ATLRetro

Katherine Lashe. Photo credit: PinUp Girl Cosmetics.

Atlanta’s burlesque scene right now is hot, hot, hot, and one lady is right at the sizzling heart of it – Kool Kat Katherine Neslund, aka Katherine Lashe. This week alone, Syrens of the South, her production company, is giving Atlanta a new monthly burlesque showcase with Tease Tuesdays at The Shelter on June 11 (specific Tuesdays will vary per month). She’s also a key player in the city’s first Debut-Tease Ball, featuring Katherine and a mix of experienced and new talent either teaching or taking classes at Studio Burlesque, Atlanta’s own burlesque school which launched just last winter.

Perhaps most of all, Katherine is the driving force behind the Southern Fried Burlesque Festival, which celebrated its third anniversary this year. Finally Atlanta has an annual event that brings together local, regional, national and even international burlesque revival stars and legends. Tease Tuesdays are fundraisers for SFBF. And that’s not even beginning to talk about Katherine’s own talents as a performer who has graced nationwide stages including the Burlesque Hall of Fame in Las Vegas.

ATLRetro caught up with Katherine recently to find out more about this week’s events; her own path to burlesque via theater; what else she has coming up, including a significant partnership between Syrens and 7 Stages theater in Little Five Points; and much more.

ATLRetro: What’s the one thing that happened to you during childhood that made it your destiny to be a burlesque performance artist?

Katherine Neslund/Lashe: When I was younger my Mom made costumes and clothing for drag queens in Knoxville, TN.  I ended up wanting to be a drag queen when I grew up because they had the best clothes! Later it was explained to me that, being a girl, I couldn’t technically be a drag queen. I was pretty disappointed  with this childhood realization. I’ve obviously since realized my passion and have been doing theater in some capacity my entire adult life. I’ve always felt pretty at home on the stage. Burlesque seemed to unite the whole drag queen dream with my theater experience.

I understand you kicked off your burlesque career in Atlanta by opening for Dita Von Teese. That’s a pretty exciting beginning. How did that happen and can you share something about that experience? Did Dita impart any words of wisdom that have stayed with you.

I used to be the head performer at The Chamber, and one day Howie, the manager, told us we were opening for Dita von Teese in two weeks and we should do something burlesquey.  I had no idea what that meant since I had very limited experience with burlesque having only seen The Doll Squad and Torchy Taboo perform a few times at that point.  We ended up putting together a Fosse-style group number that incorporated burlesque, dancing and a little bit of that Chamber touch.  It’s kind of funny that out of that group came myself, Renea’le Roux and Gia Nova as professional burlesque performers.

Katherine Lashe. Photo credit: PinUp Girl Cosmetics.

The Syrens of the South is a production company, not a troupe. A lot of people don’t know the difference, so can you clarify what this means in the burlesque world?

A troupe is traditionally a group of people that works together on a regular basis; going through routines and rehearsals, every member focused on a common vision of what the group should embody as a whole, and then also on what every member will perform exclusively.  Syrens of the South treats all of our performers as independent contractors, and I have always encouraged everyone to have their own identity – to perform whenever and with whomever they want.  Each performer creates their own personal vision of what they want to be, and they own and control their personal performance.  Syrens is like a playground on which these amazing folks can show their talent. Thanks to this freedom, performers can feel free to include everything from classic, to comedy, to just plain weird stuff.  I also try to make sure that we have a good variety of acts, including, of course, vaudeville type acts to break up the boobies, making it an interesting evening for everyone!

It’s been long overdue for Atlanta to have an annual burlesque festival, and Southern Fried really seems to be putting the city on the map. SFBF has made it to its third year and seems to be really hitting its stride. What did you personally enjoy the most at year’s festival and can you give us a little preliminary tease about your goals are for next year?

My favorite part each year is the Legends.  I have a passion for burlesque history, hence why I teach a very in-depth class on it, and have been collecting burlesque legend interviews for a very long time now.  My goal is to gather as much information as possible before the information is no longer available.  I was lucky enough to interview Tura Satana before she passed away, and I am so very grateful I was able to do so.

This particular year I was really excited with how many people from the local Atlanta burlesque community became involved.  In between volunteers, performers and even those that just showed up in the audience to come and see us, plus so many regular Syrens of the South performers, members of Hot Toddies Flaming Cabaret, The Imperial OPA Circus, Minette Magnifique and Musee du Coeur showed up both on stage and off.  The hope is that Southern Fried can help show Atlanta a taste of what goes on in the rest of the world, as well as showing the rest of the world the amazing talent we have here in Atlanta and the Southeast.  Many performers don’t travel, so this is a great way to show off all that we have to offer here!

Funding a festival must be challenging. Where does Tease Tuesday fit in?

The goal of Tease Tuesday is to help raise money so we can continue putting on this amazing festival.  It costs around $20,000 to put on each year, and we make less than half of that from ticket sales each year.  The rest of the money comes from our vendors, sponsors, application fees, Syrens of the South shows and out of my pocket.  We need approximately $2,500 to pay off the remaining bills from last year before we can start moving on to next year.  Tease Tuesday events, at 10 acts for only $10, gives us  a nice inexpensive monthly show to help us get the remaining bills paid off and then hopefully help us get the deposit for the hotel next year so we can continue going forward with the festival.

