ATLRetro

Dracula and his wives in DRACULA THE ROCK OPERA at 7 Stages; L-R: Jessika Cutts, Rob Thompson, Naomi Lavender, Madeline Brumby.

In this Week’s Kool Kat, we break the rules and give it to more than one person – those crazy kids in the Little Five Points Rock Star Orchestra.  Don’t miss DRACULA THE ROCK OPERA before it closes this Sunday, October 14 at 7 Stages. 

DRACULA THE ROCK OPERA melds JESUS CHRIST SUPERSTAR with Grand Guignol in a production that not only rocks hard and delivers a horrific, non-twinkly Nosferatu, but also is surprisingly true to Bram Stoker‘s original novel. Not to be missed, this DRACULA brings the rock opera genre into the 21st century with the energy, musical, acting and staging quality of an off-Broadway find. Seeing it is like discovering HEDWIG AND THE ANGRY ITCH in 1998 or THE ROCKY HORROR SHOW in a tiny upstairs theater in London in 1973. But hey, wait a second, this is Atlanta’s 7 Stages Theatre, not New York, not London, not even LA or Chicago. And it’s not Rob Zombie, but Rob Thompson. How the HELL did that happen?

The short answer is years of hard work by the Little Five Points Rock Star Orchestra, a motley crew of badass tattoo-covered Atlanta musicians, stage professionals and grassroots performance artists whom you haven’t heard of most likely unless you live here. If you don’t live in Atlanta, you probably won’t believe this gang of music misfits, most with ultra-light theater experience, has produced a libretto, lyrics, acting and staging that set DRACULA THE ROCK OPERA tooth and claw above community theater.Maybe you’ll be more convinced when I point out that they did have the benefit of Del Hamilton, a seasoned internationally acclaimed director, to guide them. DRACULA will be the last of 80 shows which he has directed before he steps down as artistic director of 7 Stages, building with Faye Allen, a reputation for this company as one of Atlanta’s most edgy. It’s a testament to Hamilton’s vision that he was willing to take on a venture in the pop culture/horror arena as his swan song (though he will continue to stay active in 7 Stages). Clearly Hamilton drove the cast and production crew to their highest potential, ably assisted by longtime Atlanta actor Justin Wellborn, who returned from Los Angeles to work on DRACULA.

Harker (Chris Love) receives a dire warning from a gypsy woman (Naomi Lavender).

In JESUS CHRIST SUPERSTAR, the son of God is reborn as a rock star, and so likewise is the iconic vampire dark lord of fiction as Rob Thompson emerges on stage, dressed as Vlad the Impaler with a long dark mane, a Gothic red velvet vest so pointy it looks like it could cut you, and tight black leather pants. At first he is bending his fingers and arching his back, creating a shadow image creepily reminiscent of Max Schreck in the iconic silent NOSFERATU (1922). But soon recharged by the promise of a new feeding ground in England, he is re-uniformed in a blood-red cape, red and black boot chaps and a sword. With his petulance, cockiness and powerful voice, Jim Morrison meets Ozzy as Thompson emotes on the power of blood to a heavy beat right out of Black Sabbath.  This Count is no romantic sparkly vampire, but a black metal superstar of evil whose immortality is dependent on the death of humanity.

When ATLRetro reviewed the first act, then titled HAUS VON DRACUL, during a trial run last year, we called that review “Dracula Superstar but Love is the Answer.” That tagline still holds true in that DRACULA THE ROCK OPERA is unique among Dracula dramatizations for having a strong/non-wimpy rendition of Jonathan Harker in the transcendent voice and passionate mannerisms of African-American actor/musician Chris Love. With a lion’s mane of long black hair, Love is already a daring visual choice for a role too often played close-cropped and straight-laced. Now Thompson has caught up with Love, but Love, as Harker, continues to embody the everyman (us by proxy) as he arrives on stages and declares in a moving opening solo that “a good man is a true man”  and later a stranger in a strange land, “all alone away from Mina.” Bram Stoker’s novel is written in the epistolary form with characters expressing their ebbing terror through diary entries and letters, and this rock opera masterfully embraces that format, often taking lines directly from the book and making the audience a confidante. In Love’s hands, Harker’s predicament gets progressively lonelier, reminds us that the vampire is evil and not to be embraced, progressively raising the stakes and easing the first act towards a sense of doom with no hope and escape.

Van Helsing (Jeff Langston, center) and Lucy's three suitors, Quincey (Shane Morton), Seward (Chaz Pofahl) and Arthur (Jed Drummond) make a "vein" attempt to save Lucy's (Jessika Cutts) life with blood transfusions.

Beyond Dracula’s tight leather pants, the “sex” side of rock n roll comes center stage early in Harker’s seduction by Dracula’s three wives, played to a perfect sirenic pitch by Muleskinner MacQueen Trio chanteuse Naomi Lavender (who also plays a gypsy woman and Mina), Madeline Brumby (known in the neo-exploitation movie world for her breakout role in also-Atlanta-produced DEAR GOD! NO!) and Jessika Cutts (who also plays Lucy). Their breasts show through white diaphanous robes, a clear homage to the sexy female vampires of Universal, Hammer and the lesbian vampire B-movie genre, and this production ups their otherworldly quality by adding exotic Eastern European headpieces and dance moves reminiscent of a Kali ritual. The actresses achieve a chemistry in their ethereal voices and interplay that only heightens the erotic tension and also their profound loneliness, trapped in the castle with the Count.

The first act showcases how to effectively use minimalist sets, lighting and an ensemble cast. No coach is needed with just Harker sitting vulnerably on steps while a mad driver thrashes a long whip, a small herd of humans outfitted in haphazard fur pelts furiously keeping pace to a metal beat. Less is more is also well-executed in the similarly soundtracked (the beat always gets heavy when Dracula is at his most bloodthirsty) ship scene conveying the hopelessness of the captain (Rick Atkinson) trying in vain (vein?) to keep his ship afloat in a stormy sea while the Count devours his crew in one of the play’s bloodiest scenes (watch out, front row!).

Van Helsing (Jeff Langston), Vampire Slayer!

