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WiGnuitedre Year in Review â€“ Movies, Albums, TV & Sports!
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CONTENTS • JANUARY 2019 • VOLUME 27, NO. 6
EARS! ING 27 Y T A R B E CEL
13 Peter Asher 14 Dennis Quaid 15 Hunt Sales 16 Lettuce 16 Flesh Eaters 17 3x4
09 Year in Movies 10 Top TV Shows 10 Top Indie Albums 11 Continuing Ed 12 Winter Guide 18 Top Athletes
COLUMNS 04 05 06 07 07 07 08
Your Neighborhood Pizzeria!
Around Town On Tap Atlanta on a Dime Under The Lights New Releases Station Control 18 Movie Reviews
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Please check out our Winter Guide feature on page 12.
Year in Review – Movies, Albums,
TV & Sports!
Atlanta’s Favorite Pizza! Multiple Atlanta Locations: JohnnysPizza.com insiteatlanta.com • January 2019 • PG 3
Around Town SATURDAY, JANUARY 12
Ferst Center for the Arts
Manual Cinema: The End of TV True to its name, Manual Cinema brings handspun cinema to life in real time using intimate, unassuming technologies. With vintage overhead projectors, shadow puppetry, actors, live-feed cameras, multi-channel sound design, and an onstage music ensemble, Manual Cinema creates cinematic wonderment imbued with immediacy, ingenuity, and theatricality—all within audience view. Told through original 70’s R&B-inspired art pop songs and set in a post-industrial Rust Belt city, e End of TV explores the quest to ﬁnd meaning amidst a constant barrage of commercial images. Tickets can be found at Arts.gatech.edu.
SUNDAY, JANUARY 13
Atlanta Jewish Life Festival Georgia Aquarium
The single-day event will be a celebration of Jewish culture and Atlanta’s thriving Jewish community. Festival goers can expect an interactive day of live performances, traditional foods, wine tastings, judaica art and a community bazaar spotlighting dozens of Atlanta’s Jewish organizations. AJLF is presented by the AJT, metro Atlanta’s premier Jewish weekly newspaper. For more information visit AtlantaJewishlifeFestival.com.
The Unexpected Play Festival eatrical Outﬁt's festival of play readings, e Unexpected Play Festival, features top notch talent bringing characters and plots to life as they read from scripts of three new plays. Featured performances are: If I Forget (Jan 14) by Steven Levenson, Gershwin’s America (Jan 14) by Alpin Hong and Adam Koplan, and Bellwether (Jan 15) by Steve Yockey. Tickets may be purchased online at eatricalOutﬁt.org.
JANUARY 12 - MARCH 10
Paul Bunyan and the Tall Tale Medicine Show Center for Puppetry Arts
It’s time to saddle up for a 10gallon historical hoedown. The Center for Puppetry Arts is rounding up some of America’s most famous heroes and heroines to present a production packed with tall tales, twangy tunes (performed live) and glory stories of the American west. Folklore fans will hear how the larger-than-life lumberjack Paul Bunyan and his devoted friend Babe the Blue Ox invent logging; how Hekeke saves her tribe from a terrible people-eating ogre; how John Henry single-handedly hammers his way through a mountain to become a true steel-driving man; and how Pecos Bill tames the wildest stallion in the land to become King of the Cowboys. It’s educational fun for the whole family. For tickets visit Puppet.org.
Happy New Year! Start Your Year Off Right with
CREATIVE SOUTHWESTERN CUISINE AND AWARD WINNING MARGARITAS Over 100 Tequilas + Full Bar Fireplace-lit Dining Nightly
PG 4 • January 2019 • insiteatlanta.com
New Events and Performances taking place this Month FRIDAY, JANUARY 25
Ray Chen on violin with Riko Higuma at piano
Schwartz Center for Performing Arts
Winner of the Queen Elisabeth and Yehudi Menuhin Competitions, Ray Chen is among the most compelling young violinists today. He has performed with many of the world’s leading musicians in concert halls across the globe, and will be joined by pianist, Riko Higuma at Emory’s Schwartz Center for Performing Arts in a program featuring works by DeBussey, Franck, Back, and Ravel. Tickets at the Box Office (404) 7275050 or online at Arts.emory.edu.
JANUARY 27 - FEBRUARY 24 An Octoroon Actors Express
Actor’s Express presents An Octoroon, a wildly imaginative new work pitting the 19th century antebellum south on a collision course with 21st century cultural politics. Trouble has been abrewin’ at the Terrebonne Plantation since Judge Peyton died. Money is running out, an evil overseer is up to no good, and the heir to the estate is in love with someone he shouldn’t be. The play uses crazy theatricality to cast a critical eye on the modern world through the lens of the past. The play is written by Branden Jacobs-Jenkins. Tickets at Actorsexpress.com.
FEBRUARY 1 & 2
Broadway’s Next Hit Musical
City Springs Performing Arts Center
Every song is fresh. Every scene is new. Every night is different. It is all improvised, and it is all funny. The hysterical Broadway’s Next Hit Musical is the only unscripted theatrical awards show. Master improvisers gather made up, hit song suggestions from the audience and create a spontaneous evening of music, humor, and laughter. The audience votes for their favorite song and watches as the cast turns it into a full-blown improvised musical – complete with memorable characters, witty dialogue, and plot twists galore. Show is being held at City Spring’s Studio Theatre. Tickets Citysprings.com.
THROUGH FEBRUARY 24 Snow Mountain
Stone Mountain Park
Spend a fun-filled day playing in the snow! With a 400-foot tubing hill and 2 moving sidewalks to take you back to the top, your Snow session will be packed with fun. Snow Mountain offers single tubes, double tubes, and family-sized tubes that can accommodate up to 8 guests at a time. Due to the popularity of Snow Mountain, tubing is offered in 2-hour sessions. The Snow Zone play area is included with your Snow Mountain tubing session. Visit Stonemountainpark.com.
On Tap this Month MAJOR EVENTS COMING TO ATLANTA January 12: The Fox Theatre
STEVE MARTIN AND MARTIN SHORT Steve Martin and Martin Short are back on the road again for their new tour "Now You See em, Soon You Won't." e comedy legends present new material in a variety of musical sketches and conversations about their iconic careers, most memorable encounters, and of course, their legendary lives in show-business. e show also features music from e Steep Canyon Rangers and Jeﬀ Babko. Foxeatre.org
January 19: Infinite Energy Arena January 19 & 20: State Farm Arena
THE HARLEM GLOBETROTTERS
e iconic Harlem Globetrotters are coming to town with their entertaining shows for the whole family. With incredible ball handling wizardry, amazing rimrattling dunks and trick shots, side-splitting comedy and unequaled on-court fan interaction, this must-see event is guaranteed to create memories that will last a lifetime. Visit HarlemGlobetrotters.com.
January 21: Events Around Atlanta
MARTIN LUTHER KING JR. DAY Celebrate the life and legacy of Dr. Martin Luther King with events around Atlanta throughout the month. Events include MLK 50 Forward at the Maloof Auditorium in Decatur on Friday, Jan 18, MLK March and rally at 15th Street and Baker Street on Monday, January 21, MLK Day speakers at Morehouse, MLK Day for kids at the Children’s Museum of Atlanta and free MLK Museum Day at Atlanta History Center.
January 23: Cobb Energy Centre
SCOTT BRADLEE POSTMODERN JUKEBOX Imagine a place in time where the dance ﬂoor is full of revelers twerking in poodle skirts while well-heeled hipsters drink martinis at the bar. No doubt Scott Bradlee's Postmodern Jukebox would be playing. e ensemble reimagines contemporary pop, rock and R&B hits in the style of various yesteryears. Performing Wednesday, January 23 at the Cobb Energy Performing Arts Centre. Visit CobbEnergyCentre.com.
February 3: Mercedes-Benz Stadium
SUPER BOWL LIII
Atlanta hosts this year’s Super Bowl at Mercedes-Benz Stadium on Sunday, February 3rd. While our Falcons did not make the playoﬀs this year, having the game in town isn’t too bad a condolence prize. As of press time, the most likely teams to play are the Kansas City Chiefs of the AFC and the Los Angeles Rams of the NFC. It is sure to be a great event for the city no matter who plays. Visit Mercedesbenzstadium.com.
February 10: Atlanta Symphony Hall
THE FAB FOUR: ULTIMATE BEATLES TRIBUTE e Emmy Award winning Fab Four is elevated far above every other Beatles Tribute due to their precise attention to detail. eir incredible stage performances include three costume changes representing every era of the Beatles ever-changing career, and this loving tribute to the Beatles has amazed audiences in countries around the world. Visit Atlantasymphony.org.
German Mardi Gras Festival
LIVE and B n a m r Ge
FULL Cash B ar
MUSIC • DANCING • FUN SATURDAY, FEB. 16 • 7-11PM “Anything Goes” • $8 Admission Prizes for Best Costumes & Presentations For info, call the Helen Chamber at 706-878-1908
1074 Edelweiss Strasse • The Festhalle Oktoberfest helenchamber.com Festhalle Friends
insiteatlanta.com • January 2019 • PG 5
Monday, January 21
MLK NATIONAL PARKS DAY
EVENTS HAPPENING FOR SMALL CHANGE IN ATLANTA
Know of a low cost event happening? Event@AtlantaOnADime.com By Marci Miller
Sunday, January 13 from 1 - 4 PM
Friday, January 18 11:30 AM - 1 PM
Free; Woodruff Arts Center woodruffcreateATL.org
Free; Maloof Auditorium dekalbcountyga.gov
FREE FAMILY FUN FESTIVAL
Woodruﬀ Center’s Family Fun Festival offers free arts programming for the whole family. Families can enjoy interactive story times, art making workshops, dropin acting classes, music making workshops and more. e educational program for children of all ages led by the Alliance eatre, Atlanta Symphony Orchestra and High Museum of Art. Pre-registration recommended.
Sunday, January 13 Noon - 5 PM
DEKALB MLK CELEBRATION
DeKalb County will present its 35th annual Martin Luther King Jr. Celebration program, “King’s Vision: Humanity tied in a single garment of Destiny” Friday, Jan. 18, at 11:30 a.m. in the Maloof Auditorium, 1300 Commerce Drive, Decatur. e celebration is free and open to the public.
Saturday, January 19 9 AM - 4 PM
MODEL TRAIN SHOW
HIGH SECOND SUNDAYS
Gen Adm $9; Children 12 & under Free The Infinite Energy Forum infiniteenergycenter.com
Swing by the High on the second Sunday of each month, and ﬁll the afternoon with art! e Museum hosts family art-making workshops with interactive, hands-on projects that connect to works of art in the permanent collection and special exhibitions. Play, create and be inspired. Admission is free from noon-5pm; special family programming from 1 to 4 p.m.
is unique event is Georgia’s largest model train show displaying items for both the “modeler” and “railbuﬀ” alike. Over 350 model train vendors from all over the nation will have model items in all gauges and Railroad Antiques for sale. Attendees will be able to relive the glory days of railroading in Georgia when the Georgia Railroad, Seaboard Railroad and the Atlantic Coast Line Railroad were king.
Free; High Museum of Art high.org
Free attendance at Public Parks Visit nps.gov
In honor of the birthday of Martin Luther King, Jr., National Park Service sites will have free admission to everyone on Monday, January 21, as the ﬁrst fee free day of the year. Hundreds of volunteers participate in a day of service at parks across the country.
Monday, January 21 10AM - 5:30PM
MARTIN LUTHER KING, JR. DAY Free; Atlanta History Center atlantahistorycenter.com
Honor Martin Luther King, Jr. Day by learning about his life and legacy as well as the many contributions of African Americans in Atlanta. is is a free admission day at Atlanta History Center, including Margaret Mitchell House. Among the
highlights is a 1:00 pm screening of Frederick Lewis’ documentary Paul Laurence Dunbar: Beyond the Mask, about the life and legacy of the ﬁrst African American writer to achieve national and international fame, followed by a conversation with the ﬁlmmaker.
