December 2018
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On Fri., Jan. 11, Waters, aka Scottsdale, Arizona transplant Howie Huntington, plays a Simulacra release party at Deep End for VLSC's monthly Submerge night. Charolastra, Dee Belvedere, and Baby Spider are performing doing DJ sets as well.
Free. 9 p.m. Deep End, 621 North Ave. NE. 470-823-3102. www.deependatl.com."
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string(1085) " Harvey Waters 2018-12-03T16:34:38+00:00 Harvey Waters.jpg Lo-fi house producer releases his debut EP Harvey Waters 2018-12-03T16:12:01+00:00 Harvey Waters unveils 'Simulacra' chad.radford Chad Radford Chad Radford chad.radford (Chad Radford) 2018-12-03T16:12:01+00:00 The latest offering from the VLSC Records crew is a video for "Simulacra," the title track from Harvey Waters' debut EP, out January 11.
With a propulsive rhythm and cascading synth plucks, "Simulacra" offers a window into Atlanta's lo-fi house scene shortly after 2 a.m., and the dancefloor is at full-tilt. Just press play at let the beat ride.
On Fri., Jan. 11, Waters, aka Scottsdale, Arizona transplant Howie Huntington, plays a Simulacra release party at Deep End for VLSC's monthly Submerge night. Charolastra, Dee Belvedere, and Baby Spider are performing doing DJ sets as well.
Free. 9 p.m. Deep End, 621 North Ave. NE. 470-823-3102. www.deependatl.com. Courtesy Louis Farinella HARVEY WATERS: Simulacra Harvey Waters unveils 'Simulacra' "
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Harvey Waters unveils 'Simulacra' Music and Nightlife, Crib Notes, News You May Have Missed
Monday December 3, 2018 11:12 AM EST
Lo-fi house producer releases his debut EP
|
more...
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Holiday Gift Guide 2018 News Features
Monday December 3, 2018 05:08 PM EST
Shop CL this holiday season from these fine offerings!
|
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The traffic growing increasingly chaotic, schizophrenic weather hanging over the city, and the sounds of bells ringing in the distance mean one thing: The holiday shopping blitz is about to reach a fever pitch. So once again Jeffrey Bützer and T.T. Mahony are back, performing Vince Guaraldi’s soundtrack to Charles M. Schulz’s 1965 animated television special, A Charlie Brown Christmas.
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PODCAST: Jeffrey Bützer talks ‘A Charlie Brown Christmas’ Crib Notes, News You May Have Missed
Tuesday December 4, 2018 10:26 AM EST
This year, an Atlanta holiday tradition goes to 11
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string(1355) " Music Menu1 1 17 2018-12-04T18:19:53+00:00 Music_Menu1-1_17.jpg Intellect and psychedelia collide on 'Humble Pi' Music Menu1 1 17 2018-12-04T18:11:12+00:00 Homeboy Sandman and Edan join forces chad.radford Chad Radford Chad Radford chad.radford (Chad Radford) 2018-12-04T18:11:12+00:00 Of course the duo of Queens rapper Homeboy Sandman and Brooklyn-based DJ, MC, and producer Edan make for an erudite experience. Sandman’s endlessly creative lyrical flow and the atmosphere kicked up by Edan’s psychedelic/krautrock beats found common ground on this year’s knock-out LP Humble Pi. For more, look no further than this year’s power anthems “#NeverUseTheInternetAgain#,” "The Gut," and "Grim Seasons."
For this show, Sandman and Edan perform a collaborative set featuring songs they made together, along with some of their respective classics. There’s a parade of locals on deck to keep the night moving, your host, THE MONSTA!!!! Fort Knox is in the building, and Dillon Vaughan Maurer, aka Lobsterdamus, is serving up black beans, yellow rice, and vegan peach pies.
$15. 9 p.m. Sat., Dec. 8. 529, 529 Flat Shoals Ave. 404-228-6769. www.529atlanta.com.
Carl Cornelius HUMBLE PI: Edan (left) and Homeboy Sandman play 529 on Sat., Dec. 8. Homeboy Sandman and Edan join forces "
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Homeboy Sandman and Edan join forces 5 Things to Do, Music and Nightlife, Crib Notes, Chad Rad's Top Picks
Tuesday December 4, 2018 01:11 PM EST
Intellect and psychedelia collide on 'Humble Pi'
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string(7202) "Guitarist Richard Thompson performed with his Electric Trio at the Variety Playhouse Saturday, Dec. 1. Thompson has performed in Atlanta countless times, first as a member of the traditional British folk rock group Fairport Convention, though mostly as leader of bands he’s put together during his long and varied solo career. In all that time, he’s never given a bad performance in this city. How many musicians can you say that about? Exactly. You can count them on one hand. Maybe one finger.
It’s because he’s always so good that I wasn’t planning on seeing his most recent show in Little 5 Points. It was going to be good. It always is. And Dec. 1 was a busy night for music in Atlanta. Magnapop, Come, 86 and a number of other bands were playing at the Earl and 529 in East Atlanta Village for Henry Owing’s fiftieth birthday parties. David Franklin and Chris Edmonds were both scheduled at Smith’s Olde Bar. The original Mudcat and the Atlanta Horns, with Mandi Strachota and Little Joey Hoegger, were celebrating the release of Castaway (Original Cast Recording) with a live performance of the piece at the Avondale Towne Cinema. Certainly, a lot more risks would be taken on any one of those stages.
When the Electric Trio — Thompson, bassist Taras Prodaniuk and drummer Michael Jerome — took the Variety stage, it was obvious this was not to be an ordinary Richard Thompson show. No. This was something special.
They kicked off the set with “Bones of Gilead,” followed by “Her Love was Meant for Me,” two songs off of Thompson’s powerful new album, 13 Rivers. From the moment he strapped on his Fender Stratocaster, Thompson exhibited a dazzling display of guitar work, even for someone as accomplished as himself, and the band, in high gear from the start, never let up.
In the power trio format, no member of the band can afford not to hold their own. A trio can be devastating — or, fall flat, if the three musicians aren’t in sync — playing off each other while propelling each other. Saturday night, Thompson, Prodaniuk, and Jerome destroyed any preconceived notions of how good a Richard Thompson show can be. When Thompson was onstage alone, to sing a crowd favorite like “1952 Vincent Black Lightning,” he crushed versions he’s played in Atlanta before. Even the idea of the trio was stretched. For many songs, the group was joined by Bobby Eichorn from the crew on guitar, adding appropriate fills while not getting in the way.
Throughout the evening Thompson assured those in the audience he’d get to his older, more familiar songs they’d come to hear after performing material from the 13 Rivers. But no one expected just how far back he would go, pulling out songs he’d written for Fairport Convention in 1968, “Tale in Hard Time” and "Meet on the Ledge." The guitarist appeared to enjoy playing up the nostalgia of having written songs fifty years ago that still stand the test of time, but the concert was no career retrospective. Other than a couple of songs recorded with ex-wife Linda Thompson, “Dimming of the Day” (1975) and “Wall of Death” (1982), Thompson drew primarily from the ‘90s forward, though “Can’t Win,” (1988) was a tremendous treat.
That, too, was part of what made the Variety show so special. Instead of playing favorites, old stand-stand-by and familiar tunes — the one’s he’s played over and over and over — Thompson focused more on deep cuts and new material. In doing so, he played to no one’s expectations other than his own, allowing himself a freedom manifested in some of his best guitar playing ever. At 69 years old, he was playing with the fire and intensity of someone half his age, not with the wild abandon of youth, but the confidence and feel of someone in control of every note he wrenched out of his guitar.
It was an amazing show. Absolutely.
Something from nothing dept. … It wasn’t that long ago that Lucy Freas, co-founder with Josh Antenucci of Atlanta’s Rival Entertainment, was posting photos of her office — expansive views of the Georgia State Stadium — on her Facebook page as Rival was preparing for the inaugural concert at the former site of Turner Field with Foo Fighters headlining. Now, with Super Bowl LIII being hosted at Atlanta’s Mercedes-Benz Stadium, Freas and company are preparing for another first, building a concert venue at Atlantic Station from the ground up to present the annual DIRECTV Super Saturday Night the evening prior to the the big game. Construction has already started on the three-tiered, 72,000-square foot structure for the event, which brings Foo Fighters with special guests Run The Jewels back to Atlanta for the second time in less than a year. Once the concert is over, the same crews will work to dismantle it, offering those who attend a truly “once-in-a-lifetime experience.”
Baby, it’s cold outside dept. … This Thursday evening Michelle Malone and the Hot Toddies, the singer/songwriter’s cool Yule holiday incarnation, celebrates the release of Toddie Time, an EP of soulful and jazzy takes on traditional Christmas songs, at Eddie's Attic. The trio reinterprets classic Christmas tunes — think Nat King Cole, Rosemary Clooney, Ella Fitzgerald, Dean Martin and Elvis Presley — creating new jazz and blues arrangements that display Malone’s vocal prowess and innate ability to let the music take you to another time and place. Joining Malone and guitarist Doug Kees this season is bassist Tommy Dean, no stranger to Atlanta music fans, nor to holiday merriment, having released A Swingin’ Christmas with his band, The League of Decency, in 1995. Expect spirits to be bright. … If you get to Decatur early enough, be sure to stop by Different Trains Gallery 2 at Cornerstone Bank, for a Holiday Open House from 5 to 8 p.m. featuring the exhibition of Atlanta artists Eben Dunn & Jim Johnson.
Unaspeckles meowl love dept. … Atlanta artist R. Land held quite an open house of his own at his Waddell Street Studios in the 30307, Sunday, Dec. 2. Featuring the debut of his new, limited edition Christmas ornaments, Hanukkah Claus, as well as the artist’s more familiar works — who doesn’t know his iconic “Pray for Atlanta” design — more people were lined up to purchase items to take home then they were for the free pizza, beer, and wine Land provided. While verging on visual art sensory overload, the party took on a more musical direction with two performances by Duet for Theremin and Lap Steel, the group for which Land provided the artwork on its album 10.
Last splash dept. … As many already know, it’s time to say goodbye to the Avondale Towne Cinema. After four years of trying to make it work as a live music venue, owner Tony Longval has decided it’s time to close the multi-level performance space and move on. It’s sad to see such a great old theater go dark once again, especially with all of the work Longval put into it. While this Saturday, Dec. 8, The Rainmen play their final gig there, other shows are booked until the final curtain call Dec. 15 with the Third Annual Christmas Holiday Music Jam."
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It’s because he’s always so good that I wasn’t planning on seeing his most recent show in Little 5 Points. It was going to be good. It always is. And Dec. 1 was a busy night for music in Atlanta. __Magnapop__, __Come__, __86__ and a number of other bands were playing at the Earl and 529 in East Atlanta Village for __Henry Owing__’s fiftieth birthday parties. __David Franklin__ and __Chris Edmonds__ were both scheduled at Smith’s Olde Bar. The original __Mudcat and the Atlanta Horns__, with __Mandi Strachota__ and __Little Joey Hoegger__, were celebrating the release of ''Castaway (Original Cast Recording)'' with a live performance of the piece at the Avondale Towne Cinema. Certainly, a lot more risks would be taken on any one of those stages.
When the Electric Trio — Thompson, bassist __[http://tarasprodaniuk.com|Taras Prodaniuk]__ and drummer __[http://michaeljeromeondrums.com|Michael Jerome]__ — took the Variety stage, it was obvious this was not to be an ordinary Richard Thompson show. No. This was something special.
They kicked off the set with “Bones of Gilead,” followed by “Her Love was Meant for Me,” two songs off of Thompson’s powerful new album, ''[https://www.npr.org/2018/09/06/644565625/first-listen-richard-thompson-13-rivers|13 Rivers]''. From the moment he strapped on his Fender Stratocaster, Thompson exhibited a dazzling display of guitar work, even for someone as accomplished as himself, and the band, in high gear from the start, never let up.
In the power trio format, no member of the band can afford not to hold their own. A trio can be devastating — or, fall flat, if the three musicians aren’t in sync — playing off each other while propelling each other. Saturday night, Thompson, Prodaniuk, and Jerome destroyed any preconceived notions of how good a Richard Thompson show can be. When Thompson was onstage alone, to sing a crowd favorite like “1952 Vincent Black Lightning,” he crushed versions he’s played in Atlanta before. Even the idea of the trio was stretched. For many songs, the group was joined by Bobby Eichorn from the crew on guitar, adding appropriate fills while not getting in the way.
Throughout the evening Thompson assured those in the audience he’d get to his older, more familiar songs they’d come to hear after performing material from the ''13 Rivers''. But no one expected just how far back he would go, pulling out songs he’d written for Fairport Convention in 1968, “Tale in Hard Time” and "Meet on the Ledge." The guitarist appeared to enjoy playing up the nostalgia of having written songs fifty years ago that still stand the test of time, but the concert was no career retrospective. Other than a couple of songs recorded with ex-wife Linda Thompson, “Dimming of the Day” (1975) and “Wall of Death” (1982), Thompson drew primarily from the ‘90s forward, though “[https://www.youtube.com/watch?v=BlA1PPwcRFo|Can’t Win],” (1988) was a tremendous treat.
That, too, was part of what made the Variety show so special. Instead of playing favorites, old stand-stand-by and familiar tunes — the one’s he’s played over and over and over — Thompson focused more on deep cuts and new material. In doing so, he played to no one’s expectations other than his own, allowing himself a freedom manifested in some of his best guitar playing ever. At 69 years old, he was playing with the fire and intensity of someone half his age, not with the wild abandon of youth, but the confidence and feel of someone in control of every note he wrenched out of his guitar.
It was an amazing show. Absolutely.
__Something from nothing dept. …__ It wasn’t that long ago that __Lucy Freas__, co-founder with __Josh Antenucci__ of Atlanta’s __Rival Entertainment__, was posting photos of her office — expansive views of the Georgia State Stadium — on her Facebook page as Rival was preparing for the inaugural concert at the former site of Turner Field with __Foo Fighters__ headlining. Now, with Super Bowl LIII being hosted at Atlanta’s Mercedes-Benz Stadium, Freas and company are preparing for another first, ''building'' a concert venue at Atlantic Station from the ground up to present the annual __[http://rivalentertainment.com/events/super-saturday-night-foo-fighters-on-feb-2/|DIRECTV Super Saturday Night]__ the evening prior to the the big game. Construction has already started on the three-tiered, 72,000-square foot structure for the event, which brings Foo Fighters with special guests Run The Jewels back to Atlanta for the second time in less than a year. Once the concert is over, the same crews will work to dismantle it, offering [https://www1.ticketmaster.com/event/0E00557ACF5A274D?dma_id=220#efeat6916|those who attend] a truly “once-in-a-lifetime experience.”
__Baby, it’s cold outside dept. …__ This Thursday evening __[https://michellemalone.com/the-hot-toddies|Michelle Malone and the Hot Toddies]__, the singer/songwriter’s cool Yule holiday incarnation, celebrates the release of ''Toddie Time'', an EP of soulful and jazzy takes on traditional Christmas songs, at [http://www.ticketfly.com/event/1760862?utm_medium=api|Eddie's Attic]. The trio reinterprets classic Christmas tunes — think __Nat King Cole__, __Rosemary Clooney__, __Ella Fitzgerald__, __Dean Martin__ and __Elvis Presley__ — creating new jazz and blues arrangements that display Malone’s vocal prowess and innate ability to let the music take you to another time and place. Joining Malone and guitarist __Doug Kees__ this season is bassist __Tommy Dean__, no stranger to Atlanta music fans, nor to holiday merriment, having released ''A Swingin’ Christmas'' with his band, __The League of Decency__, in 1995. Expect spirits to be bright. … If you get to Decatur early enough, be sure to stop by __[http://www.differenttrainsgallery.com/eben-dunn-amplification-and-de-amplification.html|Different Trains Gallery 2]__ at Cornerstone Bank, for a Holiday Open House from 5 to 8 p.m. featuring the exhibition of Atlanta artists __Eben Dunn__ & __Jim Johnson__.
__Unaspeckles meowl love dept. …__ Atlanta artist __[https://www.rlandart.com|R. Land]__ held quite an open house of his own at his Waddell Street Studios in the 30307, Sunday, Dec. 2. Featuring the debut of his new, limited edition Christmas ornaments, Hanukkah Claus, as well as the artist’s more familiar works — who doesn’t know his iconic “Pray for Atlanta” design — more people were lined up to purchase items to take home then they were for the free pizza, beer, and wine Land provided. While verging on visual art sensory overload, the party took on a more musical direction with two performances by __[https://www.duetonline.net|Duet for Theremin and Lap Steel]__, the group for which Land provided the artwork on its album ''10''.
__Last splash dept. …__ As many already know, it’s time to say goodbye to the __[http://www.mytownecinema.com|Avondale Towne Cinema]__. After four years of trying to make it work as a live music venue, owner __Tony Longval__ has decided it’s time to close the multi-level performance space and move on. It’s sad to see such a great old theater go dark once again, especially with all of the work Longval put into it. While this Saturday, Dec. 8, __The Rainmen__ play their final gig there, other shows are booked until the final curtain call Dec. 15 with the __Third Annual Christmas Holiday Music Jam__."
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string(7738) " IMG 6085 3 2018-12-04T21:52:34+00:00 IMG_6085 3.jpg richard thompson Richard Thompson continues on a ‘restless highway’ IMG 6085 3 2018-12-04T21:59:59+00:00 HIGH FREQUENCIES: Richard Thompson — Playing for the faithful tony.paris Tony Paris Tony Paris tony.paris (Tony Paris) 2018-12-04T21:59:59+00:00 Guitarist Richard Thompson performed with his Electric Trio at the Variety Playhouse Saturday, Dec. 1. Thompson has performed in Atlanta countless times, first as a member of the traditional British folk rock group Fairport Convention, though mostly as leader of bands he’s put together during his long and varied solo career. In all that time, he’s never given a bad performance in this city. How many musicians can you say that about? Exactly. You can count them on one hand. Maybe one finger.
It’s because he’s always so good that I wasn’t planning on seeing his most recent show in Little 5 Points. It was going to be good. It always is. And Dec. 1 was a busy night for music in Atlanta. Magnapop, Come, 86 and a number of other bands were playing at the Earl and 529 in East Atlanta Village for Henry Owing’s fiftieth birthday parties. David Franklin and Chris Edmonds were both scheduled at Smith’s Olde Bar. The original Mudcat and the Atlanta Horns, with Mandi Strachota and Little Joey Hoegger, were celebrating the release of Castaway (Original Cast Recording) with a live performance of the piece at the Avondale Towne Cinema. Certainly, a lot more risks would be taken on any one of those stages.
When the Electric Trio — Thompson, bassist Taras Prodaniuk and drummer Michael Jerome — took the Variety stage, it was obvious this was not to be an ordinary Richard Thompson show. No. This was something special.
They kicked off the set with “Bones of Gilead,” followed by “Her Love was Meant for Me,” two songs off of Thompson’s powerful new album, 13 Rivers. From the moment he strapped on his Fender Stratocaster, Thompson exhibited a dazzling display of guitar work, even for someone as accomplished as himself, and the band, in high gear from the start, never let up.
In the power trio format, no member of the band can afford not to hold their own. A trio can be devastating — or, fall flat, if the three musicians aren’t in sync — playing off each other while propelling each other. Saturday night, Thompson, Prodaniuk, and Jerome destroyed any preconceived notions of how good a Richard Thompson show can be. When Thompson was onstage alone, to sing a crowd favorite like “1952 Vincent Black Lightning,” he crushed versions he’s played in Atlanta before. Even the idea of the trio was stretched. For many songs, the group was joined by Bobby Eichorn from the crew on guitar, adding appropriate fills while not getting in the way.
Throughout the evening Thompson assured those in the audience he’d get to his older, more familiar songs they’d come to hear after performing material from the 13 Rivers. But no one expected just how far back he would go, pulling out songs he’d written for Fairport Convention in 1968, “Tale in Hard Time” and "Meet on the Ledge." The guitarist appeared to enjoy playing up the nostalgia of having written songs fifty years ago that still stand the test of time, but the concert was no career retrospective. Other than a couple of songs recorded with ex-wife Linda Thompson, “Dimming of the Day” (1975) and “Wall of Death” (1982), Thompson drew primarily from the ‘90s forward, though “Can’t Win,” (1988) was a tremendous treat.
That, too, was part of what made the Variety show so special. Instead of playing favorites, old stand-stand-by and familiar tunes — the one’s he’s played over and over and over — Thompson focused more on deep cuts and new material. In doing so, he played to no one’s expectations other than his own, allowing himself a freedom manifested in some of his best guitar playing ever. At 69 years old, he was playing with the fire and intensity of someone half his age, not with the wild abandon of youth, but the confidence and feel of someone in control of every note he wrenched out of his guitar.
It was an amazing show. Absolutely.
Something from nothing dept. … It wasn’t that long ago that Lucy Freas, co-founder with Josh Antenucci of Atlanta’s Rival Entertainment, was posting photos of her office — expansive views of the Georgia State Stadium — on her Facebook page as Rival was preparing for the inaugural concert at the former site of Turner Field with Foo Fighters headlining. Now, with Super Bowl LIII being hosted at Atlanta’s Mercedes-Benz Stadium, Freas and company are preparing for another first, building a concert venue at Atlantic Station from the ground up to present the annual DIRECTV Super Saturday Night the evening prior to the the big game. Construction has already started on the three-tiered, 72,000-square foot structure for the event, which brings Foo Fighters with special guests Run The Jewels back to Atlanta for the second time in less than a year. Once the concert is over, the same crews will work to dismantle it, offering those who attend a truly “once-in-a-lifetime experience.”
Baby, it’s cold outside dept. … This Thursday evening Michelle Malone and the Hot Toddies, the singer/songwriter’s cool Yule holiday incarnation, celebrates the release of Toddie Time, an EP of soulful and jazzy takes on traditional Christmas songs, at Eddie's Attic. The trio reinterprets classic Christmas tunes — think Nat King Cole, Rosemary Clooney, Ella Fitzgerald, Dean Martin and Elvis Presley — creating new jazz and blues arrangements that display Malone’s vocal prowess and innate ability to let the music take you to another time and place. Joining Malone and guitarist Doug Kees this season is bassist Tommy Dean, no stranger to Atlanta music fans, nor to holiday merriment, having released A Swingin’ Christmas with his band, The League of Decency, in 1995. Expect spirits to be bright. … If you get to Decatur early enough, be sure to stop by Different Trains Gallery 2 at Cornerstone Bank, for a Holiday Open House from 5 to 8 p.m. featuring the exhibition of Atlanta artists Eben Dunn & Jim Johnson.
Unaspeckles meowl love dept. … Atlanta artist R. Land held quite an open house of his own at his Waddell Street Studios in the 30307, Sunday, Dec. 2. Featuring the debut of his new, limited edition Christmas ornaments, Hanukkah Claus, as well as the artist’s more familiar works — who doesn’t know his iconic “Pray for Atlanta” design — more people were lined up to purchase items to take home then they were for the free pizza, beer, and wine Land provided. While verging on visual art sensory overload, the party took on a more musical direction with two performances by Duet for Theremin and Lap Steel, the group for which Land provided the artwork on its album 10.