DRACULA THE ROCK OPERA has to introduce a lot of new characters rapidly in the second act, and this task is mostly achieved well, including characters who appear in the book but often excluded from screen and stage. In a poppy update of Cole Porter’s “Tom, Dick and Harry” from KISS ME KATE, Lucy (Jessika Cutts) enthusiastically emotes to her best friend Mina (Naomi Lavendar) about her three suitors, earnest, bowler-hat-wearing Arthur (musician Jed Drummond in his stage debut); Dr. Seward (Charlotte, NC-based actor Chaz Pofahl), who runs the asylum (how romantic!); and Quincey, an American cowboy played with appropriate “home-on-the-range” swagger and just the right nod of humor by Atlanta horror Renaissance man-about-town Shane Morton (Professor Morte of the Silver Scream Spookshow, DEAR GOD! NO!, Gargantua, etc.) against type – in other words, more country than rock (Note: because of Shane also being the mastermind of the Atlanta Zombie Apocalypse, Arnie Lowder is now playing this role Thurs-Sat for the last few weeks of the run).

We already have a sense of Mina from Harker’s songs about her. Like in so many Dracula dramatizations, she could be just a romantic foil and vampire victim but fortunately Lavender’s unique voice – Kate Bush meets Janis Joplin, with a twist of Jane Wiedlin?! – and sheer dynamic energy forestall that possibility, ultimately ensuring she will be an equal to the otherwise male vampire-hunting team. Renfield’s crazed obsessiveness with Dracula is portrayed with a manic frenzy and an appropriately metalhead of frizzy curly hair in a breakout performance by Rick Atkinson, who has been with the L5P Rockstar Orchestra since its first production of JESUS CHRIST SUPERSTAR in the mid 2000s.

Meanwhile, Dracula in London is more of an omnipresent villain, now re-energized by a city full of fresh blood into full throttle rock star and re-attired in a black leather jacket (think actual suit jacket – Steve Tyler, not Sid Vicious). Fortunately Thompson and company recognize that he needs a similarly rocked-out foil not a dawdling elderly professor. Not your mama’s Van Helsing, this vampire hunter in purple is Doctor Strange meets Freddie Mercury. Jeff Langston, of hard-rocking Atlanta-based bands Ledfoot Messiah and AM Gold,  is just the hard-edged leader to unite Lucy’s triad of suitors to try and save first her life (no, they don’t succeed despite a steampunky transfusion gizmo) and then Mina’s as the Count makes them his inevitable victims. Ultimately, the intrepid group must travel all the way back to Transylvania to finish the battle, and as for the end, if you’ve read the book, well, you know it. And if you haven’t, you may well be surprised.

Rob Thompson as Count Dracula/Vlad the Impaler.

Ultimately that DRACULA THE ROCK OPERA is bound and determined to be tightly faithful to Stoker’s novel is both its strength and an occasional weakness, however, because occasionally that fealty causes some dramatic challenges. For example, after act one, it seems impossible when Mina receives a letter from Jonathan Harker that he has somehow escaped Castle Dracula. (Maybe a side performance showing Harker escape in pantomime might clarify?). Another scene that felt like it needed a little more work was a city scene in which Harker spies the Count for the first time in London stalking female victims. But these really are only small complaints in what overall is a fantastic production. Let’s hope for an encore soon and more runs well beyond Atlanta.

All photos courtesy of 7 Stages and DRACULA THE ROCK OPERA and used with permission.

Millicent Patrick poses with the head she designed of THE CREATURE FROM THE BLACK LAGOON. Photo credit: Universal Pictures, 1954.

Silver Scream Spookshow Presents THE CREATURE FROM THE BLACK LAGOON in 3D (1954); Dir: Jack Arnold; Starring Richard Carlson, Julie Adams, Richard Denning and Ricou Browning; Sat. June 30;  kids matinee at 1 PM (kids under 12 free & adults $7) and adult show at 10 PM(all tickets $12); All proceeds of today’s shows benefit Atlanta’s oldest running independent cinema, the nonprofit Plaza Theatre; Trailer here.

We can’t say where you’ll find a Sasquatch in the actual woods, but we’re damned sure that you can spot BIGFOOT, one of Atlanta’s most badass and hard-edged rock bands, twice in the next few days right here. First they’ll be grinding their guitars at Sunday June 3 at the 10th annual Rock n Roll Monster Bash 2012 at the Starlight Drive-In (gates open at 10 a.m.). Then Tuesday June 5, BIGFOOT headlines the DVD release party for DEAR GOD NO!, the home-grown grindhouse film that’s been turning heads and stomaches all across the nation and stars BIGFOOT front-man Jett Bryant.

In case you’re living under a rock and haven’t heard about the Rock n Roll Monster Bash. It’s an all-day, all-night horror festival featuring Dames, Bands, Ghouls, Food, Creeps, Hot Rods, Hearses, Flicks, Freaks, Vendors Werewolf Style Parking Lot Partying and Monstrosity Championship Wrestling hosted by the Silver Scream Spookshow‘s Professor Morte. Other bands playing include X-Impossibles and one of them now rare but always unforgettable performances by Atlanta punk legends Dead Elvis, including ATLRetro logo artist Derek Yaniger. And damn you, dirty ape, but after dusk, lucky attendees get to see 35mm prints of the incomparable, original PLANET OF THE APES (1968) and zombie comedy RETURN OF THE LIVING DEAD (1985), on the big Drive-In screen! If you haven’t already read Gene Kannenberg‘s awesome remembrance of growing up with the Apes and making ape masks with paper and crayons, check it out here.

When DEAR GOD NO! launched its world premiere at the Plaza Theatre last fall, the Star Bar must’ve been empty. Indeed, the number is legion when it comes to talented folks from Atlanta’s alt-garage, Redneck underground and horror scenes who worked on the movie. Familiar faces in the cast and crew including Shane Morton (Silver Scream Spookshow, Gargantua, Atlanta Zombie Apocalypse), Nik Morgan (Splatter Cinema), Billy Ratliff (Truckadelic), Madeline Brumby (check out our Kool Kat on Madeline here), Jas. M. Stacy (Starlight Drive-In, Palookaville, Get Delicious!, AM Gold) and many more. Since then, Director Jimmy Bickert‘s “unapologetic homage to classic grindhouse cinema” (DailyGrindhouse.com) has taken the festival circuit by storm and hauling in reverent reviews from lovers of exploitation films. The Big World Pictures release will finally be available on DVD on Tues. June 5, with a ton of bonus features, and to celebrate, the public is invited to the FREE party and screening that night at The Masquerade (doors at 8 p.m.).