Sat & Sun January 26 & 27 CALLANWOLDE ARTIST MARKET $5 Per Person Callanwolde Arts Center callanwolde.org
is unique winter indoor art festival takes place at the Callanwolde Fine Arts Center in Atlanta’s historic Druid Hills neighborhood. e Market features over 80 artists working in a variety of media. Artists will have display spaces throughout the 1920 Callanwolde mansion. e two-day festival will feature painters, photographers, sculptors, metalwork, glass artists, jewelers and more. Proceeds support Callanwolde Fine Arts Center. Martin Luther King, Jr. Day atlantahistorycenter.com Monday, January 21 10am-5pm Atlanta History Center • FREE
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CANDLER CONCERT SERIES
RAY CHEN, VIOLIN WITH RIKO HIGUMA, PIANO Friday, January 25 at 8 p.m. "To die for. [Chen] had the kind of liquid tone that carries with it emotional depth of great intimacy." —the Huffington Post
BOX OFFICE 404.727.5050 | arts.emory.edu/insite
SCHWARTZ CENTER FOR PERFORMING ARTS
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More info at www.cinemoms.com PG 6 • January 2019 • insiteatlanta.com
Under The Lights
COMING TO STAGE THIS MONTH
A DOLL’S HOUSE PART 2
January 10 - February 10 Aurora Theatre (678) 226-6222 AuroraTheatre.com Based on the characters of the Henrik Ibsen classic play, this follow-up story imagines what would happen if Nora Helmer returned home, 15 years after she slams the door on her husband and family. Audiences don’t need to be familiar with the original story to enjoy this “Part 2,” as playwright Lucas Hnath juxtaposes contemporary and classic sensibilities to create a thought-provoking and sharp-witted comedy. Now a successful author, she is asking her estranged husband, Torvald, for one simple thing: a divorce. Long simmering resentments boil over and family turmoil turns up the heat to create hilariously explosive confrontations.
January 15 - February 17 Alliance Theatre Stage (404) 733-5000 AllianceTheatre.org/everafter From award-winning songwriting team Zina Goldrich and Marcy Heisler, comes a captivating musical based on the hit film. Share the journey of Danielle de Barbarac as she risks everything to
save a friend from an unjust fate, capturing the heart and imagination of a country along the way. With the help of none other than Leonardo da Vinci, Danielle must decide not only who she is, but what she’ll fight for, and how far she’ll go for love. A new take on the Cinderella legend, Ever After celebrates the true magic at the heart of the beloved story – the strength of the human spirit.
THE WOLVES Horizon Theatre January 25 - March 3 (404) 584-7450 HorizonTheatre.com Horizon Theatre Company is kicking off its 35th Anniversary Season with The Wolves. This groundbreaking play by Sarah DeLappe was a 2017 Pulitzer Prize Finalist for Drama. The Wolves is a fly-on-thewall look at a girls’ high school indoor soccer team when an uber-talented, but strange and worldly new team member arrives. As they practice on the field in the weeks leading up to the championship, Ms. DeLappe thoughtfully and eloquently opens a window into a complex world of young women facing their future - all in the space of 90 minutes. “This high energy story of soccer, hopes and dreams takes you inside the rituals and rivalries of a tight team,” explains Horizon Director Lisa Adler. “And with audience surrounding the action on the indoor soccer field set, you’ll be on the edge of your seat and in the midst of the action.”
THE LATEST DVD, BLU RAY & VOD RELEASES By John Moore
LONG STRANGE TRIP: THE UNTOLD STORY OF THE GRATEFUL DEAD (Rhino) Executive produced by Martin Scorsese, this 4-hour documentary on The Dead, much like the band’s music, will be seen by the fans as manna from heaven; For those who scratched their head at the group’s drawnout jams, the appeal of this doc is likely to be just as confounding. Beautifully pieced together from a slew of interviews from members and longtime associates of the band along with plenty of footage that has never been widely seen before, this film is an exhaustive look at one of the most influential bands to come out of the ‘60s.
NEW WAVE: DARE TO BE DIFFERENT
(MVD Visual) Long before “alternative” was a viable genre and even longer before the term lost its original meaning, a tiny radio station in Long Island, NY played a brilliant mix of Punk Rock and New Wave, everything from Depeche Mode and The Clash to U2 and Tears For Fears, before any of the larger stations were willing to go anywhere near these bands. This personal and surprisingly
sweet doc take s a look at the small station and it’s loyal employees from its inception as a tastemaker to the odd kids in 1982 up until it’s eventual format demise in 1991 after a decade of battling the FCC and larger stations. New Wave: Dare To Be Different is love letter to music fans of all ilk, but especially the outsiders.
LOVE, GILDA (Magnolia Entertainment)
Make sure the Kleenex is nearby for this heart-wrenching, bittersweet film about the beloved late comedian, best known as the very first cast member of Saturday Night Live. Told through Radner’s own words – a mix of home movies and recently discovered audio tapes – the doc gives a rare, deeply insightful look into the mind of a truly funny individual who managed to go through life without making a single enemy. The movie is buttressed with interviews from old friends like Martin Short, Chevy Chase and Laraine Newman and comedians who were inspired by her, a list that includes everyone from Bill Hader to Amy Poehler. A beautiful tribute to a person that touched many.
EXPANDING YOUR MIND BY BENJAMIN CARR
T ITS BEST, TELEVISION CAN BLOW your mind, expanding the world as you know it to include things that felt impossible before now. Some recent episodes have been downright trippy in their approach to storytelling, resulting in spectacular results. The Good Place
what it’d be like if Little Red Riding Hood, the Three Little Pigs and Hansel and Gretel all converged in modern New York City. The results are a decidedly mixed bag, with the pigs robbing a jewelry store and Hansel and Gretel murdering a gangster during a drug binge, but there is much to enjoy. The first season’s cast is filled with solid and attractive actors, including James Wolk, Billy Magnussen, Paul Wesley and Kim Cattrall, but it never quite reaches the heights of American Horror Story, a show that it’s desperate to emulate in terms of buzz, sexiness and shock value. It’s a fun, noble effort. Future seasons, wherein different fairy tales will be tackled, may have better luck. Black Mirror: Bandersnatch
THE GOOD PLACE (NBC)
This is one of the nuttiest, most inventive sitcoms ever made, and it continues - even in its third season - to impress with its audacity. Set in the afterlife as a group of ne’er-do-well people aspires to get into Heaven, the show has frequently had to reinvent itself, leading to some of the wackiest, smartest twists in its history. Recently, the episode “Janet(s)” allowed actress and improviser D’Arcy Carden a chance to showcase her tremendous skills by making her character embody literally every character on the screen. Carden played show characters Eleanor, Chidi, Jason and Tahani - in addition to her regular role - while they were all trapped in an endless void. Carden distinguished each character by changing her voice, her mannerisms, her clothing - the sort of work that garnered Tatiana Maslany an Emmy for Orphan Black. The episode also featured several landmark moments that the series has been building to from its beginning. The end result was dazzling, a high point for a show that never disappoints.
TELL ME A STORY (CBS All Access)
Kevin Williamson, the creator of Scream, Dawson’s Creek and The Vampire Diaries, attempts a Ryan Murphy-style trashy, thrilling anthology series with his new show on the CBS streaming service, imagining
BLACK MIRROR: BANDERSNATCH (Netflix)
Holy crap, y’all. The latest episode of Black Mirror, the anthology horror series about the downsides of technology, is a fully interactive Choose Your Own Adventure movie. And it is stunning. With countless choices and at least five different endings, Bandersnatch flows seamlessly, providing one of the most engaging, involved viewing experiences I’ve ever encountered. The episode centers on a brooding, troubled video game designer named Stefan (Fionn Whitehead) in 1984. He wants to create a video game similar to his favorite novel, an interactive book called Bandersnatch that drove its author to murderous insanity. Along the way, Stefan begins to wonder if he’s really in control of his fate. It is possible to play and replay Bandersnatch for hours, investigating all the choices along the way, with experiences ranging from 40 to 90 minutes. You can decide what cereal Stefan eats, what music he listens to - and even whether he takes darker turns. It’s a total blast.
Manual Cinema: The End of TV
Arts - sAturdAy, JAn. 12 8pm
insiteatlanta.com • January 2019 • PG 7
Movie Reviews AQUAMAN (PG-13)
1/2 I enjoyed the first two or three hours of Aquaman but it seemed to go on for five. After the hero’s backstory is established, his goals are set but not realized in a series of what appear to be climactic battles but don’t resolve anything. The story goes back and forth between dry land and the underwater kingdom of Atlantis. Visuals in the latter are constantly imaginative and stunning. The two worlds meet when Atlanna (Nicole Kidman), Queen of Atlantis, washes up on the Maine shore and meets Tom the lighthouse keeper. Before you can say “Splash” they have a child, Arthur, who grows up to become known in social media (and DC comics) as Aquaman. Even without superpowers Jason Momoa is a formidable, imposing human being; I don’t know that the scruffy, “dirty hippie” look is necessary to establish his cred. Anyway, Atlanna returned to Atlantis and certain-ish death because angry Atlanteans were coming ashore to hunt her, threatening her family. She married the king and bore another son, Orm (Patrick Wilson), who resents that a “half-breed” precedes him in the line of succession. When Arthur finally comes to Atlantis, he and Orm have a duel to the death that both survive. Arthur goes looking for the superpowered trident of Atlan, the first king of Atlantis, sometimes assisted by his mentor, Vulko (Willem Dafoe), and Orm’s intended, Mera (Amber Heard), who would rather be Arthur’s queen. Orm is also waging war against the people on land for polluting the seas. His first strike is to cause tidal waves to wash warships and tons of trash back where they came from. OK, we deserve that, but that means the movie’s villains are environmentalists. WTF? I put more thought into this review than four writers did the script; but the imagery is great.
BEN IS BACK (R)
A mother and daughter named Holly (Julia Roberts) and Ivy (Kathryn Newton)? How Christmasy can you get? Maybe this bothers me because it’s in a movie that takes place during the holidays but shouldn’t be restricted by a sell-by date of December 25th. It’s the story of another “Beautiful Boy” who’s addicted to drugs, this time focusing on his relationship with his mother and with all the drama compressed into a 24-hour period. Ben (Lucas Hedges, whose father, Peter Hedges, wrote and directed) takes a sabbatical from rehab to spend Christmas with his family: Holly, Ivy, his stepfather (Courtney B. Vance) and two half-siblings. Having learned her lesson, Holly resolves to keep Ben on a short leash during his visit. As they go around town, the pain Ben has caused others is evident in their faces when they see him. In the second
half the film becomes a bit of a thriller after someone breaks into their house and steals the family dog, sending Holly and Ben out to play detective. With so much happening and so much backstory merely hinted at, it’s to the writer-director’s credit – and that of his skilled cast – that so much more is believable than not. And if you don’t believe the scene where Holly tells off the doctor who started Ben on opioids at 14, you’ll still be glad you saw it. For the most part Ben Is Back doesn’t preach. It shows, not tells, the impact of addiction on a person, a family, a community.