Last splash dept. … As many already know, it’s time to say goodbye to the Avondale Towne Cinema. After four years of trying to make it work as a live music venue, owner Tony Longval has decided it’s time to close the multi-level performance space and move on. It’s sad to see such a great old theater go dark once again, especially with all of the work Longval put into it. While this Saturday, Dec. 8, The Rainmen play their final gig there, other shows are booked until the final curtain call Dec. 15 with the Third Annual Christmas Holiday Music Jam. Tony Paris WALKING ON A WIRE: From left, Richard Thompson, Michael Jerome, and Taras Prodaniuk. "richard thompson" HIGH FREQUENCIES: Richard Thompson — Playing for the faithful "
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Tuesday December 4, 2018 04:59 PM EST
Richard Thompson continues on a ‘restless highway’
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$29. 10 a.m.-5 p.m. Sun., Nov. 18-Sun., Feb. 17. High Museum of Art, 1280 Peachtree St. N.E. 404-733-4400. www.high.org. Courtesy of the High Museum of Art INFINITY AND BEYOND: Yayoi Kusama's stunning work finds a temporary home at the High Museum of Art SEE & DO: Infinity Mirrors "
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Six decades of brilliant, mind-bending artistry
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string(5757) "Come, ye common drunkards and bougie aristocracy alike, and celebrate the two-year anniversary of Shakespeare on Draught, Atlanta’s resident under-prepared and booze-powered Shakespearean theater troupe.
This Monday, Dec. 10, at 8 p.m., Orpheus Brewing will host a raucous birthday party for the troupe, who will be performing live scenes from William Shakespeare’s A Midsummer Night’s Dream, Richard III, Romeo and Juliet, and “Much Ado About Nothing.” Per the troupe’s usual fare, the scenes will be performed on-the-fly with minimal rehearsal, fueled by a pint or two of liquid courage. The troupe has gained a ravenous cult following in its short time, and earned Creative Loafing’s critic award for Best Local Play earlier this year.
Tipsy blunders are common in Shakespeare on Draught, but always played up for laughs and entertainment, encouraging common “groundlings” in the audience to heckle and take a drink when the actors are forced to call for a line or creatively adlib their way through a scene. It’s a unifying experience that shatters the high-brow and stuffy perception of live theater, taking glory in its own imperfection. “There are zero boundaries between the actors and our groundlings who are watching,” says Elizabeth Miller, the troupe’s artistic director and founder. “We give them props. We talk to them and they talk back. They boo and cheer and whistle and heckle and hiss and are as much a part of creating the evening as we are.”
Even when mistakes are made, it’s far from amateur-hour. Miller and company are experienced stage performers, and it takes skill to perform complex and tongue-twisting Shakespeare plays from memory — especially a hazy one. Actors who are used to a lengthy rehearsal processes and multiple performances only get one or two brief run-throughs of the script, and each performance is one night only. “On one level, I think our audiences really dig that about us. It's pretty fun to watch actors messing up and not taking themselves too seriously, especially when we've made it into a bit of a drinking game,” Miller says. “On a deeper level though, our actors start making bigger, bolder, more exciting choices. It's almost a ‘fight or flight’ response, and it's so much fun to work like that as an actor. A lot of the acting choices we've made on the fly during our shows live in legend amongst the company.”
Early performances of Shakespeare on Draught were established at Cabbagetown’s 97 Estoria, a dive bar with the kind of intimate and inebriated audience that Shakespeare himself was originally writing for. After growing a larger cult of loyal attendees, the troupe found a second home at Orpheus Brewing and began performing at the panhellenic-themed brewery near Piedmont Park. “Shakespeare on Draught represents what we've always tried to do at Orpheus — bring people together with beer and stories,” says Orpheus brewmaster and president Jason Pellett. “They need each other, and that's rarely as evident as when hundreds of people come together in a brewery parking lot to experience a raucous, slightly drunk, Shakespeare play in the kind of loose setting they were written for.”
In addition to Orpheus’s year-round and seasonal beers on draft, there will also be food available for purchase on-site and a raffle with prizes including iconic props from past shows and a set of commemorative beer glasses. The troupe will be announcing its 2019 season, including a special show that will be decided by those in attendance at the anniversary that very night.
A range of ticket levels include $10 (entry), $20 (entry, one beer, ten raffle tickets), or $30 (entry one beer, one commemorative pint glass, twenty raffle tickets).
Great Southern Beer Fest
The Great Southern Beer Fest isn’t until April 27, 2019, so it’s a little early to be talking about it... but we don’t want you to miss the first round of $25 cheapo tickets, which go on sale this Friday, Dec. 7. You know the beer festival drill by now — more than 75 breweries from all over Georgia and other Southern states will be pouring samples of their finest craft beers from booths scattered around Virginia-Highlands’ John Howell Park. This beer fest is hootnannified with live country rock music, commemorative full-size mason jars, and Southern soul food. Early tickets are available here.
NEW BEER RELEASES
Monday Night Brewing is bringing back the beloved Space Lettuce double IPA, available at the Hop Hut and in 16 oz tall boys Dec. 7. Originally brewed for the brewery’s sixth anniversary, Space Lettuce is packed with six different hop varieties (Citra, Mosaic, Ekuanot, Simcoe, Mandarina Bavaria, and Columbus) and clocks in at 8.1 percent ABV.
The very next day, Monday Night Garage will release Como Te Llamas, an homage to the sweet, rice-based Latin American beverage, horchata. This tequila barrel-aged imperial stout is spiced with cinnamon, nutmeg and brown sugar, thickened with lactose and vanilla for a deep and filling stout body at a warming 12.5 percent ABV. It’ll be available at the Garage in bottles, and can be reserved on CraftCellr.
New Realm Brewing collaborated with ASW Distillery to brew Sticky Beans, an English Strong Ale with maple syrup and Firelight Coffee Roasters coffee beans, aged in ASW bourbon barrels to finish at 8.8 percent ABV. It’ll be available exclusively at Taco Mac locations all over Georgia starting Dec. 10 and continuing through the holidays.
Members of the Atlanta craft beer community: If you have a cool event or beer release in need of coverage, drop a line to Creative Loafing’s beer correspondent, Alex Patton, at alex.patton@creativeloafing.com "
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Tipsy blunders are common in Shakespeare on Draught, but always played up for laughs and entertainment, encouraging common “groundlings” in the audience to heckle and take a drink when the actors are forced to call for a line or creatively adlib their way through a scene. It’s a unifying experience that shatters the high-brow and stuffy perception of live theater, taking glory in its own imperfection. “There are zero boundaries between the actors and our groundlings who are watching,” says Elizabeth Miller, the troupe’s artistic director and founder. “We give them props. We talk to them and they talk back. They boo and cheer and whistle and heckle and hiss and are as much a part of creating the evening as we are.”
Even when mistakes are made, it’s far from amateur-hour. Miller and company are experienced stage performers, and it takes skill to perform complex and tongue-twisting Shakespeare plays from memory — especially a hazy one. Actors who are used to a lengthy rehearsal processes and multiple performances only get one or two brief run-throughs of the script, and each performance is one night only. “On one level, I think our audiences really dig that about us. It's pretty fun to watch actors messing up and not taking themselves too seriously, especially when we've made it into a bit of a drinking game,” Miller says. “On a deeper level though, our actors start making bigger, bolder, more exciting choices. It's almost a ‘fight or flight’ response, and it's so much fun to work like that as an actor. A lot of the acting choices we've made on the fly during our shows live in legend amongst the company.”
Early performances of Shakespeare on Draught were established at Cabbagetown’s 97 Estoria, a dive bar with the kind of intimate and inebriated audience that Shakespeare himself was originally writing for. After growing a larger cult of loyal attendees, the troupe found a second home at Orpheus Brewing and began performing at the panhellenic-themed brewery near Piedmont Park. “Shakespeare on Draught represents what we've always tried to do at Orpheus — bring people together with beer and stories,” says Orpheus brewmaster and president Jason Pellett. “They need each other, and that's rarely as evident as when hundreds of people come together in a brewery parking lot to experience a raucous, slightly drunk, Shakespeare play in the kind of loose setting they were written for.”
In addition to Orpheus’s year-round and seasonal beers on draft, there will also be food available for purchase on-site and a raffle with prizes including iconic props from past shows and a set of commemorative beer glasses. The troupe will be announcing its 2019 season, including a special show that will be decided by those in attendance at the anniversary that very night.
A range of [https://www.eventbrite.com/e/shakespeare-on-draught-celebrates-the-season-tickets-52884540083?aff=efbeventtix&fbclid=IwAR0YkcVZBGLF5EXjj98LBr7RDc4kElwyl3hQpM-Ii3ZyTu6AzE6hqYzoArM|ticket levels] include $10 (entry), $20 (entry, one beer, ten raffle tickets), or $30 (entry one beer, one commemorative pint glass, twenty raffle tickets).
===__Great Southern Beer Fest__===
The Great Southern Beer Fest isn’t until April 27, 2019, so it’s a little early to be talking about it... but we don’t want you to miss the first round of $25 cheapo tickets, which go on sale this Friday, Dec. 7. You know the beer festival drill by now — more than 75 breweries from all over Georgia and other Southern states will be pouring samples of their finest craft beers from booths scattered around Virginia-Highlands’ John Howell Park. This beer fest is hootnannified with live country rock music, commemorative full-size mason jars, and Southern soul food. Early tickets are available [https://www.greatsouthernbeerfest.com/atlanta?fbclid=IwAR0NqzK7rGn8LVZ8VTEVvp4NUToTMJ3YyT5Mdj1Lsd4eCJz5vcoruWwLlII|here].
===__NEW BEER RELEASES __===
__Monday Night Brewing____ __is bringing back the beloved Space Lettuce double IPA, available at the Hop Hut and in 16 oz tall boys Dec. 7. Originally brewed for the brewery’s sixth anniversary, Space Lettuce is packed with six different hop varieties (Citra, Mosaic, Ekuanot, Simcoe, Mandarina Bavaria, and Columbus) and clocks in at 8.1 percent ABV.
The very next day, __Monday Night Garage__ will release Como Te Llamas, an homage to the sweet, rice-based Latin American beverage, horchata. This tequila barrel-aged imperial stout is spiced with cinnamon, nutmeg and brown sugar, thickened with lactose and vanilla for a deep and filling stout body at a warming 12.5 percent ABV. It’ll be available at the Garage in bottles, and can be reserved on [https://garage.craftcellr.com/offers/26652|CraftCellr].
__New Realm Brewing__ collaborated with __ASW Distillery__ to brew Sticky Beans, an English Strong Ale with maple syrup and __Firelight Coffee Roasters__ coffee beans, aged in ASW bourbon barrels to finish at 8.8 percent ABV. It’ll be available exclusively at __Taco Mac__ locations all over Georgia starting Dec. 10 and continuing through the holidays.
''Members of the Atlanta craft beer community: If you have a cool event or beer release in need of coverage, drop a line to Creative Loafing’s beer correspondent, Alex Patton, at [mailto:alex.patton@creativeloafing.com|alex.patton@creativeloafing.com] ''"
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string(6322) " Drunkshake 2018-12-05T23:43:44+00:00 drunkshake.jpg Local craft brews and news Drunkshake 2018-12-05T23:35:28+00:00 FIRST DRAFT: Groundlings, gentry and royalty toast Shakespeare on Draught will.cardwell Will Cardwell Alex Patton dalexpatton (Alex Patton) 2018-12-05T23:35:28+00:00 Come, ye common drunkards and bougie aristocracy alike, and celebrate the two-year anniversary of Shakespeare on Draught, Atlanta’s resident under-prepared and booze-powered Shakespearean theater troupe.
This Monday, Dec. 10, at 8 p.m., Orpheus Brewing will host a raucous birthday party for the troupe, who will be performing live scenes from William Shakespeare’s A Midsummer Night’s Dream, Richard III, Romeo and Juliet, and “Much Ado About Nothing.” Per the troupe’s usual fare, the scenes will be performed on-the-fly with minimal rehearsal, fueled by a pint or two of liquid courage. The troupe has gained a ravenous cult following in its short time, and earned Creative Loafing’s critic award for Best Local Play earlier this year.
Tipsy blunders are common in Shakespeare on Draught, but always played up for laughs and entertainment, encouraging common “groundlings” in the audience to heckle and take a drink when the actors are forced to call for a line or creatively adlib their way through a scene. It’s a unifying experience that shatters the high-brow and stuffy perception of live theater, taking glory in its own imperfection. “There are zero boundaries between the actors and our groundlings who are watching,” says Elizabeth Miller, the troupe’s artistic director and founder. “We give them props. We talk to them and they talk back. They boo and cheer and whistle and heckle and hiss and are as much a part of creating the evening as we are.”
Even when mistakes are made, it’s far from amateur-hour. Miller and company are experienced stage performers, and it takes skill to perform complex and tongue-twisting Shakespeare plays from memory — especially a hazy one. Actors who are used to a lengthy rehearsal processes and multiple performances only get one or two brief run-throughs of the script, and each performance is one night only. “On one level, I think our audiences really dig that about us. It's pretty fun to watch actors messing up and not taking themselves too seriously, especially when we've made it into a bit of a drinking game,” Miller says. “On a deeper level though, our actors start making bigger, bolder, more exciting choices. It's almost a ‘fight or flight’ response, and it's so much fun to work like that as an actor. A lot of the acting choices we've made on the fly during our shows live in legend amongst the company.”
Early performances of Shakespeare on Draught were established at Cabbagetown’s 97 Estoria, a dive bar with the kind of intimate and inebriated audience that Shakespeare himself was originally writing for. After growing a larger cult of loyal attendees, the troupe found a second home at Orpheus Brewing and began performing at the panhellenic-themed brewery near Piedmont Park. “Shakespeare on Draught represents what we've always tried to do at Orpheus — bring people together with beer and stories,” says Orpheus brewmaster and president Jason Pellett. “They need each other, and that's rarely as evident as when hundreds of people come together in a brewery parking lot to experience a raucous, slightly drunk, Shakespeare play in the kind of loose setting they were written for.”
In addition to Orpheus’s year-round and seasonal beers on draft, there will also be food available for purchase on-site and a raffle with prizes including iconic props from past shows and a set of commemorative beer glasses. The troupe will be announcing its 2019 season, including a special show that will be decided by those in attendance at the anniversary that very night.
A range of ticket levels include $10 (entry), $20 (entry, one beer, ten raffle tickets), or $30 (entry one beer, one commemorative pint glass, twenty raffle tickets).
Great Southern Beer Fest
The Great Southern Beer Fest isn’t until April 27, 2019, so it’s a little early to be talking about it... but we don’t want you to miss the first round of $25 cheapo tickets, which go on sale this Friday, Dec. 7. You know the beer festival drill by now — more than 75 breweries from all over Georgia and other Southern states will be pouring samples of their finest craft beers from booths scattered around Virginia-Highlands’ John Howell Park. This beer fest is hootnannified with live country rock music, commemorative full-size mason jars, and Southern soul food. Early tickets are available here.
NEW BEER RELEASES
Monday Night Brewing is bringing back the beloved Space Lettuce double IPA, available at the Hop Hut and in 16 oz tall boys Dec. 7. Originally brewed for the brewery’s sixth anniversary, Space Lettuce is packed with six different hop varieties (Citra, Mosaic, Ekuanot, Simcoe, Mandarina Bavaria, and Columbus) and clocks in at 8.1 percent ABV.
The very next day, Monday Night Garage will release Como Te Llamas, an homage to the sweet, rice-based Latin American beverage, horchata. This tequila barrel-aged imperial stout is spiced with cinnamon, nutmeg and brown sugar, thickened with lactose and vanilla for a deep and filling stout body at a warming 12.5 percent ABV. It’ll be available at the Garage in bottles, and can be reserved on CraftCellr.
New Realm Brewing collaborated with ASW Distillery to brew Sticky Beans, an English Strong Ale with maple syrup and Firelight Coffee Roasters coffee beans, aged in ASW bourbon barrels to finish at 8.8 percent ABV. It’ll be available exclusively at Taco Mac locations all over Georgia starting Dec. 10 and continuing through the holidays.
Members of the Atlanta craft beer community: If you have a cool event or beer release in need of coverage, drop a line to Creative Loafing’s beer correspondent, Alex Patton, at alex.patton@creativeloafing.com Johns Creek Photography TAMING OF THE BREW: Orpheus Brewing host tipsy theater troupe Shakespeare on Drought’s two-year anniversary party this Monday, Dec. 10. FIRST DRAFT: Groundlings, gentry and royalty toast Shakespeare on Draught "
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FIRST DRAFT: Groundlings, gentry and royalty toast Shakespeare on Draught Food and Drink, Beer
Wednesday December 5, 2018 06:35 PM EST
Local craft brews and news
|
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string(5266) "The Whiskey Gentry’s annual Merry Y’alltide holiday show is Lauren Morrow’s favorite gig of the year.
“It’s turned into this big thing where we decorate the stage and do all this stuff,” says Morrow, who has fronted the Atlanta-based Americana group for the past decade. “We’ve had special guests like Shovels & Rope and Cory Branan join us. Now we incorporate a lot more Christmas songs as well. I think it’s become a fan favorite, too.”
But this year’s December 8 holiday concert at Variety Playhouse will be both joyous and bittersweet. The 10th annual Merry Y’alltide will also mark the Whiskey Gentry’s final show. The popular local band — an integral part of Atlanta’s roots-music surge in recent years — will call it a day afterward, and Morrow will continue as a solo act, with her husband Jason at her side.
“It definitely doesn’t feel real,” Morrow says, “but I guess it feels like the timing is right.”
The Morrows started the Whiskey Gentry 10 years ago after meeting at The Local on Ponce de Leon Avenue while playing in different bands. They hit it off, began writing songs together, and eventually put together a band to play a punk-inspired blend of bluegrass, country, and rock ’n’ roll. The lineup currently includes bassist Sam Griffin, drummer Nico Lembo, fiddler Rurik Nunan, mandolinist Michael Smith, banjo player Chesley Lowe, and keyboardist Les Hall.
It wasn’t long before the Whiskey Gentry picked up steam, graduating from smaller venues like the Star Bar to the much larger Buckhead Theatre and Variety Playhouse. They toured Europe a couple times, opened for Dwight Yoakam (among others), and made three albums along the way, most recently 2017’s Dead Ringer, which landed on CL’s list of the year’s best releases.
Critical praise doesn’t pay the rent, however, and Dead Ringer didn’t quite climb to the heights the group hoped to reach. Meanwhile, one member moved to another town, while others had kids and day jobs that made scheduling band activities more complicated.
“Dead Ringer offered us a lot of great opportunities, but it maybe didn’t meet the expectations we had,” Morrow says. “There was just kind of this natural wave around the band, and the crest was coming down. I think everybody recognized that.”
In July of 2017, the Morrows played a tribute night for John Prine in Nashville, where they expected to feel like out-of-place out-of-towners. But they were welcomed with open arms, and charmed by the city’s music-first culture.
“The whole town lives and breathes music, and that’s what we want to do,” Morrow says. “That’s where our careers were moving in a different direction because we were like, ‘We’re going to keep going, and this is still going to be our top priority.’”
Rather than keep the Whiskey Gentry name and continue to fight for attention among the glut of whiskey-themed Americana bands (i.e., Whiskey Myers and the Whiskey Shivers), Jason Morrow proposed a rebrand along with the relocation. Going forward, his wife would record under her own name, Lauren Morrow.
Backed by a new band of Music City session players, Morrow released her solo debut, a four-song self-titled EP, in October. With no fiddle, mandolin, or banjo on the tracks, songs such as “I Don’t Think About You At All,” “Barbara Jean,” and “Mess Around” are more Southern soul and rock ’n’ roll than fast-paced bluegrass. Each song tells a story steeped in Morrow’s sweet but fiery Georgia drawl. “They’re still country sounding, though,” she says. “That’s just the way we write and the way my voice sounds.”
On Dec. 28, Morrow will play her debut show as a solo artist at Smith’s Olde Bar. But first, she’s looking forward to Merry Y’alltide and reflecting on a decade of the Whiskey Gentry.
“We got to do amazing stuff,” she says. “When we started the band, I remember thinking, ‘Man, it’s going to be so crazy when we’ve been together for a year.’ I would’ve never, ever thought we would be getting the opportunities we’ve had and being able to have this family together. It’s really special,” she adds. “It’ll be interesting to see if I can make it through this last show without crying.”
Because of the circumstances, the band will bring back a bunch of long-shelved Whiskey Gentry songs that fans have been requesting. They’ll also do all their favorite Christmas tunes from past Y’alltide shows. When all is said and done, they’ll tie a big holiday bow around the Whiskey Gentry and turn the page to a new chapter.
For the Morrows, that means heading back to Nashville, even though it still feels like driving away from home.
“People ask where we’re from, and we say Atlanta,” Morrow says. “We live in Nashville, but we’re always going to be from Atlanta.”
10th Annual Merry Y’alltide feat. the Whiskey Gentry With Blair Crimmins & the Hookers. $20. 7 p.m. (doors). Sat., Dec. 8. Variety Playhouse, 1099 Euclid Ave. N.E. 404-524-7354. www.variety-playhouse.com.
Lauren Morrow solo debut. $15-$20. Fri., Dec. 28, 8 p.m. Smith’s Olde Bar, 1578 Piedmont Ave. N.E. 404-875-1522. www.smithsoldebar.com."
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~~#000000:“It’s turned into this big thing where we decorate the stage and do all this stuff,” says Morrow, who has fronted the Atlanta-based Americana group for the past decade. “We’ve had special guests like Shovels & Rope and Cory Branan join us. Now we incorporate a lot more Christmas songs as well. I think it’s become a fan favorite, too.”~~
~~#000000:But this year’s __December 8__ holiday concert at Variety Playhouse will be both joyous and bittersweet. The 10th annual Merry Y’alltide will also mark the Whiskey Gentry’s final show. The popular local band — an integral part of Atlanta’s roots-music surge in recent years — will call it a day afterward, and Morrow will continue as a solo act, with her husband Jason at her side.~~
~~#000000:“It definitely doesn’t feel real,” Morrow says, “but I guess it feels like the timing is right.”~~
~~#000000:The Morrows started the Whiskey Gentry 10 years ago after meeting at The Local on Ponce de Leon Avenue while playing in different bands. They hit it off, began writing songs together, and eventually put together a band to play a punk-inspired blend of bluegrass, country, and rock ’n’ roll. The lineup currently includes bassist Sam Griffin, drummer Nico Lembo, fiddler Rurik Nunan, mandolinist Michael Smith, banjo player Chesley Lowe, and keyboardist Les Hall.~~
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string(5723) " Music Whiskey5 1 17 2018-12-06T14:56:51+00:00 Music_Whiskey5-1_17.jpg The Whiskey Gentry bids farewell, Lauren Morrow goes solo Music Whiskey5 1 17 2018-12-06T14:38:07+00:00 A bittersweet Merry Y’alltide chad.radford Chad Radford Ben Salmon 2018-12-06T14:38:07+00:00 The Whiskey Gentry’s annual Merry Y’alltide holiday show is Lauren Morrow’s favorite gig of the year.