Another thing we love about Tease Tuesday is that it’s going to be monthly. In New York there are multiple monthly and even weekly burlesque events, but Atlanta audiences have had to wait several months between shows by the same troupe or producer. Can you tease our readers about the Syrens first Tease Tuesday and how you plan to keep a monthly show fresh and exciting? Will shows be themed and will you just feature local performers or regional and national performers as well?

Our first Tease Tuesday show was in May as a straight up fundraiser and test show.  We were lucky enough to have the current Southern Fried Queen, Lola le Soleiland two time SFBF winner Bourgeois Betty, Little 5 Points Rockstar Orchestra founder Rob Thompson doing an acoustic set, as well as Talloolah Love, Nipsy Tussle from Knoxville’s Salome Cabaret, Tora Torrid, Persephone Phoenix, Edie Akimbo, Tru Bliss, and my Wednesday night Beginning Burlesque class from Studio Burlesque.  Fritzengreuben was our Master of Ceremonies with Tupelo Honey as our stage kitten.

Our show on Tuesday, June 11, will have some amazing burlesque – Florida’s Tokyo Bell incorporates fire into her stripping, Atlanta favorite Ursula Undress will be there, Jed Drummond will be singing and playing his ukulele, there will be sexy juggling, some sultry singing and many more burlesque dancers.  Remember -10 acts for $10, so it’s a surprise as to who the other performers will be!  The next one on July 16 is so secret I can’t tell you anything other than it’s gonna be awesome!

Katherine Lashe. Photo credit: PinUp Girl Cosmetics.

Studio Burlesque is another milestone for the Atlanta burlesque community. How did that get started and what was your role in its fruition?

I have been teaching burlesque classes for almost six years in borrowed/rented spaces. It was really only a matter of time before someone realized the popularity of burlesque was on the rise and that there should be a studio dedicated to it.  An investor approached multiple members of the Atlanta burlesque community until he found the right fit which happened to be the valedictorian of the very first Syrens of the South graduating class: Ursula Undress.  She and I had a long talk about it after she was approached, and her mission statement was beautiful and her heart was in the right place, so I decided to move my regular classes to Studio Burlesque.  I’ve given a little advice just because of the six years of previous experience, but with the festival taking off, it’s really nice to get to just show up as a teacher rather than organizing all the classes like I used to.  Many of my former students became teachers in the Syrens of the South class series and now teach at Studio Burlesque.  I am very proud of all of them and love that there’s a home for everyone in Atlanta Burlesque to be able to come to learn and to teach.

Are classes just for aspiring burlesque performers? Could any of them be an alternative to a conventional boring exercise class?

The regular weekly classes are for anyone at any level of dance experience.  My Beginning Burlesque class on Wednesday at 6:30 p.m. has people who have never danced before and a few seasoned performers, however, they all work great together in learning the new choreography we do each month.  For those who want to try performing, I’ve been offering a performance spot for that class at each of the Tease Tuesdays.  Students get a little firsthand taste of the performance experience and can then decide if it’s something they want to try.  The performance track classes are for those that are interested in becoming burlesque performers or at least getting a solo opportunity on stage.  It consists of three months of classes; we focus on getting them on stage for a student showcase at the end of the three months.  The next performance track series will be starting in July after July 4th.

Debut-Tease is coming up this Saturday. Some people might be reluctant to come to a beginners’ show. Tell us why they’re wrong.

I love student showcases!  There is that excitement of it being their first time, and you can see the nerves, the joy, the fear and the overwhelming feeling of accomplishment when they walk off the stage.  It’s like watching someone be born without all the gross parts!  However, even if you’re not a big fan of watching newbies, myself and many of the other teachers will be performing as in this show, so many professional performers will be gracing the stage as well as all the newbies.  Ursula Undress, Talloolah Love, Fonda Lingue and The Chameleon Queen will be performing, just to name a few!

Are any of your students performing? Any star student in particular to watch out for?

Every student that is debuting on the 15th is part of the Studio Burlesque Performance Track Classe Series so I have gotten to teach them all as I teach the History of Burlesque and Tassels and Gloves classes in that series.  Many of them also come to my Wednesday night class so I’ve gotten to know a few of them fairly well.  If I had to pick one to watch I’m going to have to say A to Zee as he is the only boy making his debut that night.  I’ve seen his work in progress, and I think everyone will have fun with it. Being the only guy, I think he’ll succeed in inspiring other gentlemen to come out and learn the art of boylesque!

Finally, burlesque is just one of your talents. You have a background in theater and were heavily involved with 7 Stages‘ hit DRACULA: THE ROCK OPERA. Anything you’d like to share about that experience and what’s next for that production? Or anything else you’re up to?

Yes, I was honored to be the stage manager for DRACULA: THE ROCK OPERA!  The finished recording of the awesome soundtrack from our show will be finalized and out for sale on CD sometime soon.  We’ll be doing a concert version in February so do keep your eyes peeled for that!  I went to school for musical theater and am now finishing up a degree in technical theater to balance out my onstage and off-stage experience, which is good since I was just the lighting designer for LADY LAY, a great play at 7 Stages Theater that closed out the 2012-13 season.  I’ve also been a stage manager for The Imperial OPA Circus for a few years, and look forward to continuing at 7 Stages in the 2013-14 season.  After Dracula, I really just found my home at 7 Stages as I love everyone who works there and what they are trying to do through art and community building.