It’s been eight years since Hailee Steinfeld broke out and got an Oscar nomination for playing a teenager in True Grit. She celebrates her 18th birthday early in BumbleBee. (At least her character, Charlie does. Steinfeld turned 22 last month.) Charlie is moody, still depressed over her father’s death, even though her mother (Pamela Adlon) has remarried. She’s looked down on by the mean girls at school and ignores the shy guy, Memo (Jorge Lendeborg Jr.), who’s trying to get to know her. It’s 1987 so there’s plenty of nostalgia. Charlie likes the same music I enjoyed in the ‘80s. But wait, you say. Isn’t this the prequel to Transformers we’re talking about? Where are the giant robots that turn into vehicles and destroy whole cities when they fight? Well, they’re here too, but not to the extent they were in the five Michael Baydirected films in the series. BumbleBee does begin on Cybertron, as the Autobots lose the war for the planet to the Decepticons. Optimus Prime sends B-127 to Earth to establish a base for them. Charlie finds him in a junkyard in the form of a yellow VW Beetle and, having learned mechanic skills from her late father, restores him to health – except for his memory and most of his ability to speak. She names him BumbleBee and they become best friends. Meanwhile a couple of Decepticons track their enemy to Earth and persuade a military unit under John Cena to help them destroy him. So there’s still plenty of shooting and transforming, but at least the Autobots aren’t the most human characters in this pleasing mix of YA and CGI.
COLD WAR (R)
1/2 We all know couples who seem like they shouldn’t be together but are. “Love is strange,” said a hit record halfway through the period (1949-1964) spanned by Pawel Pawlikowski’s new film. But that’s in real life. Love in the movies shouldn’t be as strange as it is here. Beautifully filmed in narrow-screen black-and-white like the director’s last film, Oscar-winner Ida (a big
favorite of mine), the story is said to be loosely based on the relationship of Pawlikowski’s own parents. It begins with the horrible sound of a bagpipe accompanied by a fiddle, played by two folksingers. They’re being recorded by a Polish government-sponsored trio tasked with preserving for posterity regional culture in the form of local yokels’ vocals. The songs and dances they discover will be polished and packaged in a touring show. While auditioning young entertainers, musical director Wiktor (Tomasz Kot) is smitten with (a polite term for horny) Zula (Joanna Kulig), a pretty blonde who looks like trouble even before you learn she stabbed her father. I wanted to yell, “Dude, run!” but of course it wouldn’t have deterred him. He ignores all red flags but those of the Soviets, who insist on adding pro-Stalin propaganda to the show in 1951. Wiktor and Zula plan to defect to the west during a stop in Berlin, but he winds up going alone. They have brief meetings over the years and she really seems to love him, but not enough to risk whatever security she has. He’s getting by playing jazz in a Paris nightclub and having affairs, but always longing for Zula, “the woman of my life.” While I appreciated Cold War on a technical level (It won Best Director at Cannes and could net Poland another Oscar nomination), the emotional abuse suffered by its male protagonist left me feeling like I’d been kicked in the groin. Hard. Several times. Sadistic feminists should love it!
and John C. Reilly, and Holmes & Watson gives you some of that. But writer-director Etan Cohen hedges his bets and throws in elements of psychological drama, romance, contemporary satire (“Make England Great Again”) in a period piece, and of course mystery. Though anyone can find some moments of the result to appreciate, my reaction to the total mish-mash is at the low end of meh. I laughed out loud twice and would have more if I hadn’t seen the best gags several times in the trailer. The film begins in 1867 on Sherlock’s first day of school. (Elementary?) He responds to bullying by deducing things about his fellow students that get them expelled. Years later Holmes (Ferrell) is locked in a bromance with Dr. Watson (Reilly), whom he treats like an opening act while Watson longs to be a “co-detective” with Holmes. A brilliant idiot, Sherlock lets arch enemy Moriarty (Ralph Fiennes) escape and hatch a plot to kill Queen Victoria (Pam Ferris, who must be compared to Olivia Colman in The Favourite). It matters not to Cohen that Victoria actually died 11 years before the film’s climax aboard the Titanic. Meanwhile our heroes are romantically involved with a woman doctor (Rebecca Hall) and her weird assistant (Lauren Lapkus) from the U.S. Holmes gives the latter what he says is his first kiss, but we already saw the real one in the opening sequence. Inconsistencies may not matter in pure farce (though sometimes they do), but they do when you’re trying to have it both ways.
The children who loved Mary Poppins in 1964 are taking their grandchildren – great-grandchildren in some cases – to see the sequel. Talk about the Circle of Life! (Sorry, that’s The Lion King.) Although Mary (Emily Blunt, bravely replicating Julie Andrews’ iconic character) hasn’t aged a day, England has advanced a generation. The Banks children, Michael (Ben Whishaw) and Jane (Emily Mortimer), have grown up. Jane is temporarily living with Michael, a recent widower, and his three children - John, Anabel and Georgie - in the familiar familial house on Cherry Tree Lane. But the evil banker (Colin Firth) who happens to be Michael’s employer, is about to foreclose on the house, giving grieving Michael something else to be depressed about. Whishaw is such a good dramatic actor that he manages to bring the mood down at several points, but we’re never too far from a spectacular musical number to lighten the load and make the film feel a bit bipolar. Lin-Manuel Miranda, the talent of the decade, proves in the opening song-and-dance he can command the screen as solidly as the Broadway stage. He plays lamplighter Jack, the working-class equivalent of Dick Van Dyke’s chimney sweep in the original. (Van Dyke’s reappearance is saved for late in the film, as is Angela Lansbury’s cameo. Meryl Streep appears earlier, with an accent somewhere between Sophie and Melania.) Of course the Banks family’s Depression-era problems (how ironic that a bank is at the root of them!) can only be solved by Mary Poppins, who flies in on a kite and out on an umbrella. I hope I never get too old to appreciate her, and in today’s market I’m sure it won’t be another 50+ years before she returns again.
What some actors won’t do for an Oscar! But a deglamorized Nicole Kidman? That’s going too far! She’s Det. Erin Bell, LAPD, and sometimes she goes off the grid. There are two stories in play here, 17 years apart; but the “present day” timeline may confuse you until the ending clarifies things. As a young cop Erin went undercover with a Mansonesque gang in the California desert. Things went wrong back then, as flashbacks eventually reveal in detail; and the leader, Silas (Toby Kebbell) disappeared – until now. Realizing that he’s back, Erin makes it her mission to track him down. She does this by visiting several members of the old gang and getting information out of them by any means necessary. In the meantime she’s trying to help her 16-year-old daughter, who’s been led astray by a 24-year-old nogoodnik. Nicky the Kid’s a versatile actress but nothing she’s done before will prepare you for the ass-kickings she gives – and takes – here. But between the action scenes she has plenty of opportunity to Act, with a capital A. As for her appearance, whether it’s great makeup or a lack of makeup that makes her look so rough, I never thought I’d see her in a movie where people say things like “You look terrible” and “You look old” to her. There’s a surfeit of awesome lead actresses in competition right now, but Kidman belongs among them.
HOLMES & WATSON (PG-13)
MARY POPPINS RETURNS PG 8 • January 2019 • insiteatlanta.com
You have to expect silliness – hopefully inspired silliness – from another teaming of Will Ferrell
MARY POPPINS RETURNS (PG)
ON THE BASIS OF SEX (PG-13)
The surprise hit documentary RBG was the movie of a lifetime. This dramatization of the early life of Justice Ruth Bader Ginsburg is more like a Lifetime movie – but a good one. Directed by Mimi Leder (though written by a man, Daniel Stiepleman), it’s very much a woman’s-eye view of the casual sexism Ruth had to endure in her youth so she could fight against it later. Played a bit too girlishly by Felicity Jones, she’s one of nine women entering Harvard Law School in 1956, the seventh class for which being “a Harvard man” has been an option for females. She’s already married to Martin (Armie Hammer), who’s a year ahead of her in law school. When he graduates and gets a job in New York Ruth has to finish her studies at Columbia, then can’t get hired by a law firm despite being overqualified. She teaches at Rutgers for a decade or so before she learns of a case involving discrimination against a man, a chance to get the courts to rule against bias on the basis of – er, gender – opening the doors for later suits on behalf of women. Events leading up to the trial and the trial itself take up a good portion of the film and sometimes get too technical for us dummies in the audience, although we get the gist. An earlier feminist lawyer, Dorothy Kenyon (Kathy Bates) counsels Ruth, “Change minds first, then change the law.” That was almost 50 years ago, and things are still changing. If you can only see one film about “The Notorious RBG,” see the documentary; but why not see them both?
It’s worth staying awake through the relatively uneventful first hour of Shoplifters to appreciate the incidents and revelations of the second. Director/writer/editor Kore-eda Hirokazu’s family drama explores the meaning – or meanings – of family. The title is explained right away as an apparent father-son team steals groceries for the family from a supermarket. They bring them home to the modest residence they share with their wife/mother, daughter/sister and the woman they all call “Grandma.” On their way home the man and adolescent boy encounter a five-year-old girl who is neglected and, it turns out, abused. They bring her home with them and she becomes part of the household. Her own parents don’t even report her absence until it’s discovered two months later. Her new family cuts her hair and changes her name to avoid discovery. She also starts learning the art of shoplifting, although most of the family members have legitimate sources of income too. Grandma gets her late husband’s pension, Mom and Pop have jobs and Sis works at a peepshow. Once all this is established and becomes routine, events lead us to discover the real relationships between all these people and how they came together as a family. It says a lot about society, here as well as in Tokyo, where the film takes place. Having won the grand prize at Cannes and being considered a top contender for the Best Foreign Language Film Oscar, Shoplifters hardly needs my endorsement; but it has it.
SPIDER-MAN: INTO THE SPIDER-VERSE (PG)
Disney has been making live-action versions of their animated classics because they realize a good story is a good story, in any medium or format.
Sony takes a reverse tack with their portion of the Marvel Comics Universe. To fill the gap until next July’s live-action Spider-Man sequel, here’s an animated adventure that playfully pokes fun at the whole enterprise in the course of a plot that’s as good as any of them have offered. I’m sorry if animation reduces the credibility factor of what you’re watching, but those of us suffering from CGI fatigue appreciate it. After Chris Pine as Peter Parker voices a smart-ass, meta summary of the usual Spider-Man backstory, we meet Spideyto-be Miles Morales (Shameik Moore) in an odd gender-reversal on the setup of The Hate U Give. With an eye toward “movin’ on up,” his parents have the biracial youth going to a private school, where he finds romantic potential with Caucasian Gwen Stacy (Hailee Steinfeld). Miles escapes from his father (Brian Tyree Henry), a strict PDNY cop, to his understanding uncle (Mahershala Ali), who encourages his artistic bent as a graffitist. Bitten by a spider, Miles develops even stickier fingers than most teenage boys and is mentored in the Spider-Verse, first by Parker, then by an older, less fit version, Peter B. Parker (Jake Johnson). With the world – or at least Brooklyn – threatened by Kingpin (Liev Schreiber), Spider-persons come pouring out of alternate universes to assist our young hero. I found the chaotic action scenes the film’s least effective but appreciated the variety of visual styles, from comic book art to near-realistic animation. This is certainly not a cheap, moneygrubbing knockoff of the franchise, even if Sony’s accountants have stickier fingers than Miles. And it’s Marvel, so stay to the end.
1/2 Mad magazine introduced me to satire at an impressionable age and I’ve been a fan ever since. My all-time favorite films include classic satires Dr. Strangelove and Young Frankenstein, and Vice may join that list. If you don’t know Dick (Cheney), you will after seeing Christian Bale personify him in Adam McKay’s sweep through a half-century of American history from a liberal perspective. (Conservatives, you’ve been warned.) In 1963 Cheney is a Wyoming hellraiser who got kicked out of Yale. He’s already dating Lynne (Amy Adams), who straightens him out lest she get into a relationship like her parents’. With opportunities for women limited at that time, Lynne turns Dick into the man she wanted to be. Going to Washington, he’s mentored by Donald Rumsfeld (Steve Carell) and learns from Richard Nixon that the president can ignore Congress. Cheney leaves his job as CEO of Halliburton to serve as vice president under George W., “the black sheep of the Bush family.” Having been manipulated by his wife, Cheney becomes a master manipulator himself, a puppeteer pulling W’s strings to get him to invade Iraq. This doesn’t sound like a laugh riot and the humor may go over some viewers’ heads, but it’s there in McKay’s brilliant screenplay. The makeup Oscar is assured, with the main characters aging over a period of 40 years or more; and the actors under the makeup, especially Bale, shouldn’t be ignored either. They’re indistinguishable from the real thing, glimpsed in brief news clips (as is a younger Donald Trump, who looks nothing like Elvis, and Ronald Reagan, who uses the phrase, “... make America great again”). Vice is packed with intelligence and historical tidbits I didn’t know or had forgotten, but none of the reverence and PG language of many political films.
