INsite Atlanta March 2010 Issue by INsite Magazine

March 2010

www.insiteatlanta.com

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Vol. 18, No. 8 FREE

MARCH MADNESS GUIDE

Patrick’s Day

Atlanta Events Guide

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CONTENTS • MARCH 2010 • VOLUME 18.8 Atlanta’s

Entertainment Monthly

INTERVIEWS 06 MATT DAMON 10 JENNIFER COOLIDGE 15 K. RITTER / A. EVE 17 HENRY ROLLINS 18 TATYANA ALI 21 JOHNNY DEPP 23 FOREST WHITAKER 26 MARK RUFFALO 27 FREEWAY 27 MATT POND PA 28 THE WHIGS 28 ANTOINE FUQUA 29 KEN WILL MORTON 29 SHARON JONES

FEATURES

08 M MADNESS TAKE-OUT 11 ST. PATRICK’S DAY 22 OSCAR PREVIEW 23 MARCH MADNESS 24 M MADNESS BAR GUIDE 30 WINTER OLYMPICS

COLUMNS 04 AROUND TOWN 05 ON TAP 05 ON A DIME EVENTS 07 UNDER THE LIGHTS 13 MOVIE REVIEWS 14 VIDEO GAMES 14 VIDIOTS 16 CONCERT CALENDAR 19 ROAD WARRIORS 19 WE GOT NEXT 20 ALBUMS 20 AUTO 31 FANATIC

www.insiteatlanta.com STAFF LISTING Publisher Stephen Miller steve@insiteatlanta.com National Managing Editor Bret Love bret@insiteatlanta.com Art Director / Web Design Michael T. graphics@insiteatlanta.com Music / Sports Editor DeMarco Williams demarco@insiteatlanta.com Events Listing Editor Glenn LaFollette glenn@insiteatlanta.com Special Features Editor Marci Miller marci@insiteatlanta.com

Contributing Writers / Interns: John Moore, Jon Latham, Ryan Loftis, Matt Goldberg, Rodney Hill, Alex S. Morrison, Sacha Dzuba, Roger Presswood, Dave Cohen, Russ Marshalek and Jennifer Sefa-Boakye CONTACT US 2250 North Druid Hills Rd. #234 Atlanta, GA 30329-3118 phone 404-315-8485 website insiteatlanta.com ADVERTISING INFORMATION �� Editorial content of INsite is the opinion of each writer and is not necessarily the opinion of INsite, its staff, or its advertisers. INsite does not knowingly accept false or misleading advertising or editorial content, nor do the publisher or editors of INsite assume responsibility should such advertising or editorial appear. No content, i.e., articles, graphics, designs and information (any and all) in this publication may be reproduced in any manner without written permission from publisher.

Check out St. Patrick’s Day Guide on page 11! PG 3 • insiteatlanta.com • March 2010

Around Town The German Cultural Center will host a concert with Max Raabe and Palast Orchester on March 7 at 7pm in the Fox Theatre in Midtown. Tickets run from $35-$65.

MAR 07

The Atlanta Zoo oﬀers its Mommy & Me program all month long beginning on March 9-27. Explore the zoo as a pair and see elephants, lions, gorillas and more with your toddler. Children ages 2-3 are welcome. Visit zooatlanta.org for details.

MAR 9-27

Get your Irish on at LuckyFest on March 13 at Park Tavern. There will be a plenty of green beer and music from Ocean Street, The Villains and That 80’s Band. Tickets are $20.

MAR 13

The Harlem Globetrotters are back in town. The original hoops allstars will play at Gwinnett Arena on March 13 at 7:30pm. These are the kinds of games that can be more entertaining than an NBA game (especially if you’re a Nets fan). Visit gwinnettcenter.com for details.

MAR 13

George Thorogood brings his heavy blend of blues and rock to Variety Playhouse on March 16 at 8pm. Tickets are $30 in advance and $32.50 the day of show. Come for “Bad To The Bone” but stay for “One Bourbon, One Scotch, One Beer.”

MAR 16

MAR 18-21

The original M.I.L.F. comes to the Laughing Skull Lounge. Jennifer Coolidge (Stiﬂer’s mom) will bring her act to Atlanta from March 1821. Tickets range from $25-$33. For tickets, go to vortexcomedy.com.

Theatre/Film

Music/Comedy/Sports

Sweetwater Brewing Company will present “Brew Your Cask Oﬀ” Ale Festival on March 20 from 6-10pm. There will be more than 75 special guest brewers, local celebrities, retailers and home brewers. Tickets are $30 in adavance, $35 at the door. Go to brewyourcaskoﬀ.com.

The Center for Puppetry Arts will present “The True Story of the Three Little Pigs by A. Wolf” from March 23-April 11. It’s a new spin on the classic tale, meaning a comical look at what the wolf went through while “trying to get a cup of sugar.” Visit puppet.org for tickets and additional info.

The High Museum of Art concludes its month-long series of Japanese ﬁlm on March 20 with “What the Snow Brings,” about a successful businessman and husband whose life falls apart. Tickets are $7 and only $6 for students, seniors and Museum members. Call 404-733-4570 for more info.

The Atlanta History Center presents “Aiken Lecture: Theda Purdue, Race and the Atlanta Cotton Sales Exposition of 1895” on March 24 at 8pm. The lecture will see Theda Perdue, professor of Southern Culture at the University of North Carolina, discuss her new book. Visit atlantahistorycenter.com.

MAR 20

MAR 23

MAR 24

The Atlanta Hawks are close to No. 2 spot in the Eastern Conference but getting there means beating the Orlando Magic. Dwight Howard will bring that challenge to Philips Arena on March 24 at 7pm. Expect one of the best home games of the season. Go to atlantahawks.com for details.

MAR 24

Opening March 21 at the High Museum of Art, The Allure of the Automobile will present 18 of the world’s rarest and most brilliantly conceived cars from the 1930s to the mid-1960s, including masterpieces by Bugatti, Duesenberg, Jaguar, Mercedes-Benz, Porsche and Ferrari. The exhibition traces the evolution of the motorcar, examining the contrasts between European and American design, and signiﬁcant changes in automotive styling and engineering before and after World War II. This is a must-see for car buﬀs and art lovers alike. The exhibition will be on view through June 20, 2010. $18 for adults, $15 for people 65 and older and students, $11 for ages 6-17, free for members and children 5 and younger. High Museum of Art, 1280 Peachtree St., Atlanta. 404-733-4444, high.org.

MAR 21

Are you a Veteran returning from the war and experiencing some of these symptoms? Nightmares, trouble sleeping · easily agitated or startled · low energy, changes in appetite · memory problems, difficulty focusing · avoiding places, activities or people Individuals who have experienced a traumatic event suffer from these symptoms, which are signs of posttraumatic stress disorder or PTSD. If the symptoms are left untreated, it can impair the ability to work, socialize and function in a healthy relationship. Emory University is investigating the effects of early intervention in preventing chronic PTSD using an FDA approved medication. This is a double-blind study sponsored by the VA. If you are a Veteran, recently back from the war and have any of these symptoms, please call to obtain more information and to see if you qualify for the study. Study screening, health/trauma questionnaires, memory tests, lab tests, medication and MRI/PET scans will be conducted at Emory University and Emory Briarcliff campus. Compensation will be provided for participation. Please call Stacy Ladd at 404-712-2014 or email mdent@emory.edu

Advancing The Possibilities PG 4 • insiteatlanta.com • March 2010

Museums/Exhibits/Arts

The Oxford American will host three events on March 26 in conjunction with the High Museum Wine Auction for the magazine’s Southern Food issue. There will be a luncheon and seminar at the Cook’s Warehouse (15444 Piedmont Road) at 11:30am. For more info, go to food.oxfordamerican. org.

MAR 26

MAR 27

Dad’s Garage returns with BaconFest ‘10 on March 27 at 1pm (rain or shine). The event is the annual fundraiser for the improv theater. There will be cooking, bands, prizes and an improv ensemble from 5-6pm. Tickets are $15-$45.

Other Stuff

There’s not much time left to catch an Atlanta Thrashers game. The Carolina Hurricanes come to Philips Arena on March 29 for the last home match of the month. Tickets start as low as $10. Game time is 7pm. Visit thrashers.nhl.com.

MAR 29

Remember Third Eye Blind? The San Francisco band made it big in the 90s and still ﬁnd themselves touring. The group will be at Variety Playhouse April 1 at 80. Tickets are $30.

APR 01

LOCAL EVENTS

LOCAL

On Tap this Month EMAIL EVENTS TO ONTAP@INSITEATLANTA.COM

March 13: Downtown Atlanta

2010 ST. PATRICK’S DAY PARADE

There’s one time a year when public intoxication seems to not only be acceptable but encouraged: the St. Patrick’s Day Parade. The event gathers us all for everything that is great and awful about the Irish. This year’s grand marshal will be former University of Georgia football coach Vince Dooley. The festivies begin around noon on March 13 on Peachtree Street in Downtown Atlanta. Don’t miss the food, free entertainment and ﬂoats. Visit stpatsparadeatlanta.com.

March 19-28: Georgia World Congress Center

28TH ANNUAL ATLANTA AUTO SHOW

It’s been a diﬃcult year for the auto industry, what with us (taxpayers) keeping them aﬂoat. That doesn’t mean GM, Ford, Land Rover, Lexus and all your other favorite automobile makers aren’t still turning out vehicles to lust after. The 28th Atlanta International Auto Show comes to the Georgia World Congress Center with more than 500 new 2010 import and domestic cars, trucks and SUVS. For ticket information, call 770-916-1741 or go to goautoshow.com.

March 21: Centennial Olympic Park

ING GEORGIA MARATHON & HALF MARATHON

As spring approaches, it slowly becomes marathon season. It’s time to get outside and get in shape. The ING Georgia Marathon and Half Marathon is one of the best. The race is a showcase of historic Atlanta, Decatur and the neighborhoods in between. The end and beginning of the marathon are located at Centennial Olympic Park. Registration ranges from around $100-$135. Volunteers are needed for the event as well. For more information check out inggeorgiamarathon.com.

March 27: Fox Theatre

EXPERIENCE HENDRIX

Jimi Hendrix made love to his guitar. Sometimes he even set it on fire. Sadly, he’s not still around to rival other aging rockers like Eric Clapton and Pete Townsend. If you’re looking for the experience, visit the Fabulous Fox Theatre (660 Peachtree Street) for Experience Hendrix, a tribute concert featuring Bill Cox with Band of Gypsys and the Jimi Hendrix Experience. Tickets runs $39.50-$69.50 at foxtheatre.org.

March 30: Philips Arena

Alicia Keys

In a music scene full of studio produced divas, Alicia Keys is a breath of fresh air. The accomplished pianist blends R&B with gospel and soul for a sound that jumps out of your standard top-40 lineup. Catch Keys at Philips Arena this month for a 7:30pm show. Tickets range from $49.50-$125. This won’t be you’re usual big arena show. It’s a chance to see a talented performer who’d be just as good at an intimate setting.

March 31: Philips Arena

LA LAKERS AT ATLANTA HAWKS

The Hawks have ﬁnally proven to be on of the best teams in the Eastern Conference this season. They’re battling Cleveland and Orlando for the top tier heading into the postseason. But how does Atlanta stack up against the West? Come to Philips Arena on March 31 to see. Kobe Bryant and the defending champs coming calling. Tickets will begin at $10. Don’t miss a chance to see one of the best basketball teams in the league. PG 5 • insiteatlanta.com • March 2010

FILM

MR. CONGENIALITY Matt Damon Proves That Sometimes Nice Guys Finish First BY BRET LOVE

T HAS BECOME SOMETHING OF a cliché to suggest that fame changes people, but if you spend enough time around celebrities you’ll begin to understand the root of the stereotype. When you live your day-to-day existence surrounded by a phalanx of agents, personal assistants, publicists, managers, wardrobe consultants, hairstylists and hangers-on constantly catering to your every whim, yet unable to shop at the grocery store or go out on a date without being hounded by hordes of paparazzi documenting your every move, it’s easy to lose the real world perspective that tends to keep us “little people” grounded. Whether the change manifests itself in the form of an over-inflated sense of selfimportance, a retreat to the reality escape offered by drugs and alcohol, or simply the raising of the self-protective walls required to keep one’s private life private, fame seems to inexorably alter a celeb’s life… and not always for the better. When Matt Damon emerged from relative obscurity with his Oscar-winning breakthrough as co-writer and star of 1997’s Good Will Hunting, he seemed like the kind of guy you hate to see falling prey to the Hollywood hype machine. While longtime BFF Ben Affleck already exhibited flashes of the smarmy charm that would come to define him for the next decade, Damon came across as the shy, unassuming Boston boy next door, with a broad grin and an aw-shucks demeanor that said loud and clear, “I’m just happy to be here.” He seemed like the kind of guy who’d be more comfortable mowing the neighbor’s lawn than getting all gussied up for a red carpet premiere, and talking about himself seemed to rank somewhere just above having a root canal on his list of enjoyable activities. “I found myself getting more publicly shy when the gala events and big crowds started,” he acknowledges during an interview at the Toronto Film Festival. “Some people embrace it, but to me it’s not worth enough to risk my private life being public. I’m not being a monk. I live my life. But it’s not cost-effective for paparazzi to follow us when they can only get one boring picture of us walking down the street. I feel like I have an unspoken deal: I won’t do anything publicly interesting if they agree not to follow me.” Yet for all his caution with the tabloids, Damon never comes across as excessively guarded with the media, never takes anything resembling a movie star attitude, never exhibits any hint that there might be secret skeletons lurking in his psychological closet. In interviews over the past 12 years, he’s proven himself remarkably intelligent (he dropped out of Harvard in his senior year to pursue his acting career), with a self-deprecating sense of humor that makes it clear he still can’t believe his good fortune. Whereas with other celebrities such humility often seems like an affectation they’ll cast aside as soon as they leave the room, Damon’s down-to-earth nature seems genuine. “There is an element that I have,” he confesses, “where I feel like somebody’s going to show up and say, ‘OK, put that down and get the hell out of here! Who let you in here? You know you’re not supposed to be in here makPG 6 • insiteatlanta.com • March 2010

ing movies! Go get a job!’ I definitely feel like the shoe might drop at any time.” That grounded nature could be partly explained by the fact that Damon was nearly 28 years old by the time Good Will Hunting and Saving Private Ryan vaulted him onto Hollywood’s A-list. But you can trace the deeper roots of his character back to his childhood in Boston. Damon’s parents divorced when he was three, with Matt and older brother Kyle moving to Cambridge with their mother Nancy, an early childhood education college professor. As a result, the boys grew up in a six-family co-op where the Do-It-Yourself ethos reigned: If something in the house was broken, someone would go to the library, find a how-to book and learn to fix it themselves. Of course, not everything ended up working perfectly, but it taught Damon both the value of hard work and to appreciate the mastery that comes from years of honing a craft. “The careers that I look to for inspiration,” he muses, “are guys like Clooney and Clint Eastwood, who are acting, writing, directing, and doing it all on their own terms. I love everything about making movies. I love writing and acting and I really want to direct, so I’ve been taking these last 12 years to carefully study these great directors I’ve been working with. It’s so hard to have a long career in this business, so I just want to be smart about the work that I’m doing and try to have integrity about the choices I make.” But old-fashioned work ethic wasn’t the only impressive quality Nancy imparted upon her sons. The actor recounts how his mother inspired him to give to charity as a child, sending money every month to causes he cared about. That desire to give back has remained with him, as the father of two (with Argentina-born wife Luciana Barroso) has worked with organizations such as oneXone and Water.org to find clean water for children of Third World nations. Other celebs wear such sociopolitical issues on their sleeves, but Damon has remained relatively low-key in publicizing his efforts. Yet his personal passion for the cause is palpable, and recent trips to Africa, Haiti and India have only strengthened his resolve to make a difference. “Look, I’d much rather people were listening to politicians about this than actors,” he confesses with what almost seems like an air of embarrassment. “But the politicians aren’t talking about this, you know? Every 15 seconds a child dies because of a lack of clean water and sanitation. You can read about extreme poverty and possible solutions, but it’s really powerful when you meet the people and listen to their stories.” From other celebrities such Dudley DoRight earnestness might provoke eye-rolling, but with Damon it’s an essential component of his core appeal. It’s why we rooted for Will Hunting to overcome his rough ‘n’ tumble roots. It’s why we wanted the soldiers to save Private James Francis Ryan. It’s why we cheer every time Jason Bourne kills a would-be assassin. And it’s a big reason why directors such as Steven Soderbergh (whom he’s worked with on five films), Gus Van Sant (two), Francis Ford Coppola (three) and Paul Greengrass (three, and counting) line up to work with him again and again. Because, even after 12 years in the harsh glare of the Hollywood spotlight, Matthew Paige Damon remains one of the nic-

est, most sincere, hard-working guys you’ll ever meet. Just don’t expect him to own up to it. “I don’t hold myself to some higher standard of behavior,” he insists with a grin. “You don’t have to do a lot to be seen as nice. I guess some people must be such rampant [jerks] that people are amazed when you say hello! I don’t know why people like me, and I don’t know if I want to know. That might be the kiss of death. I’d rather people not know a lot about me and just go see the movies.” Fortunately, lately there have been more Matt Damon movies to see. First up was the Oscar-nominated Invictus, director Clint Eastwood’s look at the early days of Nelson Mandela’s presidency, when he championed South Africa’s rugby team’s bid to win the 1995 Rugby Union World Cup as a way to unite his apartheid-torn country. The film features Damon as South African Springboks captain Francois Pienaar, who helped Mandela (Morgan Freeman) bring the nation together through the universal language of sport. This month, Damon re-teams with Bourne Ultimatum director Greengrass for Green Zone, a thriller about CIA agents on the hunt for Weapons of Mass Destruction and a foreign journalist following their mission. He also has The Adjustment Bureau and Eastwood’s Hereafter scheduled for release in 2010. But the big news at the Toronto Film Festival was Damon’s revelation that he and Greengrass were planning

a fourth Jason Bourne project, currently scheduled for a 2011 release. “It’s very hard to make a good sequel,” he says when asked about the four years between Bourne films. “But we’re really serious about trying to get the script right, because the only thing more disappointing than not having another one of these movies would be to make one that isn’t good. Everyone would say, ‘They should’ve quit after three,’ and we’d feel that way too.” There’s that pesky integrity again, making him hold out for quality rather than making the quick cash-grab that has characterized Hollywood for decades. He may only be 39 years old, but Matt Damon ultimately comes across like a movie star from another era, less concerned with fame or fortune than he is with making sure he only puts his name on products he can be proud of. He’s the least celebrity-like star you’ll ever meet, perhaps because he doesn’t think of himself in those terms. “It’s still hard to wrap my brain around the idea that I’m a public figure,” he admits. “It’s a by-product of the other thing, which is getting the best material and working with the best people. I want to work as hard as I can, and I don’t want to let people down. The best I could do would be to look back and say, ‘I don’t have any regrets. I tried my best.’ I always try my best, and I think that’s probably the most valuable thing I’ve learned.”

THE BEST I COULD DO WOULD BE TO LOOK BACK AND SAY, ‘I DON’T HAVE ANY REGRETS. I TRIED MY BEST.’ ...AND I THINK THAT’S PROBABLY THE MOST VALUABLE THING I’VE LEARNED.

Under The Lights

WINNER! SEVEN 2008 TONY AWARDS

New Theatrical Performances

MULAN

FIDDLER ON THE ROOF

Now Through March 19 The Alliance Theatre Box Office 404.733.5000

March 16-21 Cobb Energy Centre

Ticketmaster 800.982.2787 www.broadwayacrossamerica.com

www.AllianceTheatre.org

Photo by Greg Mooney

The Alliance Children's Theatre celebrates the legendary culture of ancient China where traditions are fundamental and the family honor supreme in the action-packed stage adaptation of Disney's MULAN. In Mulan, the destiny of the Chinese people is in the hands of a girl who throws tradition aside to save her family and her emperor. With the help of an upstart dragon, Mulan discovers the hero inside of her and the truth that heroes come in all shapes and sizes! Performing live on stage are the spirited girl, her misfit companion Mushu dragon, members of her distinguished family, both past and present, and all the other lively characters.

