), “Lili,” my tribute to Lili St. Cyr (in rehearsal now, especially created for this tour) and another new number that I have chosen the music but haven’t started yet.

Is it true that Ruby Redmayne is coming with you?

We are working on that! If she does, she will accompany me on part of my trip only. She is my best friend, and she wants to be there to celebrate with me and to help me backstage. And who wouldn’t want to go to Europe?! We can make a great time out of walking through the grocery store, so I know we will have fun. I hope it works out that she can go because I would love to share this experience with her. She has done so much for me to keep me motivated and help me get things done. I have booked this whole tour on my own—researched my own contacts, pursued producers and corresponded with all of them. It has turned into almost a full-time job, and Ruby has been invaluable in helping me get things accomplished! She needs to reap the benefits of her hard work as well! It’s not easy keeping me motivated!

It’s hard to make a living as a burlesque performer here in the US, but you’ve said that the situation is easier in Europe. I was struck, for example, at the huge burlesque scene in London—there’s so much going on that there’s even a “burlesque map.” Would you ever consider relocating to Europe?

Absolutely! In fact, that is my intention when I go over there. I am not sure where I want to live yet. Most likely it will be the UK or Paris. I want to see if it will be possible to make a living at being a burlesque artist. From what I have been told, there are not many male performers in Paris and none that perform as a woman.  The London burlesque scene has exploded. Europeans treat their Artists like Artists. And they pay them what they are worth. I have worked since I was 12 years old and never stopped. I loved my career as a ballet dancer, don’t get me wrong, but I was never a star. I was, and still am, well-known but I want more. I know it sounds cliche but that is what I want. I feel that I am on a path right now, and this is where it is leading. I have had a rough year. My relationship ended, and the day before I was to move into my new apartment I was in a car accident that has left me with some physical problems.  Everything bad that has happened has happened for a reason and has led to this tour. Far be it from me to stop listening now!

Do you have any other performances scheduled in Atlanta during the holiday season?

Yes, on December 17, I will be doing my “Suzy Snowflake” number at Syrens of the South’s Tits For Toys for Tots at the Five Spot in Little Five Points. I have also been asked to perform again at The Pond in Nashville with Ruby Redmayne for their annual New Year’s Eve Party.

You feel passionately about teaching burlesque as well. Can you talk a little bit about why even accomplished performers can benefit from classes to keep up their craft?

Your body is an instrument and it needs to be maintained. Regular movement classes keep you supple and in shape. They also keep your mind working. You are a dancer, and a dancer needs to take class at least a couple of time a week. I try to do my own class everyday. You owe it to your audience to be in the best shape both mentally and physically. The only way to do that is through constant training. People argue this with me, but the performers that do this are the ones getting the jobs and keeping them. You can always learn something from someone else. That is why I try to take as many classes as I can when someone new comes in to town or I go to a burlesque festival. It is always nice to hear someone else’s perspective on the same thing—especially someone that makes their living doing it! Ninety-nine percent of the time you get something out of it.

Finally, if I recall correctly, you recently purchased an amazing, beautiful headdress from Miss Torchy Taboo. Have you worn it yet in an act or what plans do you have for it?

I have not worn it yet. Rumor has it that I did wear it for a photo shoot, but that is not true. That beautiful piece of art will hopefully make it’s debut if I am accepted into the Southern Fried Burlesque Festival here in Atlanta the week before I go to Europe. If not, you will have to come to Europe to see it! I will be applying to the Burlesque Hall of Fame Weekend. Torchy and I both agree it needs to end up there. “Moon Indigo” is the music I have selected for the number. I have designed my costume with a kind of Erte feel to it, and I have matched the fabric to the headpiece. It includes a fur wrap, and it will be made of dupioni silk! My costume is being constructed by Cat Harrison, a big Steampunk costume designer, so my corset will be especially awesome. I am using vintage beads combined with non-vintage Swarovski crystals. Costuming my body is not easy because I have to create body parts and curves that I just don’t have. My hat is off to her and she is doing a great job!

Are art and photography galleries now becoming endangered in the same way as your neighborhood record store, book shop or cinema? That’s the concern of Jennifer Schwartz, owner of the Jennifer Schwartz Gallery on the Westside, and like the campaign to Save Criminal Records, she’s not content to stand by and just let younger generations think of art collecting as a quaint tradition that their parents did. Instead she’s taking her mission on the road as part of an initiative she founded called the Crusade for Collecting. Merging Kickstarter, a high-tech Internet resource for fundraising, with the low-tech tried and true transportation of a used Volkswagen bus, she plans to take to the road.

