ATLRetro

Magician Chad Sanborn is one of the many talented local and regional performers in BURLESQUE WITH A HITCH Sat. Aug. 13 at Masquerade. Photo courtesy of Chad Sanborn.

Legendary film director Alfred Hitchcock has been dubbed the “Master of Suspense,” but suspense also is the key ingredient to a great burlesque act – the tantalizing tease which has you wondering when she’s going to take it off. Leave it to Mon Cherie to have the genius to put the two together for one of the more innovative burlesque pairings in the local scene this year. In BURLESQUE WITH A HITCH, the latest in her Va-Va-Voom series at Masquerade this Sat. Aug. 13 (doors at 9 p.m.), each act will be based on a different Hitchcock film. Alabaster JuJu stars, with master of suspense and mystery Miss Mason hosting, and the line-up of top local and regional performers includes aerialist extraordinaire Sadie Hawkins (Blast-Off Burlesque), Rebecca DeShon (Hoop Essence), Stormy Knight, Fonda Lingue, Evil Sarah, The Chameleon Queen, Katarina Laveaux (Birmingham, AL), Nicolette Tesla (Charlotte, NC), and Peachz de Vine (Greensboro, NC). Before and after, DJ 313 spins alternative dance, Allison Kellar offers body-painting, and there’s also the usual RAWKIN’ RAFFLE with lots of vintage-inspired vendors donating prizes. Cover is a bargain 5 bucks, and doors open at 9 p.m., with all proceeding helping cancer patient Shawn Brown.

Of course, suspense is also the key to a successful magic trick, and all great burlesque and vaudeville shows have to have a magician. For BURLESQUE WITH A HITCH, we think Mon Cherie couldn’t have picked less of a “Wrong Man” than Chad Sanborn, who, outfitted like a ’40s noir detective complete with fedora, sets up his tricks like a crime to be solved. ATLRetro caught up with Chad to find out why he adopted his signature style, as well as gather a few clues about his Sat. night act and his other projects, including movie and TV roles and HOUDINI: DOG MAGICIAN commercials for The Cartoon Network. And Just Added: Chad sent us a short rehearsal clip for his Saturday night trick. Watch it here.

ATLRetro: How old were you when you started performing magic, and is there any fun story about that?

Chad Sanborn: I started performing, if you could call it that back then, when I was just a kid. I’d say about 8 years old. David Copperfield would do a yearly television special. Those have inspired me greatly. When you are starting in magic, your family and friends are your guinea pigs. Mostly they are cordial and say “that’s nice,” whether you fooled them or not. Then there is my grandmother…ugh. She would tell me the truth. And it hurt. “It’s in the other hand,” “there is a string on it,” etc. What’s worse is that she would holler it out right in the middle of the show! I hated that. Mostly because she was right. Now I see that honest criticism as a good thing. It lets me know what works and what doesn’t. Positive feedback is good for the ego, but honest feedback is good for the show. It’s been tough, but I have learned to set my ego aside and do what’s best for the magic.

Photo courtesy of Chad Sanborn.

You’ve adopted a noir ‘30s/’40s Humphrey Bogart/James Cagney look instead of the top hat, tux and cape that magicians traditionally have worn. How did that come about?

Well I learned magic from old books I got from the library. They would preach about bringing your own personality into each trick. Are you funny, clever, sexy, goofy? Whatever you were, they said you should inject that into the presentation of the tricks. So who was I? That’s tough to answer at 8 years old. Heck, its tough to answer at 38 years old. As I got older, I realized that I liked vintage things -1900s-1950s clothing, music, vaudeville, etc. Everything. So it was only natural to bring those elements into the magic. I emulated Bogart because he was tops in his field. So now I wear a vintage suit and tie with a fedora and spectator shoes, instead of a tux, top hat and cape. Though I do own a tux made in 1942!

Read the rest of this entry »

Return to the outrageous glittery days of ‘70s glam rock at The Masquerade this Friday July 22, from 9 p.m. into the wee, wee hours. The theme party promises not just classic hits from the likes of T. Rex, David Bowie, Iggy Pop and Brian Eno—we imagine there’s got to be some Gary Glitter, too—spun by Glitterdome’s DJ Tiny Tears but also live music from neo-glam bands The Sexual Side Effects, Chattanooga’s The Unsatisfied and New York’s Starbolt 9. And that’s just the tip of the sequins as attendees are fully immersed in the glam-orous life with burlesque by the always provocative The Chameleon Queen, scandalous banter by model/artist Dax Exclamationpoint, body-painting by Erick Jara’s Dreamskin Art, gilded go-go dancers on the dance floor, a glam-inspired art show by Chris Buxbaum and vivacious vendors such as Diamond Star Halo and Aries Chain Mail.

ATLRetro tracked down Amber Taylor, the creative mastermind behind this glam resurrection and lead vocalist/guitarist of The Sexual Side Effects, to find out all the dazzling details about what’s happening Friday night, what’s new with her band and whether the rumor is true that she’s about to become a TV star.

