ATLRetro

BARBARELLA (1968); Dir: Roger Vadim; Screenplay by Terry Southern; Based on a bande dessinee by Jean-Claude Forest; Starring Jane Fonda, John Phillip Law, Anita Pallenberg, David Hemmings, Milo O’Shea, Marcel Marceau; Plaza Theatre, Saturday, January 26 at 10:00pm; presented by BLAST-OFF BURLESQUE’S TABOO-LA-LA with live stage show before the screening including raffle of 10 8×10 signed photos of Fonda as Barbarella from Jane Fonda’s personal collection; Trailer here. 

By Andrew Kemp
Contributing Writer

Today, I watched Jane Fonda narrowly escape death-by-orgasm in the Excessive Machine. How was your day?

Although I’d never seen BARBARELLA (1968), the infamous sci-fi sex romp produced by Dino de Laurentiis and directed by Roger Vadim, before today, I definitely knew about it. Almost everyone knows about it. BARBARELLA is a movie with more reputation than respect, a movie that, depending on who you ask, is either awful or awfully amazing. Just its name invokes a few key images—that amazing poster by Robert McGinnis; Jane Fonda’s buxom, uh, hair. I grew up in a post-STAR WARS world, when just the sight of a science-fiction ray blaster promised a particular brand of space fantasy and action, but combine aliens and thrills with the promise of a naked, beautiful woman? There’s not enough concrete on Earth to build a wall an adolescent boy can’t climb.

But I never made it over that wall. Yes, it’s true that young boys can sniff out nudie films like pigs root up truffles, but you guys have never met my mother. I once got a few short minutes of FLASH GORDON (1980) and its adventurous female costumes on the TV before she stomped into the room, feeling a psychic disturbance, I suppose, in her son’s mind. She played goalie effectively until around the time I entered high school, and by then I had found other ways to see boobs. And so, somehow, Barbarella and I had never met.

Durand Durand (Milo O'Shea_ tries to defeat Barbarella (Fonda) with death by orgasm. Paramount Pictures, 1968.

BARBARELLA was a famous flop at the box office, but its racy content, goofy cheerfulness about sex and outrageous set design—the spaceship is lined with shag carpet!—fit snugly with the mood of the late 1960s, at least with certain segments of the youth. The film quickly gained a cult infamy, especially as its star, Jane Fonda, transitioned into A-pictures and won an Oscar for the popular detective film, KLUTE (1971). There’s always been kind of a funny dividing line between mainstream film and exploitation, and it’s thrilling when some star gets a weekend pass to play on the other side, whether it’s Bruce Campbell showing up in SPIDER-MAN (2002) or Jane Fonda taking her clothes off. It was impossibly tantalizing to know that a major actress had once bared it all in a sex adventure, especially before home video, when the only way to see something like BARBARELLA was to catch a revival screening, and there weren’t nearly enough of those. Lack of availability helped grow the film’s legend, and it soon became trendy and cool to latch onto its camp appeal. Even by the early 1970s, a club named Barbarella’s existed in the UK, and it became a key location in the developing punk scene, hosting bands like The Sex Pistols and The Clash. One rising band that played frequently at the club even sampled clips and songs from the film into their music, tweaking the name of the film’s villain, Durand-Durand, into their own name, Duran Duran.

But it was the 1960s; everyone was taking their clothes off, right? There were plenty of sex movies in the world. What is it about BARBARELLA that keeps it going? “I just remember seeing that strip tease during the opening and being in love with the world,” says Max Shell, director of the undead-chicken cult movie THE DEVIL’S COCK. “Dino’s [de Laurentiis] Euro Sci-Fi is about ‘getting it on!’”

Melanie Magnifique of Blast-Off Burlesque takes a more esoteric approach. “I was traversing the spirit lands, when this film was released in conventional space-time. When I first experienced it, many years later, it was still the powerful tale of a girl doing what a girl’s sometimes got to do!”

The famous poster by Robert McGinnis.