SPRING AWAKENING

Through March 14 Fox Theatre Ticketmaster 800.982.2787

“SUBTLE AND SOPHISTICATED, THIS SOUTH PACIFIC TRIUMPHS ON EVERY LEVEL. IT IS, QUITE SIMPLY, MAGNIFICENT. ”Ð – Daily Herald

THE LINCOLN CENTER THEATER PRODUCTION OF

Photo by Joan Marcus

Atlanta theatre fans rejoice as Tony Award winning actor, Harvey Fierstein reclaimes his role as Tevye in FIDDLER ON THE ROOF. Fiddler offers the hope and promise of reconciliation to a turbulent society and stands as relevant as ever. The one constant humanity can rely on is the strength of family and of its traditions that will ultimately sustain us through our own trials and tribulations. Forty five years after it’s opening, new audiences can identify and take heart as they experience the tradition in great musical theatre that is Fiddler on the Roof.

SOUTH PACIFIC

April 6 - 11 The Fox Theatre Ticketmaster 800.982.2787

www.broadwayacrossamerica.com

Photo by Peter coombs

Set against the backdrop of a repressive and provincial late 19th century Germany, SPRING AWAKENINGS tells the timeless story of teenage self-discovery and budding sexuality as seen through the eyes of three teenagers. Spring Awakening celebrates an unforgettable journey from youth to adulthood with a power, a poignancy and a passion you will never forget. Spring Awakening opened on Broadway in December of 2006. Based on the infamous 1891 Frank Wedekind play, it features an electrifying score by Duncan Sheik. The original cast recording of Spring Awakening won the 2008 Grammy Award for Best Musical Show Album. In 2007 Spring Awakening swept the Tony Awards® winning eight out of its eleven nominations.

Rodgers & Hammerstein's SOUTH PACIFIC makes its Atlanta debut next month. Set on a tropical island during World War II, the musical tells the sweeping romantic story of two couples. A Navy nurse Nellie Forbush and French plantation owner Emile de Becque and Navy Airman Joe Cable and a young local native girl Liat. We learn how their happiness is threatened by the realities of war and by their own prejudices. Considered by many the finest musical ever written, the score's songs include such classics as "Some Enchanted Evening," "I'm Gonna Wash That Man Right Outa My Hair," "Bali Ha'i," and "There is Nothin' Like A Dame.” A full orchestra of 26 members, the largest orchestra of any touring Broadway production, will perform the original orchestrations.

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Receive Deals at Retailers and Win Free Tickets to Movies, Concerts, Theatre Shows & Events

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PG 7 • insiteatlanta.com • March 2010

MARCH MADNESS TAKEOUT & CATERING GUIDE Where to get your Grub before Settling in to Watch the Games Mo’s Pizza

Manuel’s is known for their great wings, sandwiches and salads most of which can be found on their catering menu. Appetizers on the menu include: Buffalo Wings, Tortilla Chips and Salsa, Chicken Bites, Mini Egg Rolls and Mini Quiches. Some Party Platters offered are the Vegetable tray, Shrimp tray, Fruit tray and Cheese tray. Manuel’s also offers buffet dinners that include popular entrees: Herb Roasted Chicken Breast, Sliced Roast Beef and Meat Lasagna. Call 404-526-0733 for catering orders or party bookings.

3109 Briarcliff Rd. 404.320.1258 www.mospizza.com

Johnny’s NY Style Pizza

You may know about the burrito chain with the same name, but the original Mo's resides on the corner of Briarcliff and Clairmont Roads. They have been serving up great pizza in Atlanta for over 30 years! Mo's menu isn't limited to pizza either: sandwiches, subs, wings, nachos and salads ensure that anybody who comes here can find something they like. The menu offers great take-out and delivery.

1810 Cheshire Bridge Rd. 404.874.8304 Multiple Locations at JohnnysPizza.com

Baldinos Giant Jersey Subs

80 Powers Ferry Rd. 770.321.1177 Marietta 5697 Buford Hwy. 770.455.8570 Buford Hwy. www.baldinos.us Since 1975, Baldinos has been recognized as the only true New Jersey sub sandwich in the South. Their in-store bakery assures the freshest rolls

Your Neighborhood Pizzeria!

BEST PIZZA! of

Multiple Atlanta Locations: www.JohnnysPizza.com PG 8 • insiteatlanta.com • March 2010

baked daily. During the month of March they are offering up a different specialty sub each day for just $3.49! Baldinos also offers homemade soups and cookies and brownies baked daily. For catering they offer single subs, party subs, deli salads by the pound, cookies by the dozen and iced-tea by the gallon that won’t break the bank. March on in to Baldinos and watch your favorite team or March on out with a Baldinos Family Sub and enjoy the game at home with a few of your friends.

19 Area Locations / Athens Catering Atlanta 404-422-7107 / Athens 706-548-1920 or online www.willys.com Johnny’s Pizza has come to be synonymous with great pizza and subs in Atlanta. They specialize in NY Style pizza, which is thin in the middle and thick around the edges. All their menu items are also reasonably priced. Their Calzones start at just $5 snd the stombolli is $6.99. They have 11 subs on the menu for just $5.25. The Cheshire Bridge location featured is now serving Yuengling on draft.. Johnny’s restaurants offer dine-in, take-out and delivery. Call your nearest location for special catering menus being offered for this year’s tournament.

Manuel’s Tavern is a great neighborhood watering hole where freinds get together for good food and drink. One can find at any given time a broad crosssection of American culture rubbing elbows at the bar, discussing the news item of the day, arguing the merits of a sports team, or espousing the idea of the century.

Brookhaven 3887 Peachtree Rd. 404-816.2229 Multiple locations www.chinchinonline.com

Willy’s

Manuel’s Tavern

602 N. Highland Ave. 404.525.3447 www.manuelstavern.com

Chin Chin

Willy’s Mexicana Grill known for their great FreshMex menu items made from the freshest ingredients also caters. Let Willy’s set up their Fajita Bar at your March Madness party this year. Get the same freshly made salsa, cheese dip and guacamole found at their restaurants by the pint or quart. To celebrate their new catering menu item; the Sopapillas, Willy’s is offering a FREE Sopapilla Platter for 10 people with a $150 catering order. Offer good for March & April 2010 orders when you mention INsite.

Chin Chin is consistently voted Atlanta’s Best Chinese restaurant. Their menu offers standard favorites and many exotic dishes in Chinese cuisine at affordable prices. The Brookhaven location featured currently is offering an amazing lunch special for just $4.99. You get an entree along with Egg Roll, Soup and Fried Rice. Chin Chin is a great option whether dining in, catering or takeout.

The Flying Biscuit Cafe’

7 Area Locations www.flyingbiscuit.com Catering Hotline 404-849-2283 The Flying Biscuit serves great breakfast, lunch and dinner 7 days a week and most of their menu items are available for catering. In addition to their popular lunch boxes, you can order Turkey Pot Roast, Pasta Jambalaya, Oven Fried Chicken, and Biscuit Pot Pie which are all served with a side salad and a fluffy Flying Biscuit. Their Breakfast Biscuit Sandwiches are also a popular option for parties and events. Call their catering hotline or check The Flying Biscuit website for great ways to make this year’s tournament event a memorable one.

AGAVE RESTAURANT

An Eclectic Southwestern Eatery ��

agave

Dining at Chin Chin is pure pleasure ��

Dinner Nightly at 5PM Cabbagetown / Grant Park 242 Boulevard SE 30312 �� Reservations Always Welcomed

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�� Buckhead/Brookhaven �� East Cobb ��

of THANK YOU ATLANTA!

BEST CHINESE 1998-2009 Best Chinese by Creative Loafing "Mouthwatering Chin Chin spices things up." – AJC "Chin Chin...a window into Hong Kong." – Buckhead Weekly 2 1/2 Stars – Knife & Fork

�� Springs �� DELIVERY (LIMITED AREA; MIN $10)

CONSISTENTLY VOTED ONE OF ATLANTA’S BEST RESTAURANTS Best Southwestern Cuisine and Best Margaritas

WWW.CHINCHINONLINE.COM Watch our Open Kitchen & Experience the Art of Chinese Cooking!

www.baldinos.us

MARCH SPECIALS

MONDAY – The Spiciest Italian of All The Sicilian (#17) TUESDAY – Itzza Meatball w/ soup or side (#12) WEDNESDAY – Turkey out; Lean Boar’s Head (#8) THURSDAY – Baldinos Combo w/ choice of side (#4) FRIDAY – Meatless Combo - Tuna (#10) or Veg Stir Fry (#27) w/ side SATURDAY – Steak Out- A-Steak Sub Your Choice (#11,13, or 19) SUNDAY – HOT Off the Grill our HOT ITALIAN

Marietta 80 Powers Ferry Rd 770-321-1177 (closed Sundays)

�� FULL BAR SERVICE

$3.49 All Day!

Doraville 5697 Buford Hwy. 770-455-8570

VOTED BEST SUBS IN ATLANTA

Carrying NCAA Basketball Games private rooms available Great Wings, Sandwiches, Burgers and Salads 602 N. Highland Ave.(@ corner of North Ave) Atlanta, GA 30307

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PG 9 • insiteatlanta.com • March 2010

FILM

MORE THAN JUST A M.I.L.F. Jennifer Coolidge (Stiﬂer’s mom) brings her stand-up (and craziness) to Atlanta BY GLENN LAFOLLETTE

T’S NOT OFTEN THAT SOMEONE gets the opportunity to introduce an entire generation to the next great iconic piece of slang. But somehow, not lost between naked exchange students and teenage boys humping pastries, was American Pie’s Jennifer Coolidge. Yes, the M.I.L.F. You’ll know her better as Stifler’s mom, but Coolidge’s career has spanned far more than a couple onscreen hookups with Finchy. You’ve seen her in any number of Christopher Guest films, appearances on shows like “Seinfield” and “Nip/Tuck” and even as recently as Danya Burakoff in the U.S. Census commercials. (Which for us, is the only humorous part of the campaign.) Coolidge will appear at the Laughing Skull Lounge this month to perform stand-up. She took the time to speak with us at INsite about her show, life and a certain role that defined a career: People know you as “Stifler’s mom,” but you really got your start as one of Jerry’s girlfriends on Seinfield. How did that show boost your career?

The timing was great. It was such a successful show in the early ‘90s. We were all trying to get a break, all of us. And it was amazing how that show helped me. Once I had “Seinfield” on my résumé, a lot of doors opened for me. It was just a huge break. I didn’t even play anyone glamorous, but just to have that on your résumé was huge. Who were your inﬂuences as a young actress? I was obsessed with Meryl Streep. I actually started out taking serious acting classes. She was just the bomb. When I started taking classes, she was just as good as it gets and still is. But as far as female comedians, people like Catherine O’Hara, I loved her work. It seems your comedy start was in improv with the Groundlings Comedy Troupe in L.A. with people like Will Ferrell and Chris Kattan. How did working with those guys help? Well, your taste rises. I can’t really explain it, but when you’re hanging out with people that are very talented you sort of absorb it. You have a much better gauge for what’s

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funny. And improv helps on just a million different levels. It helps auditioning. When you show up to an audition, so much of the time, they don’t know what they want. The improv stuff just made me incredibly confident. I think it made me start booking jobs I never would have gotten.

Two of my best experiences were “Best In Show,” it was just so much fun filming that movie, and the other was this TV job I had were I got to film this sort of fake video for “Nip Tuck.” I played this girl on YouTube who sort of wants to become a black rapper. I got to shoot my own video everything.

What can we expect from your stand-up act? You’re from Boston, but where can people The show has changed since I first startfind you when you’re not on the road? ed. It was much more tame, but I guess I I live in L.A. and New Orleans now, and it’s much more my cup of grew some balls. It’s more tea. The weather is just of a show you can’t see on WHEN YOU’RE so much better. I did a television. HANGING OUT WITH stand-up show in January, PEOPLE THAT ARE that first week in Boston, People probably come expecting you to be Stifler’s VERY TALENTED YOU and I could barely handle mom all the time. Does the SORT OF ABSORB IT. it. I was like how do they association with that role YOU HAVE A MUCH do it here? ever become a problem? BETTER GAUGE FOR You’ve tasted several levels No, not at all. You know WHAT’S FUNNY. I love being Stifler’s mom of success. Any advice for because it was such a big AND IMPROV HELPS young actors working their break, and it changed my up? ON JUST A MILLION way career. And I’m single now, It’s incredibly important DIFFERENT LEVELS. to be in shows. I don’t and it certainly keeps my dating life going. I’m inthink it matters what credibly grateful for that movie. It does make show. There’s always someone sitting in the it possible to do other stuff, sometimes crazy audience you don’t expect to be sitting there. And that’s how I got just about everything, and really weird. these tiny little shows that made me confident and someone sitting in the audience. Would that be your favorite role then? That’s how all my breaks came. It was so I think so, yes. I’ve only had a few job weird that when I was waitressing, I thought where I thought I shouldn’t of done them, I was going to be discovered that way. It’s but I will always love the “American Pie” stuff. It’s been incredibly beneficial. Those really hard to be discovered if you’re not in a movies were so successful. I can’t tell you show. The shows always lead to other stuff. how it improves my restaurant life or getting Coolidge will appear at the Laughing Skull on flights. That movie has helped me get off stand-by. Lounge from March 18-21, located at 878 Peachtree Street. Call 877-523-3288 for more What other roles stand out for you perinformation. Tickets range from $25-$33. All sonally? shows are 18 and up.

2010

St. Patrick’s Day

BY MARCI MILLER T. PATRICK’S DAY PARADE 2010

Celebrate Georgia’s rich Irish heritage at the 128th annual St. Patrick’s Day Parade. This year’s parade features the Budweiser Clydesdales and Grand Marshal Vince Dooley. ST. PATRICK’S There will be over 200 DAY PARADE units, including floats, bands of every kind, military units, bagpipe & drum corps, thousands of children, Irish dancers, clowns, high tech firefighting equipment, police units, drill teams, dogs, horses, antique cars, and dignitaries from Ireland. The parade starts at noon on Saturday, March 13 and begins at the intersection of Ralph McGill Boulevard and Peachtree Street and ends at Underground Atlanta. For additional information, please visit www.stpatsparadeatlanta.com.

GUIDE

SHAMROCKIN FOR A CURE

Eat, Drink and Cure CF. The 2nd annual beneﬁt for The Cystic Fibrosis Foundation will take place on Saturday, March 13, 2010 at 7:00pm at The Verizon Wireless Amphitheater in Alpharetta. Guests will be ShamRockin’ with a live band, eating delicious food, bidding on amazing auction items, and enjoying plenty of complimentary beer, wine and vodka. Auction items include a designer room by HGTV’s Vern Yip, tickets for two for the 2010 Emmy Awards, a trip to Ireland and much more. Tickets are $75 per person. Visit www. shamrockinforacure.org for more info.

ST, PATTY’S AT ANDREW’S WITH STAR 94

Get Lucky for St. Patty’s Day at Buckhead’s Andrews Entertainment Complex on Saturday, UNDERGROUND March 13th. With FESTIVAL 5 restaurants and 9 On Friday, March 12 and bars including Stout immediately following Irish Sports Pub, the parade on March 13, East Andrews, Cellar the celebration continues 56 and Prohibition, at Underground Atlanta there’s something for at the St. Patrick’s Day everyone, not to mention Festival. Festival goers giveaways! There’ll be will enjoy Irish danctons of drink specials ing troupes, bagpipers, throughout the complex a vendor’s market, and including $1 Green an interactive zone Beer and $.99 Irish presented by the Atlanta Breakfast not to mention Hawks and Thrashers Leprechaun Shots, Irish Street Team. There will Car Bombs , Tullamore be four stages featuring live music including U2 Dew and Guinness. Live music starts at noon tribute band Desire, Yacht Rock Schooner, teen at Stout Irish Pub followed by acoustic music sensation Zoe Myers and bagpiper Danny Ray in East Andrews at 5pm and a Party Band in Cole. Visit www.underground-atlanta.com Andrews Upstairs at 8 pm. Later DJs spin in for more info. the heated courtyard at 10 and at 11pm in 8 Traxx Disco at Andrews SHAMROCK ‘N ROLL Upstairs. Admission is $5 ROAD RACE after 10pm. If you can’t Celebrate this St. Patmake Saturday, the party rick’s Day with music, continues on St. Patrick’s good food, and a 5K Day, March 17th, at or 10K run for charStout Irish Sports Pub ity. The Junior League and East Andrews. No of Atlanta’s 6th annual cover all night. For more ShamRock ‘n Roll Road information visit www. Race presented by stoutirishpub.com. Verizon Wireless hits the streets of Atlantic FADO IRISH PUB Station on March 14, ST. PATRICK’S DAY 2010. In the past four “SESSION ON” years, ShamRock n’ Roll ‘Session On’ is a popular has grown from 300 to phrase in Ireland used more than 1800 runners. amongst friends to The 5K race kicks off at 8 a.m., followed by the describe that eager anticipation before a big day 10K at 8:30 a.m. and both end with a downhill out at the pub. 14 years and counting, there is finish. Dogs and strollers are welcome, and no bigger celebration at Fadó then St Patrick’s all entrants will receive a moisture-wicking, Day. Session On! Fado Irish Pub has a week technical running shirt. Unique awards will be long schedule of events leading up to Wednesgiven in a variety of categories including the first day, March 17, St. Patrick’s Day. On that day, kilt-wearing finisher in both 5K and 10K. Post the pub opens at 6:00am for those who want race party includes refreshments, entertainment to start the morning off with a pint and an from bands and Irish dancers. Register online Irish breakfast. Fado’s Street Festival begins at for $25 through March 6 and for $30 after March noon with plenty of beer tents, bagpipers and 6 at www.shamrocknroll.org. see PATRICK on page 12

ST. PATRICK’S DAY FESTIVAL AT UNDERGROUND ATLANTA

PG 11 • insiteatlanta.com • March 2010

THE TAVERN AT PHIPPS

PATRICK from 11

Irish dancers. Live music kicks oﬀ at 1pm and Atlanta’s own ‘Desire’, the best U2 cover band in Atlanta will wrap up the street festivities later that evening. Of course, St. Patrick’s Day would not be complete without traditional Irish food and drink, available all day and night. Visit www.fadoirishpub.com for more information.

MEEHAN’S PUBLIC HOUSE - SHAMROCK & ROLL 2010

This is a party not to be missed. Meehan’s 2nd Annual Pre-St. Patty’s Day bash will take place on Saturday, March 13th at 2:00pm at their Sandy Springs location. This year, Yacht Rock Revue, John Faye from the Caulfields, Fransico Vidal, DJ Money Shot and the REMakes are scheduled to perform. Tickets are $10. For more information, visit www.meehanssandysprings. com.

Find out why the Irish are so lucky this St. Patrick’s Day at The Tavern at Phipps. Come have a drink with our very own St. Patrick, voted Best Bartender in Atlanta, and find your four leaf clover. 3500 Peachtree Rd. (Phipps Plaza) www.TheTavernAtPhipps.com

LENOX SQUARE GRILL

Lenox Square Grill wants you to get lucky this St. Patrick’s Day. Start ANDREWS your morning with the balSTAR 94 anced breakfast of champions, aka, kegs and eggs! PARTY Join them for live music, games, contests, and more throughout the day. You won’t need a pot o’ gold to get in here, it’s free! 3393 Peachtree Rd. (Lenox Mall) www.CentraArchy.com/LSG

ST. PATRICK’S DAY PARADE AND CELEBRATIONS – SAVANNAH

RED DOOR TAVERN

The Red Door Tavern hosts their annual St. Patty’s Day Celebration starting at 2PM on Saturday March 13th. Enjoy green beer and Irish drink specials while outside on their Buckhead deck. Corned beef and cabbage will be on hand and a light buffet. Red Door is a St. Patrick’s Day Parade float sponsor and at least one will be parked out front. They also anticipate an appearance from their Dancing Leprechauns, so this party is not to be missed! 3180 Roswell Rd. in Buckhead one block north of the Roxy Theatre. For more details check out their facebook page.

The St. Patrick’s Day celebration in Savannah, GA is the city’s largest annual celebration and the second largest St. Patrick’s Day event in the United States. Likened by some to Mardi Gras, the spirited St. Patrick’s Day festivities in Savannah go on for several days, attracting roughly 400,000 Irish and honorary Irish visitors each year in addition to locals. Some of the popular events include: Greening of the Forsyth Park Fountain (Friday, March 12, 2010 - 12 noon), The 186th Annual Savannah St. Patrick’s Day Parade (Wednesday, March 17, 2010 at 10:15 a.m.), St. Patrick’s Celebration on the River (Pre St. Pat’s Bash: March 12 – 13, St. Patrick’s Celebration on the River: March 16 – 17) and the St. Patrick’s Day Celebration at City Market (March 17, 2010). For more info, please visit www.savannahsaintpatricksday.com.