“It’s turned into this big thing where we decorate the stage and do all this stuff,” says Morrow, who has fronted the Atlanta-based Americana group for the past decade. “We’ve had special guests like Shovels & Rope and Cory Branan join us. Now we incorporate a lot more Christmas songs as well. I think it’s become a fan favorite, too.”
But this year’s December 8 holiday concert at Variety Playhouse will be both joyous and bittersweet. The 10th annual Merry Y’alltide will also mark the Whiskey Gentry’s final show. The popular local band — an integral part of Atlanta’s roots-music surge in recent years — will call it a day afterward, and Morrow will continue as a solo act, with her husband Jason at her side.
“It definitely doesn’t feel real,” Morrow says, “but I guess it feels like the timing is right.”
The Morrows started the Whiskey Gentry 10 years ago after meeting at The Local on Ponce de Leon Avenue while playing in different bands. They hit it off, began writing songs together, and eventually put together a band to play a punk-inspired blend of bluegrass, country, and rock ’n’ roll. The lineup currently includes bassist Sam Griffin, drummer Nico Lembo, fiddler Rurik Nunan, mandolinist Michael Smith, banjo player Chesley Lowe, and keyboardist Les Hall.
It wasn’t long before the Whiskey Gentry picked up steam, graduating from smaller venues like the Star Bar to the much larger Buckhead Theatre and Variety Playhouse. They toured Europe a couple times, opened for Dwight Yoakam (among others), and made three albums along the way, most recently 2017’s Dead Ringer, which landed on CL’s list of the year’s best releases.
Critical praise doesn’t pay the rent, however, and Dead Ringer didn’t quite climb to the heights the group hoped to reach. Meanwhile, one member moved to another town, while others had kids and day jobs that made scheduling band activities more complicated.
“Dead Ringer offered us a lot of great opportunities, but it maybe didn’t meet the expectations we had,” Morrow says. “There was just kind of this natural wave around the band, and the crest was coming down. I think everybody recognized that.”
In July of 2017, the Morrows played a tribute night for John Prine in Nashville, where they expected to feel like out-of-place out-of-towners. But they were welcomed with open arms, and charmed by the city’s music-first culture.
“The whole town lives and breathes music, and that’s what we want to do,” Morrow says. “That’s where our careers were moving in a different direction because we were like, ‘We’re going to keep going, and this is still going to be our top priority.’”
Rather than keep the Whiskey Gentry name and continue to fight for attention among the glut of whiskey-themed Americana bands (i.e., Whiskey Myers and the Whiskey Shivers), Jason Morrow proposed a rebrand along with the relocation. Going forward, his wife would record under her own name, Lauren Morrow.
Backed by a new band of Music City session players, Morrow released her solo debut, a four-song self-titled EP, in October. With no fiddle, mandolin, or banjo on the tracks, songs such as “I Don’t Think About You At All,” “Barbara Jean,” and “Mess Around” are more Southern soul and rock ’n’ roll than fast-paced bluegrass. Each song tells a story steeped in Morrow’s sweet but fiery Georgia drawl. “They’re still country sounding, though,” she says. “That’s just the way we write and the way my voice sounds.”
On Dec. 28, Morrow will play her debut show as a solo artist at Smith’s Olde Bar. But first, she’s looking forward to Merry Y’alltide and reflecting on a decade of the Whiskey Gentry.
“We got to do amazing stuff,” she says. “When we started the band, I remember thinking, ‘Man, it’s going to be so crazy when we’ve been together for a year.’ I would’ve never, ever thought we would be getting the opportunities we’ve had and being able to have this family together. It’s really special,” she adds. “It’ll be interesting to see if I can make it through this last show without crying.”
Because of the circumstances, the band will bring back a bunch of long-shelved Whiskey Gentry songs that fans have been requesting. They’ll also do all their favorite Christmas tunes from past Y’alltide shows. When all is said and done, they’ll tie a big holiday bow around the Whiskey Gentry and turn the page to a new chapter.
For the Morrows, that means heading back to Nashville, even though it still feels like driving away from home.
“People ask where we’re from, and we say Atlanta,” Morrow says. “We live in Nashville, but we’re always going to be from Atlanta.”
10th Annual Merry Y’alltide feat. the Whiskey Gentry With Blair Crimmins & the Hookers. $20. 7 p.m. (doors). Sat., Dec. 8. Variety Playhouse, 1099 Euclid Ave. N.E. 404-524-7354. www.variety-playhouse.com.
Lauren Morrow solo debut. $15-$20. Fri., Dec. 28, 8 p.m. Smith’s Olde Bar, 1578 Piedmont Ave. N.E. 404-875-1522. www.smithsoldebar.com. Jacqueline Justice SWEET BUT FIERY: Lauren Morrow is Nashville bound, but she’ll always call Georgia her home. A bittersweet Merry Y’alltide "
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A bittersweet Merry Y’alltide 5 Things to Do, Music and Nightlife, Crib Notes, News You May Have Missed, Music Features
Thursday December 6, 2018 09:38 AM EST
The Whiskey Gentry bids farewell, Lauren Morrow goes solo
|
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$18-31. Thurs., Dec. 6 - Sat., Dec. 8. Laughing Skull Lounge. 878 Peachtree St. www.laughingskulllounge.com"
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''$18-31. Thurs., Dec. 6 - Sat., Dec. 8. Laughing Skull Lounge. 878 Peachtree St. www.laughingskulllounge.com''"
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string(1073) " Bethstelling 2018-12-06T15:35:13+00:00 bethstelling.jpg Bethstelling 2018-12-06T14:51:53+00:00 SEE & DO: Beth Stelling will.cardwell Will Cardwell Olivia Cathcart 2018-12-06T14:51:53+00:00 A product of the Chicago stand-up scene, Beth Stelling seems destined for greatness. Her second album, “Simply the Beth,” and Comedy Central half hour special were lauded by Splitsider and The Interrobang as one of the best for 2015. Since then, Stelling has been regaling audiences with her Midwestern charm and wit on Netflix’s “The Stand-Ups,” “Conan,” “Jimmy Kimmel Live,” as well as writing for Comedy Central’s “Another Period” and Hulu’s “I Love You America with Sarah Silverman.” No stranger to the A, the Laughing Skull welcomes Stelling back for five shows over three nights.
$18-31. Thurs., Dec. 6 - Sat., Dec. 8. Laughing Skull Lounge. 878 Peachtree St. www.laughingskulllounge.com Mindy Tucker SIMPLY THE BETH: One of Chicago's finest does three nights at Laughing Skull SEE & DO: Beth Stelling "
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A product of the Chicago stand-up scene, Beth Stelling seems destined for greatness. Her second album, “Simply the Beth,” and Comedy Central half hour special were lauded by Splitsider and The Interrobang as one of the best for 2015. Since then, Stelling has been regaling audiences with her Midwestern charm and wit on Netflix’s “The Stand-Ups,” “Conan,” “Jimmy Kimmel Live,” as well as writing... |
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Papa John Couch and Lexi Street play Eddie’s Attic Thurs., Dec. 20. $10-$14. 6:30 p.m. 515-B North McDonough St. (upstairs) 404-377-4976. www.eddiesattic.com.
★★★★★ This album will change your life | ★★★★☆ A truly great album | ★★★☆☆ A solid effort, worth a listen | ★★☆☆☆ No thanks | ★☆☆☆☆ Don't bother
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string(2183) " Music Crouch7 1 17 2018-12-06T16:04:16+00:00 Music_Crouch7-1_17.jpg ‘Meriwether’ ruminates on life with endearing Southern wisdom Music Crouch7 1 17 2018-12-06T15:32:37+00:00 RECORD REVIEW: Papa Jack Couch chad.radford Chad Radford Chad Radford chad.radford (Chad Radford) 2018-12-06T15:32:37+00:00 More than the tales of heartache, smiles, bad luck, and devotion to the Almighty, what gives weight to Papa Jack Couch’s songs of life in rural Meriwether County, Georgia, is the exquisiteness of his voice. In “Life Its Own,” the opening number from his latest album, simply titled Meriwether, self-effacing humor and sweet grace find balance when he sings, “You thought your mother-in-law was dead, but she just got out of jail/When it rains it always pours, and then it starts to hail.” The song sets the tone for a series of portraits of everyone from petty criminals to antagonists with “manslaughtering eyes,” and the desperate people who love them.
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★★★★★ This album will change your life | ★★★★☆ A truly great album | ★★★☆☆ A solid effort, worth a listen | ★★☆☆☆ No thanks | ★☆☆☆☆ Don't bother
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‘Meriwether’ ruminates on life with endearing Southern wisdom
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★★★★★ This album will change your life | ★★★★☆ A truly great album | ★★★☆☆ A solid effort, worth a listen | ★★☆☆☆ No thanks | ★☆☆☆☆ Don't bother
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The age of SoundCloud rap and internet celebrity has given rise to a tendency to place a higher cultural premium on the cool-factor — social clout — over steady musical talent that remains aware of modern trends while still yielding a new and progressive batch of songs. The Danger Boys fall prey to their own cool cachet, and Danger Reality, misses the mark. ★★☆☆☆
★★★★★ This album will change your life | ★★★★☆ A truly great album | ★★★☆☆ A solid effort, worth a listen | ★★☆☆☆ No thanks | ★☆☆☆☆ Don't bother
Courtesy Awful Records DANGER REALITY RECORD REVIEW: Danger Incorporated "
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'Danger Reality' falls prey to its own cool cachet
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string(1334) " Sleep2018 12 05 135 2018-12-06T17:24:31+00:00 sleep2018-12-05-135.jpg The legendary stoner metal trio stay mystical Sleep2018 12 05 135 2018-12-06T17:23:03+00:00 PHOTOS: Sleep at Variety Playhouse Dec. 5 chad.radford Chad Radford Mike White 2018-12-06T17:23:03+00:00 The mighty doom metal trio Sleep kicked off its winter tour Wednesday, December 5, at Variety Playhouse — the first of a two-night stand. Since last playing Atlanta in May 2015, the group surprised the world by releasing The Sciences on, of course, 4/20. It’s the group’s first full-length album since 1999’s Dopesmoker. Guitarist Matt Pike didn’t seem phased by his recent emergency partial toe amputation, which caused his other band High on Fire to cancel a November 7 show at the Masquerade. Pike, bass player Al Cisneros, and drummer Jason Roeder, treated the packed crowd to a healthy hour and-a-half set of songs from The Sciences, along with a couple of numbers from 1993’s Holy Mountain. The group also unleashed non-LP tracks, 2014’s single “Clarity,” and “Leagues Beneath,” from 2017’s Adult Swim singles set.
Mike White DOPESMOKER: Sleep feat. Matt Pike (above) played the first show of a two-night stand at Variety Playhouse on Wed., Dec. 5. PHOTOS: Sleep at Variety Playhouse Dec. 5 "
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PHOTOS: Sleep at Variety Playhouse Dec. 5 Music and Nightlife, Crib Notes, News You May Have Missed, Music Photos
Thursday December 6, 2018 12:23 PM EST
The legendary stoner metal trio stay mystical
|
more...
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string(3476) "We are rapt with anticipation for chef Zeb Stevenson and restaurateur Ross Jones’ Redbird, which is scheduled to open summer of 2019 in the former Bacchanalia space at Westside Provisions District. According to a release by Redbird, the location will be fun, lively and comfortable, with a “come as you are” sensibility and Stevenson’s “free spirited cuisine.”
Those famous Budweiser Clydesdales are visiting Atlanta on Sat., Dec. 15. Lucky’s Burgers & Brew (305 Brookhaven Ave.) hosts the team from 3-6 p.m. so attendees can get pics and enjoy Budweiser beer and cheeseburger specials.
There will be no more shrimp flinging at Peachtree Center, since Hibachi restaurant Benihana closed its 229 Peachtree St. location. Fear not though —you can still enjoy a flaming onion volcano at their Buckhead and Alpharetta locations.
Sear at the Atlanta Marriott Marquis (265 Peachtree Ave, NE) is set to re-open late December after extensive renovations. The fiery American steakhouse will focus on a menu created with local ingredients from Georgia and Alabama, washed down with a selection of 20 “unique and local” bourbons.. Renderings look cozy but swanky.
Stems, Seeds, and Everythang, Brush’s Thursday night all-natural wine pop-up, is adding food for the month of December and it is not to be missed! Seung Hee Lee, better known as her Instagram name Korean Fusion cooks Korean specialties to complement the evening’s natural wine selections and Outkast tunes beginning at 10 p.m.
Chef Ami Sueki’s Nakamura.ke food truck will serve glow in the dark ramen and bioluminescent cocktails from the Sound Table’s parking lot in Old Fourth Ward. This artistic dish will be available from Jan. 30 to Feb. 16, before chef Ami Sueki takes the truck on a city-wide tour. This event is currently sold out.
Have you been following Talat Market’s pineapple-emblazoned food truck around the city before the brick and mortar location opens? The crew cooks with Decatur’s Brush Sushi Izakaya (316 Church St.) on Tues., Dec. 11 from 7-10 p.m. Snag a reservation for six courses, snacks, and dessert here.
O4W Pizza is back in Old Fourth Ward. Anthony Spina and Billy Streck’s (Hampton+Hudson, Cypress St. Pint + Plate) Nina & Rafi serves Spina’s Detroit-style pizzas from 5 p.m. to midnight across from Bell Street Burritos at 661 Auburn Ave.
The much-anticipated Whole Foods 365 in Decatur (1555 Church St.) opens Dec. 12. The 5,000 square foot store has an upstairs area called Pour de Leon for pouring local and national craft beers, wine, and ciders and a hot bar with small bites, sandwiches, and pizza. The neatest part — free old school arcade games.
Taqueria del Sol’s chef Eddie Hernandez truly knows how to be festive. He’s cooking up complimentary breakfast tacos and coffee at Westside’s Sid Mashburn (1198 Howell Mill Rd.) on Sat., Dec. 8. He will also be selling and signing copies of his new cookbook, Turnip Greens and Tortillas, from 10 a.m. to 12 p.m.
We hear Santa will be in Buckhead this weekend. On Sun., Dec. 9, he will be sitting for photos and listening to wish lists during brunch at the Southern Gentleman and next-door’s Gypsy Kitchen. The big guy hangs out from 11:30 a.m. to 4 p.m.
A third outpost of HOBNOB Neighborhood Tavern is opening in Dunwoody on Wed., Dec. 12. This 1221 Ashford crossing location serves tavern food with Southern flair like its Midtown and Brookhaven siblings."
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string(3742) "We are rapt with anticipation for chef Zeb Stevenson and restaurateur Ross Jones’ __Redbird__, which is scheduled to open summer of 2019 in the former Bacchanalia space at Westside Provisions District. According to a release by Redbird, the location will be fun, lively and comfortable, with a “come as you are” sensibility and Stevenson’s “free spirited cuisine.”
Those famous Budweiser Clydesdales are visiting Atlanta on Sat., Dec. 15. __Lucky’s Burgers & Brew __(305 Brookhaven Ave.) hosts the team from 3-6 p.m. so attendees can get pics and enjoy Budweiser beer and cheeseburger specials.
There will be no more shrimp flinging at Peachtree Center, since Hibachi restaurant __Benihana __closed its 229 Peachtree St. location. Fear not though —you can still enjoy a flaming onion volcano at their Buckhead and Alpharetta locations.
__Sear____ __at the Atlanta Marriott Marquis (265 Peachtree Ave, NE) is set to re-open late December after extensive renovations. The fiery American steakhouse will focus on a menu created with local ingredients from Georgia and Alabama, washed down with a selection of 20 “unique and local” bourbons.. Renderings look cozy but swanky.
Stems, Seeds, and Everythang, __Brush__’s Thursday night all-natural wine pop-up, is adding food for the month of December and it is not to be missed! Seung Hee Lee, better known as her Instagram name __Korean Fusion__ cooks Korean specialties to complement the evening’s natural wine selections and Outkast tunes beginning at 10 p.m.
Chef Ami Sueki’s __Nakamura.ke__ food truck will serve glow in the dark ramen and bioluminescent cocktails from the Sound Table’s parking lot in Old Fourth Ward. This artistic dish will be available from Jan. 30 to Feb. 16, before chef Ami Sueki takes the truck on a city-wide tour. This event is currently sold out.
Have you been following __Talat Market__’s pineapple-emblazoned food truck around the city before the brick and mortar location opens? The crew cooks with Decatur’s Brush Sushi Izakaya (316 Church St.) on Tues., Dec. 11 from 7-10 p.m. Snag a reservation for six courses, snacks, and dessert[https://l.instagram.com/?u=https://www.eventbrite.com/e/brush-x-talat-tickets-53359210836&e=ATMrEE41w0tG411z54uTbOZyFVpkrUUunhoMdtTxFYyQAHS-4AgQ8UZv_zmbcqARAQKHDovc5XW8xh9L2tPcUuJNt6BtJc0| here].
__O4W Pizza__ is back in Old Fourth Ward. Anthony Spina and Billy Streck’s (Hampton+Hudson, Cypress St. Pint + Plate) __Nina & Rafi__ serves Spina’s Detroit-style pizzas from 5 p.m. to midnight across from Bell Street Burritos at 661 Auburn Ave.
The much-anticipated __Whole Foods 365__ in Decatur (1555 Church St.) opens Dec. 12. The 5,000 square foot store has an upstairs area called Pour de Leon for pouring local and national craft beers, wine, and ciders and a hot bar with small bites, sandwiches, and pizza. The neatest part — free old school arcade games.
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We hear Santa will be in Buckhead this weekend. On Sun., Dec. 9, he will be sitting for photos and listening to wish lists during brunch at the __Southern Gentleman__ and next-door’s __Gypsy Kitchen__. The big guy hangs out from 11:30 a.m. to 4 p.m.
A third outpost of HOBNOB __Neighborhood Tavern __is opening in Dunwoody on Wed., Dec. 12. This 1221 Ashford crossing location serves tavern food with Southern flair like its Midtown and Brookhaven siblings."
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string(3973) " Redbird Zeb Stevenson 2018-12-09T17:05:34+00:00 Redbird Zeb Stevenson.jpg Clydesdales, free spirited cuisines, glow in the dark noodles and more Redbird Zeb Stevenson 2018-12-06T21:08:45+00:00 QUICK BITES: Food news roundup 12/6 will.cardwell Will Cardwell Angela Hansberger 2018-12-06T21:08:45+00:00 We are rapt with anticipation for chef Zeb Stevenson and restaurateur Ross Jones’ Redbird, which is scheduled to open summer of 2019 in the former Bacchanalia space at Westside Provisions District. According to a release by Redbird, the location will be fun, lively and comfortable, with a “come as you are” sensibility and Stevenson’s “free spirited cuisine.”
Those famous Budweiser Clydesdales are visiting Atlanta on Sat., Dec. 15. Lucky’s Burgers & Brew (305 Brookhaven Ave.) hosts the team from 3-6 p.m. so attendees can get pics and enjoy Budweiser beer and cheeseburger specials.
There will be no more shrimp flinging at Peachtree Center, since Hibachi restaurant Benihana closed its 229 Peachtree St. location. Fear not though —you can still enjoy a flaming onion volcano at their Buckhead and Alpharetta locations.
Sear at the Atlanta Marriott Marquis (265 Peachtree Ave, NE) is set to re-open late December after extensive renovations. The fiery American steakhouse will focus on a menu created with local ingredients from Georgia and Alabama, washed down with a selection of 20 “unique and local” bourbons.. Renderings look cozy but swanky.
Stems, Seeds, and Everythang, Brush’s Thursday night all-natural wine pop-up, is adding food for the month of December and it is not to be missed! Seung Hee Lee, better known as her Instagram name Korean Fusion cooks Korean specialties to complement the evening’s natural wine selections and Outkast tunes beginning at 10 p.m.
Chef Ami Sueki’s Nakamura.ke food truck will serve glow in the dark ramen and bioluminescent cocktails from the Sound Table’s parking lot in Old Fourth Ward. This artistic dish will be available from Jan. 30 to Feb. 16, before chef Ami Sueki takes the truck on a city-wide tour. This event is currently sold out.
Have you been following Talat Market’s pineapple-emblazoned food truck around the city before the brick and mortar location opens? The crew cooks with Decatur’s Brush Sushi Izakaya (316 Church St.) on Tues., Dec. 11 from 7-10 p.m. Snag a reservation for six courses, snacks, and dessert here.
O4W Pizza is back in Old Fourth Ward. Anthony Spina and Billy Streck’s (Hampton+Hudson, Cypress St. Pint + Plate) Nina & Rafi serves Spina’s Detroit-style pizzas from 5 p.m. to midnight across from Bell Street Burritos at 661 Auburn Ave.
The much-anticipated Whole Foods 365 in Decatur (1555 Church St.) opens Dec. 12. The 5,000 square foot store has an upstairs area called Pour de Leon for pouring local and national craft beers, wine, and ciders and a hot bar with small bites, sandwiches, and pizza. The neatest part — free old school arcade games.
Taqueria del Sol’s chef Eddie Hernandez truly knows how to be festive. He’s cooking up complimentary breakfast tacos and coffee at Westside’s Sid Mashburn (1198 Howell Mill Rd.) on Sat., Dec. 8. He will also be selling and signing copies of his new cookbook, Turnip Greens and Tortillas, from 10 a.m. to 12 p.m.
We hear Santa will be in Buckhead this weekend. On Sun., Dec. 9, he will be sitting for photos and listening to wish lists during brunch at the Southern Gentleman and next-door’s Gypsy Kitchen. The big guy hangs out from 11:30 a.m. to 4 p.m.
A third outpost of HOBNOB Neighborhood Tavern is opening in Dunwoody on Wed., Dec. 12. This 1221 Ashford crossing location serves tavern food with Southern flair like its Midtown and Brookhaven siblings. Courtesy of Redbird Chef Zeb Stevenson's BIRD IS THE WORD: Redbird opens next summer in the former Bacchanalia space QUICK BITES: Food news roundup 12/6 "
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QUICK BITES: Food news roundup 12/6 Food and Drink, Restaurant News
Thursday December 6, 2018 04:08 PM EST
Clydesdales, free spirited cuisines, glow in the dark noodles and more
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string(6896) "If songs like Elvis Presley’s “Blue Christmas,” Charles Brown’s “Please Come Home for Christmas,” and John Lee Hooker’s lowdown “Blues for Christmas” are any indication, December is in the running for the saddest month of the year. It’s also a perfect time to give thanks for what Atlantans might take for granted.
Since 1985, five days a week from 6-10 a.m., WRFG’s Good Morning Blues show has delivered the goods. Monday through Friday, a double shot of two-hour blocks of blues programming — plus another two on Sunday morning’s Route 66, totaling 22 hours a week — may not seem exceptional considering satellite streaming stations provide lots more. But outside of New Orleans’ WWOZ, listener-supported WRFG rivals stations in legendary blues burghs like Chicago by broadcasting a plethora of contemporary blues rock, Delta folk, and acts from around the globe.
