ATLRetro

Atlanta author Chesya Burke finds a mystery in 1920s Harlem in THE STRANGE CRIMES OF LITTLE AFRICA, her debut novel  from Rothco Press which has its launch party Friday Jan. 29 at 7:30 p.m. at Charis Books and More in Little Five Points. The innovative and much anticipated story features as its protagonist feisty would-be detective Jaz Idewell, daughter of the first African-American officer in the New York Police Department, and as her best friend a young Zora Neale Hurston.

Chesya has been turning heads with her short fiction, unabashedly bringing an African-American  woman’s perspective to horror and spec-lit. Her first story collection, LET’S PLAY WHITE, came out from Apex Publications in 2011, and other recent publications include “In the Quad of Project 327,” in CASSILDA’S SONG, an all-women authors’ collection of stories inspired by Robert W. Chambers’ THE KING IN YELLOW which featured in HBO’s TRUE DETECTIVE.

ATLRetro was lucky enough to get a sneak peek at STRANGE CRIMES and enjoyed it so much we couldn’t help but make her Kool Kat of the Week.  We caught up with her recently to find out more about the book, the festivities at Charis and what’s next for this innovative author.

ATLRetro: What’s the “secret origin story” behind how you came to write THE STRANGE CRIMES OF LITTLE AFRICA?

Chesya Burke: STRANGE CRIMES isn’t much of a secret. A fellow writer and I thought that a black woman detective novel would be fun to write, Harlem would be a great setting and now there’s my Little Africa. Which I hope captures just a little of the real Little Africa.

How much of an impact has Zora Neale Hurston’s writing had on you personally, and did you feel at all intimidated bringing such a literary icon onto the page?

I love ZNH! Just love her. I love everything about her. Researching her, reading her biography, her own story, written by her, true and false—she was known to…subvert the truth when she saw fit—was fascinating. I’m a huge fan and I enjoy her work. I’m not sure how much influence she has on me, probably quite a bit, but less than some authors such as Octavia Butler. I think what I take most from Hurston is dialogue. She really got to the essence of rural black dialect.  I hope I can be half as good as she one day! 

I was nervous to write about Hurston. I have this idea of the woman that she was in my head, but it’s not real. I had to realize that I could never get the real Zora on the page, only a bit of the mystery of her as I could imagine.

Zora is not the only real-life character from the Harlem Renaissance. Briefly, can you tell us about a few of the others, such as the enigmatic Madam St. Clair, who also appears in your story “I Make People Do Bad Things”?

There are so many. I researched a lot for the book. Stephanie St. Clair, Bumpy Johnson, Anderson Charles and several others. Even her father, Rueben Idawell was based on the first black traffic cop in NYC.

What did you do to research the book, and what was the most challenging piece of information to find/fact-check?

I’ve been to New York a bunch, and I went to Harlem specifically to do research. I spent hours and hours in the museum, walking the streets and just trying as hard as I could to get a feel for it. But, of course, I hadn’t been to 1920s Harlem, so I looked at old articles and pictures and newspaper clippings from the time. That’s where I got the name, “Little Africa.” I hadn’t [known] it was called that until I read it in a newspaper from the time.   

Jaz, the protagonist, is the daughter of the first African-American officer in the NYPD. Are there any lessons that you hope readers will bring to the present from your depiction of race and justice/injustice in the Harlem Renaissance?

Racial injustice and police brutality have only changed in measures since the era of the novel. We don’t have to read historical novels to see this. Anyone reading STRANGE CRIMES will see parallels. And that is unfortunate.   

Your acclaimed short story collection LET’S PLAY WHITE is horror/spec-lit. Especially over the past decade more African-American horror writers have risen to prominence from Tananarive Due to Victor LaValle, and some would say that Toni Morrison’s BELOVED is one of the best horror novels of all time. Are you encouraged by more diversity in the genre community or do you still see significant challenges/barriers for writers of color?

Of course. I hope that in the future we will see even more.

You just completed a master’s thesis at Agnes Scott College about Storm of Marvel Comics’ X-MEN and started a doctoral program at the University of Florida-Gainesville. Is it challenging to be both a graduate student and an author?

Oh. My. God. Yes. It’s most difficult because it seems that I’m being pulled in so many directions and both careers are doing relatively well. But it’s the problem to have, so I’m not complaining. Love every minute of it!

You still consider Atlanta home, though. Is that why you wanted your official book launch here at Charis? Can you tell readers a little about the festivities on Friday night?

Yes. Atlanta is home. Always will be. The book launch is on Friday and I will be reading from STRANGE CRIMES. Charis is also home and is the perfect place for the release party of my first book. I’m also reading at Agnes Scott College on Wednesday evening!

What’s next in fiction for you? The end of STRANGE CRIMES seemed to hint that you might have a sequel in mind?

Yes. I’m working on the next book in the series. At least, I should be. I’m working on a few short stories and comic stuff. Most of it, I can’t talk about unfortunately. 

Any other current or “lost/forgotten” writers you’d like to recommend to ATLRetro readers?

Octavia Butler, who is not lost, but everyone should know about. Maurice Broaddus. Jennifer Brissett. Victor LaValle. Silvia Moreno-Garcia. Kiese Laymon. Shane McKenzie. Laird Barron. I know I’m missing lots of people. 

Chesya talks more about THE STRANGE CRIMES OF LITTLE AFRICA and other works in this recent interview on THE OUTER DARK podcast on Atlanta-based Project iRadio.

Claire Stallman and Jonah Hooper. Photo by C. McCullers. Courtesy of Atlanta Ballet.

THE NUTCRACKER by Peter Ilyich Tchaikovsky; Atlanta Ballet. Fox Theatre, Dec. 11-27, Tickets here.

