ATLRetro

by Melanie Crew
Managing Editor

Perpetual Kool Kat and Daddy-O extraordinaire, Derek Yaniger, now officially official (Finally. He did create our retro-tastic logo after all!) helps dish out the terror this season of haints, haunts and horror with one of our favorite local haunted attractions, NETHERWORLD! Beginning this Friday, Sept. 30, you can feed the maniacal monster inside nightly, through Oct. 31, with a bloody encore weekend, Nov. 4-5! Get out, get scared, and spook it up!

Consistently ranked as the nation’s best Halloween attraction, our very own fangtastic homegrown haunt, NETHERWORLD delivers a terrifying 20th season, which kicked off this killer season on Sept. 23! Founders Billy Messina and Ben Armstrong and a dedicated team of designers, painters, sculptors and other artists, including Yaniger and his classic monster art created specifically for NETHERWORLD, deserve every kudo imaginable for crafting a Gothic wonderland in a Norcross commercial space. Every year it gets bigger and more creative and this year’s MONSTERS theme is no exception. Chock full of nightmare-inducing creatures, horrorific special effects and a sinister atmosphere, NETHERWORLD does not disappoint! NETHERWORLD also always features a second haunt, VAULT13: MELTDOWN that is more slasher/contemporary horror in its bent–read toxic waste, laboratories gone awry and chainsaws.

Yaniger, former artist for Marvel Comics and Cartoon Network has made a groovy name for himself locally and worldwide in the land of all things retro-culture (rockabilly, burlesque, beatnik, etc.) and has been the purveyor of ‘50s/’60s-style art since 2000. Yaniger has slung his brushes and gathered a gaggle of giddy fans at many a retro-culture event: Tiki Oasis (San Diego), Viva Las Vegas Rockabilly Weekend, Tales of the Cocktail (New Orleans), Spain Wild Weekend, DragonCon and more! And of course our brothers and sisters across the globe dig his work as much as we do, with pieces hanging at Italy’s famed MondoPop, Australia’s Outre, Mexico’s Vertigo, the UK’s Castor & Pollux, just to name a few!

ATLRetro gabbed it up with Yaniger and dished about his ‘50s/’60s kitschy art-style, his love of all things retro and spookin’ it up with one of our favorite neighborhood haunts, NETHERWORLD . While you’re eyeballing our little Q&A, why not take a gander and grab a piece or two of Yaniger’s rockin’ art here!

ATLRetro: We are huge fans of your art (obviously) and of Atlanta’s own spooktacular haunt, Netherworld, celebrating 20 ghoulish years this season of haints, haunts and horrors. Tell us about your partnership with Netherworld and what you bring to their terrifying table?

Derek Yaniger: I do dig me some spooktacular haunts! And Netherworld is claws down the best of the best! I am lucky enough to have a nice relationship with Billy Messina and Ben Armstrong (the cats what founded Netherworld ) and they are kind enough to invite me every year to create a few pieces of art for ’em! Just like me, they have been monster fans since their early days so they seem to dig my retro-inspired take on creepy stuff.

Atlanta’s fangtastic classic horror scene seems to grow larger every year, which keeps local haunts, such as our pals over at Netherworld alive (so to speak!) and kicking. In the spirit of Halloween, is there anything in particular about this season, about the idea of getting spooked that keeps you coming back?

The Halloween season has been my favorite time of year ever since I was a crumbsnatchin’ lil’ creepster! Those first autumn days when the steamy summer temperatures begin to drop and the leaves begin to fall instantly transports me back to my trickin’ or treatin’ days! Memories of my old CREEPY and EERIE magazines and my Aurora Monster Models flood my brain bucket and I can’t wait to head to Netherworld to see it all come to life!

Which classic monster would you say is your favorite?

It’s got to be the original Boris Karloff FRANKENSTEIN! That cat is the ding dong daddy of ‘em all! King of the Monsters! For some reason that film as well as the follow-up, THE BRIDE OF FRANKENSTEIN really started it all off for me! I used all my lawn-mowin’ money back in my youth to purchase anything and everything Frankenstein…FAMOUS MONSTERS mags, Don Post Franky masks, Frankenstein model kits…Much to the disappointment of my Mom, I would wear that damn Frankenstein mask EVERYWHERE….even tried to wear it to church once!

You create some killer images, with just the right amount of kitsch, which we of course can’t get enough of, and neither can your fans. Can you tell us a little about your style, and how it differs from the work you did with Marvel Comics and Cartoon Network in the ‘90s?

My current style is deeply rooted in the cartoon art of the ‘50s and early ‘60s….all the stuff that flipped my switches as a child! When I worked for Marvel the requirement was to draw the “Marvel Way,” but after 5 years of that I decided I would rather draw the “Derek Way“. I transitioned into working for Cartoon Network which was closer to my natural cartoon style, but still not me dancin’ to the beat of my own bongos. After about 5 years of that I decided I wanted to commit fully to my first love, the mid-century modern cartoon.

What drew you to a life of creating art? Any riotous tales of your artistic journey?

Honestly, art is the ONLY thing I’m good at, and I really believe I was born to doodle! My life-long obsession with visual images, even before I actually started scribbling, made it clear to me at a young age that a life creating art was the only way to fly! I don’t know how “riotous” my journey has been, as it was mostly working for fat cats n’ bigwigs that micro-managed me to the point where I wasn’t really proud of the work I was creating. One example of the drag that was advertising art: I was commissioned by Kroger to create a deli-chicken waitress character. After the committee of ad cats had their say, I was forced to add big red lips to the beak and red fingernails to the feathered hands! It was uglier and creepier than anything I ever created for Netherworld!

Who would you consider to be your top three favorite retro artists? Where did you draw your inspiration from and how did they inspire you?

My all favorite would have to be the great Jim Flora! Such a great mixture of modern art, humor and weirdness! His album cover art for Columbia, RCA and Camden is so damned great it kinda makes my stomach hurt! Second on the list would be Ward Kimball. He was the Disney director/animator responsible for the majority of experimentally fantastic art seen in the early ‘50s Disney shorts. I sometimes watch those on super-slo-mo and have to repeatedly dab the drool from my dropped jaw! Last, but NEVER least would have to be Georgia-born, UGA-educated illustrator extraordinaire…Jack Davis. His work for EC Comics and Mad Magazine was the first real exposure I had to art as a wee one. Although my style doesn’t really borrow too much from Jack’s, he will always be an inspiration!