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FILM

Movie Reviews AVATAR (PG-13)

��Release Date: Dec. 18 It feels redundant to write about James Cameron’s latest game-changer now, when it’s already been dissected by every critic in the world, raked in over $1 billion at the global box office, and surpassed Cameron’s Titanic as the top-grossing film of all-time. If you’re even remotely interested, you already know the film centers on wheelchair-bound ex-Marine Jake Sully, (Sam Worthington) enlisted to infiltrate an alien race known as the Na’vi (which look like Amazonian Smurfs crossbred with lions) in hopes of convincing them to concede their land, which sits atop a fortune’s worth of “Unobtainium” just waiting to be mined by greedy, Earth-bound corporate interests. You’ve probably marveled at the brilliant visuals of Cameron’s gloriously rendered 3D world as seen through the eyes of Sully’s blue-skinned avatar, which include an encyclopedia’s worth of wondrous alien flora and fauna. Pretty much everyone agrees that Cameron has inexorably raised the bar with regards to the potential of CGI and 3D technology, and few would argue that Avatar is one of the most visually spectacular films of the past decade. Some critics have carped that Cameron’s story is unoriginal, as it adapts the history of Colonial Imperialism into a futuristic context in order to point out the flaws in America’s recent political and environmental policy, making a white man the savior of a race of “noble savages.” But in using the tenets of classic hero mythology to address the historical wrongs perpetrated against tribal societies in the U.S. and abroad, Cameron taps into the current zeitgeist of white guilt, recognizing the errors of America’s distant and recent past by portraying a military man who ultimately realizes he’s fighting for the wrong side. It’s a masterful, original work unlike anything cinema has seen since Star Wars debuted over 20 years ago; one that I believe will stand the test of time. –B. Love

BROOKLYN’S FINEST (R)

��Release Date: March 5 You know how on old cartoons the characters have an angel on one shoulder and a devil on the other? This New York drama is far too ominous for any of that, but you will note some parallels. Don Cheadle’s Tango is deep, deeeeep undercover, tiptoeing a line so gingerly between hood and evil you’d swear he was a Chinese acrobat. Richard Gere’s Eddie is a vet so numb to the world that he’d rather count the days ‘til his retirement than stop a domestic dispute in the streets. And then there’s Ethan Hawke’s Sal, a decent guy who’s so desperate to get his growing family into a new house, he’s willing to do anything for the cash. Three vastly different cop stories that dramatically (and fairly realistically) crescendo at the same Brooklyn projects. Needless to say, director Antoine Fuqua (Training Day) knows how to orchestrate stories about the badge’s darker side. He does things with color that brilliantly set tones and he positions lenses to say things words can’t fully express. But the man’s crown achievement is with the slick incorporation of religious paraphernalia across his soiled landscape. A hooker’s home is plastered with Virgin Mary pictures. A cop prays moments before a murderous bloodbath. An audience gets a better understanding of the angels and devils the boys in blue routinely must listen to. –DeMarco Williams

DEAR JOHN (PG-13) ��Release Date: Feb. 5 Disclaimer: I am not a female, nor am I prone to embrace sappy depictions of unrequited love, so it’s safe to say that I’m probably not author Nicholas Sparks’ intended target demo. That being said, I was truly surprised by how much I enjoyed the 2004 adaptation of his novel The Notebook, significant credit for which must be given to the film’s talented stars, Ryan Gosling and Rachel McAdams. I might have even shed a man-tear or two, though if waterboarded I would still insist to the death that it was merely eye sweat. Director Lasse Hallström’s latest film, however, is not The Notebook, though it clearly aspires to tug on the very same emotional heartstrings. Based on Sparks’ novel, the story follows college student Savannah Curtis (Amanda Seyfried) and Special Forces soldier John Tyree (Channing Tatum), who fall head over heels after a bit of summer lovin’ while he’s home on leave. Of course he eventually returns to battle, and the two promise to write one another regularly, their letters practically dripping with the sort of longing that only comes from being denied that which our hearts really, really yearn for. While he’s away, she finds comfort in her friendship with a next-door neighbor (Henry Thomas), a sad-sack whose wife left him alone to care for their autistic child. When Tyree elects to reenlist after the attack of 9/11, it doesn’t take Nostradomus to predict precisely where this story is headed. If you’ve seen The Notebook, it all feels a bit too familiar. Though Seyfried shows impressive dramatic range, Tatum can’t come close to matching Gosling’s dynamic charisma, and Hallström’s unwillingness to show us the hell of war leads to an odd sense of detachment from Tyree’s emotional plight. Veteran character actor Richard Jenkins (Six Feet Under) commands attention as Tyree’s socially awkward father, but ultimately even he can’t save this film from feeling like a retread of Sparks’ previous work, albeit with the added sociopolitical relevance only a soldier sacrificing himself in the name of God and country can provide. The unsatisfying ending certainly doesn’t do it any favors, either.

Johnny Depp (above) as the Mad Hatter seems like a natural choice for Tim Burton’s “Alice In Wonderland.” Burton probably even lets Depp star in his home movies.

ALICE IN WONDERLAND Starring: Johnny Depp, Mia Wasikowska, Helena Bonham Carter, Anne Hathaway. Director: Tim Burton. Release Date: March 5. Rating: PG ��

Watching Tim Burton’s reinvention of Lewis Carroll’s literary masterpiece, it’s impossible not to imagine its dazzling Technicolor imagery as a video game or theme park ride. Whether that’s a good thing or not depends entirely on your viewpoint. Burton’s flamboyant gothic humor makes him the perfect match for Carroll’s sly, sadistic fable, and the film wisely updates the classic tale by introducing us to Alice (Mia Wasikowska) as a rebellious 19-year-old resentful of being told what to do or who to marry. Once she falls down the rabbit hole the story seems a bit too familiar, relying on Burton’s brilliant visuals to drive the pacing. For the most part he succeeds, providing a hallucinogenic kaleidoscope of colors and gleefully twisted characters voiced by killer thespians (Alan Rickman as the Caterpillar, Stephen Fry as as the Cheshire Cat and Michael Sheen as the White Rabbit). Perfect casting has always been one of Burton’s trademarks and, from Helena Bonham Carter as the huge-headed Red Queen and Crispin Glover as her malevolent henchman to Anne Hathaway as the ridiculously regal White Queen, Wonderland is no exception. The lynchpin (as usual) is Johnny Depp, whose Mad Hatter looks like the bastard offspring of Bozo the Clown and Madonna. Once again hiding his leading man looks behind the bizarre visage of a quirky crackpot one small step from utter insanity, Depp’s tightrope walk along the line dividing “just enough” from “over the top” proves the film’s most fascinating element. Unfortunately, things go completely off the rails in an action-centered third act that –B. Love feels entirely unnecessary, almost as if the powers-that-be couldn’t believe that a welltold fable full of colorful characters and spectacular scenery would hold our attention OUR FAMILY WEDDING(PG-13) for 90 minutes. Ultimately, it proves a disappointing end for an idea that begins with remarkable promise. ��Release Date: March 12 Though the promos for these nutty nuptials spotlight head-butting fathers played spiritedly by Forest Whitaker and Carlos Mencia, the film’s real stars are relative newbies Lance Gross and Anjelah Johnson. Before this colorblind comedy, Gross’ claims to fame were the winning smile he displayed on Tyler Perry’s House of Payne and his real-life engagement to model Eva Pigford. After saying “I Do” here to America Ferrera, Hollywood would be wise to get the guy in more pictures. Director Rick Famuyiwa (Brown Sugar, The Wood) doesn’t ask Gross to do much more than look annoyed at his pop (Whitaker) and look away as his wedding day turns disastrously humorous, the young man still shows remarkable stage presence. Johnson, the stand-up comic behind a now-classic YouTube nail salon bit, is on screen a lot less than Gross, but her time as Ferrera’s sis is nothing short of an economy of hysterics. The constant Black/Latino cultural clash in of itself rocks, but when backed by Johnson’s wry commentary, you’re almost left rolling down the aisle. Kudos to Rick for giving Anjelah a chance and for including a hilarious dream sequence

–B. Love about family seating at the reception. As for the wedding crasher who thought it was cute to invite a Viagra-popping goat on the set, we have a spot reserved for you at the kids table. –DeMarco Williams

PERCY JACKSON & THE OLYMPIANS: THE LIGHTNING THIEF (PG) ��Release Date: Feb. 12

Leave aside this film’s tired hero’s journey, awful special effects, forgettable characters and complete lack of wonder Greek myths set in the modern world should offer, and you still have three protagonists who can’t count. Percy Jackson (Logan Lerman) is dyslexic and has ADHD. He’s an outcast and has a crummy home life, but it turns out he’s a demigod, the son of Poseidon. Apparently his crutchwielding best friend Grover (Brandon T. Jackson) is a satyr, the wheelchair-bound museum guide Mr. Brunner (Pierce Brosnan) is a centaur, and Percy

is being hunted down for supposedly stealing Zeus’ lightning bolt. After his mom (Catherine Keener) is seemingly killed by a minotaur, Centaur Brosnan informs Percy that the Lightning Bolt must be returned to Olympus within ten days or else the gods will destroy the world, and that his mother is not dead but a prisoner of Hades in the underworld. Whether it’s dealing with Medusa, fighting a hydra, or escaping from the Lotus Eaters, the only one who can save the day is Percy. It’s like Harry Potter fighting the forces of evil on his own, with Hermoine and Ron being deadweight. There is nothing good about this film: Chris Columbus’ direction is lousy, the fight scenes are dull and laughable, the CGI is cheap, and the characters are too dense to engender empathy. Percy Jackson & The Olympians wants to be the next Harry Potterlike movie franchise, but my guess is you’re more likely to see your mom mauled by a minotaur. –Matt Goldberg PG 13 • insiteatlanta.com • March 2010

GAMES PEOPLE PLAY UPCOMING VIDEO GAME RELEASES AND REVIEWS

BY B. LOVE

ALICE IN WONDERLAND (Disney Interactive) Systems: DS, PC, Wii Watching Tim Burton’s vividly colorful 3D adaptation of Lewis Carroll’s literary classic, it’s not at all diﬃcult to imagine it as an immersive video game (or a theme park ride, for that matter). In this case, what you see is precisely what you get, for better or worse. Playing as Alice, Mad Hatter, March Hare, Cheshire Cat and Dormouse, players learn to alter perception, make objects invisible and manipulate time to defeat the evil Red Queen. The story is great, but the mediocre gameplay will likely bore experienced gamers. BIOSHOCK 2 (2K Games)

Systems: PS3, X360 This creepy follow-up to the 2007 hit ﬁrst-person shooter casts players as the prototype Big Daddy. Armed with a drill, rivet gun, plasmids and more, you explore the underwater city of Rapture and track a monster who’s been snatching little girls along the coastline in order to harvest their bodies for genetic modiﬁcations. Blending intense action, exploration and puzzle-solving, the game allows players free will that determines how the game unfolds. Flashbacks and multiplayer modes only enhance the great storyline.

ENDLESS OCEAN: BLUE WORLD (Nintendo)

System: Wii I’m one of those people who’s more at home in the water than on dry land. This immersive game oﬀers an opportunity for players to experience the wide-eyed serenity of underwater exploration without the expensive airfare, scuba lessons or inherent dangers of, say, swimming with sharks. Players can travel the globe diving in exotic locations, interacting with hundreds of dazzling species and exploring shipwrecks and ancient ruins while adventuring through the story. A wonderfully unique and imaginative title.

GLORY OF HERACLES (Nintendo) System: DS With Clash Of The Titans coming soon to a theater near you, Greece is the word in entertainment these days. This epic RPG puts players in the ancient land of monsters, gods and heroes, casting them as an immortal boy with amnesia who washes up on the shores of Crete. Inspired by Greek mythology, the story follows his epic quest to save the world, battling minotaurs, gryphons, harpies and the dreaded Hydra

VIDIOTS UPCOMING DVD RELEASES AND REVIEWS

BY B. LOVE & JOHN B. MOORE BREAKING BAD: THE COMPLETE SECOND SEASON – In TV, you’re lucky to be associated with one classic show. With Breaking Bad, writer/director/producer Vince Gilligan (The X-Files) has two. This 4-DVD set ﬁnds chemistry teacher Walter White (Bryan Cranston) battling chemotherapy, domestic problems, inept assistant Jesse (Aaron Paul) and aggressive competition as he tries to build sales for his meth operation. Extras include commentaries, deleted scenes, making-of features, 6 original Webisodes and more. THE LIFE AND TIMES OF TIM: THE COMPLETE FULL SEASON – Created by Steve Dildarian, this HBO show follows Tim and his live-in girlfriend in New York. Through a series of escalating misunderstandings– the hooker in his living room, or supposedly being molested by a homeless man– PG 14 • insiteatlanta.com • March 2010

as he journeys through Sparta, Athens, and even Mount Olympus in search of his true identity.

MAJOR LEAGUE BASEBALL 2K10 (2K Sports) Systems: DS, PC, PSP, PS3, Wii, X360 The 10th edition of this popular franchise comes with a variety of new features, not to mention a $1 million contest to be the ﬁrst player to pitch a perfect game. Reworked pitching and hitting mechanics provide unprecedented control over painting the corners and working the count. You can create your own player and guide his every career move, or keep it authentic with the MLB Today mode, which streams real world news and stats directly into the game. A must-own for diehard fans of America’s favorite Spring pastime. PERCY JACKSON & THE OLYMPIANS: THE LIGHTNING THIEF (Activision)

System: DS book-to-ﬁlm-toAnother videogame adaptation, The Lightning Thief allows you to control Percy Jackson and his team of allies as they struggle to survive in a world controlled by vengeful Greek gods. Emerging victorious from battles and completing challenging quests allows you to add new abilities and item upgrades, and cooperation among various team members is encouraged as you face increasingly outlandish foes. This is the rare exceptional game that actually outshines the ﬁlm upon which it’s based.

OTHER MARCH VIDEO GAME RELEASES

Mega Man 10 (Wii/PS3- 3/1), Battlefield: Bad Company 2 (PC/PS3/X360- 3/2), DECA Sports (DS- 3/2), Alice in Wonderland (DS/PC/Wii, 3/2), SpongeBob’s Boating Bash (DS/Wii3/2), Mimana Iyar Chronicles (PSP= 3/3), Final Fantasy XIII (PC/X3603/9), Ben 10 Alien Force: Vilgax Attacks (DS/ PSP/Wii/X360- 3/12), Dancing on Ice (Wii- 3/12), Resident Evil 5 Gold Edition (PS3/X3603/12), Sushi Go Round (DS/Wii3/16), BlazBlue: Calamity Trigger (PC/PS3/X360-3/19), Combat of Giants: Mutant Insects (DS- 3/19), Fragile Dreams: Farewell Ruins of the Moon (Wii- 3/19), Rooms: The Main Building (DS/Wii- 3/23), Just Cause 2 (PC/PS3/ X360- 3/23), Shin Megami Tensei: Strange Journey (DS-3/23), Clash of the Titans (PS3/X360- 3/26), How To Train Your Dragon (DS/PS3/Wii/X360- 3/26), Infinite Space (DS- 3/26), Peppa Pig Fun and Games (DS-3/26), Prison Break: The Conspiracy (PC/PS3/ X360- 3/26), Project Runway (Wii- 3/26), Racket Sports Party (Wii- 3/26), Red Steel 2 (Wii- 3/26), Resonance of Fate (PS3/X360- 3/26), Sam & Max Beyond Time and Space (PC/Wii, 3/26), Grand Theft Auto: Episodes from Liberty City (PC/X360- 3/30) Tim constantly has to explain his actions. With animation reminiscent of Comedy Central’s Dr. Katz, this show packs more humor into an average 15-minute episode than The Simpsons or Family Guy have all season long. THE PRINCESS AND THE FROG – Back in the ‘80s, Disney went through a major slump before The Little Mermaid ushered in a new era of animated excellence. Here’s hoping this amazing handdrawn musical about an African-American girl (Anika Noni Rose) struggling to open up her own New Orleans restaurant will do the same. It’s got everything you want in a Disney flick– a strong heroine, humor, heart, wacky sidekicks, a great villain– plus a killer Jazz Age soundtrack. Oodles of DVD extras make it a must-own. SWEDISH AUTO – Beautifully shot and acted, this quiet, though-provoking slice of indie filmmaking stars Lukas Haas (“Witness”) as Carter, a quiet, cerebral auto mechanic who falls for Darla (Mad Men’s January Jones), a shy diner waitress with a troubled home life. At a time of year when there’s not much worth seeing at the

SHE’S OUT OF MY LEAGUE (R) �� Release Date: March 12

Expectations can be a bitch. Going into a film with high expectations can lead to disappointment and, in the worst cases, feelings that you’ve wasted two hours of your life. Going into relationships with expectations set too high? Well, that’s simply a recipe for disaster. She’s Out Of My League– much like its central character, Kirk, a nerdy airport security agent pining for an abusive ex-girlfriend who still hangs out with his abusive family– benefits greatly from lowered expectations. It’s got a no-name director (Jim Field Smith), a star (Jay Baruchel) who’d barely qualify for the Hollywood C-list, and about as much hype as a new Starbucks. But in the end it delivers both laughs and emotion, balancing absurdist comedy and genuine drama with a deft, nimble touch. The story follows Kirk’s budding relationship with Molly (Alice Kim), the upscale event planner referenced in the title. Nobody can believe these two opposites belong together, least of all Kirk, and the film derives huge laughs from watching their disparate worlds collide. But as crazy as Kirk’s friends and family are, Baruchel and Kim keep the film grounded by playing the emotions of their love for real, even when the circumstances surrounding them border on ridiculous. In the end, this heartwarming coming-of-age comedy about nice guys finishing first plays like a Judd Apatow film without Judd Apatow… or big stars… or hype. And yes, that is a VERY good thing. –B. Love

SHUTTER ISLAND (R)

��Release Date: Feb. 16 Martin Scorsese’s latest film is a gothic horror that intrigues without deception, scares without shocks, and weaves a tapestry of haunting insanity without relying on twists and last-minute reveals. In 1954, Federal Marshals Teddy Daniels (Leonardo DiCaprio) and Chuck Aule (Mark Ruffalo) are assigned investigate the disappearance of inmate Rachel Solando (Emily Mortimer) from the Ashecliff Mental Asylum for the Criminally Insane, which is located on Shutter Island. Suffering from seasickness and dark memories of his dead wife (Michelle Williams), it’s clear that Daniels is damaged. A compelling performance from DiCaprio pulls us in different directions, making it difficult to discern whether his urgency is a result of his own trauma or the sinister vibe of the guards, nurses, and chief psychiatrist Dr. Cawley (Ben Kingsley). Teddy’s nightmares/hallucinations become stronger and his investigation into Solando’s disappearance yields more questions than answers. The mystery of Shutter Island isn’t what happened to Rachel Solando, but how far can we trust Teddy Daniels? Scorsese drenches Shutter Island in madness, composing haunting shots of the ashes of Daniels’ torched

apartment, snowflakes falling on the corpses he saw when he liberated Dachau, and leaves and rain crashing down from the hurricane that keeps Teddy and Chuck captive on the island. It’s an ethereal world of deterioration, submersion, and fire. But Shutter Island rests on DiCaprio’s talent as much as it does Scorsese’s, and he has grown into one of the most talented dramatic performers in Hollywood. As Teddy Daniels, DiCaprio looks worn and beaten, with the gaze of a man who’s seen too much but fears what fresh hells he will discover. Shutter Island exists on the edge of a knife, but Scorsese carves his movie into something singular and unforgettable. Welcome to the madhouse. You’ll enjoy your stay. –Matt Goldberg

VALENTINE’S DAY(PG-13)

��Release Date: Feb. 13 Like the eponymous holiday, Valentine’s Day hates you if you’re single. I didn’t expect the film to warm my cold, dead heart, but I also didn’t expect it to call me a sad bitch for two hours. Thankfully, there are one or two worthwhile stories in this bargain-basement tapestry of fairy tales, and it’s uplifting to see a film fully explore the beauty of gorgeous straight white people finding love in a city as diverse as L.A. I’m not sure how many separate stories there are here, but everyone is connected and we all learn that love is many-splendored thing. Perhaps those in loving relationships will see this film and enjoy the positive feedback loop of celebrating romance, but for the rest of us it would be nice if there was at least one character who poked fun at the expectations of the holiday. These flaws wouldn’t be so noticeable if the stories were more engaging. Sadly, this hodgepodge of rom-coms can barely weave short narratives out of clichéd love stories, let alone create something new. The most original it gets is having the funny and charming Anne Hathaway struggle to hide her double-life as a phone sex operator from her new boyfriend (Topher Grace). Jennifer Garner and Ashton Kutcher also do good work, but they have the biggest narrative and therefore the benefit of more time to flesh out their characters. On the opposite side there’s Taylor Swift, who shocked me out of my stupor with her complete lack of acting talent. The smartest move Valentine’s Day makes is playing the odds, throwing 22 characters and myriad storylines at a wall and seeing how many work. This approach works for two or three narratives– about 20 minutes– but the only reprieve of the other 105 minutes is the editing, which jumps to another storyline before the current one has you drifting away, dreaming of the day you’ll be lucky enough to meet that special someone who’d dislike this movie as much as you. –Matt Goldberg

multiplex, Swedish Auto is the perfect anecdote to loud, abrasive, big budget Hollywood movies.

online surveillance– he demonstrated the price we will all ultimately pay for abandoning our privacy.