It’s the local angle, however, that provides the spark. The “Good Morning Blues” crew of DJs are fellow blues lovers you meet and chat with at clubs, not mysterious or faceless voices. They offer a personal spin with their radio shows, often emphasizing Atlanta talent like Tinsley Ellis, Mudcat, the Electromatics, Delta Moon, and others who appear on air to promote shows and new releases. That’s something no satellite station offers. The winning concept here is that WRFG’s DJs are from Atlanta and know their community of listeners; they provide a distinctly human experience that no bot or beamed-in satellite signal can provide.
Veteran DJ Rich “The Blues Professor” Pettit, whose personable style and affiliation with Louisiana-based music makes his Wednesday 6-8 a.m. shift breezy and fun, has been a mainstay of Good Morning Blues since 1986. According to Pettit, in the mid-’80s the program committee voted to launch a block of blues music to create consistency in the station’s “patchwork quilt” of shows in the high-profile morning hours, at a time when the station had been active for a little over a decade. Why blues? At the time there were a number of volunteers knowledgeable about the genre who were donating their time and services, and some blues programs had been on the air since 1973. It seemed like a logical choice.
The program has since caught on and remains one of the more popular and profitable blocks of airtime on WRFG. The latter is significant since listener contributions play a major role in keeping the nonprofit on the air. Where other outlets might relegate blues programming to late nights or bury it on their schedules to fill time, WRFG features the music during the highest-profile hours. “Morning and evening drive times are the two peak listening times for radio,” Pettit says. “We’re putting blues music out there when we know we have a huge, very supportive audience.”
Although they don’t subscribe to the Nielsen Arbitron rating system’s tracking service and can’t tell what the ratings are, Pettit goes on to say, “We have pledge drives three times a year, and blues always pulls in a significant portion of funds.”
Back-to-back Tuesday segments, the husband-and-wife team of Black Jack’s Blues Train, and A.J.’s Blues Kitchen have historically generated the most donations.
Even though no one gets a dime, there isn’t much turnover for on-air personalities. A majority of the current crop has hung in for over a decade. Each show mirrors the host’s personality, reflecting “the DJ’s personal taste and the kind of music they like,” Pettit says.
In 2005 WRFG won the Keeping the Blues Alive award, a prestigious honor from the Blues Foundation for achievement in public radio. Atlanta area blues fans depend on the scrappy, 33-years-strong Good Morning Blues programming to get their days off to a rootsy start. With any luck and plenty of donations, that streak will keep going for many more decades.
Rebirth of the blues ...
Blind Willie’s, the 32-year-old Atlanta blues institution with the neon alligator sign, is in fundraising mode. Details are scarce, but Blind Willie’s regular and occasional doorman Brian Sumner has launched a GoFundMe page to pay for a “rebirth” of the venerable Virginia-Highland nightlife haunt.
The list of performers who’ve graced the stage at 828 North Highland Avenue reads like a Who’s Who of the blues, including Atlanta icons Sean Costello, The Shadows, Mudcat, Delta Moon, the Breeze Kings, and Beverly “Guitar” Watkins to legendary artists Townes Van Zandt, Rufus Thomas, Mose Allison, The Nighthawks, Commander Cody and His Lost Planet Airmen, Taj Mahal, John Hammond, and Snooky Pryor. Still, rising young talents Nick Moss and Joe Louis Walker play Blind Willie’s as often as possible.
There isn’t a roots music fan in Atlanta who hasn’t passed through Blind Willie’s doors at least a few times over the decades. Now it’s time to give back, as the GoFundMe campaign hopes to raise $50,000.
In other news, December is a notoriously light month for live music. Still, there are enough hot blues to keep the fires burning through till the New Year.
Fri., Dec. 7
JD Simo, Smith’s Olde Bar: This Nashville-based blues guitarist shifts into extended psychedelic jams with his rock-solid backing duo.
Sat., Dec. 8
The War & Treaty, Coca Cola Roxy Theatre: Get ready for some roof-raising gospel and soul as this married duo takes you to church on a Saturday night.
Sun., Dec. 9
JD McPherson, Terminal West
JJ Gray, City Winery
Wed., Dec. 12
Jimmy Vivino/Bob Margolin, City Winery: It’s a double dose of journeyman blues guitar with rocker Vivino joining ex-Muddy Waters sideman Margolin for a rollicking, explosive combination.
Thurs.-Fri., Dec. 13-14
Marcus King Band, Variety Playhouse: King’s gritty voice and soulful approach makes him one of the younger stars of the blues with a terrific new album, Carolina Confessions, in his pocket.
Wed., Dec., 19
Asleep at the Wheel, City Winery
Thurs., Dec. 20
Rev. Horton Heat, The Masquerade
Fri., Dec. 21
North Mississippi Allstars, Variety Playhouse
Thurs. Dec. 27
Heather Lutrell, Blind Willie’s
Sun., Dec. 30
Devon Allman Project w/ Duane Betts, Buckhead Theatre: Allman Brothers Band offspring of Gregg and Dickie join forces for Southern-rock originals and a few gems made famous by their legendary fathers.
Mon., Dec. 31
Larkin Poe, Terminal West: These local sisters may have moved to Nashville, but we’ll always consider them ours, especially because their new album, Venom & Faith, is one of the finest and rawest blues sets of the year.
Drivin’ N’ Cryin’, Dan Baird & Homemade Sin, Buckhead Theater
Sandra Hall & the Shadows, Blind Willie’s
Fri., Jan. 11
Eric Gales, Terminal West
Please send upcoming blues news and events to hal.horowitz at creativeloafing.com."
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Since 1985, five days a week from 6-10 a.m., __[https://wrfg.org/|WRFG]__’s __Good Morning Blues__ show has delivered the goods. Monday through Friday, a double shot of two-hour blocks of blues programming — plus another two on Sunday morning’s __Route 66__, totaling 22 hours a week — may not seem exceptional considering satellite streaming stations provide lots more. But outside of New Orleans’ __WWOZ__, listener-supported __WRFG__ rivals stations in legendary blues burghs like Chicago by broadcasting a plethora of contemporary blues rock, Delta folk, and acts from around the globe.
It’s the local angle, however, that provides the spark. The “Good Morning Blues” crew of DJs are fellow blues lovers you meet and chat with at clubs, not mysterious or faceless voices. They offer a personal spin with their radio shows, often emphasizing Atlanta talent like Tinsley Ellis, Mudcat, the Electromatics, Delta Moon, and others who appear on air to promote shows and new releases. That’s something no satellite station offers. The winning concept here is that WRFG’s DJs are from Atlanta and know their community of listeners; they provide a distinctly human experience that no bot or beamed-in satellite signal can provide.
Veteran DJ __Rich “The Blues Professor” Pettit__, whose personable style and affiliation with Louisiana-based music makes his Wednesday 6-8 a.m. shift breezy and fun, has been a mainstay of __Good Morning Blues__ since 1986. According to Pettit, in the mid-’80s the program committee voted to launch a block of blues music to create consistency in the station’s “patchwork quilt” of shows in the high-profile morning hours, at a time when the station had been active for a little over a decade. Why blues? At the time there were a number of volunteers knowledgeable about the genre who were donating their time and services, and some blues programs had been on the air since 1973. It seemed like a logical choice.
The program has since caught on and remains one of the more popular and profitable blocks of airtime on __WRFG__. The latter is significant since listener contributions play a major role in keeping the nonprofit on the air. Where other outlets might relegate blues programming to late nights or bury it on their schedules to fill time, __WRFG__ features the music during the highest-profile hours. “Morning and evening drive times are the two peak listening times for radio,” Pettit says. “We’re putting blues music out there when we know we have a huge, very supportive audience.”
Although they don’t subscribe to the Nielsen Arbitron rating system’s tracking service and can’t tell what the ratings are, Pettit goes on to say, “We have pledge drives three times a year, and blues always pulls in a significant portion of funds.”
Back-to-back Tuesday segments, the husband-and-wife team of __Black Jack’s Blues Train__, and __A.J.’s Blues Kitchen__ have historically generated the most donations.
Even though no one gets a dime, there isn’t much turnover for on-air personalities. A majority of the current crop has hung in for over a decade. Each show mirrors the host’s personality, reflecting “the DJ’s personal taste and the kind of music they like,” Pettit says.
In 2005 WRFG won the __Keeping the Blues Alive__ award, a prestigious honor from the __Blues Foundation__ for achievement in public radio. Atlanta area blues fans depend on the scrappy, 33-years-strong __Good Morning Blues__ programming to get their days off to a rootsy start. With any luck and plenty of donations, that streak will keep going for many more decades.
__Rebirth of the blues ...__
__[http://blindwilliesblues.com/|Blind Willie’s]__, the 32-year-old Atlanta blues institution with the neon alligator sign, is in fundraising mode. Details are scarce, but Blind Willie’s regular and occasional doorman Brian Sumner has launched [https://www.gofundme.com/rebirth-of-blind-willies-blues-club|a GoFundMe page] to pay for a “rebirth” of the venerable Virginia-Highland nightlife haunt.
The list of performers who’ve graced the stage at 828 North Highland Avenue reads like a ''Who’s Who'' of the blues, including Atlanta icons __Sean Costello__, __The Shadows__, __Mudcat__, __Delta Moon__, __the Breeze Kings__, and __Beverly “Guitar” Watkins__ to legendary artists __Townes Van Zandt__, __Rufus Thomas__, __Mose Allison__, __The Nighthawks__, __Commander Cody and His Lost Planet Airmen__, __Taj Mahal__, __John Hammond__, and __Snooky Pryor__. Still, rising young talents __Nick Moss__ and __Joe Louis Walker__ play Blind Willie’s as often as possible.
There isn’t a roots music fan in Atlanta who hasn’t passed through Blind Willie’s doors at least a few times over the decades. Now it’s time to give back, as the GoFundMe campaign hopes to raise $50,000.
In other news, December is a notoriously light month for live music. Still, there are enough hot blues to keep the fires burning through till the New Year.
__Fri., Dec. 7__
JD Simo, Smith’s Olde Bar: This Nashville-based blues guitarist shifts into extended psychedelic jams with his rock-solid backing duo.
__Sat., Dec. 8__
The War & Treaty, Coca Cola Roxy Theatre: Get ready for some roof-raising gospel and soul as this married duo takes you to church on a Saturday night.
__Sun., Dec. 9__
JD McPherson, Terminal West
JJ Gray, City Winery
__Wed., Dec. 12__
Jimmy Vivino/Bob Margolin, City Winery: It’s a double dose of journeyman blues guitar with rocker Vivino joining ex-Muddy Waters sideman Margolin for a rollicking, explosive combination.
__Thurs.-Fri., Dec. 13-14__
Marcus King Band, Variety Playhouse: King’s gritty voice and soulful approach makes him one of the younger stars of the blues with a terrific new album, ''Carolina Confessions'', in his pocket.
__Wed., Dec., 19__
Asleep at the Wheel, City Winery
__Thurs., Dec. 20__
Rev. Horton Heat, The Masquerade
__Fri., Dec. 21__
North Mississippi Allstars, Variety Playhouse
__Thurs. Dec. 27__
Heather Lutrell, Blind Willie’s
__Sun., Dec. 30__
Devon Allman Project w/ Duane Betts, Buckhead Theatre: Allman Brothers Band offspring of Gregg and Dickie join forces for Southern-rock originals and a few gems made famous by their legendary fathers.
__Mon., Dec. 31__
Larkin Poe, Terminal West: These local sisters may have moved to Nashville, but we’ll always consider them ours, especially because their new album, __''Venom & Faith''__, is one of the finest and rawest blues sets of the year.
Drivin’ N’ Cryin’, Dan Baird & Homemade Sin, Buckhead Theater
Sandra Hall & the Shadows, Blind Willie’s
__Fri., Jan. 11__
Eric Gales, Terminal West
''Please send upcoming blues news and events to hal.horowitz@creativeloafing.com.''"
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string(7460) " 20160915 221742 2018-12-06T22:19:13+00:00 20160915_221742.jpg WRFG shines a light on locals, Blind Willie’s seeks a rebirth 20160915 221742 2018-12-06T22:04:10+00:00 BLUES & BEYOND: Wake up with the blues chad.radford Chad Radford Hal Horowitz hal2222 (Hal Horowitz) 2018-12-06T22:04:10+00:00 If songs like Elvis Presley’s “Blue Christmas,” Charles Brown’s “Please Come Home for Christmas,” and John Lee Hooker’s lowdown “Blues for Christmas” are any indication, December is in the running for the saddest month of the year. It’s also a perfect time to give thanks for what Atlantans might take for granted.
Since 1985, five days a week from 6-10 a.m., WRFG’s Good Morning Blues show has delivered the goods. Monday through Friday, a double shot of two-hour blocks of blues programming — plus another two on Sunday morning’s Route 66, totaling 22 hours a week — may not seem exceptional considering satellite streaming stations provide lots more. But outside of New Orleans’ WWOZ, listener-supported WRFG rivals stations in legendary blues burghs like Chicago by broadcasting a plethora of contemporary blues rock, Delta folk, and acts from around the globe.
It’s the local angle, however, that provides the spark. The “Good Morning Blues” crew of DJs are fellow blues lovers you meet and chat with at clubs, not mysterious or faceless voices. They offer a personal spin with their radio shows, often emphasizing Atlanta talent like Tinsley Ellis, Mudcat, the Electromatics, Delta Moon, and others who appear on air to promote shows and new releases. That’s something no satellite station offers. The winning concept here is that WRFG’s DJs are from Atlanta and know their community of listeners; they provide a distinctly human experience that no bot or beamed-in satellite signal can provide.
Veteran DJ Rich “The Blues Professor” Pettit, whose personable style and affiliation with Louisiana-based music makes his Wednesday 6-8 a.m. shift breezy and fun, has been a mainstay of Good Morning Blues since 1986. According to Pettit, in the mid-’80s the program committee voted to launch a block of blues music to create consistency in the station’s “patchwork quilt” of shows in the high-profile morning hours, at a time when the station had been active for a little over a decade. Why blues? At the time there were a number of volunteers knowledgeable about the genre who were donating their time and services, and some blues programs had been on the air since 1973. It seemed like a logical choice.
The program has since caught on and remains one of the more popular and profitable blocks of airtime on WRFG. The latter is significant since listener contributions play a major role in keeping the nonprofit on the air. Where other outlets might relegate blues programming to late nights or bury it on their schedules to fill time, WRFG features the music during the highest-profile hours. “Morning and evening drive times are the two peak listening times for radio,” Pettit says. “We’re putting blues music out there when we know we have a huge, very supportive audience.”
Although they don’t subscribe to the Nielsen Arbitron rating system’s tracking service and can’t tell what the ratings are, Pettit goes on to say, “We have pledge drives three times a year, and blues always pulls in a significant portion of funds.”
Back-to-back Tuesday segments, the husband-and-wife team of Black Jack’s Blues Train, and A.J.’s Blues Kitchen have historically generated the most donations.
Even though no one gets a dime, there isn’t much turnover for on-air personalities. A majority of the current crop has hung in for over a decade. Each show mirrors the host’s personality, reflecting “the DJ’s personal taste and the kind of music they like,” Pettit says.
In 2005 WRFG won the Keeping the Blues Alive award, a prestigious honor from the Blues Foundation for achievement in public radio. Atlanta area blues fans depend on the scrappy, 33-years-strong Good Morning Blues programming to get their days off to a rootsy start. With any luck and plenty of donations, that streak will keep going for many more decades.
Rebirth of the blues ...
Blind Willie’s, the 32-year-old Atlanta blues institution with the neon alligator sign, is in fundraising mode. Details are scarce, but Blind Willie’s regular and occasional doorman Brian Sumner has launched a GoFundMe page to pay for a “rebirth” of the venerable Virginia-Highland nightlife haunt.
The list of performers who’ve graced the stage at 828 North Highland Avenue reads like a Who’s Who of the blues, including Atlanta icons Sean Costello, The Shadows, Mudcat, Delta Moon, the Breeze Kings, and Beverly “Guitar” Watkins to legendary artists Townes Van Zandt, Rufus Thomas, Mose Allison, The Nighthawks, Commander Cody and His Lost Planet Airmen, Taj Mahal, John Hammond, and Snooky Pryor. Still, rising young talents Nick Moss and Joe Louis Walker play Blind Willie’s as often as possible.
There isn’t a roots music fan in Atlanta who hasn’t passed through Blind Willie’s doors at least a few times over the decades. Now it’s time to give back, as the GoFundMe campaign hopes to raise $50,000.
In other news, December is a notoriously light month for live music. Still, there are enough hot blues to keep the fires burning through till the New Year.
Fri., Dec. 7
JD Simo, Smith’s Olde Bar: This Nashville-based blues guitarist shifts into extended psychedelic jams with his rock-solid backing duo.
Sat., Dec. 8
The War & Treaty, Coca Cola Roxy Theatre: Get ready for some roof-raising gospel and soul as this married duo takes you to church on a Saturday night.
Sun., Dec. 9
JD McPherson, Terminal West
JJ Gray, City Winery
Wed., Dec. 12
Jimmy Vivino/Bob Margolin, City Winery: It’s a double dose of journeyman blues guitar with rocker Vivino joining ex-Muddy Waters sideman Margolin for a rollicking, explosive combination.
Thurs.-Fri., Dec. 13-14
Marcus King Band, Variety Playhouse: King’s gritty voice and soulful approach makes him one of the younger stars of the blues with a terrific new album, Carolina Confessions, in his pocket.
Wed., Dec., 19
Asleep at the Wheel, City Winery
Thurs., Dec. 20
Rev. Horton Heat, The Masquerade
Fri., Dec. 21
North Mississippi Allstars, Variety Playhouse
Thurs. Dec. 27
Heather Lutrell, Blind Willie’s
Sun., Dec. 30
Devon Allman Project w/ Duane Betts, Buckhead Theatre: Allman Brothers Band offspring of Gregg and Dickie join forces for Southern-rock originals and a few gems made famous by their legendary fathers.
Mon., Dec. 31
Larkin Poe, Terminal West: These local sisters may have moved to Nashville, but we’ll always consider them ours, especially because their new album, Venom & Faith, is one of the finest and rawest blues sets of the year.
Drivin’ N’ Cryin’, Dan Baird & Homemade Sin, Buckhead Theater
Sandra Hall & the Shadows, Blind Willie’s
Fri., Jan. 11
Eric Gales, Terminal West
Please send upcoming blues news and events to hal.horowitz at creativeloafing.com. Photo courtesy Rich Pettit YOU DON’T MISS YOUR WATER: WRFG’s “Morning Blues” host Rich “The Blues Professor” Pettit (right) strikes a pose with blues legend William Bell. BLUES & BEYOND: Wake up with the blues "
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Since 2006, MINT has provided a (sometimes roving) space where Atlanta’s young artists and creative communities can show their work. Over the years, MINT, now located at 92 Peachtree Street S.W., has exhibited contemporary and experimental works by more than 1,000 artists. In November, the organization announced that it has become W.A.G.E. certified — that’s an anagram for Working Artists and the Greater Economy.
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~~#000000:To talk more about what becoming W.A.G.E. certified means, MINT’s Executive Director Cory Klose paid a visit to CL’s Short Notice studio.~~
''~~#000000:On Sat., Dec. 8, MINT hosts an opening reception for~~ [https://www.mintatl.org/calendar/|Small Enough To Hold, an exhibition featuring works by Leap Year artist Crystal Desai (on view through Jan. 12)]~~#000000:. Free. from 7-10 p.m. 92 Peachtree Street S.W.~~''
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~~#000000:Music for this podcast is provided by~~ [https://graydelorean.bandcamp.com/|Delorean Gray].
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string(2155) " IMG 1786 2018-12-07T16:34:19+00:00 IMG_1786.jpg Executive Director Cory Klose talks about the arts non-profit's future IMG 1786 2018-12-07T16:26:28+00:00 Podcast: MINT earns W.A.G.E. certification chad.radford Chad Radford Chad Radford chad.radford (Chad Radford) 2018-12-07T16:26:28+00:00
Since 2006, MINT has provided a (sometimes roving) space where Atlanta’s young artists and creative communities can show their work. Over the years, MINT, now located at 92 Peachtree Street S.W., has exhibited contemporary and experimental works by more than 1,000 artists. In November, the organization announced that it has become W.A.G.E. certified — that’s an anagram for Working Artists and the Greater Economy.
W.A.G.E. is a New York-based organization focused on regulating payments and maintaining sustainable relationships between artists and the institutions who contract their work, regardless of sales. To see this through, MINT partnered with the City of Atlanta and an anonymous donor to raise $10,000 to fun W.A.G.E. efforts. MINT's certification is retroactively effective as of July 1, 2018.
Being included on the W.A.G.E roster places MINT on a short list of high-profile galleries, museums, and arts organizations such as The Art Institute of Chicago, The Guggenheim, The Metropolitan Museum of Art, and MOMA. MINT is also the first W.A.G.E.-certified organization in the state of Georgia, which, according to the National Assembly of Arts Agencies, ranks 49th lowest per capita arts funding in the U.S.
To talk more about what becoming W.A.G.E. certified means, MINT’s Executive Director Cory Klose paid a visit to CL’s Short Notice studio.
On Sat., Dec. 8, MINT hosts an opening reception for Small Enough To Hold, an exhibition featuring works by Leap Year artist Crystal Desai (on view through Jan. 12). Free. from 7-10 p.m. 92 Peachtree Street S.W.
Music for this podcast is provided by Delorean Gray.
Chad Radford ARTS AND COMMERCE: MINT, located at 92 Peachtree S.W. recently earned W.A.G.E. certification. Podcast: MINT earns W.A.G.E. certification "
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Podcast: MINT earns W.A.G.E. certification Culture, Arts Agenda, Visual Arts
Friday December 7, 2018 11:26 AM EST
Executive Director Cory Klose talks about the arts non-profit's future
|
more...
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string(5877) "As though it wasn’t enough for Steve Vai to wow audiences with his unrelenting virtuous guitar sensibities by himself, he’s gone and summoned some of the finest six-string shredders in the known world. Yngvie Malmsteen, Zakk Wylde, Nuno Bettencourt, and Tosin Abasi all join Vai onstage for the second run of the Generation Axe Tour, which hits the Tabernacle December 8. As interesting as it may be to hear each of these guitarists play solo, the real magic of the Generation Axe tour lies in the chemistry that arises when all five guitarists play together. Vai checked in, just before taking the stage in Denver, to discuss the tour, planning ahead, and guitar effects.
How’s the tour going?
Tour’s going great, we kicked off about a week ago (out of breath, takes a pause). Sorry, just ran up a flight of stairs. After a while, you get in a groove and everybody knows what they need to deliver. You show up prepared and everything feels great.
What made you decide to do the Generation Axe Tour again?
