ATLRetro

by Melanie Crew
Contributing Writer

Carmie McDonald, Community Engagement Manager at the Fox Theatre Institute (FTI), an outreach division of Atlanta’s Fabulous FoxTheatre, immerses herself in Georgia’s rich and glorious history of magical movie palaces and theatres along with the communities that have stood by them. What’s even better is that she gets the opportunity to join the communities the FTI has served while celebrating their successes during their free Second Annual Theatre Revival Tour, coming to a theatre near you, May 1 through May 3, 2014!

The Revival Tour will make stops at The President Theatre in nearby Manchester, Ga. on May 1, followed by a stop at Atlanta’s own, The PlazaTheatre, ranked as one of the world’s top 20 movie theatres [Men’sJournal, April 2014] on May 2 and lastly, the tour will come to a halt in Athens, Ga., showcasing The Morton Theatre on May 3! Each stop on the tour includes a community festival, helping raise awareness of the importance of historic preservation and showcasing all three restoration project venues funded by their highly competitive FTI grants. Atlanta’s own legendary blues chanteuse, Francine Reed, will take the stage and woo the crowds at each stop along the way!

Before jumping head first into her dream job, McDonald hailed from Savannah where she earned graduate degrees in Historic Preservation and Architectural History at Savannah College of Art & Design. She worked her preservation magic with the Historic SavannahFoundation and was the perfect candidate for the Community Engagement Manager at the FTI.

The FTI is the Fox Theatre’s way of giving back to the community that rescued it from its near demolition back in the ‘70s. In an effort to draw the public into the realm of its glory days while raising awareness of the importance of historic preservation, the Fox Theatre began hosting their Fox Theatre Tours in the spring of 2013 [Herald-Journal, May 2013]. These 60-minute guided tours expose audiences to the behind-the-scenes details and illustrious history of the extravagant and palace-like venue which remains just as magnificent as it did when their doors opened in 1929. And as an added bonus, you’ll have the opportunity to meet our very own Kool Kat Scott Hardin, projectionist at the Fox Theatre since 1978 [July 2013; see ATLRetro’s Kool Kat feature on Scott Hardin, here].

ATLRetro caught up with Carmie McDonald for a quick interview about the FTI, the importance of historic preservation in Georgia’s communities and her love of the Fabulous Fox Theatre, which excitedly celebrates its 85th birthday this year!

Community Engagement Manager for the Fox Theatre Institute (FTI) sounds like such a cool job! Tell our readers how you landed such an envious gig and what’s your favorite aspect of the job?

I’ve been with the Fox Theatre Institute (FTI) since 2008 and not a day goes by that I don’t pause to think about what a privilege it is to work here. It is rewarding to be part of an organization that has meant so much to the Atlanta community for 85 years. I love seeing someone experience the Fox Theatre for the first time.  You’re never too old to be swept away by the magic of this place!

Has being in the historic preservation field always been a dream of yours? Anything interesting you can tell our readers on what drew you to such a fascinating field?

I’ve always appreciated old buildings and the stories they tell about our past, so historic preservation was a natural fit as a career choice. But, historic preservation is not just a movement about buildings and the past. It is also about the people in the community and the future. I love helping ensure that our historic theatres will be here for future generations to enjoy.

What is the Fox Theatre Institute (FTI) and what does it do for the community? Why do you think it is important to preserve Georgia’s theatres?

The Fox Theatre Institute (FTI) is the community engagement division of the Fox Theatre. We provide support to historic theatres throughout the region in the form of preservation and operations assistance. There are more than 260 historic theatres throughout the state and each one is a significant part of the community it serves. Preserving these theaters is an important part of community-wide revitalization.

What can you tell us about the two restoration projects that were completed this year?  The President Theatre in nearby Manchester and The Plaza Theatre located right here in Atlanta?

The Fox Theatre Institute provided The President Theatre with funding to complete the restoration of their façade, from the marquee to the top of the tower and spire, both being in disrepair for more than thirty years. Through the support of FTI and other granting organizations, this theatre is being restored to its original Art Deco splendor. FTI also provided grant funding for the restoration of The Plaza Theatre’s landmark marquee. The restoration process at The Plaza involved removing rust and repainting the sign to its original colors.  In addition, new LED lighting was added to create a more sustainable and eco-friendly marquee.

And what can you tell us about Athens’ Morton Theatre which received their grant in 2011 and is also spotlighted on this tour?

The Morton Theatre holds a special place in Athens’ history. It was built as a Vaudeville theatre in 1910 by Pink Morton, a prominent African-American businessman. Since then it has served the community as an anchor on Athens’ ‘Hot Corner,’ the historic African-American business district at the intersection of Hull and Washington streets. FTI provided funding for restoration of the theatre’s original wood flooring system in 2011.

How does the FTI choose which theatre receives a grant? Is it a competitive process?

FTI accepts applications from historic theatres that are owned by a public agency or non-profit organization. Applications are reviewed by a panel of arts and preservation professionals. Funding is awarded to theatres that will create significant economic and cultural impact to the communities they serve.

Why do you think it is important to preserve art and culture? What is the goal of the FTI and their desire to, “Revitalize Georgia’s communities, one theatre at a time?”

Arts and culture contribute to Georgia’s communities by creating jobs and providing tax revenue. They are essential to education because they facilitate critical-thinking and communication skills. Furthermore, arts and culture are integral components of vibrant, creative and livable cities. FTI believes that the revitalization of a historic theatre can provide a focal point for the economic and cultural development of a community.

Tell our readers a little bit about the Second Annual Theatre Revival Tour kicking off on May 1, 2014? What sort of exciting things do you have in store for attendees?

FTI will showcase three of its theatre restoration projects during the Second Annual Theatre Revival Tour. The three-day tour, taking place May 1 – 3, aims to raise awareness for each of the historic venues by embracing local community efforts surrounding the preservation of these theatres. Each destination on the Tour will host a community festival, featuring Atlanta resident and legendary blues songstress, Francine Reed.

Tell us a little bit about FTI’s relationship with the celebrated blues chanteuse, Francine Reed and how she was chosen to headline the community festivals attached to the tour.

FTI believes in supporting local talent whenever possible. Whether working with preservation contractors or musicians, FTI strives to partner with people that are connected with their communities. Francine Reed has an amazing voice and a deep connection with the music scene in Atlanta, so selecting her to headline our Theatre Revival Tour was an easy decision!

Anything exciting in the works for future FTI projects?  How about anything new happening with the Fox Theatre Tours you’d like to tell our readers?

Forty years ago, the people of Atlanta rallied to save the Fox Theatre from demolition. Since that time, the Fox Theatre has been deeply committed to giving back to the community that saved us. Be on the lookout for some exciting events during this special anniversary year!

All photographs are courtesy of the Fox Theatre Institute (unless otherwise noted) and used with permission.

Lola LeSoleil. Photo credit: Your Mojo by Jojo.

The Southern Fried Burlesque Festival is back for its fourth sizzling year March 20-23, bringing the best performers from all over the world to Atlanta for a weekend full of burlesque classes, panels and performances  at the Wyndham Atlanta Galleria.  Founded and presented by Syrens of the South Productions, it’s not just bringing a high standard of burlesque entertainment to the city but also getting Southern performers noticed on the national scene.

