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  string(34) "And other tales of life in the ATL"
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  string(9546) "A Cobb County judge is taking aim at that inevitable holiday ritual of parents hoisting up an “Elf on a Shelf” to keep tabs on potentially mischievous children.

The Elves on Shelves allegedly keep track of who has been “naughty or nice.” How? The elves are supposed to move their watchdog positions from room to room every night to keep an eye out and report back to Santa. (a.k.a. the parents do the elf-moving after their kiddos fall asleep.)

Cobb County Superior Court Chief Judge Robert Leonard posted a mock order on Twitter, banning those pesky Elves on Shelves for the entire 2021 holiday season. “Tired of living in Elf on the Shelf tyranny? Not looking forward to the Elf forgetting to move and causing your kids emotional distress? I am a public servant and will take the heat for you. My gift to tired parents.”

What inspired the judge’s faux ban? The judge recalled a “horrific incident” in his own home where the Elf mysteriously didn’t move positions overnight, and his “three children went to school in tears, with one child being labeled an “Elf Murderer” (by a sibling) and being accused of making the Elf “lose his magic.”

Judge Leonard wrote, “The Court has no doubt that day of education was lost to everyone.”

The judge continued, “Elves sometimes move and don’t move overnight. When those Elves do not move, it leaves our children of tender years in states of extreme emotional distress. Given the risks of such emotional damage — and supply chain issues caused by the COVID-19 pandemic — the Court has no choice but to banish Elf on Shelf from Cobb County.”

The judge did give Cobb parents an out, if they’re determined to unleash Elves in 2021. “If you love your Elf, keep your Elf. No contempts.”

Oddly, the whole Elf on a Shelf concept was invented by a Cobb County mother and her adult twin daughters. Their Elf-based business nets an estimated $10 million a year.

!!Royal pain in the ass
A popular thrift store in Athens, Ga. received a troublesome letter allegedly sent by fans of the Queen of Canada.

The thrift store got a “cease and desist” letter addressed from “followers of a woman claiming to be the sovereign of Canada,” reported the Red and Black newspaper. “The letter stated that all COVID-19 measures are null-and-void and those that enforce them will face the death penalty.”

Apparently, the thrift store manager insisted on filing a police report due to the “harsh wording” of the letter.

We’re guessing the faux Queen of Canada is a pottymouth anti-vaxxer. Just a hunch.

!!You’re a mean one, Mr. GOP Grinch
A con artist posing as Georgia’s GOP Party leader managed to scam a Republican out of thousands of dollars.

A 82-year-old staunch Republican guy from Winterville in Athens-Clarke County said he personally knows state GOP leader David Shafter (who ran for lieutenant governor in 2018, losing narrowly.)

So when the Winterville man got a text that appeared to be from Shafter, he didn’t consider it unusual. The con artist posing as Shafter said he was stuck in a meeting and needed a quick favor from the Winterville man: Go buy $2,500 worth of gift cards and send him photos showing the PIN numbers. Immediately. It was urgent.

You see where this is going, don’t you?

So the Winterville Republican man rushes out, buys $2,500 worth of gift cards, and texts the photos with PIN numbers.

“Later, the victim called Shafter only to learn that Shafter had never sent a text seeking gift cards,” reported the Athens Banner-Herald.

“Apparently, they called a bunch of people. David said he thought they must have downloaded (his) whole (address book) file,” the 82-year-old Winterville man said.

“He did a good job of pretending to be David. If I hadn’t been busy, I probably would have called David,” the victim said.

“A lot of this time I was driving and would stop at stores (for gift cards),” he said. “I feel stupid about it because I don’t usually get caught with anything like this.”

“I do know from David I wasn’t the only one who they went after,” he added.

!!Scary, hairy politician
The oh-so-tiny city of Stonecrest, Georgia, did not even exist five years ago. Stonecrest is a suburban town of roughly 54,000 residents in DeKalb County, near Lithonia.

Now, Stonecrest’s first and only mayor ever is facing federal charges of stealing more than $650,000 in COVID-19-relief funds to pay his own federal and state taxes; to pay off his lakefront home mortgage; and to help cover the college tuition of the city’s female bookkeeper.

Mayor Lary allegedly used his influence over local churches to scam money. “Lary presented a check for $150,000 in relief funds to ‘Church 1,’ on the condition that $50,000 be given to a company called Real Estate Management Consultants, LLC (‘REMC’). Lary allegedly did not tell Church 1 at this time that he actually controlled REMC,” reported Justice.gov. “Lary allegedly falsely stated that the $50,000 would be used to assist with home repairs for people who could not afford them due to COVID-19. In reality, Lary allegedly used the money for his own purposes.”

Also, Lary and his cohorts allegedly demanded “contributions” from businesses that received COVID relief grants/loans under the PPP Small Business Program. “Lary and others allegedly falsely claimed that the money would be each business’s ‘contribution’ to Stonecrest-related marketing and advertising. But Lary and others asked that these “contributions” be given not to Stonecrest, but to entities called Visit Us, Inc., and Battleground Media, LLC. Lary allegedly did not tell the businesses that he controlled these entities.”

Mayor Lary was on shaky ground even before his arrest. This fall, a furious Stonecrest City Council voted to censure him over Lary’s recent comment during a public meeting about his own “hairy behind.” His words, not ours.

!!Bitch of the Month Award
OK, let’s talk about mean bosses. Dr. Carol Terry, who leads the Gwinnett County Medical Examiner’s Office, forced some workers to work for free on 72-hour “on call” weekend shifts — and called a Zoom meeting just to force nine colleagues to watch in horror as she ripped into a brand-new employee and fired her on Zoom.

The Fox-5 Investigative Team broke the story — reporting that Dr. Terry spent the entire 30-minute Zoom call spewing insults at Shannon Volkodav, a veteran cop who had just joined the Gwinnett ME’s office one month earlier.

“What I’ve heard … is that you just don’t listen,” Dr. Terry said to Volkodav. And so on and so on — until she fired her.

At the time of the Zoom call, Volkodav was battling COVID-19. She’d been in the emergency room the night before.

Gwinnett is the only Georgia county that uses a private company to serve as the entire public Gwinnett County Medical Examiner’s Office. The Fox-5 investigative team reports: “Dr. Carol Terry’s Forensics Pathology Services has won the contract for the last 15 years. The base amount this year is $1,508,808 and can be automatically renewed for another four years.”

Some ex-employees of Gwinnett County Medical Examiners’ Office filed a federal complaint about Dr. Terry and her labor practices.

!!Slammer jammer
The Pulaski County Sheriff is probably getting some serious ribbing over how easily five inmates escaped from his jail.

“It’s very embarrassing,” Sheriff Danny Brennan told 11 Alive News.

Here’s how it went down:

Sheriff Brennan said there was an hour and a half delay in even reporting that the five inmates had escaped — because the only two people working were locked inside a jail cell by the inmates.

Apparently, a rowdy inmate was giving a female jail employee some serious trouble as he walked back into the cell around 11 p.m. — that’s the exact time when all inmates are supposed to be locked down, lights out.