Because it’s so much fun and it really works. I’ve been in this business for 40 years and you look for things to enjoy. That’s the name of the game. We did one tour of America and it went really well, then we did an Asia tour and it went great. It’s a nice thing we’ve got going and we really enjoy being out with each other. It’s a unique kind of a show in that we’re presenting rock guitar in a little bit of a different dynamic. The show is basically one backing band and it’s seamless, it doesn’t stop for like three and-a-half hours. You get this great kind of visual experience, we all come out- five guys, slamming away in harmony. It’s so nice to hear that because it’s rare. Harmonized guitar sounds so beautiful to me, I’ve always been a huge fan of Brian May. But it’s very rare you get to hear that in a live setting because it takes a lot of orchestration. The show starts with all five of us, and then Tosin Abisi comes out and offers a couple of his songs. His music is progressive, he’s just such a fierce player. Then he does a song with Nuno. It’s kind of a handing off of the baton, and then Nuno does his set. Everybody’s set has their flavor in it. Within the rock genre, you’ve got these wonderful different colors. We’re all like a different color but we work together like a nice artistic painting or something (laughs).
It seems like you are constantly challenging yourself musically and always putting yourself in new situations. What is your process like for planning these collaborations and how do you narrow down your ideas?
It’s like anybody who’s looking to have fun creatively. You’re always coming up with ideas in the moment, and your creative idea can manifest very quickly. But sometimes you get an idea that is vast, very broad, and you have to plan way ahead and chip away at it. I’ve got like five projects in the works right now for the next two-three years. But you have to also be open to change because anything could happen at anytime. If it feels right, you flow with it. Something like Generation Axe, when the idea hit me, was so compelling it got pushed up to the top of the list (laughs). But it took a year and-a-half to two years to manifest.
Last time we spoke, we talked about home recording. Could we delve into your signal path a bit today? And could you give us your thoughts on the true bypass vs traditional pedals debate? Does it matter?
It matters, based on the ear of the person who’s playing. If you take your signal and put it thru a stompbox, if it’s not a true bypass it will color the sound. Some people like that. I’m a purist, I like a true bypass, but it’s hard because not many pedals are made that way. And a lot of them often have a relay and you hear a pop when you switch them on.
If you were stuck on a desert island and could only have a rack unit or stompboxes, what would you choose?
(Fractal Audio Systems) Axe-Fx. It’s like a space station, it has everything.
Is that what you are using now, live?
I use it for the effects, but I don’t use it’s amp module.
So you’re still using your signature Carvin Legacy Amp?
I had a long relationship with Carvin, many decades. They don’t make the legacy head anymore, but they make a legacy stompbox and that’s what I use. It’s a pedal with tubes in it, it’s the preamp section of the Legacy. That’s really the thing that is my sound.
All time favorite wah pedal?
You know, I like the (Morley Steve Vai Signature) Bad Horsie in the studio under controlled conditions, but for consistency I like just a Dunlop 95Q, whatever they call them.
That’s what you use live?
Yeah, you’d have to check the name of the model. I don’t why they call them such obtuse numberings. They should name it “Bob” or something.
What are the essential FX for you?
The go-to devices for me are delay and distortion. I like stereo delay, so I like to have a stereo rig. If I have just stereo delay and distortion, I’m good. I like a lot of gain when I solo or play melodies and sometimes amps just don’t have it. And delay, I just love delay. It kind of encloses you, envelops you, it creates a huge sound. It’s forgiving.
What does the pre-show warm up for this tour look like? I think many guitar fans could imagine the five of you in the dressing room shredding away unplugged. Are you guys backstage warming up and trading licks?
Well sometimes, it’s based on the venue. Some venues we have our own dressing rooms, some venues we’re all in one dressing room. Everybody obviously likes to warm up before the show, so if we happen to be in the same dressing room at the same time, it could turn into a little jam (laughs)
$39-69. 8 p.m. The Tabernacle. 152 Luckie St. 404-659-9022. www.tabernacleatl.com."
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Tour’s going great, we kicked off about a week ago (out of breath, takes a pause). Sorry, just ran up a flight of stairs. After a while, you get in a groove and everybody knows what they need to deliver. You show up prepared and everything feels great.
~~#000000:__What made you decide to do the Generation Axe Tour again?__~~
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~~#000000:__It seems like you are constantly challenging yourself musically and always putting yourself in new situations. What is your process like for planning these collaborations and how do you narrow down your ideas?__~~
It’s like anybody who’s looking to have fun creatively. You’re always coming up with ideas in the moment, and your creative idea can manifest very quickly. But sometimes you get an idea that is vast, very broad, and you have to plan way ahead and chip away at it. I’ve got like five projects in the works right now for the next two-three years. But you have to also be open to change because anything could happen at anytime. If it feels right, you flow with it. Something like Generation Axe, when the idea hit me, was so compelling it got pushed up to the top of the list (laughs). But it took a year and-a-half to two years to manifest.
__[https://creativeloafing.com/content-267617-Steve-Vai-commemorates-'Passion-and-Warfare'|Last time we spoke, we talked about home recording]. ~~#000000:Could we delve into your signal path a bit today? And could you give us your thoughts on the true bypass vs traditional pedals debate? Does it matter?~~__
It matters, based on the ear of the person who’s playing. If you take your signal and put it thru a stompbox, if it’s not a true bypass it will color the sound. Some people like that. I’m a purist, I like a true bypass, but it’s hard because not many pedals are made that way. And a lot of them often have a relay and you hear a pop when you switch them on.
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(Fractal Audio Systems) Axe-Fx. It’s like a space station, it has everything.
~~#000000:__Is that what you are using now, live?__~~
I use it for the effects, but I don’t use it’s amp module.
~~#000000:__So you’re still using your signature Carvin Legacy Amp?__~~
I had a long relationship with Carvin, many decades. They don’t make the legacy head anymore, but they make a legacy stompbox and that’s what I use. It’s a pedal with tubes in it, it’s the preamp section of the Legacy. That’s really the thing that is my sound.
~~#000000:__All time favorite wah pedal?__~~
You know, I like the (Morley Steve Vai Signature) Bad Horsie in the studio under controlled conditions, but for consistency I like just a Dunlop 95Q, whatever they call them.
~~#000000:__That’s what you use live?__~~
Yeah, you’d have to check the name of the model. I don’t why they call them such obtuse numberings. They should name it “Bob” or something.
~~#000000:__What are the essential FX for you?__~~
The go-to devices for me are delay and distortion. I like stereo delay, so I like to have a stereo rig. If I have just stereo delay and distortion, I’m good. I like a lot of gain when I solo or play melodies and sometimes amps just don’t have it. And delay, I just love delay. It kind of encloses you, envelops you, it creates a huge sound. It’s forgiving.
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~~#000000:__What does the pre-show warm up for this tour look like? I think many guitar fans could imagine the five of you in the dressing room shredding away unplugged. Are you guys backstage warming up and trading licks?__~~
Well sometimes, it’s based on the venue. Some venues we have our own dressing rooms, some venues we’re all in one dressing room. Everybody obviously likes to warm up before the show, so if we happen to be in the same dressing room at the same time, it could turn into a little jam (laughs)
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string(6373) " GenerationAxePressPhoto 2018-12-07T20:21:28+00:00 GenerationAxePressPhoto.jpg Guitar legend Steve Vai talks touring with colleagues, guitar pedals, and planning ahead GenerationAxePressPhoto 2018-12-07T20:08:20+00:00 Generation Axe returns chad.radford Chad Radford Mathis Hunter 2018-12-07T20:08:20+00:00 As though it wasn’t enough for Steve Vai to wow audiences with his unrelenting virtuous guitar sensibities by himself, he’s gone and summoned some of the finest six-string shredders in the known world. Yngvie Malmsteen, Zakk Wylde, Nuno Bettencourt, and Tosin Abasi all join Vai onstage for the second run of the Generation Axe Tour, which hits the Tabernacle December 8. As interesting as it may be to hear each of these guitarists play solo, the real magic of the Generation Axe tour lies in the chemistry that arises when all five guitarists play together. Vai checked in, just before taking the stage in Denver, to discuss the tour, planning ahead, and guitar effects.
How’s the tour going?
Tour’s going great, we kicked off about a week ago (out of breath, takes a pause). Sorry, just ran up a flight of stairs. After a while, you get in a groove and everybody knows what they need to deliver. You show up prepared and everything feels great.
What made you decide to do the Generation Axe Tour again?
Because it’s so much fun and it really works. I’ve been in this business for 40 years and you look for things to enjoy. That’s the name of the game. We did one tour of America and it went really well, then we did an Asia tour and it went great. It’s a nice thing we’ve got going and we really enjoy being out with each other. It’s a unique kind of a show in that we’re presenting rock guitar in a little bit of a different dynamic. The show is basically one backing band and it’s seamless, it doesn’t stop for like three and-a-half hours. You get this great kind of visual experience, we all come out- five guys, slamming away in harmony. It’s so nice to hear that because it’s rare. Harmonized guitar sounds so beautiful to me, I’ve always been a huge fan of Brian May. But it’s very rare you get to hear that in a live setting because it takes a lot of orchestration. The show starts with all five of us, and then Tosin Abisi comes out and offers a couple of his songs. His music is progressive, he’s just such a fierce player. Then he does a song with Nuno. It’s kind of a handing off of the baton, and then Nuno does his set. Everybody’s set has their flavor in it. Within the rock genre, you’ve got these wonderful different colors. We’re all like a different color but we work together like a nice artistic painting or something (laughs).
It seems like you are constantly challenging yourself musically and always putting yourself in new situations. What is your process like for planning these collaborations and how do you narrow down your ideas?
It’s like anybody who’s looking to have fun creatively. You’re always coming up with ideas in the moment, and your creative idea can manifest very quickly. But sometimes you get an idea that is vast, very broad, and you have to plan way ahead and chip away at it. I’ve got like five projects in the works right now for the next two-three years. But you have to also be open to change because anything could happen at anytime. If it feels right, you flow with it. Something like Generation Axe, when the idea hit me, was so compelling it got pushed up to the top of the list (laughs). But it took a year and-a-half to two years to manifest.
Last time we spoke, we talked about home recording. Could we delve into your signal path a bit today? And could you give us your thoughts on the true bypass vs traditional pedals debate? Does it matter?
It matters, based on the ear of the person who’s playing. If you take your signal and put it thru a stompbox, if it’s not a true bypass it will color the sound. Some people like that. I’m a purist, I like a true bypass, but it’s hard because not many pedals are made that way. And a lot of them often have a relay and you hear a pop when you switch them on.
If you were stuck on a desert island and could only have a rack unit or stompboxes, what would you choose?
(Fractal Audio Systems) Axe-Fx. It’s like a space station, it has everything.
Is that what you are using now, live?
I use it for the effects, but I don’t use it’s amp module.
So you’re still using your signature Carvin Legacy Amp?
I had a long relationship with Carvin, many decades. They don’t make the legacy head anymore, but they make a legacy stompbox and that’s what I use. It’s a pedal with tubes in it, it’s the preamp section of the Legacy. That’s really the thing that is my sound.
All time favorite wah pedal?
You know, I like the (Morley Steve Vai Signature) Bad Horsie in the studio under controlled conditions, but for consistency I like just a Dunlop 95Q, whatever they call them.
That’s what you use live?
Yeah, you’d have to check the name of the model. I don’t why they call them such obtuse numberings. They should name it “Bob” or something.
What are the essential FX for you?
The go-to devices for me are delay and distortion. I like stereo delay, so I like to have a stereo rig. If I have just stereo delay and distortion, I’m good. I like a lot of gain when I solo or play melodies and sometimes amps just don’t have it. And delay, I just love delay. It kind of encloses you, envelops you, it creates a huge sound. It’s forgiving.
What does the pre-show warm up for this tour look like? I think many guitar fans could imagine the five of you in the dressing room shredding away unplugged. Are you guys backstage warming up and trading licks?
Well sometimes, it’s based on the venue. Some venues we have our own dressing rooms, some venues we’re all in one dressing room. Everybody obviously likes to warm up before the show, so if we happen to be in the same dressing room at the same time, it could turn into a little jam (laughs)
$39-69. 8 p.m. The Tabernacle. 152 Luckie St. 404-659-9022. www.tabernacleatl.com. Courtesy Generation Axe SHRED SEASON: Generation Axe brings a stellar lineup of guitar slingers to the Tabernacle Dec. 8. Generation Axe returns "
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Friday December 7, 2018 03:08 PM EST
Guitar legend Steve Vai talks touring with colleagues, guitar pedals, and planning ahead
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As Adams explains, the song is about an airplane plummeting to the earth, and experiencing feelings of pure ecstasy just before the crash. “Gripping the armrests while the metal rips off all around you, the wind in your hair, surrounded by nothing but blue sky and water,” Adams says. “Knowing that you're about to very literally be returned to the earth. Everyone that hears it seems to think it's about oral sex,” she adds. “And I mean ... It's not not about oral sex.”
Like all timeless and worthwhile music, the meaning in the lyrics lies in the ears of the beholder.
The video is directed by Jordan Noel (This World Alone), using footage he shot at various live Flamingo Shadow shows around Atlanta, with some additional shots by Dave Bonawits (Adult Swim’s “Bloodfeast” and “FishCenter”).
A vinyl release for Earth Music is coming down. The group is taking a break from playing any live shows for the remainder of the year, while switching to writing mode, and working on new songs. In the meantime, press play on “All Way Down” and cop that Earth Music cassette via Irrelevant Music."
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~~#000000:“All Way Down,” the latest video released from~~ [http://www.flamingoshadow.com/|Flamingo Shadow]~~#000000:’s debut album, ~~''[https://flamingoshadow.bandcamp.com/album/earth-music-2|Earth Music]''~~#000000:, makes use of marvelous tension cut from a realization that the world is about to explode. Any semblance of anxiety, however, is masquerading as glowing euphoria. Since the album arrived on August 20, a subtle narrative thread running throughout each song binds the album with Orwellian undertones hidden within the group’s topically-tinged post-punk anthems guided by singer Madeline Adams sweet voice. In a sense, “All Way Down,” is ''Earth Music''’s thesis statement, a nearly six-minute blueprint that sets the stage for an album that is psychologically engaging, and physically compelling.~~
~~#000000:As Adams explains, the song is about an airplane plummeting to the earth, and experiencing feelings of pure ecstasy just before the crash. “Gripping the armrests while the metal rips off all around you, the wind in your hair, surrounded by nothing but blue sky and water,” Adams says. “Knowing that you're about to very literally be returned to the earth. Everyone that hears it seems to think it's about oral sex,” she adds. “And I mean ... It's not ''not'' about oral sex.”~~
~~#000000:Like all timeless and worthwhile music, the meaning in the lyrics lies in the ears of the beholder.~~
~~#000000:The video is directed by~~ [https://www.jordan-noel.com/|Jordan Noel] ~~#000000:(~~''[https://www.jordan-noel.com/feature-films#1|This World Alone]''~~#000000:),~~ ~~#000000:using footage he shot at various live Flamingo Shadow shows around Atlanta, with some additional shots by Dave Bonawits ~~(Adult Swim’s [https://www.adultswim.com/videos/bloodfeast|“Bloodfeast”] and [https://www.adultswim.com/videos/fishcenter-live|“FishCenter”]).
~~#000000:A vinyl release for ''Earth Music'' is coming down. The group is taking a break from playing any live shows for the remainder of the year, while switching to writing mode, and working on new songs. In the meantime, press play on “All Way Down” and cop that ''Earth Music'' cassette via Irrelevant Music.~~"
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string(2372) " FlamingoShadow Photo By Josh Weichman 2018-12-10T16:30:31+00:00 FlamingoShadow_Photo by Josh Weichman.jpg ‘All Way Down’ captures feelings of ecstasy before the crash FlamingoShadow Photo By Josh Weichman 2018-12-10T16:29:42+00:00 FIRST WATCH: Flamingo Shadow chad.radford Chad Radford Chad Radford chad.radford (Chad Radford) 2018-12-10T16:29:42+00:00
“All Way Down,” the latest video released from Flamingo Shadow’s debut album, Earth Music, makes use of marvelous tension cut from a realization that the world is about to explode. Any semblance of anxiety, however, is masquerading as glowing euphoria. Since the album arrived on August 20, a subtle narrative thread running throughout each song binds the album with Orwellian undertones hidden within the group’s topically-tinged post-punk anthems guided by singer Madeline Adams sweet voice. In a sense, “All Way Down,” is Earth Music’s thesis statement, a nearly six-minute blueprint that sets the stage for an album that is psychologically engaging, and physically compelling.
As Adams explains, the song is about an airplane plummeting to the earth, and experiencing feelings of pure ecstasy just before the crash. “Gripping the armrests while the metal rips off all around you, the wind in your hair, surrounded by nothing but blue sky and water,” Adams says. “Knowing that you're about to very literally be returned to the earth. Everyone that hears it seems to think it's about oral sex,” she adds. “And I mean ... It's not not about oral sex.”
Like all timeless and worthwhile music, the meaning in the lyrics lies in the ears of the beholder.
The video is directed by Jordan Noel (This World Alone), using footage he shot at various live Flamingo Shadow shows around Atlanta, with some additional shots by Dave Bonawits (Adult Swim’s “Bloodfeast” and “FishCenter”).
A vinyl release for Earth Music is coming down. The group is taking a break from playing any live shows for the remainder of the year, while switching to writing mode, and working on new songs. In the meantime, press play on “All Way Down” and cop that Earth Music cassette via Irrelevant Music. Joshua Weichman GLOWING EUPHORIA: Flamingo Shadow brings the year to a close with a Jordan Noel-directed video. FIRST WATCH: Flamingo Shadow "
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FIRST WATCH: Flamingo Shadow Music and Nightlife, Crib Notes, News You May Have Missed
Monday December 10, 2018 11:29 AM EST
‘All Way Down’ captures feelings of ecstasy before the crash
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string(9224) "I rarely travel from intown Atlanta to Sandy Springs. I spent my miserable, bullied adolescence there, and driving out Roswell Road is like voluntarily stepping into a psychological cesspool. Back then, it was nicknamed the “Golden Ghetto” and was so white and so upper-middle-class that my own mother once told me if she could do it over, she would not raise her children there. Incorporated since 2005, Sandy Springs is now an example of seemingly unrestricted commercial development, and it is torture to navigate.
However, I couldn’t wait to get out there to try the new Casi Cielo (6125 Roswell Road, 404-549-9411. That means “almost heaven” and doesn’t refer to the location inside a Modera development. It refers to Chef Juan Ruiz’s cooking, inspired by the cuisine of the Mexican state of Oaxaca. I admit I was suspicious. The “upscale” restaurant is owned by La Cosecha Group, which operates the many locations of La Parilla Mexican Restaurant, which, like most Mexican spots here, is more Tex-Mex in many ways than it is Mexican.
That’s not the case at Casi Cielo. Ruiz has an impressive resume. This is his debut job in the U.S. He grew up in Colombia and has done stints at some world-class restaurants in Spain and Panama, but his experience in Oaxaca is limited to two weeks of hanging out with Chef Luis Arellano of the renowned Criollo. It’s tempting to question how the restaurant can dub itself even Oaxacan-inspired with Ruiz’s limited experience, but you have to understand that the state of Oaxaca has a remarkably diverse indigenous population that inhabits an equally diverse topography, from coastal to mountainous regions. The legendary Diana Kennedy’s book, Oaxaca al Gusto, is subtitled “An Infinite Gastronomy.” Foodies from the world over are traveling to Oaxaca for infinite inspiration, not duplication.
Does the restaurant pull it off? I’m not so sure. When four of us visited on a recent Friday night, we were confused from the outset. Here, as everywhere these days, we couldn’t ascertain the portion sizes, so we ended up sharing a bunch of small plates and entrée-sized “platos fuertes.” We agreed that the entrees were mainly better than the apps. My favorite — specifically identified as sharable — was the roasted duck with mole negro served on the side. Because of its great diversity, Oaxaca is called “the land of seven moles,” but the mole negro is the most popular. When he stopped by our table, chef Ruiz told me that he makes it with 20-odd ingredients, as is true with most moles. This one, frankly, tasted a bit sweet and cinnamony to me. But we lapped it up with pieces we pulled from the juicy duck. The plate came with some rice and pork frijolada, which is pureed black beans with pork.
My second favorite dish was the ribeye. There’s nothing particularly Mexican about this; the truly perfectly grilled and sliced steak was served with a side of chimichurri sauce. Ruiz makes it with cilantro instead of the parsley usually used in Argentina, where it originated. Our third entrée was roasted suckling pig — supposedly carnitas, but without the crispy pieces. Flavor was nonetheless great.
The scariest dish was a starter consisting of an octopus arm flopped forlornly on the plate with some mashed potatoes, a Veracruz red salsa, and three large dots of pureed green olives. I had read that the octopus is cooked sous vide and then grilled. Weirdly enough, it instantly reminded me of the ox penis on the menu at Beijing Kabobs on Buford Highway. Like it, the outer part of the octopus was kind of squishy but the interior was very rubbery. There was no flavor except for the olive puree and the salsa. You get at most five bites, and that was fine with me. We also got an order of very thick blue-corn tostadas to break into pieces to dip in a house-made green or red sauce. The green was bracing and sour, as it should be. The red, made with three different chiles, was borderline amazing. We also were treated to a Oaxacan amuse-bouche of tiny tamales topped with I know not what.
The indisputably big loser of the evening was the sliced halibut. The tiny slivers were curled into something that looked like albino nipples topped with jalapeno pasties. Some tiny flowers prettied up the plate. Please! Give us back that $27!
So, I just mentioned the relatively high cost. Four of us paid about $200, including tip, with no alcohol. I don’t want to contribute to the damaging expectation that a restaurant serving Mexican cuisine should be cheap. That thinking has killed several inventive restaurants in Atlanta. Casi Cielo has been open a couple of months and I hope that Chef Ruiz will continue his interpretive cooking with sourced ingredients and not be pulled into the almost inevitable demand that he submit to Mexican-American clichés. But people are going to have a hard time paying $18 for five bites of rubbery octopus.
Still, the restaurant does have much to recommend it. Just be diligent about what you order. Its bar, by the way, has the widest variety of Mezcals in the city. The space is warm and woody, but sleek and minimalist, without any sign of Mexican kitsch. The service is highly attentive. Even my foodie mother would have liked seeing the prosaic tastes of the Golden Ghetto upgraded with some imaginative Mexican-inspired cuisine.
!!!AMMAZZA OPENS IN DECATUR
Foodies wept in the summer of 2017 when Ammazza, a popular pizzeria on Edgewood in the Old Fourth Ward, was struck by two cars on different days, forcing it to close after about five years of operation. I really liked Ammazza, which means “killer” but in, you know, a positive way. The restaurant joined the national obsession with thin-crusted Neapolitan pies, but did not feel 100 percent bound by the rules. Call us Philistines, but many Americans love our pizzas thin, but we don’t like them floppy and wet. Ammazza’s pies were crisper than those at, say, Antico. The owners didn’t feel like every ingredient had to be flown in from Italy. Instead of the usually requisite mozzarella di bufala imported from Campania, for example, they were content to make their own mozzarella. Most meats were bought from the highly respected Spotted Trotter. All of this was fueled by a love of beer.