One of these is Lola LeSoleil, who won the crown of Southern Fried Festival Queen 2013 in last year’s pageant competition. Lola will be giving a special farewell performance on Saturday night before this year’s queen receives her crown, but in the last year, she’s come a long way, baby. It’s our royal pleasure therefore to declare her Kool Kat of the Week and find out more about what she’s been up, her plans for the future and what she’s looking forward to the most about Southern Fried 2014!

How did you get started in burlesque? 

In 2001, my mom and I went to Las Vegas. While there we saw Gladys Knight, Charo– in all of her “Coochi-Coochi” glory – and the signature JUBILEE show at Bally’s. JUBILEE is the quintessential glamorous Las Vegas floor show  – huge feather headdresses; elegant, statuesque ladies dripping in rhinestones; and lighted staircases. I was in love and realized come hell or high water, I needed a big feathery headdress. And sequins. And rhinestones.

It took a few more years before I saw a few burlesque shows in Atlanta – Big City Burlesque, Dames Aflame – and realized this art was in my city! I just needed a way in. After detouring to pole dance class and a one-off burlesque choreography class, I attended a Blast Off Burlesque show with a friend who introduced me to Talloolah Love -at the time of Syrens of the South [Read our Kool Kat profile of Talloolah here]. They offered a burlesque class series. I couldn’t get my butt to class fast enough.

Lola LeSoieil. Photo credit: Derek Jackson

Is there a story behind the name Lola LeSoleil?

Burlesque names can be a challenge. I wanted a name to reflect my abundant energy and honored who I am, but also paid tribute to beauty icons I grew up with. LeSoleil is my heat, my sun. Lola was for Lola Falana who was a black actress and entertainer in the 1970s, and who also appeared on THE MUPPET SHOW.

Who are a few of your role models in burlesque, both classic and from the burlesque revival, and why?

To be honest, Carol Burnett was my first comedic variety role model. She was silly, endearing, dynamic and versatile. I didn’t really know conventional burlesque tease artists until I started taking classes and began  research. Toni Elling and Jean Idelle are two special ladies whom I’m delighted to have met, and their lives as entertainers resonate with me and I have immense respect for them. Contemporary artists share my Gen X/Y perspective on balancing art and work and creativity. It’d take more space than I have here to name them, but suffice to say I’m delighted to have perfomed with and for revivalists whose opinions mean a lot to me.

A few years ago, you were interviewed about being an African American performer in the burlesque revival. Traditionally there haven’t been as many but at least on Atlanta stages, I’ve been seeing more. Can you talk a little about why this has been so and do you see a change or not?

Having more faces that look like mine in the burlesque revival I believe comes down to exposure to the art, and a desire to participate. The burlesque community in Atlanta is welcoming and supportive of everyone’s artistic journey. The change is gradual, and what I’ve seen is encouraging!

Lola LeSoleil. Photo Credit: Marc Turnley

What did winning the Miss Southern Fried Burlesque crown mean to you, and how has it affected your career over the past year? 

The joke of my winning Southern Fried Burlesque Queen was that my third time was the charm. I competed in 2011 and 2012 winning awards, but not the BIG one. Turns out there were a lot of people who were excited to see a nerdy/fandom-inspired act win a burlesque pageant title. I had the opportunity to be invited to perform in cities I may otherwise not have. It’s been a damn fine year!

Without giving away any big spoilers, can you give us a little tease about your farewell performance?

If I told you, I’d have to exterminate you.

Are you teaching any classes at SFBF?

In year’s past I’ve taught, but this year at SFBF, you’ll see me volunteering and being a student because I heartily believe there’s always room to improve as an artist. And I like helping.

What else are you looking forward to personally about SFBF?

I am really excited to have my Beginning Burlesque Choreography class perform in the Newcomer’s Showcase on Thursday night! And of course, I’m abuzz to see friends I’ve met at other festivals and shows come in to town for a gigantic glittery weekend! It’s like the start of “Burlesque Summer Camp” season.

What’s next for you?

I’m fortunate to be performing at the first Nerdlesque Festival in New York in a few weeks, and I’m opening my travel horizons to other festivals and events outside the South. Windy City [Burlesque Fest], here I come! I’m really looking forward to teaching more at  The Atlanta School of Burlesque.

Anything else you’d like to tell ATLRetro readers about Lola LeSoleil?

Follow your strengths as a performer, but don’t limit yourself. Take all the classes. Learn anything/everything and don’t allow yourself to stagnate. As long as you have breath in your body, you can improve.

To read ATLRetro’s preview of the Fourth Annual Southern Fried Burlesque Festival, click here.

Feathers and fringe and rhinestones, oh my! Founded and presented by Syrens of the South Productions, The Fourth Annual Southern Fried Burlesque Festival brings the best performers from all over the world to Atlanta Thurs. March 20-Sun. March 23 for a weekend full of burlesque classes, panels and performances  at the Wyndham Atlanta Galleria.

This year, the festival kicks off with the Just Hatched Newcomers Showcase Thursday night highlighting newer performers like Melody Magpie, May Hemmer, Duchess Dakini, as well as local Atlanta performers Roula Roulette, Nina Charrise, and some student group performances from classes at The Atlanta School of Burlesque.

Friday Night brings The Free Range Burlesque International Showcase, featuring performances by Burlesque Legend Penny Starr Sr. and her granddaughter Penny Starr Jr., and headlined by Queen of Burlesque 2008, Angie Pontani, and King of Burlesque 2013 Ray Gunn, as well as other amazing performers from all over the world!

Saturday night, get ready for the main event: The Southern Fried Burlesque Pageant has performers competing for Best Group, Variety, and the Southern Fried Burlesque King and Queen!  The Pageant will also include a farewell performance by the 3rd Southern Fried Burlesque Queen, Lola Le Soleil!

After the awards ceremony Saturday night, let your hair down at the Southern Scorcher Showcase with performers from all over the Southeast, like Robotica and the Professor, Dee Flowered, Violet Vixxxen, and headlined by Ursula Undress!

The Southern Fried Burlesque Festival also features lectures, events and classes Friday through Sunday for all interest and skill levels. Whether you are a history buff, into crafting costumes, want to learn the basics, or finetune your performance, this festival will have activities for all levels and aspects of burlesque. Learn entirely from seasoned burlesque performers, teachers, and legends, and leave the festival with all the tools you need to be the next Burlesque Aficionado! Don’t worry guys – all genders are welcome to attend classes!

Burlesque is the art of the striptease, with a focus on the tease.  Performers occasionally strip to pasties, but there is no nudity in any festival productions. This festival is dedicated to the preservation of an art form that has become an international movement.

For advance tickets to Fourth Annual Southern Fried Burlesque Festival events or the whole weekend, click here. 

The prototype for the Innsmouth Fogcutter mug, unglazed.