Shot in 16mm with ’70s period-authentic effects, DEAR GOD NO! follows outlaw motorcycle gang The Impalers, led by Jett Bryant (yup, that’s his character’s name, too), on a tri-state rape and murder spree which culminates in a bloody massacre with rival club Satan’s Own in a dive bar (actually Tucker Saloon) with the added bonus of topless strippers in Richard Nixon masks with machine guns. Still keen to continue their rampage, the survivors invade a mountain cabin occupied by a scientist and his geeky/sexy daughter. And that’s when the depravity really begins as the bikers realize the scientist is mad, his wife is madder, and the monster that lurks in the wilderness outside is maddest of all.

So it just seemed kinda natural (or should we say, supernatural?) to catch up with Jett, who also plays in AM Gold and has played Jesus on stage in JESUS CHRIST SUPERSTAR, for a down and dirty little talk about Bigfoot and why  hard rockers, drinkers and monster movie lovers alike need to get out of the house both Sunday and Tuesday! Dear God! Yes! That’s why we’re proud to say that we live in the city with America’s finest Retro horror scene!

First off, let’s talk BIGFOOT. How did the band get started and what’s your sound like for the uninitiated?

BIGFOOT was started by Jimmy Hall and Evil Jim Wright, two of the most badass guitarists you can imagine. Together with Micheal Faulkner (bass), Kevin Watford (drums) and myself, you get the rowdy and raunchy BIGFOOT—a very loud and heavy southern rock with high energy.

Do you have any special plans for your gig at Rock n Roll Monsterbash 2012?

My biggest plan is not to be too drunk when I get onstage.

What’s your favorite part of this year’s Monster Bash, other than BIGFOOT, of course?

I’m looking forward to seeing PLANET OF THE APES and RETURN OF THE LIVING DEAD on the big screen. I love me a zombie movie. I like the goofy punk rock situation in the graveyard, and Linnea Quigley gettg all naked and eaten by zombies is pretty cool, too. It’s always been a favorite movie of mine. And apes taking over the world, what’s not to love about that?! It’s always a pleasure to see a movie at the drive-in. That’s the best way to see a movie as far as I am concerned. You can bring your own beer. I love it.

How do you feel about all the positive buzz DEAR GOD! NO! has been getting on the festival circuit?

I’m excited about it. I think it’s great. I always wanted to be famous or infamous. However,  the f–k you look at it. Jimmy did a really great job with that movie. I wasn’t surprised that it was such a big hit just because I’ve known Jimmy Bickert forever and he put all his attention into it. I haven’t seen him do that in years. It’s about time.

Is it just coincidental that you’re in a band called BIGFOOT and a Bigfoot is the monster in DEAR GOD! NO!?

It’s total coincidence that the band is called BIGFOOT and the movie contains a raging sasquatch.The band name came about while we were tossing ideas back and forth and our buddy Ted got impatient waiting for us to figure it out because he needed to make a flyer. So he just dubbed us BIGFOOT

Did you ever feel like the movie was going too far in pushing the limits with the sex, violence, gore and general disgustingness? What do you say to people who are offended?

DEAR GOD NO! is a pretty brutal film, but it’s all in good fun. However, I will not let my mama see this picture

Your character in DEAR GOD! NO! bears your name. What’s the difference between you and him, and are you ever uncomfortable with that—given the crazy, sick things he does in the movie?

As far as playing the character Jett in DEAR GOD! NO! I really just played myself, took out all the good parts and replaced it with the DNA of a honey badger.

I can just imagine how much fun you had recording the commentary track for the DVD with Madelaine Brumby and Shane Morton. Can you talk a little about how you guys approached that and maybe share one favorite behind-the-scenes story? 

We all just sat around with microphones and watched the picture. They got wine-drunk and I got beer-drunk. Shane and I have been friends for a long time so it wasn’t even like work. It was just like hanging out with my buddy. As for a story, [shooting the film] was all pretty long days, but John Collins (Collins in DEAR GOD! NO!) was always making it pretty loose and funny. He made a habit of sending us pictures of his turds when taking a shit. It is not on the commentary track, but it is on blooper reel, a little Easter egg they have in there.

You die in DEAR GOD! NO! but everyone knows that never stopped a character from coming back in a sequel. Will we see Jett Bryant again in the sequel, FRANKENSTEIN CREATED BIKERS, or can you tell us?

My character will return in the sequel, probably more pissed off considering he’s been woke from the dead.

Anything you want to add about Bigfoot’s performance at the DVD release party next Tuesday?

We’re excited about it, but it’s just going to be another badass BIGFOOT show, you know!

What about what you’re up to with AM Gold, any other acting plans and what’s next for BIGFOOT?

BIGFOOT’s going to keep stomping like they do, we’re going to keep make movies, and AM Gold’s going to keep playing festivals!

by Gene Kannenberg, Jr.
Guest Contributing Writer

PLANET OF THE APES (1968); Dir: Franklin J. Schaffner; Writer: Michael Wilson and Rod Serling; Starring Charlton Heston, Roddy McDowall, Kim Hunter, Maurice Evans; 10th annual Rock N Roll Monster Bash 2012, Starlight Drive-In, Sun. June 3; gates at 10 a.m. and movies at dusk; trailer here; an all-day, all-night horror festival featuring Monstrosity Championship Wrestling hosted by the Silver Scream Spookshow‘s Professor Morte. Bands include X-Impossibles, Bigfoot, Dead Elvisand more. Also playing: RETURN OF THE LIVING DEAD (1985)

I can barely remember a time when I did not know about PLANET OF THE APES (1968).

Watching the PLANET OF THE APES movies was a ritual for me when I was a boy in the early-to-mid 1970s. WVTV Channel 18, Milwaukee’s independent TV station, used to run POTA marathons at least once a year, it seemed; every Friday for five weeks in a row we’d get another installment, and I was always riveted to the screen, beginning, of course, with the original film directed by Franklin Schaffner and originally released in 1968.

After all, the idea of astronauts from Earth discovering a world ruled by talking animals is tailor-made for a child who has outgrown (for the time being) fairy tales but is fascinated by (1) the space program (we were still going the moon back then) and (2) dinosaurs and other monsters. The action was intense, the apes looked wonderful (some noble, others menacing), and the ideas were mind-expanding, thanks in no small part to script work by Rod Serling of THE TWILIGHT ZONE fame.

Was there ever a more effective introduction of menace into a film than the attack by the gorillas in the cornfield? The mute fear of the humans; the shots of the whips above the corn; Jerry Goldsmith’s harsh, urgent soundtrack; and the ultimate reveal of the gorillas on horseback, with the zoom-in on a gorilla’s face? It was breathtaking at the time, and it’s still a powerful moment today.

The famous Statue of Liberty scene in PLANET OF THE APES (20th Century Fox, 1968).