By Claudia Dafrico
Contributing Writer

One of the sad truths of 2015 is the fact that it has become more and more difficult to find Atlanta traditions that have been around for longer than 20 or so years. For a city with so many beloved institutions, a good number of them have shut their doors or faded into obscurity in recent years. This is certainly not the case for the Atlanta Ballet’s annual production of THE NUTCRACKER, which is entering its 56th year of performances. One may be likely to think that the many years behind this Christmas mainstay would lead it to be stale and outdated, but the opposite could not be more true. The Atlanta Ballet’s NUTCRACKER is just as fresh and exciting as it was 56 years ago, and is a performance that should not be missed by anyone who considers themselves a true Atlantan.

Photo by C. McCullers. Courtesy of Atlanta Ballet.

Opening night was nothing short of packed, with attendees ranging from toddlers to grandparents out in their finest Christmas garb. Simply sitting in the audience prior to showtime was an experience in and of itself: the painted backdrop hanging onstage is breathtaking in its intricacy, and the warm, intricate design of the Fox only adds to the serene atmosphere. The audience, buzzing with anticipation, began to cheer and whisper as Drosselmeyer took the stage.

Russian composer Peter Ilyich Tchaikovsky’s original score is brought to life with help from the Atlanta Ballet orchestra, and the story of a young girl and her enchanted nutcracker doll is given a slight update to help the familiar tale remain fresh and engaging. Artistic director John McFall made the choice to age up the protagonist from a pre-teen girl to a young woman, and she subsequently plays a more active role in the action surrounding her. (Many readers will recall how her defeat of the Rat King usually involves her throwing a slipper at his head. In 2015, she

Photo by C. McCullers. Courtesy of Atlanta Ballet.

wields a sword instead). The setting of this production, which is typically a generic European Christmas of centuries past, is now set firmly in 1850s Russia, and the beautiful, elaborate costumes of the party guests in the first act show how much time and research the set designers and costumers took in bringing McFall’s vision to life. As the story progresses, the stage is transformed into a Winter Wonderland, complete with snow for the audience, and only becomes more charming from that point on.

The performances of the dancers itself are so breathtaking that it is almost hard to put into words. Each performer, no matter how large or small the role, gives it their all, and there was not a weak link to be seen. Old favorites, such as the Trepak dancers and the Mother Matrushka, make appearances, much to the audience’s delight. The dance of the Sugar Plum Fairy, as performed by Rachel Van Buskirk and Christian Clark, might just be the greatest ballet performance this writer has ever witnessed in her life. Buying tickets for THE NUTCRACKER is worth it just to see this number alone. It is seriously that good.

Photo by C. McCullers. Courtesy of Atlanta Ballet.

An astounding cast, intricately beautiful sets and costumes, and a unique take on a classic tale all come together perfectly in Atlanta Ballet’s 2015 production of THE NUTCRACKER. If you’re looking to experience both a piece of Atlanta history and a ballet production unlike any other, be sure to get your tickets to THE NUTCRACKER sooner than later.

Crumpet (Harold M. Leaver) in Horizon Theatre’s production of THE SANTALAND DIARIES. Courtesy of Horizon Theatre Company.

SANTALAND DIARIES by David Sedaris; adapted by Joe Mantello. Starring Harold M. Leaver, Lala Cochran, Enoch King. Horizon Theatre, Nov. 20-Dec. 31, Tickets here.

By Claudia Dafrico
Contributing Writer

It goes without saying that Atlanta has no shortage of Christmas traditions, from ice skating at Centennial Park to taking a trip down to Callaway Gardens to see the lights. But for those looking for a little more “naughty” than “nice” in their festivities, look no further than Horizon Theatre’s annual production of David Sedaris’ THE SANTALAND DIARIES. Adapted from Sedaris’ hilarious essay detailing his brief stint as one of Santa’s many elves in Macy’s Santaland, The Santaland Diaries serves to be a perfect mix of Christmas cheer and the biting wit that Sedaris has since become famous for. 

While Sedaris is known for many of his full-length essay collections, such as ME TALK PRETTY ONE DAY and DRESS YOUR FAMILY IN COURDORY AND DENIM, his 1992 essay on his adventures in Santaland is what put him on the map in the first place. Sedaris, at the time a contributor for NPR, read the piece on the radio program THIS AMERICAN LIFE, and the absurd hilarity of Sedaris’ prose along with is dry, unique intonation brought the piece widespread popularity. A dramatized version for the stage was soon produced, and Atlanta’s own Horizon Theatre jumped at the chance to bring a new Christmas experience to the city. The theatre has since put on The Santaland Diaries every holiday season for the past 17 years, and shows no signs of stopping soon. 

Courtesy of Horizon Theatre Company.

One of the many reasons why The Santaland Diaries has maintained such popularity is Harold M. Leaver’s impeccable performance as Crumpet, Sedaris’ elfin alter ego. Leaver has been playing Crumpet throughout the entire run of the show so far, and it’s clear that he has enjoyed every second of it. His performance is an impeccable rendition of Sedaris’ own diction with Leaver’s own personal touch and style, which proves to be highly entertaining to witness. At one point, Crumpet selects a hapless audience member to join him in his antics, and even the shyest of volunteers is eventually won over by his wit and charisma. Leaver snarks and frolics in a manner which Sedaris would surely be proud. 

Along for the ride are Crumpet’s two “sidekicks,” played by Atlanta theatre vets Lala Cochran and Enoch King, who show no hesitation in being completely ridiculous and outrageous. Because the two play every character other than Crumpet himself, they are constantly running backstage for quick changes that are seemingly impossible given the time constraints, but Cochran and King pull it off without flaw. It’s a treat to watch the duo play whiny children one second and vulgar adults the next, and when alongside Leaver’s sassy yet sweet Crumpet, the laughs are near constant. 

Courtesy of Horizon Theatre Company.

The ambiance of the theatre itself is not to be overlooked, as the whole place is decked out in cozy Christmas cheer that invites you to relax and enjoy the eggnog-fueled frivolity that is The Santaland Diaries. The stage is a mini Winter Wonderland, and the intimate nature of the performance space lends itself to frequent audience interaction and participation (be prepared to shout and cheer along with your new elf friends). With reasonable tickets prices and a great location, there’s really no reason you shouldn’t make your way over to the Horizon this Christmas and treat yourself and a guest to a night with Crumpet and friends. You’ll never look at Lenox Square’s Santa the same way again, I can guarantee you that.

