ATLRetro

BIG IN JAPAN, a solo art exhibition by Chris Hamer of works inspired by Tom Waits. Octane Coffee. April 1-30. Opening reception featuring special guests Blast-Off Burlesque, Fri. April 1, 7-10 PM.

The first time I met Chris Hamer was at the Rock ‘n’ Roll Monster Bash one summer at the Starlight Drive-In. As usual, the heat was broiling, but Hamer’s tent afforded not just welcome shelter from the heat but a jaw-dropping assortment of those ugly kitschy landscapes that are usually condemned to thrift stores and yard sales. Except looming by that tree, standing next to Jesus or rising out of the lake was a monster with one big bug-eye. Had I discovered Godzilla Americana?

Most of Hamer’s creatures, however, aren’t menacing but surprisingly friendly-looking, even shy and a bit gangly like they’re more nervous about meeting humans than you should be about them. In other words, the grinning red-bearded artist in a baseball cap not only has a comic sensibility and a talent for recycling found objects into something unexpected, but no worries about his art being dubbed “low brow” and even gloriously geeky. Even “Urbnpop,” the handle for his studio/company, sounds just right. Soon I realized I was running into him at all my favorite urban pop-culture hangouts—artist festival markets, H.C. Warner’s Alcove Gallery, Atlanta Rollergirls matches, comics conventions and even in Orlando at the Spooky Empire horror con.

All of that raises no doubt that Hamer is one quintessential Kool Kat. But when he announced that he was doing a solo art show dedicated to Tom Waits called BIG IN JAPAN at Octane Coffee in west Midtown, with Blast-Off Burlesque performing at the opening party on April Fools Day, it was a no-brainer that ATLRetro had to unearth the missing link between the pop-culture monsters and one of America’s more enigmatic gravelly-voiced rock singer-songwriters. 

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SMILE JOHN: Includes HAPPY BIRTHDAY TO JOHN (1972), Dir: Jonas Mekas; FILM NO. 5 (SMILE) (1968), Dir: Yoko Ono; Fri. March 25, 7 PM; Plaza Theatre; $10 ($8 if attending 9 PM screening, too)

SKY, BED PEACE: Includes BED IN (1969), Dir: Yoko Ono and John Lennon; APOTHEOSIS (1970), Dir: Yoko Ono and John Lennon; Fri. March 25, 9 PM; Plaza Theatre; $10 ($8 if attending 7 PM screening, too)

Yoko Ono and John Lennon Montreal Bed-In, 1969 Photo by Ivor Sharp ©Yoko Ono.

Since he started Film Love, his provocative avant-garde film series, in 2003, Andy Ditzler has explored everything from the beat cinema subculture to American racism. But this Friday March 25 at the Plaza Theatre, audiences will be treated to filmmaking as love-making between two intensively creative people with the first two of five installments of YOKO ONO: reality dreams, which Film Love is co-presenting with Emory University and Atlanta Contemporary Art Center. John Lennon and Yoko Ono certainly must be one of the most famous couples of the 20th century, but these experimental films are rarely seen and aren’t available on video.

ATLRetro recently caught up with Andy to ask him about his own passion for avant-garde film, the origins of Film Love, what Frequent Small Meals are, and why you should spend Friday night getting to know John and Yoko better through some extraordinary movies.

From what I understand, you started Film Love in 2003 with a beat cinema series at Eyedrum. How did you become so interested in and passionate about experimental and avant-garde cinema?

In the early ‘90s, I was living in Boulder, where the great avant-garde filmmaker Stan Brakhage was teaching. I attended his screenings and classes. He showed the wildest films, things I had no idea how to process or even understand. Yet Brakhage had a way of talking about the films that made it clear that watching them was to be considered an adventure, that you could figure it out, and most of all how important it was that we gather to watch these films.

Andy Ditzler, founder & curator of Film Love.

Some of the films were so small, so obscure, that they almost disappeared off the screen. I was hooked. One day Stan showed THE END and THE MAN WHO INVENTED GOLD by Christopher Maclaine. Maclaine was a shadowy figure, long dead, and his films of Beat San Francisco in the ‘50s were completely haunting. I totally connected with them.