THE T.A.M.I. SHOW – Released on DVD for the ﬁrst time, this historic concert was ﬁlmed live at the Santa Monica Civic Auditorium in 1964, and has never been seen in its entirety since it originally appeared in theaters. The show features an incredible lineup of ‘60s rock talent, including the Rolling Stones, James Brown, Chuck Berry, the Beach Boys, the Supremes, Marvin Gaye, Smokey Robinson & the Miracles and more. Extras include director commentary and a 20-page booklet with rare photos and memorabilia.

OTHER MARCH DVD RELEASES MARCH 2�� MARCH 9� �� MARCH 16� �� Wonderful World MARCH 20 – The Twilight -Saga: New Moon MARCH 23�� MARCH 30 – Alvin and the Chipmunks: The Squeakquel �� First Season

WE LIVE IN PUBLIC – The latest Sundance Grand Jury Documentary winner from Ondi Timoner (Dig!) explores the eﬀects the Internet is having on our society as seen through the eyes of web pioneer Josh Harris, whom the director ﬁlmed for over a decade. Harris believed the virtual world would inevitably control our lives. Through his experiments– including six months living with his girlfriend under constant

FILM

MAJOR LEAGUE TALENT She’s Out Of My League Stars Alice Eve & Krysten Ritter Prepare To Break Out BY B. LOVE

F YOU HAVE TROUBLE PUTTING ALICE Eve and Krysten Ritter’s names with their gorgeous faces, you’re not alone. Despite Eve’s roles opposite Claire Danes (Stage Beauty), James McAvoy (Starter For 10) and Harrison Ford (Crossing Over), and Ritter’s appearances in 27 Dresses, Confessions Of A Shopaholic and TV’s Breaking Bad, neither of these comely 20-somethings are anywhere near household names. Regardless, their roles in the new comingof-age comedy She’s Out Of My League should help garner more attention, as should their respective forthcoming projects. We recently had the pleasure of sitting down for a one-on-one (er… one-on-two) with these up ‘n’ coming Hollywood talents. Tell me about your childhoods and how you got interested in acting. Krysten Ritter: I lived on a farm in a really small town with very limited opportunities and not a lot of encouragement to think outside of the box. I remember having these assemblies every year where they would give you lists of things you could do, but I didn’t really like any of them. Then stars aligned and I was scouted at the mall completely out of the blue as a model. They start shopping around and get you young, and I did that for a few years. That got my foot in the door and I sort of ran with it. It’s a weird thing because you can’t control anything when you’re a model. You show up, wait in line for an hour, they look at your book and then that’s it. Then one day I had a commercial audition and they were like, “Tell us about yourself.” I ﬁnally felt like I had control over my destiny and started training and switched the focus to acting. Alice Eve: I’m the daughter of two actors. I’ve always known about that world and didn’t want to do it for

years. I wanted to be a vet and various other things. Then I played a drunken old man in a production of Les Miserables at school and people laughed. I thought, my gosh, that’s the best feeling in the world. I did a production of Twelfth Night in school and then did school plays. I got my ﬁrst movie, Stage Beauty, when I was still at University and did it when I was on vacation. It went from there.

Krysten, you had 8-episode runs on Veronica Mars, Gilmore Girls and Breaking Bad. Is it frustrating not to have a longer run on critically acclaimed shows like that? KR: No, because with the exception of Breaking Bad they were only meant to be smaller parts. I would get there and they liked me, so they’d keep bringing me back. Breaking Bad was a pre-set thing. What’s it like when you feel your career starting to gain momentum? Is it palpable or incremental? KR: Sometimes I need to step aside to appreciate it, but it doesn’t feel any diﬀerent. Every day feels just as stressful and you want to keep your head down and focus just as hard. I’ve never felt like I’ve had any sense of accomplishment. It’s really strange. I wonder if you ever do. I’ve got to keep going. I’ve got to get better. Keep my head in the game and stuﬀ like that.

the same issues and problems as everybody. Alice: I feel like I’ve had some good opportunities as a woman. I think if you think of yourself as a beautiful, attractive person, you’re probably going to have an attitude. What actors’ careers do you aspire to have? AE: I admire Reese Witherspoon and Charlize

Theron: Reese because she gets to do the same things that this movie does and has wonderful chemistry with the males, and Charlize because she turned around and said, “Fuck You” and did Monster, then she won an Oscar. She played the game– she had her blond hair and ate her salads– but she decided she could do it like the boys do it. She likes to work. She likes to act. KR: I like Geena Davis’ range of roles, going from Thelma & Louise to The Accidental Tourist. It’s so weird that she can be really awesome and beautiful at the same time. I also love Juliette Lewis. She’s old school. She’s got her own point of view. I like actresses who can be the beautiful leading lady, look ugly, or pull their dress over their head for a laugh

��

The thing that works about She’s Out Of My League is that you guys really sell the emotions of your characters without winking at the audience. AE: That’s our job. We played it real– that was the m.o. for everyone on the movie– but I think we found the humor as well. We made the movie with the best of intentions and it turned out good, and the studio got behind it. They don’t have to hype this movie… KR: It cost like $5 to make, so this isn’t a giant movie that needs to make its money back. The studio is behind it because they think it has a real shot. They’re not idiots. Is it more rewarding to work on a low-budget ﬁlm that has lowered expectations? AE: Yes, because when you sign-on you don’t expect it to be anything. That’s amazing! I’m doing a huge movie that’s coming out in May (Sex & The City 2) and with that one you have diﬀerent expectations. The weight of that one’s not on my shoulders; that’s an established brand and it’s just great to be part of it. But [She’s Out Of My League] was great because we all sat around and invented it together, and now we’re privileged to travel around the world to promote it. Do you think it’s realistic for girls of your caliber to fall for this nerdy guy who works in airport security? AE: Yeah, of course! I think that’s the point of the movie: He sees that maybe he’s been made out by his family made to be a geek, but he’s not. He’s a nice guy, but maybe he feels rejected because his parents abused him all the time. The movie also talks about the preconceptions people have of beautiful women. Have you faced that in your own lives? KR: I’ve experienced that, both in my career and my personal life. At the beginning of my career, around the time I was doing Veronica Mars, people would only see me as the funny, weird girl. That continued until Breaking Bad changed the course of things. You show one thing and you’re expected to keep doing it. On a personal level, I think the bar is pretty low for actors and actresses to be nice, so when you’re nice to people they’re completely blown away. But we don’t walk around thinking of ourselves as attractive people. We have

�� We Can’t Do It Without YOU!

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�� PG 15 • insiteatlanta.com • March 2010

PG 16 • insiteatlanta.com • March 2010

MUSIC

ROLLINS REDUX Irate Looks at Fifty BY PATRICK FLANARY

HE OWNERS PLEADED WITH THE local punks to not show up early. Yet it was now up to the Tampa club to steer this collision course of a schedule, one that paired a theatrical production with a hardcore show on the same stage on the same night. Eight o’clock: “The Diary of Anne Frank.” Eleven o’clock: West Coast punk band Black Flag. All is well until the tension finally shatters halfway through the group’s third song, when a fan strikes the band’s roadie with a hammer. The 25-year-old singer, eager to quell the excitement, dives into the mob of rioters and returns the gesture with a fist. “Doesn’t that concrete feel ‘good’ on your head,” Henry Rollins heckles as he returns to the stage. The meeting of mohawks and mosh pits that unseasonably cold Florida night in 1986 would set in motion the end of the reign for underground punk kings Black Flag. The tour would be their last. Decades and worlds apart from his days as a bloodthirsty youth, Rollins remains robust and, at 49, bloodthirsty as ever. He’s just a bit more forgiving now. When Rollins reaches out to touch someone, it’s usually with a helping hand in a foreign land. Rollins trots the globe, photographing corpses on the streets of New Delhi, camping in the Sahara and watching New Year’s fireworks explode over Senegal. “What I’m after is perspective,” he says. Perspective reveals itself to Rollins in chilling forms—it’s meant searching for a bottle of clean water in Africa. Other times it’s involved roaming entire cities devoid of traffic lights. “In Bangladesh, anywhere you go everything seems to be destroyed,” says Rollins. “I stood at this intersection and—whoa—way too close for comfort. You say, ‘I’m really glad I wasn’t in ‘that’ taxi.’ The walking is whatever the oncoming vehicle will afford you. After a few days, just give me a sidewalk, man,” he laughs. Back in his familiar world of concrete, pollution and L.A. traffic following a month overseas, Henry Rollins returns to his habitat: the American stage. He’ll perform his first domestic spoken word show of the Frequent Flyer tour Feb. 17 in Solana Beach. He may have the ear of the coffee house crowd now, but he still bucks the man better than anyone. Facing 50, Rollins realizes

his post-Black Flag years of writing poetry and selling it from a van has earned him the right to host abrasively intimate fireside chats on whatever the hell bothers him. And while he’s shed much of the brawn he packed on as hardcore’s tattooed frontman, Rollins’ song remains the same: Fuck Authority. “What Henry does is present a natural emotional response to the demented slaughterhouse of a world we live in,” says Jesse Michaels, leader of defunct punk band Operation Ivy. In 1981 Henry Rollins mirrored a feral Johnny Rotten, a tiger free from his cage and loose in the recording studio where the thrashing shirtless beefcake often emerged from the #Damaged# sessions bloodied and bruised. It was Henry’s high: no booze, no needles, just the regular, self-inflicted overdose of self-confrontation. Says Devo cofounder Gerald Casale, “Henry looked like he could murder you, but he was in fact a visionary gentle giant.” In 2010 Rollins admits he can’t quit the stage, but guarantees he left his music career behind in the last millennium. “I don’t wanna. I don’t wanna do the thing all over again,” says Rollins of making music. “It’s something I’ve done so many times. I don’t know what else I can do with peanuts. Artistically, it’s a checked swing. You’re not risking too much.” The singer made an exception last year when he slipped into a studio and lent his throaty voiceover to a friend’s project: the Flaming Lips’ recreation of Pink Floyd’s “The Dark Side of the Moon.” Flaming Lips leader Wayne Coyne remembers how an early-’80s Black Flag show impacted the Grammy-winning psychedelic group. “We saw him in the flesh confront that idea of, ‘I’m going to do my trip and I’m going to force you to accept it,’” says Coyne. “And seeing him do it, it changed us. I will always owe that to Henry Rollins.” Still the physical performer he always was, Rollins keeps his audience at ease by keeping his feet on the stage at all times. “I’ve learned my knees don’t have the same get-up-and-go,” he says as he considers his fiftieth birthday, less than a year away. “Hey, it’s what happens after you turn 49. I live in Hollywood. I’m surrounded by men my age who don’t want to believe that.”

FEATURING BILLY COX

Band Of Gypsys & The Jimi Hendrix Experience

JOE SATRIANI JUST ADDED

SUSAN TEDESCHI SACRED STEEL featuring

ROBERT RANDOLPH JONNY LANG ERIC JOHNSON ERNIE ISLEY BRAD WHITFORD from Aerosmith

DOYLE BRAMHALL II LIVING COLOUR CHRIS LAYTON

of Stevie Ray Vaughn & Double Trouble

Artists scheduled to appear subject to change

CELEBRATE THE MUSIC & LEGACY OF JIMI HENDRIX

SATURDAY

MARCH

FOX THEATRE

8PM

ticketmaster.com 800-745-3000 Fox Box Office

Steve Litman Presents

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PG 17 • insiteatlanta.com • March 2010

MUSIC

INDEPENDENCE DAY Once only known as Will Smith’s play cousin, Tatyana Ali has matured into a stunning, well-rounded artist BY DEMARCO WILLIAMS

HILE THE TRACK RECORD OF a child actor going on to become a full fledged adult star is dubious, Tatyana Ali has overcome the barrier. The smart, sultry 31year-old who got her big break at 11 as Ashley Banks on The Fresh Prince of Bel-Air is serious about show business and seriously putting holes in the theory about kid actors not amounting to much. The all-grown New York native has sitcom credits, movie stints, a Gold-selling album and even a Harvard degree on her resume. She only adds to her tally with a starring role on the current TV One comedy, Love That Girl. Tatyana Ali tells us she’s still reading scripts, still recording new music and still giving hugs to everyday folks who simply can’t get enough of lil’ cousin Ashley. Since those Fresh Prince days, beyond the obvious physical changes, where have you grown the most? I think I’ve grown as a songwriter. I have an album coming out in the spring and I wrote all of it. The first album that I did every song was written and produced by a different person. I was only 16, but since then I have definitely grown as a songwriter. I have also now reached a convenient phase in my career where I’m producing. So, on the business side of things, I’ve grown a great deal also. Also as an actor too [I’ve matured]. As you get older, your roles are always

different. I’m always striving to grow in that area too. You’re always hopeful you’re challenged by what you’re doing. You’re almost like a cousin to everybody. You’re right. I mean, I get hugs. Sometimes you want to be alone. If you feel like you’re having an emotional moment, someone recognizing you is not necessarily ideal. But there are times when I get a hug from somebody on the street and they’re like, “Oh, can I just hug you?” and it’s from the heart. It’s so pure. How could I not? I would have to shut myself down as a person for it not to feel good. Are you pleased with the types of movie and television scripts that come your way? Right now, I’m really fulfilled because there’s so much going on. But there’s definitely been moments where [you question things]. I mean, it’s not so much the story, but the parts in the story. I’m very often considered for being the best friend in the role or being the girlfriend in the role. I can pretty much name on one hand [the developed parts]. It’s very rare that a complete, three-dimensional character comes with it. Does that make sense? That makes perfectly sense. I loved what you did in Glory Road. I would just love to see more of that from you. But I know that I need to talk to

screenwriters about that. That’s not a Tatyana Ali problem. Well, no, it is. It is because you have to make it your problem; otherwise, your destiny would be in other people’s hands. So, that’s why I’ve been focusing on staring the production company, to help bring characters like that to life.

mediately. It just doesn’t work that way. It takes time to do it and do it well and make it long lasting.

I’ve seen where some readers and bloggers are saying your new show Love That Girl plays into unﬂattering stereotypes with some of the characters—not necessarily your character, but some of the players around you. How would you respond to those critics? I don’t think it does. That’s interesting. What I like about the script is that I know people like those characters, like my best friend, Nefertiti. I also think that people have only seen the ﬁrst few episodes of the show. The characters have a long way to go. I don’t think they were brought on to be seen in a negative way. I think with sitcoms, you do have archetypical characters. Fresh Prince had them: the ditsy, older sister; the preppy brother; the very strong, disciplinarian father; the loving mother. That’s part of what I think makes it fun to watch. There are these archetypical characters. I think as the show goes forward, you’ll be able to see the characters go through more storylines and become more developed.

What are you most proud of with this new CD? I’m proud of the concept and all of the styles and collaborations with [famed 2Pac producer] Johnny J. I just hope that people ﬁnd it to be inspiring and uplifting and to feel that somebody is going through the same things that they are going through.

What else do you have on the calendar for the rest of this year? The album is coming out in the spring. That’s my lead focus.

I know you played a role with President Obama’s campaign. How would you grade his performance thus far? I think I would grade him pretty well so far. He stepped up with a lot of the promises he made during his campaign. He started to withdraw in Iraq. He made a bigger focus on to Afghanistan, which he said he would do. He’s having a very difficult time with healthcare, but it’s on the agenda. Yeah, I think for the first year, he’s doing okay. We need more than one year to fix everything that needs to be fixed. Yeah, we’re kinda used to instant gratification. I think people have a misconception that, since he was such a new presidential face, that everything would change im-

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JOURNEYTO ME GRASSROOTS TALK MOBY DICK PRESENTS: �� (311 Tribute)

��

HUMANNATURE (The Ultimate Michael Jackson Tribute)

��

STONEY LARUE

(Poison - Journey Guns n Roses Tribute)

(Texas Country) ��

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THE WRONG WAY

SLIPPERY WHEN WET

(SUBLIME TRIBUTE) ��

NO COVER WEEKNIGHTS!

(Bon Jovi Tribute)

�� PG 18 • insiteatlanta.com • March 2010

Road Warriors

This Month’s Hottest Shows BY SACHA DZUBA

MARCH 6 - BELA FLECK

Rialto Center for the Arts Bela Fleck is one of the best banjo players in the world, but don’t even think of dismissing this musician because of his axe! This banjo auteur has been nominated in more grammy categories than any other musician, namely country, pop, jazz, bluegrass, classical, folk, spoken word, composition, as well as arranging. He’s equally at home playing bluegrass as he is playing jazz. He and his Flecktones turned the world of jazz recordings on it’s ear with the release “Left of Cool”. Who ever heard of Jazz Banjo?! His latest project saw him travelling to Africa to explore the little known African roots of the banjo and record an album. This tour showcases the culmination of that project.

MARCH 7 - ANI DIFRANCO

Variety Playhouse The feminist icon, singer- songwriter, is well known for her autobiographical and political lyrics and views. She’s a strong woman who isn’t afraid to broadcast her social-political views ranging from poverty and war to gender/sexuality issues. This musical artist is creative and imaginative; she’s been classiﬁed as both folk as and alternative rock and has collaborated with a wide range of artists. Her most recent album Red Letter Year is of a more relaxed style, seemingly showing Ani being

comfortable in her own skin. She always seems to connect deeply with her audiences, no matter how large the venue. Allow her music to give you selfempowerment and a new global perspective,

MARCH 9 - ERIC CLAPTON

The Arena at Gwinett Center Eric Clapton is often considered one of the most important and inﬂuential guitarists of all time. He is the only person ever to have been inducted into the Rock and Roll Hall of Fame three times, as a member of bands Cream and the Yardbirds, as well as a solo performer. Clapton was ranked fourth in Rolling Stone magazine’s list of the “100 Greatest Guitarists of All Time”. I know you’re familiar with his hits “Layla” and “Tears in Heaven”. I’m hoping he pulls some things out of obscurity, but I really would like to hear his version of “I Shot the Sheriﬀ” live.

MARCH 12 - JAMIE CULLUM

Cobb Energy Performing Arts Center Everyone’s favorite jazz hobbit comes back to Atlanta. Signed to the respectable jazz label Verve Records, Jamie Cullum is a jazz piano player and singer. He’s done numerous covers of great classic jazz tunes, but this crossover artist has also put his own spin on Radiohead, Jeff Buckley, and even Rihanna; among others. He’s a charismatic and stylistic performer and

a great piano player to boot. Don’t be surprised if he starts beat boxing. Check out this jazz giant…even if he is only 5’ 6” tall.

MARCH 13 - RODRIGO Y GABRIELA

Center Stage Theater Rodrigo y Gabriela were first brought to my attention through their excellent instrumental flamenco interpretation of the “Oogie Boogie’s song” from Nightmare Before Christmas. They are a Mexican guitar duo consisting of Rodrigo Sánchez, and Gabriela Quintero. Bizarrely this acoustic latin rock duo met while playing in a thrash metal band and cites Metallica, as well as Testament, Megadeth, and Slayer as influences. While they sound nothing like their metal influences, their guitar proficiency and driving rhythms will capture your ears and get your toes tapping.

MARCH 14 - MICHAEL BUBLÉ

The Arena at Gwinett Center The Canadian crooner for our era is coming to the Gwinett Center Arena. Mainly known for revitalizing big band/jazz era music, Mr. Bublé always has an excellent backing band, with an intense, driving horn section. I’ve heard nods to inﬂuences Michael Jackson and George Michael, as he’s covered some of their tunes live to massive crowd response. Crazy Love is his newest album and features the excellent original tune “Haven’t Met You Yet”. Take a spin back in time and listen to a modern twist on grandpa’s music.