Aha! If there’s another narrative to the BARBARELLA appeal beyond sex, it’s girl power. The film came at this neat little intersection of the free love ‘60s and the peak of the misogynist spy fantasies like James Bond. There had simply never been a female action hero who freely used and enjoyed sex while saving the day. (Hell, it’s still hard to find a character like that today!) Perhaps this explains why Barbarella became a feminist icon, and a popular cosplay target for over 40 years. It’s common to see Barbarellas walking the floors at comic book shows and sci-fi conventions, and the heroine’s legend is so large today that the film lives under constant threat of remake, with the most recent major attempt fronted by director Robert Rodriguez as a vehicle for Rose McGowan, who he’d already cast once as an ass-kicker in his GRINDHOUSE entry, PLANET TERROR (2007).

Does BARBARELLA deserve its infamy? I finally sat down to watch the film today, and I was kind of amazed with what I found. Despite its legacy in the sexual revolution, BARBARELLA can sometimes be cruel, and other times naïve. After the famous opening strip scene (described in wonderful detail here on this very site), we learn that Fonda’s secret agent is a wide-eyed wonder. A child of a civilization that has evolved beyond violence and pain, she greets the world with simple joy and, when confronted with the bizarre horrors in an “unevolved” part of the galaxy, she simply pushes through and perseveres, using far more optimism than skill. Melanie Magnifique rightly describes Barbarella as “a female protagonist who wants to do the right thing, but is sometimes a little confused about what that thing is.” Fonda’s earnest devotion to her mission is entertaining, even if that mission sometimes devolves into bizarre, disconnected segments. She’s nearly devoured by carnivorous songbirds, for crying out loud.

As for the sex, my adolescent self would have enjoyed Fonda’s matter-of-fact approach to her body and to the sexual beings she encounters. She’s more or less willing to have sex just for the asking, which works both for and against her feminist reputation. On the one hand, the film is full of scenes of sexual aggression or sexual bartering. Sex is a currency that gets Barbarella from place to place, and there’s an unsettling trend towards sexual torture. It’s easy to read the film as misogynist, using Barbarella as a doll to act out aggressive male fantasies. But, on the other hand, there’s something charming and empowering about how Barbarella, after having been introduced to real sex (in the future, evolved beings do it with a pill) by an impossibly masculine hunter, Barbarella blossoms as a sexual being, pursuing sex with the chiseled angel Pygar and showing frustration when a bumbling freedom fighter (the awesome David Hemmings in the film’s best supporting role) wants to do it with the pill.

Although the film sought mainstream success, BARBARELLA is a movie destined for cult status. Like every good cult flick, there are moments that you simply can’t believe you’re seeing, scenes that should be impossible in a well-budgeted studio film, and yet here they are. This is a film for an audience, if simply so you can turn to the person next to you to share a laugh and one of those “holy shit” looks. This movie should be *ahem* a shared experience, not a solo trip. Even with all the sex, there’s something incredibly innocent about the film, and it serves as a window into a more optimistic, good-natured time. It’s fitting, then, that it’s being hosted at the Plaza this weekend by Blast-Off Burlesque. Burlesque itself is an art form that walks that beautiful line between sweetness and spice, and BARBARELLA is their kind of movie. When asked about the links between burlesque and BARBARELLA, Melanie Magnifique agreed: “It contains many simple theatrical tricks which are used to achieve special effects (we do that a lot).”

“Oh, also, we love to smoke Essence of Man.”

The show starts at 10 pm on Saturday with music, a dance party and complementary signature cocktails, but says Magnifique, “Come early to get your groove on!”

And be sure to read our other Retro Review: Jane Fonda Has No Clothes On: Stripping Down Our Love Affair with Psychedelic ’60s SF Camp Cult Classic BARBARELLA in Time for a Blast-Off Burlesque Taboo-La-La at the Plaza Theatre by Robert Emmett Murphy Jr.

By Aleck Bennett
Contributing Writer

With November upon us and the gusts of the coming winter already chilling our bones, what better time than now to pay tribute to the king of spine-tingling thrillers, Sir Alfred Hitchcock? Thanks to the Plaza Theatre in Atlanta and Marietta’s Earl Smith Strand Theatre, you can spend some quality time this month with the Master of Suspense in his preferred setting: on the big screen and even better – remastered and in high definition!