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Different nationalities have had their own takes on the 20th century motorcycle. Harleys were rugged outlaw machines built for the likes of Marlon Brando and ready to go the distance of Route 66. British Triumph “choppers” dominated the post-war market until under the practical workmanship of the Japanese, Suzuki, Honda, Kawasaki and Yamaha bikes ascended as more mainstream, recreational and affordable. Leave it to the Italians, masters of modern design, to remake motorcycles into sleek and sexy objects of desire that also raced like speed demons.

Or so goes the premise of PASSIONE ITALIANA: DESIGN OF THE ITALIAN MOTORCYCLE, the special exhibition chosen to premiere Museum of Modern Design Atlanta’s (MODA) dynamic new Midtown location at 16th & Peachtree. On display will be 11 “masterpieces” of Italian motorcycle manufacture spanning five decades including bikes made by MV Agusta, Ducati, Bimota and Moto-Morini on loan from the Barber Vintage Motorsports Museum in Birmingham, Ala. The opening night party is this Sat. March 19 at 7 p.m. and the show runs from March 20-June 13.

'64 MV Agusta 500cc is one of 11 vintage and contemporary Italian motorcycles on display at MoDA. Photo courtesy of Barber Vintage Motorsports Museum

Who’s the lucky easy rider steering this Italian job? Twisting the wick as curator is Joe Remling, a founding principal at Atlanta architecture firm ai3, with a passion for world travel and global design, as well as an independent streak.

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Ask anyone in Atlanta’s neo-burlesque scene who started it here, and one name inevitably comes up— Eve “Torchy Taboo” Warren. She’s been dubbed the “Godfather of Atlanta Burlesque” and nothing seems more natural than her hosting the Dirty South Burlesque Showcase, a late-night cabaret on Saturday night for some of the best regional performers, one of several star-studded performance events at this weekend’s Southern Fried Burlesque Fest [read ATLRetro’s preview here].

With all the burlesque troupes and production companies performing here now, it’s hard to imagine that just 16 years ago, none of that existed. While Atlanta was home to one of the nation’s largest collections of adult entertainment venues, those venues had long ago left behind any appreciation of the art of the tease. Among all the stagnant bump and grind for big bucks, however, one dancer had a dream.

This red-haired 5-foot-nothing Rita Hayworth lookalike never had been an ordinary stripper. When she wasn’t dancing, she was vagabonding across Europe, performing at drag shows at The Sports Page, studying art history, sipping Polynesian cocktails, waxing poetically about corndogs and jitterbugging to rockabilly bands at the Star Bar. That’s how I met her in 1995 through my friend “Go-Go” Max Bernardi, another Star Bar regular and a singer, painter and performance artist whose artwork and acts were often seen at 800 East, an Inman Park warehouse that at the time was a haven for the city’s alternative creative scene.

The cast of Go-Go and Torchy's Taboo Revue including Eve "Torchy Taboo" Warren, "Go-Go Max" Bernardi, Wanda Baker, Tim Monteith, Ivy Godiva, Dave Olsen and the Queen Bee. Photo credit: April Stevens

Together, Eve and Max cooked up this crazy idea to put on a tribute to the burlesque variety shows of the mid-20th century which they would come to call GO-GO AND TORCHY’S TABOO REVUE. It took place at the Catch City Club, next to Center Stage in Midtown, on October 14-15, 1995, and included many top players in Atlanta’s burgeoning rockabilly, lounge and performance art scene. Useless Playboys former front man “Big Mike” Geier even returned to Atlanta from Richmond, Va., to emcee. Later on he’d found some band called Kingsized and perform with a neo-burlesque company called Dames Aflame, which incidentally also was founded by Torchy Taboo. Another reason why it’s only fittin’ that Big Mike will be hosting and the Dames Aflame are special guests at the FreeRange Burlesque Show Friday night at Southern Fried.