The female jailer stepped inside the cell to deal with the rowdy inmate — and that’s when he attacked, getting his cellmate to help. They snatched the female jailer’s car keys and threatened her. The only other on-duty jail staffer tried to help the female jailer; but inmates tossed him into the cell as well.

The two inmates quickly freed three of their fellow inmate friends – and took off in the female jailer’s Kia Sedona.

Authorities conducted an all-out manhunt, searching for three days straight and finally captured two inmates. The other three inmates are still on the loose.

Usually, Pulaski County has twice as many jail staffers working every night, but they’re currently “understaffed.”

!!More slammer clamor
Apparently, Pulaski County isn’t the only place hurting for jail workers. Fulton County Sheriff Patrick Labat is offering a $9,000 signing bonus to fresh hires willing to work at the oh-so-lovely Fulton County Jail. Sheriff Labat says he’s losing people every single week.

Of course, anyone who’s ever spent a fine evening at this decrepit facility (or even just bailed a friend out) knows damn well that s $9,000 signing bonus ain’t enough. By far. To convince any logical person to willingly work at the hellhole known as Fulton County Jail. Period. Try $50,000, boys. —CL—

The Blotter Diva compiles reports from the Atlanta Police Department and local news reports — and puts them into her own words."
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  string(9602) "A Cobb County judge is taking aim at that inevitable holiday ritual of parents hoisting up an “Elf on a Shelf” to keep tabs on potentially mischievous children.

The Elves on Shelves allegedly keep track of who has been “naughty or nice.” How? The elves are supposed to move their watchdog positions from room to room every night to keep an eye out and report back to Santa. (a.k.a. the parents do the elf-moving after their kiddos fall asleep.)

Cobb County Superior Court Chief Judge Robert Leonard posted a mock order on Twitter, banning those pesky Elves on Shelves for the entire 2021 holiday season. “Tired of living in Elf on the Shelf tyranny? Not looking forward to the Elf forgetting to move and causing your kids emotional distress? I am a public servant and will take the heat for you. My gift to tired parents.”

What inspired the judge’s faux ban? The judge recalled a “horrific incident” in his own home where the Elf mysteriously didn’t move positions overnight, and his “three children went to school in tears, with one child being labeled an “Elf Murderer” (by a sibling) and being accused of making the Elf “lose his magic.”

Judge Leonard wrote, “The Court has no doubt that day of education was lost to everyone.”

The judge continued, “Elves sometimes move and don’t move overnight. When those Elves do not move, it leaves our children of tender years in states of extreme emotional distress. Given the risks of such emotional damage — and supply chain issues caused by the COVID-19 pandemic — the Court has no choice but to banish Elf on Shelf from Cobb County.”

The judge did give Cobb parents an out, if they’re determined to unleash Elves in 2021. “If you love your Elf, keep your Elf. No contempts.”

Oddly, the whole Elf on a Shelf concept was invented by a Cobb County mother and her adult twin daughters. Their Elf-based business nets an estimated $10 million a year.

!!__Royal pain in the ass__
A popular thrift store in Athens, Ga. received a troublesome letter allegedly sent by fans of the Queen of Canada.

The thrift store got a “cease and desist” letter addressed from “followers of a woman claiming to be the sovereign of Canada,” reported the ''Red and Black'' newspaper. “The letter stated that all COVID-19 measures are null-and-void and those that enforce them will face the death penalty.”

Apparently, the thrift store manager insisted on filing a police report due to the “harsh wording” of the letter.

We’re guessing the faux Queen of Canada is a pottymouth anti-vaxxer. Just a hunch.

!!__You’re a mean one, Mr. GOP Grinch__
A con artist posing as Georgia’s GOP Party leader managed to scam a Republican out of thousands of dollars.

A 82-year-old staunch Republican guy from Winterville in Athens-Clarke County said he personally knows state GOP leader David Shafter (who ran for lieutenant governor in 2018, losing narrowly.)

So when the Winterville man got a text that appeared to be from Shafter, he didn’t consider it unusual. The con artist posing as Shafter said he was stuck in a meeting and needed a quick favor from the Winterville man: Go buy $2,500 worth of gift cards and send him photos showing the PIN numbers. Immediately. It was urgent.

You see where this is going, don’t you?

So the Winterville Republican man rushes out, buys $2,500 worth of gift cards, and texts the photos with PIN numbers.

“Later, the victim called Shafter only to learn that Shafter had never sent a text seeking gift cards,” reported the ''Athens Banner-Herald''.

“Apparently, they called a bunch of people. David said he thought they must have downloaded (his) whole (address book) file,” the 82-year-old Winterville man said.

“He did a good job of pretending to be David. If I hadn’t been busy, I probably would have called David,” the victim said.

“A lot of this time I was driving and would stop at stores (for gift cards),” he said. “I feel stupid about it because I don’t usually get caught with anything like this.”

“I do know from David I wasn’t the only one who they went after,” he added.

!!__Scary, hairy politician__
The oh-so-tiny city of Stonecrest, Georgia, did not even exist five years ago. Stonecrest is a suburban town of roughly 54,000 residents in DeKalb County, near Lithonia.

Now, Stonecrest’s ''first and only mayor ever'' is facing federal charges of stealing more than $650,000 in COVID-19-relief funds to pay his own federal and state taxes; to pay off his lakefront home mortgage; and to help cover the college tuition of the city’s female bookkeeper.

Mayor Lary allegedly used his influence over local churches to scam money. “Lary presented a check for $150,000 in relief funds to ‘Church 1,’ on the condition that $50,000 be given to a company called Real Estate Management Consultants, LLC (‘REMC’). Lary allegedly did not tell Church 1 at this time that he actually controlled REMC,” reported Justice.gov. “Lary allegedly falsely stated that the $50,000 would be used to assist with home repairs for people who could not afford them due to COVID-19. In reality, Lary allegedly used the money for his own purposes.”

Also, Lary and his cohorts allegedly demanded “contributions” from businesses that received COVID relief grants/loans under the PPP Small Business Program. “Lary and others allegedly falsely claimed that the money would be each business’s ‘contribution’ to Stonecrest-related marketing and advertising. But Lary and others asked that these “contributions” be given not to Stonecrest, but to entities called Visit Us, Inc., and Battleground Media, LLC. Lary allegedly did not tell the businesses that he controlled these entities.”

Mayor Lary was on shaky ground ''even before'' his arrest. This fall, a furious Stonecrest City Council voted to censure him over Lary’s recent comment during a public meeting about his own “hairy behind.” His words, not ours.

!!__Bitch of the Month Award__
OK, let’s talk about ''mean bosses''. Dr. Carol Terry, who leads the Gwinnett County Medical Examiner’s Office, forced some workers to work for free on 72-hour “on call” weekend shifts — and called a Zoom meeting just to force nine colleagues to watch in horror as she ripped into a brand-new employee and fired her on Zoom.

The Fox-5 Investigative Team broke the story — reporting that Dr. Terry spent the entire 30-minute Zoom call spewing insults at Shannon Volkodav, a veteran cop who had just joined the Gwinnett ME’s office one month earlier.

“What I’ve heard … is that you just don’t listen,” Dr. Terry said to Volkodav. And so on and so on — until she fired her.

At the time of the Zoom call, Volkodav was battling COVID-19. She’d been in the emergency room the night before.