I wish I could tell you how shocked and stunned I was the first time that I, along with Taylor (Charlton Heston), discovered the half-buried Statue of Liberty and realized that the Planet of the Apes was, in fictional-fact, our own planet Earth. I wish I could, but I can’t; because I can’t remember ever not knowing this fact. I’m sure I was awestruck the first time around—how could a child not have been, after witnessing such a brutal, unfamiliar world? All I can remember is enjoying the ride each and every time I watched the movie—any of the movies, even the less-than-stellar BATTLE FOR THE PLANET OF THE APES (1973). (And that Statue of Liberty moment has, rightly, become one of the most famous in movie history – in fact, it was even included in a film better-known as being an adaptation of HAMLET )

Taylor (Charlton Heston), Zira (Kim Hunter) and the body of dead astronaut Stewart (Diane Stanley). PLANET OF THE APES (20th Century Fox, 1968)

I must admit that, to my young mind, one of the most mysterious and terrifying parts of the the movie came early on with the death of Stewart (an uncredited Diane Stanley), the female astronaut who doesn’t survive suspended animation. When Taylor discovers her corpse, it all happens so fast that I was never sure what was going on. In hindsight, it’s clear that her cryogenic capsule failed, and that her body mummified during the other astronauts’ long sleep. But when I was a child, I couldn’t understand why she looked the way she did. We only see her corpse for a second, so that added to the mystery. For the longest time, I thought that perhaps she had somehow been turned into an ape as some sort of warning. Now, I realize that doesn’t make any sense; but when you’re eight years old, sense is a precious, elusive quantity. Seeing her corpse as a warning of what was to come made perfect, terrible sense to me back then.

Watching these movies on TV also gave me my first taste of behind-the-scenes promotional films. Sometimes Channel 18 would pad out the movies to three hours, but even with commercials there would still be time left over before the 10 o’clock news. So they occasionally filled the extra minutes with “making-of” documentaries about either the POTA films or the short-lived live-action PLANET OF THE APES television series (1974). Here was my first glimpse into “movie magic,” and in particular, the fascinating world of prosthetic makeups. Nerdy kid that I was, I found myself amazed at the skill and ingenuity that makeup creator John Chambers and his crew demonstrated in slowly, slowly building up appliances onto the actors’ faces, transforming them into incredibly believable simians.

Maurice Evans as Dr. Zaius in PLANET OF THE APES (20th Century Fox, 1968)

I was so taken with the makeup process that I decided to try it myself. However, being eight years old (or so) and without access to latex and yak fur, I made do with what I had available: paper, crayons, scissors, and tape. Building upon what I’d seen in the documentaries, I made articulate ape masks for my younger brother John and myself. (I got to be a chimpanzee, natch; my brother became an orangutan. And when a cousin would visit, he or she’d have to settle with being a gorilla.)

First I’d create a somewhat triangular piece that surrounded the eyes and came down to create a nose. That was the easy part. The hard part was the mouth. I wanted it to look like the muzzles the apes had in the movies: That meant a mouth in two pieces, top and bottom, each a sort of quarter-sphere. I’d color a piece of paper “ape flesh” color (depending upon the type of ape) and then cut notches along the edges so that I could mold it into the proper hollow shape, securing the seams with tape, until they were (approximately) the right shape.

Finally came the miles of tape needed to attach the paper appliances to our faces. The only way to allow the mouths to open and close as we spoke was to affix the two pieces separately to our skin. This took a lot of tape (and made the eventual removal of the masks a little uncomfortable – but hey, this was art). Once the mouths were in place, then came the eye/nose pieces, with the descending noses laid atop the upper mouthpiece. (I remember that one time when I was feeling particularly ambitious, I added a third piece to the mouths: A piece of paper crayoned as black as I could make it, to cover our real mouths behind the muzzles; this way, when we spoke, you couldn’t see our real mouths inside the masks.)

The hair was trickier, but I had a solution. We had winter hats that covered our whole heads, with just a hole cut out in the front for our faces. Perfect! The fact that my hat was blue and my brother’s was green kind of spoiled the verisimilitude, but hey, that’s what imagination was for. The final touch was a triangular piece of paper on each side of our faces to approximate the facial cheek-hair that crept under the eyes and wrapped around the muzzles.

Taylor (Charlton Heston) and Zira (Kim Hunter) exchange a kiss in PLANET OF THE APES (20th Century Fox,1968).

Lord, how I wish I had photos of us in these masks. I’m sure they looked mostly ridiculous, but we loved them, and we would jump around the house, howling like apes.

But anyway, the Apes movies made a huge impression on me as a child. They instilled in me a love of science fiction, a love of movies, and a healthy dose of cynicism with regards to official structures of power. They were all “of their time,” that time being the late 1960s/early 1970s, and issues of discrimination were inescapable cultural touchstones, even for a young child. And the Apes films were, in their way, statements against discrimination and pleas for tolerance and understanding. (For more on this topic, see Eric Greene’s book PLANET OF THE APES AS AMERICAN MYTH: RACE, POLITICS, AND POPULAR CULTURE.)

Of course, the apes movies are also a whole lot of fun. Some of it might seem a bit campy nowadays, and of course, some of the lines have become cultural touchstones in their own right (“Get your stinking paws off me, you damned, dirty ape!”). But the films, the first in particular, still represent some of the best movie-making magic there ever was. I envy you Atlantans the chance to experience it on the big drive-in screen. Now, watch like Apes!

Megalon Days

By Tim McGahren
Contributing Writer

Silver Scream Spookshow Presents GODZILLA VS. MEGALON (1973); Dir: Jun Fukuda; Starring Big G, Megalon, Jet Jaguar; Sat. April 27;  kids matinee at 1 PM (kids under 12 free & adults $7) and adult show at 10 PM(all tickets $12); All proceeds of today’s shows benefit Atlanta’s oldest running independent cinema, the nonprofit Plaza Theatre; Trailer here.

Down, down deep in Seatopia,

Those water cats drillin deep, deeply.

In their ocean, in their souls,

they rise to call and call to rise.

Raise up Megalon, raise baby, raise.

Goro, Rokuro, Hiroshi, what did you see?

What did you see, down by the sea?

Furious sound and motion.. ambush!

They grab through you to your metallic brother.

Brother in spirit, Jet Jaguar is turned against.

Second controls, hidden core,

Twist the button agents don’t know.

To and from, then a battle joined.

Gigan, Megalon, Godzilla, Jet..

a wailing waltzing warring quartet.

Smash smash smash

till the break break break of day.