MARCH 17 - JOHN MAYER

Phillips Arena John Mayer gets a lot of crap from a lot of people, but let’s face it, the guy’s a great musician and an amazing performer. He plays a mean guitar in styles from pop to jazz and blues…and he’s funny,

WE GOT NEXT FIELD MUSIC

often self-deprecating. Is it really any business of ours what’s going on in his private life? Let’s just set aside our preconceived notions and let this fantastic musician charm us with his music and witty banter. I’m sure we’ll hear “Why Georgia”…

MARCH 21 - MEGADETH, TESTAMENT, EXODUS

The Tabernacle Three metal juggernauts descend on the The Tabernacle and there’s no guarantees that it will still be standing at the end of the night! Megadeth will be playing their landmark, genredeﬁning album, 1990’s “Rust in Peace”, in its entirety. Additionally, they are supporting their 2009 album, ENDGAME.Testament are touring in support of The Formation of Damnation, which attacks with high reserves of anger and energy. Exodus has been thrashing for 30 years now and is still going strong. A night of heavy moshing and ear blistering metal awaits you!

MARCH 30 - ALICIA KEYS

Philips Arena The R&B piano princess with mad classical skills rocks the Phillips Arena. Her latest album The Element of Freedom carries a decidedly Prince bent with electronics coming more to fore than Key’s classic-soul style. She has a passionate and raw voice which conveys her every emotion and she will mesmerize you with her masterful piano proficiency. Expect a jazzy R&B evening that will touch you, heart and soul.

Artists on the verge of making it big

Latest Project: Field Music (Measure) (Memphis Industries) For Fans of: XTC, The Police, New Pornographers, The Shins Why You Should Care: Because with their ambitious new 2-CD set, the brothers Brewis are back from a selfimposed hiatus and ready to take their careers to the next level… on their terms.

BY ALEC WOODEN

FTER TURNING HEADS EARLY into their career, brothers David and Peter Brewis (the core of UK’s Field Music) knew something wasn’t quite right. The expectations of their sound had turned against them, creating a reactionary product unsure of its identity and leaving both brothers feeling sapped and creatively uneasy. Only one album into their discography, a haitus seemed to be the only answer. Now, rested and recharged, the Field Music brothers are back with an ambitious double album. When there’s a band based around two brothers, people assume you’ve been doing it your whole lives together. True? David Brewis: It’s funny, we don’t come from a musical family. Our parents had a record collection, but it was very much from the mainstream. We listened to records when we were little and we listened to my parents compilation tapes in the car. Immediately after we started asking

questions about their record collection that maybe they didn’t know the answers to (laughs). Just stupid things really and then we started playing, trying to write songs and we started recording on a little 4-track. We played in local pubs and they didn’t seem to mind the fact that I was only 14 (laughs). We were too young to drive — mom and dad came to all of the gigs. You took a sudden hiatus just as people were taking notice of the band. Why? DB: After doing those ﬁrst two records and playing a bit and getting reviews and things, we said ‘Do we play this kind of music because people say we do?’ And that’s what people expect us to do. Maybe we didn’t feel strong enough or conﬁdent enough to go against that knowing that there are commercial repercussions. There are commercial repercussions to going against people’s expectations. So it seemed like the easiest thing to do was say ‘We are not Field Music now.’ It was the most obvious way to make it clear that those expectations were wrong. And also, we were pretty sick of each other. I was

pretty sick after we finished recording Tones of Town. It was just at that moment not very much fun. We weren’t really ‘falling out,’ [but] if you’re not enjoying it, then there’s really no point in doing it. It’s just that we have to love it to do it. Coming back from that with the new record, is there more pressure? DB: Not really. We wouldn’t have been able to do [the new record] if there was a lot of pressure and if we had to prove something to anyone, then it would have been easier to be something else. As soon as we started talking about doing it again, we realized that we really did need that break. It helped us figure out what exactly it is we needed to do — we learned how to get the best out of each other and how not to piss each other off (laughs). We just figured out the logistics. You’re back with an ambitious double album. Was that a product of recharged, fruitful writing sessions? DB: We really didn’t have a lot of material before we started. I know Peter had a few small pieces of music he hadn’t found a place for. Thinking about it now, we didn’t have any material, and yet from the very beginning we were determined to do a double album (laughs). So that was decided before the writing even started? DB: Yes. We defined Field Music as being this

much more freewheeling, spread out entity. We set out to do a non-concise record, one that has as much variety as we can at the timeWe actually started and it came together quite quickly. We got to take some breaks and spend some time at home and work on our own musical ideas and finish the songs. It was like, ‘Hey, we are going to do a record but we’re not going to put that much pressure on ourselves.’ It seemed to work. You guys are self-sufficient in all aspects of your recording career. Is that from necessity, or because you just happen to cover all those fields? DB: We didn’t set out to be recording engineers, but I think what we’ve realized over the years is the extent and range of our production has been in our lives for so early in the process and we are so clear about where we want the record to go and basically we can learn what other technical skills we need faster than we can explain to someone else. The best way we can explain to a producer how we want the sound is to record it and say ‘This is how we want it to sound.’ I think the way we do things is an interesting model for how things are gonna go in a record industry and there’s a whole lot of money being put into making a record. It’s a switch between bands who just go in and perform their live set where you can do that in an expensive studio because you can be there for a few days. Who can afford to do what we do in a real studio? And we’ve got enough technical skill to make things how we want them. PG 19 • insiteatlanta.com • March 2010

MUSIC

Album Reviews By B. Love, DeMarco Williams, John B. Moore, & Sacha Dzuba

The Dean’s List

THE WHIGS – IN THE DARK (ATO) Locked, rocked and arena-ready

But the other side to The Stimulus Package coin is how Free bends the nouns and verbs.

BL: The Whigs have been on a slow, steady climb towards national stardom for four years now, ever since Rolling Stone named the Athens-based band one of “10 Artists To Watch” in the wake of their independently released 2005 debut, Give ‘Em All A Big Fat Lip. Within a year they had been signed to Dave Matthews’ ATO label, and by 2008’s Mission Control the band had become more confident in their blend of classic garage rock and more modern altrock influences. After replacing original bassist Hank Sullivant (who joined MGMT) with Tim Deaux, the band embarked on a series of memorable late night talk show performances and high-profile tours. Returning home a much tighter trio, the group began writing and recording their third album in Athens with producer Ben Allen (Animal Collective). The result, In The Dark, represents another big step forward in The Whigs’ artistic evolution. The first difference you’ll notice is an increased focus on the rhythm section of Deaux and Julian Dorio. According to frontman Parker Gispert, nine of these 11 songs began as drum and bass grooves, with Gispert’s guitar and vocal melodies woven in around them. The result is a tighter, more propulsive sound, with the opening “Hundred/Million” rollicking along for 54 seconds before the first guitar riff comes crashing in like a tidal wave and takes the track to a whole ‘nother level. When the guitar stands front and center on a song like “Kill Me Carolyne,” it recalls the Replacements and R.E.M., establishing The Whigs as heirs to that college-rock throne. In The Dark is not a perfect album, but it is a very good one, suggesting the band may soon be headlining the same big venues where they supported Kings of Leon and Drive-By Truckers not too long ago.

On “Microphone Killa,” Freeway and former Roc-a-Fella labelmate Young Chris do just that. On “Stimulus Outro,” Philly’s finest channels Marshall Mathers for some “Stan”-like fan interaction. Still, if you’re looking for that single moment where Free’s grunts and Jake’s thumps converge for that perfect storm, it’s on “Free People,” a 3-minute masterpiece of angst and alliteration.

FREEWAY & JAKE ONE – THE STIMULUS PACKAGE (Rhymesayers) Where rap’s roads to Motown and the mean streets meet DW: In art, sometimes the difference between genius and good is a mere word. It can be an off note or an ill-timed edit. Or, in the case of Philadelphia Freeway’s fourth “solo” album, the difference is a lull midway through the CD. It’s not so much that “Never Gonna Change” and “One Thing” are that bad, but when compared to the smart, soulful symphonies elsewhere, they kinda feel like deadweight. Before that couple of blunders and after, Free brings it raw consistently in the same underrated manner he has since 2000. Admittedly, a lot of it has to do with the amazing chemistry the former Jay-Z protégé has with equally-unsung Seattle producer Jake One. The part-time G-Unit beatsmith does things with silky drums on “One Foot In” and a Rick James sample on “She Makes Me Feel Alright” that Hillary Duff couldn’t really screw up. PG 20 • insiteatlanta.com • March 2010

FLAT FOOT 56 – BLACK THORN (Old Shoe) Celtic punk-rockers release their best album yet

MOTION CITY SOUNDTRACK – MY DINOSAUR LIFE (Columbia) Falling somewhere between The Cars and Green Day JM: It’s more than a little ironic that, once Motion City Soundtrack left the punkrock indie label Epitaph, they made their most punk-rocksounding record to date. Recently signed to major label Columbia, Minneapolis-based band has been headscratchingly absent from the radars of most music lovers, earning them the “most-underrated” title for the past 10 years now. While their 2007 effort (Even If It Kills Me) was not exactly met with enthusiastic response, the passage of time has shown that it will likely go on to become the band’s Pinkerton– the album lauded as their best in the decades to come. My Dinosaur Life, the band’s fourth full-length album, is equally impressive. Lyrically, the band still revels in pop culture references (see: “I fell asleep watching Veronica Mars”), but the songs are more introspective than on any previous releases, dealing with issues such as sobering up and growing up. The music is also just as catchy as before, offering a fantastic mix of power-pop and Descendents-era punk. If there is any justice, this will be the album that finally wakes up the rest of the world to the brilliance of Motion City Soundtrack. GRADE: B+

JM: Despite a pretty turbulent decade of record label roulette that would have forced many other bands to throw up their hands in defeat, Chicago’s Flat Foot 56 is still standing. And if Black Thorn, their latest effort, is any indication, taking that rocky path was well worth it. Produced by Street Dogs’ Johnny Rioux, the new album is by far the group’s finest hour. Brimming with a dozen stadium-ready GENERAL STEELE – AMERIKKKA’S NIGHTMARE PART anthems that are equal parts The Pogues and 2: CHILDREN OF WAR (Duckdown) The Business, Black Thorn is destined to be Militant hip-hop that needed more pop an Oi! classic. The band’s brand of Celtic punk draws the obvious comparisons to groups like DW: It’s possible the Dropkick Murphys and scenemates The we just don’t Tossers, but songs like “Son of Shame” and know what we “Hourglass” prove that this band is no knock want. On the one off. With a new label, a confirmed stint on this hand, we ask for summer’s Warped Tour and their best record rappers to bring to date, 2010 may very well be the Year of Flat more substance Foot 56. to their music and say something meaningful on wax. Less blingin’, more thinkin’. But when a cat like General Steele (of Smif ‘n Wessun fame) actually offers up an album of politically-charged ammo, we’re still unhappy. What gives? SEVENDUST – COLD DAY MEMORY (7Bros./ILG) The confusion here is sparked by the beats. Reunited… and it feels so good Children )f War’s production is almost sleepy. On just a few tracks– namely the drumBL: Arguably splattered, Dead Prez-featured “Cry Freedom” among Atlanta’s and the string-rich “I Had a Vision”– do the first great metal words of liberation and lashing out at Da Man bands, Sevendust truly not get lost. Other rallying cries either has seen their sound obnoxious (Nicole Michelle chokes the luster fade as life out of the “Pledge Allegiance” chorus) or out changing cultural of place (the rock-minded “Child of War” and tides left them “Home of the Brave” sputter from their very first struggling to chords. find a sound But we can’t lie: Hearing Steele go, “Genocide/ that would reconnect with the mainstream Ethnic Cleansing/How come mostly poor people masses. Their last album, 2008’s Chapter VII: end up in prisons,” on the crazy, 7-minute, title Hope & Sorrow, featured appearances by Chris track remix cipher, one can’t help but salute Daughtry and Alter Bridge’s Myles Kennedy, the General for putting up one hell of a fight. with many melodic ballads that seemed like GRADE: Ba plea for radio play. If that poorly received album was their equivalent of Metallica’s St. SMOKING POPES – IT’S BEEN A LONG DAY Anger, Cold Day Memory is Sevendust’s Death (Asian Man) Magnetic. Chicago pop punks resurrected The album marks the return of original guitarist Clint Lowery after a 7-year absence; JM: The Smoking Popes got a raw deal. Formed it also offers some of their most assured, in the early ‘90s in the Chicago burbs, the band aggressive material to date. Songs like the drew influence from musicians as varied as Tom opening “Splinter” and “Nowhere” boast their Waits and Dinosaur Jr. to crooners like Sinatra trademark mix of pummeling riffs and soulful and Mel Torme. When alt-rock was in its prime, melodies, with Lajon Witherspoon’s vocals and moving from obscure college radio stations to Lowery’s guitar sounding more potent than mainstream rock stations, the band got a little ever. They’re still no Mastodon, but there’s airplay with songs like “Rubella” and “Need no denying Sevendust’s skill at what they do. You Around” (thanks to their inclusion on the GRADE: B popular Clueless soundtrack), but because of

Rest of the Class

befuddled station programmers that were unsure of how to classify the band, the Smoking Popes had to settle for word-of-mouth publicity. Punk rockers, however, managed to find the band, and groups like Alkaline Trio and Bayside have all cited the Smoking Popes as a strong influence. Thanks to Asian Man Records, the Popes’ earlier works are finally getting attention again. It’s Been a Long Day is a stellar collection of rarities and hard-to-find tracks from the band, all recorded between 1991 and 1998. This collection is culled from various 7 inches and compilations. The songs are a bit rougher than the tracks that appeared on the group’s Capitol Records releases, but excellent none the less. Listening to a song like “Writing a Letter” (a bit faster and with a little more distortion that the version that the band has been playing at shows) is a fantastic example of why these guys deserved to be heard by a wider audience. While It’s Been a Long Day may not be the best introduction to the band, it is a must-have for Smoking Popes fans. GRADE: B+ GOBOTRON – ON YOUR MARK, GET SET... (Favorite Gentlemen) Never see a brother like me go solo BL: Guitarist Robert McDowell is accustomed to playing second fiddle to frontman Andy Hull in Atlanta’s excellent indie-rock outfit Manchester Orchestra. But with Gobotron’s debut he steps out on his own for the first time, trading in the more dynamic compositions of his day job for an alternative power-pop sound that recalls everyone from Brian Wilson and Matthew Sweet to Ben Kweller. Fuzzed-out guitars, straightforward basslines, retro organs, confection-sweet melodies and multi-tracked vocal harmonies are the order of the day here, with most songs adhering to the traditional pop-rock blueprint that’s been in place since The Beatles released Rubber Soul 45 years ago. Songs like “Nice Things” and “Never Turn Around” are certainly catchy and competent in their own right, but even the best tracks on On Your Mark, Get Set… lack the passion and soulful intensity of Manchester Orchestra’s recent work. GRADE: BDAVID BERKELEY – STRANGE LIGHT (Straw Man/ Thirty Tigers) A melodic sense of melancholy BL: Equally influenced by Nick Drake and Damien Rice, this promising singer-songwriter’s third album has a an achingly melodic sense of melancholy that should appeal to fans of Elliott Smith, Joshua Radin and their modern folk ilk. Produced by Brian Deck (Iron & Wine, Modest Mouse), with a guest appearance from Nickel Creek’s Sara Watkins, the album pays tribute to landmarks from the nomadic Berkeley’s past and present hometowns, from the dynamic build of “Willis Avenue Bridge” (which connects the Bronx and Manhattan) to the sweet, soulful horns that adorn his paean to Atlanta’s “Sweet Auburn.” A Harvard grad who studied literature and philosophy before working as a river rafting guide in Idaho and a writer in Alaska, Berkeley’s led an intriguing life. Though he may be settled with wife and child these days, you can hear the richness of his experiences in every intimate, well-crafted track. GRADE: B+

FILM

JOHNNY IN WONDERLAND Depp Reunites With Tim Burton For His Maddest Role To Date BY ALEX S. MORRISON

T’S BECOME A CLICHÉ IN RECENT years to suggest that Hollywood lacks originality. But in an economy where innovation is less important than the bottom line, it seems as if creativity has become something of a liability. As a result, it’s increasingly rare to find actors and filmmakers who achieve commercial success on their own terms, swimming directly against the mainstream. These days, Johnny Depp is about as huge as movie stars get: His last five live-action films (Public Enemies, Sweeney Todd, two Pirates of the Caribbean sequels and the Charlie & the Chocolate Factory remake) have made over $1 billion at the U.S. box office alone, earning an average of $217 million each, and he was recently named People Magazine’s Sexiest Man Alive for 2009. With his role as the Mad Hatter in this month’s Alice In Wonderland, that hot streak doesn’t appear likely to end any time soon. But throughout his career, the unconventional actor has opted to take the road less traveled more often than not, riding a rebellious reputation and engendering an enigmatic image that has made his career arc both impossible to predict and fascinating to watch. Born in Owensboro, Kentucky in 1963 and raised in Florida, Depp dropped out of high school at the age of 15 in hopes of becoming a rock star. He didn’t consider acting until his early twenties, when his first wife (makeup artist Lori Allison) introduced him to Nicolas Cage, who encouraged him to giving the craft a try. Early roles in A Nightmare On Elm Street and the TV show 21 Jump Street seemed to have him on a date with destiny as a teen heartthrob, but Depp quickly realized that typical leading man roles held no interest for him. “It’s good fun playing characters like Captain Jack and Willy Wonka, who can do things I’d never dream of doing,” the 46-year-old admits. “I feel like these guys are straight characters. They may seem bizarre, but I think everybody’s nuts. The weirdest thing in the world to me is to see some guy who’s super-earnest. As far as doing that, there would have to be something underneath for me to make that work. Otherwise, there are a bunch of guys who do that kind of thing very well. I don’t think I could. I’ve got to have a bunch of different things going on, with lots of layers.” Depp found his cinematic soulmate in director Tim Burton, with whom Alice In Wonderland marks his seventh pairing. It was his breakthrough role as an alienated outcast of boyish beauty and an almost tragic poetic grace in Burton’s 1990 classic, Edward Scissorhands, that irrevocably altered the course of Depp’s career and established a creative bond with Burton that remains more vibrant than ever today. “Tim was the guy who went out on a limb and took a chance on me,” Depp recalls fondly. “I know over the years he’s had to butt heads with the studios quite a few times to allow me to be in his films, because I wasn’t particularly

popular at the time. He’s fought long, hard battles to get me in and won, so there’s a bond of love and respect that will be there forever. But he also happens to be one of the most interesting filmmakers of all time in my opinion, so I feel really lucky to have been chosen by him. We have a similar outlook and similar sensibilities.” Those shared sensibilities between muse and mentor– including a dark sense of humor, flamboyant appearance, a love of gothic imagery and an affinity for outsiders whose eccentricities leave them misunderstood by society– made Depp and Burton a potent filmmaking team. They collaborated on three films in the ‘90s, earning them a legion of devoted fans among the burgeoning alternative subculture. But Depp’s rise to the top of Hollywood’s A-list was hardly meteoric. For every critical success such as What’s Eating Gilbert Grape and Donnie Brasco, there was a string of disappointments, including Nick of Time, The Ninth Gate and The Astronaut’s Wife, which made his career seem more erratic than eclectic. Tabloid stories of drugs and debauchery, troubled romances with Kate Moss and Winona Ryder, and high-profile arrests threatened to overshadow his career. Worst of all, the studio system didn’t seem to have a clue what to do with his idiosyncratic approach. “For years there were people saying, ‘You have to do this kind of movie because you’ve got to make money.’ I always felt like, hopefully the money will come at some point, but if it doesn’t that’s all right. I’ve done the things I felt were right in terms of movies,” he insists. “The only problem I ever had in terms of frustration with Hollywood was that I didn’t think they understood the movies that I did and didn’t know how to sell them properly, because they didn’t know how to label them.” According to Depp, his frustrations with being perceived as an industry outsider began to dissipate when he found out that his girlfriend, French actress-singer Vanessa Paradis, was pregnant with the couple’s first child, daughter Lily-Rose. “Knowing I was going to have a kid made it a lot easier to roll with the punches,” he says. “It put a lot of things in perspective. When I found out Vanessa and I were going to have a baby, you figure out what’s important real quick. I finally understood what it was all about for me.” The result of that life-altering development was a move to France with Paradis and a resurgent career that began with 2000’s Chocolat, and exploded with 2003’s Pirates of the Caribbean: The Curse of the Black Pearl. Loosely basing Captain Jack Sparrow on Rolling Stones guitarist Keith Richards, Depp’s wildly original character choices captured the imaginations of audiences around the world, to the tune of over $650 million in global box office and five Oscar nominations (including a Best Actor nod for Depp). The sequels were even more successful, ranking as the #2 and #5 top-grossing films of the decade. “I had about 20 years of studio-defined failures,” Depp admits, “but to me they were