Kelly Hogan (The Jody Grind, Rock*A*Teens), Wanda Baker (Bleu Velveeta) and Dave Olsen (Atlanta rockabilly swing icons The Lost Continentals) sang solo numbers, and almost every number was performed live by a seven-member lounge band, featuring Olson and other members of The Lost Continentals. Dashing up-and-coming illusionist, Christopher Tracy, provided magic, and Ivy Godiva, the weekly guest star of the then-infamous Go-Go Rama dances at the Star Bar, delivered laughs as his ravishingly redneck assistant, as well as a red-hot striptease to a revved-up rockabilly version of Dion and the Belmonts’ “Ruby Baby.” Puppeteer Tim Monteith boogied woogied as all three Andrews Sisters; he still regularly performs at Syrens of the South and other local shows and is competing in the first annual Southern Fried Burlesque Pageant earlier on Saturday night. In an artistic interlude, modern dancers Anik Keuller and Sonya Sconiers re-interpreted the Greek myth of Persephone without removing a stitch. And a certain ATLRetro writer/editor danced and sang as a 1920s art deco Bumble Bee Queen, with Bee-ettes “Saasha Foo” Wilson, hostess to many of 800 East’s zany variety shows, and her friend and fellow disco dancer Faith Farley.

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“Dancing is like dreaming with your feet,” goes the famous quote by Constanze. If that’s true, David Spencer has spent his life in dreams. Since he was a little boy, he let his feet guide him, and they haven’t led him astray from becoming a sought-after high school date to professional ballroom dancing shows and competitions. For the past 30 years, he’s also been a ballroom dance instructor, and he currently shares his secrets to fantastic footwork at Allure Ballroom Atlanta, near Cumberland Mall, and at the Atlanta Ballroom Dance Centre in Sandy Springs.

However, aspiring and seasoned ballroom dancers wanting to hone their moves will get to practice in top-hat style this spring as David leads a pair of Thursday night 10-week classes for beginners (7 PM) and continuing dancers (8 PM) starting March 24 at Callanwolde. For those not versed in vintage Atlanta, this magnificent Gothic-Tudor-style mansion in Druid Hills was completed in 1920 and once belonged to Howard Candler, president of The Coca-Cola Company and son of its founder Asa Candler. Now it’s a cultural arts center and special occasion venue listed on the National Register of Historic Places, but one can only imagine the Gatsby-like grand gatherings that happened here in days gone by.

ATLRetro recently caught up with David to find out why he has such a passion for ballroom dance and also get a preview of these special Callanwolde classes, which represent just a few of the visual and performing arts seminars at the mansion this spring.

1. How did you first get into ballroom dancing and is there any story behind that?

I was very fortunate to have a mother that would sit and watch all the old, classic movies with me as a child—everything from musicals to horror films. We would pile up on the sofa or the bed and watch with a big tub of popcorn. By the age of 7, I made the decision that when I grew up, I wanted to be Gene Kelly. It is no wonder that I teach dancing for a living now. Oddly enough, with Mr. Kelly as my role model, tap dancing is the only form of dance I have not studied—yet.

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It’s Monday morning before opening night for the Atlanta Opera‘s PORGY & BESS, George Gershwin’s self-dubbed “American folk opera” about a disabled beggar who falls head over heels for a tough guy dockworker’s girl in Catfish Row, a Charleston, South Carolina gullah community. To say that the Atlanta Opera’s costume shop is busy would be an understatement. Seated at a big work table, Stitcher Brett Parker pins and bastes a chorus member’s circa 1930s purple dress. Across from him, Synithia Cochran, First Hand, makes final adjustments to a pink frock. On another surface to the side, Patricia McMahon, Costume Shop Manager, irons a red satin bodice yet to be attached to a dress for leading lady Laquita Mitchell, who plays Bess. And costume assistant Michele Kennedy adjusts a suit on a cloth dressmaker form.

Supervising the whole shebang is Costume Coordinator Joanna Schmink, who has worked with the Atlanta Opera for 18 seasons. For PORGY & BESS, most of the wardrobe were rented as a package from the Houston Grand Opera. Director Larry Marshall had played dope peddler Sportin’ Life in that company’s 1995 PORGY & BESS production and really liked the look, says red-headed Schmink, casually dressed in an airy black and white top and jeans, pointing to several racks in an adjoining room. The clothes on them are a mixture of vintage and more contemporary that resembles a ’30s look sufficiently from stage, all labeled to indicate the character or chorus member who will wear them. The availability of all these costumes in one batch in many ways made the job easier for the five-person costume team, but it certainly didn’t mean there wasn’t plenty to do. For example, when the lot arrived at the start of January, Schmink discovered that all of the Bess dresses looked too worn for use and had to be recreated.