A new Ammazza has opened in Decatur (314 E. Howard Ave.). Friends and I visited not long after it opened. Not sufficiently checking in with one another, we stupidly ordered four of the smaller pizzas, all made with the same robust red sauce. That and a repetition of Italian sausage made everything kind of taste alike. So, I suggest that a party of more than two buy at least one of the four white, “sauceless” pies or one of the two made with pesto.
We ordered the Margherita, the usual test of any pizzeria, and I’m sorry to say it was not up to our expectations. The pie classically combines a tomato sauce with pools of melting mozzarella and basil leaves. I like an uncomplicated taste of straight-up tomatoes ground in a food processor with some olive oil and a bit of salt, and I want it applied to the dough very lightly. If you’re going to use a relatively bland mozzarella, the basil needs to be turned up to add some clear contrast. Ammazza’s heavy sauce and super-light use of basil didn’t make the grade.
Our favorite pizza turned out to be the Ammazzare topped with Italian sausage, red bell peppers, caramelized onions, fresh basil, and mozzarella. Second-best was the Carne with pepperoni, sweet and hot Italian sausage, sorghum-cured bacon, mozzarella, and basil. Third was the Bolognese with meatballs, sweet and hot Italian sausage, mozzarella, ricotta, and basil. The Margherita scored the lowest. The pizzas are made in two 900-degree wood-fired ovens that produce the much-vaunted speckled char. Unfortunately, our slices were all wet and floppy without a bit of crispness.
Starters for the most part fared better. The Caprese salad proved that the house-made mozzarella does indeed have good flavor, as did the Roma tomatoes. The addition of a strong balsamic reduction to the olive oil is considered crass by purists, but I liked it. A Caesar salad was too heavily dressed for my taste. Meatballs in tomato sauce with ricotta and mozzarella were hefty and full of flavor. Cubes of spaghetti fritti made with soppressata, bacon, and cheese added a crispy contrast to everything else we ordered.
I have absolutely no doubt the place will work out its kinks. Next time I go, I’ll orchestrate the ordering to provide more diversity, and you should seriously do the same. There is an option to compose your own pie. You’ll want to think about that before you get to the counter where you order. It’s slow going, but you do get an entertaining view of the kitchen. The staff is on view like zoo animals behind plate glass. We sat at the front bar and watched one dude jive to music we couldn’t hear and continually spin a rag on his finger, but we never saw him do that with the pizza dough itself.
Meanwhile, the original Ammazza on Edgewood is on the verge of reopening. Please bike or walk there. We don’t need any more car crashes."
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That’s not the case at Casi Cielo. Ruiz has an impressive resume. This is his debut job in the U.S. He grew up in Colombia and has done stints at some world-class restaurants in Spain and Panama, but his experience in Oaxaca is limited to two weeks of hanging out with Chef Luis Arellano of the renowned Criollo. It’s tempting to question how the restaurant can dub itself even Oaxacan-inspired with Ruiz’s limited experience, but you have to understand that the state of Oaxaca has a remarkably diverse indigenous population that inhabits an equally diverse topography, from coastal to mountainous regions. The legendary Diana Kennedy’s book, Oaxaca al Gusto, is subtitled “An Infinite Gastronomy.” Foodies from the world over are traveling to Oaxaca for infinite inspiration, not duplication.
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My second favorite dish was the ribeye. There’s nothing particularly Mexican about this; the truly perfectly grilled and sliced steak was served with a side of chimichurri sauce. Ruiz makes it with cilantro instead of the parsley usually used in Argentina, where it originated. Our third entrée was roasted suckling pig — supposedly carnitas, but without the crispy pieces. Flavor was nonetheless great.
The scariest dish was a starter consisting of an octopus arm flopped forlornly on the plate with some mashed potatoes, a Veracruz red salsa, and three large dots of pureed green olives. I had read that the octopus is cooked sous vide and then grilled. Weirdly enough, it instantly reminded me of the ox penis on the menu at Beijing Kabobs on Buford Highway. Like it, the outer part of the octopus was kind of squishy but the interior was very rubbery. There was no flavor except for the olive puree and the salsa. You get at most five bites, and that was fine with me. We also got an order of very thick blue-corn tostadas to break into pieces to dip in a house-made green or red sauce. The green was bracing and sour, as it should be. The red, made with three different chiles, was borderline amazing. We also were treated to a Oaxacan amuse-bouche of tiny tamales topped with I know not what.
The indisputably big loser of the evening was the sliced halibut. The tiny slivers were curled into something that looked like albino nipples topped with jalapeno pasties. Some tiny flowers prettied up the plate. Please! Give us back that $27!
So, I just mentioned the relatively high cost. Four of us paid about $200, including tip, with no alcohol. I don’t want to contribute to the damaging expectation that a restaurant serving Mexican cuisine should be cheap. That thinking has killed several inventive restaurants in Atlanta. Casi Cielo has been open a couple of months and I hope that Chef Ruiz will continue his interpretive cooking with sourced ingredients and not be pulled into the almost inevitable demand that he submit to Mexican-American clichés. But people are going to have a hard time paying $18 for five bites of rubbery octopus.
Still, the restaurant does have much to recommend it. Just be diligent about what you order. Its bar, by the way, has the widest variety of Mezcals in the city. The space is warm and woody, but sleek and minimalist, without any sign of Mexican kitsch. The service is highly attentive. Even my foodie mother would have liked seeing the prosaic tastes of the Golden Ghetto upgraded with some imaginative Mexican-inspired cuisine.
!!!__AMMAZZA OPENS IN DECATUR__
Foodies wept in the summer of 2017 when Ammazza, a popular pizzeria on Edgewood in the Old Fourth Ward, was struck by two cars on different days, forcing it to close after about five years of operation. I really liked Ammazza, which means “killer” but in, you know, a positive way. The restaurant joined the national obsession with thin-crusted Neapolitan pies, but did not feel 100 percent bound by the rules. Call us Philistines, but many Americans love our pizzas thin, but we don’t like them floppy and wet. Ammazza’s pies were crisper than those at, say, Antico. The owners didn’t feel like every ingredient had to be flown in from Italy. Instead of the usually requisite mozzarella di bufala imported from Campania, for example, they were content to make their own mozzarella. Most meats were bought from the highly respected Spotted Trotter. All of this was fueled by a love of beer.
A new [https://ammazza.com|Ammazza] has opened in Decatur (314 E. Howard Ave.). Friends and I visited not long after it opened. Not sufficiently checking in with one another, we stupidly ordered four of the smaller pizzas, all made with the same robust red sauce. That and a repetition of Italian sausage made everything kind of taste alike. So, I suggest that a party of more than two buy at least one of the four white, “sauceless” pies or one of the two made with pesto.
We ordered the Margherita, the usual test of any pizzeria, and I’m sorry to say it was not up to our expectations. The pie classically combines a tomato sauce with pools of melting mozzarella and basil leaves. I like an uncomplicated taste of straight-up tomatoes ground in a food processor with some olive oil and a bit of salt, and I want it applied to the dough very lightly. If you’re going to use a relatively bland mozzarella, the basil needs to be turned up to add some clear contrast. Ammazza’s heavy sauce and super-light use of basil didn’t make the grade.
Our favorite pizza turned out to be the Ammazzare topped with Italian sausage, red bell peppers, caramelized onions, fresh basil, and mozzarella. Second-best was the Carne with pepperoni, sweet and hot Italian sausage, sorghum-cured bacon, mozzarella, and basil. Third was the Bolognese with meatballs, sweet and hot Italian sausage, mozzarella, ricotta, and basil. The Margherita scored the lowest. The pizzas are made in two 900-degree wood-fired ovens that produce the much-vaunted speckled char. Unfortunately, our slices were all wet and floppy without a bit of crispness.
{img fileId="11773" stylebox="float: right; margin-left: 25px;" width="600" desc="IT’S NOT TV: A view of the kitchen zoo from the bar at Ammazza. Photo by Cliff Bostock."}
Starters for the most part fared better. The Caprese salad proved that the house-made mozzarella does indeed have good flavor, as did the Roma tomatoes. The addition of a strong balsamic reduction to the olive oil is considered crass by purists, but I liked it. A Caesar salad was too heavily dressed for my taste. Meatballs in tomato sauce with ricotta and mozzarella were hefty and full of flavor. Cubes of spaghetti fritti made with soppressata, bacon, and cheese added a crispy contrast to everything else we ordered.
I have absolutely no doubt the place will work out its kinks. Next time I go, I’ll orchestrate the ordering to provide more diversity, and you should seriously do the same. There is an option to compose your own pie. You’ll want to think about that before you get to the counter where you order. It’s slow going, but you do get an entertaining view of the kitchen. The staff is on view like zoo animals behind plate glass. We sat at the front bar and watched one dude jive to music we couldn’t hear and continually spin a rag on his finger, but we never saw him do that with the pizza dough itself.
Meanwhile, the original Ammazza on Edgewood is on the verge of reopening. Please bike or walk there. We don’t need any more car crashes."
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string(9676) " * IMG 0945 2018-12-10T16:50:48+00:00 * IMG_0945.JPG Casi Cielo opens in Sandy Springs, Ammazza is now in Decatur * IMG 0945 2018-12-10T16:54:19+00:00 GRAZING: Diverse and divine inspiration tony.paris Tony Paris CLIFF BOSTOCK cliffbostock (Cliff Bostock) 2018-12-10T16:54:19+00:00 I rarely travel from intown Atlanta to Sandy Springs. I spent my miserable, bullied adolescence there, and driving out Roswell Road is like voluntarily stepping into a psychological cesspool. Back then, it was nicknamed the “Golden Ghetto” and was so white and so upper-middle-class that my own mother once told me if she could do it over, she would not raise her children there. Incorporated since 2005, Sandy Springs is now an example of seemingly unrestricted commercial development, and it is torture to navigate.
However, I couldn’t wait to get out there to try the new Casi Cielo (6125 Roswell Road, 404-549-9411. That means “almost heaven” and doesn’t refer to the location inside a Modera development. It refers to Chef Juan Ruiz’s cooking, inspired by the cuisine of the Mexican state of Oaxaca. I admit I was suspicious. The “upscale” restaurant is owned by La Cosecha Group, which operates the many locations of La Parilla Mexican Restaurant, which, like most Mexican spots here, is more Tex-Mex in many ways than it is Mexican.
That’s not the case at Casi Cielo. Ruiz has an impressive resume. This is his debut job in the U.S. He grew up in Colombia and has done stints at some world-class restaurants in Spain and Panama, but his experience in Oaxaca is limited to two weeks of hanging out with Chef Luis Arellano of the renowned Criollo. It’s tempting to question how the restaurant can dub itself even Oaxacan-inspired with Ruiz’s limited experience, but you have to understand that the state of Oaxaca has a remarkably diverse indigenous population that inhabits an equally diverse topography, from coastal to mountainous regions. The legendary Diana Kennedy’s book, Oaxaca al Gusto, is subtitled “An Infinite Gastronomy.” Foodies from the world over are traveling to Oaxaca for infinite inspiration, not duplication.
Does the restaurant pull it off? I’m not so sure. When four of us visited on a recent Friday night, we were confused from the outset. Here, as everywhere these days, we couldn’t ascertain the portion sizes, so we ended up sharing a bunch of small plates and entrée-sized “platos fuertes.” We agreed that the entrees were mainly better than the apps. My favorite — specifically identified as sharable — was the roasted duck with mole negro served on the side. Because of its great diversity, Oaxaca is called “the land of seven moles,” but the mole negro is the most popular. When he stopped by our table, chef Ruiz told me that he makes it with 20-odd ingredients, as is true with most moles. This one, frankly, tasted a bit sweet and cinnamony to me. But we lapped it up with pieces we pulled from the juicy duck. The plate came with some rice and pork frijolada, which is pureed black beans with pork.
My second favorite dish was the ribeye. There’s nothing particularly Mexican about this; the truly perfectly grilled and sliced steak was served with a side of chimichurri sauce. Ruiz makes it with cilantro instead of the parsley usually used in Argentina, where it originated. Our third entrée was roasted suckling pig — supposedly carnitas, but without the crispy pieces. Flavor was nonetheless great.
The scariest dish was a starter consisting of an octopus arm flopped forlornly on the plate with some mashed potatoes, a Veracruz red salsa, and three large dots of pureed green olives. I had read that the octopus is cooked sous vide and then grilled. Weirdly enough, it instantly reminded me of the ox penis on the menu at Beijing Kabobs on Buford Highway. Like it, the outer part of the octopus was kind of squishy but the interior was very rubbery. There was no flavor except for the olive puree and the salsa. You get at most five bites, and that was fine with me. We also got an order of very thick blue-corn tostadas to break into pieces to dip in a house-made green or red sauce. The green was bracing and sour, as it should be. The red, made with three different chiles, was borderline amazing. We also were treated to a Oaxacan amuse-bouche of tiny tamales topped with I know not what.
The indisputably big loser of the evening was the sliced halibut. The tiny slivers were curled into something that looked like albino nipples topped with jalapeno pasties. Some tiny flowers prettied up the plate. Please! Give us back that $27!
So, I just mentioned the relatively high cost. Four of us paid about $200, including tip, with no alcohol. I don’t want to contribute to the damaging expectation that a restaurant serving Mexican cuisine should be cheap. That thinking has killed several inventive restaurants in Atlanta. Casi Cielo has been open a couple of months and I hope that Chef Ruiz will continue his interpretive cooking with sourced ingredients and not be pulled into the almost inevitable demand that he submit to Mexican-American clichés. But people are going to have a hard time paying $18 for five bites of rubbery octopus.
Still, the restaurant does have much to recommend it. Just be diligent about what you order. Its bar, by the way, has the widest variety of Mezcals in the city. The space is warm and woody, but sleek and minimalist, without any sign of Mexican kitsch. The service is highly attentive. Even my foodie mother would have liked seeing the prosaic tastes of the Golden Ghetto upgraded with some imaginative Mexican-inspired cuisine.
!!!AMMAZZA OPENS IN DECATUR
Foodies wept in the summer of 2017 when Ammazza, a popular pizzeria on Edgewood in the Old Fourth Ward, was struck by two cars on different days, forcing it to close after about five years of operation. I really liked Ammazza, which means “killer” but in, you know, a positive way. The restaurant joined the national obsession with thin-crusted Neapolitan pies, but did not feel 100 percent bound by the rules. Call us Philistines, but many Americans love our pizzas thin, but we don’t like them floppy and wet. Ammazza’s pies were crisper than those at, say, Antico. The owners didn’t feel like every ingredient had to be flown in from Italy. Instead of the usually requisite mozzarella di bufala imported from Campania, for example, they were content to make their own mozzarella. Most meats were bought from the highly respected Spotted Trotter. All of this was fueled by a love of beer.
A new Ammazza has opened in Decatur (314 E. Howard Ave.). Friends and I visited not long after it opened. Not sufficiently checking in with one another, we stupidly ordered four of the smaller pizzas, all made with the same robust red sauce. That and a repetition of Italian sausage made everything kind of taste alike. So, I suggest that a party of more than two buy at least one of the four white, “sauceless” pies or one of the two made with pesto.
We ordered the Margherita, the usual test of any pizzeria, and I’m sorry to say it was not up to our expectations. The pie classically combines a tomato sauce with pools of melting mozzarella and basil leaves. I like an uncomplicated taste of straight-up tomatoes ground in a food processor with some olive oil and a bit of salt, and I want it applied to the dough very lightly. If you’re going to use a relatively bland mozzarella, the basil needs to be turned up to add some clear contrast. Ammazza’s heavy sauce and super-light use of basil didn’t make the grade.
Our favorite pizza turned out to be the Ammazzare topped with Italian sausage, red bell peppers, caramelized onions, fresh basil, and mozzarella. Second-best was the Carne with pepperoni, sweet and hot Italian sausage, sorghum-cured bacon, mozzarella, and basil. Third was the Bolognese with meatballs, sweet and hot Italian sausage, mozzarella, ricotta, and basil. The Margherita scored the lowest. The pizzas are made in two 900-degree wood-fired ovens that produce the much-vaunted speckled char. Unfortunately, our slices were all wet and floppy without a bit of crispness.
Starters for the most part fared better. The Caprese salad proved that the house-made mozzarella does indeed have good flavor, as did the Roma tomatoes. The addition of a strong balsamic reduction to the olive oil is considered crass by purists, but I liked it. A Caesar salad was too heavily dressed for my taste. Meatballs in tomato sauce with ricotta and mozzarella were hefty and full of flavor. Cubes of spaghetti fritti made with soppressata, bacon, and cheese added a crispy contrast to everything else we ordered.
I have absolutely no doubt the place will work out its kinks. Next time I go, I’ll orchestrate the ordering to provide more diversity, and you should seriously do the same. There is an option to compose your own pie. You’ll want to think about that before you get to the counter where you order. It’s slow going, but you do get an entertaining view of the kitchen. The staff is on view like zoo animals behind plate glass. We sat at the front bar and watched one dude jive to music we couldn’t hear and continually spin a rag on his finger, but we never saw him do that with the pizza dough itself.
Meanwhile, the original Ammazza on Edgewood is on the verge of reopening. Please bike or walk there. We don’t need any more car crashes. CLIF BOSTOCK CULTURE CLASH: A Margherita pizza floats above a Bolognese at Ammazza. GRAZING: Diverse and divine inspiration "
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GRAZING: Diverse and divine inspiration Food and Drink, Restaurant Review
Monday December 10, 2018 11:54 AM EST
Casi Cielo opens in Sandy Springs, Ammazza is now in Decatur
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string(8212) "!!!!“If you can help the Cobb sheriff find Sam ‘Waldo’ Olens, you’re a WINNER!!!”
!!!!— Georgia Watchdogs Watchdogs Newsletter
Suing the state is not always serious business. Sometimes it exudes its own special strain of dark humor. Take the well-oiled coordination between state and local officials that made it impossible for former Georgia attorney general Sam Olens to be served in Cobb County.
Service of process is a simple yet necessary step in commencing a lawsuit. It simply means that the defendant is served with the complaint and a summons giving notice that a response is required. Usually a lawyer hires a private server who will lie in wait, if necessary, to hand the summons and complaint to the defendant, even if they are trying to avoid service.
In the case of my attempt to serve Olens as a defendant in a government corruption lawsuit after he left the Attorney General’s office, I decided to be economical and use another option, sheriff’s service. You fill out the summons, give the sheriff in the defendant’s county $50, and the sheriff is supposed to send a deputy out to deliver the papers. Once the defendant is served, a return of service form is filed with the court where the lawsuit is pending.
Normally I would be surprised to hear that the sheriff of Cobb County couldn’t find Sam Olens to serve him. After all, Olens is not only the former attorney general of Georgia, but also former chair of the Atlanta Regional Commission and the Cobb County Commission. At the time I was trying to serve Olens with the lawsuit alleging he was illegally appointed president of Kennesaw State University, he was serving as the head of KSU, the largest organization in Cobb County.
The form the sheriff’s department returned a few weeks later marked “Non Est” — meaning Olens could not be found in Cobb County to serve him with papers — gave some clues to the problem. It stated, for example, that several attempts had been made to find Olens at the office of the president of Kennesaw State University, including sending a deputy out to the office address to try to serve Olens at night. But apparently neither Olens nor his support staff was burning the midnight oil.
Cobb County-Sam Olens return of service non est #1
But the Cobb County sheriff didn’t give a refund. I had to start all over again — and pay cash money again — to get Olens served with process.
Even after Olens was served, neither the judge nor the new attorney general, Chris Carr, ever responded to the lawsuit, as required by law, to address the claims and evidence: that the University System of Georgia illegally appointed Olens to a $500,000-a-year job as KSU president (after Olens obstructed a criminal investigation of the USG for financial fraud at Georgia Perimeter College).
The evidence, filed with successive motions over the course of a year, points to everyone up to current USG chancellor Steve Wrigley making felony misrepresentations about $9 million in taxpayer money that remains unaccounted for to this day.
In the RICO suits pending for GPC and KSU, the University System of Georgia and AG Carr are hiding more evidence of financial fraud in defiance of the Open Records Act.
Also of interest, the same sheriff who marked Olens “Non Est,” when I first attempted to serve Olens, and said sorry we can’t find the former Cobb Commission chair and president of KSU anywhere in Cobb County, is the same sheriff who was texting Olens to razz him about KSU cheerleaders kneeling during the national anthem. After all, it is a lot easier to text people on their personal cell phones than it is to serve them with papers at their office at midnight.
I can be sure that is true because I filed another lawsuit against Sam Olens — this time for obstructing the investigation of criminal identity fraud and evidence tampering by former University of Georgia president Michael Adams to cover up another scandal at UGA. By now you may not be surprised to learn that the same sheriff who can text Olens on his cell phone, could not find Olens to serve him the second time, either.
The second time the sheriff did at least give a different reason for finding Olens “Non Est” — cannot be located in Cobb County to serve him. This second time, Olens had already slunk out of the KSU presidency, with the unanswered lawsuit with evidence of obstruction pending against him, so I gave the sheriff Olens’ home address in Cobb County to serve him.
When I got the service forms back a few weeks later marked “Non Est” by the Cobb County sheriff again, that wily sheriff had not gone to Olens’ house to try to serve him. Instead, he had repeatedly tried to serve him at the KSU president’s office — where Olens no longer worked!
Cobb County-Sam Olens return of service non est #2
If you were obstructing so many criminal investigations, you might not want to be found either. But with all these amazing coincidences, it’s no wonder Olens calls me an “outlandish conspiracy theorist” as I continue to try to bring him to trial and show the evidence to a jury.
(More on that evidence in coming weeks — but another favorite part of the story is when a UGA dean impersonated UGA students online and sent out false correspondence using their names and Social Security numbers, as documented in state records in our possession, despite the AG’s attempts to hide those same records from us. Too late — I already had them, including the memo from a state official warning his confederates to make sure the UGA students never found out about the fake correspondence sent out in their names to manufacture evidence.
To add one more outlandish twist, AG Carr directly obstructed service of UGA’s Adams in the second lawsuit (of the two in which the Cobb sheriff could not find Olens to serve him) in the scandal at UGA. Adams, though no longer UGA president, kept an office with two secretaries on the UGA campus. Even if Adams were hiding out in Malibu, the secretaries could accept service, but Carr assistant Mac Sitton instructed the UGA Office of Legal Affairs to refuse service and say that Adams’ office was not a real office.
Clarke County return of service / can't serve Mike Adams at UGA
For good measure, Carr—who was also a defendant in the same case as Adams — also refused to accept service on himself. No one in the AG office could ever explain the basis for the state’s top legal officer defying the legal process.
Attorney General refused service on...Attorney General
If that does not sound outlandish enough, there is yet another strange coincidence: Judge Tom Campbell, who was presiding over that lawsuit — in which Olens, Adams, and Carr could not be seem to be served — knew to issue an order a month after the suit was filed to dismiss it for lack of service. No one filed a motion or asked for such an order, or otherwise called the judge’s attention to our inability to serve Olens or Adams or Carr, but word gets around somehow.
I thought the Cobb County sheriff texting Sam Olens on his personal cell phone — while stating Olens couldn’t be found to be served — would make a good satirical story for some reporter to poke fun at the absurdity of government corruption. I sent all the “Non Est” return of service forms to several media outlets, but got no takers. (One columnist did write a piece, but it was killed by management as too controversial and too likely to cause Cobb County to pull its legal ads.)