Gwinnett is the only Georgia county that uses a ''private'' company to serve as the entire public Gwinnett County Medical Examiner’s Office. The Fox-5 investigative team reports: “Dr. Carol Terry’s Forensics Pathology Services has won the contract for the last 15 years. The base amount this year is $1,508,808 and can be automatically renewed for another four years.”

Some ex-employees of Gwinnett County Medical Examiners’ Office filed a federal complaint about Dr. Terry and her labor practices.

!!__Slammer jammer__
The Pulaski County Sheriff is probably getting some serious ribbing over how easily five inmates escaped from his jail.

“It’s very embarrassing,” Sheriff Danny Brennan told 11 Alive News.

Here’s how it went down:

Sheriff Brennan said there was an hour and a half delay in even reporting that the five inmates had escaped — because the only two people working were locked inside a jail cell by the inmates.

Apparently, a rowdy inmate was giving a female jail employee some serious trouble as he walked back into the cell around 11 p.m. — that’s the exact time when all inmates are supposed to be locked down, lights out.

The female jailer stepped inside the cell to deal with the rowdy inmate — and that’s when he attacked, getting his cellmate to help. They snatched the female jailer’s car keys and threatened her. The only other on-duty jail staffer tried to help the female jailer; but inmates tossed him into the cell as well.

The two inmates quickly freed three of their fellow inmate friends – and took off in the female jailer’s Kia Sedona.

Authorities conducted an all-out manhunt, searching for three days straight and finally captured two inmates. The other three inmates are still on the loose.

Usually, Pulaski County has twice as many jail staffers working every night, but they’re currently “understaffed.”

!!__More slammer clamor__
Apparently, Pulaski County isn’t the only place hurting for jail workers. Fulton County Sheriff Patrick Labat is offering a $9,000 signing bonus to fresh hires willing to work at the oh-so-lovely Fulton County Jail. Sheriff Labat says he’s losing people every single week.

Of course, anyone who’s ever spent a fine evening at this decrepit facility (or even just bailed a friend out) knows damn well that s $9,000 signing bonus ain’t enough. By far. To convince any logical person to willingly work at the hellhole known as Fulton County Jail. Period. Try $50,000, boys. __—CL—__

''The Blotter Diva compiles reports from the Atlanta Police Department and local news reports — and puts them into her own words.''"
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  string(9949) " DEC Blot Elf Final Reduced  2021-12-07T13:59:59+00:00 DEC_blot_elf_final-reduced.jpg      And other tales of life in the ATL DEC Blot Elf Final Reduced   2021-12-01T05:53:00+00:00  THE BLOTTER: Backlash to Elf Power jim.harris Jim Harris Lauren Keating lauren.keating (Lauren Keating) 2021-12-01T05:53:00+00:00 A Cobb County judge is taking aim at that inevitable holiday ritual of parents hoisting up an “Elf on a Shelf” to keep tabs on potentially mischievous children.

The Elves on Shelves allegedly keep track of who has been “naughty or nice.” How? The elves are supposed to move their watchdog positions from room to room every night to keep an eye out and report back to Santa. (a.k.a. the parents do the elf-moving after their kiddos fall asleep.)

Cobb County Superior Court Chief Judge Robert Leonard posted a mock order on Twitter, banning those pesky Elves on Shelves for the entire 2021 holiday season. “Tired of living in Elf on the Shelf tyranny? Not looking forward to the Elf forgetting to move and causing your kids emotional distress? I am a public servant and will take the heat for you. My gift to tired parents.”

What inspired the judge’s faux ban? The judge recalled a “horrific incident” in his own home where the Elf mysteriously didn’t move positions overnight, and his “three children went to school in tears, with one child being labeled an “Elf Murderer” (by a sibling) and being accused of making the Elf “lose his magic.”

Judge Leonard wrote, “The Court has no doubt that day of education was lost to everyone.”

The judge continued, “Elves sometimes move and don’t move overnight. When those Elves do not move, it leaves our children of tender years in states of extreme emotional distress. Given the risks of such emotional damage — and supply chain issues caused by the COVID-19 pandemic — the Court has no choice but to banish Elf on Shelf from Cobb County.”

The judge did give Cobb parents an out, if they’re determined to unleash Elves in 2021. “If you love your Elf, keep your Elf. No contempts.”

Oddly, the whole Elf on a Shelf concept was invented by a Cobb County mother and her adult twin daughters. Their Elf-based business nets an estimated $10 million a year.

!!Royal pain in the ass
A popular thrift store in Athens, Ga. received a troublesome letter allegedly sent by fans of the Queen of Canada.

The thrift store got a “cease and desist” letter addressed from “followers of a woman claiming to be the sovereign of Canada,” reported the Red and Black newspaper. “The letter stated that all COVID-19 measures are null-and-void and those that enforce them will face the death penalty.”

Apparently, the thrift store manager insisted on filing a police report due to the “harsh wording” of the letter.

We’re guessing the faux Queen of Canada is a pottymouth anti-vaxxer. Just a hunch.

!!You’re a mean one, Mr. GOP Grinch
A con artist posing as Georgia’s GOP Party leader managed to scam a Republican out of thousands of dollars.

A 82-year-old staunch Republican guy from Winterville in Athens-Clarke County said he personally knows state GOP leader David Shafter (who ran for lieutenant governor in 2018, losing narrowly.)

So when the Winterville man got a text that appeared to be from Shafter, he didn’t consider it unusual. The con artist posing as Shafter said he was stuck in a meeting and needed a quick favor from the Winterville man: Go buy $2,500 worth of gift cards and send him photos showing the PIN numbers. Immediately. It was urgent.

You see where this is going, don’t you?

So the Winterville Republican man rushes out, buys $2,500 worth of gift cards, and texts the photos with PIN numbers.

“Later, the victim called Shafter only to learn that Shafter had never sent a text seeking gift cards,” reported the Athens Banner-Herald.

“Apparently, they called a bunch of people. David said he thought they must have downloaded (his) whole (address book) file,” the 82-year-old Winterville man said.

“He did a good job of pretending to be David. If I hadn’t been busy, I probably would have called David,” the victim said.

“A lot of this time I was driving and would stop at stores (for gift cards),” he said. “I feel stupid about it because I don’t usually get caught with anything like this.”

“I do know from David I wasn’t the only one who they went after,” he added.

!!Scary, hairy politician
The oh-so-tiny city of Stonecrest, Georgia, did not even exist five years ago. Stonecrest is a suburban town of roughly 54,000 residents in DeKalb County, near Lithonia.

Now, Stonecrest’s first and only mayor ever is facing federal charges of stealing more than $650,000 in COVID-19-relief funds to pay his own federal and state taxes; to pay off his lakefront home mortgage; and to help cover the college tuition of the city’s female bookkeeper.

Mayor Lary allegedly used his influence over local churches to scam money. “Lary presented a check for $150,000 in relief funds to ‘Church 1,’ on the condition that $50,000 be given to a company called Real Estate Management Consultants, LLC (‘REMC’). Lary allegedly did not tell Church 1 at this time that he actually controlled REMC,” reported Justice.gov. “Lary allegedly falsely stated that the $50,000 would be used to assist with home repairs for people who could not afford them due to COVID-19. In reality, Lary allegedly used the money for his own purposes.”