Atlanta’s historic Plaza Theatre’s series promises special guests and vintage Hitchcock interview footage before each screening (show times TBA). They kick off the month with 1948’s James Stewart-starring ROPE, showing November 2-4. Hitchcock’s first color film, ROPE was based on the infamous 1924 Leopold and Loeb “perfect murder” scandal and seemingly unfolds in one continuous take. (Actually, it was shot in 10 shorter segments, with editing trickery covering up the fact that the cameraman would have to change the film magazine every 10 minutes.)

Up next is the film that ushered in what is now considered Hitch’s golden age—1951’s STRANGERS ON A TRAIN, showing November 16-18. The tense story of two men—played by Farley Granger and Robert Walker—who agree (the former, however, unwittingly) to “swap” targets of murder, the film contains some of Hitch’s most inventive and still-studied optical effects.

The Plaza follows this with a weekend of VERTIGO, showing November 23-25. Frequent Hitch collaborator James Stewart returns to star with Kim Novak in this 1958 tale of madness and obsession. A critical and commercial flop at the time of its release, the movie today is acknowledged as one of Hitchcock’s most personal films and topped the British Film Institute’s 2012 Sight & Sound critic’s poll as the greatest film ever made.

The Plaza closes out the month as THE BIRDS attack the coastal city of Bodega Bay from November 30 to December 2. The 1963 film stars Tippi Hedren and Rod Taylor, and was based both on a Daphne du Maurier short story and an actual case of birds infesting a California town. Though it was scored by Hitch’s frequent composer Bernard Herrmann, you’ll note that no actual music (aside from schoolchildren singing unaccompanied) is heard. Instead, Herrmann layers the soundtrack with electronically-created bird noises.

The Earl Smith Strand Theatre opens this month’s continuation of its series (all events begin at 8 p.m.) with a November 2 screening of THE BIRDS (tickets here). The pre-show entertainment starts with organist Misha Stefanuk (of the Atlanta Chapter of the American Theater Organ Society, or ACATOS) accompanying vocalists Kennedy Bastow and Cierra Ollis.

On November 16, the Strand brings us what is perhaps Hitchcock’s best-known film, 1960’s PSYCHO (tickets here). The story of a boy (Anthony Perkins), his mother and the girl who threatens to come between them (Janet Leigh), the film was shot at the studios used for ALFRED HITCHCOCK PRESENTS and was independently produced by Hitchcock on a small budget. The famous “shower scene” took an entire week to shoot and contains 77 different camera angles.

The Strand closes its Hitchcock series with 1959’s NORTH BY NORTHWEST (tickets here). Cary Grant comes as close to playing James Bond as he ever got in the role of Roger O. Thornhill, one of the “Mad Men” of Madison Avenue’s advertising world, who finds himself mistaken for a secret agent and pursued across the country. Besides the film being recognized as one of Hitch’s best (and on a personal note, I’d say it’s also his most fun), GQ magazine voted Cary Grant’s gray suit (which he wears almost throughout the entire film) as the best suit in film history.

So escape the frosty autumn air this November for some big-screen chills and thrills with these Hitchcock classics. And keep your eyes peeled for Hitch’s cameos!

Editor’s Note: Remember every time you shell out a few bucks to see a classic movie on the big screen, you are keeping the theatrical experience alive in vintage independent cinemas that are Atlanta-area historic treasures. ATLRetro will be running separate reviews/essays on some of these films. 

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

ATLRetro has been planning to launch a cocktail and food section ever since we revved up, but we wanted to ensure that when we did, it would be a regular feature that you could count on. The ground rules would be simple – Retro location in a vintage building; Retro cuisine from the best in classic diners and blue plates to tantalizing tiki (guess where, we dare you!); venues that have been around long enough to be Atlanta institutions; and/or worthy additions to the city’s cocktail scene. In other words, when you want to dress up in your swanky suit or vintage dress and slowly sip a fantastic drink with that special date, spouse or just friends, where should you go? We’ll alternate between supper club and happy hour pieces and promise at least one of each every month, always posting on a Wednesday to help you plan your weekend.