Which pop-culture artist would you say is the most neglected and what do you think makes him/her worthy of attention?

If we’re talkin’ present day here, I would say Mitch O’Connell. I dig his work the MOST! He uses heaps of vintage-inspired imagery in his work and as a technician, his skills are insane! AND he’s one of the nicest cats in the kingdom! He was a big inspiration for me when I finally decided to make the big dive into the retro art pool. If we’re talkin’ back in the day, I would have to say Cliff Roberts….kinda hard to find examples of his work. I was lucky enough to snag a copy of THE FIRST BOOK OF JAZZ off EBAY a while back. His B&W illustrations throughout the book swing like a well-greased gate! Who are your favorite local artists? Dave Cook is a local cat who is a very good friend and an even better artist. This Clyde can do it ALL! He’s known for his work on RollerGirls art and his “Cadavitures” (zombie caricatures that he scribbles at DragonCon), but I think he’s mostly known for all the Netherworld tees he’s created over the years. If you own a favorite Netherworld tee, Dave probably scribbled it!

Can you tell our readers how you got involved with Tiki Oasis, Las Vegas Rockabilly Weekend, and our very own DragonCon?

Around the year 2000, When I decided to put all my eggs in the retro art basket, I burned CDs (remember CDs?) of all the retro art I created in my spare hours and sent them to anyone who published a retro-themed magazine (Atomic, Barracuda ) or held retro culture events. (Tiki Oasis, Viva Las Vegas, Hukilau) Otto Von Stroheim, the Grand Poobah of the Tiki Oasis in San Diego was the first to respond, and I’ve scribbled art for that gig every year for the past 15 years! Crazy! Thankfully I am now known as the retro art guy all over the world and have created art for heaps of events celebrating rockabilly, burlesque, cocktail culture, beatnik, etc. The DragonCon connection happened about 8 or so years ago. They were starting the Pop Artist’s Alley to give some attention to artists that don’t make with the comic book bit (more underground Lowbrow kinda stuff). At the time, I was growing in popularity in the Lowbrow world so it was a natural fit!

Your art spans the globe, being housed in galleries across the world, including Italy’s MondoPop, Australia’s Outre, Mexico’s Vertigo and the UK’s Castor and Pollux. What’s it like to know that your art inspires people the world over and what do you want your fans to take away from your work?

Yeah, the international response to my work was a coo coo nutty surprise to me! Them cats overseas seem to really dig the whole American kitschy ‘50s art scene. Just last May I had a sold out show at the La Fiambrera Gallery in Madrid! It was amazing how many people attended the opening and how damn nice they were to me! It was a solid gas! It is so rewarding to know that all this silly crap that pours from my coconut can be an inspiration to so many other artists around the globe. I seem to have a nice following among young artists who may just be discovering retro. I just want my art to make cats ‘n’ kittens smile….I love seeing people eyeball my work for the first time and get a nice wide grin goin!

What are you currently working on? Anything exciting in the pipeline?

I have a couple of gallery shows that I need to start slingin’ paint for. I’m working on a design for a Mai Tai decanter set for Tiki Farm, I’m going to be designing some fabric for Pinup Girl Clothing and I’m REALLY excited to be in discussions with a company to create some high-end 3-D collectible figures of my work! These days I’m jumpin’ like a Mexican bean on a trampoline!

How can our readers get their hands on your art?

Bop on over to https://www.misterretro.com/merchandise and snag somethin’ for your good self!

Anything exciting planned with Netherworld this year?

I created a new piece for Netherworld a couple of months ago. It’s my most favorite yet! Not sure how those cats are planning to use it, but it should show up in the Netherworld gift shop in some creepy form or fashion! Other than that, I’m just planning on falling by the haunts in early October with my good friend Dave Cook. Netherworld always delivers the CREEPS….and I do love it so!

All images provided by Derek Yaniger and used with permission.

The Mothership lands in Atlanta this weekend. No, it’s not a Funkadelic concert, but the first annual State of Black Science Fiction Convention (SOSBFC) at the Southwest Arts Center Saturday June 11 and Sunday June 12. For all the talk about accepting the diversity of the alien, science fiction’s early history is peopled by white super-men protagonists, and some today seem to want to keep it that way if recent controversies in fandom  are any indication. But black writers, artists and filmmakers have been emerging to create some of the most dynamic and innovative speculative fiction today, pushing boundaries and re-imaging earth’s future and space as diverse, complex, uncomfortable, beautiful and inspiring.

SOSBFC aims to bring together the most comprehensive celebration of black creators of science fiction, fantasy, horror and comics to date. Just a glance at the programming schedule is sure to cause sensory overload with the mix of panels, speakers, workshops, presentations and kids’ activities to nurture the next generation of creators and fans–something most cons neglect. There’s also a dealers room and art show, cosplay is encouraged, and there’s even going to be onsite food that’s more than pizza or burgers, we hear – something most cons neglect! Whether you’re into Afrofuturism, steamfunk, cyberfunk, dieselfunk, sword and soul, rococoa, Afrikan martial arts, or just what the find out what the funk is happening, SOSBFC is the place.

Needless to say, our choice of Kool Kat this week was easy. ATLRetro caught up with Atlanta-based writer Balogun Ojetade, co-founder with writer/editor/publisher Milton Davis, to find out more about how Atlanta’s newest spec-lit convention got launched, what’s planned and what’s next.

ATLRetro: To many, Samuel R. Delany and Octavia E. Butler lit the fuse on an African-American SF perspective, yet W.E.B. DuBois published an SF story back in 1908. Which SF/spec-lit authors were early favorites/inspirations for you?

Balogun Ojetade: My early inspirations were Charles R. Saunders, the Father of Sword and Soul and creator of the Imaro series of novels and the brilliant master storyteller and poet, Henry Dumas, whose short stories “Fon,” “Will the Circle Be Unbroken” and “Ark of Bones” were the greatest influences on my horror and fantasy writing style as a young man.

Atlanta’s been characterized as a center for Afrofuturism. Can you talk a little about the local community of black writers and publishers? Do you feel like you were part of a movement?

Atlanta is where the now worldwide State of Black Science Fiction author, publisher, artist, filmmaker, game designer and cosplayers collective was founded. As one of the founders of this collective and one of its most active members, I am certainly part of a movement, which is still very much alive. I am also one of the people who founded the Steamfunk Movement, along with author and publisher Milton Davis, who also resides in Atlanta.