By Geoff Slade
Contributing Writer

Atlanta trio The Head are wrapping up their 20-date tour and return from the road just in time for Thanksgiving. Come out and join them to celebrate the release of their new five-song EP MILLIPEDES at the Drunken Unicorn this Saturday, Nov. 28.  Sydney Eloise & The Palms and Chelsea Shag are also on the bill.

Jack Shaw (drums), Mike Shaw (lead vocals/bass) and Jacob Morrell (guitar) have been playing together since they were teenagers at Holy Spirit Preparatory School, and list among their influences The Smiths, Echo & the Bunnymen and R.E.M. This knowledge and appreciation of pop music’s past led Blurt magazine to call them “Atlanta’s youngest rock ‘n’ roll veterans.”

The youngsters have already worked with legendary R.E.M. producer Mitch Easter, Jody Stephens of Big Star and John Vanderslice, but decided to produce their latest batch of songs themselves, a first for the band. “I feel like we’re still learning, now more than ever,” said Mike Shaw. “And we’re enjoying every bit of what we’re learning.”

AtlRetro caught up with Kool Kat of the Week Jack Shaw to find out more about the new EP, the tour and what’s ahead for The Head.

ATLRetro: First of all, I’m sure you guys are sick to death of this question, so let’s get it out of the way: Why “The Head?”

Jack Shaw: We wanted something short, sweet and weird sounding. We thought “The Head” captured all of that. It’s simple enough and makes people scratch their chins.

According to your bio, the three of you are still in your early 20s. How did you come together?

Mike and I are twins, so we’ve been playing music together our whole lives. We met Jacob during our freshman year of high school. We decided to form a band with him once we found out he played guitar and listened to the same bands as us.

The Head [L-R]: Jack Shaw, Mike Shaw, Jacob Morrell Photo by Valheria Rocha.

We were listening to a whole bunch of stuff ranging from The Stone Roses and Pavement to Frank Sinatra and the Velvet Underground. Most of our classmates at the time were listening to P. Diddy and The Fray, so, yes, there was definitely a big difference. We find a lot more common ground with people our age now, though.

How would you describe your music to the curious?

Scott Walker making love with Joy Division.

Is this your first major tour? How’s life on the road? Is it what you expected?

We’ve done a few seasonal legs of touring before, but this is our first time being out on the road for months at a time. We’re having a blast and couldn’t imagine doing anything else.

Since the end of October, you’ve played Chicago, New Orleans, Philadelphia, Brooklyn and Boston. How are you being received? Are the crowds different than in Atlanta?

We’ve been met with great reception. The crowds all over really dig what we’re doing and dance a lot, especially to our newer songs. Some of the crowds are a little different from Atlanta in their own ways. All of them, regardless of the city, are on the younger side. We’ve enjoyed every city, but New Orleans and Boston are definitely among our favorites.

The Head could very well be the next Atlanta band to enjoy serious national attention for years to come. Do you have any favorite local acts?

Yeah, we really love what Tedo Stone and Sydney Eloise & The Palms are doing. We also really dig Chelsea Shag. All of those guys put on great live shows. There are, of course, several other local bands we respect. The list can go on.

The Head play the Drunken Unicorn on Sat. Nov. 28. Check out three tracks from MILLIPEDE here.

Chambers of Horror, Atlanta’s adults-only haunt behind The Masquerade, has come a long way from a torture porn extravaganza to a creepy crawl through a septic, gritty underworld where atmosphere and story are strengths. This year’s storyline involves a plague infection of alien origin now running rampant in the underground of Dr. Splatter’s lurid experiments. This’ll be the last year at this location due to pending construction, so kudos to Luke Godfrey (ATLRetro exclusive interview with him here) and Ian O’Brien of Gorehound Productions for whipping up a must-see attraction, as long as you have a stomach for  extreme violence and the phantasmagorically pornographic. Let’s be clear–you won’t be seeing parasexual activity, but nakedness and deformed organs, including sexual ones, are in view.

If you visited Chambers only in its first two years, you missed its escalation into a full-out immersive performance experience similar to that which made the Atlanta Zombie Apocalypse more than your usual walk-through haunt. Similar to the prelude to a Splatter Cinema evening (also ran and co-founded by Godfrey) begin with a photo op with a grisly prop with a green screen backdrop that by the finished print will reveal additional horrors. That’s followed by a video setting up the outbreak premise. Visitors are scanned for the alien virus and then ushered into an elevator that shakes and shudders to evoke a realistic ride down five stories into the depths that once were TortureCo and are now a US military facility. The point of a haunt is surprise, so without any spoilers, let’s just say that along the journey, visitors encounter scenarios with paramilitary officers, mutilated infected scientists and victims of twisted experiments engaged in disturbing dioramas. Sure, there were some jumpy scares and victims cried out mournfully for help, but haunt-goers are encouraged to linger and listen as the plotline unfolds and torturers threaten and tantalize visitors with a promise of pain.

One warning: Don’t dress in anything which you mind getting wet and even, on one occasion, foamy.

Chambers of Horror is open Wed. Oct. 28 and Thurs. Oct. 29 from 8 pm until midnight, and Fri. Oct. 30 and Halloween from 8 p.m. to 1 a.m. Tickets are available at the door, or you can purchase them online in advance at Xorbia – Chambers of Horror Tickets

By Claudia Dafrico
Contributing Writer

As the famed pop culture extravaganza that is Dragon Con takes over downtown Atlanta once again this Labor Day weekend, one has to think: where to even begin? In between countless meet and greets, discussion panels, vendors, and amazing cosplays to ogle at, it seems impossible to do everything Dragon Con has to offer in just four days. ATLRetro is here with our top picks to help you get your nerdy Retro fix without short circuiting from overstimulation.

GUESTS

CAROLL SPINNEY. The legendary muppeteer behind everyone’s favorite SESAME STREET resident, Big Bird, will be speaking at the Imperial Ballroom in the Marriott Marquis Atlanta on Saturday at 2:30 P.M.  This is a must-do for any con-goer, child or adult, that grew up with Big Bird and his neighbors.