Trader Vic’s meets H.P. Lovecraft in the wonderfully weird tiki mug and accessory line of Atlanta-based Horror in Clay. Their fine-crafted ceramic green Cthulhu mugs have been raising tentacles among Lovecraft and Retro Hawaiiana fans alike, and if you’ve been to an Atlanta area con, chances are you walked away with a complimentary tentacled Pickman’s Cove cocktail stirrer. Their newest creation is the Innsmouth Fogcutter mug, which already has made its funding goal in another blockbuster Kickstarter campaign. There are plenty more stretch and social goals to unlock, and preorders are sure to be filled with all sorts of fun extras at different levels.

To find out more about the obscure origins of Horror in Clay, the Innsmouth Fogcutter, the Kickstarter campaign, and what terrifying tiki creations are down the dark road, we caught up recently with Jonathan Chaffin, mad mastermind of  the eldritch enterprise along with his lovely wife Allison.

ATLRetro: How did you personally discover H.P. Lovecraft?

Jonathan:  I wrote a term paper on Lovecraft in ’95. Pretty sure it was a combination of three things: #1  I read all the time, particularly short horror fiction – and when I don’t read I listen to audio podcasts like www.pseudopod.org. I have a particular fondness for Poe, Twain and Robert Louis Stevenson, so early horror and weird tales and those who write them are an easy sell for me. Love of literature and details – check.  I think that’s why I knew the name.

#2 Do you remember the cartoon THE INHUMANOIDS?  It came on alongside  JEM AND THE HOLOGRAMS and BIGFOOT AND THE MUSCLE MACHINES  on Saturday mornings. I loved that show. One of the monsters was a giant tentacled beastie from the Earth’s mantle named Tendril.  Tendril was a big shambling green thing bedecked with tentacles, and unlike most of the other toys at the time, the Inhumanoids toy line was to scale; the monsters TOWERED over the good guys.  Giant tentacle monster toy beloved and embedded in my brain – check.  That’s why I wanted to learn more about Cthulhu.

#3 When I was on a bus-tour in England, I ran out of books, so I ran into a shop to get one – and what I found was HP LOVECRAFT OMNIBUS 3: HAUNTER OF THE DARK with a giant monster snacking on people on the cover. Giant monster, giant book of horror short stories, bus tour through the land of fens and lochs – good times and a lifeline affinity for old Anglophilic HP Lovecraft.

Cthulu-Elvis, Jonathan Chaffin, and the Horror in Clay'd Cthulhu mug.

How did you and Allison get the idea to design and market a Cthulhu Tiki mug?

I’m an avid collector of, well, everything, but especially of horror movie ephemera and Tiki stuff. Allison and I had a Tiki-themed wedding and have a lot of affinity for Trader Vic’s, the Mai-Kai [in Fort Lauderdale] and theme restaurants in general. Well, the thing about collecting a lot of Tiki stuff and horror autographs and such is it needs somewhere to live. In our old apartment we had a sort of Addams Family vibe in one room that was also our dry bar – artifacts and totems and monsters, oh my!  When you are a graphic designer, everything is a design problem to be solved, so for me the process went something like: This is a Tiki bar -> Tiki bars have signature cocktails and mugs -> What kind of mug should go here?  Given that Cthulhu sleeps his death away in sunken R’yleh in the South Pacific, that seemed a fun subject for a mug.

Were you surprised by its runaway success?

Surprised by the success doesn’t begin to cover it.  I probably wouldn’t have even attempted it except for a push from my friend Pauli [Vauxhall Garden Variety Players], who basically loaned me some of the money to have a prototype made and said, “Meh. Go see what happens.”  I was told we’d probably have hundreds of them living in our basement forever, but I decided to try anyway.

Tell us about the Innsmouth Fogcutter Mug from the story to the craftsmanship behind it.

The Innsmouth Fogcutter mug started as an in-joke on the Cthulhu Tiki mug. If you look, dread Cthulhu has his own little fogcutter mug clenched in one tentacle, complete with umbrella and bendy straw. I wanted it to be a Fogcutter as an homage to Trader Vic’s Atlanta and to the long-defunct Atlanta Luau restaurant.  When the Cthulhu mug was blowing up and people were asking me what was next, I told myself I wanted to make that Fogcutter mug.

 

As mentioned, I try and create a total picture of the environment one of my mugs is from; much like a clothing line, each mug has complimentary artifacts that tell its story. I even have a “bible” like you would find for a stage play that lists facts and details I want the mug and artifacts to reference or adhere to.  The Innsmouth Fogcutter is intended to be from the Gilman House hotel, a locale made famous in Lovecraft’s THE SHADOW OVER INNSMOUTH, but also has an original backstory I created that is revealed through digital artifacts and other physical pieces – some of which are available as rewards through the Kickstarter. The back story for the Innsmouth Fogcutter has to do with expectations and changes. As you rotate the mug you realize that what looks like a creepy monster hand reaching up for a beauty on a dock is actually the beauty herself changing into a hybrid, then monstrous form. Similarly, I refer to the mug’s backstory as a romantic tragedy. Really, what else would expect from benighted, ill-reputed Innsmouth?

 

Horror in Clay's bar line including Cthulhu mugs, tentacled double jigger, bar spoons, coasters and Pickman's Cove stirrers.

The concept for the design on the mug came about because I adore practical special effects. Any werewolf transformation sequence is a special treat to me, and I wondered what a transition to a Deep One would look like. Or perhaps I just played too much Altered Beast.  Also, the final form of our Deep One on the mug is inspired by Froggacuda and Sharkoss from the ARCO Other World toy line. What can I say?! I love me some toys.

 

Production mugs are awesome things; much like a sonnet they are all the more amazing for the structural limitations imposed by the process. That said, as a collector I will always love limited editions. For this mug the wonderous Wendy Cevola will be creating a mold from the production master and then producing a very limited number of hand-retouched and glazed variations from the basic design. She has done some amazing work. You should check out her Tiki Bob series of variations

 

You’ve made your Kickstarter goal, but there are more wonders to unlock. Can you tell folks why they should still throw in some money?

 

First off, because the mug is amazing, everyone needs at least two in case they want to drink out of it more than once. Also, it’s funded, so it is going to happen, and I’ve done this before with a high rate of satisfaction, so I’m pretty sure I can do it again. Additionally, I designed way more than I needed for this Kickstarter, and if we get enough funding, we can add some neat stuff to every level and bounce some other ideas into production sooner.  Things that I think will be awesome – like a shade parasol printed with still more backstory elements, or like the Horror Infused bitters we’ve had formulated.

 

Horror in Clay doesn’t just make mugs. What are some of your other products, including those high-quality fezzes?

 

Glad you like em! An IMPORTANT note about the fezzes!  We don’t make ’em! They are the brainchild and product of Jason Rodgers and www.fezorama.com. He’s been doing this whole artist/creator thing much longer than I. His work is amazing, and I’m really pleased he was game for collaborating on a design to match the Innsmouth Fogcutter Tiki mug.  Since the story features the Esoteric Order of Dagon, I thought that having a fez as part of our Innsmouth collection was a great thing – plus I collect Fez-o-rama fezzes. We are an authorized reseller of a limited selection of Fez-o-rama designs only at conventions, as he is an authorized reseller of Horror In Clay mugs.