SPIDER-MAN: INTO THE SPIDER-VERSE
BEST IN MOVIES BY STEVE WARREN
NTIL I SAW VICE, THE RACE WAS on for my favorite movie of 2018, with the top three candidates dealing with racial matters past and present. These may not be the “best” of the year from an objective, technical perspective, but they had the most effect on me, whether for entertainment value, emotional impact or both and more. As I often say, if we all agreed there’d be no need for more than one critic. I voted (and was largely outvoted) for the awards of the Atlanta Film Critics Circle and Southeastern Film Critics Association (SEFCA). Of the six films that appear in both groups’ Top Ten lists, only one, Spike Lee’s BlacKKKlansman, made my list as well. I try to avoid the bandwagon effect that kicks in during award season and remain loyal to films that caught my attention earlier in the year, even if most of my colleagues didn’t see them or have forgotten them. Roma and The Favourite would probably have made my Top 30, but so would such overlooked gems as The Endless, Alpha, Searching, The House of Tomorrow, Lean On Pete and Juliet, Naked. Here are both groups’ lists, as well as this rebel’s, and the rest of my year-end selections:
2018 SEFCA TOP 10
1. Roma 2. The Favourite 3. A Star Is Born 4. BlacKKKlansman 5. Vice 6. If Beale Street Could Talk 7. Green Book 8. First Reformed 9. Eighth Grade 10. Leave No Trace
2018 ATLANTA FILM CRITICS CIRCLE TOP 10 1. The Favourite 2. A Star Is Born 3. Roma 4. A Quiet Place 5. First Reformed 6. Eighth Grade 7. BlacKKKlansman 8. tie: First Man Won’t You Be My Neighbor? 10. Black Panther
2018 INSITE TOP TEN
Jonas Strand Gravli, 22 July Runners-Up: Richard E. Grant, Can You Ever Forgive Me?; Mahershala Ali, Green Book
BEST SUPPORTING ACTRESS
Emma Stone, The Favourite Runners-Up: Natalie Portman, Vox Lux; Amy Adams, Vice
Vice Runners-Up: The Favourite, If Beale Street Could Talk
Alfonso Cuaron, Roma Runners-Up: Chloé Zhao, The Rider; Ari Aster, Hereditary
BEST ORIGINAL SCREENPLAY
Vice: Adam McKay Runners-Up: Ben Is Back: Peter Hedges; Green Book: Nick Vellelonga, Brian Hayes Currie & Peter Farrelly
BEST ADAPTED SCREENPLAY
BlacKKKlansman: Charlie Wachtel, David Rabinowitz, Kevin Willmott & Spike Lee Runners-Up: 22 July: Paul Greengrass; Juliet, Naked: Evgenia Peretz, Jim Taylor & Tamara Jenkins
1. Vice 2. Green Book 3. BlacKKKlansman 4. The Hate U Give 5. The Rider 6. Bad Times at the El Royale 7. Black Panther 8. Flower 9. Three Identical Strangers 10. Isle of Dogs
SECOND TEN (listed alphabetically)
BEST ANIMATED FILM
Three Identical Strangers Runners-Up: RBG; Free Solo
BEST FOREIGN-LANGUAGE FILM
Good Manners (Boas Maneiras) Runners-Up: The Guilty; Burning I find it interesting that these hail from three different continents: South America, Europe and Asia.
Good Manners (Boas Maneiras), The Guilty, Hereditary, Leave No Trace, Puzzle, RBG, Ready Player One, Spider-Man: Into the Spider-Verse, A Star Is Born, Widows
Isle of Dogs Runners-Up: Spider-Man: Into the Spider-Verse; Night Is Short, Walk On Girl
Free Solo: Jimmy Chin, Matt Clegg, Clair Popkin & Mikey Schaefer Runners-Up: Alpha: Martin Gschlacht; The Equalizer 2: Oliver Wood
Rami Malek, Bohemian Rhapsody Runners-Up: Christian Bale, Vice; Ethan Hawke, First Reformed
Juliette Binoche, Let the Sunshine In Runners-Up: Toni Collette, Hereditary; Amandla Stenberg, The Hate U Give
BEST SUPPORTING ACTOR
WORST PICTURE OF THE YEAR
I can’t pass judgment on the many dogs whose kennels I managed to avoid and I’ll have mercy on some amateurish, low-budget indies; so my choice for the year’s biggest waste of time, talent and money is Luca Guadagnino’s remake of Suspiria. insiteatlanta.com • January 2019 • PG 9
TOP 10 TV SHOWS OF 2018 BY BENJAMIN CARR
018 WAS A YEAR OF HUGE GAMBLES on television. The biggest risks, such as the return of Roseanne and Murphy Brown, yielded questionable results. Yet some of them paid off incredibly well, such as Amy Adams’ return to television, the new Star Trek series, a reimagining of a classic novel and a fully interactive episode of Black Mirror. The biggest payoffs, though, came from hours spent in the company of vulnerable women whom most of us had never seen the likes of before.
10. STAR TREK: DISCOVERY
In January, we were blessed to receive the first new Star Trek series in a decade. Set before the days of Kirk and Spock, though, Discovery was a darker, twistier and more complicated voyage available only through CBS All Access pay service, which alienated some fans. However, by its ending, the daring series included some massive, shocking twists and turns - more than proving itself as a worthy successor to the original Enterprise.
9. ATLANTA: ROBBIN’ SEASON
Topping its first season in terms of invention and gamble, Donald Glover’s FX series continued to be must-see, introducing us to characters like Alligator Man and Florida Man. The episode ‘Teddy Perkins’ was the crowning moment of the series thus far, a mix of comedy and deeply unsettling psychological horror. It was one of the most incredible things to air this year.
8. SHARP OBJECTS
HBO’s summer miniseries event, based
upon the Gillian Flynn novel about a serial killer plaguing a small town, was a Southern-fried nightmare of extreme family dysfunction. Amy Adams stars as a reporter returning to her hometown to uncover both its secrets and her own past traumas, raised by a domineering, mercurial monster of a mother, played to perfection by Patricia Clarkson.
The Haunting of Hill House
Game of Thrones star Richard Madden portrayed a stoic, complicated security agent protecting the British Home Secretary, played by Keeley Hawes, as she faced down multiple terrorist threats in this Netflix series. It was the most thrilling, intense viewing experience of the year, with the opening 20 minutes of the series being particularly spectacular.
6. QUEER EYE
Netflix has added a little more spice to the original recipe of Bravo’s reality makeover show Queer Eye for the Straight Guy, and the end result is the most upbeat, affirming show of the year. The new Fab 5 - Bobby, Karamo, Antoni, Tan and Jonathan - tackled all sorts of people during the show’s first two seasons in Georgia. While changing styles and wardrobes, they also changed mindsets and attitudes, forging connections and understanding wherever they could.
There is nothing riskier, more daringly bonkers and alive than Ryan Murphy’s new FX series Pose, which aired this summer. Filled with a cast of unknowns, minority and transgender performers, the series investigates the underground ballroom
Hannah Gadsby: Nanette
scene of 1987 New York, wherein different “houses” of homeless and gay youth compete against one another for trophies and glory. The fictional series, led by Tony Award winner Billy Porter, is bold, wickedly funny and unlike anything that has ever come before it on television.
4. THE HAUNTING OF HILL HOUSE
Reimagining Shirley Jackson’s classic horror novel as a miniseries about a dysfunctional family, this Netflix program was a huge gamble that nonetheless paid off dividends. As we become acquainted with the Crane family - both in their younger days and in their current state, the show invests us not only in the ghosts and the jump scares, but also in the weight of grief and mental illness that can plague generations.
a family struggling to come together without the person who functioned as their glue.
1. HANNAH GADSBY: NANETTE
This Netflix special from the New Zealand lesbian comic made her an overnight sensation, largely because it was filled with raw emotion and vulnerability. It deconstructed comedy, the nature of storytelling and how we value ourselves in the modern age. Watching Nanette, you felt as though you were experiencing a masterpiece and an explosion at once, something devastating and relevant wherein everything is affected and nothing is ever the same.
3. KILLING EVE
BBC America has managed to outdo itself with this quirky, violent and comic thriller, which is scary as hell when it wants to be, about a cat-and-mouse chase between an international assassin and a secret agent obsessed with her. Created by Fleabag writer Phoebe Waller-Bridge, this series stars Grey’s Anatomy alum Sandra Oh and newcomer Jodie Comer, and the chemistry between the two actresses - which alternates between antagonistic and romantic - is indeed killer.
2. SORRY FOR YOUR LOSS
Facebook Watch launched this original series centered around Avengers star Elizabeth Olsen, who played a young widow overcome with grief after the sudden death of her husband. Also starring Kelly Marie Tran and Janet McTeer, these three women portray
BY JOHN B. MOORE
Sometimes Dogs Bark at Nothing
(Free Dirt Records) Modern country music has gotten a bad rap as of late, and just about all of it is entirely justified. The Bro Country invasion has stripped just about every strain of authenticity and creativity out of the same genre that once gave us first name legends like Willie, Waylon, Johnny and Kris. But Alabama native J.P. PG 10 • January 2019 • insiteatlanta.com
Harris, back with his third album, is almost singlehandedly bringing a sense of artistry and pride back to country music. Lyrically, he brings to mind everyone from Kris Kristofferson and Leon Russell to Billie Joe Shaver, forgoing the obvious clichés and let’s have a beer and hit the beach lyrics he opts for strong character sketches and clever metaphors that would that would make Dylan and Springsteen jealous.
THE WOOD BROTHER
One Drop of Truth (Honey Jar/Thirty Tigers)
One Drop of Truth is quite possible this trio’s best so far, nearly flawless from start to finish. The set kicks off with “River Takes the Town,” a
contemporary folk number about a Louisiana flooding that eschews the obvious drama for a more laid-back vibe and comes off almost as a love song in the end. Elsewhere the band beefs up their eclectic bona fides with a couple of strong funk-infused tracks, like “Happiness Jones” soaked in swampy organ, the quirky “Sky High” and the ‘70s-inspired “Sparkling Wine.” The record is balanced out with a barn burner like “This is it,” the sultry album closer “Can’t Look Away” and the earnestly sweet “Strange as it Seems.”
THE LAST GANG
Keep Them Counting (Fate Wreck Chords)
“Keep Them Comin” is The Last Gang’s first album following 2017’s stellar debut 7”, “Sing For Your Supper,” and is more than enough proof that The Last Gang is one of the best thing’s going in music right now. The LP is a relentless, infectious punk rock, that’s not afraid to cram in
hooks alongside the singalong choruses. With the opening track, the hauntingly powerful “Sing For Your Supper,” the band set a remarkable pace that they somehow manage to keep up across 10 songs.
Other Arrangements (Thirty Tigers)
For the first time, Millsap plugs in and sticks mainly to electric guitar on most of the tracks here. The voice is still distinctly Millsaps’, it’s just that the music is a little faster and louder for the most part. Despite being in his mid-20s, his influences here are still more obscure than most of his peers, with nods to ‘70s AM rock versus the typical ‘90s bands that are serving as the guide posts for most current rock outfits. Even though Millsap has a tendency to get feistier on Other Arrangements he never gets lax with his lyrical duties, turning in another perfect collection of character sketches and threeminute philosophy lessons.