PETER MAYHEW. With STAR WARS: THE FORCE AWAKENS approaching at near-light speed, the hype for the new film has reached peak levels. Be at the Mariott Imperial Ballroom Sunday at 4:00 P.M. to hear Peter Mayhew, the actor behind beloved Chewbacca, talk about the new installment in the saga and his experience appearing in all three STAR WARS trilogies.

BARRY BOSTWICK. If you’re one of many that have spent weekends past midnight with Dr. Frank N Furter and freinds, you’ll definitely want to make your way over to the Hyatt Regency Atlanta on Friday at 1:00 P.M. to catch up with Barry Bostwick, aka Brad Majors, from THE ROCKY HORROR PICTURE SHOW (1975), and see why he  was compelled to audition for the film. Also catch him at Lips Down on Dixie’s live performance accompanying RHPS at 1:30 A.M. on Sunday in the Hyatt Centennial Ballroom.

TERRY JONES. Terry Gilliam has been a guest at a couple of DragonCons. Now we get the other Monty Python Terry. What’s he best known for? Well, here’s a hint: “Spam! Spam! Spam! Spam! Spam! Spam!” Here him share his Python memories and more on Sunday at 11:30 A.M.. and he presents “Terry Jones: A Very Naughty Boy Live!” about the making of LIFE OF BRIAN (1979) on Monday at 10 A.M., both in the Sheraton Atlanta’s Grand Ballroom.

COMIC & POP ARTIST ALLEY

DEREK YANIGER. If the art of perpetual Kool Kat Derek Yaniger looks familiar, it’s probably because you can see it at the top of this article. Derek designed ATLRetro’s fabulous logo. Stop by his booth to get your fix of rockabilly, tiki and more in a sea of fantasy and steampunk.

PANELS

THE HISTORY OF PULP FICTION. Science fiction, fantasy, horror, weird fiction, adventure, noir. They all appeared in the pages of pulp magazines so it makes sense that Pulp Fiction has its own panel. Join fellow pulp lovers in a discussion of Pulp’s fascinating past and exciting future. (Sun. 10 AM; Augusta 3, Westin Peachtree Plaza Hotel)

PEE-WEE’S BIG ADVENTURE: WE KNOW YOU ARE. There is perhaps no movie that is quite as quotable as Tim Burton’s classic PEE-WEE’S BIG ADVENTURE (1985) With a reboot rumored to be in the works, be sure to celebrate  the original on its 30th anniversary. Tell ‘em Large Marge sent ya! (Sun 10 PM; M303-M303, Atlanta Marriott Marquis)

2001: A SPACE ODYSSEY REUNION. Since its premiere in 1968, Stanley Kubrick’s sci-fi epic has bewitched viewers of all generations. Two of the film’s stars, Keir Dullea and Gary Lockwood, reunite to reminisce on the unbelievably unique experience they had performing in this landmark film. (Fri. 1 PM, Sat. 5:30 PM; Grand Ballroom East, Hilton Atlanta)

CHRISTOPHER LEE & LEONARD NIMOY: CLASSIC SCI FI LEGENDS. 2015 saw the loss of two of the most talented actors the Sci-Fi and Horror genres have ever known. Join other fans to celebrate the lives of Leonard Nimoy and Sir Christopher Lee, whose contributions to pop culture will never be forgotten. (Sat. 5:30 PM; M303-M304, Atlanta Mariott Marquis)

CTHULHU: NEW SPINS ON OLD MYTHOS. Everyone’s favorite Elder One has resurged in popularity in the past few years, and it looks like it is here to stay. Stop by to hear the experts explain how and why Cthulhu “works” in today’s world of pop culture, and where he’s headed in the years to come. (Fri. 7 PM; Peachtree 1-2, Westin Peachtree Plaza)

EXPLOITATION! In what might end up being the most entertaining and liveliest panel at Dragon Con, panelists and fans will gather to celebrate exploitation and cult films and all the revelry they bring. A late night panel for a late night crowd. (Fri. 10 PM; Peachtree 1-2, Westin Peachtree Plaza)

HISTORICAL HORROR. ATLRetro’s own Anya Martin will be moderating this panel, which will discuss and analyze the role history plays in horror fiction and how historical settings can bring new life (or death) to a story. Other panelists include Chelsea Quinn Yarbro, Leanna Renee Hieber, Kenneth Mark Hoover and L. Andrew Cooper. (Sun. 11:30 AM; Peachtree 1-2, Westin Peachtree Plaza)

PARTIES

PIN UPS BY THE POOL. Who doesn’t love mermaids? Come see Dragon Con’s finest sea sirens compete for the grand prize, and join in on the fun by channeling your inner pin up for some poolside glam. (Fri. 8:30 PM; Sheraton Atlanta)

SUITS, SINATRA & STAR WARS. In wonderful Dragon Con fashion, two fabulous themes (the STAR WARS saga and the Rat Pack) have been combined to create what promises to be a swingin’ night for all. Dancing with a wookie to a Sinatra song is the best kind of night one can have, after all. (Fri. 10 PM; A601-A602, Marriott Marquis Atlanta)

MONSTER MASH FOR CHARITY. Halloween may be over a month away, but that doesn’t mean you can’t break out your Dracula fangs and Frankenstein bolts early. And the best part of this classic monsters graveyard smash? It’s all for a good cause! (Fri. 10 PM; Regency VI-VII, Hyatt Regency Atlanta)

MECHANICAL MASQUERADE. Go really retro Steampunk style at the Artifice Club‘s annual four-hour bash, orchestrated by Kool Kat Dr. Q and always a Dragon Con highlight. The theme this year is “Dystopia A Dark Future to Remember.” ( Sun. 10 PM;Peachtree Ballroom, Westin Peachtree Plaza)

BURLESQUE

DRAGONCON BURLESQUE: A GLAMOUR GEEK REVENUE-Burlesque is a Dragoncon staple; no Labor Day weekend would be complete without at least one show. Stay up late Saturday night to get a chance to check out Kool Kat Taloolah Love and the rest of the lovely ladies and mayhaps lads, too, of D-Con burlesque; they’re sure to put on a show that brings down the house. (Sun. 12:00 AM; Reg. VI-VII, Hyatt)

To check out the complete Dragon Con schedule, download the Pocket Program and/or app at www.dragoncon.org. 