 

With that out of the way, we make all sorts of things, because I’m trying to make each collection tell a story using whatever makes sense.  Some things besides the mug that we’ve made that have gotten a lot of attention are our tentacled double jigger and bar spoon. People love the tentacle. Fun fact, the tentacled bar set is missing an icepick because it was used as a murder weapon. Since I have different stories to tell, I’m going to be developing different supporting artifacts to flesh out each story. The locale-based Tiki mug has been working out for us, and I have some more ideas in that vein, so I’d expect to see more of that.

 

What’s next for Horror in Clay?

 

Our next two drawing-board projects are the shade parasol and bitters to help fill in the gap while the next mug is developed. The idea for the next mug is already around. How quickly it sees life as a prototype depends on how the Kickstarter for the Innsmouth Fogcutter does. It was two years between the Cthulhu Tiki Mug and the Innsmouth Fogcutter.

 

What do you do when you aren’t crafting Horror in Clay?

 

Designing things and doing a little freelance, monitoring the media streams and watching movies. Just lately I’ve also been writing a little. I have some essays in “Monster Serials: Morbid Love Letters to Horror Cinema” from www.thecollinsporthistoricalsociety.com.  Ever more frequently I seem to be shipping orders, which is a great thing. Oh, and I love supporting my local tiki bars and theme restaurants!

 

Horror on Clay can also be found on Facebook at www.facebook.com/horrorinclay and on twitter @CthulhuMug.

What are we doing this weekend?! We’re heading down to the third annual Days of the Dead at Sheraton Hotel Atlanta, Friday-Sunday Feb. 7-9.

1) THE THING REUNION! Given that John Carpenter‘s THE THING (1982) is one of those rare remakes that surpasses the original, we can’t think of anything more fun than meeting a bunch of the guys who signed on for Antarctic duty and ended up monster-meal. Keith David, Richard Masur, Joel Polis, Peter Maloney, Thomas Waites all together on one stage at 1 p.m. on Saturday and signing all weekend.

2) DAMIEN ECHOLS. We have followed the case of the West Memphis Three since 1993, and couldn’t be more happy that he is finally free. He talks about “Life After Death” Row Saturday at 7 p.m.

3) RUNAWAYS. We’re not sure how two of rock’s most badass babes ended up on the horror con circuit, but we’re not complaining about any chance to meet Lita Ford and Cherie Currie. Also rocking the roster are crazy ’80s metal man Dee Snider and Skinny Puppy’s Twiggy Ramirez.

4) SID HAIG AND BILL MOSELEY.  Sid Haig, one of those rare B-movie icons and character actors whose career spans the decades from Jack Hill’s blaxploitation films of the 1970s to the chaotic, creepy Captain Spaulding. Quite frankly you and Bill Moseley scared the sh-t out of us in THE DEVIL’s REJECTS and since we’re not easily scared, for that we salute you both!

5) BUTCH PATRICK, MEG FOSTER, CHRIS SARANDON, AND THE CRYPTKEEPER JOHN KASSIR! The guest list just seems to go on and on with Retro-horror goodness including the original Eddie Wolfgang Munster, one of Hollywood’s most eye-catching actresses and the star of another John Carpenter classic THEY LIVE (1988), the hot neighborly vampire from the original FRIGHT NIGHT (1985), and the man whose voice creeped us out so many times hosting TV’s TALES FROM THE CRYPT.

6) THE HISTORY OF THE SPOOK SHOW! Atlanta’s own Professor Morte leads the SILVER SCREAM SPOOK SHOW in a history lesson of this macabre art form which we are certain will both amaze and entertain. We may even learn something, too!

Professor Morte (Shane Morton). Photo courtesy of Shane Morton.

7) MARK MADDOX. If you’re a classic horror or sci-fi fan, you’ve undoubtedly encountered the work of this Rondo Hatton and Pulp Factory Award-winning artist on the covers of countless publications from Little Shoppe of Horrors to the 50th anniversary issue of DOCTOR WHO Magazine. His appearance is sponsored by Monsterama, Atlanta’s newest horror con which debuts August 1-3, 2014.

8) SPOOKTACULAR SHOPPING  Horror cons are the perfect place to stock up on both macabre movie memorabilia, cult classics on DVD and creepy clothing, costumes and accessories.

9) MACABRE MAKE-UP, CREEPY COSTUMES AND PHANTAMAGORIC PARTIES!! Check the schedule for make-up demonstrations, VIP parties, costume contest Saturday night at 11 pm followed by the Monster Ball. On Friday night, learn SFX make-up from the masters in the Atlanta Zombie Apocalypse Presents Putrid Prosthetics, hear the funny side of wrestler-actor Roddy Piper, followed by a midnight Murder Ball hosted by Atlanta’s own most extreme Halloween attraction Chambers of Horror.

10) FRIGHTENING FILMS! The JABB 48-hour film festival featuring new indie horror, such as THE MORNINGSIDE MONSTER by ATLRetro Kool Kats Jayson Palmer and Chris Ethridge, as well as crazy has-to-be-seen-tobe-believed cult classic NEON MANIACS (1986).

Days of the Dead main con hours are Fri. Feb. 7 from 5 to 11 p.m.; Sat. Feb. 8 from 11 a.m. to 7 p.m.; and Sun. Feb. 9 11 a.m. to 5 p.m., with parties going late into the night on Friday and Saturday. For more info, visit https://www.daysofthedead.net/atlanta/.

THE MORNINGSIDE MONSTER, a new locally produced independent horror film, will have its World Premiere at the Plaza Theatre on January 14 at 7  pm and 9:45 pm. Both screenings will be followed by Q&As with filmmakers Jayson Palmer and Chris Ethridge, as well as cast members Nicholas Brendon (BUFFY THE VAMPIRE SLAYER), Robert Pralgo (THE VAMPIRE DIARIES) and Amber Chaney (THE HUNGER GAMES). Tiffany Shepis (THE FRANKENSTEIN SYNDROME) and Cat Taber (STAR WARS: THE CLONE WARS) are also in the movie.

Georgia’s tax breaks for film production not only have attracted Hollywood shoots and high-profile TV series, but also have created a vibrant environment for local independent filmmakers including horror. Jayson and Chris’s previous collaborations include a video for the band Fader Vixen and the short film  SURVIVOR TYPE, based on the Stephen King short story of the same time. This time, however, they are finally going full feature with a suspenseful yarn about a series of ritualistic murders which rattle the small town of Morningside, NJ.  Without revealing any spoilers, the Sheriff and his deputy embark on a desperate race against time to catch the killer, pitting them against friends, enemies and even each other.

ATLRetro have had our eye on this dynamic duo for a while so we thought it was high time to make them Kool Kats of the Week!

Chris Ethridge/

ATLRetro: What’s the story behind THE MORNINGSIDE MONSTER? It’s the first full feature collaboration between you and Chris, right?

Jayson: THE MORNINGSIDE MONSTER started out as a short story that I wrote around 1995 for a project my friend Mike was making as a college art project. He took a bunch of my short stories and made these really nice leather-bound books. Only two of those books exist, as far as I know. It was a much different story than it is now.