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From the moment she descends from the rafters in her pink tutu, her face perpetually peevish, it’s clear Emily Yetter is not your Uncle Walt’s Tinkerbell. No blonde beehive, sexy green mini-dress, ethereal flitting or delicate shoes—stomp, stomp. She’ll fly you into Neverland, but you’d better watch your back or she’ll have the lost boys shooting you down with an arrow. She don’t need no stinkin’ mother. Just ask Wendy.

A quirky-jerky politically incorrect anti-heroine is just what Tinkerbell should be, since the multimedia production currently playing under the big tent in Pemberton Place is J.M. BARRIE’S PETER PAN—an adaptation of the original play, not Disney’s nor Broadway’s reboot starring adult actresses sporting Robin Hood hats. British Three Sixty Entertainment has trumpeted the use of the world’s first theatre-in-the-round CGI projection screens that thrust the audience into flight alongside the boy who wouldn’t grow up. But while the special effects are awesome, what makes the staging so wonderful is the return to the original story and the way the cast embraces its whimsy wholeheartedly.

Emily Yetter as Tinkerbell. Photo credit: Ed Krieger.

The critically acclaimed production debuted in 2009 in London’s Kensington Gardens, the neighborhood where Barrie set the story, but Yetter joined the cast for its stateside debut in San Francisco last spring. An ingénue whose previous theatre experience has been in university and local productions, she’s been winning accolades from reviewers for her passion at petulance and talent at tantrums. ATLRetro caught up with her recently and coaxed her to share a few secrets about her magical experience getting locked in nursery chests, cavorting with lost boys, foiling a certain hook-handed pirate, and—of course—flying.

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Minette Magnifique may be Atlanta’s youngest burlesque troupe, but these voluptuous vixens, true to their motto “the art of delectable dance, sans the pants,” are fast forging their own ravishing reputation. Shellie Schmals, aka Baroness VONSchmalhausen, shares a few secrets about her stage and other personas, as well as a tantalizing peek behind the tassles of the House of Minette’s Valentine’s spectacular, FROM PARIS WITH LOVE, Friday Feb. 11 at Le Fais do-do in west Midtown.

Shellie Schmals of Minette Magnifique. Photo credit: Jordan Barclay

ATLRetro: How did you personally become interested in burlesque and when did you start performing?

Shellie Schmals: As a little girl, I saw the iconic image of Bettie Page and was entranced. She looked so sweet, but she was also extremely sexy in a way that wasn’t popular in 1980s mainstream media. I identified with her more than Christy Brinkley or Cindy Crawford. Living with a family of antique collectors, I was surrounded by pinup advertising of the 1940s and 50s – which I adored too. Somehow, I just always knew burlesque was there but never knew how to find it.

It wasn’t until 2008 that I was introduced to the Atlanta burlesque scene by the Syrens of the South. We collaborated on a comedy and burlesque show at Relapse Theatre, and I performed one comedic burlesque [act] under the stage name “Mrs. Velma NoHeart.” After that show, I was still very interested in performing. The right opportunity and role didn’t come along again until January 2010, when my Minette Co-Founder, Kellyn Willey (Madame Willey) was starting up another troupe and we knew we needed to combine our creative forces. Our first Minette show was on May 1, 2010 and we’ve been on fire ever since!

You dance and emcee under the show name, Baroness VONSchmalhausen? Can you share a little bit about her and how she came to join Minette Magnifique?

Photo credit: Offhand Photography

In 2006, I started my event production and marketing company VONschmalhausen, named after my family’s name before it got chopped up at Ellis Island at the turn of the century in the 1900s. My ancestors were from Poland and Hungary and I really wanted to honor my Jewish heritage. VONschmalhausen literally means “of the small house” and my tag line became “small house * BIG IDEAS” – how could it not be??!!