Also, Lary and his cohorts allegedly demanded “contributions” from businesses that received COVID relief grants/loans under the PPP Small Business Program. “Lary and others allegedly falsely claimed that the money would be each business’s ‘contribution’ to Stonecrest-related marketing and advertising. But Lary and others asked that these “contributions” be given not to Stonecrest, but to entities called Visit Us, Inc., and Battleground Media, LLC. Lary allegedly did not tell the businesses that he controlled these entities.”

Mayor Lary was on shaky ground even before his arrest. This fall, a furious Stonecrest City Council voted to censure him over Lary’s recent comment during a public meeting about his own “hairy behind.” His words, not ours.

!!Bitch of the Month Award
OK, let’s talk about mean bosses. Dr. Carol Terry, who leads the Gwinnett County Medical Examiner’s Office, forced some workers to work for free on 72-hour “on call” weekend shifts — and called a Zoom meeting just to force nine colleagues to watch in horror as she ripped into a brand-new employee and fired her on Zoom.

The Fox-5 Investigative Team broke the story — reporting that Dr. Terry spent the entire 30-minute Zoom call spewing insults at Shannon Volkodav, a veteran cop who had just joined the Gwinnett ME’s office one month earlier.

“What I’ve heard … is that you just don’t listen,” Dr. Terry said to Volkodav. And so on and so on — until she fired her.

At the time of the Zoom call, Volkodav was battling COVID-19. She’d been in the emergency room the night before.

Gwinnett is the only Georgia county that uses a private company to serve as the entire public Gwinnett County Medical Examiner’s Office. The Fox-5 investigative team reports: “Dr. Carol Terry’s Forensics Pathology Services has won the contract for the last 15 years. The base amount this year is $1,508,808 and can be automatically renewed for another four years.”

Some ex-employees of Gwinnett County Medical Examiners’ Office filed a federal complaint about Dr. Terry and her labor practices.

!!Slammer jammer
The Pulaski County Sheriff is probably getting some serious ribbing over how easily five inmates escaped from his jail.

“It’s very embarrassing,” Sheriff Danny Brennan told 11 Alive News.

Here’s how it went down:

Sheriff Brennan said there was an hour and a half delay in even reporting that the five inmates had escaped — because the only two people working were locked inside a jail cell by the inmates.

Apparently, a rowdy inmate was giving a female jail employee some serious trouble as he walked back into the cell around 11 p.m. — that’s the exact time when all inmates are supposed to be locked down, lights out.

The female jailer stepped inside the cell to deal with the rowdy inmate — and that’s when he attacked, getting his cellmate to help. They snatched the female jailer’s car keys and threatened her. The only other on-duty jail staffer tried to help the female jailer; but inmates tossed him into the cell as well.

The two inmates quickly freed three of their fellow inmate friends – and took off in the female jailer’s Kia Sedona.

Authorities conducted an all-out manhunt, searching for three days straight and finally captured two inmates. The other three inmates are still on the loose.

Usually, Pulaski County has twice as many jail staffers working every night, but they’re currently “understaffed.”

!!More slammer clamor
Apparently, Pulaski County isn’t the only place hurting for jail workers. Fulton County Sheriff Patrick Labat is offering a $9,000 signing bonus to fresh hires willing to work at the oh-so-lovely Fulton County Jail. Sheriff Labat says he’s losing people every single week.

Of course, anyone who’s ever spent a fine evening at this decrepit facility (or even just bailed a friend out) knows damn well that s $9,000 signing bonus ain’t enough. By far. To convince any logical person to willingly work at the hellhole known as Fulton County Jail. Period. Try $50,000, boys. —CL—

The Blotter Diva compiles reports from the Atlanta Police Department and local news reports — and puts them into her own words.    Tray Butler   0,0,10                           THE BLOTTER: Backlash to Elf Power "
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  string(3190) "For Tim Lee, “telling it like it is” are words to live by. Whether writing a song or a book, singing an original or a cover, playing rhythm guitar or soloing, getting to the truth or at least making a best effort to hit the target is all Tim knows how to do. Anything else is screwing around, wasting time — not that Tim thinks there’s anything wrong with that. I know this because I have known Tim Lee for thirty-plus years. I’m admitting this up front because that’s telling it like it is.

Recently published by Cool Dog Sound, I Saw a Dozen Faces...and I rocked them all: The Diary of a Never Was is the title of Tim’s autobiography (sorry, not sorry, for declining to refer to The Author by his last name). The nearly 300-page book (with discography and index) was penned while the author was pent up for the last couple of years, like the rest of us were, in his respective quarantine zone in Knoxville, Tennessee. Imbued with dry humor and mindful erudition, I Saw a Dozen Faces chronicles Tim’s journey from electric-rock-guitar-obsessed adolescence in Jackson, Mississippi, where he teamed up with Bobby Sutliff to form The Windbreakers, to the road-tripping, borderline indie-rock stardom years, which included performing at CBGBs, sitting in with REM and garnering a measure of national attention by cutting some mighty fine records with Mitch Easter and similarly inclined DIYers.

Through Tim’s keenly insightful eye, the reader rides shotgun in the van during the Atlanta years in the 1980s, which featured hooking up with Danny Beard and his DB Recs label; touring stints with Let’s Active, Swimming Pool Qs and the Atlanta Rhythm Section; playing with Linda Hopper, Ruthie Morris and David McNair under the moniker Homemade Sister, which later morphed into Magnapop; and trading riffs with Dave Weil in The Paralyzers, which evolved into the Cosmonecks. Also, not incidentally, the author recalls “the memory of one particular Tuesday in Pittsburgh” when The Windbreakers showed up at a club with “exactly four paying customers” in the house.

Frankly disposed to the tell-all mantra, at the end of a chapter titled “The Gutters of Fame: Major Label Neurosis,” Tim acknowledges: “As the 1980s began to wane, the independent scene as I’d known it began to fade with the times … In spite of its ultimate long-term influence, at that moment, the revolution was largely a failed coup for those of us who’d joined the fray early on.”

There’s way more to the story, of course, decades more of rocked faces, roads traveled, shenanigans logged. These days, Tim and his wife Susan Bauer Lee — an accomplished bassist, drummer, singer-songwriter, photographer and graphic artist — constitute a bona fide butt-kicking duo known as Bark (think White Stripes, but swampier and cuddlier), the origin and evolution of which I Saw a Dozen Faces recounts in compelling detail.

For anyone who ever pondered the reason why a quadrillion or so rock musicians persevere in spite of an endless litany of broken strings, missed cues and the sun refusing to shine, I Saw a Dozen Faces offers an illuminating, page-turning answer. —CL—"
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Recently published by Cool Dog Sound, ''I Saw a Dozen Faces...and I rocked them all: The Diary of a Never Was'' is the title of Tim’s autobiography (sorry, not sorry, for declining to refer to The Author by his last name). The nearly 300-page book (with discography and index) was penned while the author was pent up for the last couple of years, like the rest of us were, in his respective quarantine zone in Knoxville, Tennessee. Imbued with dry humor and mindful erudition, ''I Saw a Dozen Faces'' chronicles Tim’s journey from electric-rock-guitar-obsessed adolescence in Jackson, Mississippi, where he teamed up with Bobby Sutliff to form The Windbreakers, to the road-tripping, borderline indie-rock stardom years, which included performing at CBGBs, sitting in with REM and garnering a measure of national attention by cutting some mighty fine records with Mitch Easter and similarly inclined DIYers.