After Chris and I made our short film adaptation of Stephen King’s SURVIVOR TYPE, we wanted to do a feature. Something good, but that could be done on a limited budget. I told him about MORNINGSIDE, and he said show me a script.

Without giving away any major spoilers, what’s the basic plot and how does it fit into the horror/suspense genre? Any key influences? Movies? Filmmakers?

Jayson: THE MORNINGSIDE MONSTER is definitely my nod at my love of slasher films. Although I wouldn’t label it a straight-up slasher, fans of the subgenre will certainly be able to spot the influence. It’s a masked killer disposing of victims in a small town.

Chris: In fairness to Jay, it was probably even more slasher on the page. I pushed it a little bit in the direction of dramatic horror/thriller, because that’s the type of films I like to make.  I think we tried – hopefully with some success! – to walk the line of honoring the genre while also digging into the characters a little more than you might normally see in a slasher flick.

Jayson Palmer.

For an indie, you scored quite a few name actors for this production, such as Nicholas Brendan, Amber Chaney and Robert Pralgo. Can you talk a bit about that?

Chris: It was a little bit of a domino effect.  We approached Rob first, because we knew him from the Atlanta film community.  Rob agreed to come on board the project, and he recommended Amber and Catherine Taber. Through Cat, we met Jeff Hightower, a casting director in LA, who helped us approach Nicholas.  We have another friend who helped us connect with Tiffany Shepis.  We just wanted to find the best cast to fill the roles, and we were extraordinarily fortunate to get the actors we did.

ATLRetro is a huge Buffy fan. What’s your favorite experience working with Nicholas?

Chris: I’m a huge Buffy fan as well.  Nicholas is an effortlessly funny guy, and he is a talented professional.  When the cameras roll, he just immediately turns into his character and delivers an amazing performance, every single take.  It was a pleasure to work with him.

Jayson, you’re from NJ. How did that play into your decision to do a NJ setting? Did you film it all in Atlanta? Or did you do some locations in NJ?

Jayson: Yeah, I’m a Jersey boy through and through. Morningside, the fictional town in the film is totally based on Wharton, the small town I grew up in. Chris is not from Jersey, but he captures the small town look and feel perfectly. There are some scenes that almost make me completely forget it was filmed in Georgia.

We imagine you didn’t have a lot of money to work with, it being an indie feature. Did you use crowd-sourcing or did you go the traditional route with credit cards and investors? What was the biggest challenge on your budget and how did you solve it?

Chris: All of the above.  We had a crowd-sourcing campaign, some traditional investors, and we filled in the gaps at the end with credit cards.  The biggest challenge is finding talented crew who are willing to put in the hours on a small or even deferred salary.  We were so lucky to be able to find some amazing people who just wanted to work on a good project.  We owe a debt of gratitude to everyone who spent even just a day on our set to make the movie happen.

A scene from THE MORNINGSIDE MONSTER.

What’s happening at the premiere and is there any difference between what you have planning at both screenings? Or will it just be different questions?

Jayson: There is no difference between the 7:00 pm and 9:45 pm screenings. Of course, the Q&A will be different, but that’s only due to different audience, different questions.

What are a few horror movies that really grabbed you as a kid and why?

Jayson: As a child, I hated horror movies – mainly because I had a sadistic older brother and cousin who enjoyed scaring the crap out of me when ever they could. One day I put in THE SHINING (1980) and said, “I’m getting over this fear.” I’m not sure if that was the best film to use as my start on the road to recovery, but it certainly sparked my imagination and got the gears turning. Horror films still scare me, but I feel if I can’t beat them, I might as well make them share in my nightmares.

Chris: I distinctly remember sneaking over to a friend’s house to watch A NIGHTMARE ON ELM STREET 3: DREAM WARRIORS (1987) when I was maybe 11. I’m sure it was the first real horror film I ever saw.  I can viscerally recall, even now, how that movie made me feel, the scares and the thrills.  THE LOST BOYS (1987) was another one of those great ’80s horror films I grew up on.

Jayson, you started making movies as a kid with your action figures, German Shepherd and friends. Did you shoot video or super 8? What’s your favorite or funniest memory of that time?

Jayson: My dad had this old video camera from the 1980s that we used. This thing was a beast. You had the camera itself, which weighed about 10 pounds. Then you had to carry around an entire VCR in a shoulder satchel to record onto and this 20-pound battery to power it all.

My friend Andrew and I would spend our summers making movies. ROBOCOP (1987) was one of our favorite movies, and we decided to make ROBOCOP 2. It was just him and I. I was RoboCop, complete with Skateboard Helmet, elbow and knee pads, and I had this big puffy winter jacket for the body armor. God, it was so silly, but so much fun. I still have those tapes somewhere, and they will probably only see the light of day again after I’m dead.

Chris Ethridge and the intrepid police officers of Morningside, NJ.

How did you start making movies, Chris?

Chris: My first experience with filmmaking was a film studies class in college, where I made a really terrible and pretentious short film about a pair of hit men on Super 8.  I did not love the process at the time.  After college in Virginia, I moved to Athens, GA, and had an large amount of time on my hands, so I began watching indie films. At some point, I had the same moment of clarity that everyone else who ever wanted to make film has – “I can do this better.”  This, of course, is a lie, and it took well over a decade of making shorts before I finally got to the point where I felt like I was truly happy with the quality of work I was making.  The work of the last few years is the easily the best, most accomplished material I’ve ever made, and I don’t think it is a coincidence that it has occurred during the period of time I have been working with Jayson.

Jayson, your production company is called Lobster Boy Productions. There has got to be a story behind that name.

Jayson: When I was in high school I sang in a punk band called Hodgepodge. We were getting to release a 7” single and needed a record label. Our drummer had just got back from the shore and was bright red with sunburn, so we started calling him Lobster Boy. Then it clicked, let’s call the label Lobster Boy Records. Since I was in charge of all the promotion and PR stuff, everyone started to call me Lobster Boy. I then began to put on shows for up and coming punk bands in New Jersey under the name Lobster Boy Productions. The nickname stuck and I have been using it since.

These days the company is Blue Dusk, that’s the one Chris and I started. But I will always be the Lobster Boy.

Both you and Chris are big Stephen King reader/fans, so I know SURVIVOR TYPE was like a dream come true for you. What’s up with that film now?

Jayson: Making SURVIVOR TYPE was my biggest geek moment! That was the story that really turned me onto King! So to have the opportunity to turn it into a film was, as you say, a dream come true.

The film was made under Mr. King’s Dollar Baby program, which allows up-and-coming filmmakers to use the nonexclusive  rights to some of his stories. Since they are nonexclusive, you can only show the film at festivals and as part of your portfolio. We did the festival run a few years ago, so unless Mr. King decides to allow the world to see it, most likely it will stay in the same foot locker my old ROBOCOP movies are hidden.

Are you taking THE MORNINGSIDE MONSTER out on a festival run? When will it be available on DVD?

Chris: Absolutely, we are in the process of festival submissions right now.  We’ve had some definite interest in screening at some conventions, and we are even looking at potentially doing a small theatrical tour.  We are also in the midst of finalizing a distribution deal, and we are hoping for it to be out on DVD and VOD platforms sometime in the summer, but we don’t have a release date set at this time.