While her husband and three kids will stay home, Jennifer will drive to 10 US cities, setting up pop-up events conducting meet and greets and selling photographs by exciting contemporary photographers—all to inspire what she sees as the “next generation of collectors.” It being Thanksgiving week, it just seemed right to spotlight someone committed to preserving something we love—artists and their livelihood. So we caught up with Jennifer to find our more about why she decided to undertake her future journey and what she’s doing now to get ready.

What inspired you to launch the Crusade for Collecting?

I feel very strongly that there is a disconnect between the younger generations and buying original art. I created The Ten to encourage people to buy high-quality, exclusive, very-limited, signed photographs at an affordable price point I call it the “gateway drug to larger collecting,” but I wanted to do more. I wanted to get out there and talk about this issue. We are all so over-saturated with information online, that I wanted to do something different to get people’s attention.

Do you feel that collecting photography, or even art in general, has just been stalled by the recession or do you think there’s been an actual change, with young people less interested in it? If yes, why are younger people losing their connection to art?

I think a lot of people in the art world are blaming the economy, and certainly that doesn’t help, but I see it as a cultural issue. People don’t think twice about buying designer jeans or going out for coffee or spending money on a good meal. And I’m right there with them! Generationally, we care about the things in our world. We just haven’t considered adding art to that world.

I think if you stopped someone who was about to buy a mass-produced canvas art piece at Z Gallery or Urban Outfitters and said, “Wouldn’t you rather spend the same money and buy something original? Wouldn’t you rather find something that you connected with and knew the story of? Wouldn’t you like to buy a piece of art that has value, both monetarily and to you personally?”, most people would stop and say that, yes, of course they would. They just hadn’t thought about it like that before.

I want people to think about it. I want people to know that they can afford real art and that being a collector just means buying an original piece and being thoughtful about that choice. There are a hundred million pieces of art that will match your throw pillows buy one that matters to you.

Jennifer Schwartz at the door of her Westside photography gallery. Photo courtesy of Jennifer Schwartz,

Why travel across country in a vintage VW bus? And have you already picked that bus or are you still shopping around?

I want to do something dramatic to get people to stop and listen. I want to bring art to the people, to get them excited about it and want to extend that excitement to start visiting their local galleries and museums.

I have not picked the bus—a vanagon it’s called—yet. I would love to have a car dealership or website sponsor the Crusade by donating the vanagon so that I could spend the money I have raised on outfitting the interior with shelving for artwork and other tweeks, which will be a considerable cost.

What cities will you be visiting and how did you pick them?

We just announced the cities in this video update where I fumble with a map and show the route. It’s pretty amusing. We decided to go to New Orleans, Houston, Denver, Los Angeles, San Francisco, Portland, Seattle, Minneapolis, Chicago and New York City. It was difficult to decide, but I wanted to hit major cities where I would have the best chance of reaching the most people. I will also most likely do one or two “trial run” cities closer to home in advance of the big tour; suggestions welcome! And if the tour goes well, and there’s clamoring for it, I’d love to do mini-tours in the future.

What’s the connection between the Crusade and The Ten?

I created The Ten to give people who are new to looking at and buying art an opportunity to buy an original, limited edition, signed photograph. The work is very exclusive, because the photographer is retiring the image from sale, so only 25 of each image are ever available for purchase. Part of collecting is education learning what you like, learning how it all “works” in terms of what it means to edition a photograph and the importance of buying signed, original work.

Beyond the opportunity to purchase, The Ten gives potential collectors a chance to look at a complete collection of work by a single photographer. They can read the photographer’s statement and see how the individual images work together and fit into a larger concept. The Ten allows the viewer to start thinking about photography as more than individual, pretty images. They will start to see the depth and layers that fine art photography has and connect to work more profoundly.

Jennifer Schwartz. Photo courtesy of Jennifer Schwartz.

The pop-up shows on the Crusade tour will be all work from The Ten again, to get people used to looking at, appreciating, and buying photography at a price point that feels comfortable. In my opinion, collecting photography sells itself. Once you start, once you connect to a photograph and are able to bring it fully into your life by hanging it in your home and personalizing your space, you won’t want to stop.

You’re using Kickstarter to raise $15,000 for purchasing a VW bus? How’s that going and what are some of the perks you’re offering to those who donate to support your trip?

It’s going really well [Ed. note: last time we checked backers had pledged up to $12,116] , and I’ve been overwhelmed by the outpouring of good vibes and support for this project. Backers have a ton of rewards to choose from at all different price points, from t-shirts to joining us on a leg of the tour. We have also had many generous photographers donate a few prints, tin types, books everything, and we have been announcing those as limited reward offers as they come in.

You’ve estimated you need an additional $50,000 to cover gas, food, lodging, photo printing and framing and promotion. How will you raise that?

We will have a silent art auction at the gallery next year and a couple of other fundraising events. I am also hoping to get some corporate sponsors—who wants their logo on the back of the van?!—especially a hotel sponsor.