Since then, VONschmalhausen has grown into a brand for all my events, performance and projects. When it was time for me to name my burlesque character, Baroness VONschmalhausen seemed the obvious choice. My Baroness VONschmalhausen persona is still me, but bolder with a lot more sparkles. Although I enjoy raunchy and vulgar humor, it never sounds right when I say it. If I were to pick words that describe Baroness: elegance, innocence, sly humor, dirty innuendos with a smile, double entendres with a wink, and poetry with a little slapstick.

For that matter, what’s the origin of Minette Magnifique? Did I hear right that the troupe got started in New Orleans?

In the rich tradition of vaudeville performers, we rewrote our history. Each performer scribed a bio that speaks to who their characters are, and we did the same thing for the troupe itself. Although we might not come from New Orleans, our spirit lives there.

Minette Magnifique, and/or the House of Minette, is a really creative name for a burlesque troupe. Is there a story behind how you selected it?

Naming Minette Magnifique is an example of how beautifully Madame Willey and I collaborate together. Madame Willey was enthralled with the first name “Minette”, as it has multiple identities as an girl’s name (which means “protector”) and as the French slang for a girl who is all dolled up. We didn’t want to give ourselves the traditional moniker of Minette Burlesque, because we felt it was too restrictive. Being the alliteration junkie that I am, “Magnifique” came to me almost from divine intervention.

I started calling us “The House of Minette” as a way to bring all the performers and members of Minette on stage at the end of a show. The phrase is very grand, invoking images that are regal, with a splash of bordello. Just like us!

Blast-Off Burlesque has a wacky pop culture edge and Dames Aflame have embraced the showgirl aesthetic. How would you describe Minette Magnifique’s unique niche in the Atlanta burlesque scene?

I would describe Minette as theatrical and comical, sexy and sultry, vintage with a contemporary appeal. We love romance, sparkles, glitter, glamour and paying homage to the golden era of performers who graced the burlesque stage, pinup calendars and golden age of the silver screen.

Minette Magnifique’s Website bills FROM PARIS WITH LOVE as “a romantic, Parisian-inspired evening of musical and magical entertainment.” Can you divulge a little bit about what audiences can expect when it comes both to music and magic?

Our venue Le Fais do-do, is the perfect setting for us. It sets the mood for the Minette routines – each dancer selects their own music, and each girl was inspired from vintage French music. Expect to see a lot of interaction between the dancers. Mimi de Milo and Portia Lynn Dahl are performing a sister act. Vyolet Venom will be singing. Expect BIG SMILES, NEW DANCE MOVES and TWIRLING TASSELS!!

Would you tantalize us with a sneak preview of your own acts this Friday?

I’m excited to be performing two routines with our guest emcee, Mr. Tonguelinguist, my dear friend and improv co-hort, Jeff Wisard. I’ll be swept off my feet and into the lap of love!!

What about your emcee persona? How do you get into character and do you script it all out in advance or play it more improv?

Getting into character starts a few hours before show time, I’m very much in my head and am pretty quiet. As soon as I hit the stage to greet the audience with my signature phrase “Good evening ladies and lords …,” I’m in there, alive and in the moment. A shot of Jager always helps, too!!

I LOVE writing our shows. Before each dancer performs, I give a little intro that sets the scene for our audience. Since all of our Minette shows are themes, it’s a fun challenge to write something saucy and unique for each dancer, that not only describes their personality but also puts a time and a place on a routine. You can be sexy and just dance, but it’s even sexier to know the inner thoughts of the performer and create the world around them.

My role as Minette emcee is more of a storyteller, so much of it is scripted. Although, I play with the audience and improv as well. Most emcees announce the dancer’s credentials. We decided collectively that we wanted something different and my role has evolved with that. I’m very versatile though, and have emceed for many events without a script or notes – just going off the cuff and enjoying the energy from the audience.

Who are the guest performers for this week’s show?

We are thrilled to have Blair Crimmins, as our musical guest. He’ll be performing with Darcy Lemmonier, as she debuts a new routine. Blair’s music embodies everything that Minette is about: whisking the audience member back to a time where romance prevailed, the music was big and bawdy, and life was, too.

Joining us also will be Chad Sanborn, as our guest magician. Chad’s charisma and creativity provide an added touch that is going to make this show special and different. We’ll also be using Chad throughout the evening to help heighten our storyline.