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Frankly disposed to the tell-all mantra, at the end of a chapter titled “The Gutters of Fame: Major Label Neurosis,” Tim acknowledges: “As the 1980s began to wane, the independent scene as I’d known it began to fade with the times … In spite of its ultimate long-term influence, at that moment, the revolution was largely a failed coup for those of us who’d joined the fray early on.”

There’s way more to the story, of course, decades more of rocked faces, roads traveled, shenanigans logged. These days, Tim and his wife Susan Bauer Lee — an accomplished bassist, drummer, singer-songwriter, photographer and graphic artist — constitute a bona fide butt-kicking duo known as Bark (think White Stripes, but swampier and cuddlier), the origin and evolution of which ''I Saw a Dozen Faces'' recounts in compelling detail.

For anyone who ever pondered the reason why a quadrillion or so rock musicians persevere in spite of an endless litany of broken strings, missed cues and the sun refusing to shine, ''I Saw a Dozen Faces'' offers an illuminating, page-turning answer. __—CL—__"
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  string(3792) " LP Bookreview  2021-12-07T21:43:19+00:00 LP_Bookreview.jpg      The guitarist’s new autobiography is as insightful as his songwriting LP Bookreview   2021-12-01T07:03:00+00:00  REVIEW: Tim Lee tells it like it is jim.harris Jim Harris DOUG DELOACH douglassdeloach (Doug DeLoach) 2021-12-01T07:03:00+00:00 For Tim Lee, “telling it like it is” are words to live by. Whether writing a song or a book, singing an original or a cover, playing rhythm guitar or soloing, getting to the truth or at least making a best effort to hit the target is all Tim knows how to do. Anything else is screwing around, wasting time — not that Tim thinks there’s anything wrong with that. I know this because I have known Tim Lee for thirty-plus years. I’m admitting this up front because that’s telling it like it is.

Recently published by Cool Dog Sound, I Saw a Dozen Faces...and I rocked them all: The Diary of a Never Was is the title of Tim’s autobiography (sorry, not sorry, for declining to refer to The Author by his last name). The nearly 300-page book (with discography and index) was penned while the author was pent up for the last couple of years, like the rest of us were, in his respective quarantine zone in Knoxville, Tennessee. Imbued with dry humor and mindful erudition, I Saw a Dozen Faces chronicles Tim’s journey from electric-rock-guitar-obsessed adolescence in Jackson, Mississippi, where he teamed up with Bobby Sutliff to form The Windbreakers, to the road-tripping, borderline indie-rock stardom years, which included performing at CBGBs, sitting in with REM and garnering a measure of national attention by cutting some mighty fine records with Mitch Easter and similarly inclined DIYers.

Through Tim’s keenly insightful eye, the reader rides shotgun in the van during the Atlanta years in the 1980s, which featured hooking up with Danny Beard and his DB Recs label; touring stints with Let’s Active, Swimming Pool Qs and the Atlanta Rhythm Section; playing with Linda Hopper, Ruthie Morris and David McNair under the moniker Homemade Sister, which later morphed into Magnapop; and trading riffs with Dave Weil in The Paralyzers, which evolved into the Cosmonecks. Also, not incidentally, the author recalls “the memory of one particular Tuesday in Pittsburgh” when The Windbreakers showed up at a club with “exactly four paying customers” in the house.

Frankly disposed to the tell-all mantra, at the end of a chapter titled “The Gutters of Fame: Major Label Neurosis,” Tim acknowledges: “As the 1980s began to wane, the independent scene as I’d known it began to fade with the times … In spite of its ultimate long-term influence, at that moment, the revolution was largely a failed coup for those of us who’d joined the fray early on.”

There’s way more to the story, of course, decades more of rocked faces, roads traveled, shenanigans logged. These days, Tim and his wife Susan Bauer Lee — an accomplished bassist, drummer, singer-songwriter, photographer and graphic artist — constitute a bona fide butt-kicking duo known as Bark (think White Stripes, but swampier and cuddlier), the origin and evolution of which I Saw a Dozen Faces recounts in compelling detail.

For anyone who ever pondered the reason why a quadrillion or so rock musicians persevere in spite of an endless litany of broken strings, missed cues and the sun refusing to shine, I Saw a Dozen Faces offers an illuminating, page-turning answer. —CL—    David Conklin PERFORMING HERE WITH THE WINDBREAKERS: Tim Lee sails through the air with the greatest of ease on the cover of his autobiography, I Saw a Dozen Faces...and I rocked them all: The Diary of a Never Was.  0,0,10                           REVIEW: Tim Lee tells it like it is "
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Listening Post"
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  string(8740) "On a wet, cold Thursday afternoon in late October, your correspondent arrived at the offices of The Atlanta Opera Company at Atlanta Technology Center. The cast of The Atlanta Opera was rehearsing a new production of Julius Caesar, which would open the 2021-22 season on November 6 at the Cobb Energy Performing Arts Centre. I hopped out of the car and scampered into the building just in time to catch Tolomeo, King of Egypt and brother of Cleopatra, ordering the imprisonment of Cornelia (wife of Pompeo, recently defeated in battle by Caesar) and her son Sesto, the latter two having just sworn lethal vengeance upon the monarch.

The large, open, starkly industrial room was brightly lit. Everyone including the primary singers wore street clothes. A few random props were in hand: swords, javelins, plastic chains and a royal Egyptian headdress. While the singers moved around “the stage,” a couple of “stagehands” periodically repositioned a large square tarp, representing what would later be revealed as a clever bit of stage design in the form of a pyramid, spread flat on the floor. Cast members not in the scene sat in office chairs strewn around the perimeter of the space or stood leaning against walls, quietly chatting or tapping on their mobile devices.

The pianist, the only instrumental accompaniment, played a short introductory phrase, signaling either the beginning of the scene or some action within the scene, followed by the keenly resonant voices of countertenor Daniel Moody (Tolomeo), mezzo-soprano Renée Tatun (Cornelia) and mezzo Megan Marino (Sesto) in full operatic flight.

Watching it all transpire, Atlanta Opera general and artistic director Tomer Zvulun sat in a chair in front of the performers, making notes in a copy of the libretto for ‘Julius Caesar,’ which was written by Nicola Francesco Haym nearly three centuries ago. From time to time, Zvulun interrupted the proceedings to instruct the singers to provide an extra bit of emotive expression here or move in a slightly more demonstrative manner there.

During a break in the rehearsal, Zvulun sat down with Listening Post to discuss, among other pertinent topics, Julius Caesar and The Atlanta Opera’s 2021-22 season.

Doug DeLoach: After a two-year lockout imposed by the coronavirus pandemic, where are you today in the process of returning to the Cobb Energy Performing Arts Centre with this particular production?