Katherine Lashe. Photo credit: PinUp Girl Cosmetics.

I’ve recently been made a member of their fundraising committee and am helping to put together a brunch at Our Way Cafe on June 23.  Brunch will include a concert by the awesome local band Till Someone Loses an Eye, and benefits will go to 7 Stages.  Mark your calendars!  Also, our Syrens of the South 6th year anniversary show will be held on the main stage at 7 Stages on Aug 3.  I’m splitting the profits with the theater to help them with their fundraising goals.  As 7 Stages is now going to be our new home for our big shows, for instance our Anniversary, Tits for Toys for Tots (Nov 23) and our Vixen’s Valentease show, we want to make sure to start our new marriage by giving them a decent dowry!

Just another reason Atlanta has become Halloween-Town, USA is the Rock and Roll Monster Bash  Sun. June 2 at the Starlight Six Drive-In. Hosted by the Silver Scream Spookshow‘s Professor Morte, the fiendishly fun festival of macabre music and movies is now in its 11th year. Highlights include MONSTROSITY CHAMPIONSHIP WRESTLING, live music by six bands, a souped-up hearse show, and two classic horror features in 35 mm majesty, THE DEVIL’S RAIN (1975), starring William Shatner, Ernest Borgnine and John Travolta, as well as Sam Raimi‘s EVIL DEAD 2 (1987), starring Bruce Campbell‘s chin and a chainsaw. [Read our Retro Reviews for THE DEVIL’s RAIN here and EVIL DEAD 2 here].

Another big reason to come is a vicious vendors market, featuring a wide variety of cool monster-themed and Retro-inspired merchandise from vintage cult movie ephemera to vintage clothes, Gothic jewelry to BBQ and booze. One of our favorite discoveries last year was artist Jeff Riggan, who had just moved himself and his Monster Art Studio up to Atlanta from Florida. We’ve been running into him at various street festival art markets, and his work has never ceased to impress us, from stuffed sideshow freaks Slugmo and Squidboy to gigantic tiki/tropical-themed works or a mega-painting of Lux Interior of The Cramps!

A professional artist for nearly 30 years, Jeff has painted approximately 30 murals for Orlando-based Tijuana Flats Tex-Mex restaurants, as well as created sets, sculptures, murals and large scale artwork for the Universal theme parks, Six Flags, WonderWorks, Nickelodeon, Cartoon Network, and more. He and his work has been featured in many publications, local and national news, as well as several television shows.

Needless to say, Jeff’s tent will be one of our first stops at the Bash this year, but ATLRetro also is horrifically happy to report that’s just one of his nefarious plots to do his part in making Atlanta the official monster capital of America!

ATLRetro: You’ve got some big plans for this year’s Rock N Roll Monster Bash, such as a scarily special photo op, I hear! What can you reveal in advance without giving away any spoilers?

Jeff Riggan: There will be blood.

As I recall, last year was either your first Monster Bash and you were pretty excited about being part of it. What’s your personal favorite thing about Monster Bash and why it’s a not-to-be-missed Atlanta event?

Last year Monster Bash was our first festival in Atlanta, and it opened the doors for me.  Monster Bash is a great venue for people with a freaky passion for art,  music, classic horror movies.

How did you first get into painting monsters? Does it go back to when you were a kid? Is there a cool story?

Listening to punk rock, skateboarding. Sid & Marty Krofft polluted my mind, Evel Knievel got me amped and Bob Ross had a painting show. That’s how it all started!

Who was your first favorite monster growing up and why?

[Maurice Sendak‘s] WHERE THE WILD THINGS ARE. It laid rest on my mind until I started making my stuffed creatures.

You’ve done murals, 3-D art, sides of buildings, all sorts of crazy stuff. What were one or two of your most fun projects and why?

I worked in the theme park production industry for over 15 years, which was an amazing experience. I would have to say the most fun I had was in my own backyard, so to speak, painting murals for a local co-op in Florida, all over the outside of their buildings. They let me have the freedom to express myself. One of my most favorite was painting a three-story high Great Dane. I also enjoyed traveling from the Florida Panhandle to Chicago painting murals for a corporate restaurant – I was given free reign to paint whatever I wanted.

In addition to monsters and murals, you paint music-inspired art such as your recent Cramps and tiki-stuff. How do you describe your art and what are the limits of what you enjoy creating?

I listened to music before I began painting, it was a creative outlet for me until I discovered I was an artist. It’s a tangible way for me to express myself. They are intertwined, art and music. Lux Interior, Unknown Hinson, Hunter S. Thompson – in my own interpretive way.

You used to live in Florida. What brought you to Atlanta and when exactly did you move up here?

I came here as a leap of faith in May 2012. Monster Bash was our very first show here in ATL , so [I and my wife Emily] have been here for one year!  It was an immediate overwhelming sense of belonging – everyone we met said “Welcome to Atlanta.” True Southern Hospitality!

Atlanta has a huge horror scene now. What do you think of it, and how is the local fervor for horror inspiring/affecting your work? 