The Ninth Annual Buried Alive Film Festival; Saturday, Nov. 22, 3:00 p.m. – 12:30 a.m.; Sunday, Nov. 23, 1:00 p.m. – 10:30 p.m.; Fabrefaction Theatre; Tickets $50 (all access, both days), $10 per programming block, available here. Opening night party Friday, Nov. 21, 8:00 p.m. – 11:59 p.m. @ Joystick Game Bar.

By Aleck Bennett
Contributing Writer

Need a reason to be bloody thankful this month? Well, here’s something to make your twisted Thanksgiving complete: the notorious Buried Alive Film Festival (BAFF) is back for its ninth reincarnation! Atlanta’s favorite, longest-running horror film festival will be at Fabrefaction Theatre on November 22 and 23. This year, Festival Director (and ATLRetro Kool Kat of the Week) Blake Myers and the Buried Alive team have exhumed three features and 50 short films—almost 20 hours of programming including nine American premieres and three world premieres! With a host of filmmakers in attendance, this year promises to be a glorious celebration of horror, further sealing Atlanta’s place as the horror capitol of the nation!

The weekend kicks off in style with an opening night party at Joystick Game Bar on Friday, Nov. 21, from 8 p.m. to midnight. Come on out and meet the filmmakers behind this year’s fearsome feast of fright! But pace yourself, because Saturday’s programming starts off at 3 p.m. with Shorts Program 1: Tentacles, Kidney Stones and Cannibalism. This exploration of the darkly comic and disturbingly surreal spans the globe, from here to Turkey and back again. Highlights include the post-apocalyptic doom of THE LAST HALLOWEEN, a disorienting trip with four Turkish policemen into the gaping maw of Hell in the highly acclaimed (by no less than Eli Roth and Richard Stanley) BASKIN, the hilariously gory DEAD ALIVE-meets-“Love Potion Number 9” French splatstick of SPEED FUCKING and the world premiere of local director Jay Halloway’s subterranean terror UNDERLOCK.

BAFF reconvenes at 5 p.m. for Shorts Program 2: Some Real, Some Fake, All Fucked Up. Taking a more realistic turn than the previous program, these shorts focus on the horrors of the here-and-now, ranging from the twisted psychosis of EXTREME PINOCCHIO, also French, to the provocative documentary GLASS EYES OF LOCUST BAYOU. The standouts in this category—along with those previously mentioned—include the American premieres of the funerary revenge short PARA NOCHES DE INSOMNIO and the expertly executed murder of RELLIK.

After a short break, we’re back at 7 p.m. to ponder love, desire and the meaning of “togetherness” in Shorts Program 3: Healthy Relationships. Whether living or dead, functional or dysfunctional, human or inhuman, all of the permutations of companionship are on display in this variety of shorts. Two noteworthy local entries make debuts during this program—Brandon Delaney’s first-person dialogue MY BOYFRIEND’S BAG in its world premiere, and local filmmaker James Sizemore’s Satanic opus GOAT WITCH which hits Georgia screens for the first time. Also getting American premieres are two UK shorts: SKIN, which turns the hostage/captor relationship on its head, and the unsettling physical manifestation of a deteriorating relationship of SPLIT. Add in the Norwegian sadistic ANGST, PISS AND SHIT and the fetish-laden morgue visit of I AM MONSTER, and you’ve got an evening full of romance. Well, in a manner of speaking anyway.

Night falls with the festival’s first feature program at 9 p.m. This kicks off with two shorts: the tortured texts of M IS FOR MOBILE and the Georgia premiere of Patrick Longstreth’s Tybee Island-lensed giant monster rampage HELLYFISH. That’s followed by the world premiere of ATLRetro Kool Kat Eddie Ray’s long-awaited second entry in his epically comic tale of devil worship, rock ‘n’ roll warfare and government conspiracies, SATANIC PANIC 2: BATTLE OF THE BANDS!

As the festival heads into the wee hours at 11 p.m., the second feature program of the night is Andres Torres’ horrifying journey through the seedy underbelly of the New York art world and into the twisted mind of a lonely hot dog vendor, BAG BOY LOVER BOY. Driven by killer performances and an escalating sense of discomfort, this film—which meets us at the cross-section of William Lustig’s MANIAC and Roger Corman’s A BUCKET OF BLOOD—is well worth staying up for. The evening closes with a French short film that explores the unease lurking under the comforts of HOME.

Feeling rested? Slept well after the horrors of the night before? Already got your brunch on and ready to go? Good! Because Buried Alive rises again Sunday at 1 p.m. with Shorts Program 4: Scary Animal Monsters from Outer Space at Your Service. As the program’s title suggests, the selection here is widely varied. The subjects range from the whimsical DEAD HEARTS to the vengeful water spirits of SHUI GUI, from a killer’s paranoia in SEMBLANCE to the wild Australian pathogenic zombie-kangaroo horror of WATERBORNE. Receiving its American premiere is the hilarious BUDGET CUTS, an instructional short on how to maintain your serial killer lifestyle when time and money are tight. Also making its American debut is THE BEAR FAMILY SECRET, a stark and powerful tale of homebound human horror set during the Brazilian dictatorship of 1970. And on the local front, Dayna Noffke unveils her latest work, RECOMPENSE, in its world premiere! It’s a twisty little gem in the EC Comics tradition, in which a prisoner finds out just how much his freedom will cost.

The first feature program of the day follows at 3 p.m. The supporting short, DONE IN, follows a man’s reminiscences as he pens his farewell to this world. In the featured slot is the American premiere of veteran Japanese director Hisayasu Satô’s HANA-DAMA: THE ORIGINS. A visually explosive exploration of the torment a young girl faces at school and at home, the film takes a novel path in its tale of revenge: a bullied student becomes possessed by a flower, the Hana-Dama, which makes manifest the secret desires of all those who have caused her pain.