CONTINUING EDUCATION Advance your Career and Enhance Your Life! Georgia State University Robinson College of Business 3348 Peachtree Rd NE Atlanta, GA 404.413.7300 execed.gsu.edu
Now’s a great time to get a head start on investing in yourself. By signing up for an executive education program at Georgia State University’s Robinson College of Business, you quickly will gain a cutting-edge skill that can not only take your career to the next level but also add value to your organization. Our programs take place over the course of mere days, so you won’t have to put your life on hold to learn something new. Taught by award-winning instructors and business leaders, our programs cover a wide range of topics including Lean Six Sigma Green Belt and Black Belt Certification; Project Management; Project Management Professional (PMP)® Certification; PMP® Certification Exam preparation; and GMAT, GRE and LSAT exam preparation. Our courses are offered year-round at Georgia State’s Buckhead Center. Visit execed.gsu.edu, email us at email@example.com or call us at 404-413-7300 to learn more. Robinson College of Business, Office of Executive Education – 3348 Peachtree Road, NE, Atlanta, GA 30326.
Oglethorpe University 4484 Peachtree Rd NE Atlanta, GA 404.364.8314 adults.oglethorpe.edu Oglethorpe University, Atlanta’s oldest and most respected Adult Degree Program, introduces a new degree completion option. You can now transfer your previous credits earned and complete an Oglethorpe degree in as few as 30 credit hours. This is the perfect opportunity to finish what you started and earn the college degree you’ve always wanted. Not sure you can do it? Oglethorpe wants you to be sure that their
program is the right fit for you, so they’re offering a unique “Test Drive” program. New students can take up to two classes in their first term at a 50% savings BEFORE fully committing to a degree program. The application is simple and free, with admission decisions made within 24 hours. Best of all, you can choose from hundreds of courses offered during the day or in the evening, with the flexibility to complete your degree at your own pace. Oglethorpe’s small, in-person classes are held year round and eight-week sessions allow you to complete a full-time course load while concentrating on only two classes at a time. Adult students at Oglethorpe enjoy a complete college experience, with full access to Oglethorpe’s campus, activities and benefits. There’s still time to enroll for the Spring Session II! Join us for an Adult Degree Program open house. For upcoming dates and information, visit adults.oglethorpe.edu or call 404.364.8314.
SAE Institute Atlanta
215 Peachtree St. #300 Atlanta, GA 30303 404.526.9366 atlanta.sae.edu SAE Institute Atlanta has been providing creative media education in the heart of Georgia’s capital city since 2007. One of 10 campuses located in North America, SAE Institute Atlanta is also part of the global SAE Institute network of more than 50 campuses worldwide. Located in the historic Cornerstone Building in downtown Atlanta, SAE Institute is just a short walk from iconic locations such as Fox Theatre, World of Coca-Cola, and CNN Studio Tours. The campus includes over 20 professional quality studios equipped with consoles like the SSL 4000G+ and the Avid ICON, MIDI workstations, and a 5.1 surround sound theater featuring a Pro Tools HD system. SAE Institute Atlanta offers 3 programs in creative media: study Audio to learn to create game-changing sound, enroll in Entertainment Business to understand marketing, distribution, and more behind the entertainment industry, or be a part of our new Digital Film class to learn how to develop and produce motion picture content for digital media. As a student, you’ll study alongside like-minded artists who share a similar passion, and you’ll learn from industry-experienced professionals to prepare you for an entry-level career in creative media. Book your personal tour of SAE Institute Atlanta today to learn more!
EXECUTIVE EDUCATION COURSE SCHEDULE Lean Six Sigma Green Belt
January 28 – February 1 and March 25 – 29
Lean Six Sigma Black Belt June 3-7
March 26 – 29 and June 4-7
Dates to be announced soon!
Project Mgmt. Professional® (PMP) Certification Exam Prep. July 16 – 19
GMAT – GRE – LSAT Exam Prep Rolling Schedule
SAE INSTITUTE ATLANTA (404) 526 9366 | atlanta.sae.edu 215 Peachtree Street NE, Atlanta, GA 30303
All programs are held at Georgia State University’s state of the art Buckhead Center
Classes offered year round • Discounts available
execed.gsu.edu • (404) 413-7300 insiteatlanta.com • January 2019 • PG 11
Atlanta Boat Show
Georgia World Congress Center January 10 - 13 AtlantaBoatShow.com
month. e college will present a wealth of forums, musical celebrations and day service activities. Events begin Saturday morning January 19 with Messengers of Freedom: A Torah study and Shabbat service. At 7 pm is the opening exhibition e Meaning of Hope in recognition of the 90th birthday of Dr. Martin Luther King Jr. Beginning at 6pm Sunday is a candlelight vigil. Visit Morehouse.edu.
Winter Wine Fest
City Winery Atlanta January 19 AtlantaWineFestivals.com
Whether new to boating or an avid water enthusiast, the 2019 Progressive Insurance Atlanta Boat show oﬀers visitors an all-access pass to learn about and discover the fun of the boating lifestyle. Everything is here from luxury motor yachts and bass boats to family cruisers, pontoons and ski boats. Take advantage of post-holiday deals on boats and marine accessories. Visit AtlantaBoatshow.com.
Harlem Globetrotters Infinite Arena January 19 7:30pm
State Farm Arena January 19 1pm & January 20 2:30pm
The iconic Harlem Globetrotters are coming to town with their unrivaled family show, featuring some of the greatest athletes on the planet. With incredible ball handling wizardry, amazing rimrattling dunks and trick shots, side-splitting comedy and unequaled on-court fan interaction, this must-see event is guaranteed to entertain the whole family. Visit Ticketmaster.com.
Dr. King Celebrations
e 3rd annual Atlanta Winter Wine Fest will be held on Saturday, January 19th at City Winery. Due to overwhelming popularity, they will have two sessions: Noon - 4pm and 6 - 10pm. ere will have over 50 wines as well as a selection of beer to choose from. Enjoy live music and a DJ, and food will be available for purchase. Tickets are now on sale: $45 in advance, $50 after Jan 10th, and $60 at the door. AtlantaWineFestivals.com
Winter Beer Fest Atlantic Station February 2, 1pm - 5pm
is year’s Atlanta Winter Beer Fest at Atlantic Station takes place Super Bowl weekend. ey will have over 150 beers to sample, including many new local breweries from Atlanta and Georgia as well as a brewery or two from the home town of the big game teams. ere will also be a small selection of wines and ciders. Enjoy Live Music on multiple stages, DJ and more. Additional fun and games will be on hand with food available for purchase. AtlantaWinterBeerFest.com.
Marvel Universe Live!
State Farm Arena February 14 - 17; StateFarmArena.com
Infinite Energy Arena Feb 21 - 24 InfiniteEnergyCenter.com
Atlanta hosts this year’s Super Bowl at Mercedes-Benz Stadium on Sunday, February 3rd. While our Falcons did not make the playoffs this year, having the game in town isn’t too bad a condolence prize. As of press time, the most likely teams to play are the Kansas City Chiefs of the AFC and the Los Angeles Rams of the NFC. It is sure to be a great event for the city no matter who plays.
Atlanta Jewish Film Festival
Cobb Energy Performing Arts Centre
e Atlanta Jewish Film Festival (AJFF), returns February 6 with the Opening Night Gala at the Cobb Energy Performing Arts Centre and the Atlanta premiere of the Israeli dramedy “Shoelaces”. AJFF features a diverse collection of accomplished international and independent cinema. is year’s festival takes place across 21 days at six metro Atlanta locations, including a new anchor venue at the Sandy Springs Performing Arts Center at City Springs. Visit AJFF.org
Oyster Festival Park Tavern, February 9; 1pm - 9pm ParkTavern.com
Super Bowl LIII
Fasching - Mardis Gras Festhalle in Helen, GA; February 16, 7pm - 11pm; helenchamber.com
Grab your family and friends and come on out to Helen, GA’s Festhalle on Saturday, February 16 for a night of music, dancing and fun. e theme is “Anything Goes” where costumes are welcomed but not required. ere will be a full cash bar, live German band and costume contests with awards for best male and female costumes and best overall presentation. Visit helenchamber.com. PG 12 • January 2019 • insiteatlanta.com
Special Olympics of GA Acworth Saturday, February 23, 11AM - 3PM SpecialOlympicsGA.org
Opening Night: Wednesday, February 6 Festival: February 6 - February 26 AJFF.org
The Oyster Festival is a day long event that features live music from local bands, DJs, cold beer and other tasty beverages and tons of fresh raw, steamed, and fried Celebrate the life and legacy of Dr. Martin Mercedes-Benz Stadium February 3 oysters with plenty of cocktail sauce and Luther King Jr. at Morehouse College this Mercedesbenzstadium.com crackers. Not an oyster lover? Indulge in their delicious fried shrimp and yummy french fries. Tickets include admission into the event and entertainment (bands Martin Luther King Jr. Day - January 21 and DJs). Food and beverage not included with ticket price. SpiralEntertainment.com Morehouse College January 19 - 21 Morehouse.edu
Marvel fans, assemble for this live, action-packed, legendary battle to defend the universe from evil. Spider-Man, the Avengers and the Guardians of the Galaxy join forces with Doctor Strange, master of the mystic arts, in a race against time to recover the Wand of Watoomb before it falls into Loki’s hands. This all new show unites some of Marvel’s greatest Super Heroes including Iron Man, Captain America, Thor, Black Panther, Hulk and Black Widow against some of the most threatening villains.
Be “Freezin’ For A Reason!” The Polar Plunge is the Special Olympics largest fundraiser. Participants collect pledges in exchange for the opportunity to jump into icy waters of Acworth Beach. All proceeds collected by Plungers will benefit the athletes of Special Olympics Georgia. Prizes will be awarded for the best costume, highest fundraiser, highest fundraising team, and more. Sign up at SpecialOlympicsGA.org.
Monster Jam Mercedes-Benz Stadium Saturday,
February 23 & Sunday, February 24 MonsterJam.com
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INTRODUCING PETER AND JEREMY
Asher and Clyde Join Forces with Songs and Stories from the British Invasion
BY LEE VALENTINE SMITH
where ours was back-and-forth. They ended up living in California which is why they did more work here than we did. We were spending as much time in England as here.