Tomer Zvulun: We are one day before the final run-through, honing in things before tomorrow when we run the whole show without stopping. It takes about two to three weeks to get to this phase. It starts with a concept, which, in this case, was doing Handel’s Baroque Julius Caesar so that it carries vibes of Dune or Game of Thrones.

Keep in mind, we haven’t rehearsed a show for the mainstage in two years. A couple of the singers — Jasmine Habersham who sings Cleopatra and sang Micaëla in last season’s production of Carmen and Meg Marino who sings Sesto and sang the title role in Carmen — are Company Players. But most of these artists have not sung in two years. On top of that, you have twelve dancers. Bringing Donald Byrd’s choreography into the fold has been a complex thing. We added a week for the choreographer to work with the dancers because their work is so crucial to the show.

This production is a two-and-a-half hour opera with many recitatives and duets/arias. You start by spending about an hour or more on each of those five-minute numbers, working on the clearest way to tell the story. The singers go home and think about it. They work with coaches on the music. They work with the choreographers. Then we do it again and again until we get to a place like today, where it’s more fluid and easygoing.

My job is to watch and listen and tell them where, basically, I don’t believe what’s happening. It’s all about finding the truth.

Despite the fact that Julius Caesar is the oldest opera The Atlanta Opera has ever presented, the company has a reputation for programming and staging productions that resonate with contemporary audiences. In what way or ways does the 2021-22 season achieve this core goal?

Zvulun: I love finding things that reverberate with the times and capture the zeitgeist. If you look at Julius Caesar and The (R)evolution of Steve Jobs, they are about two leaders, both of whom died when they were 56. They changed the world in their own way and left a mark, but both men were also tortured, flawed human beings.

We’re all flawed. We all have our reasons to behave the way we behave. In opera, from The Flying Dutchman to Falstaff to the Count in The Marriage of Figaro, all of those characters are multi-dimensional. That’s why I love having Julius Cesar and Steve Jobs bookending the season.

How do the other two mainstage productions, The Pirates of Penzance and The Barber of Seville, fit into the seasonal arc?

Zvulun: We wanted to do shows that would inspire people, that would lift them up. We’ve had enough tragedy in the past two years. Including those two operas came from wanting to provide something optimistic, adventurous and comedic. Something that was fun. Although Julius Caesar and Steve Jobs have hints of tragedy and melancholy woven into them, overall, they are inspiring in terms of the stories of those people.

The last two operas of the season, Cabaret and As One, are being presented under the Big Tent, which was such a highly popular innovation last season. They also fall under The Discoveries Series, which historically presents newer works and chamber operas. What sets these productions apart from this season’s mainstage programming?

Zvulun: The end of the season definitely has a theme, which is what happens to a society when we are scared of ‘the other,’ when we don’t accept people who are different than us. Cabaret is about Germany in the 1930s and the dangers awaiting gays and Jews from the Nazi monster. Similarly, As One is about the journey of a transgender/transwoman and what it means to live in a non-accepting world.

What is the motivation behind The 96-Hour Opera Project, which was introduced this season?

Zvulun: The 96-Hour Opera project is about creating a pressure cooker for teams who will be coming to Atlanta where they will write a short, 10-minute piece, which will be judged by a jury. The winning team will be commissioned by The Atlanta Opera to write an opera and receive a cash prize.

The themes we are going to ask them to write about will resonate with the idea of Atlanta’s diversity. We are collaborating with the Atlanta History Center, the Center for Civil Rights and other organizations to select stories, which have to do with Joe Louis, Martin Luther King, Jr., and the list goes on. As an immigrant, one of the reasons why I love Atlanta is the richness that comes from the diversity of people who live here. Finding a way to echo that [[[[[[[diversity] in everything we do is very important.

In what way or ways is the pandemic continuing to affect Atlanta Opera programming?

Zvulun: Right now, we cannot do “grand opera” with hundreds of artists onstage or in the pit. It’s too dangerous. If you look at the whole season, Julius Caesar has a smaller orchestra in the pit and no chorus. Barber of Seville has a smaller chorus and Pirates of Penzance has the same thing: no more than 20 people; Steve Jobs has sixteen with a smaller band in the pit.

We can’t foresee the future. We have to be able to pivot, something which we have a lot of experience doing. That said, we are planning a spectacular 2022-23 season with eight operas. We’ll bring Puccini back and Wagner, Mozart, a big Bernstein, lots of important works. We’re praying we can do them all. —CL—

“The Pirates of Penzance,” Saturday, Jan. 22, 8 p.m.; Tuesday, Jan. 25, 7:30 p.m.; Friday, Jan. 28, 8 p.m.; Sunday, Jan. 30, 3 p.m.

“The Barber of Seville,” Saturday, Mar. 5, 8 p.m.; Tuesday, Mar. 8, 7:30 p.m.; Friday, Mar. 11, 8 p.m.; Sunday, Mar. 13, 3 p.m.

“The (R)evolution of Steve Jobs,” April 30, 8 p.m.; Tuesday, May 3, 7:30 p.m.; Friday, May 6, 8 p.m.; Sunday, May 8, 3 p.m.

“Cabaret,” Thursday, Jun. 2, 8 p.m.; Friday, Jun 3, 8 p.m.; Saturday, Jun. 4, 8 p.m.; Sunday, Jun. 5, 8 p.m.; Friday, Jun. 10, 8 p.m.; Sunday, Jun. 12, 2 p.m.; Thursday, Jun. 16, 8 p.m.; Friday, Jun. 17, 8 p.m.; Saturday, Jun. 18, 8 p.m.; Sunday, Jun. 19, 2 p.m.

“As One,” Thursday, Jun. 9, 8 p.m.; Saturday, Jun. 11, 8 p.m.

For tickets, visit The Atlanta Opera at www.atlantaopera.org/tickets or call 404-881-8885.

Cobb Energy Performing Arts Centre, 2800 Cobb Galleria Pkwy, Atlanta, 30339."
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  string(9042) "On a wet, cold Thursday afternoon in late October, your correspondent arrived at the offices of The Atlanta Opera Company at Atlanta Technology Center. The cast of The Atlanta Opera was rehearsing a new production of Julius Caesar, which would open the 2021-22 season on November 6 at the Cobb Energy Performing Arts Centre. I hopped out of the car and scampered into the building just in time to catch Tolomeo, King of Egypt and brother of Cleopatra, ordering the imprisonment of Cornelia (wife of Pompeo, recently defeated in battle by Caesar) and her son Sesto, the latter two having just sworn lethal vengeance upon the monarch.

The large, open, starkly industrial room was brightly lit. Everyone including the primary singers wore street clothes. A few random props were in hand: swords, javelins, plastic chains and a royal Egyptian headdress. While the singers moved around “the stage,” a couple of “stagehands” periodically repositioned a large square tarp, representing what would later be revealed as a clever bit of stage design in the form of a pyramid, spread flat on the floor. Cast members not in the scene sat in office chairs strewn around the perimeter of the space or stood leaning against walls, quietly chatting or tapping on their mobile devices.