At 5 p.m., we leave the realm of the photorealistic behind and enter Drawn and Quartered: The Animation Program. This series of shorts is bookended by the works of Edgar Allan Poe, in adaptations from Moonbot Studios: visually stunning old-school animation adaptations of THE RAVEN and THE CASK OF AMONTILLADO. In between, the festival is serving up two tales of teddy bear terror in MEAN TEDDIES and UNICORN BLOOD, the final evolution of life rising from a wasteland in Germany’s OMEGA, a wacky SHINING-inspired tale of wacky sibling rivalry and murder in the witty THE LAST RESORT and a knowing tale about the importance of choosing the right doctor in EYE IN TUNA CARE. On the local front, Amanda Smith presents a disturbing stop-motion account of a romantic dinner gone horribly awry in TRUE LOVE, and Wally Chung presents a cautionary warning about conformity and discrimination in TALL EVIL. One entry that stands out, however, is Finnish director Tomi Malkki’s FIST OF FIRE (aka TULIKOURA), the surprisingly touching story of a dying death metal drummer, his faithful dog and his post-mortem journey. Maybe my love of Finnish metal is showing through, but the short is moving and ghoulishly funny in addition to being totally and brutally metal. Malkki also will be in attendance, all the way from Finland, to talk about his film.

The second feature program of the day starts at 7 p.m. with another local offering: the Georgia premiere of Robert Bryce Milburn’s AMERICAN HELL, a short glimpse of the nightmare of isolation a family confronts when they are subject to a home invasion. That provides a perfect lead-in to the feature attraction, Adam Petke and Sean Blau’s THE SUNDERLAND EXPERIMENT, quite simply one of the most gob-smackingly original films this festival has to offer. This quietly building piece of cosmic horror is set in the isolated, fenced-off desert town of Sunderland. Something identifying itself as an “angel” has converted the town into a strange simulacrum of everyday society, and the adults into its surrogates. The children can either accept the angel’s “blessing” and become like their parents, or become the “fallen” and are left to fend for themselves in the wasteland surrounding the town’s border. One of the young men, David, is destined to learn the truth about his family, the town, and the true nature of the angel that controls their lives. It’s a stunning piece of work.

The festival closes on a holly jolly note at 9 p.m. with Shorts Program 5: A Very Special Zombie Christmas. MR. DENTONN opens the proceedings with the fairy tale-esque story of a sinister visitor that enters homes through mirrors and steals children’s souls. Afterward, we take a peek into the Troma-esque comedy of CHRISTMAS EVE PET MASSACRE, where the world’s worst family finds that their pets are more than glad to bite the hands that feed them. Then it’s off to Latin America for ZUGAR ZOMBIE—a potent cocktail of political corruption, the undead and grand irony. Finally, we wrap things up at the festival much like we started: with a delicious look at Halloween. This time, it’s Jonathan Rej and Shane Morton’s ATLANTA ZOMBIE APOCALYPSE. A group of rowdy youths (the best kind) find themselves trapped in a cheesy haunted house when the zombie uprising breaks out. Is it all part of Professor Morté’s spook show? Or is it all too real? A labor of love from pretty much everyone involved with the dearly-departed Halloween haunt of the same name and the Atlanta horror film scene, it’s a gut-busting and gut-munching RETURN OF THE LIVING DEAD-styled throwback to the heyday of ‘80s zombie horror. Stick around afterwards to find out the Festival winners (Disclosure: ATLRetro Publisher/Editor Anya Martin is a judge). It’s also the perfect way to close yet another fantastic run of the Buried Alive Film Festival.

Aleck Bennett is a writer, blogger, pug warden, pop culture enthusiast, raconteur and bon vivant from the greater Atlanta area. Visit his blog at doctorsardonicus.wordpress.com

By Anya Martin, Editor/Publisher Melanie Crew, Managing Editor
Rachel Stark, Guest Reviewer

The horror! The horror! Thanks to some dedicated monster-lovers, Atlanta has become the year-round capital city of Scary. This October our local terrifying talent again has outdone themselves in creepy creativity. Here are our reviews of our top three picks for Atlanta’s hottest haunted attractions. One general tip for all: wear comfortable closed toe shoes and clothes that you don’t mind getting moist. The monsters may tell you they are spurting you with blood or other bodily fluids, but it’s just water. Well, we think it is.

Roula Roulette. Photo credit: Ginger Snaps Photography. Hair and make-up by Roula Roulette.

At PASSIONS: A BURLESQUE DEVOTIONAL this Saturday Aug. 2 at  11:30 p.m. at the New American Shakespeare Tavern, audiences will have the opportunity to worship the female body through the lens of a divine Retro art form. The show is the first production from Hearts Ablaze Entertainment, a collaboration between two of the Atlanta burlesque scene’s most notorious stars, Talloolah Love and Persephone Phoenix (read their own Kool Kat profiles here and here). The line-up also includes Kool Kats Southern Fried Burlesque Fest Queen of 2013 Lola LeSoleil (check out her Kool Kat here) and Ursula Undress, headmistress of the Atlanta School of Burlesque (Kool Kat here), and Roula Roulette, this week’s Kool Kitten. Yes, so much happening this weekend in ATLRetro that we couldn’t resist double trouble in Kool Katland!

Roula is a great example of the new talent graduating from The Atlanta School of Burlesque. But she’s no stranger to live performance. Prior to moving to Atlanta in 2013, she earned an MA in theatrical production and traveled the East Coast working behind the scenes at well known Opera houses and theater festivals. Her burlesque resume already includes acts for Kool Kat Katherine Lashe‘s Syrens of the South Productions, Glittering Moon Productions and Southern Fried Burlesque Fest, as well as teaching at the Atlanta School of Burlesque. And she also will be gracing the stages of the Syrens’ 7th Anniversary Show on Sunday Aug. 3 at 7 Stages and at DragonCon this year!