How did you get interested in photography?

I have always loved photography. Photography is contemporary, and it is accessible— both in price and in technique. We understand photography. We know how it is done, and we appreciate its fresh, modern, and visually stimulating takes on our world. We can look at an image and be amazed that someone was able to use a camera a piece of equipment we all own and use and create something that moves us so powerfully.

"Eve Was Framed." Photo by Lori Vrba

What contemporary photographers inspire you and get you the most excited, and why? My tastes have evolved over the years as I have seen and purchased more photography, and I have a wide range of work I like, from the haunting, feminine, ethereal imagery of Lori Vrba [Ed’s note: Schwartz will present Southern Comfort, an exhibition of Vrba’s work from Dec. 2-Jan. 28 with opening reception 6-9 p.m. on Dec. 2] to the stark landscapes and intense portraits of Ben Huff.

When will you leave on the Crusade for Collecting, and how can we keep up with your adventures?

I will be blogging and posting video and audio podcasts from the road on the Crusade blog on The Ten website. I definitely plan to stay connected!

Finally with Thanskgiving this week, what are you most thankful for when it comes to the impact of art on your life?

Honestly, I don’t know where to begin. I am thankful every day for the richness, depth and joy I get from collecting and supporting art and artists. I am thankful my husband and I are sharing that love with our children so they will value art in their lives as well. And I am thankful to be able to do something I love every day.

Atlantans who love classic jazz won’t be surprised to hear that Kayla Taylor’s new and sixth CD YOU”D BE SURPRISED hit #23 on the CMJ Jazz charts this week and is receiving airplay across the nation and throughout Europe. Instead, we’re liable to say it’s delovely and just one of those things that had to happen. But then local audiences have had the treat of listening to this Atlanta native and chanteuse extraordinaire resurrect top tunes from the ‘30s,  ‘40s and ’50s  live for a decade or more with musical partner/guitarist Steve Moore. And because this Friday night, Kayla will be performing at one of Atlanta’s coolest vintage venues, the courtyard of the Artmore Hotel in Midtown whose building dates back to 1924, we thought the timing couldn’t be more perfect to make her Kool Kat of the Week.

One of those rare actual Atlanta natives, Kayla literally grew up singing, in her school chorus, church choir and in the shower, but winning two awards in a 7th grade talent show cemented her ambition to make music a career. Along the way, she has performed country music, gospel, R&B and classic and original rock ‘n’ roll until she finally found her heart resided in the golden era of Cole Porter, George Gershwin and Irving Berlin—all of whom are represented on YOU’D BE SURPRISED’s playlist. ATLRetro caught up with Kayla to find out more about why she decided to embrace one of our favorite musical eras, what she has planned for this Friday night at the Artmore, her new CD, what’s next and where you might catch her singing while shopping…

ATLRetro: According to your bio, you always sang even as a little girl, and through the years, in addition to jazz, you’ve performed country, gospel, R&B and rock n roll, too. How did you come to embrace vintage jazz?

Kayla Taylor: I have always loved vintage jazz. The charm and romance of the ‘30s and ‘40s was something that always attracted me. I love how clever the lyrics are. When I was a kid, I watched a lot of old movies that were filmed and set during that time period and found all of it to be a natural embrace. Then in the mid-‘80s, Linda Ronstadt—one of my rock heroes—came out with her Big Band albums with The Nelson Riddle Orchestra and the romance started all over again.

Photo credit: John Lee Matney.

I understand that your earliest award was for singing Irene Cara’s “Out Here on My Own” from FAME? What’s the story and how big an early influence on you was the movie, FAME?

I wouldn’t say that FAME had a big influence on me, but the music and Irene Cara’s voice definitely did. I loved the pure emotion that was in her voice when she sang “Out Here On My Own.” The school talent show was coming up, and so I decided that I’d sing that song. I practiced for weeks in my room with the door closed. I must have played that record hundreds of times. My parents had no idea. I wasn’t trying to win—I just wanted to sing in front of all those people. I was also in a girls’ trio that performed “Sincerely”— a tune from the ‘50s. Well, the trio took 1st place, and I took 2nd place. I was so thrilled and excited. My parents had always been supportive of whatever I wanted to try, but at that point, they jumped completely onboard with my singing adventures.

Who are some of your favorite classic jazz composers and performers, and why do you think their music remains so timeless and relevant today?

Cole Porter, The Gershwins, Rodgers & Hammerstein, Johnny Mercer . . . there are so many amazing composers from that era that I adore, but these are just a few of my top picks. As far as performers, Julie London, Ella Fitzgerald, Nina Simone, Peggy Lee, Etta James, Dean Martin and Frank Sinatra. I think the music is so well-crafted that it can’t help but remain timeless and relevant. Most of the songs are about love or the loss of love—that will always be timeless and relevant.