(MY CHARACTERS) MAY SEEM BIZARRE, BUT I THINK EVERYBODY’S NUTS. THE WEIRDEST THING IN THE WORLD TO ME IS TO SEE SOME GUY WHO’S SUPER-EARNEST. all great successes because we got them done. In terms of what struck a chord with Pirates, I believe studios were underestimating the intelligence of the audience. Those films had such a different angle– that hyper kind of realism, and the insane action sequences– it wasn’t something they’ve seen all that much. Some people could look at it and say, ‘A-ha, Depp sold out!’ But I don’t believe that I have. I think there’s so much more to explore with that character that I’d keep going and do Pirates of the Caribbean 7.” In the wake of POTC’s success, Depp has continued to make the sort of eclectic career choices that have deﬁned his career, whether singing Sondheim as a murderous barber in Sweeney Todd, stepping into the late Heath Ledger’s shoes to help Terry Gilliam ﬁnish The Imaginarium of Dr. Parnassus or lending his voice to a 2009 episode of SpongeBob SquarePants. According to Tim Burton, Depp’s willingness to tackle any unusual challenge thrown his way is a major element of his appeal. “He’ll try anything!” the director says with a laugh. “The fact that he’s not a singer, but would tackle one of the hardest musicals ever written, that says it all for me. He’s really willing to put himself out there, and for me it’s an artistic pleasure to see someone try different things and actually achieve it beyond expectations. He’s just completely open to whatever you throw at him, and he doesn’t have any vanity about it. He gets into the spirit of doing it rather than sitting around and analyzing everything.” Of course, Depp would credit much of that spirit to his unconditional trust in Burton,

who clearly culls the actor’s most colorful performances. “I think he’s a genius,” Depp says of the director, “and that’s not a word that you can throw around very easily. Tim is so special and unique and our working relationship is weird, because there’s an emotional shorthand there that I don’t know how to explain. You can have all these motivations and objectives as an actor, but when I get into the scene it basically all goes out the window and I’m just trying to make Tim laugh.” It’s a heck of an image: Two of Hollywood’s most respected visionary talents on the set of an expensive film adaptation of one of the most beloved books in the history of literature, trying to crack each other up like a couple of crazy school boys having a lark at recess. But it’s also completely consistent with his character. Like Burton, Depp has forged a successful Hollywood career out of embracing his left-of-center inner child, always taking the job seriously, but never himself. “Somebody mentioned me being on some Forbes list [of the highest-paid actors],” Depp says with a chuckle, “and it just made me laugh. I’ve done everything from selling ink pens over the telephone and screen-printing T-shirts to working construction and being a busboy. I’ve had a great deal of luck in this business, but I’m somewhat together enough to know that if the ride is going smooth this week, then all that could evaporate next week. Then I’m once again that weird guy that does art films, which is okay. I’ve never had any allergy to the idea of commercial success: It was just how I got there that was important.”

PG 21 • insiteatlanta.com • March 2010

2010 Oscar Preview BY MATT GOLDBERG

UNDAY, MARCH 7TH WILL BE THE 82nd Academy Awards and it promises to be a fairly unspectacular one as far as horseraces go (if you’re ever wondering why Seabiscuit was nominated for Best Picture, it was because there was a miscommunication among voters). Three of the four acting categories are locked, the fourth is almost locked, and the only thing that has viewers on the edge of their seats is the David vs. Goliath story of Kathryn Bigelow’s war action/drama The Hurt Locker vs. the spectacle of James Cameron’s Avatar. Thankfully, that’s your Best Picture race and that’s where you’ll ﬁnd the drama (not in the fact that Bigelow and Cameron were brieﬂy married over twenty years ago). So here are my predictions and preferences for the winners in the categories of “Best Picture”, “Best Director”, “Best Actor”, “Best Actress”, “Best Supporting Actor”, “Best Supporting Actress”. I’ve also included a cheat-sheet at the end of all other awards so if you don’t know who to put on your Oscar ballot at your party, put down these and you’ll improve your odds.

BEST SUPPORTING ACTRESS

- Penelope Cruz, Nine - Vera Farmiga, Up in the Air - Maggie Gyllenhaal, Crazy Heart - Anna Kendrick, Up in the Air - Mo’Nique, Precious Should Win: Mo’Nique Will Win: Mo’Nique

This year’s Supporting Actress nominees boiled down to Mo’Nique and everybody else. There’s no other actress on this list who even comes close. There’s not a spoiler in sight. That’s good because she gave a phenomenal performance and no one expected it from an actress known only for comedy. If/When she wins, she’ll be the third African-American actress in Oscar history to take home the award (the other two were Hattie McDaniel for Gond with the Wind and Jennifer Hudson for Dreamgirls). If you’re wondering why I’m so conﬁdent in her win, it’s because she’s won every award she’s been nominated.

Should Win: Christoph Waltz Will Win: Christoph Waltz Like Supporting Actress, this award will go to and belongs to Christoph Waltz. He won Best Actor at the Cannes ﬁlm festival for his captivating performance as Col. Hans Landa aka “The Jew Hunter”. I fully support Oscars going to actors who craft an all-time great character in cinema. His mixture of charm, intellect, and malice are just a few ingredients in a brilliant performance. Like Mo’Nique, Waltz has won all possible awards for his performance. They’re all deserved.

BEST ACTRESS

- Sandra Bullock, The Blind Side - Helen Mirren, The Last Station - Carey Mulligan, An Education - Gabourey Sidibe, Precious - Meryl Streep, Julie & Julia Should Win: Meryl Streep Will Win: Sandra Bullock For a solid stretch of the awards season, it looked like the battle for Best Actress would be between Meryl Streep for her charming performance as Julia Child and young actress Carey Mulligan for her breakout performance in An Education. But now Mulligan has fallen by the wayside and in her place has come Sandra Bullock and her sleeper hit The Blind Side. Bullock’s had a great year, she gave a ﬁne performance, and I won’t mind if she wins. However, I was more impressed with Streep’s performance that felt like she was inhabiting a character rather than just doing an impression.

BEST ACTOR

- Jeﬀ Bridges, Crazy Heart - George Clooney, Up in the Air - Colin Firth, A Single Man - Morgan Freeman, Invictus - Jeremy Renner, The Hurt Locker Should Win: Colin Firth Will Win: Jeﬀ Bridges

BEST DIRECTOR

BEST SUPPORTING ACTRESS

- Matt Damon, Invictus - Woody Harrelson, The Messenger - Christopher Plummer, The Last Station - Stanley Tucci, The Lovely Bones - Christoph Waltz, Inglourious Basterds

- James Cameron, Avatar - Kathryn Bigelow, The Hurt Locker - Quentin Tarantino, Inglourious Basterds - Lee Daniels, Precious - Jason Reitman, Up in the Air Should Win: Kathryn Bigelow Will Win: Kathryn Bigelow

You can’t count out James Cameron and Avatar, but I think the Academy wants to be on the right side of history with this one and make Bigelow the ﬁrst woman ever to win Best Director. She also deserves the award because of those ﬁve she was the best director, but Academy voters don’t want to read the papers on Monday morning saying how sexist they were. That way they can go back to business as usual and making sure Bigelow is the exception that proves the rule of women directors only getting to helm romantic comedies.

BEST PICTURE

- Avatar - The Blind Side - District 9 - An Education - The Hurt Locker - Inglourious Basterds - Precious - A Serious Man - Up - Up in the Air

BEST PICTURE UP

Should Win: Up Will Win: Avatar The Academy expanded the Best Picture field to ten nominees to allow for greater diversity among the films. I think that’s great because I would love it if Up won Best Picture. But since there are still only five Best Director nominees, their movies are the real contenders and the other five are more like honorable mentions. And of those five “real contenders” there are really only two (perhaps three) that have a shot at the top prize: The Hurt Locker and Avatar. The Hurt Locker has a lot of critical momentum behind it, but critics don’t get to vote at the Oscars. Avatar, on the other hand, has made ridiculous bank and now every studio wants their big budget action movies to get the 3D and IMAX 3D treatment. The Hurt Locker deserves to win. It’s one of the best war movies in a generation. Avatar, on the other hand, is a very pretty tech demo that we won’t talk about five years from now (possibly less). Keep in mind, Titanic was also a technical marvel when it came out in 1997, but we don’t talk about that movie any more beyond its (now shattered) box office gross. Now the dark horse in this race is Quentin Tarantino’s Inglourious Basterds. The film won the Screen Actors Guild award, actors comprise the largest block of Academy voters, and The Hurt Locker and Avatar could end up splitting the vote. Also, with ten nominees, our same rules of prediction may not apply. Still, I always count on being disappointed so I put my money on Avatar even though I would be happy if almost any of the other nominees beat it.

CHEAT SHEET

If you’re having trouble ﬁlling out your Oscar ballot, here are the front runners in the remaining categories (except for the shorts; you’re on your own there):

MARCH MADNESS BASKETBALL!

BEST SUPPORTING ACTRESS MO’NIQUE

BEST ACTOR COLIN FIRTH

Best Original Screenplay: The Hurt Locker Best Adapted Screenplay: Up in the Air Best Editing: The Hurt Locker Best Cinematography: The White Ribbon Best Art Direction: Avatar Best Sound Editing: The Hurt Locker Best Sound Mixing: The Hurt Locker Best Costume Design: The Young Victoria Best Original Score: Up Best Foreign Language Film: Un Prophete (A Prophet) Best Documentary Feature: The Cove Best Animated Feature: Up Best Visual Eﬀects: Avatar Best Song: “The Weary Kind” – Crazy Heart

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FOREST ROMPS

Academy Award-winning actor Forest Whitaker gets serious on acting, interracial love and ﬁnally letting loose BY DEMARCO WILLIAMS

ABYFACE’S QUIET STORM classic “SOON AS I Get Home” is the basis of a running joke in the March comedy Our Family Wedding. If you can recall the ’89 hit, the sensitive crooner proudly tells his woman that he’ll buy clothes, cook dinner and pay the rent just as soon as he gets home from work. It’s been the unofficial whopped man’s anthem for the past 20 years. “I love Babyface,” laughs Forest Whitaker, who plays the Viagra-popping, one-night-standing cynic of a father to the whopped groom-to-be in the interracial romance. “I know that song really well. I worked with him really closely on Waiting to Exhale. He did all of the music for me. I was a fan before.” Hold the phone. What’s this about actor/director Forest Whitaker and music and sounding jovial? We can’t really be talking about the same stern, disciplined actor who’s won an Oscar, an Emmy and audiences’ hearts over the past 30 years, can we? Yep, we sure can. And based on a few hints given during our recent sit-down with the 48-year-old Texas native, we actually might see him smiling even more in movies in the future. Forest, what’s your musical Viagra? I don’t really have a theme song. I guess it would be something old from the 70s. This is kind of a different role for you. You wanted to stretch and do something different? I liked this story. I liked this character. It was a great opportunity to get a chance to experiment with myself. I keep trying to see what I can do. With this one, I was thinking, “Well, if I could maybe stay a little closer to myself, what does that mean if I’m just here reacting and behaving?” It was great for me. It was very freeing for me. And you were playing a sort of ladies man character. Yeah, I liked it. It was fun. He’s a lil’ damaged because his wife left. He raised the kid. He doesn’t really believe in relationships and stuff. He’s just trying to get with the girls—the younger girls mostly ‘cuz they’re not looking for deep relationships and stuff. He kinda grows out of it when he realizes that right next to him is this amazing woman. Would you have a problem with your child marrying outside the race? No. I’m sure I would think about it. I’m not acting like I wouldn’t think about it or anything. But I have three daughters and a son. I’m sure if they make that decision, I’m happiest with whatever makes them happy. It depends on the quality of the kid that wants to marry them. I kinda have my ideas of where it might go, but we’ll see. What aspects of you do you hope your daughters look for in a husband? I’m very loving with my daughters. I let them be who they are. I try not to let my fears infringe on what they’re trying to do. I hope they will be able to find a man that would allow them continue to grow and be who they are—even if what they want to do isn’t necessarily where he is going. I know that they love themselves and are very strong. They’re not going to let someone not treat them well. I think they get that part from me. I instilled that in them to not accept certain things. Let’s talk about Oscar season a bit. In what ways did the big win change your career? And if you could offer advice to someone going through the process for a first time, what would you say? I think it did. People took me pretty seriously as an actor before, but for sure that particular character and award probably made me a stronger figure on the [international] scene, I guess. If somebody’s going through it, they should try to make sure they stop and not worry about the results, but worry about the moment, to live in the moment and experience it. There are people around them that are going to be giving them praise and love. They should embrace the love, embrace the moment, look at the glitter and realize that it’s magic. It’s a special thing and they should grab a hold of it.

I THINK THE BRAVEST PART FOR ME NOW IS TO EXPOSE MYSELF MORE, TO SEE IF I’LL DO GREAT WORK IF I [DO].

Do you have any favorites this year? The Hurt Locker and Precious [were good]. Jeff [Bridges’] performance [in Crazy Heart] was really strong. Sandy [Bullocks’ role in The Blind Side] good. I haven’t been caught in it all. If someone were new to Forest Whitaker, what are three roles you’d tell them that best exemplify who you are as an artist? Ghost Dog, Bird and Last King of Scotland. They were pivotal of my career, just in the way I even approach my work. Bird was the first movie I had where somebody gave me a character to play. I was frightened. My philosophy on work was developed there, which was to walk through fear because I was really afraid. Being afraid doesn’t mean that you can’t dance in the fire. That’s what I understood. Ghost Dog was a part of a spiritual journey in my life that I continue on. That character taught me about silence and vibration. He doesn’t say much. Sometimes he’d just sit in the car for, like, five minutes. The camera would be on my face [so] I could just put my energy across the screen. That helped me on the next journey to Last King to totally transform and use vibration to create a character. You can’t do it with every character, but it taught me how to do it. I’d always see myself in the films that I was doing, but I was finally understanding that I could change myself enough to where it’s not me. I’d create the energy and the vibration that the universe wants to put there.

before many times. But I decided not to even do that. I was just trying to break down the character, how he feels, my relationship with my son, my relationship with Regina [King’s character], my OCD elements. All of those things I put in the character. But I’m still in character. It’s not like I’m playing me. It’s so much more weight and work to do certain things. I played a schizophrenic in a movie (My Own Love Song) with Renee Zellweger. I don’t know if it’s coming out. It was really hard for me. It wasn’t until recently that I felt like I got rid of the buzz in my brain. I re-wired the circuitry in my brain to play the part, by thinking differently and by doing certain things over and over again. You don’t have to do that for [Our Family Weddding’s] Brad Boyd. Does being in a video like “Blame It On the Alcohol” give you a chance to relax the brain? It’s fun. Jamie [Foxx] asked me if I’d do it. We were in Washington and he said, “Will you come and do the video?” I was like, “All right.” Then he really called. I was thinking that he might get all caught up. It was fun though.

Repo Men looks really interesting. What are you going to do in that? I play a… well, he’s not a bounty hunter. He works for the union. He works for this company that sells body parts in the future. And you take them back? If the person doesn’t pay! Does he enjoy it? Yeah, he loves it. He loves the job. He loves inflicting pain. It’s an action movie. It’s cool because most of my stuff is with a baton that a cop brought, which means I get to use a lot of stick work. I get to hit people more than shoot them, which is fun. Is it easier to pull yourself back more from roles we know you for? I think the bravest part for me now is to expose myself more, to see if I’ll do great work if I [do]. I use a lot of transformative things and shields. In this movie, you probably see a little more glimpse of who I am. You kinda see parts of it, but not really. Is your approach to a movie of lighter fare like Our Family Wedding different from one like Last King of Scotland? The requirements are different. I try to live in the universe that the character is in. In this universe, I didn’t need to do all of the back story stuff. I could have went more into a DJ’s [world for my character]. I’ve been in DJ booths PG 23 • insiteatlanta.com • March 2010

2010 NCAA Tournament: Is Your Favorite Team Indy or on the Outsy? BY DEMARCO WILLIAMS

NLIKE RECENT SEASONS PAST, the 2010 NCAA Tournament is cloaked in mystery. Gone are the dominating days of UNC in ’09 or ‘05. Instead, we’re living in the times of Kansas State, New Mexico and Vanderbilt. While taking absolutely nothing away from these teams, even their loudest booster would have to admit the numerous ﬂaws on the roster. Kansas and Kentucky are universally accepted as the exceptions here. At press time, each intimidating squad had only two losses and at least three guys destined for NBA paychecks. Still, we’d be lying if we said either really gave us that same feeling of invincibility Florida did back in ’07. We’re not saying the Jayhawks or Wildcats won’t trim the nets on April 5 in Indianapolis. Just don’t call us stunned if Michigan State or Tennessee wound up with the scissors at tourney’s end.

FAB FOUR

KANSAS

Maybe it’s something about the color orange the Jayhawks just don’t like. We can’t come up with another explanation why Tennessee and Oklahoma State were able to beat Sherron Collins and Co. Then again, we can’t think of any decent reasons why they shouldn’t win the whole darn thing either.

KENTUCKY

If we played the NCAAs strictly on paper, the John Wall- and DeMarcus Cousins-anchored Wildcats would simply dominate. Of course, if we based things strictly off paper, a certain movie about tall, blue people on flying seahorses would have flopped.

MICHIGAN STATE

INsite might be in the minority with the Spartans as a Final Four fave, but we see nothing wrong with sticking with the team we started the season out with. Besides, last we heard Kalin Lucas and Durrell Summers were still being coached by the incomparable Tom Izzo.

SYRACUSE

The Orange are arguably the hottest team in the country. With the cool-headed Andy Rautins handling the rock and the cold-blooded Wesley Johnson making it rain from 18 feet, Jim Boeheim’s bunch might be able to weather anything coming their way.

EAGER EIGHT

DUKE

We owe Jon Scheyer an apology. For two years now, we’ve discounted the Devil as nothing more than a spot-up shooter. This season he, Nolan Smith and Kyle Singler have morphed

leader in assists, had 41 points. Any time during the tourney he’s capable of a repeat.

MISSISSIPPI STATE

Wanna know why State lead the SEC in blocked shots and ﬁeld goal percentage allowed? Jarvis Varnado. Wanna know why State’s a sleeper? You got it…

NORTHERN IOWA

Panthers have a knack for being stealthy predators. This hardwood variety showed the same traits with early wins over Boston College and Iowa State.

KENTUCKY’S JOHN WALL

OKLAHOMA STATE

into a three-headed monster most teams won’t be able to contain.

broke in March and pick himself out a nice suit in April for the NBA Draft in June.

GONZAGA

WEST VIRGINIA

Matt Bouldin and super frosh Elias Harris were good enough to separate the Zags from St. Mary’s and the rest of the West Coast Conference. To become truly elite, the talented twosome must be great for another month.

Most hoops pundits know there aren’t many sets of forwards better than the Mountaineers’ combo of Devin Ebanks and De’Sean Butler. Only the most oblivious WVU fans think they’ll be enough for a Final Four run.

KANSAS STATE

SLEEPER 16

You didn’t say a thing after the Wildcats beat Dayton in Nov. Not a peep from you after Xavier and UNLV wins in Dec or the Baylor victory in Jan. It’s March now and you’re only starting to talk KSU up?! Sorry, boss, the bandwagon’s full.

NEW MEXICO

How good is this team? Well, UNLV, BYU and New Mexico State only have 20 losses between them. Six of those came from these Lobos. How good is slasher Darington Hobson? He’s top five in the conference in points, rebounds and assists.

OHIO STATE

The Buckeyes, 7-1 in Feb, are hitting a stride that should scare every team in the tournament. Though OSU’s Jon Diebler and David Lighty score in bunches, it’s safe to say Big Ten scoring and rebounding leader Evan Turner is the one to be feared most.

TENNESSEE

The Vols are the only team in America that can shout, “We beat Kansas and Kentucky!” To earn their chance to quiet critics who called the big wins ﬂukes, Wayne Chism and Scotty Hopson have to consistently bring the noise.

VILLANOVA

If we were Scottie Reynolds’ advisers, we’d tell the super senior averaging about 19 a night to shake oﬀ the Wildcat’s 4-4 February, go for

BAYLOR

LaceDarius Dunn was money in February, with ﬁve games of 21+ points. If teams invest too much energy on stopping him, Tweety Carter will make them pay.