Appropriately, we think, ATLRetro first piece is a Happy Hour because everyone on MAD MEN knows that a great cocktail is the essential apertif to a delicious expense-account dinner, isn’t it? Our drink of the week is Vodka, and with hundreds of different vodkas on the menu, Czar Ice Bar, in Buckhead’s Andrews Entertainment District, has perhaps the largest selection in Atlanta. Normally heading to Buckhead might be a bit too neo-trendy for us, but we found Czar Ice Bar to be a surprise charm with a touch of old world class worthy of James Bond. Atmospherically the intimate blue-lit space was the perfect retreat from summer heat with a bar literally made of ice and a dramatic blue glass ceiling, seasoned with a taste of old Russia thanks to ornate seating, bottles lined in cathedral windows and towering paintings of pre-Soviet nobles. Oh, yeah, we could easily imagine Pierce Brosnan seated at it in a tux sipping a martini with a sexy spy in a slinky evening dress.

We recently caught up with co-owner Stephen de Haan to find out more about Czar Ice Bar’s striking interior design, generous vodka selection, and why sushi is on the menu (we can attest Master Sushi Chef Saito Saito‘s creations are both original and scrumptious). Of course, we also asked for some advice on crafting the perfect vodka cocktail and how to stock your own bar at home.

ATLRetro: What’s the story behind Czar Ice Bar?

Stephen de Haan: Czar Ice Bar developed from our passion for amazing cocktails. Specifically, with hundreds of different vodkas, flavors and house-made infusions, we have an amazing palate to paint with. Also, with the success of Prohibition around craft cocktails, we saw a void in the market. Specifically around women who enjoy vodka both in flavor and because it has the lowest calories for any spirit, and who are looking for a sexy nonsmoking environment. How did the owners get the idea for it? We developed Czar around this idea of a sexy environment focused on vodka. Initially Cold-war era Soviet Union comes to mind, but we went back further to the aristocracy of the Russian Empire during the period of the Czars. We were inspired by the Winter Palace, specifically the sitting room, and what would a modern day Czar’s sitting room look and feel like. Combine this palatial feel with a modern vodka-based cocktail program and Master Sushi Chef Saito’s sushi masterpieces, and you have a place where any Russian princess would want to relax.

How many different vodkas are on the menu, and how do you select which vodkas to serve?

We have over 300 vodkas. They have all been tasted and selected by [myself]. The first criteria is the nose; they need to be clean, not offensive like rubbing alcohol. The second is the mouth feel. All of our vodkas are smooth, with very little after-bite. Also we look for uniqueness, for example, vodkas that have unique distillates, such as Russian Bear which is distilled from molasses, and Pau which is distilled from pineapple in Hawaii. We love a the story behind the brand, the people, the process, and how it impacts the final product.

Vodka is often thought of as not having a lot of taste nuances when consumed straight-up. Other than flavor-infused vodkas, what are a few aspects that differentiate vodkas and makes one better than another for drinking straight or in cocktails?

When comparing the traditional vodkas side by side you will find a large difference between a potato vodka, or a winter wheat, or corn vodka. Once you know the flavor profile for each and find a preference, then explore the others in that category to find a personal favorite. Also, some people with a gluten sensitivity have not thought about the vodka, and the clouded head may not be a hangover, rather a reaction to some part of the distillate. A switch in vodka may be all it take to keep you feeling well and the head clear. Then again sometimes it is just imbibing a bit too much.

What traditional vodka cocktails do you serve (i.e. martini, cosmopolitan, etc.)?

Of course, we have traditional martinis; our Czar Martini features Imperia vodka 8 times distilled and is made in a traditional style with a Dolin Dry Vermouth-rinsed cocktail glass served with blue cheese-stuffed olives. We also serve cosmopolitans, apple martinis and the like. One unique feature is a California Cosmo with your choice of 14 different orange-flavored vodkas.

What are a few of your more favorite, more innovative creations, and any anecdotes about how you came up with them?

Recently for National Donut Day, we featured our own house-made Krispy Kreme vodka. We chopped one dozen doughnuts, paired with Van Gogh Caramel vodka and spun it in our laboratory centrifuge at 4,000 rpm for 20 mintues. The result, a clear smooth Krispy Kreme vodka.