Around and around, clowning rounds,

Victory for the victory goes.

And away Gigan and Megalon goes.

Professor Morte puts a choke hold on Jonathan Williams. Photo courtesy of Wrestling with Pop Culture.

When our BFF blog Wrestling with Pop Culture (WPC) decided to throw a one-year anniversary party on Wed. March 28 at The Masquerade, ATLRetro couldn’t help but get excited because Jonathan Williams, the mad mastermind behind our second favorite Atlanta-based pop culture blog, is the absolute personifcation of one Kool Kat. Long before either of us took that leap of faith to pull the trigger on our own projects, we found ourselves hanging together at those media receptions, dinners and openings that us freelance writers call breakfast, lunch, dinner and happy hour – that fine line that   keeps us from being “starving” artists more often than we’d like to admit.

Now we’d support anything Jonathan & WPC did, but we’ve got to admit that he’s put together one helluva birthday party. One of the sweetest, glammest Kool Kats ever, Amber Taylor, is hosting! Death is a Dialogue and Needeep are rocking! Monstrosity Championship Wrestling hosted by our favorite Ghost Host with the Most, Professor Morte of the Silver Scream Spookshow! And it’s the official after-party of the Atlanta Film Festival‘s screening of Platinum Championship Wrestling documentary THE BOOKER! Luchador face and body-painting! Raffle! Chambers of Horror photo booth! Wrestling photographer Jay Taylor!

OK, we’d better shut up now and let Jonathan fill you in about WPC’s secret origins, more about the crazy party action and how it all came together, and what else he’s up to. All of which makes us think we need to get busy planning our own ATLRetro first birthday shindig – now that the bar has been set, stay tuned, kids…

Why did you decide to pull the trigger on Wrestling with Pop Culture?

I’ve been a freelance entertainment journalist for several years and have written for local publications like The Atlanta Journal-Constitution and Creative Loafing, as well as national publications such as Gothic Beauty and Pro Wrestling Illustrated. But the most fun I ever has as a writer was when I was interning as a college student for Sideshow magazine. That was a free monthly that Jon Waterhouse did, and it covered all aspects of pop culture, from music and movies to pro wrestling and comic books. While I have had the opportunity to write about some cool stuff since Sideshow folded up its tent, I’ve never found another publication that covers the kookier side of pop culture the way that magazine did.

A couple of years ago, when the economy started to tank and freelance work became more and more scarce, I started thinking about starting my own publication. With online media taking over much of the readership that used to rely on print publications, I thought starting a website would be the cheapest and easiest way to go. I also knew that I wanted to focus on professional wrestling in a way that I had never seen any other publication do. It seems like most mainstream publications usually poke fun at wrestling, and traditional wrestling magazines focus solely on what happens in the wrestling world without exploring wrestling’s connections to other forms of entertainment.

From its earliest days as a carnival sideshow attraction through its territorial days, when wrestling made a name for itself across the country with regional TV shows, to the current WWE-dominated scene that allows wrestlers to cross over into the mainstream as action heroes, musicians and other forms of entertainment, pro wrestling has been embedded in Americana and pop culture for decades. Wrestling with Pop Culture covers all these aspects of wrestling, as well as other forms of entertainment that appeal to people who are as fascinated with luchadores and the pageantry of this form of performance art as they are with B horror movies, rock ‘n’ roll, comic books and other like-minded aspects of pop culture.

Jonathan Williams with Stephanie Anderson from Neon Armour Body Painting. Photo courtesy of Wrestling with Pop Culture.

Who else is involved with Wrestling with Pop Culture?

I’ve had a lot of help getting WPC off the ground. Tessa Horehled from DriveaFasterCar.com really helped me with all the technical aspects of getting a website running. KRK Ryden, the artist best known for his work with Devo, designed the black-and-white version of the logo, which I think illustrates the wacky world I envisioned perfectly. Amber Taylor, who will be the host of my show, has provided continued technical support. And I have a few guest writers, including “The Human Hand Grenade” dany only, who also co-hosts Georgia Wrestling Now, to do movie reviews and things like that. Other than that, a large majority of the interviews and reviews you see on WPC are done by me. I’m also working on a comic strip, which will hopefully debut in the next few months, that will further explore the world Ryden helped create with his image.

It sounds like this party is going to be pretty awesome. How did everything fall into place?

I initially wanted to do something last August that incorporated live wrestling and a few rock bands, and concluded with a viewing of a WWE pay-per-view. That never materialized for various reasons, but as the first anniversary of WPC approached I thought about how I could try to pull off something like that again. I first contacted some potential sponsors and, thankfully, found some good ones early on. Pabst Blue Ribbon has been very supportive; then media outlets Creative Loafing and Scoutmob got involved. Things really started falling into place just a few weeks ago as the Atlanta Film Festival announced its screening of the Platinum Championship Wrestling documentary THE BOOKER on March 28. Since the Masquerade is right down the street from the Midtown Art Cinema, and since PCW runs shows there every month or so, I thought it would be a great venue for an event with wrestling and bands.

Can you tell us more about the bands and wrestling activities?

Death is a Dialogue and Needeep, [two] great bands who are also great at getting their names out there, both agreed to do the show. Although I wanted to take advantage of PCW’s fans being in the area that night, I actually wanted to do something a little different with the wrestling portion of the show. Last October, the Atlanta Zombie Apocalypse set up a wrestling ring in its parking lot to provide entertainment for the people waiting in the long lines to get in. I didn’t get to see either of those shows, but I heard from some of the PCW wrestlers that were involved that the promotion was Monstrosity Championship Wrestling and there were matches that included actual monsters, as well as a match that pitted a Bible-thumping Jesus freak against Satan himself. It turns out Prof. Morte from the Silver Scream SpookShow is somehow involved in this promotion, so I contacted him, and he agreed to do some monster wrestling matches at my event.

Also, Amber Taylor, whose band the Sexual Side Effects is playing another Atlanta Film Festival event at the Goat Farm the following night, where their new video will be premiering, also wanted to be part of the action. So since she’s sort of walking freak show unto herself, I decided to let her be the host of the whole thing. With additional sponsors like Criminal Records, Adrenaline Fitness and Ox’s Wrestling Ring Rentals, I feel like the event covers Atlanta’s pop culture scene in much the same way the website covers various aspects of pop culture. The Atlanta Film Festival has also made this event one of its official after-parties and PCW recently put out a challenge to MCW, so things just get more and more interesting by the day. And the Academy Theatre, where PCW has its matches every Friday night, is selling tickets for only $5 through this Friday. Otherwise, tickets are $8 in advance, $10 at the door or free for AFF pass holders.