How did you meet Steve Moore and end up working together?

Great Story! Steve Moore was in a rock band called A Fine Line—an original rock project. They ran an ad in the Creative Loafing looking for a female vocalist. (That’s what you did 19 years ago—you ran an ad in a printed publication if you were looking for a musician.) I called about the position. They sent me a demo of some of their tunes, and I thought they were really cool, so I learned them and showed up at the audition. Later that night, Steve Moore was the one who called me to tell me I had gotten the job. That was the beginning of an amazing relationship as friends, co-writers and business partners. We went through several original rock projects together (A Fine Line, OneWithout) and even an acoustic duo (The Adventures of Kayla & Steve). One day we were talking about all these great jazz standards that we both loved and how much we would both love to play that music one day and to have our own jazz combo. Five minutes later we had made a decision to start working towards that direction. That was over 10 years ago, and we’ve been at it ever since.

Kayla Taylor and Steve Moore. Photo credit: John Lee Matney.

Can you tell us a bit about YOU’D BE SURPRISED came together, and what it means to you that it’s doing so well?

To say we are excited is an understatement. OVER THE MOON with excitement might scratch the surface. All of this came about because we hired an expert to handle it for us. We’re indy artists—SmartyKat Records—that’s our own label. We don’t have the connections personally to make this kind of airplay and exposure happen, so we hired Kari Gaffney and Jeff Williams of Kari-On Productions to handle all of it for us. Kari has over 21 years experience promoting and marketing CDs to radio and print media. I have never seen anyone work as hard as she has been working. I don’t know when she even has time to sleep. She’s done a fabulous job for us.

What’s your favorite song on the CD to perform and why?

WOW. To pick one tune—that’s tough because I love every song that’s on the CD. It’s like asking a parent to choose a favorite child. If I have to pick one, though, I’d have to say the title track—“You’d Be Suprised.” What I love about that song are the great lyrics. They are so clever!!! I love the Marilyn Monroe version.

The Jazz in the Courtyard series at the Artmore, where the building dates back to 1924, promises an urban escape with “sultry music, sexy vibes and sinful drinks.” And the signature cocktail is “The Prohibition.” Can we surmise that the goal is to create a speakeasy atmosphere, and will you be tossing some Roaring ‘20s tunes into the mix?

Artmore is a great hotel, and the courtyard is a beautiful venue. We have a great time playing there and love that they have embraced our music. We’ll still be hanging out in the ‘30s and ‘40s era but love that they have created a speakeasy feel—with a modern twist. All concerts take place in the courtyard, and there is a fabulous firepit and heaters to keep everything warm. If it should rain or turn freezing cold—we’ll move the show into their basement speakeasy lounge. I think we might be good to have this final concert of the season out in the courtyard, though.

Anything else you’d like to share about Friday’s gig at the Artmore?

Reservations are not required, but if you want to reserve a seat, you can email them at sales@artmorehotel.com. Come prepared to have a great time. I have a retro-styled microphone that is wireless so I can move all over the courtyard, and I love to come by and sing to anyone who seems like they might be receptive. Trust me, though—if it’s clear you’re there with a date and you just want to make eyes at each other—I’ll stay out of your way.

Where else will you be playing in Atlanta soon, and any plans for a tour to promote YOU’D BE SURPRISED?

Our next big show will be at Feast in Decatur on Saturday, December 3. This will be a great show because it’s the beginning of the holiday & Christmas season, and we’ll have some of the great jazzy Christmas tunes from the era to throw into the mix. This show generally sells out, so it’s a really good idea to call them to make a reservation. We play from 7:30 p.m. – 10:30 p.m. with the five-piece combo. The food at Feast is fantastic and we always have a great time. [Call] 404.370.2000 – for reservations.  As far as a tour to promote YOU’D BE SURPRISED—definitely something we are thinking long and hard about we just have to make the numbers work out.

Do you really burst into song at the grocery store? If yes, where do you shop?

Not every time I’m in the grocery store, but yes, I have been known to burst into song in the middle of a shopping excursion. My sweet husband, Scott, has been so good about dealing with those moments and I know they have been embarrassing—but sometimes a song just wells up inside and I have to blurt it out. For the record, my favorite place to shop locally is Publix—the stores are smaller and easier to navigate and everyone is super-friendly. If I’m going to travel away from my neighborhood to shop, you’ll find me at Whole Foods.

Finally, we’ve got to ask. What would we be most surprised to know about you?

Two things: first, I am an avid gardener. I love digging holes and putting plants in them and then nurturing them and watching them grow. It fascinates me! The next thing . . . I actually suffer from stage fright on occasion. It’s true.