I think it’s amazing.  It definitely challenges me. I’ve also met some cool people – Tim [Mack] from Imperial Opa Circus, Chris Brown of Macabre Puppets – that have inspired me.

You seem like the kind of guy who must have an amazing studio. Can you describe it and what you keep around to inspire you?

Eyeballs, skulls, torsos,  “souvenirs” from dumpster diving and exploring old buildings, machine parts, trailers, bicycles – Fred G. Sanford would be envious!

Didn’t you some movie work here lately?

I just finished working on THE CIRCLE, an independent horror film, with Beth Marshall, Tripp Rhame, Ben Jacoby and Tom Hamilton. Forrest Hill and I built props, special effects, and build the sets  We worked out at the old prison farm on Key Road, near the Starlight Drive-In.

What else are you up to right now, and what’s the next event at which you’ll be exhibiting/selling your work? 

A featured spread in Stuffed Magazine with my felted circus freak creatures – Slugmo and Squidboy. We’ll be at the Strut [Sept. 21] in East Atlanta and then…..who knows!  My sets/booths are becoming more and more elaborate, and I am always adding new stuff.

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

Hey, can we pay you for your ideas, you just create stuff? The answer is YES!

The 11th annual Rock and Roll Monster Bash kicks off at 10 a.m. Sunday June 2 and runs all day and night at the Starlight Six Drive-In. Get their early to stake out the best parking spots. Bands include Alice Cooper tribute group Black Juju, Baby Baby, a reunion of The Butchers, Dracula (singing the hits as only he can!), Spooky Partridge and Metal Gaga (the lovechild of Lady Gaga and Iron Maiden!). Advance tickets are available at https://www.ticketalternative.com.

To purchase artwork year-round or contact Jeff about custom paintings, set design and more, visit Monster Art Studio online.

Aileen Loy, performing with Till Someone Loses an Eye at the Star Bar on Jan. 10, 2013. Photo credit: Jolie Simmons.

ATLRetro has had our eye on Atlanta visual and performance artist Aileen Loy for a long time, and now seems like the perfect time to catch up since her band Till Someone Loses An Eye will be playing Sunday March 10 in a three-month second Sunday series at the Corner Tavern in Little Five Points. The unique nine-person ensemble also will be opening for self-described “rockabilly-porno-metal with a country twist” Fiend Without a Face  and Ricer on Wed. March 6 at the Star Bar. Other band members include  Sam McPherson and Michael A. Robinson (L5P Rock Star Orchestra/DRACULA THE ROCK OPERA); Meredith Greer (The Chameleon Queen); Steve McPeeks (Art of Destruction); Frank Anzalone (Walk From the Gallows); Brigitte Warren (Wicked Geisha Ritual Theatre); and Dee Dee Chmielewski (DRACULA).

To call Aileen an eclectic talent would be an understatement for her passions definitely are eclectic and her talent unquestionable. Her singing voice is unexpectedly deep for a woman and has often been compared to Tom Waits. her costumes are always the very spirit of Bohemian and often feature bones, whether she is in full Mexican skull-face Day of the Dead regalia or  a skintight black pants fronted by a human pelvis and skeletal legs. Still to call her a goth would be selling her short. She certainly displays a passion for the macabre, but she also equally embraces the playful, including the recent Renaissance of carnival/circus culture and even a gypsy steampunk edge. Till Someone Loses An Eye lists its influences as Waits, Nick Cave and Gogol Bordello and its interests as “rusted metal, old time circus culture, cheese sandwiches, small rocks, freaks, geeks and miscreants.”

When she is not making music, Aileen crafts cool, creepy jewelry using prosthetic eyeballs and teeth, and she has experimented in film and just about every type of artistic media. If that’s not multi-talented, we don’t know what is. But enough talking about Aileen, let’s get talking to her.

ATLRetro: Seeing your artwork and listening to your music, we can imagine you being closer to Wednesday Addams than Cindy Brady as a little girl. How old were you when you started down the path to the darker side of creativity, and what pulled the trigger?

Aileen Loy: That’s a fair cop – I was a pretty serious and awkward little girl. I’m not sure how to answer the rest of that question but there was probably a library card involved.

Aileen Loy plays a mean harmonica with Till Someone Loses an Eye at the L5P Halloween Festival 2012. Photo credit: Stephen Priest.

Who/what were some of your early inspirations musically and visually that still influence your work today?

Johnny Cash, Tennessee Ernie Ford, a lot of classical music. My parents had a weird assortment of albums when I was growing up, so I’d go from listening to SONGS OF THE GUIANA JUNGLE, Lord Kitchener, those odd Reader’s Digest collected works of *insert western classical composer or awesome polka guy, here*, lots of Bollywood, Johnny Mathis and a good dose of Kitty Wells, Dolly, Willie Nelson. Rock and roll was kind of special because I got to discover that on my own. Those were the albums we played when the folks were at work or at my friend’s house. Dad went on a “Rock and roll is the music of the devil; we must burn all rock albums and rid the world of it’s horrible influence” phase, so most of my albums stayed in my room hidden safely behind the Mozart and Ravi Shankar. It was an odd time.

Why do you think circus and carnivale culture has made such a comeback and is seemingly in a renaissance in the independent arts scene from burlesque to steampunk to modern-day proud-to-be-freaks shows?