What’s the specific origin story of SOBSFC?

The origin of the State of Black Science Fiction Convention, or SOBSF Con, began about four years ago. In the State of Black Science Fiction Facebook Group we had a lively discussion about the need for a convention that would not only showcase comic books by creators of African descent, but would also showcase novels, films, artwork, fashion design, cosplay, African martial arts and much more. We wanted to give con goers a full and enriching experience.

It was originally decided that each region would host a convention – one would be in Atlanta, one in the DC / Maryland / Baltimore area, one in New York City, one in Chicago and so on – on the same days and times. We would call this mega event Diaspora Con. Well, certain things happened that let Milton Davis and I know that Diaspora Con was not to be, so we scrapped the idea, but the desire to give the world a convention that showcased black speculative works continued to burn.

In early 2015, Milton and I decided we would host a con that would draw fans and creators of black speculative fiction, film, fashion and fabrication from around the country. We agreed on the name State of Black Science Fiction Convention and then started making plans. By mid-2015, we made our plans public and received positive feedback from hundreds of people who said they would attend such a con in Atlanta and here we are.

Do you think SOBSFC and a greater push for diversity in SF publishing is especially needed right now in light of the Sad and Rabid Puppies Hugo Awards controversy and Internet outrage about a black lead in the recent Star Wars movie?

These controversies and the outrage is nothing new. You have always had and will always have ignorant and fearful people in all walks of life. The science fiction and fantasy community is not exempt from this. There has always been a need for a SOBSF Con and for a constant push for diversity in SFF publishing. The more we push, the more people know we are here. The more people know we are here, the more that know there are alternatives to the racist, sexist rubbish they have had to endure for so long.

SOBSFC is billed as the “most comprehensive presentation of black speculative fiction ever.” There’s a lot going on for just $25 for both days (a bargain compared to DragonCon, most cons).  I know this is a hard question but what 3-5 pieces of programming should con attendees be sure not to miss and why?  

Yes, it is a hard question because the programming is so Blacktastic, but I will share a few that I know people will absolutely be blown away by.

1. The YOU are the Hero Cosplay Contest: Imagine hordes of black cosplayers of all ages and body types presenting mainstream, independent AND original characters from film, comic books, anime, manga, or of their own design. TOO cool!
2. The Future is Stupid Art Show: Dozens of Afrofuturistic pieces of artwork by Atlanta’s favorite artists will be found all over the exterior and interior of the convention facility.
3. The Big, Beautiful, Black Roundtable: At this “Town Meeting” we will present, discuss, listen to and put into effect strategies and collaborations to take black speculative fiction/film/fashion/fabrication to the next level!
4. The Charles R. Saunders Tribute: We will share stories about how this great man has influenced our writing, his history and great contribution to the advancement of speculative fiction and we will read excerpts from his works, all before presenting Charles with a much deserved award.

 Can you talk a little about the writer guests and how they reflect the variety and scope of black spec-lit today?

We have some great guests at SOBSF Con and the authors represent the entire spectrum of speculative fiction. Here are a few:

1. Valjeanne Jeffers: Writes horror, Steamfunk and Sword and Soul.
2. Zig Zag Claybourne: Writes action and adventure, Rococoa and Cyberfunk.
3. Derrick Ferguson: New pulp icon. Creator of black pulp heroes Dillon and Fortune McCall.
4. Cerece Rennie Murphy: Writes urban fantasy for adult, young adult and middle grade readers.
5. Brandon Massey: Master of horror and suspense.
6. Hannibal Tabu: Comic book writer and critic.

We also have authors of Cyberfunk, Dieselfunk, Dark Universe (Space Opera) Afrofuturistic fusions of hip-hop, jazz, blues, time travel, magic realism and urban fantasy and much more. Black speculative fiction is very broad and very deep. Con-goers are in for a powerful experience.

This is a really exciting time for black filmmakers in SF and horror. Can you talk a little about that and how that will be reflected in SOBSFC’s programming?

As a lifelong fan and creator of science fiction and fantasy with strong horror elements and straight up horror, too, I am very excited. The digital age has allowed filmmakers who would have otherwise been unable to tell their stories – stories in which the Black character doesn’t die within the first 10 minutes or die sacrificing himself or herself so the white hero can live on to save the day – to now tell stories in which Black people are the heroes, sheroes and even mastermind villains.

Many great independent films and web series have been developed, screened and gained massive followings and Hollywood has been paying attention, so now you have the Black Panther stealing the show in CAPTAIN AMERICA: CIVIL WAR and even getting his own movie. You have Idris Elba playing Roland in the film adaptation of Stephen King’s THE DARK TOWER and Adewale Akinnuoye-Agbaje, Will Smith and Viola Davis starring in SUICIDE SQUAD as Killer Croc, Deadshot and Amanda Waller, respectively.

And television is even more progressive, giving starring roles to black people in several Science Fiction, Fantasy and Horror-themed series and having very diverse casts on these shows.

But again, this all began with black indie filmmakers. To reflect this, SOBSF Con is featuring our Black Science Fiction, Fantasy and Horror Film Festival, which showcases short and feature films by independent creators. Many of the films creators will also be on hand to share their creative process and answer questions from the audience. Just a few of the films screening at the film festival are: PUMZI (award-winning science fiction short from Africa),  DAYBLACK (horror), BLACK PANTHER: STORMS OF CARNAGE Parts 1 & 2 (superhero / fantasy), REIGN OF DEATH (dieselfunk), DANGER WORD (horror; written and produced by master horror author Tananarive Due and science fiction icon Steven Barnes), RITE OF PASSAGE: INITIATION (steamfunk), and a special screening of the science fiction film RETURNED.

What about comics at SOBSFC? 

You cannot have a science fiction and fantasy convention without comic books! While comic books are not the focus at SOBSF Con – our focus is on all aspects of black speculative creation – most of the creators and fans at SOBSF Con were heavily influenced and inspired to “do” Science Fiction and Fantasy from our love of comic books, manga, animation and anime. Thus, there will be comic book vendors at SOBSF Con and some giants in the industry are distinguished guests, including Dawud Anyabwile, the co-creator and artist of the iconic blockbuster comic book series BROTHERMAN; Marvel Comics artist Afua Richardson, best known for her work in the award-winning and politically potent Image / Top Cow miniseries GENIUS; Tony Cade, comic book publisher and owner of comic book company, Terminus Media; and TUSKEGEE HEIRS creators Marcus Williams and Greg Burnham, just to name a few. The creators and publishers will share their knowledge and experience with con-goers on the Create Your Own Comic Book and Black Craft and Consciousness in Comic Books panels.