I don’t know for sure that was the reason the story was spiked, that’s just what I was told. However, a federal investigator might find it a more rewarding lead for non-publicity purposes. It’s the kind of thing a prosecutor like Mueller includes in his indictments and plea agreements to establish the element of intent that is so important in criminal cases, especially when you are dealing with a public official who claims to be preoccupied with doing the people’s business while meeting with Sergey Kislyak.
Read more “Outlandish Conspiracy Theories” in coming weeks in print and online at creativeloafing.com."
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string(8415) "!!!!“If you can help the Cobb sheriff find Sam ‘Waldo’ Olens, you’re a WINNER!!!”
!!!!— ''Georgia Watchdogs'' %%% [dl11783|Watchdogs Newsletter]
Suing the state is not always serious business. Sometimes it exudes its own special strain of dark humor. Take the well-oiled coordination between state and local officials that made it impossible for former Georgia attorney general Sam Olens to be served in Cobb County.
Service of process is a simple yet necessary step in commencing a lawsuit. It simply means that the defendant is served with the complaint and a summons giving notice that a response is required. Usually a lawyer hires a private server who will lie in wait, if necessary, to hand the summons and complaint to the defendant, even if they are trying to avoid service.
In the case of my attempt to serve Olens as a defendant in a government corruption lawsuit after he left the Attorney General’s office, I decided to be economical and use another option, sheriff’s service. You fill out the summons, give the sheriff in the defendant’s county $50, and the sheriff is supposed to send a deputy out to deliver the papers. Once the defendant is served, a return of service form is filed with the court where the lawsuit is pending.
Normally I would be surprised to hear that the sheriff of Cobb County couldn’t find Sam Olens to serve him. After all, Olens is not only the former attorney general of Georgia, but also former chair of the Atlanta Regional Commission and the Cobb County Commission. At the time I was trying to serve Olens with the lawsuit alleging he was illegally appointed president of Kennesaw State University, he was serving as the head of KSU, the largest organization in Cobb County.
The form the sheriff’s department returned a few weeks later marked “Non Est” — meaning Olens could not be found in Cobb County to serve him with papers — gave some clues to the problem. It stated, for example, that several attempts had been made to find Olens at the office of the president of Kennesaw State University, including sending a deputy out to the office address to try to serve Olens at night. But apparently neither Olens nor his support staff was burning the midnight oil.
[dl11785|Cobb County-Sam Olens return of service non est #1]
But the Cobb County sheriff didn’t give a refund. I had to start all over again — and pay cash money again — to get Olens served with process.
Even after Olens was served, neither the judge nor the new attorney general, Chris Carr, ever responded to the lawsuit, as required by law, to address the claims and evidence: that the University System of Georgia illegally appointed Olens to a $500,000-a-year job as KSU president (after Olens obstructed a criminal investigation of the USG for financial fraud at Georgia Perimeter College).
The evidence, filed with successive motions over the course of a year, points to everyone up to current USG chancellor Steve Wrigley making felony misrepresentations about $9 million in taxpayer money that remains unaccounted for to this day.
In the RICO suits pending for GPC and KSU, the University System of Georgia and AG Carr are hiding more evidence of financial fraud in defiance of the Open Records Act.
Also of interest, the same sheriff who marked Olens “Non Est,” when I first attempted to serve Olens, and said sorry we can’t find the former Cobb Commission chair and president of KSU anywhere in Cobb County, is the same sheriff who was texting Olens to razz him about [https://www.mdjonline.com/news/texts-sheriff-neil-warren-rep-earl-ehrhart-pushed-samolens/article_642f24ea-b41a-11e7-9858-8baf3b81ab24.html|KSU cheerleaders kneeling during the national anthem]. After all, it is a lot easier to text people on their personal cell phones than it is to serve them with papers at their office at midnight.
I can be sure that is true because I filed another lawsuit against Sam Olens — this time for obstructing the investigation of criminal identity fraud and evidence tampering by former University of Georgia president Michael Adams to cover up another scandal at UGA. By now you may not be surprised to learn that the same sheriff who can text Olens on his cell phone, could not find Olens to serve him the second time, either.
The second time the sheriff did at least give a different reason for finding Olens “Non Est” — cannot be located in Cobb County to serve him. This second time, Olens had already slunk out of the KSU presidency, with the unanswered lawsuit with evidence of obstruction pending against him, so I gave the sheriff Olens’ home address in Cobb County to serve him.
When I got the service forms back a few weeks later marked “Non Est” by the Cobb County sheriff again, that wily sheriff had not gone to Olens’ house to try to serve him. Instead, he had repeatedly tried to serve him at the KSU president’s office — where Olens no longer worked!
[dl11784|Cobb County-Sam Olens return of service non est #2]
If you were obstructing so many criminal investigations, you might not want to be found either. But with all these amazing coincidences, it’s no wonder Olens calls me an “outlandish conspiracy theorist” as I continue to try to bring him to trial and show the evidence to a jury.
(More on that evidence in coming weeks — but another favorite part of the story is when a UGA dean impersonated UGA students online and sent out false correspondence using their names and Social Security numbers, as documented in state records in our possession, despite the AG’s attempts to hide those same records from us. Too late — I already had them, including the memo from a state official warning his confederates to make sure the UGA students never found out about the fake correspondence sent out in their names to manufacture evidence.
To add one more outlandish twist, AG Carr directly obstructed service of UGA’s Adams in the second lawsuit (of the two in which the Cobb sheriff could not find Olens to serve him) in the scandal at UGA. Adams, though no longer UGA president, kept an office with two secretaries on the UGA campus. Even if Adams were hiding out in Malibu, the secretaries could accept service, but Carr assistant Mac Sitton instructed the UGA Office of Legal Affairs to refuse service and say that Adams’ office was not a real office.
[dl11787|Clarke County return of service / can't serve Mike Adams at UGA]
For good measure, Carr—who was also a defendant in the same case as Adams — also refused to accept service on himself. No one in the AG office could ever explain the basis for the state’s top legal officer defying the legal process.
[dl11788|Attorney General refused service on...Attorney General]
If that does not sound outlandish enough, there is yet another strange coincidence: Judge Tom Campbell, who was presiding over that lawsuit — in which Olens, Adams, and Carr could not be seem to be served — knew to issue an order a month after the suit was filed to dismiss it for lack of service. No one filed a motion or asked for such an order, or otherwise called the judge’s attention to our inability to serve Olens or Adams or Carr, but word gets around somehow.
I thought the Cobb County sheriff texting Sam Olens on his personal cell phone — while stating Olens couldn’t be found to be served — would make a good satirical story for some reporter to poke fun at the absurdity of government corruption. I sent all the “Non Est” return of service forms to several media outlets, but got no takers. (One columnist did write a piece, but it was killed by management as too controversial and too likely to cause Cobb County to pull its legal ads.)
I don’t know for sure that was the reason the story was spiked, that’s just what I was told. However, a federal investigator might find it a more rewarding lead for non-publicity purposes. It’s the kind of thing a prosecutor like Mueller includes in his indictments and plea agreements to establish the element of intent that is so important in criminal cases, especially when you are dealing with a public official who claims to be preoccupied with doing the people’s business while meeting with Sergey Kislyak.
''Read more “Outlandish Conspiracy Theories” in coming weeks in print and online at creativeloafing.com.''"
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string(9031) " HUMPHREYS Head2 2018-12-12T17:07:46+00:00 HUMPHREYS head2.jpg This needs to be filmed as a Stand Up Routine and Posted on YouTube. #Viral or animated in the Adult Swim show Rick and Morty. Unbelievable! GA's courts are the biggest problem in the state! Could we get an AG with credentials? GA's courts are the biggest problem in the state. Could we get a AG with credentials? humphrey humphreys humphries The former attorney general is nowhere to be found HUMPHREYS Head2 2018-12-10T18:03:00+00:00 Outlandish Conspiracy Theories: Serving Sam Olens athenslaw Stephen Humphreys Stephen F. Humphreys athenslaw (Stephen Humphreys) 2018-12-10T18:03:00+00:00 !!!!“If you can help the Cobb sheriff find Sam ‘Waldo’ Olens, you’re a WINNER!!!”
!!!!— Georgia Watchdogs Watchdogs Newsletter
Suing the state is not always serious business. Sometimes it exudes its own special strain of dark humor. Take the well-oiled coordination between state and local officials that made it impossible for former Georgia attorney general Sam Olens to be served in Cobb County.
Service of process is a simple yet necessary step in commencing a lawsuit. It simply means that the defendant is served with the complaint and a summons giving notice that a response is required. Usually a lawyer hires a private server who will lie in wait, if necessary, to hand the summons and complaint to the defendant, even if they are trying to avoid service.
In the case of my attempt to serve Olens as a defendant in a government corruption lawsuit after he left the Attorney General’s office, I decided to be economical and use another option, sheriff’s service. You fill out the summons, give the sheriff in the defendant’s county $50, and the sheriff is supposed to send a deputy out to deliver the papers. Once the defendant is served, a return of service form is filed with the court where the lawsuit is pending.
Normally I would be surprised to hear that the sheriff of Cobb County couldn’t find Sam Olens to serve him. After all, Olens is not only the former attorney general of Georgia, but also former chair of the Atlanta Regional Commission and the Cobb County Commission. At the time I was trying to serve Olens with the lawsuit alleging he was illegally appointed president of Kennesaw State University, he was serving as the head of KSU, the largest organization in Cobb County.
The form the sheriff’s department returned a few weeks later marked “Non Est” — meaning Olens could not be found in Cobb County to serve him with papers — gave some clues to the problem. It stated, for example, that several attempts had been made to find Olens at the office of the president of Kennesaw State University, including sending a deputy out to the office address to try to serve Olens at night. But apparently neither Olens nor his support staff was burning the midnight oil.
Cobb County-Sam Olens return of service non est #1
But the Cobb County sheriff didn’t give a refund. I had to start all over again — and pay cash money again — to get Olens served with process.
Even after Olens was served, neither the judge nor the new attorney general, Chris Carr, ever responded to the lawsuit, as required by law, to address the claims and evidence: that the University System of Georgia illegally appointed Olens to a $500,000-a-year job as KSU president (after Olens obstructed a criminal investigation of the USG for financial fraud at Georgia Perimeter College).
The evidence, filed with successive motions over the course of a year, points to everyone up to current USG chancellor Steve Wrigley making felony misrepresentations about $9 million in taxpayer money that remains unaccounted for to this day.
In the RICO suits pending for GPC and KSU, the University System of Georgia and AG Carr are hiding more evidence of financial fraud in defiance of the Open Records Act.
Also of interest, the same sheriff who marked Olens “Non Est,” when I first attempted to serve Olens, and said sorry we can’t find the former Cobb Commission chair and president of KSU anywhere in Cobb County, is the same sheriff who was texting Olens to razz him about KSU cheerleaders kneeling during the national anthem. After all, it is a lot easier to text people on their personal cell phones than it is to serve them with papers at their office at midnight.
I can be sure that is true because I filed another lawsuit against Sam Olens — this time for obstructing the investigation of criminal identity fraud and evidence tampering by former University of Georgia president Michael Adams to cover up another scandal at UGA. By now you may not be surprised to learn that the same sheriff who can text Olens on his cell phone, could not find Olens to serve him the second time, either.
The second time the sheriff did at least give a different reason for finding Olens “Non Est” — cannot be located in Cobb County to serve him. This second time, Olens had already slunk out of the KSU presidency, with the unanswered lawsuit with evidence of obstruction pending against him, so I gave the sheriff Olens’ home address in Cobb County to serve him.
When I got the service forms back a few weeks later marked “Non Est” by the Cobb County sheriff again, that wily sheriff had not gone to Olens’ house to try to serve him. Instead, he had repeatedly tried to serve him at the KSU president’s office — where Olens no longer worked!
Cobb County-Sam Olens return of service non est #2
If you were obstructing so many criminal investigations, you might not want to be found either. But with all these amazing coincidences, it’s no wonder Olens calls me an “outlandish conspiracy theorist” as I continue to try to bring him to trial and show the evidence to a jury.
(More on that evidence in coming weeks — but another favorite part of the story is when a UGA dean impersonated UGA students online and sent out false correspondence using their names and Social Security numbers, as documented in state records in our possession, despite the AG’s attempts to hide those same records from us. Too late — I already had them, including the memo from a state official warning his confederates to make sure the UGA students never found out about the fake correspondence sent out in their names to manufacture evidence.
To add one more outlandish twist, AG Carr directly obstructed service of UGA’s Adams in the second lawsuit (of the two in which the Cobb sheriff could not find Olens to serve him) in the scandal at UGA. Adams, though no longer UGA president, kept an office with two secretaries on the UGA campus. Even if Adams were hiding out in Malibu, the secretaries could accept service, but Carr assistant Mac Sitton instructed the UGA Office of Legal Affairs to refuse service and say that Adams’ office was not a real office.
Clarke County return of service / can't serve Mike Adams at UGA
For good measure, Carr—who was also a defendant in the same case as Adams — also refused to accept service on himself. No one in the AG office could ever explain the basis for the state’s top legal officer defying the legal process.
Attorney General refused service on...Attorney General
If that does not sound outlandish enough, there is yet another strange coincidence: Judge Tom Campbell, who was presiding over that lawsuit — in which Olens, Adams, and Carr could not be seem to be served — knew to issue an order a month after the suit was filed to dismiss it for lack of service. No one filed a motion or asked for such an order, or otherwise called the judge’s attention to our inability to serve Olens or Adams or Carr, but word gets around somehow.
I thought the Cobb County sheriff texting Sam Olens on his personal cell phone — while stating Olens couldn’t be found to be served — would make a good satirical story for some reporter to poke fun at the absurdity of government corruption. I sent all the “Non Est” return of service forms to several media outlets, but got no takers. (One columnist did write a piece, but it was killed by management as too controversial and too likely to cause Cobb County to pull its legal ads.)
I don’t know for sure that was the reason the story was spiked, that’s just what I was told. However, a federal investigator might find it a more rewarding lead for non-publicity purposes. It’s the kind of thing a prosecutor like Mueller includes in his indictments and plea agreements to establish the element of intent that is so important in criminal cases, especially when you are dealing with a public official who claims to be preoccupied with doing the people’s business while meeting with Sergey Kislyak.
Read more “Outlandish Conspiracy Theories” in coming weeks in print and online at creativeloafing.com. CL File UNDERCOVER: Stephen F. Humphreys humphrey humphreys humphries Outlandish Conspiracy Theories: Serving Sam Olens "
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Outlandish Conspiracy Theories: Serving Sam Olens News
Monday December 10, 2018 01:03 PM EST
The former attorney general is nowhere to be found
|
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string(5774) "Debuting a film on Netflix must be like experiencing the Zen koan about the tree falling in the woods: If no one knows it’s available, will anyone watch it? Particularly in the past year, the streaming service has been notorious for dropping an astonishing quantity of films and series with scarcely any advance notice.
After years of work and hustling to get their film completed, filmmakers must pray that subscribers will notice their labor of love in the “Now Trending” or “Popular on Netflix” columns alongside new seasons of, say, “The Great British Baking Show.” One of the year’s best films, Tamara Jenkins’ Private Life, spotlights funny but wrenching performances by Paul Giamatti and Kathryn Hahn as a pair of New York intellectuals struggling with infertility. It seems to have sunk without a ripple after its October 5 Netflix debut.
The streaming service began its bid for prestigious Oscar contenders with Beasts of No Nation in 2015. Its string of mixed successes, like Okja, changes this month with the December 14 premiere of Roma, following a brief but crucial theatrical run.
After making such Hollywood genre hits as Gravity and Harry Potter and the Prisoner of Azkaban, director Alfonso Cuarón returned to his native Mexico for a deeply felt drama inspired by his own childhood. Roma suggests that Cuarón set out to create an international classic worthy of the likes of Federico Fellini and Ingmar Bergman — and did it. It will be no surprise if future generations study Roma at film school.
But you have to meet Roma halfway. The first half hour seems to present not a traditional plot so much as domestic activity, with housemaid Cleo (Yalitza Aparicio) helping to raise a brood of middle-class children in Mexico City. Their mother, Sofia, (Marina de Tavira) grows concerned over her husband’s increasingly frequent absences. At some point while watching their lives unfold, the viewer feels not like a dispassionate observer but part of the family, utterly invested in their personal struggles, with events becoming unexpectedly perilous. The section includes sequences of heart-in-your-throat suspense.
In Roma, Cuarón draws on everything he’s learned to date about long takes and composing his frames, so every shot is packed with information. Watching it resembles visiting a gallery of photography: A few minutes at a New Year’s Eve party at a swanky country house speaks volumes about Mexico’s political tensions in 1971.
The paradox of Netflix is that it gives films like Roma the potential for a much bigger audience than could see them on the arthouse circuit, without offering the ideal viewing experience. Today’s televisions offer bigger screens with sharper images, but a theater is still the ideal place to see a deliberately paced, black-and-white movie with subtitles. As much as people like to see big, special-effects-filled epics at the cinema, they’re less likely to be diminished by the distractions of home viewing than a quietly rewarding film like Roma.
Fortunately, Roma will have a brief run at Landmark Midtown Art Cinema beginning December 6, and even Netflix subscribers should make a point to see it on the big screen. Either way, it deserves viewing, and shouldn’t be yet another tree that falls without making a sound.
Roma. 5 Stars. Stars: Yalitza Aparicio, Marina de Tavira. Directed by Alfonso Cuarón. Screens Dec. 6-9 at Landmark Midtown Art Cinema before debuting on Netflix Dec. 14.
Yas, Queen: Speaking of 2018’s best films, the historical satire The Favourite makes Dangerous Liaisons look like The Princess Diaries. Despite taking place in the court of Queen Anne (Olivia Colman) in the early 18th century, The Favourite bears little resemblance to “Victoria” or other sleek dramas about the British royals. Instead, it presents courtly struggles as a blood sport, complete with savage wordplay and bedroom power plays.
Queen Anne suffers from ill health and a mercurial temper, and her reliance on her friend and advisor Sarah Churchill (Rachel Weisz) to run things makes Sarah one of England’s most powerful people. When Sarah’s bereft cousin Abigail (Emma Stone) arrives at the Queen’s country palace, she gradually ingratiates herself with the moody monarch, rising from her station as a servant and threatening Sarah’s position.
The Favourite offers a reminder of how much the past sucked, especially for women with no resources. On arrival at the palace, Abigail endures verbal humiliation, corporal punishment, vicious pranks, and near-constant sexual harassment. Director Yorgos Lanthimos’s jokes and sight gags never blunt the film’s vision of social cruelty.
Stone effectively captures Abigail’s wounded innocence as she grows from hapless victim to icy schemer as a means of self-preservation. All three of the female leads give Oscar-worthy performances, with Weisz radiating ruthless confidence and Colman making sense of Anne’s mood swings: She’s like Alice in Wonderland’s combative Queen of Hearts suffering from a debilitating depression.
And despite taking place 200 years ago and a world away, The Favourite’s depiction of an emotionally abusive head of state who encourages flattery and petty rivalries may seem all too relevant.
The Favourite. 4 Stars. Stars: Olivia Colman, Emma Stone, Rachel Weisz. Directed by Yorgos Lanthimos. Opens Dec. 7. At area theaters.
Coming attraction: Charles McIntosh’s anti-human trafficking short film “Safe Harbor” has its premiere at the Morrow Civic Center on Dec. 14. thereconciliationmovement.org
Screen Time is a monthly column about film and cinematic narratives, from the big screen to streaming services."
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After years of work and hustling to get their film completed, filmmakers must pray that subscribers will notice their labor of love in the “Now Trending” or “Popular on Netflix” columns alongside new seasons of, say, “The Great British Baking Show.” One of the year’s best films, Tamara Jenkins’ Private Life, spotlights funny but wrenching performances by Paul Giamatti and Kathryn Hahn as a pair of New York intellectuals struggling with infertility. It seems to have sunk without a ripple after its October 5 Netflix debut.
The streaming service began its bid for prestigious Oscar contenders with Beasts of No Nation in 2015. Its string of mixed successes, like Okja, changes this month with the December 14 premiere of Roma, following a brief but crucial theatrical run.
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In Roma, Cuarón draws on everything he’s learned to date about long takes and composing his frames, so every shot is packed with information. Watching it resembles visiting a gallery of photography: A few minutes at a New Year’s Eve party at a swanky country house speaks volumes about Mexico’s political tensions in 1971.
The paradox of Netflix is that it gives films like Roma the potential for a much bigger audience than could see them on the arthouse circuit, without offering the ideal viewing experience. Today’s televisions offer bigger screens with sharper images, but a theater is still the ideal place to see a deliberately paced, black-and-white movie with subtitles. As much as people like to see big, special-effects-filled epics at the cinema, they’re less likely to be diminished by the distractions of home viewing than a quietly rewarding film like Roma.
Fortunately, Roma will have a brief run at Landmark Midtown Art Cinema beginning December 6, and even Netflix subscribers should make a point to see it on the big screen. Either way, it deserves viewing, and shouldn’t be yet another tree that falls without making a sound.
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__Yas, Queen:__ Speaking of 2018’s best films, the historical satire The Favourite makes Dangerous Liaisons look like The Princess Diaries. Despite taking place in the court of Queen Anne (Olivia Colman) in the early 18th century, The Favourite bears little resemblance to “Victoria” or other sleek dramas about the British royals. Instead, it presents courtly struggles as a blood sport, complete with savage wordplay and bedroom power plays.
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The Favourite offers a reminder of how much the past sucked, especially for women with no resources. On arrival at the palace, Abigail endures verbal humiliation, corporal punishment, vicious pranks, and near-constant sexual harassment. Director Yorgos Lanthimos’s jokes and sight gags never blunt the film’s vision of social cruelty.
Stone effectively captures Abigail’s wounded innocence as she grows from hapless victim to icy schemer as a means of self-preservation. All three of the female leads give Oscar-worthy performances, with Weisz radiating ruthless confidence and Colman making sense of Anne’s mood swings: She’s like Alice in Wonderland’s combative Queen of Hearts suffering from a debilitating depression.
And despite taking place 200 years ago and a world away, The Favourite’s depiction of an emotionally abusive head of state who encourages flattery and petty rivalries may seem all too relevant.
__The Favourite__. 4 Stars. ''Stars: Olivia Colman, Emma Stone, Rachel Weisz. Directed by Yorgos Lanthimos. Opens Dec. 7. At area theaters.''
__Coming attraction:__ Charles McIntosh’s anti-human trafficking short film “Safe Harbor” has its premiere at the Morrow Civic Center on Dec. 14. thereconciliationmovement.org
Screen Time is a monthly column about film and cinematic narratives, from the big screen to streaming services."