Good question and I don’t really know. I’ve always been drawn to it because it seemed like a magical amorphous place, where one can, not only be exactly what one is, but is encouraged and expected to be fully that – to gain power and reflect competence and heart through what others might view as “freakish.” It’s a place where no one expects tidy and convenient truths. Fantastic stuff. I think I definitely would have felt safer in there as a kid.

Your vocals have often been compared to Tom Waits, which is unusual for a woman. Did you work to create your unique singing voice or did it just come natural?

I’ve always had a little froggy voice, and the vocalists that I really loved had such huge resonance. You could feel them in your chest! So, yeah of course I wanted to sound like them. That would be me, age 5, trying my damnedest to sing Johnny Cash, and eventually I could. I had a voice therapist tell me that I have the physiology for it . My vocal cords are similar to a male’s. Otherwise I wouldn’t have been able to train that low.

Aileen Loy fronts Till Someone Loses An Eye at 7 Stages during Day of the Cupcake, Oct. 8, 2012. Photo credit: Jolie Simmons

Tell us about Till Someone Loses an Eye, your latest band. Why the name? And what makes this band special and unique musically?

I thought the name was funny. It could be a threat, an eventuality, or an aspiration. The band is personally interesting to me because everyone has such a widely different back story and vibe from one another, and it informs the music in a pretty cool way.

At an Artifice Club performance in fall 2012. Photo credit: James Curtis Barger.

You list some of your collaborators as “heads of mischief.” What do you mean by that?

I was being glib when I wrote that, just trying to fill a page and get it up. But now it’s very apparent to me that it’s absolutely true on its face, no explanation needed. Lovely troublemakers, all of them.

You’re playing twice this week. Wed. March 6 at Star Bar and then Sunday march 10 at Corner Pub, which is going to be a once-monthly event on second Sundays. Do you have any special plans for either show? Why should folks come out?

Wednesday’s show we’re playing with Fiend Without a Face and Ricer, two reasons right there to come. Second Sundays, we have the whole night to do whatever we want. We could play two full sets just us, or have another band open, or musicians sit in for a song or two. This Sunday, the band, Tulsa, is coming through from SXSW and will be doing an early opener set at 8:30.

A vintage stag pocketwatch sporting a prosthetic eye designed by Aileen Loy.

What are you up to in the visual arts right now? Last time I checked you were making beautiful jewelry involving teeth.

Still plugging away, trying to up the scope of the teeth jewelry a bit and take it to a logical conclusion, not sure what that is. I’ve got a few new projects brewing, but it’s still to foggy to talk about them with any kind of intelligence.

What artistic or musical accomplishment are you most proud of so far, and why?

I’m just happy I’m doing it. Neither was particularly supported when I was growing up, so I kind of always found my own way around. Definitely, a late bloomer.

Finally we had to ask. What’s your favorite whiskey and why?

Is there ever a bad whiskey?

Rebecca DeShon of HoopEssence. Photo credit: Stephanie Anderson.

Hula hoops made of willow, grapevines and stiff grasses date back all the way to prehistoric times, but most people today probably think of them as the girls’ must-have plastic toy manufactured by Wham-O starting in the late 1950s. The quintessential toy, however, has made a comeback in recent years into hoop dance, and if you missed this twisting trend, you can catch up at the Atlanta premiere of the acclaimed documentary THE HOOPING LIFE (2010) at 7 Stages in Little Five Points on Friday Feb. 24 (doors at 8 p.m.; show at 9 p.m.).

THE HOOPING LIFE not only delves into hula hoop history but also tells eight extraordinary stories of hoop enthusiasts who have embraced it as an art form, a teacher’s aid and even an instrument of redemption. The screening will be accompanied by live performances including a spectacular aerial number by Emerald Dove (Hot Toddies Flaming Cabaret); hoop dance by Maria Valentin aka Riahoopaleena all the way from New York City; stunts by Luna Trix Hoops Performance & Fire Arts of Columbia, SC; hoops and juggling by James Abele; and acts by Gesche Anneliesa of Musee du Coeur and  Ashly Connor of Imperial Opa Circus.

The entire night’s festivities have been organized by this week’s Kool Kat Rebecca DeShon, proprietress of HoopEssence, Atlanta’s own Hoop Dance performance company and school. ATLRetro recently caught up with Rebecca, to find out more about THE HOOPING LIFE, as well as how she got into hooping, how hooping has transformed her life and what it’s like to live la vida hoop dance.

ATLRetro: Hula hoops seemed to be less popular for a while, but now are enjoying a Renaissance of sorts not just with girls but grown-ups, too. Why do you think it’s back in vogue?

Rebecca DeShon: Hoop dance and hula hooping have really exploded into so many scenes. What was once thought of as just a fad in the underground club scene has really blossomed into a tool for dance, self expression, fitness, meditation and so much more. In my opinion, we are only just beginning to see this full immersion of society in hula hooping. Some hoopers like to call it a “Revolution,” if you will. I think part of the reason it is becoming so much more popular is the development of hand-crafted hula hoops which open up hooping to people of all ages and fitness levels. Besides, it just feels like a lot of fun, which is more than you can say about a lot of other fitness routines. Who doesn’t want that?