Atlanta is known for its cosplay community. Are you encouraging costuming and will there be activities for cosplayers?

We highly encourage cosplay and invite all the cosplayers in Atlanta to come out and join us! We are very excited about our YOU are the Hero Cosplay Contest I mentioned above, and we also have the Cosplay in Non-Canon Bodies panel, facilitated by popular cosplayers, TaLynn Kel, who will be joined by popular cosplayers, JaBarr Lasley and Dru Phillips.

Balogun Ojetade.

What else would you like people to know about SOBSFC?

While SOBSF Con offers all the great things you expect from a great fan convention – awesome panels, cosplayers, genre films, a dealers’ room with all kinds of cool stuff for sale – we also have offerings you probably have never seen at any con before, such as Tiny Yogis, a yoga class for children; 5P1N0K10 (SPINOKIO), an Afrofuturistic, hip-hop puppet show by a master puppeteer named Jeghetto; Traditional Arms, Armor and Martial Arts of Afrika; Afrikan Martial Arts for Youth Workshop; traditional African artifacts and soaps, oils and fabrics sold in the dealers’ room; your questions answered through traditional Afrikan casting of lots by the Amazing Identical Ojetade Twins (one is a 13-year-old boy; the other a 6-year-old girl); gourmet pot pies; and, most importantly, a place where you can be yourself without judgment, without rude comments, but with love and appreciation. This is a fun event for the entire family you do NOT want to miss!

Finally, would you like to take a moment to talk about your own writing? What’s your latest work and what are you up to next? Feel free to add where we can find you at SOBSFC!

I am always happy to talk about my writing. For those who don’t know me, I write fiction, nonfiction and screenplays. I also direct films and choreograph stunts and fights for films. As a fiction writer, I am most known for my Steamfunk novels, MOSES: THE CHRONICLES OF HARRIET TUBMAN and THE CHRONICLES OF HARRIET TUBMAN: FREEDONIA; my Sword and Soul novel, ONCE UPON A TIME IN AFRICA; and for the STEAMFUNK anthology, which I co-edited with author Milton Davis. However, my novels cover the spectrum of black speculative fiction: Dieselfunk, Rococoa, Afrofuturism; urban fantasy; action-adventure and horror.

My latest work is BENEATH THE SHINING JEWEL, a horror novel set in Ki Khanga, a Sword and Soul world created by Milton Davis and me for our upcoming tabletop role-playing game, KI KHANGA. I am finishing up a Dark Universe (space opera) novel and have a horror short film I wrote slated to begin production in the fall. Finally, in August, comic book artist Chris Miller (Chris Crazyhouse) and I begin work on a graphic novel that is going to blow away fans of manga, comic books and black speculative fiction!

Thanks, so much, for this opportunity and I look forward to seeing everyone at the State of Black Science Fiction Convention June 11 and 12!

By Andrew Kemp
Contributing Writer

James Gunn’s GUARDIANS OF THE GALAXY VOL. 2 is now filming in Atlanta, and last week’s Atlanta Film Festival took advantage by booking a screening of the original GUARDIANS movie with a Q&A after with Gunn and actor Michael Rooker. If you heard about this event, it may have been in context of the grumpy final exchange between Gunn and a fan who asked Rooker if his GUARDIANS character, Yondu, was a just a copy of his racist redneck Merle from THE WALKING DEAD. But prior to that hiccup, the Q&A had been a lovefest between Gunn, Rooker and a roomful of appreciative fans. Here are some highlights from the rest of the session:

Gunn on taking the time to do the Q&A: “One of the reasons we wanted to come do this today is because, really, Atlanta has treated us really, really well so far. We have an amazing crew, many of whom are from Atlanta; the majority of them are from Atlanta. And it’s nice to be able to come and do something with you guys and give a little thanks for what you guys have given us. So we really just appreciate being here, and really the hospitality of the city in general. “

On GUARDIANS 2: “It’s been a lot of hard work, honestly. It’s a much bigger film. Also at the same time, a much more intimate film, more character-driven in certain ways, so it’s just a lot of work. And everybody has been on their game. The new cast members… Kurt Russell has been incredible. And Pom Klementieff… who plays a new Guardian has been just, she blows me away. She’s really been perfect.”

On directing actors: “It’s kind of like going through a dark cave and you’re looking for those moments of truth, which means that you’re kind of working together , you’re holding hands, you can’t always see exactly where you’re going, but you’re trying to find those true moments. So that often means that I’m having people do things again and again and again and again and again.”

On moving from indie films to blockbusters: “I don’t think I was ever scared of the scope. I feel like I’ve always wanted to do huge movies, so I think that I’ve always been working towards that. I’ve always been afraid of ‘are people going to like the movie,’ ‘is the movie going to make money?’ There are times on the first movie where I’d wake up at 3 a.m. and go ‘Oh no, am I making PLUTO NASH (2002)?’”

Rooker on people dressed up as GUARDIANS characters: “It’s better if they’re undressed.”

Gunn joking about Rooker: “We’ve done four movies, two webseries, two reality shows, a video game… it’s really my penance for my success. He is the cross I carry on my back. ‘OK, you can have all your dreams and your money and whatever, but you have to work with Michael Rooker.’”

Rooker on acting with pop songs: [After Gunn describes playing the pop songs on set as they’ll appear in the film] “It’s going, the music’s going. And then you hear ‘action.’ But by the time you hear ‘action,’ you’re already into the music. I’m telling you, it’s so hard to not bop along.”

Gunn on convincing the studio to hire Rooker: “There were a couple of people I had to fight for on the first movie. I had to fight for [Rooker] real hard and I had to fight for Dave Bautista. It was an uphill battle….Especially because you have these guys who are, like, 50ish year old guys, there’s a lot of them, a lot of really big actors around that age that would die to be in a Marvel project. So he’s not just auditioning against all of these other no name actors, they have to trust me to hire him over a bunch of A-list actors or guys who are just out of being A-list actors. So that’s what they had to put faith in.”