My guest co-host for our Paris show is Mr. Tonguelinguist, [as noted previously, otherwise known as my improv buddy, Jeff Wisard]. Jeff did a guest spot with us in December as a boy toy and we loved him so much, we asked him back in a larger role! I’m excited to work with Jeff in this new capactiy too. We’ve been improv’ing together for years.

What’s next for you and Minette Magnifique?
As a troupe, Minette feels very strongly about the importance of giving back to others. In 2010, we participated in benefits for The Rainbow Center, PinUp for Pitbulls, Living Walls and Hurricane Katrina. Our next performance will be Friday, February 18 at Carnivale: A Benefit for Actor’s Express. This is a great opportunity to support the creative endeavours of our peers in the entertainment community.

When you’re not performing, what else do you do for work and play?

I can’t gush enough about my job. I work at a fabulous organization, ART PAPERS, as the director of development + public relations. ART PAPERS exists to provide an independent and accessible forum for ideas on contemporary art. I am coming off the heels of our weekend-long Art Auction fundraiser and am still jonesing on an adrenaline rush.

My heart also belongs to Relapse Theatre. I volunteer my time as director of community affairs  [and] I manage all the social media and community service/social projects that happen within our walls and in the Atlanta area. I’m also lucky enough to perform with 2Girls3Eyes, a talented group of improv performers, every Friday night on the Relapse stage.

And I, like, LOVE to shop!!! I’ve been surrounded by antiques my whole life. As a child, I would frequent garage sales, estate sales and flea markets with my parents looking for gold amongst the ruins. I was fortunate enough to amass a collection of vintage jewelry from the 1920s-1970s called VINTAGEsparkles by VONschmalhausen that is available for rental with photo shoots by PinUpGirl! Cosmetics in Grant Park.

More Secrets About Shellie:

Favorite Retro Movie: FREAKS by Tod Browning

Favorite Retro Musicians: The Beatles, The Shangri-Las

Favorite Retro Song to Dance to: “Chantilly Lace” by The Big Bopper

Favorite Retro Book: VALLEY OF THE DOLLS by Jacqueline Susann

Inspirational Burlesque Performers (Vintage Or Present-Day): Gypsy Rose Lee, Mae West, Bettie Page, Indigo Blue

Purchase tickets for FROM PARIS WITH LOVE here.

Ghost Riders Car Club guitarist Spike Fullerton agrees that Pho Truc, a Vietnamese restaurant in Clarkston, may seem like an unlikely place to find live rockabilly and honkytonk, but don’t let appearance deceive you Thursday nights this month. With their characteristic sense of humor, the band, which features some of Atlanta’s top professional musicians, has dubbed these gigs “Tet 2011: A Guaranteed Nguyen,” a pun on the common Vietnamese surname which is pronounced “win.”

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Name:  Cary Tedder
Age: 24
Hometown: Marietta
Retro Job: Performer, Snowboy, and Tony (understudy), WEST SIDE STORY
Location/Dates:  The Fox Theatre, Tues. Jan. 25-Mon. Jan. 31
Favorite Retro Movie: SINGIN’ IN THE RAIN
Favorite Retro Performer: Gene Kelly
Favorite Retro Show:  ON THE TOWN

WEST SIDE STORY. Been there, done that, you may feel inclined to say if you grew up seeing the movie on TV most likely in the wrong aspect ratio with its dynamic dance moves chopped and cropped. Or maybe you were lucky enough to catch a big-screen revival probably at the Fox Theatre if you grew up in Atlanta. So like many, including Cary Tedder, you may not have been blown away.

But flashback to the original stage play bursting onto the Broadway stage back in 1957, which critics were declaring it revolutionary from Jerome Robbins’ dynamic choreography and Leonard Bernstein’s powerful score to its controversial setting in the harsh, angry reality of urban street gangs and racism. The recent Broadway revival, now on tour via Broadway Across America, tries to recapture that sense of danger, according to Tedder, who plays “Snowboy”—one of the Jets—and also is leading man Tony’s understudy.

Photo credit: Joan Marcus, 2010

“You’re not going to see the movie on stage,” Tedder says. “You’re going to see something far more original, something different every night and something far more alive.”

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