For the uninitiated, what’s the difference between hula-hooping and hoop dance? 

Modern hoop dance has come such a long way since the stereotypical image most people think of from hula hooping in the ‘50s. People are now completely expressing themselves in dance both inside the hoop and using the hoop as a prop to tell a story through dance. We are repurposing an object that was only to be flung around the waist in endless rotation or simply rolled on the ground into what is now a vast array of styles and forms of hooping or hoop dance. Today we see hoopers not just simply flinging dozens of hoops around their waist like you see in the circus, but truly dancing in and with the hula hoop as a dance partner. It is now such an extraordinary companion for artistic self expression.

Hoop dance just means that we are actually dancing with our hoops and at times incorporating many different “tricks.”  Hooping has expanded so far between styles that we are actually seeing entire “genres” of hoop dance styles. It is an incredible art form! With the proper hand-crafted hoop, patience, practice and determination, I know that anyone can be a hoop dancer. I, for one, have no professional dance training, so I can assure you that you don’t have to be a “dancer” to become a hoop dancer.

I understand fans from all of the Southeast are coming to Atlanta for the screening. What’s so special about THE HOOPING LIFE as a movie?

We are thrilled to report that we have fans and performers coming from all over the US for this event! They are coming from as far away as CA, NYC and Texas! Chicago, South Carolina, North Carolina, Tennessee, Florida, Alabama and all over the state of GA. THE HOOPING LIFE is a feature-length film that has been six years in the making. It is a labor of love in the form of a documentary film which has not been released for public screenings until Jan 2012. We have been waiting for this event for so long and are so super thrilled to see its final release. THE HOOPING LIFE documentary is important not just for hoopers but for those who don’t know its amazing life-changing benefits. The film has been shot all over the world by the hoopers themselves. This film covers eight story lines from eight very different aspects of just how dynamic hooping can be. It is the first film of its kind!

Will any of the filmmakers be there?

Currently the filmmakers are super busy working on the music video for “Hooping Life”, the original music by Basement Jaxx which was created just for this amazing film. While nothing has been set in stone, we have heard rumors of interest in them making the trip. Honestly, with an event like this, you really just never know who might show up! Surprise guests will be there and you just need to be present to see exactly who!

Rebecca DeShon hoop dances with fire at Hellbilly Family Reunion (Elliott Street Pub 2011). Photo credit: Erick Jara.

What else is happening Friday night at 7 Stages in addition to the screening?

We have a spectacular evening of entertainment planned for our guests!! Doors open at 8 with live entertainment right from the start! We will have hooping gifts, hoops and merchandise for your shopping pleasure, a “red carpet” photo session for guests, HUGE prize giveaways, a carnival-like atmosphere with jugglers/stilt walkers/hoopers and that is just the pre-show!! At 9 p.m., the stage shows begin with live performers for your pleasure Maria Valentin from NYC, Lunatrix Performance & Circus Arts (SC), Ashly Connor (Imperial Opa Circus), Emerald Dove on aerial silks (Hot Toddies Flaming Cabaret), Gesche Annelesia (Musee du Coeur) and many more performances. After the live performances, we have the Atlanta Premiere of THE HOOPING LIFE film. Directly following the film, we will invite all guests to come up on stage and give the hoop a twirl themselves for a huge hooper dance party. We also have visuals being projected on the screen from start to finish. This is going to be an incredible evening like no other in Atlanta.

How did you first discover that you loved to hula hoop?

I was actually gifted my first ever adult hand-crafted hula hoop in 2008 from a friend, Beki Bear, as a going away gift before embarking on a journey to New York for a while. That first northern winter, I found myself stuck indoors buried under snow and very cold with nothing but my hula hoop. I picked up my hoop, began playing with it and really found myself embracing it. I was so surprised at how much I was enjoying playing with the hoop. I felt great about learning a new skill and have always loved dancing so I was hooked right away, head over heels. I began searching online, hungry to learn more about hooping. At the time there were very few resources to learn from and, unless you lived in California or were willing to travel many miles, not many instructors around. I found a great resource called Hooping.org which I like to call “the holy grail of Hooping.” You can find endless information about hooping from this site. I didn’t realize then that I would use the hoop as a tool for self-empowerment or use it to help others to do the same.

How did you start performing professionally and what’s your favorite gig so far?

I guess you could say I just stumbled into performing during my hooping development. As a hoop dancer beginning my journey inRochester,NY, performing came pretty naturally for me. Hoop dance was so unique that people couldn’t help but stop and watch. I love what I do and want to inspire others to try it out and experience the joy, so performing just came with the part. My first gig was just a couple of months after beginning my hoop dance journey. I got to perform as part of My Life with the Thrill Kill Kult at Water Street Music Hall in Rochester, NY. At first I was terrified, but I really enjoyed the crowd’s response and the adrenaline rush of performing so after that first gig I was instantly hooked. I have been blessed with a lot of really fun gigs.

Rebecca DeShon performs at The High for College Night with Dance Truck. Photo Credit: Matt Gilbert.