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Watching it all transpire, Atlanta Opera general and artistic director Tomer Zvulun sat in a chair in front of the performers, making notes in a copy of the libretto for ‘Julius Caesar,’ which was written by Nicola Francesco Haym nearly three centuries ago. From time to time, Zvulun interrupted the proceedings to instruct the singers to provide an extra bit of emotive expression here or move in a slightly more demonstrative manner there.

During a break in the rehearsal, Zvulun sat down with Listening Post to discuss, among other pertinent topics, ''Julius Caesar'' and The Atlanta Opera’s 2021-22 season.

__Doug DeLoach: After a two-year lockout imposed by the coronavirus pandemic, where are you today in the process of returning to the Cobb Energy Performing Arts Centre with this particular production?__

__Tomer Zvulun:__ We are one day before the final run-through, honing in things before tomorrow when we run the whole show without stopping. It takes about two to three weeks to get to this phase. It starts with a concept, which, in this case, was doing Handel’s Baroque ''Julius Caesar'' so that it carries vibes of ''Dune'' or ''Game of Thrones.''

Keep in mind, we haven’t rehearsed a show for the mainstage in two years. A couple of the singers — Jasmine Habersham who sings Cleopatra and sang Micaëla in last season’s production of Carmen and Meg Marino who sings Sesto and sang the title role in ''Carmen'' — are Company Players. But most of these artists have not sung in two years. On top of that, you have twelve dancers. Bringing Donald Byrd’s choreography into the fold has been a complex thing. We added a week for the choreographer to work with the dancers because their work is so crucial to the show.

This production is a two-and-a-half hour opera with many recitatives and duets/arias. You start by spending about an hour or more on each of those five-minute numbers, working on the clearest way to tell the story. The singers go home and think about it. They work with coaches on the music. They work with the choreographers. Then we do it again and again until we get to a place like today, where it’s more fluid and easygoing.

My job is to watch and listen and tell them where, basically, I don’t believe what’s happening. It’s all about finding the truth.

__Despite the fact that__ __''Julius Caesar''____ is the oldest opera The Atlanta Opera has ever presented, the company has a reputation for programming and staging productions that resonate with contemporary audiences. In what way or ways does the 2021-22 season achieve this core goal?__
{imagefloatleft imageid="45577" wdthval="500px"}
__Zvulun:__ I love finding things that reverberate with the times and capture the zeitgeist. If you look at ''Julius Caesar'' and ''The (R)evolution of Steve Jobs,'' they are about two leaders, both of whom died when they were 56. They changed the world in their own way and left a mark, but both men were also tortured, flawed human beings.

We’re all flawed. We all have our reasons to behave the way we behave. In opera, from The Flying Dutchman to Falstaff to the Count in ''The Marriage of Figaro,'' all of those characters are multi-dimensional. That’s why I love having Julius Cesar and Steve Jobs bookending the season.

__How do the other two mainstage productions, ____''The Pirates of Penzance''____ and ____''The Barber of Seville,''____ fit into the seasonal arc?__

__Zvulun:__ We wanted to do shows that would inspire people, that would lift them up. We’ve had enough tragedy in the past two years. Including those two operas came from wanting to provide something optimistic, adventurous and comedic. Something that was fun. Although ''Julius Caesar'' and ''Steve Jobs'' have hints of tragedy and melancholy woven into them, overall, they are inspiring in terms of the stories of those people.
{imagefloatright imageid="45578" wdthval="500px"}
__The last two operas of the season, ____''Cabaret''____ and ____''As One,''____ are being presented under the Big Tent, which was such a highly popular innovation last season. They also fall under The Discoveries Series, which historically presents newer works and chamber operas. What sets these productions apart from this season’s mainstage programming?__

__Zvulun:__ The end of the season definitely has a theme, which is what happens to a society when we are scared of ‘the other,’ when we don’t accept people who are different than us. ''Cabaret'' is about Germany in the 1930s and the dangers awaiting gays and Jews from the Nazi monster. Similarly, ''As One'' is about the journey of a transgender/transwoman and what it means to live in a non-accepting world.

__What is the motivation behind The 96-Hour Opera Project, which was introduced this season?__

__Zvulun:__ The 96-Hour Opera project is about creating a pressure cooker for teams who will be coming to Atlanta where they will write a short, 10-minute piece, which will be judged by a jury. The winning team will be commissioned by The Atlanta Opera to write an opera and receive a cash prize.

The themes we are going to ask them to write about will resonate with the idea of Atlanta’s diversity. We are collaborating with the Atlanta History Center, the Center for Civil Rights and other organizations to select stories, which have to do with Joe Louis, Martin Luther King, Jr., and the list goes on. As an immigrant, one of the reasons why I love Atlanta is the richness that comes from the diversity of people who live here. Finding a way to echo that [[[[[[[[diversity] in everything we do is very important.

__In what way or ways is the pandemic continuing to affect Atlanta Opera programming?__

__Zvulun:__ Right now, we cannot do “grand opera” with hundreds of artists onstage or in the pit. It’s too dangerous. If you look at the whole season, ''Julius Caesar'' has a smaller orchestra in the pit and no chorus. ''Barber of Seville'' has a smaller chorus and ''Pirates of Penzance'' has the same thing: no more than 20 people; ''Steve Jobs'' has sixteen with a smaller band in the pit.

We can’t foresee the future. We have to be able to pivot, something which we have a lot of experience doing. That said, we are planning a spectacular 2022-23 season with eight operas. We’ll bring Puccini back and Wagner, Mozart, a big Bernstein, lots of important works. We’re praying we can do them all. __—CL—__

''“The Pirates of Penzance,” Saturday, Jan. 22, 8 p.m.; Tuesday, Jan. 25, 7:30 p.m.; Friday, Jan. 28, 8 p.m.; Sunday, Jan. 30, 3 p.m.''

''“The Barber of Seville,” Saturday, Mar. 5, 8 p.m.; Tuesday, Mar. 8, 7:30 p.m.; Friday, Mar. 11, 8 p.m.; Sunday, Mar. 13, 3 p.m.''

''“The (R)evolution of Steve Jobs,” April 30, 8 p.m.; Tuesday, May 3, 7:30 p.m.; Friday, May 6, 8 p.m.; Sunday, May 8, 3 p.m.''

''“Cabaret,” Thursday, Jun. 2, 8 p.m.; Friday, Jun 3, 8 p.m.; Saturday, Jun. 4, 8 p.m.; Sunday, Jun. 5, 8 p.m.; Friday, Jun. 10, 8 p.m.; Sunday, Jun. 12, 2 p.m.; Thursday, Jun. 16, 8 p.m.; Friday, Jun. 17, 8 p.m.; Saturday, Jun. 18, 8 p.m.; Sunday, Jun. 19, 2 p.m.''

''“As One,” Thursday, Jun. 9, 8 p.m.; Saturday, Jun. 11, 8 p.m.''

''For tickets, visit The Atlanta Opera at www.atlantaopera.org/tickets or call 404-881-8885.''