And did we hear right that there’s face and body painting, artists, a raffle, something to do with those crazy maniacs from Chambers of Horror?

Other festivities include luchadore-inspired face and body painting from Neon Armour, raffle prizes from Adrenaline Fitness; Chocolate F/X; monster artist Dave Cook; Monster Joe Coffee, who also made the WPC T-shirts; and lots of other new stuff coming in each day. Chambers of Horror is also going to have a photo booth there, and local wrestling photographer Jay Taylor will be snapping pics.

Jonathan Williams of Wrestling with Pop Culture. Photo credit: Neda Abghari.

While Wrestling with Pop Culture is your big baby, what other writing projects are you up to right now?

In addition to keeping WPC from tapping out, I am also the Editor-in-Chief for The Creative Process, which is part of The Creatives Project. I still write a monthly art column for Stomp and Stammer called Sheer Art Attack, and I have weekly music contributions to Creative Loafing. I occasionally contribute to PWI and Drive a Faster Car, and I’m also working on some articles for the Miami New Times about all the WrestleMania festivities that will be taking place down there next week.

For some time, Atlanta has boasted a fearsome fright scene—we’d even argue that it’s one of the best in the nation—thanks to the mad maniacs behind the Silver Scream Spookshow, Splatter Cinema, Gorehound Productions, Netherworld, Atlanta Zombie Apocalypse, Chambers of Horror, Buried Alive Film Festival, Rock N Roll Monster Bash, DEAR GOD! NO!… But the city weirdly never has hosted a full-out horror con.

DAYS OF THE DEAD aims to right that wrong this weekend with a thieves’ gallery of men behind masks, scream queens and cult movie idols, both classic and contemporary. The action takes place a bit south at the Wyndham Peachtree Conference Center, south of the airport in Peachtree City, Friday 5 p.m.- 11 p.m., Sat. 11 a.m.-2 a.m. and Sun. 11 a.m.-5 p.m. Here are our top 10 Retro reasons why you need to go…

Riff Randell and Kate Rambo!
We’re still fantasizing of hanging with the Ramones and blowing up our high school, even after all these years, so we can’t think of anything more awesome than to meet and get the autographs of P.J. Soles and Dey Young, the actresses behind Joey’s biggest fan and the sexiest budding nuclear physicist ever to attend ROCK ‘N’ ROLL HIGH SCHOOL (1979). In case you’re too young to know this cult classic, get yourself educated by reading Mark Arson’s Retro Review here.

Sid Haig!
Sid is one of those rare B-movie icons and character actors whose career spans the decades from Jack Hill’s blaxploitation films of the 1970s to the chaotic Captain Spaulding of Rob Zombie’s HOUSE OF 1000 CORPSES and THE DEVIL’S REJECTS. In our book, the latter is a modern exploitation classic and arguably the best of Zombie’s movies. Quite frankly you scared the sh-t out of us and since we’re not easily scared, for that we salute you, Sid, as a true master of horror. And OK, it’s pretty darned cool that your co-star Bill Moseley is going to be there, too, and both of you share a panel at noon Sunday.

Sexy Scream Queens!
A horror con wouldn’t be a horror con without a bevy of beautiful scream queens. I know it’s fun, guys, to get an autograph and pose for a pic, but we’re jazzed to hear what these gals have to say about their stints as the victim, too. Looking forward to that opportunity at the Scream Queens Panel Sat. at 2 p.m. featuring Linnea Quigley (NIGHT OF THE DEMONS 1 & 2, RETURN OF THE LIVING DEAD), Barbara Crampton (RE-ANIMATOR, FROM BEYOND, TRANCERS 1 & 2), PJ Soles (who also of course was in John Carpenter’s original HALLOWEEN and CARRIE), and “honorary scream queen” Mark Patton (NIGHTMARE ON ELM STREET 2)

Vintage Zombies!
Being that THE WALKING DEAD is filmed inAtlanta, it seems perfectly unnatural to have a few of its zombies as con guests. But we have to admit we’re more excited about meeting George Koshana (Sheriff McClelland) and John Russo (screenwriter) from the original NIGHT OF THE LIVING DEAD (1968). In fact, we’re just tickled blood-red that they’re still on the con circuit, especially after the sad recent loss of Bill Hinzman. Glad we met him down at Spooky Empire in Orlando a few years ago.

Home-Grown Horror!
While the Hollywood stars may be the headliners, another cool thing about Days of the Dead is it also embraces our local Atlanta scary subculture. At midnight Friday, the gory gang at Atlanta’s adult haunted attraction Chambers of Horror is hosting an adults-only Rock N Roll Torture Lounge. Watch lovely ladies spin the Wheel of Torture and win prizes as the Right Reverend Andy, of Psychobilly Freakout on Garage 71, spins horror rock and punk hits. Then at 8 p.m. Professor Morte, Persephone and the Silver Scream Spookshow will be throwing a special bonus show exclusive to Days of the Dead. Be there and be scared!

Macabre Movies!
Don’t just meet the stars, take a little time out to catch a few movies. Our favorite picks, of course, are cult classics, both old and new. Linnea Quigley hosts a special workprint screening of ‘80s cult classic RETURN OF THE LIVING DEAD, featuring alternate scenses, takes and 15 minutes of footage never screened to the public, Friday night at 9 p.m.  Then on Saturday, DEAR GOD! NO! has been generating quite a buzz on the festival circuit for its over-the-top authenticity as a homage to ‘70s exploitation films, and you have another chance to see it at 3 p.m. Catch up on our crazy interview with director Jimmy Bickert here.

Creepy Costumes!
Be sure and pack your most frightening recreation of a horror icon, or at least your camera, as Days of the Dead serves up several costume events. On Friday night, dance until you drop dead at the Monsters Among Us Costume Ball, a Phantom Ball-themed costume party with DJs spinning. Then the best of the best compete at 4:30 p.m. Sat. in Wickedbeard’s Costume Contest. Finally Sunday, don your best zombie make-up with a Zombie Best in Show Contest, co-horror-hosted by Argos T. Fleam and Atlanta’s own Professor Morte. We’re informed that experts will judge on zombie poise, form, dexterity and talent. Dripping, dribbling, drooling and loss of appendage will reflect negatively on your final scores.