Many of my gigs are corporate events, which gives me the opportunity to perform in some really exciting venues. Last year I was hired to perform at The Georgia Aquarium dressed up as a mermaid. I also loved hooping at The High Museum of Art a couple weeks ago for College Night. Next month I am particularly looking forward to a gig at Chateau Elan for Verizon Wireless (we are conducting an LED Circus of sorts). I also participate in a lot of smaller gigs in club style settings as well as my work with charity organizations such as East Atlanta Kids Club, Atlanta Streets Alive and Atlanta Women’s Foundation.

On March 3, I will be performing and doing class demos for Atlanta Dance Marathon at Zoo Atlanta – which is a benefit for Atlanta Children’s Network Hospitals. I really love community-based work and feel hooping can be used as a tool for outreach on so many levels. It is simply a joy to share what I do! I dedicate a lot of time and energy into my practice, sometimes at the cost of sleep. It brings me so much joy to share the experience of hooping that I really find it is worth the effort.

You’ve said that hula hooping has changed your life. Can you talk just a bit about how and what is it about hula-hooping that you personally find so special?

Hooping or hoop dance has changed my life in dramatic ways and I continue to grow daily through what I learn inside the hoop. Initially I saw the physical benefits of hooping right away. My body is more fit and trim with great muscle tone – all from what I once thought of as just a simple child’s toy. Later, I noticed my stress being melted away from hooping, anxiety being relieved, and, of course, exercising produces endorphins that helped to naturally chase away any blues or depression.

Rebecca DeShon. Body paint & photo by Stephanie Anderson (Neon Armour).

Hooping gives me a great feeling of accomplishment, even when I am not performing for others. It is nice to feel good about yourself and what you are doing. Hooping has led me to make some of the most incredible friends and expanded into what is today a global community of hoop dancers. My life suddenly had direction and purpose once I began hooping. I found myself thinking and living more positively and healthier. The list goes on and on… I could speak for days about how hooping has changed my life: from the most simple things to complexities even I find hard to believe at times. Hoop dance has literally caused a chain reaction of positivity and prosperity in my life.

The hoop has a way of changing your attitude. Once you get the hang of hooping and get past the initial learning curve – this only takes a few minutes with the proper hoop and instruction – it is so unbelievably difficult to not be happy and giggle while hooping. You will find that if you are in the presence of hoopers, we are generally pretty happy and positive. I feel most of us work hard to spread that love to others. I am so fortunate to have found an outlet in hooping that lets me get past the miseries and frustrations that life puts in our way, and focus that energy towards something positive for myself and for those around me.

How did hula hooping grow from a hobby into you founding Hoopessence? 

Hooping began as a hobby that I discovered I just couldn’t keep to myself. I wanted to share the love and joy with everyone I met. So I learned how to hand-craft hoops and began teaching everyone who would listen. I found it is not hard to get others excited about hooping once they see you hoop and hear/see the magical benefits of it all; they want to try it too. I found that hooping and sharing the benefits was a calling for me. I became a certified hoop dance instructor within my first year of hooping and since then have built my own teaching style.

Now, my own HoopEssence teacher trainings are in the works. I just want to share the love with as many people as possible. So it comes pretty easy for me. Turning any hobby into a business is very challenging however. What you once did for fun can feel forced and unnatural once you try to earn a living from your hobby. It is a very delicate balance. I love what I do so much that I am willing to work hard and make sacrifices to do what I do. I am also really fortunate to be married to an amazingly supportive man who assists in any way he can with my business. He is constantly empowering me to excel and grow. For that I am thankful. If it was just me on my own, I’m not sure could not make a living from hooping; a business needs the support of a great team.

Rebecca DeShon. Photo credit: Stephanie Anderson.

What types of classes do you offer at HoopEssence?

I offer classes in all things hoop at HoopEssence. Beginner basics, intermediate hooping, specialty hooping classes (i.e. minis, isolations, multiple hoops), workshops, hoop crafting workshops, private lessons, dancing in and out of your hoop, children classes and community jams. You name it, I hoop it! If you are just getting into hooping, I teach you all the basics of this great hobby in my Hooping 101 Series. Hooping 101 is four Sunday classes from 1-2:30pm with my next series starting March 4. You may find all the info about my next Hooping 101 series here.

I am also teaching intermediate and advance hoop dance classes at various locations throughout the Metro Atlanta area. You may find all the information and more through my website www.hoopessence.com. I am always looking out for new venues and private lesson students as well. If you would like to book a lesson or want to see hoop dance in your neighborhood, drop me a line and say hello. I am always here to help. With the upcoming spring and summer months, I have a lot of free outdoor events (called Hoop Jams) where I bring hoops, tunes and people can come join in on the fun with no obligations.

Any secrets to buying a great hula hoop?

A great hula hoop is a hand-crafted adult hula hoop. The hoops that you find in the dollar store just don’t cut it and can leave you feeling hopeless as a hooper. You can find hoops of all sizes and all the colors of the rainbow through my website  www.hoopessence.com/products-page. I hand-craft each hoop and fancy myself as somewhat of a “hoop sizing expert”. If you find yourself in the market for a new hoop or are just simply curious to what its all about, please feel free to call or drop a line with your questions. I would be more than happy to assist you in choosing. It can be a bit overwhelming for the beginner with all the options available from sizes, weight, colors, material, LED and even fire hoops. Check out my website and also be sure to sign up for my email newsletter where I send out coupons for deep discounts on all things hoop!