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string(6188) " ROMA 23491 001R Web 2018-12-10T18:18:34+00:00 ROMA_23491_001R_web.jpg Netflix’s new classic, “Roma” ROMA 23491 001R Web 2018-12-10T18:11:47+00:00 SCREEN TIME: To stream or not to stream? jim.harris Jim Harris Curt Holman holmanx3 (Curt Holman) 2018-12-10T18:11:47+00:00 Debuting a film on Netflix must be like experiencing the Zen koan about the tree falling in the woods: If no one knows it’s available, will anyone watch it? Particularly in the past year, the streaming service has been notorious for dropping an astonishing quantity of films and series with scarcely any advance notice.
After years of work and hustling to get their film completed, filmmakers must pray that subscribers will notice their labor of love in the “Now Trending” or “Popular on Netflix” columns alongside new seasons of, say, “The Great British Baking Show.” One of the year’s best films, Tamara Jenkins’ Private Life, spotlights funny but wrenching performances by Paul Giamatti and Kathryn Hahn as a pair of New York intellectuals struggling with infertility. It seems to have sunk without a ripple after its October 5 Netflix debut.
The streaming service began its bid for prestigious Oscar contenders with Beasts of No Nation in 2015. Its string of mixed successes, like Okja, changes this month with the December 14 premiere of Roma, following a brief but crucial theatrical run.
After making such Hollywood genre hits as Gravity and Harry Potter and the Prisoner of Azkaban, director Alfonso Cuarón returned to his native Mexico for a deeply felt drama inspired by his own childhood. Roma suggests that Cuarón set out to create an international classic worthy of the likes of Federico Fellini and Ingmar Bergman — and did it. It will be no surprise if future generations study Roma at film school.
But you have to meet Roma halfway. The first half hour seems to present not a traditional plot so much as domestic activity, with housemaid Cleo (Yalitza Aparicio) helping to raise a brood of middle-class children in Mexico City. Their mother, Sofia, (Marina de Tavira) grows concerned over her husband’s increasingly frequent absences. At some point while watching their lives unfold, the viewer feels not like a dispassionate observer but part of the family, utterly invested in their personal struggles, with events becoming unexpectedly perilous. The section includes sequences of heart-in-your-throat suspense.
In Roma, Cuarón draws on everything he’s learned to date about long takes and composing his frames, so every shot is packed with information. Watching it resembles visiting a gallery of photography: A few minutes at a New Year’s Eve party at a swanky country house speaks volumes about Mexico’s political tensions in 1971.
The paradox of Netflix is that it gives films like Roma the potential for a much bigger audience than could see them on the arthouse circuit, without offering the ideal viewing experience. Today’s televisions offer bigger screens with sharper images, but a theater is still the ideal place to see a deliberately paced, black-and-white movie with subtitles. As much as people like to see big, special-effects-filled epics at the cinema, they’re less likely to be diminished by the distractions of home viewing than a quietly rewarding film like Roma.
Fortunately, Roma will have a brief run at Landmark Midtown Art Cinema beginning December 6, and even Netflix subscribers should make a point to see it on the big screen. Either way, it deserves viewing, and shouldn’t be yet another tree that falls without making a sound.
Roma. 5 Stars. Stars: Yalitza Aparicio, Marina de Tavira. Directed by Alfonso Cuarón. Screens Dec. 6-9 at Landmark Midtown Art Cinema before debuting on Netflix Dec. 14.
Yas, Queen: Speaking of 2018’s best films, the historical satire The Favourite makes Dangerous Liaisons look like The Princess Diaries. Despite taking place in the court of Queen Anne (Olivia Colman) in the early 18th century, The Favourite bears little resemblance to “Victoria” or other sleek dramas about the British royals. Instead, it presents courtly struggles as a blood sport, complete with savage wordplay and bedroom power plays.
Queen Anne suffers from ill health and a mercurial temper, and her reliance on her friend and advisor Sarah Churchill (Rachel Weisz) to run things makes Sarah one of England’s most powerful people. When Sarah’s bereft cousin Abigail (Emma Stone) arrives at the Queen’s country palace, she gradually ingratiates herself with the moody monarch, rising from her station as a servant and threatening Sarah’s position.
The Favourite offers a reminder of how much the past sucked, especially for women with no resources. On arrival at the palace, Abigail endures verbal humiliation, corporal punishment, vicious pranks, and near-constant sexual harassment. Director Yorgos Lanthimos’s jokes and sight gags never blunt the film’s vision of social cruelty.
Stone effectively captures Abigail’s wounded innocence as she grows from hapless victim to icy schemer as a means of self-preservation. All three of the female leads give Oscar-worthy performances, with Weisz radiating ruthless confidence and Colman making sense of Anne’s mood swings: She’s like Alice in Wonderland’s combative Queen of Hearts suffering from a debilitating depression.
And despite taking place 200 years ago and a world away, The Favourite’s depiction of an emotionally abusive head of state who encourages flattery and petty rivalries may seem all too relevant.
The Favourite. 4 Stars. Stars: Olivia Colman, Emma Stone, Rachel Weisz. Directed by Yorgos Lanthimos. Opens Dec. 7. At area theaters.
Coming attraction: Charles McIntosh’s anti-human trafficking short film “Safe Harbor” has its premiere at the Morrow Civic Center on Dec. 14. thereconciliationmovement.org
Screen Time is a monthly column about film and cinematic narratives, from the big screen to streaming services. Courtesy Netflix PAST PRESENT: Roma on the beach. SCREEN TIME: To stream or not to stream? "
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string(3338) "JOSH FAUVER, 1978-2018 Sad news came November 3, when word spread that Josh Fauver had died. As a former member of various Atlanta post-hardcore and post-punk groups such as the Mascara Aesthetic, Titus, Circle 5, Perpetual Sciamachy Theorem, Electrosleep Int’l, S.I.D.S., and Deerhunter, Fauver left an indelible mark on the city's music scene. And with his self-run record label Army of Bad Luck, he released 7-inch singles and LPs by groups such as HAWKS, Retconned, Bataille, and by his own solo synth project Diet Cola. Fauver started playing bass with Deerhunter in 2004. His contributions to Deerhunter’s sound can be heard on everything from the group’s self-titled debut LP for Stickfigure Records to 2010’s acclaimed Halcyon Digest (4AD). Fauver had recently started playing with a new band, called Napoleon, featuring Chris Van Etten (Carbonas, Ryan Dinosaur), James Joyce (Cheifs, Noot d' Noot, Car Vs. Driver, et al.), Gentleman Jesse Smith, Danette Haser (AkuYou, Pineal Ventana), and songwriter Anna Kramer. They had been working on new music, but had not yet played a show. Some of Fauver's final recordings playing guitar and bass are featured on Retconned's 2017 album, fEAR. — Chad Radford
Arrested Development’s longstanding spiritual guru Baba Oje, dubbed “the oldest man in hip-hop,” transcended this mortal coil on October 26 after a battle with acute leukemia. He was 86 years old. While attending classes at the University of Wisconsin-Milwaukee, Oje and Speech became friends, and their relationship continued when Arrested Development began circa 1988. Oje was considerably older than the rest of the group’s members, and his role was spiritual in nature. A pillar of wisdom and solace whose guidance cemented his presence as both a mentor and an example for the group, Oje served as a bridge between the younger and the older generations of hip-hop. His passing is felt by Arrested Development, their fans, and the hip-hop world at large. “His mere presence in rap spoke volumes for the genre and for a generation looking for symbolic wisdom and answers,” Arrested Development wrote in a statement posted to the group’s website, where they celebrated their friend and role model’s life. — Will Cardwell
DAVID HEANY, 1951-2018 On November 13, David Heany, former owner of the legendary Stein Club and the Star Community Bar, passed away suddenly at home from a heart attack. Best known around Atlanta for his popular night spots, Heany was a longtime plumber with his “Keeper Brother” friend Marty Nolan, also his partner in the Star Bar’s emergence. Heany was a sculptor, a car wash owner, and quite simply, a renaissance man whose many bits of wisdom and dark humor were shared at a wake on Nov. 17 at his beloved Star Bar. Based on the stories told, he clearly touched many lives in many ways. Heany and Nolan sold the Star Bar 17 years ago, and while it went through several owners, the bar retained its well-crafted identity as a drinking hole for outliers, and as the epicenter of Atlanta’s roots-oriented music scene. Recently, Heany was slowed down a bit by multiple age-related health issues, but never lost his way with words or his welcoming but often sarcastic smile. He is survived by his partner Nancy Fortier, and hundreds of friends. — James Kelly"
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[https://www.arresteddevelopmentmusic.com/|Arrested Development]’s longstanding spiritual guru Baba Oje, dubbed “the oldest man in hip-hop,” transcended this mortal coil on October 26 after a battle with acute leukemia. He was 86 years old. While attending classes at the University of Wisconsin-Milwaukee, Oje and Speech became friends, and their relationship continued when Arrested Development began circa 1988. Oje was considerably older than the rest of the group’s members, and his role was spiritual in nature. A pillar of wisdom and solace whose guidance cemented his presence as both a mentor and an example for the group, Oje served as a bridge between the younger and the older generations of hip-hop. His passing is felt by Arrested Development, their fans, and the hip-hop world at large. “His mere presence in rap spoke volumes for the genre and for a generation looking for symbolic wisdom and answers,” Arrested Development wrote in a statement posted to the group’s website, where they celebrated their friend and role model’s life. — Will Cardwell
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~~#000000:__DAVID HEANY, 1951-2018__~~ On November 13, David Heany, former owner of the legendary Stein Club and [http://www.starbaratlanta.com/|the Star Community Bar], passed away suddenly at home from a heart attack. Best known around Atlanta for his popular night spots, Heany was a longtime plumber with his “Keeper Brother” friend Marty Nolan, also his partner in the Star Bar’s emergence. Heany was a sculptor, a car wash owner, and quite simply, a renaissance man whose many bits of wisdom and dark humor were shared at a wake on Nov. 17 at his beloved Star Bar. Based on the stories told, he clearly touched many lives in many ways. Heany and Nolan sold the Star Bar 17 years ago, and while it went through several owners, the bar retained its well-crafted identity as a drinking hole for outliers, and as the epicenter of Atlanta’s roots-oriented music scene. Recently, Heany was slowed down a bit by multiple age-related health issues, but never lost his way with words or his welcoming but often sarcastic smile. He is survived by his partner Nancy Fortier, and hundreds of friends. — James Kelly"
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string(3859) " Music Obit4 1 17 2018-12-12T21:44:18+00:00 Music_Obit4-1_17.JPG Georgia music lost three mavericks this fall Music Obit4 1 17 2018-12-12T21:14:30+00:00 Rest in peace: Josh Fauver, Baba Oje, and David Heany chad.radford Chad Radford Will Cardwell, James Kelly, and Chad Radford 2018-12-12T21:14:30+00:00 JOSH FAUVER, 1978-2018 Sad news came November 3, when word spread that Josh Fauver had died. As a former member of various Atlanta post-hardcore and post-punk groups such as the Mascara Aesthetic, Titus, Circle 5, Perpetual Sciamachy Theorem, Electrosleep Int’l, S.I.D.S., and Deerhunter, Fauver left an indelible mark on the city's music scene. And with his self-run record label Army of Bad Luck, he released 7-inch singles and LPs by groups such as HAWKS, Retconned, Bataille, and by his own solo synth project Diet Cola. Fauver started playing bass with Deerhunter in 2004. His contributions to Deerhunter’s sound can be heard on everything from the group’s self-titled debut LP for Stickfigure Records to 2010’s acclaimed Halcyon Digest (4AD). Fauver had recently started playing with a new band, called Napoleon, featuring Chris Van Etten (Carbonas, Ryan Dinosaur), James Joyce (Cheifs, Noot d' Noot, Car Vs. Driver, et al.), Gentleman Jesse Smith, Danette Haser (AkuYou, Pineal Ventana), and songwriter Anna Kramer. They had been working on new music, but had not yet played a show. Some of Fauver's final recordings playing guitar and bass are featured on Retconned's 2017 album, fEAR. — Chad Radford
Arrested Development’s longstanding spiritual guru Baba Oje, dubbed “the oldest man in hip-hop,” transcended this mortal coil on October 26 after a battle with acute leukemia. He was 86 years old. While attending classes at the University of Wisconsin-Milwaukee, Oje and Speech became friends, and their relationship continued when Arrested Development began circa 1988. Oje was considerably older than the rest of the group’s members, and his role was spiritual in nature. A pillar of wisdom and solace whose guidance cemented his presence as both a mentor and an example for the group, Oje served as a bridge between the younger and the older generations of hip-hop. His passing is felt by Arrested Development, their fans, and the hip-hop world at large. “His mere presence in rap spoke volumes for the genre and for a generation looking for symbolic wisdom and answers,” Arrested Development wrote in a statement posted to the group’s website, where they celebrated their friend and role model’s life. — Will Cardwell
DAVID HEANY, 1951-2018 On November 13, David Heany, former owner of the legendary Stein Club and the Star Community Bar, passed away suddenly at home from a heart attack. Best known around Atlanta for his popular night spots, Heany was a longtime plumber with his “Keeper Brother” friend Marty Nolan, also his partner in the Star Bar’s emergence. Heany was a sculptor, a car wash owner, and quite simply, a renaissance man whose many bits of wisdom and dark humor were shared at a wake on Nov. 17 at his beloved Star Bar. Based on the stories told, he clearly touched many lives in many ways. Heany and Nolan sold the Star Bar 17 years ago, and while it went through several owners, the bar retained its well-crafted identity as a drinking hole for outliers, and as the epicenter of Atlanta’s roots-oriented music scene. Recently, Heany was slowed down a bit by multiple age-related health issues, but never lost his way with words or his welcoming but often sarcastic smile. He is survived by his partner Nancy Fortier, and hundreds of friends. — James Kelly Perry Julien JOSH FAUVER, 1978-2018: The former bass player and Army of Bad Luck Records founder passed away November 3. Rest in peace: Josh Fauver, Baba Oje, and David Heany "
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Rest in peace: Josh Fauver, Baba Oje, and David Heany News You May Have Missed, Music Briefs, News
Wednesday December 12, 2018 04:14 PM EST
Georgia music lost three mavericks this fall
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string(4524) "Yukons’ singer and guitarist José Joaquin Izaguirre, drummer Danielle Dollar, and bass player Han Lenkey write urgent, evocative songs that are sung in both Spanish and English. Each number is set to infectious concoctions of guitar-heavy garage punk, culminating in what the group calls ‘Latinx expression rock.’ In March, the group released a cassette EP, South of the Equator. Songs such as “Nueva,” “Pa’Lante,” and “Toolbox (the way she thinks)” are bound by a DIY sensibility. Energetic live performances reinvigorate the age-old ideal that a band can play a vital role in improving its surroundings. For much of the last year, the group has been on the road, touring the East Coast, and carving out a definitive place in Atlanta’s young post-punk scene. While working on new music, all three members took a few minutes from their busy schedule to talk about the year gone by and what the future holds in store.
How has this year been for you all? Stressful? Fun?Danielle Dollar: All the shows were super fun. I don’t feel stressed when it comes to getting together — it’s more like, ‘Okay, let’s do this.’
José Joaquín Izaguirre: The only stressful things are things we do other than being a band, like life, family, school, and work. Life has other things that make it stressful. Music is fun.
How did your first East Coast tour go?
DD: It definitely gave us an appreciation for Atlanta. It’s a cool community here; not just music, but art too. It made us reflect on what we have here, and it pushed us to do more.
Han Lenkey: We usually know how we’re going to be received here because we’ve played enough to know the kind of reception we get. But to have other people responding to our music in different places … It’s interesting to see the reaction of the crowd depending on the time and place. We needed that.
How have you seen Atlanta change?
JJI: There are more artists making music in Spanish. That’s just a fact. There are bands like Elevator Chat and Kibi James making music in Spanish. If there’s anything I would hope to change, it’s the amount of diversity in the music scene. There should be more music sung in other languages. Things are always changing though. Venues close, new venues open up. That changes everything, in a way.
What are you doing differently with the new recording?
DD: Our musicality is stretching, and it's going in a lot more directions on the new album. South of the Equator was like one giant statement saying, “Hey we’re Yukons! This is us.” Now we’re getting to be like, “Hey we’re Yukons, we also get sad sometimes.” It’s almost gonna be like every song is a different vibe or feeling, but they all coexist with each other.
JJI: We're still curating. But there are hints of psychedelia and garage rock. There are some sounds inspired by the Venezuelan Tonada folk music as well.
What was your intention with South of the Equator and how did you approach the new album differently?
JJI: We were introducing ourselves to people, especially locally. With the new one, it feels like we’re still introducing ourselves. I think we’re always going to be introducing ourselves.
The intention with the new one is to be more specific and cover a wider range of things without going crazy. … There are different songs and different genres, but we’re also not going to be recording with someone else. It’s going to make us more efficient, but it’ll be a learning experience between the three of us.
You’ve previously mentioned that you wanted to be more transparent and intimate with the new album. Can you elaborate?
JJI: We think of it as intimate because we have so much time to make it on our own. All that time makes us have this desire to fill in as many gaps about ourselves as possible. From social-political frustrations, to ecstatic love, to depression and nihilism, to apologies and concessions. I think if I'm expressing social frustrations and dissatisfactions with the people around me and the world I live in, I have to also look within myself and expose truths, and recognize that in many ways I'm also part of the problem. Just gotta be transparent — for the sake of the music and for my own sake.
Any hopes for the new year?
DD: Play more cool shows. Hope our country gets its shit together.
JJI: We’re planning to play some shows in Mexico — we hope that happens in 2019.
HL: Can’t stop, won’t stop, don’t know how to stop."
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~~#000000:__How has this year been for you all? Stressful? Fun?__Danielle Dollar:~~ All the shows were super fun. I don’t feel stressed when it comes to getting together — it’s more like, ‘Okay, let’s do this.’
~~#000000:José Joaquín Izaguirre:~~ The only stressful things are things we do other than being a band, like life, family, school, and work. Life has other things that make it stressful. Music is fun.
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~~#000000:DD:~~ It definitely gave us an appreciation for Atlanta. It’s a cool community here; not just music, but art too. It made us reflect on what we have here, and it pushed us to do more.
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~~#000000:JJI:~~ There are more artists making music in Spanish. That’s just a fact. There are bands like Elevator Chat and Kibi James making music in Spanish. If there’s anything I would hope to change, it’s the amount of diversity in the music scene. There should be more music sung in other languages. Things are always changing though. Venues close, new venues open up. That changes everything, in a way.
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~~#000000:__You’ve previously mentioned that you wanted to be more transparent and intimate with the new album. Can you elaborate?__~~
~~#000000:JJI:~~ We think of it as intimate because we have so much time to make it on our own. All that time makes us have this desire to fill in as many gaps about ourselves as possible. From social-political frustrations, to ecstatic love, to depression and nihilism, to apologies and concessions. I think if I'm expressing social frustrations and dissatisfactions with the people around me and the world I live in, I have to also look within myself and expose truths, and recognize that in many ways I'm also part of the problem. Just gotta be transparent — for the sake of the music and for my own sake.
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string(5042) " Music Yukons2 1 17 2018-12-12T20:48:30+00:00 Music_Yukons2-1_17.jpg The ‘Latinx expression rock’ trio talks new music and a new year Music Yukons2 1 17 2018-12-12T22:55:00+00:00 Yukons look to the future chad.radford Chad Radford Jake Van Valkenburg jevanvalkenburg (Jake Van Valkenburg) 2018-12-12T22:55:00+00:00 Yukons’ singer and guitarist José Joaquin Izaguirre, drummer Danielle Dollar, and bass player Han Lenkey write urgent, evocative songs that are sung in both Spanish and English. Each number is set to infectious concoctions of guitar-heavy garage punk, culminating in what the group calls ‘Latinx expression rock.’ In March, the group released a cassette EP, South of the Equator. Songs such as “Nueva,” “Pa’Lante,” and “Toolbox (the way she thinks)” are bound by a DIY sensibility. Energetic live performances reinvigorate the age-old ideal that a band can play a vital role in improving its surroundings. For much of the last year, the group has been on the road, touring the East Coast, and carving out a definitive place in Atlanta’s young post-punk scene. While working on new music, all three members took a few minutes from their busy schedule to talk about the year gone by and what the future holds in store.
How has this year been for you all? Stressful? Fun?Danielle Dollar: All the shows were super fun. I don’t feel stressed when it comes to getting together — it’s more like, ‘Okay, let’s do this.’
José Joaquín Izaguirre: The only stressful things are things we do other than being a band, like life, family, school, and work. Life has other things that make it stressful. Music is fun.
How did your first East Coast tour go?
DD: It definitely gave us an appreciation for Atlanta. It’s a cool community here; not just music, but art too. It made us reflect on what we have here, and it pushed us to do more.
Han Lenkey: We usually know how we’re going to be received here because we’ve played enough to know the kind of reception we get. But to have other people responding to our music in different places … It’s interesting to see the reaction of the crowd depending on the time and place. We needed that.
How have you seen Atlanta change?
JJI: There are more artists making music in Spanish. That’s just a fact. There are bands like Elevator Chat and Kibi James making music in Spanish. If there’s anything I would hope to change, it’s the amount of diversity in the music scene. There should be more music sung in other languages. Things are always changing though. Venues close, new venues open up. That changes everything, in a way.
What are you doing differently with the new recording?
DD: Our musicality is stretching, and it's going in a lot more directions on the new album. South of the Equator was like one giant statement saying, “Hey we’re Yukons! This is us.” Now we’re getting to be like, “Hey we’re Yukons, we also get sad sometimes.” It’s almost gonna be like every song is a different vibe or feeling, but they all coexist with each other.
JJI: We're still curating. But there are hints of psychedelia and garage rock. There are some sounds inspired by the Venezuelan Tonada folk music as well.
What was your intention with South of the Equator and how did you approach the new album differently?
JJI: We were introducing ourselves to people, especially locally. With the new one, it feels like we’re still introducing ourselves. I think we’re always going to be introducing ourselves.
The intention with the new one is to be more specific and cover a wider range of things without going crazy. … There are different songs and different genres, but we’re also not going to be recording with someone else. It’s going to make us more efficient, but it’ll be a learning experience between the three of us.
You’ve previously mentioned that you wanted to be more transparent and intimate with the new album. Can you elaborate?
JJI: We think of it as intimate because we have so much time to make it on our own. All that time makes us have this desire to fill in as many gaps about ourselves as possible. From social-political frustrations, to ecstatic love, to depression and nihilism, to apologies and concessions. I think if I'm expressing social frustrations and dissatisfactions with the people around me and the world I live in, I have to also look within myself and expose truths, and recognize that in many ways I'm also part of the problem. Just gotta be transparent — for the sake of the music and for my own sake.
Any hopes for the new year?
DD: Play more cool shows. Hope our country gets its shit together.
JJI: We’re planning to play some shows in Mexico — we hope that happens in 2019.
HL: Can’t stop, won’t stop, don’t know how to stop. Miranda James Corless SOUTH OF THE EQUATOR: Yukons are José Joaquín Izaguirre (from left), Danielle Dollar, and Han Lenkey. Yukons look to the future "
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Yukons look to the future Music and Nightlife, Crib Notes, News You May Have Missed
Wednesday December 12, 2018 05:55 PM EST
The ‘Latinx expression rock’ trio talks new music and a new year
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