What’s your philosophy behind a vodka cocktail? For example, are there some mixers that are go better with vodka than others?

Very simple. Fresh is best, less is more. Start with a smooth clean vodka like Van Gogh Blue, and mix it with any fresh juice. You need not overdo the juice because a clean vodka will already disappear in the drink.

Any secret to the perfect martini? And is it shaken or stirred?

The perfect martini, is almost like the perfect BBQ. Every region, every person has their take on the perfect martini. Some believe the vermouth should stay in the next room, others a spritz, and still others a rinse. The Czar Martini is what I consider the perfect martini. Made with eight times distilled Imperia Vodka from Russia, shaken ice cold, served in a Dolin vermouth rinsed martini glass with Cabrales Blue Cheese-stuffed olives.

Sushi is traditionally paired with sake, so why sushi at a vodka bar?

Think Russia and caviar. Caviar is used in many sushi dishes so taking the next step only seems natural. Also, with Master Chef Saito’s house-made sauces that he garnishes many of his dishes with, we are using the same ingredients, mango, fresh orange, etc.

Are there any particular sushi/vodka pairings that you recommend from your menu, both for the conservative and the more adventurous diner?

I particularly like the Smash Hit, a martini made with 360 Georgia Peach Vodka, fresh mint and fresh-squeezed lemon juice paired with the Lobster Roll. The sweetness of the lobster is enhanced with this clean sweet peach martini. On the more adventurous side, I would recommend the one of Chef Saito’s special dishes, the Pacific Ocean. With a wonton sheet and sail, mixed fish, fresh cucumber, cream cheese and Shiro Dashi sauce, it pairs nicely with a Square One Organic Cucumber martini.

The interior design of Czar Ice Bar combines traditional elements of old Russia with the giant portraits and bar items displayed in spaces resembling cathedral windows with a very contemporary club atmosphere—blue lights and 2st century furnishings. Who was the designer and how did you come up with the look?

I researched many images of the Czar Palaces and relayed those to my partner Stan Weaver who took the ideas and ran with them creating our own modern interpretation of these palaces. We are very proud how all of the elements came together.

Do you have any advice to our readers on how to stock their home vodka bar?

I see a lot of vodka that has spent tons of dollars on advertising producing a premium image. Those are ok, but I prefer to look at the artisanal small batch vodkas. On the label they will say small batch or pot-distilled. These are made by artisans one batch at a time creating the best product possible.

Finally how did you create the ice bar? If it has not been done regionally before, how did you develop it?

The ice bar itself, 27 feet long, four inches thick of solid ice was a huge undertaking. We first found an ice skating rink manufacturer that “thought” it could be done but never had himself. They went to great lengths for us custom-manufacturing the refrigeration mat that freezes the ice. After that, we worked with local fabricators for a custom pan to house this in. Next was working with a number of engineers to review the cooling load specifications. Initially we thought we were going to have to use medical grade chillers, but soon found a source with a unit that met our very strict guidelines. As we installed it looking at different insulation technologies developed by NASA so that a guest’s legs sitting at the bar would not be cold from the immense slab of ice resting inches above them. But there are not so many effective cures for handling and treating depression symptoms as Buy Klonopin Online .The whole process was an experiment in itself, but it could not have turned out better.

All photographs are courtesy of Czar Ice Bar and used with permission.

By Anthony Taylor
Contributing Writer

This Friday and Saturday the Atlanta Symphony Orchestra enters the shadowy world of spies and secret agents with the BOND AND BEYOND concert, celebrating the music of composer John Barry and the 50th anniversary of the first James Bond film, DR. NO. Principal Pops Conductor Michael Krajewski will lead the Orchestra in a variety of James Bond movie themes, including “From Russia with Love,” “You Only Live Twice,” and “Goldfinger.” The program will also include other spy and action movie favorites, such as “Sooner or Later” from DICK TRACY, the “Inspector Clouseau Theme” from THE PINK PANTHER, and “Soul Bossa Nova” from the AUSTIN POWERS films. Broadway vocalist and Tony Award-winner Debbie Gravitte will join the Orchestra for many of the evening’s musical selections.