Gunn on Rocket Raccoon: “Rocket is my inner child. The whole movie to me was based on Rocket. Marvel came to me with this movie, I thought ‘you guys are crazy,’ this sounds like an insane idea. I was driving home from the meeting and I’m like, ‘OK, let’s say there was really a talking raccoon. How would that exist? And it was really that scene is everything, GUARDIANS was built out of that, so I have a very strong emotional connection to Rocket…. Rocket is really a combination of a lot of people. I write the character. My brother Sean does all the acting on set. Bradley [Cooper] comes and does the voice. We have a whole team of animators who help with the acting there. So there’s a lot of control I have, a lot more attachment to Rocket and to Groot in that respect.”

On SUICIDE SQUAD (2016) and other movies emulating GUARDIANS’ humor: “If it’s sincere, I think that’s great. For me, honestly, the reason why GUARDIANS was successful, and I believe the reason a movie like DEADPOOL (2016) was successful is because we really are sincere about it. This is the real stuff. Everything in this movie is something I believe in. I believe in those characters. Some people think I’m crazy. Because I love that raccoon. I mean, as much as I would love my own child. Really, it’s a little bit insane. But I love those characters so much, and I love that story so much, and I love that I was a kid that was not a normal kid and felt very alone. And luckily I had some artists out there, who I could listen to their music or watch their films, whether it was David Cronenberg movies or Alice Cooper’s music, where I thought ‘goddamn I’m not the only weirdo in the world.’ And to be able to make a movie that speaks to those people, that speaks to people that feel like they’re alone or like they’re outcasts or that don’t have friends or have screwed-up families and need that connection with other living beings, that they can feel some small part of that through seeing GUARDIANS, that is why I make the movies. And that is the only reason I make them.”

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

WHEN THE RAVEN FLIES (Iceland/Sweden 1984); Dir. Hrafn Gunnlaugsson; Starring Jakob Þór Einarsson; Sunday, June 23; 3 p.m.; Plaza Theatre; Preshow presentation and weapons/crafts for sale by Sons of Loki; Sponsored by Scandinavian American Foundation of Georgia; $8 general admission, $6 for SAFG members; PG-13; violence; parents should exercise caution when bringing children; Trailer; Facebook event page.

By Anya Martin

Vikings may come from cold climates, but Dark Age Scandinavians are hot right now, at least on screen. The TV series, VIKINGS, was such a hit that The History Channel has renewed it for a second season. With promises of capturing the authentic violence of the Vikings in Dark Age Britain, HAMMER OF THE GODS (2013) hits theaters July 5. The main villain in THE AVENGERS (2012) was Norse trickster god Loki, and THOR: THE DARK WORLD, a second feature about that Norse-God-turned-Marvel-Superhero premieres in November. Even Mel Gibson supposedly has BERSERKER, a “real and visceral” Viking feature in preproduction.

In the midst of this seeming Viking fever, critically acclaimed Viking adventure movie WHEN THE RAVEN FLIES (HRAFNINN FLYGUR) will get a rare return to the big screen at the Plaza Theatre on Sun. June 23 at 3 p.m. WHEN THE RAVEN FLIES recounts an Irishman’s quest for revenge on the Viking raiders who savagely killed his parents and abducted his sister. Ancient Norse gods figure prominently in the plot, and the prerequisite violence ensues. However, the film is as much a Western in its structure as a mythological saga with striking visuals of the desert replaced by stunning cinematography of the unique Icelandic landscape. Director Hrafn Gunnlaugsson describes himself as a disciple of Sergio Leone, John Ford and Akira Kurosawa, and the influence of all three is apparent. WHEN THE RAVEN FLIES is evocative of A FISTFUL OF DOLLARS, in that a mysterious stranger Gestur (Jakob Þór Einarsson) plays off tensions between Thor and Erik, the two brothers who lead the Viking band.

Poster for EMBLA, aka THE WHITE VIKING.

WHEN THE RAVEN FLIES has won several awards, including being voted one of the outstanding films of the 1980s at the Tokyo International Film Festival and Gunnlaugsson winning the 1985 Guldbagge Award for Best Direction, the Swedish equivalent to the Oscars. It was also nominated for the 1986 International Fantasy Film Award for Best Film.The movie is the first of the Raven Trilogy, which includes IN THE SHADOW OF THE  RAVEN (Í SKUGGA HRAFNSINS, 1987) and EMBLA (2007), aka the director’s cut of THE WHITE VIKING (1991), which was originally edited by that film’s producers without Gunnlaugsson’s approval.

If the melding of real Viking lore and Leone couldn’t be cool enough, the screening will be preceded by a live weapons demonstration by the Sons of Loki. These contemporary Vikings will also be present in the Plaza Lobby before and after the movie with Viking handicrafts and weaponry for sale and to answer questions about Scandinavian culture in the Dark Ages.

Still over the history of Hollywood, Viking movies have been relatively rare, compared to other historic-based genres such as the Western or the sword-and-sandle epic. And good ones with any relevance to actual Viking culture even rarer. Therefore, at ATLRetro, we decided to dig a little deeper to excavate a brief saga of Norse-inspired cinema.

THE VIKING (1928).

The first appearance of Vikings on film that we could find was THE VIKING (1928), a silent that chronicles Leif Ericsson‘s journey to the New World. The costumes apparently are strictly Wagner, the weaponry inauthentic and the actual history tenuous, but Leif’s father enthusiastically slaughters Christians and Princess Helga has a sexy winged helmet and heavy black eyeliner.

Unfortunately, Hollywood didn’t return to the world of the Vikings until the 1950s when a sudden splash of features hit the big screen. The first, PRINCE VALIANT (1954), was based on the popular comics series, directed by Henry Hathaway (who would go on to direct TRUE GRIT[1969]) and starred a young Robert Wagner. It was a fun sword-and-sorcery romp with links to the King Arthur legend and the bonus that the sword actually sung, but the plot has virtually nothing to do with authentic Vikings. Always one to follow a trend as cheaply as possible, Roger Corman followed with THE SAGA OF THE VIKING WOMEN TO THE WATERS OF THE GREAT SEA SERPENT (1957). In this cheesy fantasy frolic, a young way-pre-FALCON CREST Abby Dalton leads a bevy of scantily clad Norse babes to battle a monster and rescue a missing man.