Custom Hearses!
Even if you’re not ready for that final ride to the graveyard, it’s always pretty amazing to see custom hearses done up with all the creativity of vintage hotrods. All day Saturday members of Atlanta’s Dead Ends Hearse Club will be showing off their wheels the Hell on Wheels Hearse Show, with raffles and giveaways and a contest for best of hearse at 2 p.m.

The Man Behind THE CROW!
THE CROW began as a comic book with a cult/goth following about a mild-mannered guy returned from the dead to wreak revenge on the human monsters who raped and murdered his true love. Beautifully drawn and written, the haunting and violent tale by James O’Barr inevitably caught Hollywood attention but seemed destined for another fatal turn with the tragic death of star Brandon Lee, son of Bruce Lee, on the set. James has made Atlanta comics con and DragonCon appearances before, but it always make us smile to see him back because not only is he an amazing artist but also one of the sweetest guys on the planet. Be sure and ask him to show you the portfolio of what he’s been up to lately, and yeah, you can tell him we told you to.

Spooktacular Shopping!
Horror cons are a great place to stock up on , and from the list of vendors booked for this weekend, we’re definitely bringing some extra cash and credit card. Hollywood Book & Poster always packs a super selection of vintage horror posters, stills, books, scripts and more at reasonable prices. And stop and say hi at the Diamond Star Halo table to ATLRetro Contributing Editor and Libertine proprietress extraordinaire Jennifer Belgard, who has really revved up our own Shop Around section. For a full vendor and artist line-up, click here.

Those are just our top 10 reasons to come, of course. Yours may be Gary and Jake Busey, Roddy Piper, Jeff Burr, Tyler Mane or any of the other many guests. We don’t judge. We just say if you don’t support your local horror con, the first could be the last so get yourself down to Peachtree City and let’s have a fiendishly fun time together.

Pirita (Mirjami Kuosmanen) takes a bite from the throat of an unsuspecting hunter in THE WHITE REINDEER (1952).

THE WHITE REINDEER (1952); Dir: Erik Blomberg; Starring Mirjami Kuosmanen; Introduced by Professor Morte (Silver Scream Spookshow) including ticket giveaway to Days of the Dead horror convention; a short audience discussion will follow the film by GSU Prof. John Decker; Sat. Jan. 14  7:30 p.m.; $8; Plaza Theatre;  Trailer here.

Art, foreign, horror and classic fantasy film buffs all will get a rare treat when lost award-winning 1952 Finnish movie THE WHITE REINDEER (“Valkoinen Peura”) gets an extremely rare return to the big screen at the Plaza Theatre on Sat. Jan. 14 at 7:30 pm., courtesy of the Scandinavian-American Foundation of Georgia (SAFG) and the Mythic Imagination Institute (MII). The first significant post-World War II Finnish film, THE WHITE REINDEER won a 1953 Golden Globe Award for Best Foreign Film and the Fairy Tale Award at the Cannes Film Festival from a jury led by Jean Cocteau (LA BELLE ET LA BETE). However, despite its critical acclaim and beautiful cinematography, the movie only had a limited U.S. theatrical release in the late 1950s and since then has been largely forgotten other than a recent appearance on French DVD (it’s not available from Netflix!), perhaps due to its unusual and enigmatic subject matter blending an art film sensibility, the shamanism/folklore of the indigenous, nomadic Lapland (Sami) people and the unlikely themes of shape-shifting and vampirism.

Those supernatural aspects have earned  THE WHITE REINDEER a cult reputation among classic horror movie fans, making it an extra special treat to have an intro by Professor Morte of the Silver Scream Spookshow, and if you need extra incentive, he’ll be handing out a few passes to Days of the Dead, the big horror con in Peachtree City March 9-11. However, as noted, don’t get scared off if you’re more intrigued by art and foreign films or the anthropology and folklore of Sami shamanism. The art and mythic elements will get their due in a short audience discussion after the film led by John Decker, assistant professor of art history at Georgia State University, whose academic interests range from religious and devotional imagery to the zombie apocalypse.  “Tales both of people transforming into deer and of vampirism span many cultures from Europe to Native Americans,” points out Honora Foah, president and creative director of the Mythic Imagination Institute. “Films are the folklore of our times, and we’re hoping this movie will launch an ongoing Mythic Movie series.”

It’s easy to see why Cocteau was drawn to THE WHITE REINDEER. The plot itself is a simple and archetypal tale of love lost and a spell gone tragically wrong.  A lonely and heartbroken Sami woman, Pirita (Mirjami Kuosmanen, who incidentally was the wife of director Erik Blomberg), turns to a shaman for help in reigniting the love of her husband, Aslak, who is more interested in herding reindeer than romancing his wife. But thanks to being born under the curse of the Midnight Sun, the sacrifice she must make to activate the love potion instead transforms her into a vengeful “White Reindeer,” a tantalizing prize for hunters who soon find themselves the prey as she reveals herself as a beautiful vampire.

A haunting reindeer graveyard in THE WHITE REINDEER (1952)

Vivid and vibrant may seem strange terms to describe a black-and-white movie, but Finnish director Erik Blomberg knows his cinematography (he has more credits for that on IMDB than directing). Vistas of the Sami people herding the reindeer in the snow, a sled race and a traditional wedding transport one effortlessly into the world of this Nordic culture which he has also covered as a documentarian. It’s also perhaps worth remembering that the Sami themselves dress colorfully, often in navy blue, trimmed with yellow, green and red.

But it’s Mirjami herself, as Pirita, who steals the screen with her haunting, emotive eyes. Perhaps the performances are a little over-emotional at points, like that of a silent film, and indeed, dialogue is sparse and simple consistent with the stoic Finns. Still, in the context of the fantastic theme and landscape, it’s easy to see those qualities as strength rather than weakness. If you do classify THE WHITE REINDEER as a vampire classic, that silent movie but with minimal sound visual quality is more reminiscent perhaps of Carl Theodor Dreyer‘s VAMPYR (1931), an early talkie which also has very little dialogue,  than of, say, the closer-to-contemporary Universal horror classics, Bela Lugosi’s eyes aside. Incidentally, Dreyer was Danish.

It's easy to forget Bela Lugosi's Eyes when you see Mirjami Kuosamanen in THE WHITE REINDEER (1952).

Finally, if there’s one more good reason to attend: proceeds benefit the two nonprofit sponsors, SAFG and MII, and the Plaza, Atlanta’s oldest continuously operating independent cinema, open since 1939, which is also a nonprofit organization. It runs just 67 minutes, too, so there’s still plenty of time to catch a band, such as the triple-header of The District Attorneys, featuring this week’s Kool Kat Drew Beskin, Tedo Stone and Modern Skirts at The Earl. In fact, you’ll see me at both The Plaza and The Earl, and most likely dining at the Majestic beforehand, too.