HE BRITISH INVASION IS KNOWN for a slate of mop-topped bands of four or five cheeky lads playing great melodies often based on American influences. Tell us about the impact of the British But among the lot of hitmaking groups, two Invasion from the inside. Americans obviously duos also created a lasting legacy of their own. know it from the consumer standpoint. But for Peter and Gordon and Chad and Jeremy were an artist, it must’ve been a crazy whirlwind of often confused with each other due to their everything at once. astoundingly similar physical appearances, It was very exciting. Of course, at that age, fashion sense and even choice of guitars. you tend to take things for granted. ‘Oh great, Both had worldwide hits and with a we’ve got all these gigs. Oh, we got a record comparable career-path, and both reformed in deal? Well, that’s nice. Oh, it the early 2000’s. But now with went to number one?’ You the death of Gordon Waller don’t realize at the time that a decade ago and the recent you’re beating, you know, the retirement of Chad Stuart, a odds of a hundred million to new duo has been created. Monday, Jan. 28 one. What was particularly Peter Asher and Jeremy Clyde exciting to us is we grew up City Winery are now on the road in a duo citywinery.com/atlanta idolizing American music and storytelling format, offering America in general. It became historical anecdotes and identified in our minds with musical highlights from two the extraordinary music that separate careers of the mid-‘60s. we loved and maybe took even more seriously Asher, who spent the ‘70s as producer/ than Americans did then. On top of that, to go manager of James Taylor and Linda Ronstadt there and be chased around the streets of New among others, remains a creative force York by screaming teenage girls was fabulous! with a slew of varied projects in the works including collaborations with Hans Zimmer It’s always fun to remember that you were on soundtracks and a recurring radio show on soaking up our culture as we were looking to Sirius FM. INsite spoke with the gregarious the British Invasion musicians with such awe. musician during a recent early morning call Right! I think we got away with murder from his home in Southern California. because of our accents. The thing to me about the whole British Invasion is it consisted of us The new duo with Jeremy Clyde is a falling in love with your music and your culture pleasant surprise. in general. Then kind of learning it, tweaking Well I’ve known him forever. People would it ever-so-slightly and then selling it all back to confuse Peter and Gordon with Chad and you. It was amazing. But the thing about the Jeremy all the time. The tall, handsome one British Invasion is, it was 90 percent Beatles sings the low part and the short, nerdy one and 10 percent all the rest of us all put together. with glasses sings the high part, it was sort of There’d been some British hits before, of course, weird. We were constantly being congratulated but none of them were artists so amazing that for each other’s achievements. When they they took over the world and opened it up would do something we never did, like being for everybody. on Batman or The Dick Van Dyke Show, people would see us in the elevator the next day and go, You’re particularly unique in that you saw the ‘Well done!’ arc of The Beatles from the inside, or as close as one could get at the time. How’d the current pairing happen? Yes, to some extent. No one really knows what Well, with Gordon being dead for, goodness, it was like to truly be inside that band. The four over ten years now, and Chad had decided to of them used to talk about the fact that nobody retire, it just seemed sort of unavoidable that but the four of them could really understand we should consider it. We get to do two sets of what being a Beatle really meant. hits and double the amount of stories, namedropping and everything else. We were both Did you get a glimpse the machinations of the actors as well, so we’re both quite comfortable Lennon-McCartney songwriting process? on stage, swapping stories back and forth. Now Of the process itself? None. But I did hear it’s a bit different because we’ve gotten confident songs half-finished sometimes and then the enough to go in slightly different directions next day they’d be finished. You know, in all every night. those songwriter movies there’s that scene with someone sitting at the piano going, ‘Um, how Your last visit to town was with Albert Lee, should this go?’ I never saw that with them. I also swapping great songs and stories. You think songwriting is essentially a pretty private obviously enjoy the duo format. process, sometimes shared with your co-writer I do. You see, I’ve never really been in a but usually not with anybody else. ‘band,’ besides maybe a skiffle group. I’m sure it would be fun but I’ve also seen bands get in But obviously you learned a great sense of horrible rows. Of course, duos can do that too. melody just from playing those songs over They really led the way in that regard, as it is the years. with every sort of duo regard. I enjoy singing Of course. When you hear a song that’s really harmony because I’ve never thought of myself good, you listen and go, ‘Wait, how did they as a lead singer. do that?’ That’s the way The Beatles started out, learning all the songs of their heroes and You mentioned the career parallels and your figuring out how it was all done. duo histories overlap almost perfectly. Yes, I’m 74 and Jeremy is 76, and as I say it, it You and Jeremy have a great catalog to look sounds bizarre, but he was a little bit ahead but back on for the live show, but do you think you it’s all very close. We certainly coincided. Their will ever record new material? career was concentrated mostly in America We did add an Ed Sheeran song to the show
PETER AND JEREMY
“Thinking Out Loud”. It makes references to things like, when I’m 70 I’ll still love you. He was around 25 years old when he wrote it. ‘When I’m 70’ referred to an infinitely far-off time for him. I thought by doing the song we could take on a whole new perspective for someone who 70 is in the rearview mirror. We went in the studio and recorded it. It hasn’t been released yet, but we’ll do it in the live show.
I know you always have a ton of projects on the backburner. I still love being in the studio more than anything. At this point you have to keep reminding people that you aren’t deaf or dead, you’re still around. ‘What we need is somebody like Peter Asher, but for now.’ So you have to kinda go, ‘Well I’m still here!’
insiteatlanta.com • January 2019 • PG 13
DENNIS QUAID’S TRUE FICTION
The Veteran Character Actor Assumes Yet Another Persona: Rocker
BY LEE VALENTINE SMITH
OR YEARS, THE STRANGE SUB-genre of actors who release records has included an incredibly varied collection of artists. Some questionable (Telly Savalas, William Shatner, George Burns) and some surprisingly good (Billy Bob Thornton, Kevin Bacon). Enter Dennis Quaid. He’s obviously best-known for an impressive acting career that includes a wide variety of dramatic and comedic roles. “Breaking Away” (1979), “The Right Stuff” (1983) and “The Big Easy” (1986) established him as a solid box-office attraction. But the affable Houston native has also been singing, playing and writing music since he was 12. Quaid’s current musical project with his band The Sharks has been going strong for the past 18 years on the southern California club circuit. Last year the band finally got serious about releasing a proper album. The result, Out Of The Box (Omnivore) is a rocking collection of originals and choice covers including fresh takes on “L.A. Woman” and venerable old warhorse “Gloria.” Insite recently caught up with the irreverent actor/musician/ Esurance pitchman by phone from Chicago. You’re based in Los Angeles but you’ve been making movies in Georgia long before it became such a hot destination. Yeah, I did several movies there. “The Long Riders,” and before that some drive-in movies in the ‘70s. I always had a good time there and there’s such a vibrant music scene. Let’s see, “Our Winning Season” was also shot there, a movie called “Gorp” and “Something To Talk About” was shot in Savannah. I’ve always loved the south. Congratulations on your first album. It only took, what, 18 years? (Laughs) Yeah, I guess so. We’ve been together for 18 years, and we’ve done a few live recordings and stuff to have something to sell at gigs but we hadn’t made a real record. But you’ve made it to a few soundtracks. Yeah a few songs here and there for movies. But I was playing golf with my friend [producer] T-Bone Burnett and he became a great facilitator. He set us up at Village Recorders and loaned us his engineer. We put down 25 tracks and 13 made it to this record. Are you saving the others for b-sides? Some will go on the next album. I’ve been on a tear over the last couple of years, writing songs and we’re gonna go in and start on the second one soon. The Beatles put out one every six months, so why can’t we?
Right. Breaking up on the day of the deal is very punk. Well the next day, I was in rehab and I didn’t play music for about ten years, so yeah. Then the Sharks got together through Harry Dean Stanton. A couple the guys were playing with him and ALL THROWN ofthat’s where I started to really find my own voice. WE’RE ROCK
IT’S KINDA IN THERE, AND ROLL, BUT WE’RE ALSO COUNTRY, A LITTLE LOUNGE AND BLUES. BUT YEAH, IT’S ROCK. OUR MANTA IS WE’RE GONNA BE THE OLDEST GUYS TO MAKE IT IN ROCK’N’ROLL.
It’s good to hear you’re in a prolific period, but you’ve been writing songs for a long time. Ever since I was 12, actually. When I started playing guitar, I just started writing. I knew I’d never be able to really shread, so writing was just kind of a natural thing for me. Growing up in Texas, you must’ve had a lot of early influences. Yeah, I was exposed to a pretty eclectic range of music. The first one I can remember was Hank Williams and then Elvis came along and Buddy Holly. My dad played piano and Bing Crosby was his Elvis. And Gene Autry was my cousin, so there’s a legacy. Then the Outlaws came along and hit right about the time I was 16 and of course the Beatles were a constant. Early on, was Jerry Lee Lewis an influence? I wouldn’t say early on. I guess I was 33 when I did “Great Balls Of Fire” (1989). But I did know his story and I hadn’t really played piano before that. So I had a year to prepare and Jerry Lee was one of my teachers. He was over my shoulder the entire time. ‘You’re doin’ it wrong, son.’ PG 14 • January 2019 • insiteatlanta.com
I thought they might have pushed you to make an album during the “Great Balls Of Fire” period, but it didn’t happen. I don’t really think I was ready for it. I don’t think I found my musical voice until I got with the Sharks. I did have, around that time, The Eclectics, which was some of Bonnie Raitt’s band. We had a record deal actually, but the night the we got the deal, we broke up! Like in “The Commitments,” did you ever see that movie?
Now you’re getting serious with the music, the record and a big tour. Well I don’t want to say ‘serious,’ but we’ve been a band for so long now. It got to the point where it became an unspoken thing. We just kept playing and we have our own sound.
What do you call that sound? It’s obviously rock-based. It’s just junk-yard American music. It’s kinda all thrown in there, we’re rock and roll, but we’re also country, a little lounge and blues. But yeah, it’s rock. Our manta is we’re gonna be the oldest guys to make it in rock’n’roll. You’re taking it on the road this year. Yeah we did like 50 dates last year and now I want to double that. You’ll be able to balance that many cities with your acting schedule? I’m lucky enough to do both. With movie stuff, for so long I used to play the lead and that keeps you in one place. What I love now, I’ll go in like a hit man and do a role on something for a couple of weeks and then I’m out of there. So now I can spend more time on the music.
star,’ that’s fine, but stay for the music. We’re all there to have a good time, and it’s an opportunity to change their mind so they can see that we’re a real band. I just don’t get uptight about it. But there’s always the Golden Throats stigma. The Shatnerization of celebrity expression. So many actors have tried to release a record and it becomes kitsch rather than art. But your record isn’t a novelty. Right. In my case, it’s what I’ve always done. At this point, my only goal is to be authentic. So many actors get stuck in a type of role. But you haven’t. Each role seems to live in its own little world. I don’t really have a strategy for that. I just want to try as many things as possible. Characters or whatever it is - and it keeps it fresh for me too. You’ve played a number of real people over the years. Is that more difficult than playing someone you can completely create from scratch? In some ways it’s easier. You have so much material to draw on and sometimes directly from the person themselves. I never try to imitate people, I just try to get their essence and be respectful but still truthful. I don’t try to do an impersonation. You’ve done Clinton and Jerry Lee and Doc Holliday. Oh man, so many. Gordon Cooper, too. It seems like most people I’ve played are real people. And now you’ve got Ronald Reagan on the horizon. That is in the works, yes. If they’ll give us a start date, I hope we’ll be able to do it in 2019. That’ll certainly be a doozy. It’s a long way off, but have you started to prepare for it? I went up to the Reagan Ranch. I already knew so much because he’s my favorite president, to tell you the truth. But the more I kinda get to know him when I talk to people who also knew him personally, it makes it even more intriguing. That’s what I love about acting is that it’s a study of human behavior and that just dovetails right into music.
I saw a clip from the CD release show in November and you were all over the stage and out in the crowd. That’s what we do. We started out as a bar band, really. If people pay their hard-earned money to see us, we want ‘em to have a good time.
When you’re onstage with the band, are you assuming another character? Yeah, there’s a persona. It’s not quite intentional but it’s just what I kinda become. I call it true fiction. I’m playing a true fiction of myself. It is theater and presentational and it’s a way to tell a personal story, but it remains a piece of fiction. Which makes it even truer sometimes, you know?
People want to come to a rock show and have a good time, but in your case, some will come purely out of curiosity. And that’s fine with me. I feel like, if you want to see a ‘movie
Dennis Quaid and The Sharks’ Out Of The Box is available at most music retailers and from omnivorerecordings.com. Catch them on tour later this year.