Finally, what’s next for you both?

Jayson: All good things to those who wait.

Tickets to both screenings of THE MORNINGSIDE MONSTER are available at the door and in advance at https://themorningsidemonster.brownpapertickets.com/

Persephone Phoenix. Photo credit: Tim Fox Photography. Used with permission.

Oh, Happy Days! Fat Cat Cabaret, one of Atlanta’s newest Retro entertainment troupes, is sneaking a peek behind closed doors to home life in the post-World War  in their 1950s Burlesque Holiday Show this Saturday Nov. 16 at 8 p.m. at Andrew’s Upstairs. The sassy shenanigans set to the music of the birth era of rock n roll include iconic foods, props and include special guest and recent Kool Kat Talloolah Love, the Sweetest T in the South, as the hottest neighbor on the block, and Nashville self-proclaimed Dieselpunk Prophet of Pop Culture Big Daddy Cool, as the Ultimate Entertainer. Also on the roster are Sketch Macquinor as the comedic neighbor and bearer of all things funny; Ben Gravitt, as Jerry, your humble narrator and all-around hip cat; and another Kool Kat, Ruby le Chatte, as Jerry’s other half and the life of the party!

To find out more, we caught up with Fat Cat’s Creative Director Perspehone Phoenix, a true Kool Kat’s Meow in her own right. So yeah, we asked her a bit about her path to fabulous frivolity, too!

First off, tell us a bit about yourself. What’s the secret origin story of Persephone Phoenix?

As the Head Haunchess of Hell and the Princess of Purgatory, I emerged from a previously mundane, muggle existence, and with a fiery glory, was reborn as a creature of the dark side known as burlesque performance. I am currently an aerial instructor with Play Hard Gym and creative director for Fat Cat Cabaret, as well as freelance performer, splitting my time between performance, organization and community involvement.  An aerialist for nearly four years, I initially took burlesque classes with Syrens of the South, and after my debut combining both aerial arts and strip tease, I have not looked back. I have performed all over the Southeast and am a member of or have performed with such groups as Fat Cat Cabaret, Syrens of the South, Musee du Coeur, Cheeky Belles, Bible Belt Burlesque (Perry, GA), Spooky LeStrange and Her Billion Dollar Baby Dolls (New Orleans) and recently, in front of an audience of over 1000 people at DragonCon’s Glamour Geek Revue.

One of the things that initially attracted me to this group was that, unlike many other troupes whom I have worked with, Fat Cat attempts to tell a story with their productions. Each number is thoughtfully placed, with consideration being given to how it advances the story, explains the characters, or provides more era-related background for the audience. Using costumes, music and dialogue, you will follow a central character through a semi-period-accurate environment, and will be entertained the whole way through. It’s an intellectually challenging project, and it really takes burlesque/variety productions to a new level in my opinion.

I have a penchant for A Line skirts, crinolines and short gloves. For someone who is often wearing little to no clothing, I have never felt more feminine, sexy and empowered than I did wearing these pieces. I see the ladies fashions from this decade as the delicate veil over what was the rising sexual revolution.

It is both a play and a series of burlesque/variety vignettes. Each number is played out by characters who are in some way related to Jerry: a neighbor, a friend, a coworker, family member. The production tightly organized to bring continuity to the storyline and to entertain the audience.

As Jerry was a character first introduced in Fat Cat’s Holiday Show last year and this is a continuation of his storyline, home life was the natural subject to explore in this show, since the characters naturally fit as members of his community. But that doesn’t mean that other ’50s concepts aren’t touched on in this show.

Persephone Phoenix. Photo credit: Tim Fox Photography. Used with permission.

Will it be the ‘50s through the lens of the present day or is Fat Cat trying to create something contemporary to the time in humor, etc.? Or a combo of both? If the latter, then how did you research? What was most challenging?

Since the ’50s wasn’t a particularly sexually liberated era, and there will be copious dirty jokes and sexual humor, the production will not be entirely period accurate. However, using music, costumes and dialogue, we attempt to immerse the audience in a comical cross-section of 50’s home life. Research was conducted on music which fits the time, phrasing and subjects for comedy which were true to the era. The most challenging aspect of this show, which continues to be challenging, is sloughing off modern terminology and incorporating antiquated phrases. Since we’re adlibbing quite a bit, it’s likely a struggle that our audience will find comical.

Lets just say that relationships can be very messy. Especially when there’s food around..

The fantastic artists of 2the9’s Retro and Jezebel Blue handmade jewelry will be hawking their unique wares at our show.  Also Deep Eddy Vodka will be on special, and DJ Huda Hudia will be spinning modern tunes into the wee hours of the morning.  The party doesn’t stop after the show is over, so we encourage everyone to stick around and enjoy the fantastic venue!

Photo courtesy of Persephone Phoenix.

Anything else you’d like to add?

The team creating this show are some of the most talented, professional, creative folks I have ever had the joy of working with. They are committed to bringing this shared vision to life, and have made personal sacrifices to devote the time necessary to make it happen. I am grateful for that, and can’t wait to show the audience all of our hard work.

Also, I took over creative directorship from my predecessor, who I count amongst one of my best friends. The theme and concept of this show was very much dependent upon her inspiration, and I’m thankful to have worked with her on this and previous projects.

Well, I have recently devoted my entire professional life to art and artistic endeavors, so I look forward to seeing where that will take me. The transition from a full-time professional muggle career to freelance artist is an intimidating one. However, I’m really lucky to be surrounded by an amazing community with lots of opportunities and support.  I am hopeful to travel some for performance, volunteer more in the performance community, and continue building my aerial student base.

As for Fat Cat Cabaret, we will begin formulating our next show, to be revealed early next year. All of the players in Fat Cat will no doubt be seen around the Atlanta community, so keep your eyes and ears out!

By Anthony Taylor
Contributing Writer

Fans of AMC’s THE WALKING DEAD, rejoice; most of the show’s cast descends on Atlanta’s Westin Peachtree Plaza Hotel and America’s Mart this weekend for the Walker Stalker Convention. The highly rated show based on Robert Kirkman’s award winning comic book series of the same name lenses just down the road in Senoia, Georgia.

Cast members Andrew Lincoln, who plays series hero Rick Grimes, and Norman Reedus – breakout post-apocalyptic heartthrob Daryl Dixon – will appear to meet fans, sign autographs and pose for photos (the last two for an additional fee). Also appearing are THE WALKING DEAD producer and makeup effects supervisor Greg Nicotero, and series stars Laurie Holden, Lauren Cohan, Melissa McBride, Danai Gurira, Steven Yuen, Chandler Riggs, Sonequa Martin-Green, Sarah Wayne Callies, Scott Wilson, Irone Singleton, Chad L. Coleman and Emily Kinney, who is also performing in concert Saturday night. Other cast members are also scheduled to appear, see the website for a full listing.

In addition, actors from BREAKING BAD, GREMLINS, FRIDAY THE 13TH and NIGHT OF THE LIVING DEAD, and makeup effects artists from the Syfy Channel’s FACE OFF will be on hand. The convention ALSO features a large vendor’s room as well as panels and talks given by the guests, and evening activities including a Zombie Bash Party Saturday night.