By Philip Nutman
Contributing Writer

Silver Scream Spookshow Presents MAD MONSTER PARTY (1967); Dir: Jules Bass; Screenplay by Harvey Kurtzman, Arthur Rankin Jr., Len Korobkin and Forrest J. Ackerman (uncredited); Starring Boris Karloff, Phyllis Diller, Allen Swift, Gale Garnett, Ethel Ennis; Sat. Dec. 31;  kids matinee at 1 PM (kids under 12 free & adults $7) and adult show at 10 PM(all tickets $12); Plaza Theatre; Trailer here.

As much as I love all the Rankin/Bass Xmas specials, for my money, the best “Animagic” (stop-motion) show they ever made was the crazy, wonderful MAD MONSTER PARTY.

C’mon! Boris Karloff voicing Boris Von Frankenstein?  Phyllis Diller as the Monster’s Bride (she is smarter); a script by MAD magazine’s founder Harvey Kurtzman and creature designs by legendary fellow MAD cartoonist/illustrator, Jack Davis ­ what’s not to love?

There are classic monsters gla[gore] (bad pun intended) ­ The Creature from The Black Lagoon, Count Dracula…IT (actually KING KONG, but R/B couldn’t use the name “Kong” for legal reasons). Name ‘em ­ they’re here!

The Baron gathers his gruesome guests for a diabolical dinner in MAD MONSTER PARTY (1967). Courtesy of Lions Gate Pictures.

Songs to learn and love and sing! (The delightful soundtrack is available from Percepto Records; music by R/B stalwart Maury Laws/lyrics by Jules Bass.)

The film is available on DVD from Lions Gate (go to Amazon; there’s a special edition! And Blu-Ray!). BUT…don’t be a couch potato if you live anywhere near Atlanta ­ there’s nothing like seeing a superb print on the *Big Screen* at the Legendary Plaza Theatre!!! (And it’s a SILVER SCREAM SPOOKSHOW presentation brought to you by Professor Morte and his pal Shane Morton!)

YAAAAAAAHHHHH!!!! (ATLRetro is happy to end 2011 on such a mad monster note of sheer fun and grimly fiendish frolics!)

OK, the New Year is about passing the torch and moving in the future, but at ATLRetro, we think you ought to be able to do that with vintage style. Here are our top seven picks for counting down 2011 and toasting 2012 while partying like it’s 1999 or earlier.

1. Disco ain’t dead. No decade knew how to get down like the 1970s and no DJ knows how to play that funky music than the Funk Godfather himself, Romeo Cologne. Plus since the venue is the sensationally seedy Clermont Lounge, for extra points, wear a bit of blue velvet with your silver lame and have a David Lynchian flashback to the ‘80s. All night long; $6 cover 10-11 pm; $10 cover after 11 p.m.

2. Get back to the roots. The Variety Playhouse serves up a double portion of roots, rhythm & funky blues, rock and country with JJ Grey & Mofro and Honey Island Swamp Band. The former hail from Jacksonville, Fla., and are proudly influenced by classic soul heroes and other native Southern sounds. Founded by New Orleans musicians stuck in San Francisco after Hurricane Katrina, the latter play a Bayou Americana sound that is both their own and yet forged in the spirit of a heady blend of Little Feat, Taj Mahal, Earl King, Jerry Garcia, Clarence “Gatemouth” Brown and Jimmy Reed. Doors at 8 p.m., Show at 9 p.m.; $35-40.

3. Ring the Holiday Inn. Relive the glamour of a 1930s/1940s New Year’s Eve with Atlanta’s biggest band, the Atlanta Symphony Orchestra. Michael Krajewski conducts an eclectic line-up of music ranging from Offenbach’s “Orpheus in the Underworld” (Can-Can) to Gershwin, Berlin and Rodgers and Hammerstein.London and Broadway stage stars Joan Hess and Kirby Ward dance to the swing classics in a tribute to Fred Astaire and Ginger Rodgers. 8 p.m.; $30-$68.

4. Do the Monster Mash. Greet the New Year in ghoulish and goofy style with Professor Morte and the Silver Scream Spookshow gang at the Plaza Theatre. In addition to the antics of their always entertaining stage show, on the big screen is a rare special treat—MAD MONSTER PARTY (1967). This stop-motion puppet story was the only feature made by Rankin-Bass, the same folks that created RUDOLPH THE RED-NOSED REINDEER and so many beloved holiday specials, but features a cast of classic creatures such as Dracula, the Werewolf, the Creature from the Black Lagoon and more. Boris Karloff voices Baron von Frankenstein and Phyllis Diller is his creation’s Bride. Proceeds benefit Atlanta’s longest continuously running vintage art deco (and now nonprofit) cinema, which is currently up for sale. Let’s not let the Plaza become another lost landmark of Atlanta’s past. Evening show starts at 10 pm (tickets are $12), plus if you’ve got glamorous evening plans or don’t want the kids to stay up too late, there’s also an afternoon matinee at 1 pm (kids free; adults just $7).

5. Who Knows Where the Time Goes? It’s been three decades since Guadalcanal Diary formed in Marietta, but one of metro Atlanta’s top seminal alt-rock bands regrouped last summer at Athfest and Smith’s Olde Bar and tonight they are “Bringing It on Home to The Strand,” the art deco former movie palace in Marietta’s Square, along with special guests Flamingo Royale and the Dex Romweber Duo. If you missed our feature interview with lead singer/guitarist Murray Attaway last summer, catch up on your reading here. The all ages show has doors at 7 p.m.; tickets are $30 for concert only, $20 for after-midnight party only, and $45 for both show and party, with proceeds supporting fine and performing arts in City of Marietta Schools.

6. Lady Sings the Blues. Classic blues and jazz chanteuse Francine Reed brings her powerhouse vocals to Blind Willie’s with The Shadows and special guest Houserocker Johnson. $50 gets you party favors and champagne. Doors at 7 p.m.

7. Carry on, Way Downtown. Seventies superstar rockers Kansas headline Peach Drop 2012, the Southeast’s biggest NYE celebration at Underground Atlanta. Festivities test your stamina by starting at 11 am Dec. 31 with loads of family-friendly activities from carnival rides to photos with exotic birds, and running until 3 am on Jan. 1.There’s also a slew of other bands on two stages.  It’s free if you’re willing to brave the crowds and the likely chill of being outdoors.