Tickets for THE HOOPING LIFE are just $15 when purchased online in advance before midnight on Feb. 21.  Any remaining tickets will be available at the door only for $20 each, but be warned, at press time, there were only 50 seats left so we highly recommend purchasing in advance here.

Find HoopEssence on Facebook and Twitter.

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

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

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

As we pointed out in a previous short feature on Blair, you might think of ragtime as kind of quaint, but you wouldn’t be talking about his and the Hookers’ take on this 1920s form of jazz. Remember that they didn’t call the Twenties Roaring for nothing. In fact, you might even describe Crimmins’ high-energy style as “in your face” as rock ‘n’ roll. Except the groupies would be flapper girls, and the band is playing instruments your grandparents would approve of from banjo to accordion, saxophone to piano, trumpet to trombone—and may be accompanied by antics inspired by the best vaudeville comedy. Oh, did we mention that while the music swings, the lyrics to many of the songs are also delightfully decadent and dark.

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

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

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

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

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

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

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

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

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

How did you prepare for scoring OLD MAN CABBAGE?

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

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

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

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

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

Blair Crimmins. Photo credit: Katie Bricker.

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

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

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

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

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

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

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

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

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

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

Clockwork Carnival and Artifice Club ringmaster DJ Doctor Q

Long for a bygone era that never was of elegance, adventure and glorious gadgetry? Then you may be one of the steampunk subculture growing across America. In Atlanta, one of the prime organizers of activities for aficinados of steampunk is The Artifice Club, founded by DJ and master event planner Doctor Q. Over the past six months or so, the Artifice Club has put on a number of affairs both independently and as part of other steampunk and alt-history gatherings such as Anachrocon.

This Saturday April 16, however, The Artifice Club is pulling out all the stops to present The Clockwork Carnival, a veritable steampunk circus featuring a night full of gypsies, fire eaters and other curiosities at The Goat Farm. Featured acts encompass who’s who of entertainers in the vibrant local scene including The Imperial Opa, Hot Toddies Flaming Cabaret, the amazing aerial feats of Blast-Off Burlesque‘s Sadie Hawkins, Thimblerig Circus, Pyro Salto of Birmingham, AL, music by DJs Doctor Q and The Davenport Sisters, and more. Also planned are a Vendor’s Market Caravan, photography sessions, The Circus Contraption Contest with prizes awarded for the most creative device you would need to work at a carnival, and a steampunk costume contest to crown the King and Queen of the Carnival. Festivities start at 4 PM and will last into the very wee hours of the night, we suspect.

ATLRetro askedRingmaster and DJ extraordinaire Doctor Q for a sneak preview of the fabulous festivities, and he kindly obliged…

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As tickets go on sale for next year’s Southern Fried Burlesque Festival, Atlanta burlesque maven Talloolah Love looks back on an absolutely fabulous first year…

I have to give my eyes a rest, as I may develop rhinestone cataracts after seeing such an array of magnificent, world class acts as graced the stage March 10-13 for the first-ever Atlanta burlesque convention: The Southern Fried Burlesque Festival. Plenty of articles have been put out there about the two gals behind the event. Masterminds and inner puppeteers, Ursula Undress and Katherine Lashe, were certainly exercised to the extreme as they worked their little tail feathers off to put this show on, and boy, didn’t it show! The vendors room alone could have struck you blind for all the fabulous glitter, rhinestones and color. As someone who has been to many festivals all over the country, ATLRetro asked me to share my experience as a spectator with a sweet nod and smooch to everyone behind the event who volunteered and assisted in their own ways to make it all happen.

Lydia DeCarllo

I arrived Friday night, just before doors. The moment I came in, the fabulous Lydia DeCarllo, the international sensation from Vancouver, swept me up. Now that’s my kind of welcome wagon! We chatted about her trip in and about how she’s been since we last saw each other at the Texas Burlesque Festival. Derek Jackson, Atlanta photographer and avid burlesque advocate, arrived soon after along with world-famous Rick DeLaup, founder of the New Orleans Burlesque Festival. I took a quick jog over to the bar, as I am quite familiar with the Decatur Holiday Inn and Convention Center, which has been newly renovated and also is the home of TribalCon, a national bellydance convention I try to attend every year. The bar was literally dripping with burlesque stars, but the most fabulous in attendance at that moment as Ms. Torchy Taboo, Atlanta’s own burlesque Godfather. She held court there as only she can, a moment I so sorely missed out on because there was so little time to commiserate before the first big show began.

Talloolah Love and Derek Jackson

I took my seat in the VIP section with Rick and Derek and used my commemorative Jo Boobs pen to take notes on the festival’s first all-star show. My only disappointment was that when Derek invited me to sit VIP, my vision of it would be some kind of small gift bag or at the very least drink tickets for the conveniently located hotel bars in the ballroom. But not this year. Happily the bar’s prices were so reasonable it wasn’t as big of a deal as it could have been had the event been held in Atlanta. Still, if I were to critique the VIP experience for its price, a small gift of appreciation would have been nice and usually expected at most festivals.  All of this, though, was again mitigated by the national celebrities who came to chew the fat with us, like Atlanta’s own Mike Geier, the evening’s emcee, and Margaret Cho, along with the cast of DROP DEAD DIVA.

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