Then came THE VIKINGS (1958), the first actual epic Hollywood treatment starring Kirk Douglas, Tony Curtis, Ernest Borgnine and Janet Leigh. Full of battles and striking cinematography in Norwegian locations, this romanticized story of two brother vying for a Welsh princess was directed by Richard Fleischer (20,000 LEAGUES UNDER THE SEA [1954]) and also benefitted from visual designs by Harper Goff, another 20,000 LEAGUES veteran as art director. Some time around then, by the way, was the only other Norse-inspired TV series, TALES OF THE VIKINGS, which ran about 19 episodes from 1959-60. Alas most of the footage is lost, but it lifted scenes and props directly from THE VIKINGS movie. You can hear the jaunty theme song here! Oh, wait, there was also the silly British children’s cartoon NOGGIN THE NOG which ran from 1959 to the mid-70s.

Italian giallo director Mario Bava (DANGER:DIABOLIK; BARON BLOOD) also tried his hand on two spaghetti Viking features, ERIK THE CONQUEROR (1961) and KNIVES OF THE AVENGER (1966) with American action hero Cameron Mitchell, who would go on to become best known as Uncle Buck in 1960s TV Western series THE HIGH CHAPARRAL. The first steals its tale of two brothers plot directly from THE VIKINGS, but is noteworthy for rich cinematography, strong action and dancing vestal virgins. California-based living history and educational group, the Vikings of Bjornstad point out in their wonderful Viking Movie List (see link at end), “This is a Viking-related movie. It’s 786 AD. The ships had red and white striped sails. Once in a while, someone yells “Odin!'” They go on to mention inaccurate costumes that even sometimes have clearly visible zippers, an “underground throne room left over from some Biblical Philistine movie” and a Viking village that seems to be made out of Lincoln logs. KNIVES OF THE AVENGER  is basically a spaghetti Western reset in the Dark Ages mixed with pirates, supernatural magic and lots of knife-throwing which the trusty Vikings of Bjornstad spare no punches to declare “Worst Viking Movie Ever!” As for Cameron Mitchell, maybe he aspired to be the Clint Eastwood of Italian Viking epics since he also starred in THE LAST OF THE VIKINGS (L’ULTIMO DEI VIKINGHI, 1961) and ATTACK OF THE NORMANS (I NORMANNI, 1962).

Charlton Heston is THE WAR LORD (1965).

In general, the 1960s weren’t good to the Vikings on screen, whether outright fantasy or not. THE LONG SHIPS (1964) is a lightweight adventure about a Viking quest for a golden bell in the Holy Land. Directed by Jack Cardiff, cinematographer of THE VIKINGS, and starring Richard Widmark as a Viking warrior and Sidney Poitier as a Moorish king, the movie is not really very Viking except for the presence of a long ship and round shields. But the action scenes nonetheless are amplified by lush Yugoslavian locations, and the titles were designed by Maurice Binder who crafted the Bond openers. Not surprisingly, Charlton Heston also did an obligatory stint as a Norman war lord in THE WAR LORD (1965) charged with defending his Duke’s land again Frisian invaders, who are costumed to look like Vikings, not a far stretch considering they came from near Denmark and were eventually conquered. Despite the stringy chainmail and Hollywood backlot locations, The Vikings of Bjornstad give this one a thumbs up, noting that Heston is well cast and it’s “one of the few films that touches on the differences between the Christian Normans and the pagans they ruled.” They also wouldn’t mind seeing a better update of another Hollywood film that had potential, ALFRED THE GREAT (1969), which starred David Hemmings as King Alfred and Michael York as Viking Chief Guthrum.

Britain’s Hammer Films, known for its high quality low budget horror, served up THE VIKING QUEEN (1967). The goofy plot is involves women wearing much too little to be comfortable in British climates, a Viking-Roman forbidden romance and a Brits versus Romans rebellion which evokes Celtic tribal queen Boudicca. Nobody obviously cared to check and see that Vikings didn’t raid the U.K. coast until long after the Romans had already left. Meanwhile, Danish film HAGBARD AND SIGNE (aka THE RED MANTLE/DEN RODE KAPPE, 1967)  transplanted a ROMEO AND JULIET storyline to two warring Viking families. Filmed in Iceland, Roger Ebert called it “a beautiful, lean spare film…the sleeper of the year,” and the Vikings of Bjornstad overall give it a thumbs up for aesthetics and action for the time.

Perhaps mercifully the long ships barely got unmoored during the ’70s, with the highest profile feature THE NORSEMAN (1978) sinking at the box office despite starring a hunky Lee Majors, at the peak of his SIX MILLION DOLLAR MAN fame, with a Tom Selleck moustache as Greenland’s Prince Thorvald. It followed the frequent Viking movie plot of a journey to the New Land, in this case to free his father King Eurich (Mel Ferrer) who is imprisoned by Native Americans, and the brawny cast also included quirky character actor Jack Elam, then a Western staple; NFL stars Fred Biletnikoff and Deacon Jones, and Denny Miller (TARZAN THE APE MAN, 1959). Oh, lest we forget, Walt Disney action-adventure flick THE ISLAND AT THE TOP OF THE WORLD (1974) included a lost Viking colony.

In the ’80s, ERIK THE VIKING (1989) literally became a bad joke. Alas it was to be a Monty Python vehicle starring Graham Chapman, but while Terry Jones directed and John Cleese plays the villain, audiences just didn’t find it funny maybe because of the sheer unlikelihood of Mickey Rooney, Eartha Kitt and Imogen Stubbs appearing in even a satire of a Norse saga. Tim Robbins valiantly gave his best effort to star as Erik who ironically was tired of marauding and goes on a quest for a magic horn of peace.

Well, that’s in the English and apparently Italian speaking world of mainstream movies. In Iceland where Vikings actually lived, the 1980s produced a number of features that purported to be more authentic takes on Norse culture. The first was OUTLAW, THE SAGA OF GISLI (UTLAGINN, 1981), based directly on the Gisla saga. Then director Hrafn Gunnlaugsson embarked on WHEN THE RAVEN FLIES, the film which is playing at the Plaza and became the first installment of a Viking trilogy. Norway also produced THE LITTLEST VIKING (1989), a charming children’s tale about a daydreaming boy who seeks to end a feud with another clan. It apparently has lots of stunning fjord shots.

In the ’90s and 2000s, the mainstream Viking feature took a turn towards being more gritty and gory, allegedly to be true to the times or well, because, dark sells movie tickets. Several interesting ventures featuring high-profile directors and actors sailed onto the big screen. The first was ROYAL DECEIT (aka PRINCE OF JUTLAND, 1994), a supposedly period-accurate retelling of HAMLET starring Christian Bale as a sixth century Danish prince whose father (Tom Wilkinson) is murdered by a power-hungry uncle (Gabriel Byrne, who would be back in Viking robes as the surly old chieftain in The History Channel’s VIKINGS this spring). Of course, he has the hots for his hot mama (who else but Helen Mirren?!). The Vikings of Bjornstad like that the costumes, weaponry and sets are simple, hence probably more period accurate, but otherwise found it disappointing despite what would seem to be a strong cast. The European version is 17 minutes longer than the US/Region I DVD version.