Founded by Eric Nordhoff and James Frazier of the Walker Stalker podcast, the convention began life in a Kickstarter funding campaign in June, which raised $16,782.00.  Though the podcasters are based in Nashville, Atlanta was the only city where the convention could take place; the availability of the actors to appear depended on their proximity to the venue. With almost everyone in town for production of the shows’ fourth season, Walker Stalker Convention was go. The pair has said that they expect as many as 10,000 attendees for the convention.

Cable television’s AMC network recently announced plans for a spin-off series for 2015 and renewed THE WALKING DEAD for its fifth season.

Walker Stalker Con takes place Fri-Sun, November 1-3, at Americas Mart at 240 Peachtree St NW #2200, Atlanta. Hours are 12:00 pm to 8:00 pm Friday, 10:00 am to 7:00 pm Saturday, and 10:00 am to 5:00 pm Sunday. Tickets are available online or at the door.

Anthony Taylor is a writer and an expert on retro-futurism, classic science fiction and horror films and television, and genre collectibles. He is the author of ARCTIC ADVENTURE!, an official Thunderbirds™ novel based on the iconic British television series by Gerry and Sylvia Anderson. His website is https://Taylorcosm.com.

Ruggero Deodato and Jeremy Morris. Photo courtesy of Jeremy Morris.

Ultimate Scream Queen Barbara Steele! Italian giallo director Lamberto Bava (DEMONS), son of Mario Bava! Ruggero Deodato, as in the original DJANGO (1966) and CANNIBAL HOLOCAUST (1979)! These names are simply legend among cult cinephiles, and they all will be in Atlanta for Twisted Fears Weekend, a three-day horror convention Sept. 27-29 at the Atlanta Marriott Perimeter Center. And that’s just the terrifying tip of a Retro-tastic guest line-up that also includes Linnea Quigley (RETURN OF THE LIVING DEAD), a SLUMBER PARTY MASSACRE  (1982) cast reunion, Tony Todd (CANDYMAN ), Fred “The Hammer” Williamson  (BLACK CAESAR , FROM DUSK TILL DAWN ), Geretta Geretta  (DEMONS ), Lynn Lowry (original THE CRAZIES ), and more.

The eerie event also will celebrate the worldwide re-launch of Gorezone, the even more splattery sister magazine of Fangoria . Needless to say, ATLRetro couldn’t help but declare con organizer Jeremy Morris Kool Kat of the Week to find out all the deadly details.

ATLRetro: I’ve heard so many local horror fans express absolute surprise and delight about Twisted Fears. Did it get started with the Gorezone anniversary or was something else the catalyst?

Jeremy Morris: Twisted Fears was formed a year ago by my twisted imagination. I have been in the convention scene nearly 20 years. I have met a lot of great people along the way. The true reasoning of the creation of Twisted Fears was a part of my true love of the horror genre. I have lived in Atlanta all of my life and I felt it was time to do a show with a twist, something different than what fans may be accustomed too.

Twisted Fears has an amazing guest line-up, including a lot of celebrities known for their European horror work, making it very different from Days of the Dead, Dragoncon, or even most horror cons around the country. Why take that the con in that direction?

This question is very easy to answer. As a long-time fan of this convention scene, I have always wished to see more international guests at shows because there are a lot of films [that are] forgotten. I chose to bring in guests that you may have not seen in a long time or possibly never, which gives the fans a fresh new roster of celebrities.

GOBLIN’s playing a few days later on Tuesday Oct. 1. Their shows are selling out across the country, and Fabio Frizzi  also is doing a Halloween concert  in London. AMERICAN HORROR STORY  has a clear giallo influence, which many think will be even more so this fall with its “Coven” storyline. Why do you think there’s such a resurgence of interest in giallo right now?

In my opinion, some of the greatest horror films originated from the Italian genre. People are craving fresh, new ideas while sometimes new ideas consist of rejuvenating past genres of films and the Italians are one of them.

Fangoria ad for Twisted Fears. Photo courtesy of Jeremy Morris.

We are just privileged and honored that Barbara and Lamberto have chosen to join us for the inaugural year of Twisted Fears. I consider them legends in their own right. They have influenced some of the greatest films that we know of to date.They will be participating in a Q&A panel on Saturday.

I am sure you don’t want to play favorites, but is there anyone you are particularly excited you were able to book?

I am truly excited for all of my guests I was able to book because I took great pride in the guest selection as a fan first. If I had to choose one that made me giggle it would be Ruggero Deodato because he is so rarely seen, but I consider him the master of Italian horror.

Jeremy Morris. Photo courtesy of Jeremy Morris.

Did you grow up reading Fango and Gorezone? What impact did these two magazines have on you?

Yes, I grew up reading Fango, I actually own the first issue. I have considered it the Godfather of all horror publications. I am truly honored that we were hand chosen to re-launch Gorezone after so many years of absence. It makes me giddy inside to think Fangoria wanted to be a part of this show.

One of the anniversary treats is a virtual interview with Fango Editor Chris Alexander, who’s based in Toronto. Can you talk a little about that

It is an anniversary treat so you need to be there to find out!!!

A lot of folks might think about just coming on Saturday. Why should they buy a full weekend pass instead? Or kick in the extra bucks for a VIP pass?

We have a lot of panels, events, night-time parties scheduled. The signature event is the first of it’s kind, our own Twisted Feast Dinner Party, with a very intimate setting for all fans to have a quiet dinner with all of the guests in attendance. This is a chance to truly have an experience of meeting the guests like no other.

What else do you want horror fans to know about Twisted Fears Weekend?

I want the fans to know that Twisted Fears will continue to be a show of firsts on every level as we continue to grow. Most importantly I am a fan and always will be a fan first. And I will see you in May 2014 for the sequel.

Hours for Twisted Fears Weekend are Friday Sept. 27, 4-10 p.m., Sat. Sept. 28, 10 a.m. – 6 p.m., and Sun. Sept. 29, 10 a.m. – 5 p.m. For more info and to purchase advance VIP and general admission tickets, visit https://www.twistedfears.com/.

Photo courtesy of Ursula Undress. Credit: Derek Johnson.

Curious if you have what it takes to tease? This Saturday Sept. 7, the Atlanta School of Burlesque is offering a sneak peek behind its doors for a Grand Opening Launch Event Day with a chance from 10:30 a.m.-2:30 p.m. to sample a variety of classes for just $5 each (see list of classes and times at the end of this article) followed by a party from 2:30-5 p.m. with refreshments, prizes, vendors and discounts on School merchandise. The burlesque revival has been thriving here for over 15 years now, but unlike other major cities, Atlanta has not had its own academy for this art form until Studio Burlesque opened last winter. Unofrtunately, it was shortlived but the demand was so great that The Atlanta School of Burlesque has quickly taken its place, and veteran performers have a place where they can share their techniques, both classic and contemporary, with aspiring dancers and anyone who just wants to spice up their love life or enjoy a fun, different exercise program.

