Michael "Atters" Attree

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Michael "Atters" Attree sporting his famous handlebar moustache.

Michael "Atters" Attree (born April 22, 1965) is a British satirist and comedy writer.

Attree graduated in fine art & film from London's Central Saint Martins College of Art & Design. "Atters" (as he is more widely known) is Editor of Roguishness for the dandified and revolution based satirical magazine The Chap. He began as the magazine's Grooming Editor (and activist) and is currently serialised as The Bounder. He is an ongoing columnist for the Erotic Review magazine retaining his "Atters" acidic Gonzo style. As Flux Magazine’s Paranormal Investigations Editor, his satirical series Atters Attree’s Temple of Arcane explores the supernatural through spoof case studies and paranormal photographs (including human levitation, stigmata, UFO's and spontaneous human combustion). He was also serialised in T3 Magazine (with his socially dysfunctional robotic sidekick Robodog) as their caddish Gadget Guru. He is a committee member of London's Handlebar Club (formed for ex-RAF veterans by comedian Whacko! Jimmy Edwards) and according to The Guardian (The Guide Sept 25-Oct 1 2004) "Atters" is the Clubs "most rakish member". He has been a Chairman of the World Beard and Moustache Championships (European championships trophy winner, Milan, 2002). With his colonial parental upbringing and dapper dress sense, Attree's persona is that of an Ealing Studios cad. His ancient family name is celebrated as medieval Lords of the Manor within a Pre-Raphaelite stained glass triptych (housed within the city of Brighton’s Annunciation Church).

During the 1980’s Janet Street-Porter (then head of BBC Youth and Entertainment Features) commissioned Attree to work on various BBC programmes as a producer and director. He was also an independent 16mm filmmaker and later worked on documentaries for Channel Four. Lindsay Anderson, film critic and director of both O Lucky Man! and If... (film) once said of his work: "Menacing, disturbing, disturbed. Such is the ruthlessness and ironic-poetic spirit of Attree's probing camera" (Penthouse Forum Vol. 40, NO 12).