IN MEMORIAL: HUNT SALES
The 64-year Old Musician is Very Much Alive & Finally Getting His Sh*t Together
BY LEE VALENTINE SMITH
E’S GOT A LIST OF CREDITS most musicians would kill for, but the most important thing on Hunt Sales’ mind right now is The Hunt Sales Memorial. It’s his official debut recording as a front-man and songwriter, after decades of classic collaborations with some of the rock’s most elite players. His drum intro on Iggy Pop’s “Lust For Life” has been heard in on records, ads and films and continues to influence new generations of listeners. Likewise, his early‘70s work with Todd Rundgren in Runt and Utopia remain classic performances. His most recent high-profile accomplishment was with old friend David Bowie in the supergroup Tin Machine in the early ‘90s. In the meantime, the son of late comedian Soupy Sales has lived a wildly mercurial life, fighting long-term bouts with substance abuse as he continued to hone his craft in rock and soul bands across the country. Now based in Austin, the heavily-tatted multi-instrumentalist is especially excited about the January release of Get Your Sh*t Together (Big Legal Mess/Fat Possum), a decidedly raucous collection of raw and mostly upbeat songs. Sales, planning a national tour for later this year, spoke with INsite by phone from his Texas home. You’ve certainly selected an interesting band name. A friend of mine died, right? Nobody would go out to see him when he was alive, but I’d go out to see him. Then he died and all these people finally showed up. It really pissed me off. So that’s where I got the name from. I figured, let’s have the memorial now before I’m dead!
think my tastes are much different than most people. I thought if I liked it, there’d be a few people who’d get it and like it. The last few shows I’ve been to, like rock and roll shows, the audience seems to be older. A lot of the younger people are into hip-hop and trap house and all that. But back in the day, rock and roll was everything. But now the demographics, as they say, have changed. Having grown up with classic rock when it was new, a lot of modern music sounds like a car commercial. Yeah! I have an 11-year old and I’ve tried to play her some of the older stuff. It’s weird. She’ll like Chuck Berry, but mostly it’s the trap house stuff. She doesn’t know everything they’re talking about, but she likes the beat. When I was 11 years old, I was into Sam and Dave and Otis Redding and jazz. But I wasn’t the usual 11-year old.
But it’s not just kids who get into disposable music. Adults get drawn into it, too. Yeah, I ran into this guy a month or so ago. He was maybe 21 or so. I always start talking about music and I asked him if he was familiar with Sam Cooke. He didn’t know who he was and I played him that song “A Change Is Gonna Come.” I almost cried listening to it, it was so soulful. He said are you familiar with so-andso, I went, ‘No, what is it?’ I pull it up on You Tube and basically this guy is rapping a how-to manual of how to make crack. I was like, ‘Great, we’ve gone from Sam Cooke to how to cook rock.’
So where do you fit in now? At least you didn’t go the Americana route. THERE AIN’T NOTHIN’ Exactly. There’s a time ORIGINAL ANYMORE, EXCEPT IN and place for that, but I PRESENTATION ANYWAY, YOU don’t know what time that And here you are at 64 with DIG? I’M A PRODUCT OF WHAT would be. There ain’t nothin’ a very strong debut album. I’VE DONE AND LISTENED TO, original anymore, except in EVER SINCE I WAS A LITTLE BOY. The great thing about it is presentation anyway, you some people may know your dig? I’m a product of what history, but to a lot of people, you’ll be a I’ve done and listened to, ever since I was a brand-new artist. little boy. Exactly! You said that perfectly. I’m old, I’ve been around forever and yeah, some You can speak with authority because you people may know who I am, but there’s were exposed to the founders of rock and basically more people who have no idea jazz when you were just a kid - originally who I am. If they do, they may think I just thanks to your dad. play drums and all I’ve done was play on We did have a lot of cool music around the “Lust For Life.” I’ve done a lot more than house. It resonated with me and I started that. Someone said, ‘Well who sings on playing drums at like six or seven years old. the record?’ I’m like, ‘ME!’ ‘Oh, You sing?’ The time I came up in, most of the great ‘Well, I try to.’ But you’re right, I’m an old drummers were still with us. So I was lucky act. I mean, with Tin Machine being the last enough to hang out with and see Art Blakey, major thing I’ve done, and that was 1990, Buddy Rich, Shelly Manne, Elvin Jones. The ’91! There’s people that were just born then. great ones. Then when I was around 16, I started hittin’ the road. I quit school and Still this must be an exciting time for you. started touring. I knew I wasn’t gonna be a A new record, a new year. A new beginning doctor or laywer; what did I need school for, in many ways. you know? I really feel grateful to have a shot at it at this late stage in the game. I was given the By that time, you’d already had an intense opportunity to do the record and I sat down musical education. and wrote almost all new songs. Yeah and I went and studied drums because I knew I wanted to get my sh*t At your age, a lot of artists might make a together. I was very lucky because timing is sensitive singer-songwriter record, but I everything. I managed to be at a lot of the knew you wouldn’t go that route. right places at the right times. If you want I just did stuff that I really like. I don’t to be an artist, there ain’t no guarantees. I
saw my dad go through some rough spells, but he was always working. And that’s what I’ve always done, too. I’ve been in limos and toured in learjets but I’ve toured in station wagons, too. From the top to the bottom. The one thing that’s been constant is playing. Whether it’s in a club for 20 people or doing 15,000 seaters. To me, if I was playing, I was playing. I could say I was a rock star, but you know what I really am? I’m my kids’ parent. I play music for a living.
Your resume is incredible. Looking back, what has been your favorite moment so far? You know, I spend very little time in my past. I do have some accomplishments and that’s good. There are people I miss who are gone, that’s for sure. But I don’t listen to my old stuff. I’m more excited about a song I’m working on now, the one that isn’t done. That’s where I’m at. Get Your Sh*t Together is available from most music retailers and through biglegalmessrecords.com.
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THE FLESH EATERS RETURN
‘70s Punk Band is Back With Revised Line-Up, New Album & a National Tour
BY LEE VALENTINE SMITH
ERHAPS THE COOLEST AND LEAST commercial supergroup of the punk era, The Flesh Eaters were formed in Los Angeles in 1977. Over the years, the line-up has been in almost constant upheaval, with the sole constant being founder / punk poet / film historian Chris Desjardins, better known as Chris D. The revolving door personnel continues to include members of the most famous bands of the original L.A. punk scene, including Dave Alvin of The Blasters, John Doe of X and Steve Berlin of Los Lobos. The latest incarnation will release I Used To Be Pretty this month. As usual, Chris D’s howling vocals and musical ideas carry the project and the record is easily the band’s best since 1981’s A Minute to Pray, a Second to Die. INsite spoke with Chris D as he finalized plans for the band’s first quarter plans of 2019 including a national tour and the international release of the new record. Two albums I’ve been listening to on repeat lately are the advance disc of the Flesh Eaters and Downy to Lubbock - both with Dave Alvin but both very different projects. I think that really speaks to Dave’s versatility. He really embraces so many styles and genres. He’s really great that way. But everybody in the band is kind of like
that, we can all fit into a number of musical genres without too much of a problem and get equal enjoyment from it. How did you decide to do another record? It’s kind of fascinating to me how easily everything fell into place. For a few years, I’d just let sleeping dogs lie. Then in 2014, I was at loose ends, I was jobless for the first time in 15 years, I’d recently gone through a break-up and I was just trying to keep my sanity. I got in touch with everybody and said, ‘Do you want to do this again?’ Fortuitously, everybody had their schedule open and we decided to do a few shows in January 2015. Must’ve been great shows. We had so much fun we wanted to do it again a lot sooner than later. So we made a kind of a pact, a verbal pact to do it again within two years, so we did some January 2018 shows. We added a few more and did eight shows this time. Dave’s manager Nancy has been our de facto manager for the last year, even though she didn’t start getting her percentage until the last month or so.
That’s rock and roll! Well she’s been doing it really for the love of it as we all have. The two of us have really held it together while the guys are our doing their separate things. But we’re still keeping in touch with them, making sure
everyone’s on the same page and there are no schedule conflicts at the last minute.
You have a lot of busy people to juggle. Yeah. But it was all working so well last January, we were sounding so tight during those live shows, about halfway through the dates, I said to the guys, ‘We’ve really got to go into the studio and document this.’ They were pretty open to the idea and to working it out. I said, ‘We can go in there within a couple months, take a week to all get on the same page so we’re rehearsed enough so we don’t have to do a lot of woodshedding.’ That’s what we ended up doing. From last summer when the label first heard the album, to now with a pretty ambitious tour, it must be an exciting time for you. Yeah, I’m very excited about it and there’s a lot of attention being given to it. And we’re going on tour, definitely the first time for this line up. The band I had in ’82, ’83, for the third and fourth albums, we did a pretty extensive tour. All over, and even in Atlanta. I think we played a place called The Metroplex. My other band Divine Horsemen also toured quite a bit in the ‘80s. Now, a lot of younger people know those band names, even if they’ve never seen us play a live show. Actually we’re planning another Divine Horsemen album for sometime this year as well.
You’re playing to people who may have only heard of the band indirectly, like a myth. Yeah, it’s funny, the combination of this particular group seems to fascinate a lot of people. I think the people who really know the know the band, the people who are getting up there in senior status, who know the history, appreciate that we’re coming back together. It’s certainly not for the money. And I’ve definitely noticed a lot of people who may have been only four or five or maybe not even born yet when our other stuff was new. I’m seeing a lot of people in their 20s and 30s, who really embrace the music. That’s the real litmus test. The Flesh Eaters’ I Used To Be Pretty is available at most major music retailers this month.
Popular Funk & Fusion Band Plans to Vibe Up 2019
BY LEE VALENTINE SMITH
ETTUCE GREW ORGANICALLY FROM THE fertile Boston music and party scenes of the early ‘90s. Today, band members Adam “Shmeeans” Smirnoff (guitars), Nigel Hall (keyboards, Hammond B-3, piano, vocals), Adam Deitch (drums), Erick “Jesus” Coomes (bass), Ryan Zoidis (saxophone) and Eric “Benny” Bloom (trumpet) are a popular live act, playing up to 80 shows a year across the country. Their latest release is Witches Stew, an affectionate salute to Miles Davis, one of the band’s major influences, using his iconic Bitches Brew record as a jumping off point. There’s already a new release of Lettuce originals in the can as well, to be issued sometime this year as their Vibe Up tour continues. INsite spoke with saxophonist Zoidis by phone just before the band’s recent New Year’s Eve performance in Austin.
PG 16 • January 2019 • insiteatlanta.com
Let’s talk about Witches Stew. How did you decide to devote an entire EP to Miles? That was really a lucky thing that just happened. Our soundman recorded the whole show and it was very relaxed; we did it live at 2 o’clock in the afternoon. The promoter had wanted our trumpet player Eric Bloom to do a Bitches Bloom set and it was cool. There were maybe 500 people there, really chill and mellow. The recording came out great, so we just decided to put it out as a record.
How much of the new stuff will end up in the live set? We’ve been playing a lot of it, because we’re always trying to add something new. Lately we’ve just been switching it up and actually playing it different every night so it becomes completely fresh music from night to night and that keeps us happy.