ATLRetro wasn’t surprised to learn that the headmistress and founder was none other than the dynamic Ursula Undress, regular performer with Syrens of the South Productions and co-consprirator at the first Southern Fried Burlesque Festival, which will celebrate its fourth year next spring. We’ve been eyeing Ursula as a Kool Kat for a very long time, so this week seemed like the purr-fect time to check in with this self-proclaimed “naughty girl next door” to find out more about the school, as well as her own secret origin story and what else she has up her sexy sleeves.

What drew you personally to the burlesque revival and when/what was your first performance?

I was a performer in musical and dramatic theatre for about 15 years. Personally, I was trying to find my identity again after returning to school and sort of immersing myself in classes and projects, etc., not to mention finding friends I could connect with when I first moved here and didn’t know anyone. So, burlesque – something I was already excited about – seemed a good fit.

Did you have any early role models, either classic or contemporary, who helped shape your approach to the art form?

Yes – Dirty Martini. The first performance I saw of hers was a YouTube video of her performance at the HOWL festival in 2007. I could not take my eyes off of her. She was the one who gave me the confidence to get on stage. But as for my performances being shaped by something, I would have to say that it was the music that did it.

Photo courtesy of Ursula Undress. Credit: Nimh.

Some said that Atlanta just wasn’t suited to an annual burlesque festival, but you helped Katherine Lashe prove them wrong. How do you feel the Southern Fried Burlesque Festival (SFBF) has changed the burlesque community here and Atlanta’s burlesque reputation around the nation?

In some ways, SFBF has pulled down some walls that divided a lot of performers here in the city and showed performers that there is a fairly strong community here. I think nationally that it has put Atlanta and burlesque in the southeast on the map, and helped to inspire other cities around us to do the same. I am continually amazed at the talent and innovation that comes from Georgia and the surrounding states, and am so glad to have a place to bring it all together on one stage.

It seems like you’re now putting the bulk of your energy into the Atlanta School of Burlesque. Why are you so passionate that we need an actual school here?

Well, I was actually running the first full-time burlesque school that had a previous owner – Studio Burlesque – and the passion for this project comes from the hordes of emails and phone calls when it closed. It was apparent that we had created this community and this amazing place for women where they could come and explore other sides of themselves and just have fun. So, I pulled my resources and did what I had to do to re-open a school for not only these students, but for all of us performers to learn from each other and keep fuel on the creative fires we tend every day.

Photo courtesy of Ursula Undress.

I understand the School’s students are a mix of aspiring performers and ladies who just want to get more fit in a flirty way. Can you talk a little about that? 

It is amazing – we don’t have a real target audience. We have women of all shapes, sizes, ages, backgrounds. Of course, we have students that want to go all the way and be performers, but I think the common thread is that they all just love feeling glamorous and graceful and sexy, and most of all – CONFIDENT. I think all of the instructors provide an environment that really fosters all of those things.

Who’s teaching at the School and how do you select your instructors?

I am very adamant about people learning the art of burlesque from actual burlesque performers who have studied the history and actively tour, compete, and perform. I select performers to teach based on their love for constantly learning and working on their craft, along with their ability to lead a class and make it fun and interesting. I am very fortunate to have performers of the caliber of Talloolah Love, Lola LeSoleil, Katherine Lashe, The Chameleon Queen, Fonda Lingue, Rebecca DeShon [hula hoop] and Sadie Hawkins [aerialist]. I also love that I have the opportunity to bring in outside talent and their knowledge and expertise in with workshops and specialty classes.

What are you teaching personally this Fall?

I am teaching both Beginning Burlesque Choreography and a class called Slow and Steamy Bedroom Burlesque that is for intermediate students.

Is this Saturday’s event for current and aspiring students only? Who should come and why?

Anyone who is interested should come – it is going to be a blast! The first class – Burlesque Fundamentals is actually co-ed, so I do mean ANYONE.

I know you don’t want to play favorites, but is there one of your students who you’d especially recommend our readers to watch out for?

Wow – I think the awesome thing is that ALL of our previous graduates from the Spring are amazing on stage, and have continued to perform regularly. Greta Von Trollop is so charismatic. Nina Charrise and Roula Roulette are both competing at the Shakespeare Follies this weekend, and then Rena Rhinestone has some incredible stuff planned for her next number. Oh! And I am really looking forward to what A to Z does next; he seems to be this glue that keeps them all wanting to work together on fun stuff. So yeah,it is impossible to play favorites!

Photo courtesy of Ursula Undress.

Will you be involved with next year’s Southern Fried, and if yes, can you share anything about it?

I think I will always be involved in some capacity. I really enjoy working with the legends and being a sort of liason with them and the headliners. It takes a village, and I am proud to assist Katherine with that.

What’s next for Ursula Undress performance-wise?

Well, I recently took a workshop with [burlesque legend] Gabriella Maze and am seriously in love with the cape! I have one number where I work with a large duster, and I am now looking to expand on that with what I learned from her. Combine that with some secret talks with burlesque legend Satan’s Angel, and well, that is all I am going to say. Yep, even in interviews, I have to tease!

Finally, what’s one thing about the school or about you that readers might be most surprised to find out?

Hrm….I think that people find out in our classes exactly how non-intimidating burlesque actually is.

Grand Opening Day Class and Event Schedule:

10:30 – 11:20AM – Burlesque Fundamentals with Syrens of the South & Southern Fried Burlesque Fest Producer Katherine Lashe.

This CO-ED class is designed for absolute beginners! Learn how to walk, bump, grind, and shimmy in easy, broken down steps, and then perfect them in drills and short combinations.

11:30 – 12:20PM – Classic & Glamorous Burlesque with Southern Fried Burlesque Queen Lola LeSoleil

This beginner class will help you to learn the grace and elegance of the early Burlesque style from the 1930s and 40s. This class begins with a simple, graceful warm-up, and then switches into the sultry but elegant moves of a Burlesque Queen. This class will also help you be a little more graceful in your everyday life.

12:30 – 1:20PM – Beginning Burlesque Choreography with Studio Owner & Performer Ursula Undress

This is the perfect class to get a taste of what burlesque can do for your inner and outer self while learning fun choreography to boot! Learn the basic standing and walking movements to start your journey into burlesque along with bumps, grinds, shimmies, and arm movements.

1:30 – 2:20 PM – Dance like a Mermaid with Professional Bellydancer and Mermaid Karma Karmelita.

As a professional mermaid and aquatic entertainer, Karma has gained extensive knowledge and experience in working in the water. This has given her a unique perspective on three dimensional movement when on the stage. This class focuses heavily on her original and innovative technique and teaches part of a breathtaking choreography. Recommended for people with previous dance knowledge in belly dance, but not restricted to.

2:30 – 5PM – Open Shopping and Grand Opening Soiree!

Join us for light eats, drinks, shopping, and hobnobbing with other students and performers!

Note: Wear comfortable low heels or flexible dance shoes to any class. Prices will be $5 per class, and advance reservations are not required. Due to the dramatically reduced class price, social deals will not be honored on this day. The Atlanta School of Burlesque is located at 1745 Defoor Place, Ste. D Atlanta, GA 30318. For more information, visit www.atlantaburlesqueschool.com.