When ATLRetro first saw the profile shot for The Sexual Side Effects Facebook page, we had to do a double-take because we thought that cute chick in the middle stomping her foot was Noel Fielding. We’re guessing you’ll take that as a compliment?

If you want to get it on with Noel then the answer is yes, because chances are I want to get it on with you too 🙂

OK, let’s get to Gilded Trash? How did you get the idea and why a tribute night to glam rock in 2011?

The night is about classic Glam Rock old and new—not ‘80s hair metal. I know a lot of really great musicians around the world who are influenced and inspired by the Glam movement of the early 1970s like I am. What better way to bring all of these people from across the globe together than to have a full-blown crazy club night with burlesque queens, circus freaks and half-naked body-painted go-go dancers where they can put on a real show.

Other glam-inspired nights I have seen or been involved with have everyone playing cover songs. While this is great, this is where we bring something different to the table by showcasing original music, hopefully cultivating a classic glam revival in the music scene. Even more important than that is to give the glam experience to a new generation that is bombarded at all angles by Disney princesses, hip-hop and dance-pop that has been run through so many record label marketing groups and filters that there is no real music or emotions left. This is about bringing classic Glam Rock into the hearts and minds of the 21st century.

You’ve put together a pretty diverse line-up of live acts, DJs, go-go dancers and burlesque performers such as The Chameleon Queen? How did you decide on the line-up?

The only way to create a magical night that is this big and have as much reach is to get as many people involved as possible. The live music is the core, but we didn’t just want to have another concert, we wanted to augment the night into something beyond that. We put the word out and started getting different types of performers and components involved with the night. It doesn’t stop at bands, burlesque, dancers, drag-queens, DJs and vendors. We have so much more we want to do as far as showcasing performers in the future, but we simply have ran out of room on the bill for this first night.

A lot of credit goes to the Gilded Trash team as well—David Dominick, our production manager, and Meredith Greer, our stage manager/talent coordinator. They have been the key in cultivating the talent and organizing the night.

Read the rest of this entry »

Piano keys normally appear in organized rows and it’s the player who touches them out of order and creates waves of sound that become music to our ears. We listeners only see the front and top part—white or black—and not the full length that connects with the strings within the instrument itself. Across a wide expanse of hardwood floor of a gallery at the High Museum of Art, however, cast-off keys literally ebb and flow like tides in a storm—broken only by one lone dark head rising above the water.

In the case of  this installation titled Windward Coast, the description on the walls speaks about how the work “evokes the Middle Passage, a defining experience that shaped the traumatic history of the Black Atlantic Diaspora.” But artist Radcliffe Bailey says his view of the ocean was multidimensional including also the harbinger of destruction as in Hurricane Katrina and the serenity of fishing with his father. “There’s also this calm,” he says, speaking softly, almost shyly for a man who creates such large, dynamic works. Unlike some artists thrust into the public spotlight, his posture is self-effacing, naturally casual in jeans and a blue plaid jacket striking for its lightweight texture.

Radcliffe is at the High today to participate in a preview tour for media of RADCLIFFE BAILEY: MEMORY AS MEDICINE, the most comprehensive exhibition of his works to date, opening this Sunday June 26 and running through Sept. 11 at the High. Born and bred in Atlanta, his parents brought him to the High as a child and he graduated from the High-affiliated Atlanta College of Art in 1991. In the years since then, both the 40-year-old artist  and the museum have matured into globally-renowned figures in fine art. Frankly it’s nice to see that the High now feels comfortable enough in its own shoes not only to display a homegrown master but also to remind the global art community that not just commerce but also culture does happen in a city that often seems cockily focused on its business and sports achievements.

Read the rest of this entry »

If this cool Sunday can break up an Atlanta spring heat wave, why can’t ATLRetro do a little dreamin’ of those summer beach parties to come? After all, we already were a bit rebellious by declaring a garden a Kool Kat. But then Joshua Longino of Andrew and the Disapyramids dropped a line about their groovy gig Monday night May 16 at Noni’s Bar & Deli and the idea of a beach party in May just seemed too tempting to pass up. So this week, there just are going to be two Kool Kats, and one of them is posting on Sunday to give you enough time to decide that no matter how manic your Monday is, it just might be worth stepping out for something fun, especially when the cover charge is well…free.

Brothers Joshua and Andrew Longino grew up listening to their dad’s old records. Joshua says his first instrument was a plastic Roy Rogers guitar that he used to take to the pool. By age 10, he and Andrew were playing in bands. Today Joshua drives a ’64 Chevy and loves all things vintage—records, instruments, clothes, furniture cars. And he sings and plays keys, strings, and harmonica with Andrew [vocals] in Andrew and the Disapyramids, a cover band that brings back the best of surf, doo wop, Mod, soul, sock hop and all types of retro rock ‘n’ roll. ATLRetro caught up with Joshua recently to find out more…

Read the rest of this entry »