A cultural icon of the 20th century, superspy James Bond is a plucky survivor that remains a favorite with today’s film audiences – the 23rd Bond film, SKYFALL, is currently in production at Pinewood Studios with Daniel Craig returning to the role, and is due for release in November.

The music from the films is no less iconic. Setting the tone with DR. NO in 1962, composer John Barry would go on to score twelve of the films as well as create the unforgettable James Bond theme. Though credited to Monty Norman, the arrangement by Barry is what has become synonymous with the character and musical shorthand for suave, retro cool. Later films feature music by David Arnold, Marvin Hamlisch, Sir Paul McCartney and even Sir George Martin, the “fifth Beatle.”

Micheal, Debbie and the Atlanta Symphony Orchestra will be giving all for Queen and country to thrill spies and femme fatales in attendance. ATLRetro recently interrogated Michael about the program and his connections to Bond… James Bond.

ATLRetro: The music of Bond is essentially the music of John Barry; what is Barry’s (who passed away in January 2011) ultimate impact on the landscape of film music, and how did his work influence you personally?

MK: John Barry seemed to have a knack for writing music that captured the grandeur and overall atmosphere of the film. The best examples are his work on DANCES WITH WOLVES, BORN FREE and OUT OF AFRICA. The Bond films are set in exotic locations and feature beautiful women and a suave, handsome hero. Barry’s sweeping descriptive music effectively supports the glamorous settings and characters.

Bond and Beyond features themes from other adventure films as well. Why not an all Bond program, and how did you decide what other pieces to include?

For the sake of an entertaining concert I chose to add some variety by including some well-known music influenced by the Bond movies, such as “Secret Agent Man,” “Soul Bossa Nova (the Austin Powers theme song) and the theme from MISSION IMPOSSIBLE.

Also, are there any Marvin Hamlisch pieces from THE SPY WHO LOVED ME, or any of Sir George Martin’s work from LIVE AND LET DIE included?

The concert will include Marvin Hamlisch’s “Nobody Does It Better” and Paul McCartney’s “Live and Let Die.”

“Goldfinger” is arguably the most well-known movie theme song of all time, and an enormous hit for Dame Shirley Bassey. What makes Debbie Gravitte the right vocalist to interpret it and the other theme songs included in BOND AND BEYOND?

Debbie Gravitte has a strong and compelling stage presence as well as a bold and commanding vocal style. She has a lot of dramatic experience due to her many years on Broadway, plus she has experience performing in concert with symphony orchestras. This made her the perfect choice for this program.

David Arnold composed the music for the last five Bond films, and was recommended for the job by John Barry. How do you feel his music compares to Barry’s work, and what differences do you find in performing it?

Just as the action and chase sequences seemed to intensify in the later films, so too did the music, courtesy of David Arnold.

Does BOND AND BEYOND feature deeper cuts from the films – for instance, the Little Nelly theme from YOU ONLY LIVE TWICE – or possibly medleys that include a sampling of music from the films?

The concert includes a medley of action sequences from CASINO ROYALE and QUANTUM OF SOLACE.

The spy film craze ended around 1968. What makes James Bond such an unforgettable character, and how is he (and the music from the classic films) relevant to today’s audiences?

I think the James Bond movies have always provided the audience with a wonderful escape. The characters are larger than life and the settings and music are beautiful and exotic. The desire to escape to the world of James Bond for a few hours has probably gotten stronger as our lives have become noisier and more complicated.

If you could have any gadget from the films, which one would it be and why?

Michael Krajewski. Photo credit: Michael Tammaro.

I’d like the invisible car that Bond had in DIE ANOTHER DAY. I don’t think I need to explain the advantages of an invisible car!

BOND AND BEYOND takes place at Atlanta Symphony Hall, Memorial Arts Building, Woodruff Arts Center Friday, March 16, 2012, 8 p.m. and Saturday, March 17, 2012, 8 p.m.  All single tickets for the 2011–2012 season are available online at www.atlantasymphony.org, by calling (404) 733-5000 or at the Woodruff Arts Center Box Office, at 15th and Peachtree Streets. Black tie and vodka martini (shaken, not stirred) are optional. 