THE 13TH WARRIOR (1999)

Next up is the uber-violent THE VIKING SAGAS (1995), directed by Michael Chapman, the cinematographer of Martin Scorsese‘s RAGING BULL (1980). It starred Ralf Moeller (TV’s CONAN, GLADIATOR) and was actually filmed in Iceland. Alas, the acting and script are not much, but it has a mythic quality with a magic sword – as much a must seemingly for a Viking movie as a medieval fantasy one – and more of an authentic look than most of its predecessors, actual Icelandic movies excepted.

And then THE 13TH WARRIOR (1999) nailed the look and feel of a Norse legend perhaps better than any Hollywood film that came before it. Originally titled EATERS OF THE DEAD and based on a Michael Crichton novel, it was meant to be a gory but realistic retelling of BEOWULF, but really more captured the spirit of a Robert E. Howard short story though its outsider hero, an Arab ambassador played by Antonio Banderas, was more spirit and intellect than Conan the Barbarian brawn. Unfortunately, director John McTiernan (DIE HARD, PREDATOR) was not allowed the final cut (the idea of a director’s version someday being released seems increasingly remote especially with McTiernan now in prison). However, enough of McTiernan’s vision remained that THE 13TH WARRIOR acquired a loyal fan following (including a high recommend from ATLRetro and an even better authority – the Vikings of Bjornstad).

Yeah, we are going to skip quickly over the disappointing PRINCE VALIANT (1997) – ATLRetro would love to see a PRINCE VALIANT that’s true to Hal Foster‘s wonderful comic which has been recently resurrected by masterful illustrator Gary Gianni, but this is NOT it. And no time is worth devoting to BEOWULF (1999) starring Christopher Lambert who at some point after GREYSTOKE did completely forget how to act. And the Vikings of Bjornstad say everything worth saying about BERSERKER: HELL’S WARRIOR (2004) in this phrase – “time-traveling immortal Viking vampires who wear sunglasses in discotheques…So overdone.”

The Vikings of Bjornstad rank Polish movie THE OLD FAIRY TALE (STARA BASN, 2003) as “the best Viking movie” for its historical accuracy. Directed by Jerzy Hoffman, who has been called Poland’s John Ford, the 9th century story revolves around a wicked Polish king and a Viking-raised hero. Apparently, Viking reenactment is big in Poland, which the Vikings of Bjornstad think may have contributed to it, first, getting made, and second, its high quality. Also well worth a view for its stunning Icelandic scenery and interesting take on the quintessential Saxon/Norse legend is BEOWULF AND GRENDEL (2005), starring a pre-300 Gerard Butler and featuring some of the best Viking era costumes of any film.

In South Africa-filmed low-budget BEAUTY AND THE BEAST (BLOOD OF BEASTS, 2005), Odin punishes a Viking princess (Jane March)  by trapping her in a castle with a beast. A Gallic bande dessinee hero finally gets big-screen treatment in the French animated comedy ASTERIX AND THE VIKINGS (2006) which seems to forget that Vikings weren’t around yet in AD 50. Robert Zemeckis‘s much-touted 3D BEOWULF (2007) honed so close to the original poem, probably thanks to Neil Gaiman being involved in the script, but yes, the animation even of beautiful Angelina Jolie as Grendel’s evil mother, is decidedly creepy.

PATHFINDER (2007) starred Karl Urban, who certainly looked mighty Norse as Eomer in THE LORD OF THE RINGS trilogy, as a Viking raised by Native Americans who ends up leading the tribe that raised him in battle against new Viking invaders. A crappy remake of a much better 1987 Norwegian movie, the story really comes from Lapland/Sammi mythology. Directed by Marcus Nispel (TEXAS CHAINSAW MASSACRE [2003], CONAN [2011] ), it’s gory melodrama with lots of mist. The same year (2007) also saw the release of the more serious and well-reviewed SEVERED WAYS: THE NORSE DISCOVERY OF AMERICA.

Jim Caviezel (THE PASSION OF THE CHRIST) travels back from the future to 8th century Norway in  OUTLANDER (2008). Viewers who ignore that this mash-up of Norse mythology and sci-fi is light on history may have silly fun. It features both laser guns and swords, a monster, John Hurt as the old king, Sophia Myles as the prerequisite sexy princess and Ron Perlman as a gruff Viking with, let’s just say, poor manners.

And then there’s VALHALLA RISING (2009). Director Nicholas Winding Refn (DRIVE) spares no punches with the ultra-violence in which Christian Vikings and a mute slave (Mads Mikkelsen, HANNIBAL, CASINO ROYALE) headed for the Holy Land get blinded by fog  and end up in the New World. An article in Movie Fanfare on the “Top 13 Viking Films You Need to See” (see link at end) perhaps put it best: “VALHALLA RISING plays like THE VIKINGS co-directed by Terrence Malick and Italian gore specialist Umberto Lenzi!”

And oh yeah, there was some movie about a Marvel super-hero named THOR (2011).

For more about Vikings in the Movies, check out the Vikings of Bjornstad’s Viking Movie List, as well as Movie Fanfare’s “Top 13 Viking Films You Need to See.” 

Friday, June 24

Blair Crimmins

Things could get dangerous as radical ragtimers Blair Crimmins & the Hookers revive the Roarin’ Twenties after A Fight to the Death and Lille at The Earl. Read ATLRetro’s interview with Blair here. If you missed AM Gold‘s brilliant heartfelt rendition of the entire Steve Miller Band’s Greatest Hits ’74-’78 album at Bubbapalooza, we guess you could settle for the real Steve Miller Band at Delta Classic Chastain. Experience a funkier kind of jazz with Cadillac Jones at Star Bar. Catch an IMAX movie and swing dance the night away to Kingsized at Fernbank Museum of Natural History’s Martinis and IMAX.