CALIFORNIA

The Pac-10 was in shambles this season. Still, these Jerome Randle-led Bears somehow clawed through the rubble and came out a threatening postseason animal.

CORNELL

Go smarting oﬀ about these Ivy Leaguers being in over their head. Alabama and St. Joe’s did the same thing and failed miserably against Big Red.

FLORIDA

If the Gators make the Dance (loses to South Alabama and Georgia hurt now more than ever), they’ll waltz across a few teams of sheer frustration of the season.

GEORGIA TECH

Win or lose, Derrick Favors and Gani Lawal are headed for the NBA. Lose in the ﬁrst round and coach Paul Hewitt may be heading towards the unemployment line.

MARYLAND

The other night Greivis Vasquez, the ACC

NCAA (ALMOST) FAB FOUR PG 24 • insiteatlanta.com • March 2010

Though the name James Anderson may not jump oﬀ the page, you can bet teams will jump for joy if they avoid seeing the tremendous guard in the opening rounds.

RICHMOND

With wins over NCAA tournament-caliber SEC teams (Miss. State, Florida), these Spiders prove more than able of getting bigger foes all tangled up.

ST. MARY’S

Folks in the Paciﬁc know Omar Samhan leads the WCC in scoring, rebounds and blocks. By month’s end, you will too.

TEMPLE

These Owls aren’t ostentatious. In fact, they’re actually quite old-school in their approach to fundamental oﬀense and a smothering D that has no let up.

UAB

Conference USA has another team, UTEP, capable of ruining a few brackets, but for our $20, we’re betting these Blazers ﬁnd a way to shock a team or two.

UNLV

The Rebels ran over its last three Feb. opponents (25.6 point win margin). And to think, leading scorer Tre’Von Willis had his foot largely on the break those games.

UTAH STATE

When we last checked, the Aggies had won 14 straight. When we last looked, they were also leading the WAC in ﬁeld goal, free throw and three point percentages.

VANDERBILT

The Commodores don’t have a single player averaging over 15 points. It’s with a win-bycommittee attitude they beat St. Mary’s, Florida and Tennessee twice.

MARCH MADNESS Bar Guide Where to Head to When the Tournament Tips Off Mo’s Pizza

3109 Briarcliff Rd. 404.320.1258 www.mospizza.com

large-screen TV and 2 smaller-screened TVs. The 2nd Level has two smaller-screened TVs. Their Buffalo Wings are a menu favorite, especially at tournament time. They serve them 10 for $7.50 or 20 for $13.95. They come big, plump and juicy and have been honored by CitySearch as the Top 10 in the city.

The Red Door Tavern

3180 Roswell Rd. (1 Block N of Roxy) 404.846.6525

Mo’s on the corner of Briarcliff and Clairmont has been serving up great pizza in Atlanta for over 30 years! Mo's menu isn't limited to pizza either: sandwiches, subs, wings, nachos and salads ensure that anybody who comes here can find something they like. They have a greak deck to hang out on and planty of new plasma TV’s to watch the games. Mo’s is one of the longest running pizza joints in Atlanta. come in and see why they are one of the best!

Manuel’s Tavern

602 N. Highland Ave. 404.525.3447 www.manuelstavern.com

Tavern at Phipps

3500 Peachtree Rd. 404.814.9640 www.TheTavernAtPhipps.com The Red Door Tavern who last month celebrated their 6 Year Anniversary, is a favorite gathering place at tournament time. They feature a large outdoor deck in the front offering “Bucket Specials" of Bud, Bud Light and Bud Select. They also have a "Draft Tower" a glass featuring 120 ounces of beer. The deck will be the place to be Saturday March 13, as The Red Door holds their annual St. Patrick's Day Blowout. It will feature green beer and Irish drink specials as well as an actual dancing Leprechaun on the bar. They are open 2pm to 3am each day and closed on Sunday. During the tournament, they will open at noon to catch those early round games.

Stout Irish Pub

Plan your tournament get together at Manuel's Tavern, a large neighborhood bar & restaurant located on the corner of North Ave. and N. Highland Ave. They offer free parking, a full catered menu and do not charge a room rental fee. They offer event spaces, both private and semi-private, that hold from 25-150 people. In addition to their private rooms, the 1st level houses their famous bar,

vorsome pub fare. Menu highlights include an award-winning Reuben Sandwich, Irish Whiskey Wings, Bangers and Beer Battered Fish & Chips. So grab your brackets, friends and come to Stout Irish Sports Pub for all of the March Madness action. For more information visit www.stoutirishpub.com.

56 East Andrews Dr. www.stoutirishpub.com Stout Irish Sports Pub is Buckhead’s NCAA Basketball Championship headquarters. Stout has 12 Plasma TVs with all 64 games on Direct TV. This Buckhead pub offers a premium bar including a wide selection of over 50 beers, dark ales, refreshing lagers and rich stouts on draft and available in bottles, not to mention $1 drafts always. Serving food open to close daily and late night, Stout serves fla-

CONSIDER THEM YOUR FINAL NOTICE

The menu includes great nachos and quesadillas along with various salsas and quesos for dipping. Rio Grande offers a wide range of appetizers and finger foods in addition to their traditional Mexican fare. Come for Happy Hour and get Half-priced appetizers and Quesadillas (Good Mon - Fri; 5pm 7pm). Enjoy Team Trivia with $10 Dos XX buckets on Tuesday nights starting at 8PM. Thursdays offer $3 skinny Margaritas and $2 Mich Ultra bottles. On Saturday during the games get $6 pitchers of beer.

Pure Taqueria

300 N. Highland Ave. (at Elizabeth St.) 404.522.7873 www.PureTaqueria.com

Voted Best Happy Hour, Best Patio, Best Bartender, Best Looking Waitstaff, and Best Martini, Buckhead’s The Tavern at Phipps is the place to be during March Madness. They have large HDTV’s behind the main bar as well as outside with plenty of seating on their popular patio.

Rio Grande Cantina 3227 Roswell Rd. 404.237.3227 www.RioGrandeAtlanta.com

Rio Grande Cantina in Buckhead is the perfect gathering spot to take in the tournament action. They offer a huge wrap around bar and large booths with great views of their many TV’s. Rio Grande also has a private room which can be rented out.

The ever popular Alpharetta establishment opened a new location late last year in Inman Park. Pure Taqueria instantly became a hit here with their strong drinks, solid menu and exciting atmosphere. Pure offers many great appetizers and small plates which are perfect for large gathering among friends. Make sure to check our Pure Taqueria during Inman Park Restaurant week March 8-14 for there $15 three-course dinner.

COMPLIMENTARY PASSES Invites You and a Guest to a special advance screening of

www.repomenarecoming.com

1460 Northside Dr. NW • Atlanta, GA 30318 �� Mon – Fri 8:30 – 7:30, Sat 10:30 – 7:00, Sun 11:30 – 6:00 www.samﬂaxsouth.com (Please ask at the register for screening passes)

NO PURCHASE NECESSARY. ONLY ONE PASS PER PERSON. PASSES WILL BE DISTRIBUTED ON A FIRST-COME, FIRSTSERVED BASIS. WHILE SUPPLIES LAST. EACH PASS ALLOWS THE PASS HOLDER TO BRING ONE GUEST TO SERVE AS A LOOKOUT FOR THE REPO MEN DURING THE SCREENING. SEATING AT SCREENING IS NOT GUARANTEED.

IN THEATERS MARCH 19

Wednesday, March 10 7:30pm at Regal Atlantic Station www.GetYourRating.com To receive a complimentary pass, simply visit...

(Galaxy) Atlanta 2273 Cheshire Bridge 404-315-7177 Smyrna 2365 S Cobb Dr. 770-432-3274 (Elations) Marietta 1424 Roswell Rd. 30067 770-578-0399 No purchase necessary. Must be 17 or older. One pass per person, each pass admits two. Tickets are limited and available on a ﬁrst-come, ﬁrst-served basis, while supplies last. Employees of all promotional partners and their agencies are not eligible.

IN THEATERS MARCH 12!

PG 25 • insiteatlanta.com • March 2010

FILM

in partnership with of Atlanta

GROWING IN STAGES

Mark Ruﬀalo Continues to Reﬁne His Craft In Martin Scorsese’s Shutter Island BY BRET LOVE

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PG 26 • insiteatlanta.com • March 2010

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ESPITE CRITICALLY ACCLAIMED turns in films such as 13 Going On 30, Eternal Sunshine Of The Spotless Mind, Collateral and Zodiac, Mark Ruffalo has yet to become a household name. But if the Hollywood fates have any mercy that should change soon, as Ruffalo’s role opposite Leonardo DiCaprio in director Martin Scorsese’s new film Shutter Island is just the latest in a career full of stellar performances. Raised in Wisconsin, Ruffalo moved with his family to San Diego after high school, eventually settling in Los Angeles. There he attended the prestigious Stella Adler Conservatory and co-founded the Orpheus Theatre Company, where he did everything from acting, writing and directing to running lights and building sets. Though he had to work as a bartender to make ends meet for nine years while struggling to get film and TV roles, Ruffalo insists his theatre training was invaluable. “In the theater you get to play a bunch of different characters and no one pigeonholes you,” he says, noting his ability to move from drama to comedy. “As far as the training, you learn to work it out on a stage because you have to work it out. It’s the actor’s medium, because it’s just you and the audience basically, so you can’t really BS your way through it. I learned how to act on a stage, and I can take that anywhere. As a result, I feel pretty confident about being an actor.” It was another theatre icon– playwright Kenneth Lonergan– who helped Ruffalo make the leap to the big screen. After working together on the New York stage, Lonergan cast him in 2000’s You Can Count On Me, where his stunning performance garnered award nominations and comparisons to Marlon Brando. But just as his career was beginning to ignite, the actor was sidelined by a brain tumor. It ultimately proved

benign, but Ruffalo claims the experience changed him for the better. “Getting close to mortality changed my perspective on work,” he recalls. “I wasn’t enjoying acting before because I felt like I wasn’t in charge of my career. I wasn’t doing things that made me feel good. I thought I deserved more, and I wasn’t grateful for all the great [stuff ] that had happened to me. After the brain tumor, I realized I loved acting and may never get a chance to do it again.” His passion for the craft renewed, Ruffalo has delivered a consistent string of strong performances in recent years, with four films in 2009 alone. After co-starring with Adrien Brody and Rachel Weisz in The Brothers Bloom and re-teaming with Lonergan for Margaret, Ruffalo made his directorial debut at Cannes last year with Sympathy For Delicious and appeared in Spike Jonze’s divisive Where The Wild Things Are. He’s got another handful projects due out later this year, including costarring with Tina Fey and Steve Carell in Date Night and a role opposite Julianne Moore and Alice In Wonderland’s Mia Wasikowska in The Kids Are Alright. But the project on everyone’s mind at the time of our interview was Shutter Island, which finds him co-starring opposite Leonardo DiCaprio and Ben Kingsley. “He has this grace about him,” Ruffalo says when asked about what it was like working with the legendary Scorsese. “He has this intuition where he walks into a movie knowing every shot and how he’s going to tell the story visually. He loves actors, and he creates a space that is incredibly respectful of what we do and how we do it. It is very moving to see a man at his age working as he does. You know you’re in the presence of a master.” But no matter how big a star he may become, Ruffalo remains true to his first love, the theatre: “I hope I end up dying on the stage. If I could make a living to support a family of three, I would probably do a lot more theater. That’s where I do my greatest stuff.”

I WASN’T DOING THINGS THAT MADE ME FEEL GOOD. I THOUGHT I DESERVED MORE, AND I WASN’T GRATEFUL FOR ALL THE GREAT [STUFF] THAT HAD HAPPENED TO ME. AFTER THE BRAIN TUMOR, I REALIZED I LOVED ACTING AND MAY NEVER GET A CHANCE TO DO IT AGAIN.

MUSIC

BEST-KEPT SECRET THE BEST THINGS Indie Artist Matt Pond PA Continues IN LIFE ARE FREE To Thrive in Relative Obscurity BY JOHN B. MOORE

EW YORKBASED BY WAY OF Philadelphia ) indie rocker Matt Pond PA has always been a musician’s musician. Roughly translated, he’s a phenomenal talent that has been all but ignored by mainstream radio and media. His latest effort, The Dry Leaves may not change much, but it is 10 stellar tracks of indie/chamber pop that equate to one of Pond’s best records to date. But unless there is a major sea change in taste among the greater record-buying public and they start to value talent over flash, this album may just further solidify Pond as one of music’s best undiscovered talents. He was kind enough to answer a few questions about his soon-to-be released album, and Wooden Bird, his side project with fellow indie rockers Andrew Kenny, Leslie Sisson and Sean Haskins. What inﬂuenced the songs on this new record? The stretch of Highway I-64 that spans between Louisville, KY and Blacksburg, Virginia. I made up the songs and hummed them in my head, driving there and back on a strange spring weekend. It was all I could do to keep myself awake. The albums tend to float on a flood of mistakes. At this point, I hope I’ve come around enough to see how to use the flood for good. Was this your first time working with Chris Hansen? How was the recording experience? Chris was the house engineer for Last Light (Pond’s 2007 release). He saw me split in two and live with a family of deer for a few days. He’s not judgmental of vision quests. And that’s extremely important to me. Recording runs the spectrum, just like everything -- failures and triumphs, rolled into one. Have you had some lineup changes since the last record? Yes. Almost everyone’s moved on to their assigned careers. Now there’s Chris Hansen and

Leslie Sisson. Just have to get the drums and bass in place and my world will be as right as rain.

How would you describe The Dark Leaves? The Dark Leaves is about stepping on a broken beer bottle and undoing everything in your life. Not recommended, but thoroughly rewarding when your system of reason fails to yield a single grain of logic. Along with the CD, you’re also putting out some 7 inches, right? Yes sir. These singles have three songs on each -- an album track and two b-sides. They may be small, but they’re extraordinarily powerful. And far better projectiles than compact discs. Can you talk a little bit about The Wooden Birds? Heck yes. I think Andrew Kenny is one of the best songwriters and arrangers out there. On top of that, he’s a kick ass person. Then there’s Sean Haskins and Leslie Sisson -- best people I’ve met in years. Hyperbole has no place here. You also worked on a new soundtrack didn’t you? Chris and I did that whole whatsit together. It was the first downright collaboration I’ve ever pulled off with anyone - of which I’m humbly proud. It’s always been my intention to find the right way in this world. And that was one step closer. I don’t know what’s happening with the movie, though. Could be one of those musical secrets we bury in the back of our minds. Have you set up tour plans yet? We have one show confirmed in Florida. We’re going to see if everyone can get together and meet us there. After that should be months of endlessly circling the country. It’s just that I haven’t been given the ‘go’. Anything else you want to add? I love pickles. But I really dislike milk. So I had my cereal with pickle juice this morning and it was amazing.

Freeway’s collaboration with producer Jake One, The Stimulus Package, is so good we might actually pay for it at Best Buy BY DEMARCO WILLIAMS

IP HOP’S HAD some magical rapper/producer combos before. Pete Rock and CL Smooth come to mind. Snoop and Dr. Dre were dope. Jay-Z and Kanye West too. While Freeway and Jake One don’t have a fourth of the tradition that those duos have, the potential for tandem triumphs is certainly there. And that’s crazy once you ponder their vastly different origins. Jacob Dutton is a white guy born from Seattle who attended the University of Washington. Leslie Edward Pridgen is a Black Muslim from Philly who got schooled on the crack game early on. Jake ended up connecting with 50 Cent. Freeway got hooked up with Roc-A-Fella. While rocking it alongside Jigga and Beanie Sigel, Free had his moments in ’03 and ’04, but as commercial disappointments in ’07 and ’09 proved, he could never quite mount any serious attack on the masses. Indie imprint Rhymesayers, the new home of the 34-year-old MC, is doing what it can to rectify at least some of that with a stunning new product, The Stimulus Package, that’s got a crazy CD cover, a big promotional push and a heap of media attention, including this interview where we dig deeper into Free’s connections with Jake One, his fans and his children. You’ve been doing this for a minute now. Is it still fun? It’s still fun. The creative part is still fun. The fan’s reactions are still fun. Would you consider yourself a success story? Definitely. Coming from where I’m from, I’d consider myself a success story. Nobody in my family, nobody in my hood, ever did anything like this. I would definitely say I was a success story. Does it get frustrating when MTV and everyone else do these top 10 MCs and you don’t hear your name mentioned? Hell yeah. I would love to be on the top 10 MC list. Eventually, they’re gonna recognize. You feel underrated a lil’ bit? You could say that. I’m not complaining about it. I’m just workin’ it, doin’ what I gotta do. With that nonstop grind you’re on, do you ever get exhausted? Ever have to just sit back and recoup? Nah, not really. I pace myself. I got a nice routine, so I pace myself.

I LOVE PICKLES. BUT I REALLY DISLIKE MILK. SO I HAD MY CEREAL WITH PICKLE JUICE THIS MORNING AND IT WAS AMAZING.

Your fanbase is incredible. Whatever you throw at them -mixtapes, freestyles, albums- they eat it up. Describe those fans to me. They’re somebody that loves lyrics. They’re somebody that loves somebody that knows how

HELL YEAH. I WOULD LOVE TO BE ON THE TOP 10 MC LIST. EVENTUALLY, THEY’RE GONNA RECOGNIZE.

to ride a beat and kill it. They like somebody that appreciates good music. They like MCs that have something to talk about. They appreciate MCs that are on something different than everybody else. When you speak of riding a beat, the music you and Jake One make together is a beautiful thing. Why do you two work so well together? I don’t know, man. We just come together good. I haven’t felt chemistry like I have with Jake since I worked with Just Blaze. It’s just a good chemistry. His beats move me. They make me want to do things. Any chance of you reconnecting with Just Blaze? I’m definitely gonna reach out to him whenever I get my next [recording] situation—whatever that is. I’m definitely gonna reach out to Just ‘cuz I need that chemistry. We gotta make that magic. Is there a chance that a female MC will ever top Billboard again? Yeah, definitely. I think Nicki [Minaj] might do it. She’s doing her thing. Besides being a dope rapper, what else are you really good at? I’m a good dad. I’m a good friend, know what I’m sayin’? How many children do you have? I have two—a boy and a girl. What’s the rest of 2010 looking like for Freeway? Well, we’re just trying to get The Stimulus Package out right now. That’s our focus. We’re just trying to get that out to the people and see what that response is like and take it from there. I’m still working. I’m like 50 songs in on the next project, whatever that is. I’ve just been working, preparing for it. We’re grindin’. PG 27 • insiteatlanta.com • March 2010

FILM

DIRECTLY TO THE POINT

Our In-Theater Experience with Brooklyn’s Finest Director Antoine Fuqua BY DEMARCO WILLIAMS

AVE YOU EVER GONE TO THE movies, seen a pretty interesting ﬂick, but left the cinema with a few unresolved questions? You wondered why the director did this with the camera or said that a particular way. Well, we had that same feeling just the other day. The movie was Brooklyn’s Finest, a new cop drama cut from the same gritty cloth as TNT’s Southland that starred Hollywood heavies Don Cheadle, Richard Gere, Wesley Snipes and Ethan Hawke. But even with the stellar cast and dramatic bite, we still had our mild concerns. It’s good then that director Antoine Fuqua, who’s also got high-octane ﬂicks like Training Day, Shooter and King

Arthur under his belt, was in the building and a good enough sport to answer inquiries about his movie.

You’ve got three parallel stories going in one movie and have it all come together at the end. How did you do it? No sleep. To me, they were all one character. I was able to sort of keep the focus on the pressure that police officers are under, with some of the decisions they make. I basically made them all one character. I stayed on that track and that helped me maintain the stories. How difficult was it dealing with all of the superstars at one time? I got well-trained by Denzel [Washington] in Training Day. He kind of trained me well to deal with a lot of personalities. But they’re all fantastic. They respect what I do. Hey, I put’em up there in Brooklyn, in the projects. So, they kinda had to roll with me. It was my show. They’re just great actors, so they did what I asked them to. With Richard Gere, that last scene is in the projects, in a basement. I kept them on track, but they’re all fantastic. Why did it seem like the color of the film changed when different characters were on screen? That’s really important to me. My love is Caravaggio, which is a Baroque painter. He used to use a lot of rich, deep colors. Lots of blacks, reds and things like that. What that did was help me stay on tracks of the characters as well. Every color had a storyline.