ATLRetro caught up with her recently to find out more about her own passion for burlesque, as well as what she has planned for PASSIONS and beyond!

ATLRetro: What’s your secret origin story and how did you get your name?

Roula Roulette: I’ve always been involved in the theater community and what is burlesque if not theater? I traveled a lot after I got out of grad school, so when I moved to Atlanta I really wanted to create but on my own terms. I work, so joining a theater and doing live shows was not something that I wanted to commit my time to. I remember telling my friends that I was really interested in trying to get into burlesque. Then a few weeks later the school opened literally across the street from me. It was kismet!

My name is really a conglomeration. I’ve always loved alliteration, and I also wanted to be cognizant of picking a name that defined me without labeling me. Roulette was perfect for obvious reasons, it gives me the freedom to explore all facets of my art, it’s a game of chance for my audiences. Roula is akin to Mary, which was my mother’s name and so it holds a special place for me. Depending on the translation, it can also mean rebellious. And we’re all here to defy the norm, right?

Who are three burlesque performers, legends and/or contemporary, who inspire you and why?

Historically I was always enamored of Gypsy Rose Lee and Lydia Thompson. Both were women who were pioneers of their own right in the theatrical arena, and I knew and loved them long before I understood burlesque in such a personal sense. But it’s hard to really label any particular legend a single inspiration as they all inspire me to some degree with their innovation, class and relentless drive to make art. Locally I find myself inspired by the women that I teach with at the Atlanta School of Burlesque. There is such a diverse community that they each inspire me in their own way. I know I cheated that question a little bit.

Photo credit: LegsUp! Pinup, Winston Jeffrey, with hair and make-up by Roula Roulette

That’s so hard! But I think up to this date my favorite performances have been the birthday parties of our local performers. Never have I felt so safe to explore my art than I do when we are doing a private party for another sparkle sister/brother. There is so much love and support in the room, it’s intoxicating!! It really provides a safe environment to really explore who you are and to give your sparkle family a glimpse at your vulnerability.

Can you tell us a little about PASSIONS this weekend and why are you personally excited to be performing in it?

The show this weekend is packed with some of the best talent that Atlanta has to offer. These women inspire me everyday to think bigger, be better and try harder. For me, a lot of  it has to do with the venue. I feel like burlesque is going back to its roots. The Shakespeare Tavern is as close as we’re going to get to what it was like to be a burlesque or variety performer in the formative years when there was still a vaudeville feel . So to be doing our art in a space that can be viewed as historical to our art is really very exciting.

What can you tease us about your own performance?

For most of the show I’ll be backstage running operations, but you will see me onstage at the end of the show. All I can say about that is that I’m so fortunate to be sharing the stage with some of the most beautiful women I know. It’s also very musical theateresque, which I LOVE. So you really don’t want to miss it. Ursula Undress is an amazing choreographer.

The burlesque revival really seems to have come of age, and there’s a very vibrant scene in Atlanta. Do you find it an dynamic and energizing time to be performing? What excites you the most?

I do! I know I’ve said it so much through this, but I am really so inspired by the creativity of my fellow artists. They push me to be a better, more expressive performer. I think what excites me the most are all the newcomers to the art. I love seeing these new girls come through the school that are so excited about the art and so expressive of their sexuality. It’s really wonderful for them and for me to be in a community where we accept women of all ages, shapes, sizes and  sexuality. But there is also something really satisfying about helping women embrace their sensual side and showing them that it’s okay to be sexy, [that] everyone can be sexy.

Where would you like to see the burlesque revival and the scene in Atlanta go in the future?

I would really love to see more male performers in Atlanta and I’d love to see more performers take advantage of the school and the collaborative advantages it has. You can never stop learning, you know? I find that some of my best work comes after I’ve immersed myself in classes for weeks at a time. It opens your vocabulary as a dancer and choreographer. I’d also love to see more love for our burlesque community in the press! We will always be fighting for the best show nights. I’d love to see more regular burlesque shows on prime weekend spots. Soon, hopefully! With every show and every fan we get, we’re that much closer to having the ability to book bigger venues and better times.

What do you do when you are not performing? I understand you also are a pin-up model?

I am! I have been dipping my toes in the modeling world for a few years now. I’m actually hoping to get published soon; you’ll have to check out my Facebook for more information on that! Outside the sparkle world, I’m in the lighting entertainment industry. I work with theaters, event spaces, schools and television production companies on their lighting. I’m all around immersed in the entertainment industry, and I really wouldn’t have it any other way!

What’s next for Roula Roulette?

There are some exciting things on the horizon for me in my burlesque life. I really can’t say too much about a lot of it right now, but I’m hoping that it comes to fruition soon. I think burlesque in Atlanta is on the cusp of something big, that can be a game changer for us as a community. But for now I’d love to see you at PASSIONS: A BURLESQUE DEVOTIONAL at the Shakespeare Tavern on Saturday. I’ll also be performing at 7 Stages on Sunday for the Syrens of the South Anniversary Show. And of course you can find me almost every evening at the Atlanta School of Burlesque teaching women to love their bodies and explore their sensuality!

Contraband Cinema presents THE VISITOR (1979); Dir. Michael J. Paradise; Starring John Huston, Paige Conner, Glenn Ford, Shelley Winters, Lance Henriksen; One Night Only, July 12 @7:00pm, Eyedrum; Tickets $7.00 at the door and actress Paige Conner will be attendance.

By Andrew Kemp
Contributing Writer

Early in THE VISITOR, an 8-year-old girl opens a wrapped present at her birthday party. Because we’ve been watching the movie, we know that the present contains a tacky statue of a bird, but now the girl inexplicably finds a gun. She grins, points it at partygoers, but then casually tosses it onto a table, which causes it to fire a slug into the back of another character, who then waits the length of a dramatic pause before collapsing to the ground. The entire incident goes from gift-giving to gunfire tragedy in less than 10 seconds.

The reaction among my friends watching the film in my living room was loud. “Wait, what?” “What the hell just happened?!” After a few moments and a few laughs, they calmed, awaiting the explanation that was sure to come.