Will the Atlanta gig be a two-set show? I don’t know yet, but I hope so. I really do like doing those because you can get such a different feeling from one set to the other. You play, regroup and it comes out Saturday, Jan 26 • 8pm in a whole new way for the second set. I really enjoy the challenge of that. Center Stage
It was released on Halloween of ’17. Now that you’ve had some time to live with it, what do you think of it in retrospect? Looking back, I can see that it was really centerstage-atlanta.com I know you have a lot of friends in the area. a kind of turning point for the band, just Any chance of a special guest or two? as a bit of a transition. Neal Evans, our I’m not sure yet, we’re not bringing any keyboard player at the time, was on his special guests along but there’s always that possibility. I don’t way out and Nigel Hall was on his way in. He plays Rhodes know if there’s an opener yet. But I know there’s a drummer and synths and really has some different textures for the there, Lil’ Jon, and he likes to come down sometimes to chill band now. By doing some of Miles’ stuff, I think it really and play percussion and just sit in with us. So you never inspired us to improvise more. know. But I do know Nigel Hall will be singing a couple of things, so like I said, it’s always new for us, too. Bitches Brew is undeniably a great period for improvizational music. Tell us about the origins of the band name. I’ve heard The cool thing was, we jumped around in that whole era different takes on it, so please set the record straight. and just picked out the best things. He’s always been an Yeah, we used to go play these college parties around influence and it really helped us to rethink the way we want Boston because we were close to the Berklee College of to play our own stuff. Music. We’d try and find out if there was a band already playing at one of the parties. Then we’d go and ask them He was big on playing in the moment and it sounds like if they’d ‘let us’ use their gear so we could play. Then a Lettuce is, too. keyboard friend of ours kind of nicknamed us Lettuce Right, he was like, ‘I’ll play it now and tell you what it because of that. We just held on to it. I really think we is later.’ In that same spirit, we do have a new record of realized pretty early on that we had something special original stuff that we just finished. We’ll be mastering that before the Vibe Up tour begins. We did about 27 songs and when we play together. Now after so many years of playing, at this point it basically just comes through us and we let we’re excited for people to hear it. it happen.
“IT’S NOT A GENRE, IT’S A SCENE” 3 X 4 Documents the Origins of L.A.’s Paisley Underground
BY LEE VALENTINE SMITH
OST MUSIC OR ART movements are like a small, often tempestuous family. Creative differences or infighting usually splinters the core, leaving factions of the original concept. Not so with the legendary Paisley Underground of Los Angeles. The original four bands harmoniously supported and promoted each other then and now. From their early ‘80s beginnings, the founding groups went on to differing degrees of international success. Then after two reunion shows a few years ago, a unique tribute was born. The result, 3 x 4: The Bangles, The Three O’Clock, The Dream Syndicate, Rain Parade features each band covering three classic songs by each of the others and will be widely released this month on Yep Roc. INsite recently spoke with album coordinators Danny Benair (The Three O’Clock), Vicki Peterson (The Bangles) and Steve Wynn (Dream Syndicate) for an oral history of the project and the scene. Danny: We did two shows together in 2013 - at the Fonda in L.A. and the Fillmore in San Francisco. At some point, Vicki, Steve and myself started talking about the idea of what this is. For two months we texted each other a lot, ‘Let’s do something.’ Then we kind of went back to our lives, which is to be expected. Steve: A lot of us hadn’t seen each other in decades. We wanted to do something more, but what could it be at that point? The idea of touring was impossible because it’s just too many people. Then Danny, Vicki and I said, ‘Let’s do a record.’ Maybe a bunch of covers, because that’s where we all intersect. Vicki: We were trying to find a way to repeat the fun that didn’t involve touring, which would be logistically very difficult for all twelve-thousand or so of us. At first, it was like, maybe we can write some new songs and play them together. But we realized that was also probably not logistically possible, either. We decided to do a little self-tribute because the intrigue of it was that we were all huge fans of each other. The idea of being able to grab a song by the Three O’Clock or the Dream Syndicate, get inside of it and change it or to just inhabit it was exciting. Danny: About a year ago, I had lunch with
Glenn Dicker of Yep Roc and I said, ‘Ok, I have this idea…’ He said, ‘All right, I want to do it.’ I think it kinda just came from good timing and a good lunch. Then we proceeded to start recording.
Vicki: I had most of the records here at the house and it was only a little contentious as to who wanted what songs. I knew the Dream Syndicate’s Days of Wine And Roses by heart. There was a little bit of arm-wrestling over a couple of the songs but it was really very easy as to who got what song. As it turned out, we got most of our requests. For us, Debbi [Peterson] really liked “Jetfighter” so there was an easy way to decide who was gonna lead which song. Susanna [Hoffs] was very close with the Rain Parade. But there were no real rules as to who did what. We were setting the rules as we went along. Danny: I never wanted it to be a traditional tribute package. You can find those anywhere. I don’t think any of us had ever heard of a record where the key people of a music scene covered their own songs. But it was perfect for us because we’ve always been friends and fans. Steve: In the old days, it was often hard to get something going, so we’d do our own shows together to see what worked and to build a following. Danny: All of a sudden, the UK press started talking about the style of the new ‘Paisley Underground,’ and then bands from New Zealand or bands from anywhere started being included in that term. It always kind of bothered me. It’s like, why do you want to sit at a dinner table that you weren’t invited to? It was really a tiny thing with a small group of people that were part of something special. Then a few extra people got included. We’re really not talking about something like Mersey Beat in Liverpool in 1963. It still hurts me that people tried to turn the idea of the Paisley Underground into a genre. It’s not. Vicki: We’d share bills and even if we weren’t on the bill, we’d go to the shows because we really enjoyed the music. The good thing about it not being a genre is we don’t sound alike. We’re not like, ‘Oh let’s all use the same effects pedals.’ We weren’t alike at all but we were all digging the same
trenches basically, but finding different things. Steve: I think we all shared one thing in common and that was we didn’t feel like we were a part of anything else going on in the city. It wasn’t the kind of music that was really happening at the time. I think Dream Syndicate was more of a punk-noise band who loved ‘60s guitar rock and the Bangles were more of a pristine garage rock band and the Three O’Clock came from The Salvation Army who were a full-on punk band. We all had different ways of looking at it. Vicki: It was absolutely post-punk because of the energy and spirit behind it all. When I first saw the Dream Syndicate, I went, ‘Whoah, you mean it’s actually ok to just stand up there and create soundscapes with squealing feedback for twelve minutes?’ I’m really proud of the ‘punk side’ of Los Angeles because I think we did a good version of it. By the time The Bangs were together and ready to play, that was pretty much over. The punk scene had changed a lot and it had sort of moved to the suburbs. The other bands in town were rockabilly and the creeping-in of hair bands was on the horizon. But we were looking at another time, another flavor. Mid-to-late ‘60s was our beloved golden era. I think it’s the same for all of us, we were just looking at different parts of the painting or whatever it’s called. Ours got called the Paisley Underground. Danny: We were at Denny’s on Sunset doing an interview for LA Weekly and I might have thought about for maybe ten seconds when [bassist/vocalist] Michael Quercio first said it. He has a very colorful imagination so when described it as the Paisley Underground, I thought it was just another phrase coming out of his mouth. But then it caught on. I think it was really meant in jest at first, but it could have been a lot worse. Everybody gets named something, even if it’s ten or fifteen years down the line. It wasn’t like we were walking down the street and people were like, ‘Hey, you! You’re the Paisley Underground!’ and they threw rocks. So I’m ok with it.
moment. But it was a very sweet moment and we all cherish it. At some point, you go back and just want to feel what it was like, that first time. What started this whole thing and where were we as early 20-somethings? What were we thinking and feeling and how were we playing? Why did I write that song? It’s exciting to look back and feel that again. I think that’s the truest form of what we were. Yes, we all developed and changed and made beautiful music later on, but from a truly emotional level, I still connect best with the early stuff. Steve: We were all music fans and playing this music was a way to get closer to the music we loved. So I think that made that us all appreciative to not only the attention we were getting but to the fact that we were doing it well. I can see us reflected in the music we were doing. But then, once we all had our albums out, there wasn’t a lot of hanging out anymore. After everyone’s first album, we all just scattered to the wind. Maybe in six months’ time, we all went from being completely unknown to headlining pretty big shows, having a following and being on the radio. It was kind of heady stuff. There was that period for a few years where you’d pick up a magazine and you’d read articles about your friends. You begin to think that’s the way life is and will always be - and then it’s not. But at time it was mind-blowing. 3x4 is available this month from most music retailers or directly from yeproc.com. THE THREE O’CLOCK
Vicki: When you put it in the context of our lives as humans, it really was a tiny little insiteatlanta.com • January 2019 • PG 17
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F YOU’RE NOT A SAN FRANCISCO 49ers fan or a fantasy football enthusiast, the name George Kittle probably doesn’t mean much to you. But on December 30, the talented tight end had a nine-catch, 149-yard game, which gave him 1,377 yards for the year, a new NFL record for his position. That same day, Kansas City Chiefs quarterback Patrick Mahomes joined Peyton Manning as the only QBs to ever throw for more than 5,000 yards and 50 touchdowns in a single season. But the eye-popping stats and jawdropping highlights weren’t reserved for the football field. Just about everywhere sports fans looked in 2018, from the snowy slopes of South Korea to muddy horse tracks in Kentucky, something amazing was happening.
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If you could multiply the pressure that Josef Martinez felt leading the Atlanta United to their first MLS crown by 100, you’d only begin to grasp all that was upon Mbappé’s shoulders this year. Seeing as how the then-19-year-old blur not only became the youngest French player to ever score a FIFA World Cup goal but he also guided his nation to the trophy over Croatia, it doesn’t appear the stress will ever get to him.
2. CHLOE KIM
While last February’s Winter Olympics in Pyeongchang, South Korea, may already feel like a distant memory, there’s one person from the Games that we’ll never forget — Chloe Kim, a charismatic snowboarder, then 17, who came onto the scene with a heap of hype and left with a gold medal in the halfpipe.
3. BREANNA STEWART
The Seattle Storm star followed a Rookie of the Year-winning 2016 and an All-Starearning 2017 with a 2018 for the record books. Stewart took home the WNBA MVP, led the Storm to the championship, won the Finals MVP and found herself in the “Best female basketball player in the world” conversation with Minnesota’s Maya Moore.
4. KYLER MURRAY
Some folks might call the Oklahoma Sooners QB’s season a disappointment because of how things ended against Alabama in the College Football Playoff, but for us to discount all the spectacular things that Murray did (54 total TDs, 4,361 passing yards and a Heisman Trophy) would be silly.
We promise you that it’s not easy to win a Triple Crown. Hell, only two horses since 1978 have even done it. But because of how elementary Justify made things look this season — the colt won the Kentucky Derby by 2 1/2 lengths — we fully understand why you might think otherwise.
6. SIMONE BILES
Had 2018 been a Summer Olympics year, Ms. Biles would probably be No. 1 on our list. But seeing as how the gifted gymnast PG 18 • January 2019 • insiteatlanta.com
ONLY dominated the World Championships in Doha to the tune of four golds, she’ll have to be content with this spot for now.
7. KEVIN DURANT
In sweeping LeBron James’ Cleveland Cavaliers in the NBA Finals, the entire Golden State Warriors team could have earned a slot here. But since we’re talking individual honors, we have to go with KD, the sharp-shooting forward who won backto-back Finals MVP after a regular season where he averaged 26 points, nearly seven rebounds and at least one long three-pointer with an opponent’s hands in his nose.
8. ALEX OVECHKIN
The Vegas Golden Knights’ come-fromnowhere Western Conference title was the NHL’s top feel-good story, but it was Ovi’s stellar play in the playoffs (15 postseason goals) that sealed the Washington Capitals’ first Stanley Cup title, got him the Conn Smythe Trophy (for playoff MVP) and cemented him a position here.
9. ELIUD KIPCHOGE
It’s one thing to set a new world record in the marathon, but it’s something completely different to simply destroy the old mark by a whopping one minute and 19 seconds — usually, when a runner breaks the record, he’ll do so by a mere few seconds — like Kenya’s Eliud Kipchoge did in Berlin this past September.
10. MOOKIE BETTS
The lineup for the World Series champion Boston Red Sox was filled with stars, but the brightest one of them all was the diminutive Betts, a 5’9” outfielder who hit with precision (.346 batting average) and power (32 HRs) all year. Betts also became the first player in MLB history to get the MVP, Gold Glove, Silver Slugger, batting title and a World Series ring in the same season. Honorable Mentions: Stephen Curry (NBA), Brooks Koepka (PGA), Rafael Nadal (tennis), Tua Tagovailao (NCAA football) and Serena Williams (tennis).
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