“Surfing is very much like making love. It always feels good, no matter how many times you’ve done it,” legendary ‘60s surfer Paul Strauch once famously declared. This Saturday’s Clarkston Surf Fest 2011 is too far inland for attendees to ride any waves literally, but with 10 of the Southeast’s top surf bands playing from noon into night, it’s sure to satisfy any lover of the fast-strumming oceanic music genre. The fifth annual event, held Sat. Sept. 24 in the playing field of the Clarkston Community Center, features local faves The Mystery Men?, The Surge!, Stratogeezer and El Fossil, as well as regional favorites Daikaiju(AL), Aqualads (NC), The Intoxicators (FL), The Necronomikids (AL), Kill, Baby…Kill (AL) and The Monterreys (NC). Best of all, it’s FREE and family-friendly, so you even can introduce the kids to some great music without shelling out big bucks.

The idea of a surf music festival in Clarkston, at first glance, sounds both improbable and absolutely awesome. But then we never expected Thursday night concerts by some of Atlanta’s best retrobilly/Redneck underground bands at an Asian restaurant (Kathmandu, formerly Pho Truc) in Clarkston either. That got us thinking there must be some pretty cool folks hanging ten in what’s not often dubbed Atlanta’s hippest suburb. Turns out Clarkston Surf Fest co-founder Wayne Foster doesn’t actually live there any more, but this beach party has become a labor of love for him and everyone else involved and losing a few good surf music friends has just inflamed his passion even more.

Seems like there must be a great story about how the Clarkston Surf Fest got started?
I guess it was 2004 or 2005 when my friend Randy Duke asked me to go to a surf music show at Under The Couch over at Georgia Tech. It was a band called The Penetrators. I figured with a name like that what could be bad? Wow! what a show. These guys were like modern day 1960s secret agents of rock. In between sets Randy introduced me to John McCorvey AKA “Eddie Katcher” who plays guitar in a band called The Surge! The three of us talked about how cool the music is and wouldn’t it be great if a bunch of surf bands could get together for an all-day show somewhere. Well, a light bulb went off in my head…… I was a freelance sound guy with a big PA. I also lived in Clarkston and was serving on the city council.

In 2006, I made arrangements to use the historic Woman’s Club cottage, and John lined up as many surf bands as he could. It was one of those Our Gang “hey, let’s put on a show right here in the barn” kind of events. Local advertising agency, MLT Creative, designed and printed our signs for free after I told owner, Billy Mitchell, about our plan. He’s a surf music fan. Stratogeezer, Big Ray & The Futuras, The Broken Spokes, El Capitan, The Penetrators and The Surge! played that first Surf Fest. What an experience. The Clarkston Community Center then offered us a bigger venue.

I understand this year is both special and bittersweet to you after the passing of your good friend and festival co-founder Randy Duke, as well as Spanky Twangler of the Penetrators. Can you talk a little about what both contributed to this festival and what you have planned to honor them.

We didn’t have Surf Fest in 2010 because of some personal issues in my life that were beyond my control. My best friend Randy Duke’s health had been deteriorating for some time. He passed away right around the time Surf Fest would have been going on. My girlfriend and I had also just bought a new house 30 miles away from Clarkston. I was apprehensive about doing Surf Fest again since I no longer live in Clarkston and am not involved in city government. I want to honor Randy and Spanky by not letting Surf Fest fade away. Both of these remarkable men were super musicians and both were instrumental in turning me on to the surf genre.

This year’s 10-band line-up is pretty incredible including not just some great local surf bands but terrific bands from across the region. Who’s new this year and how did you decide who would play this year?

The Monterreys, Kill, Baby… Kill!, The Intoxicators!, Aqualads, and El Fossil will be at Surf Fest for the first time. We decided who would play this year by finding bands willing to drive hundreds of miles to sleep on my vinyl couch, eat cold pizza, drink cheep beer, and work for gas money. There’s a lot of great surf bands out there and not enough venues for them to play. I wish we could have 30 bands and play all weekend! ………. (need more sponsors, need bigger venue)…… end of subliminal message.

Read the rest of this entry »