The bewitching Dario Argento classic SUSPIRIA, starring Jessica Harper (PHANTOM OF THE PARADISE) and Joan Bennett (DARK SHADOWS), is this month’s feature for Shriek Theatre Movie Night at DooGallery. And Film Love:Robbie Land includes 16 mm shorts and a chance to meet the acclaimed filmmaker. Works include MICANOPY WINTER WONDERLAND, which documents an antique jukebox converted into a diorama wonderland scene, and FLORIDALAND, about defunct Florida theme parks from 1960s, ’70s and ’80s. Film Love founder/director Andy Ditzler was a recent Kool Kat.

Saturday June 25

Greg Theakston, comics writer/artist and the man who rediscovered Bettie Page, signs JACK MAGIC, THE LIFE AND ART OF JACK KIRBY, his definitive biography of the King of Comics who co-created many of Marvel’s most iconic characters from Captain America to the Fantastic Four, from 3 to 6 PM at Criminal Records.

Forget 3D! Ever seen a movie in hypnoprismoscope? Ghost Host with the Most Prof. Morte will unveil the mysterious new process this weekend as The Silver Scream Spookshow screens schlocky 1953 sci-fi/horror – well we’re not sure it’s a classic – movie ROBOT MONSTER at the Plaza Theatre. Come early for the hilarious pre-film stage show featuring gorgeous dancing ghouls and other fiendish friends. Kids matinee at 1 PM and adult show at 10 PM. Look for ATLRetro’s review soon.

It’s also the last day to see the ever irreverent Dad’s Garage Theatre take a stab at the ’80s horror genre of camp slasher films in SLAUGHTER CAMP about a homicidal maniac terrorizing a theatre camp. DJ Romeo Cologne transforms the sensationally seedy Clermont Lounge into a ’70s disco/funk inferno.

Sunday June 26

It’s a day for new exhibitions. At the High, be among the first to experience RADCLIFFE BAILEY: MEMORY AS MEDICINE and JOHN MARIN’S WATERCOLORS: A MEDIUM FOR MODERNISM. Read more about the former in this week’s Kool Kat. Marin was named America’s number one artist in a 1948 LOOK magazine survey. While his name is not a household one today, this exhibition reminds us of his important place in the modernist movement and why watercolors became such a powerful instrument for avante-garde art in the hands of him and other artists in the Stieglitz Circle, including Georgia O’Keefe.

The Museum of Design Atlanta (MODA) opens its newest exhibit WaterDream: The Evolution of Bathroom Design, which runs through Sept. 24 in the dynamic new Midtown space. Displays take visitors through a four-part journey into the bathroom including the birth of minimalist aesthetics in 20th century design and progress into current concepts.

The Barrow Boys headline blues “dunch” between 1 and 4 PM at The Earl. And at night catch ’80s-founded alt-rockers Dinosaur Jr. at Variety Playhouse.

Ongoing

MODERN BY DESIGN, the High‘s newest special exhibition celebrates three key moments in modern design and also the Museum of Modern Art, New York‘s (MOMA) collection history. The works on loan from MOMA cover “Machine Art” (1934), “Good Design” (1950-55) and “Italy: The New Domestic Landscape” (1972), with the latter addressing modernism in the context of 1960s and ’70s counterculture.

Margaret Mitchell Typing - Courtesy Margaret Mitchell House

Get a rare chance to view original manuscript pages from the last four chapters of ATLANTA’S BOOK: THE LOST GONE WITH THE WIND MANUSCRIPTat the Atlanta History Center. The new exhibit, which opens today and runs through Sept. 5, is part of a series of activities celebrating the 75th anniversary of the publication of the international bestseller and also includes foreign and first edition copies, the desk Margaret Mitchell used while writing it and select images.

Tune back in on Friday for Weekend Update. If you know of a cool happening that we’ve missed, send suggestions to ATLRetro@gmail.com.

Back in the day, a motley group of UGA art students had this crazy idea to start a band that combined their love of punk rock, beer and the King of Rock ‘n’ Roll. For about a decade, Dead Elvis was a—welcome to some, nightmare to others—fixture on the Atlanta music scene, drinking buckets of booze and spewing out hard-ass, high-energy hardcore with their signature sense of humor. All the local fame and phlegm, though, never went to their heads—shhh, don’t tell anyone but they’re really swell, sweet guys. But in the mid-1990s as punk began to fade into Green Day-fueled corporate respectability, the band parted ways.

That is, until an awesome set at the 688/Metroplex reunion concert at Masquerade in 2009. Since then Dead Elvis has been rising from the grave periodically to haunt the Atlanta scene. The next of those occasional gigs is this Saturday, February 26, at Star Bar. This time they are teaming up with the El Caminos, another Atlanta classic, and Sex Pistols tribute band Sid Vicious Experience, for a not-to-be-missed old-school punk revival to raise money to help good friend Ed Waller who was in a serious motorcycle accident last fall.

ATLRetro recently caught up with Squirmy Rooter, aka Derek Yaniger, for a sneak peak and to find out what the band has been up to. Since those decadent days, Derek also has forged a righteous reputation as one of America’s top retro pop culture artists. His self-described “chicken scratchins” have appeared in Marvel Comics and on the Cartoon Network, as well as in scads of vintage revival magazines such as Atomic, Barracuda and Car Kulture Deluxe. He’s also designed posters for some of the nation’s premiere retro gatherings like Tiki Oasis, Hukilau and the Wild Weekend. And soon you’ll be seeing his artwork right here as ATLRetro revs up its engines to supersonic this spring.

1. For all the young ‘uns, what’s the quick history of Dead Elvis’s origins and how you got involved? As I recall, the band was founded in 1984 and it had something to do with beer?

I’m a little fuzzy on when she all began, but 1984 sounds about right. The bass player Ernie Danzig, lead singer (Tranny Danny) and myself (Squirmy Rooter) met in the halls of the Art Department at UGA. We were surrounded by heaps of other bands in Athens, but no one was makin’ with the punk rock bit. It wasn’t until we graduated and moved to Atlanta and met up with our lead guitarist Jet [Terror], that Dead Elvis finally rose from the crypt. And yes—it had a LITTLE somethin’ to do with beer!

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Ghost Riders Car Club guitarist Spike Fullerton agrees that Pho Truc, a Vietnamese restaurant in Clarkston, may seem like an unlikely place to find live rockabilly and honkytonk, but don’t let appearance deceive you Thursday nights this month. With their characteristic sense of humor, the band, which features some of Atlanta’s top professional musicians, has dubbed these gigs “Tet 2011: A Guaranteed Nguyen,” a pun on the common Vietnamese surname which is pronounced “win.”

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