But, of course, this is THE VISITOR we’re talking about. Explanations aren’t on its agenda, not when every second of screen time is another opportunity to smash a morsel of blazing, brain-melting insanity directly into the film. This is a movie in which legendary Hollywood director John Huston plays an “intergalactic warrior” matching wits with his greatest nemesis, a pre-tween telekinetic and her pet falcon. This is a movie in which director Sam Peckinpah plays an abortion doctor and Lance Henriksen an evil basketball team owner. This is a movie in which skating rinks and street food shops are the sites of supernatural murders. This is a movie in which the fate of the universe is decided in late-1970s Atlanta. But, above all, this is a movie that exists.

THE VISITOR fits loosely into the subgenre of supernatural child movies that bloomed in the wake of William Friedkin’s THE EXORCIST (1973). Instead of a demon, little Katy Collins (Paige Conner) is under the sway of an evil intergalactic force named, of all things, Sateen, whose fractured soul is being reborn into children on Earth. I think. Honestly, the film is a tough to puzzle out, as if its heady ideas were being translated through some unfamiliar language which, in a literal sense, they were. The film was an Italian-American coproduction, written and directed by Italians and then translated into English for the sometimes-baffled American cast. But the film also routinely garbles cinematic language, connecting scenes and images that don’t make logical sense, dropping plot threads as soon as they’re introduced, and failing to explain, well, anything. In THE VISITOR, a guardian can tell a character that nothing bad will ever happen to her again about five nanoseconds before someone runs that character into a glass aquarium, and it’s not just OK, it’s expected. Anything less insane would belong to another movie.

THE VISITOR is the fevered brainchild of Italian schlock producer Ovidio Assonitis. He was The Asylum of his day, grabbing any idea that had traction in the public and churning out his own low-cost replica. From THE EXORCIST he invented BEYOND THE DOOR (1974). From JAWS (1975) he developed TENTACLES (1977) (also starring Huston!). From PIRANHA (1978) came, well, PIRANHA II: THE SPAWNING (1981). Right away, however, something felt a bit different about THE VISITOR. The production had a whiff of class about it as Huston’s name and cachet attracted more big names to the cast, including the likes of Mel Ferrer, Shelley Winters and Glenn Ford. Assonitis even shot scenes in Rome, Italy, before moving the production to the tax-friendly vistas of downtown Atlanta.

Paige Conner in THE VISITOR (1979). Drafthouse Films.

For locals the film not only exists as a virtual tour through a past version of the city—including looks at Underground Atlanta, The Omni and other retro locales—but as a dubious legacy for some of the Atlanta’s most famous figures. The credits reserve a special thanks for Mayor Maynard Jackson, who worked hard to bring the production to town, and the film owes memorable scenes and locations to the cavalier whims of Ted Turner. According to legend, Assonitis wagered the fate of the production on a Hawks game with Turner. If the Hawks won, the production would get access to Turner’s home as a shooting location free of charge. The Hawks did indeed win, and the production not only gained access to Turner’s home, but the Omni as well for a key scene in which the possessed little girl explodes a basketball with her mind. (Supposedly, eagle-eyed fans can spot Kareem Abdul-Jabbar in the scene as well as radio personalities Neal Boortz and Steve Somers. So there’s that.)

It’s unclear whether the city or Turner were grateful for the chance to contribute. THE VISITOR flopped miserably (and predictably) at the box office, perhaps because the world just wasn’t ready to see Franco Nero (DJANGO [1966]) as Jesus Christ or to see Lance Henriksen attacked by a ceramic switchblade bird. The film made a paltry amount of money at the box office, and that’s just counting the money they got to keep. In an interview on the film’s DVD, Henriksen talks about the film’s legendary badness and his embarrassment at a screening in New York when he heard audience members demanding their hard-earned money back. Henriksen’s opinion of the film represents the consensus at the time of its premiere, but time has a way of changing the story, and THE VISITOR’s story has changed.

The film’s first supporter was supposedly Huston himself, who immediately recognized something special hiding among the frames of the film and kept an elusive VHS of the movie near his deathbed. It took longer for audiences to catch on, but a few did, and a passionate cult helped the film become a regular at midnight screening and trendy repertory houses. Audiences came for the irony and stayed for the film’s unrivaled uniqueness. THE VISITOR doesn’t make a lot of sense, but compensates with mood. THE VISITOR has a dreamlike tone, cultivating something like madness out of its odd juxtapositions of tone and images, or of the powerful performances in service of a story that can’t be unraveled. The film appears assured and confident in the story it’s telling, leaving audiences wondering if the answers are in there after all, just waiting for a keystone piece of information to unlock them. Does it make sense that Henriksen’s evil, but certainly human, tycoon character needs to marry his girlfriend in order to create another wicked psychic child? Probably not, but Henriksen seems to believe it, so why shouldn’t we?

The big coup for THE VISITOR in its reassessment came earlier this year, when Drafthouse Films, the distribution arm of the trendsetting Alamo Drafthouse theater chain in Austin, Texas, released a wonderful new Blu-Ray edition of the film, made with the kind of loving care and attention usually reserved for a Criterion Collection release of a prestige classic. It’s safe to say that more eyes have been on the film in the past year than in the past few decades, and the movie seems to be well on its way to a complete rehabilitation.

By this point in the article, you probably have an idea if THE VISITOR is for you. If it is, then I highly recommend seeing it as soon as possible, and Eyedrum, along with Contraband Cinema, are giving you the chance. Saturday night, July 12, the art gallery is hosting a screening of the film with actress Paige Conner in attendance. Alongside the film will be an art exhibit featuring “new and original pieces based on this unique film by a variety of local artists.” This is a special opportunity to experience a forgotten piece of Atlanta cinema history in the midst of its revival and rediscovery.

THE VISITOR, at long last, has arrived.

Andrew Kemp is a screenwriter and game designer who started talking about movies in 1984 and got stuck that way. He can be seen around town wherever there are movies, cheap beer and little else.