What’s the difference between shooting in L.A. for Training Day and New York for this one? L.A. and New York, as you know, are extremely different environments. It affects the pace. It affects everything. L.A. is a little more laid back. You have palm trees and the sun. L.A. is an illusion. If you get comfortable in L.A., you turn around and you’re in a gunfight. In New York, it’s the jungle and it’s right in front of you. There’s no hiding from those buildings and those bars on the windows. Bruthas are on the corner, doing that curb service right in front of you. In New York, your energy is to be on your game, watching your back 24/7. In L.A., you can lay back in the cut, in your car and it just sneaks up on you. That’s why I used a lil’ more steady cam here. It’s a lil’ edgier here than in Training Day.

What did you do to prepare yourself for this movie mentally? Really, it’s just life. I grew up in the projects myself. I dealt with cops whose bullets weren’t very forgiving. I’ve been on the streets of L.A., New York and all of that. The reason this movie was important to me was because I got tired of seeing young black men shot dead on streets. No one’s looking into the psychology and some of the pressures of police oﬃcers. I’ve also become friends with a lot of cops. There are some good people that are just trying to make a living. It’s a tough job. They make no money. They’re very prideful. When they get out there in the streets and run into a few brothers that just look threatening, they pull their guns out and start shooting. But you never see in the news that they’re talking about why. What’s psychologically wrong with these cats to be shooting somebody 40 times? So, my

whole life I’ve been watching the news and running into it myself. I’m asking myself, “Why?” This movie is trying to get to that, get to some of the pressures that they’re under. It’s not an indictment. I’m just trying to understand why they’re doing what they’re doing. Maybe we can have some conversations about it.

There’s a lot of religious symbolism in the movie. Explain why. Well, it’s God first with me. That’s just who I am. I believe that the wages of sin is death. The reason why I started this movie over a graveyard is because it reminded me of the story of Job, where God and the Devil made a bet over [the existence] of any good men. So, I came over the graveyard [in Brooklyn’s Finest] and said, “Are all good men dead?” To me, police officers have a responsibility just like a priest. They take on an oath to serve and protect. When they break that oath, it’s not very forgiving. So, for me, I’m always looking at religion. God is watching. You can’t escape it. You’ve worked with some diverse casts for your movies. Didn’t they say that was forbidden for black directors? The playing field’s not even. I’m not saying anything that’s new. I get up in the morning and I know I’m back, so I just kinda roll with that. But I put that behind me and I’m just a filmmaker. The best thing I can do is put the quality on the screen and let people judge it for that. You don’t know what color I am [from watching this movie] unless you met me or saw me on the internet. I gotta put that behind and not let that get in the way of my thinking. If that happens, I’m gonna stumble and I’m not gonna be creative ‘cuz I’m worried about being black. I don’t think about it much.

MUSIC

THEIR SHOT IN THE DARK The past has been good to The Whigs – but this story is just beginning BY ALEC WOODEN

HE ROLLING STONE MAGAZINE’S 2006 listing of The Whigs as a “Band To Watch,” set the trio on a slow but steady rise. The years that have followed included stateside festival gigs and opening tours for the likes of white-hot Grammy-grabbers Kings of Leon. Now The Whigs emerge from the studio with In The Dark – another catalogue of sensible garage rock ready to open ever more doors just wide enough for a southern rock trio with a boatload of potential left in their future. With everything you guys have gone through, presswise and buzz-wise, since Mission Control, is there more pressure with the release of In The Dark? Parker Gispert: Ya know, I think we all set pretty high standards for ourselves, put a lot of pressure on ourselves - so I don’t feel like we notice any real outside pressure or anything like that. It’s more self-imposed. And if people do have expectations, then that’s good. The record was cut at home in Athens, as opposed to the location recording of Mission Control. Did that familiarity have advantages in the recording process? PG: It did. Being able to hear what was happening in the studio everyday was really nice. When we were in L.A. (recording Mission Control), we had this little rental car and we had to listen to stuﬀ on the stereo [of the car] and it gives nothing for comparison if you’ve never been in that car before. Or you’re in the studio listening, where everything sounds good [laughs]. It just PG 28 • insiteatlanta.com • March 2010

really felt so much more comfortable, ya know, being at home and being surrounded by stuﬀ that’s familiar.

Musically, what’s different on In The Dark? PG: I never wanted the band to be a guitar rock band. And on this album, most of the things started with drum and bass- I think 9 of the 11 songs started with the writing of the entire song like that, and I’d come in and write my melodies around that. I think it really helped us. The bass slot in the band was in flux for a while in the writing of Mission Control. I imagine having that as a more concrete pillar of the band helped a little bit in the writing this time around. PG: That’s a big reason why this record was written the way it was. We wanted to have the band write as a band – we wanted Tim to have a big part in the process and by doing it with bass and drums first, he definitely became a very integral part of the record. When Adam [Saunders, formerly of Athens band the Pendletons and credited bassist on Mission Control] was doing the parts on Mission Control, there was a bunch of different people helping him play. We’d have the songs written and he’d just come in and fine tune the bass parts, so it wasn’t really as much an integral part of the record. You guys took some pretty big touring steps in the opening gigs for Kings of Leon. How has the live show mindset changed with those experiences? PG: It’s still the same mindset. It’s a really weird thing

to go through. Playing the bigger stages and the bigger stages is actually really liberating. You’d think it’d be very daunting to get up there and play these big rooms, but it’s just really odd to get up there and go ‘Wow, I can actually move around. I can go 20 feet without tripping over speaker cabinets.’ We definitely picked up stuff playing festivals and big shows, we had to change how we engaged the crowd. It was cool to get the chance to try and adapt to it. Is it tough to get into the same mood as a small, dark rock club when you’ve gotta sometimes play at a big outdoor festival at 3 p.m.? PG: I always think it’s important to be cognizant of your surroundings and just be aware that every situation is unique and every situation is different. When you’re at the clubs, there is always a little bit of time when you’re just feeling out the room and trying to tap into the vibe. And that remains the same, and that goes back to keeping the same mentality.

There’s just something awesomely bold about a trio, isn’t there? Being able to make all that racket and do what you need to do with just three of you? PG: Ya know, I think keeping things simple really opens a lot of doors. A lot of times, for me, I’ve found that playing in bigger bands has left me thinking about things that ultimately don’t matter as much. The song is the most important thing, whether you’re in the studio or playing live. Let’s say In The Dark takes off and you return to those same arenas in a year – this time as the headliner. What is something you hope never changes within your band? PG: First of all, that would be awesome (laughs). I feel like change is always welcome. I feel like if you are playing arenas, some logistical stuff would change obviously – you’d get to tour in a bus instead of a van. If we were on a tour bus and not in a van, we’d have more time to write songs. We wouldn’t have to be driving (laughs). So I’d be really excited about chance. You’ve gotta embrace the change and make it work to your advantage. You can’t let it affect your sights and your goals and all that stuff – but I think we’re safe in that category.

MUSIC

THE JOURNEYMAN Athens-based singer-songwriter Ken Will Morton on True Grit, His 5th Album in 6 Years BY JOHN B. MOORE

THENS, GABASED KEN WILL Morton has played in power-pop bands and roots rock groups, but it wasn’t until he went solo that he finally found his sound. Acoustic guitar in hand, Morton delivers brilliant Americana in the vein of guys like Ryan Adams and Todd Snider. It’s not that his earlier efforts weren’t solid, but after listening to his latest effort (True Grit), it’s easy to think Morton was doing little more than biding his time until he could answer his true calling. Having just released his fifth album in less than six years, it appears Morton is making up for lost time. Morton spoke with us recently about his new album, his recent prolific streak and the decision to finally go solo. You’ve played in bands and been a solo artist. Was it intimidating when you first started recording and performing on your own? The realization that my art has become limited to that which is within the realm of my own capabilities. Decisions made in a collective of musicians, as a group, allow for greater dissection of an idea. On the flip side though, a prospective idea may not reach its full potential if someone in that group’s taste is repelled by the subject. Left to my own

devices, I’ve pursued the full realization of my own artistic destiny.

You’ve been extremely prolific lately. Are these albums getting easier to make? It all comes down to who I’m working with during the recording process…boundless concentration and guidance from a producer/ engineer is conducive to the ease of the process and patience is essential for anyone involved in the process. Also, the equipment that is on hand at the location of the recording often dictates the sound and feel of the music. A nice sounding amp or keyboard can open up a hitherto obscured possibility. Overall, if I have great musicians and engineers around I’ll find records relatively easy to make. What can you tell me about the songs on True Grit? Some are re-recorded versions of songs from previous records that the record’s producer wanted to see realized via his guardianship. The other songs are vignettes of various emotions I may have had in the last year or so filtered through recurring melodic passages that I couldn’t shake… more songs about the frailties of life.

LESSONS LEARNED At the Age of 54, Will Sharon Jones Finally Become a Star? BY ALEX S. MORRISON

HANCES ARE GOOD THAT YOU don’t know Sharon Jones yet. But if you love classic soul, funk, or just good-time party music, you deﬁnitely should. Before Amy Winehouse, Duﬀy or Adele had turned their retro soul fetishes into chart-topping hits, Jones and her band the Dap-Kings had earned critical acclaim for their stunning 2002 debut, which recalled legends such as James Brown, Mavis Staples and Marva Whitney. While the Dap-Kings provided backup for Winehouse on her 2006 breakthrough, their recordings with Jones (including 2005’s Naturally and 2007’s incredible 100 Days, 100 Nights) have never enjoyed mainstream commercial success. Hopefully that will all change with their latest

I KEPT THINKING THAT GOD HAD GIVEN ME A GIFT, AND ONE DAY PEOPLE WOULD ACCEPT ME FOR MY VOICE RATHER THAN THE WAY I LOOK.

album, I Learned The Hard Way, another impressive collection of classic funky soul that showcases Jones’ emotive, gospel-inﬂuenced vocals. We recently caught up with the 54-year-old powerhouse to discuss her inﬂuences, her long and winding road to success and why she loves Michael Bublé.

You were born in Augusta and raised in New York, but you’ve still got that classic Southern soul sound. Was that a big inﬂuence on you when you were growing up? I can’t get rid of that! (Laughs) Sometimes when I get to talking real fast my little Southern drawl will come out. I was born in 1956 when all that stuﬀ was happening, before everything turned to pop and hip-hop. When I was a little girl we listened to Stax and Motown R&B, soul singers like James Brown

LEFT TO MY OWN DEVICES, I’VE PURSUED THE FULL REALIZATION OF MY OWN ARTISTIC DESTINY. Mark Ambrosino produced this one. Had you worked with him before? No, never. It was tricky insomuch as I went up to New York in two short bursts (separated by about a year) to lay down the record’s content - not much in the way of continuity - then I had to surrender all control to him regarding editing choices. It was a bit frustrating but, alas, I think he did a great job. Plus, he’s one of the funniest guys I ever met so he made it easy. Did you have any guests on this album? Met the other players the day the sessions commenced. You’ve toured with some legends - everyone from Tommy Stinson to Todd Snider. Ever get

and Otis Redding, even rock stuff like the Beatles and Rolling Stones. But it’s not just me: I may do the singing and bring the story to life, but the band writes the music that reminds you of Aretha Franklin or Mavis Staples. Did you come up singing in the church? Yeah, I always sang in church. We did this Christmas pageant one year where I played an angel and sang “Silent Night,” and I think I knew then and there that I had something going on. I wound up singing in neighborhood bands in high school. But by the time I hit my early twenties, they told me I didn’t have the look: I was too dark, too fat, too short. But I kept thinking that God had given me a gift, and one day people would accept me for my voice rather than the way I look. I’m not sure if this is true, but I read that you worked as a corrections officer and an armored car guard during the years before your music career took off? Oh yeah! I was at Riker’s Island from 1988-1990, and I worked with Wells Fargo for two to three years after that. I was still working security, wearing a gun all the time, when I met the guys who became my band. So when you’re doing all these crazy jobs and nearing your forties, did you still think in the back of your mind, “I’m gonna get my big break someday”? Yeah, I was still singing in weddings bands on and off up until the time when I met the Dap-Kings. But once we started going over to Europe on tour, they had to get somebody to replace me. The Dap-Kings would be touring in Europe, making like $50 a night and coming home with no money, and I’d be turning down $500 a night gigs with the wedding band! But I had to make that move. Talk to me about getting together with the guys behind Daptone Records. When I first met them they weren’t even called

any good advice from some of these people? Nah…’cept Cary Hudson taught me how they remove ticks in Mississippi. Athens has always had a rep for being a great music town. Is the music scene there still prrtty tight? It’s kinda cliquey and scattershot, but enough genuine people left to make it good and relatively tight. Have you set up tour plans for 2010 yet? Still in the works. So what’s next for you? Got a band I’m tryin’ to whip and shape and would like to play more electric guitar again…

Daptone yet: It was Desco Records, and they’d just discovered Lee Fields, who played old soul music. They wanted three female background singers for Lee’s record, but since I was the only one who showed up I sang all the backing parts myself. After that we recorded a [solo track] called “Switchblade,” and the next thing I knew we were heading to Europe to open for Maceo Parker. Gabe (bass), Binky (guitar) and Leon (saxophone) used to play together in Antibalas and the Soul Providers when they were like 16 years old. Now they’re all in their late twenties. You guys obviously got a lot more mainstream recognition when the band played backup on Amy Winehouse’s breakthrough album, Back To Black. Was it exciting to see that sound getting played on the radio? Actually, no, because it wasn’t OUR stuff. Even though the Dap-Kings played on it, it was Amy and Mark Ronson’s music. It was good exposure for Daptone as a record label, but Amy never gave props to me or the Dap-Kings. But I knew we had inspired her, because when we started going over to England there wasn’t but one other label trying to do what we were doing. The next thing you know, you’ve got people like Duffy and Adele following in her footsteps, but we were the first and we stayed true to what we were doing. You’ve worked with all these other great artists. What is it about the chemistry between you and the Dap-Kings that makes it special? It’s the music! Those guys write the greatest songs, and sometimes I just sit back and watch them. They amaze me. We recorded our new album months ago and I had copies of the rough mixes, but when I got the final version last week I listened to it for the first time from top to bottom while driving on my way to a photo shoot. I was like, “Wow!” I got so into it, I had to stop myself before I got a big head! (Laughs) PG 29 • insiteatlanta.com • March 2010

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AUTO

BY DEMARCO WILLIAMS The 2010 Atlanta International Auto Show is an all-out, 10-day showcase of 27 major manufacturers’ finest machinery for next season and beyond. To be honest, with so much to see along the aisles, the whole experience can prove overwhelming. It’s good that we went ahead and tested a few vehicles beforehand, so when you see them looking all sparkly on the showroom floor, you’ll at least know if they’re true winners or just truly blowing smoke from their shiny new tailpipes.

Maxima blurs even more now that Nissan has chosen to make things faster and funkier. The Altima’s muscular-yet-swift ride comes thanks to a respectable 24-valve engine, 270 horses and a continuously-variable transmission. Smart modifications to the trunk area and rear lights give the car an even younger look . The additional sports package (fog lights, power sliding moonroof, etc.) only helps with appearances too. B+

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At first look, this ’10 appears like any other mini SUV. Stern. Boxy. Ideal for dropping the kiddies off at the movies on Saturday. Thankfully, things take a pleasant turn once you’re inside. Navigation systems are standard on all Grand Vitaras. Cargo space and overall roominess are also interior winners. We had no major complaints with the car on the asphalt either. It had pep when needed and largely handled Atlanta’s mangled roads. Had some of the angling caused fewer blindspots, Vitara’s grade would have been grander. B

2010 NISSAN ALTIMA 3.5 SR $30,165

The line between this car and the

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What’s the point of having a pickup truck if you’re not going to put it to work, right? Our thoughts exactly. Thankfully, the handsome King Cab was up to a weekend challenge of hauling solid limestone across town. The electronic dive-by-wire throttle and doublewishbone suspension work so smoothly you may actually forget about the cargo on the bed. Inside, everything is nice and tidy. And even though there are only about 25 inches of legroom in the second row, the cabin feels comfy. However, if there is one slight to the Frontier, it’s an occasional jerk on its initial acceleration after a stop. B

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SPORTS

FANATIC

A Monthly Sports Wrap-up BY DEMARCO WILLIAMS “What I did with the doctor, we talked about a lot of things. I explained myself to him, what is going on with my life. Now I can be more open with people, with my teammates, with everybody. I can say the people can know me, they can know what’s inside of me. Before, they don’t know what’s going through my mind… Right now, I have a chance to talk with my wife and my dad, and I can handle everything. Before, I don’t do that.” –DETROIT TIGERS’ MIGUEL CABRERA, on new ways he’s coping with stress MAJOR LEAGUE BASEBALL is ﬁnally back in the swing of things. Your favorite team added some new guys and lost a few familiar faces. March is the time to address those issues and, of course, the biggest Jason one of them all—how in Heyward the world does anyone stop the New York Yankees? Here are a few other Spring Training questions: 1) Is Boston’s David Ortiz primed for a comeback? 2) Has Roy Halladay’s arrival given Philly more swagger? 3) What is Manny Ramirez going to say/do next? 4) Are the Seattle Mariners really thiiiis close to being a playoﬀ team? 5) Are phenoms like Washington’s Stephen Strasburg and Atlanta’s Jason Heyward really that good? “Everybody knows he belongs. It’s just a matter of getting used to the big-league pitching, how quick the adjustments are made… But he’s the best 20-year-old I’ve ever seen.” –ATLANTA BRAVES CATCHER BRIAN MCCANN, ON THE AFOREMENTIONED HEYWARD If you look at the NBA LEADERS IN ASSISTS, you’ll see the usual names like Steve Nash and Jason Kidd. But scan a little closer and you’ll notice someone unfamiliar—Oklahoma City’s Russell Westbrook. Seventh in the League at press time in dimes, Westbrook has quietly

been the guy helping Kevin Durant look like a MVP-quality star. But beyond the impressive eight assists per night, the former UCLA Bruin is averaging nearly 17 points, five rebounds and at least two Who in the world is that? reactions per game. Get familiar. “If people are trying to ﬁnd a way not to accept the quality of the race team we have, that’s cool. We’ll just come back next week and take the trophy again.” –JIMMIE JOHNSON, NASCAR’S ALLTIME WINNINGEST DRIVER ON 1.5 MILE TRACKS WITH 15 A few observations from the just-completed NFL COMBINES: Mississippi’s Dexter McCluster was a blur in the SEC games we watched in ‘09. Can’t believe he posted just a 4.58 on the 40… Speaking of running backs in the South, word is that Georgia Tech’s Jonathan Dwyer had one of the worst camps of anyone, getting out-lifted by smaller guys and running only a 4.59… Notre Dame receiver Golden Tate was awesome. The dude caught with ease, was lightning quick and flexed his muscles to the tune of 17 bench press reps… Known for his footwork, Florida’s Tim Tebow easily had the finest 20- and 60-yard shuffle times of the invited quarterbacks. And ﬁnally… EA Sports has no plans of releasing a NCAA basketball game this year… Clemson’s Jacoby Ford had the fastest 40-meter time at the combine of 4.28 seconds… Of the NBA-record 108,713 in attendance for Dallas’ all-star game last month, sources say about 20% of the seats were complimentary… Sports Illustrated’s picks for a fantasy baseball breakout season: hitters Jay Bruce, Elvis Andrus and Billy Butler and pitchers Ricky Nolasco, Chad Billingsley and Yovani Gallardo… The Vancouver Games were viewed by 190 million people, making it the second-mostwatched Olympics of all-time… One in every three U.S. TVs that was on Feb. 28 was locked onto the Canada/US gold-medal hockey game.

Must-See TV those ﬁrst two days.

2.While NCAA Final Four (April 3 & 5, TBA, CBS) a Kansas-Kentucky clash would be stupendous, we have a feeling a No. 3 or 4 seed might ruin the ratings bonanza.

3. These New York at Boston (April 4, 8PM, ESPN) two again?! But is there really a better way to usher in the 2010 Major League Baseball season than with old pals?

4. San Antonio at Atlanta; Portland at Phoenix (March 21, 8 & 10:30PM, ESPN)

Four teams doing all they possibly can to ruin the dream Lakers/Cavs NBA Finals meeting.

5. Okay, Washington at Chicago (March 14, 12:30PM, NBC) Vancouver sold us on hockey. But if these two NHL powers don’t bring it, it’s back to the box for the puck.

Top 5 Games This Month

1. It’sNCAA First & Second Rounds (March 18-21, TBA, CBS) the craziest thing, but we already feel a slight cold coming now. Yep, gonna miss work

PG 31 • insiteatlanta.com • March 2010

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