''Cobb Energy Performing Arts Centre, 2800 Cobb Galleria Pkwy, Atlanta, 30339.''"
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  string(9645) " #1 LP Tomer Zvulun Directing By Felipe Barral 2 Web  2021-12-07T21:26:39+00:00 #1_LP_Tomer_Zvulun_Directing_by_Felipe_Barral_2_web.jpg      The Atlanta Opera returns to Cobb Energy Performing Arts Centre for the 2021-22 Season #1 LP Tomer Zvulun Directing By Felipe Barral 2 Web   2021-12-01T18:50:00+00:00  LISTENING POST: Back Home Again jim.harris Jim Harris DOUG DELOACH douglassdeloach (Doug DeLoach) 2021-12-01T18:50:00+00:00 On a wet, cold Thursday afternoon in late October, your correspondent arrived at the offices of The Atlanta Opera Company at Atlanta Technology Center. The cast of The Atlanta Opera was rehearsing a new production of Julius Caesar, which would open the 2021-22 season on November 6 at the Cobb Energy Performing Arts Centre. I hopped out of the car and scampered into the building just in time to catch Tolomeo, King of Egypt and brother of Cleopatra, ordering the imprisonment of Cornelia (wife of Pompeo, recently defeated in battle by Caesar) and her son Sesto, the latter two having just sworn lethal vengeance upon the monarch.

The large, open, starkly industrial room was brightly lit. Everyone including the primary singers wore street clothes. A few random props were in hand: swords, javelins, plastic chains and a royal Egyptian headdress. While the singers moved around “the stage,” a couple of “stagehands” periodically repositioned a large square tarp, representing what would later be revealed as a clever bit of stage design in the form of a pyramid, spread flat on the floor. Cast members not in the scene sat in office chairs strewn around the perimeter of the space or stood leaning against walls, quietly chatting or tapping on their mobile devices.

The pianist, the only instrumental accompaniment, played a short introductory phrase, signaling either the beginning of the scene or some action within the scene, followed by the keenly resonant voices of countertenor Daniel Moody (Tolomeo), mezzo-soprano Renée Tatun (Cornelia) and mezzo Megan Marino (Sesto) in full operatic flight.

Watching it all transpire, Atlanta Opera general and artistic director Tomer Zvulun sat in a chair in front of the performers, making notes in a copy of the libretto for ‘Julius Caesar,’ which was written by Nicola Francesco Haym nearly three centuries ago. From time to time, Zvulun interrupted the proceedings to instruct the singers to provide an extra bit of emotive expression here or move in a slightly more demonstrative manner there.

During a break in the rehearsal, Zvulun sat down with Listening Post to discuss, among other pertinent topics, Julius Caesar and The Atlanta Opera’s 2021-22 season.

Doug DeLoach: After a two-year lockout imposed by the coronavirus pandemic, where are you today in the process of returning to the Cobb Energy Performing Arts Centre with this particular production?

Tomer Zvulun: We are one day before the final run-through, honing in things before tomorrow when we run the whole show without stopping. It takes about two to three weeks to get to this phase. It starts with a concept, which, in this case, was doing Handel’s Baroque Julius Caesar so that it carries vibes of Dune or Game of Thrones.

Keep in mind, we haven’t rehearsed a show for the mainstage in two years. A couple of the singers — Jasmine Habersham who sings Cleopatra and sang Micaëla in last season’s production of Carmen and Meg Marino who sings Sesto and sang the title role in Carmen — are Company Players. But most of these artists have not sung in two years. On top of that, you have twelve dancers. Bringing Donald Byrd’s choreography into the fold has been a complex thing. We added a week for the choreographer to work with the dancers because their work is so crucial to the show.

This production is a two-and-a-half hour opera with many recitatives and duets/arias. You start by spending about an hour or more on each of those five-minute numbers, working on the clearest way to tell the story. The singers go home and think about it. They work with coaches on the music. They work with the choreographers. Then we do it again and again until we get to a place like today, where it’s more fluid and easygoing.

My job is to watch and listen and tell them where, basically, I don’t believe what’s happening. It’s all about finding the truth.

Despite the fact that Julius Caesar is the oldest opera The Atlanta Opera has ever presented, the company has a reputation for programming and staging productions that resonate with contemporary audiences. In what way or ways does the 2021-22 season achieve this core goal?

Zvulun: I love finding things that reverberate with the times and capture the zeitgeist. If you look at Julius Caesar and The (R)evolution of Steve Jobs, they are about two leaders, both of whom died when they were 56. They changed the world in their own way and left a mark, but both men were also tortured, flawed human beings.

We’re all flawed. We all have our reasons to behave the way we behave. In opera, from The Flying Dutchman to Falstaff to the Count in The Marriage of Figaro, all of those characters are multi-dimensional. That’s why I love having Julius Cesar and Steve Jobs bookending the season.

How do the other two mainstage productions, The Pirates of Penzance and The Barber of Seville, fit into the seasonal arc?

Zvulun: We wanted to do shows that would inspire people, that would lift them up. We’ve had enough tragedy in the past two years. Including those two operas came from wanting to provide something optimistic, adventurous and comedic. Something that was fun. Although Julius Caesar and Steve Jobs have hints of tragedy and melancholy woven into them, overall, they are inspiring in terms of the stories of those people.

The last two operas of the season, Cabaret and As One, are being presented under the Big Tent, which was such a highly popular innovation last season. They also fall under The Discoveries Series, which historically presents newer works and chamber operas. What sets these productions apart from this season’s mainstage programming?

Zvulun: The end of the season definitely has a theme, which is what happens to a society when we are scared of ‘the other,’ when we don’t accept people who are different than us. Cabaret is about Germany in the 1930s and the dangers awaiting gays and Jews from the Nazi monster. Similarly, As One is about the journey of a transgender/transwoman and what it means to live in a non-accepting world.

What is the motivation behind The 96-Hour Opera Project, which was introduced this season?

Zvulun: The 96-Hour Opera project is about creating a pressure cooker for teams who will be coming to Atlanta where they will write a short, 10-minute piece, which will be judged by a jury. The winning team will be commissioned by The Atlanta Opera to write an opera and receive a cash prize.

The themes we are going to ask them to write about will resonate with the idea of Atlanta’s diversity. We are collaborating with the Atlanta History Center, the Center for Civil Rights and other organizations to select stories, which have to do with Joe Louis, Martin Luther King, Jr., and the list goes on. As an immigrant, one of the reasons why I love Atlanta is the richness that comes from the diversity of people who live here. Finding a way to echo that [[[[[[[diversity] in everything we do is very important.

In what way or ways is the pandemic continuing to affect Atlanta Opera programming?

Zvulun: Right now, we cannot do “grand opera” with hundreds of artists onstage or in the pit. It’s too dangerous. If you look at the whole season, Julius Caesar has a smaller orchestra in the pit and no chorus. Barber of Seville has a smaller chorus and Pirates of Penzance has the same thing: no more than 20 people; Steve Jobs has sixteen with a smaller band in the pit.

We can’t foresee the future. We have to be able to pivot, something which we have a lot of experience doing. That said, we are planning a spectacular 2022-23 season with eight operas. We’ll bring Puccini back and Wagner, Mozart, a big Bernstein, lots of important works. We’re praying we can do them all. —CL—

“The Pirates of Penzance,” Saturday, Jan. 22, 8 p.m.; Tuesday, Jan. 25, 7:30 p.m.; Friday, Jan. 28, 8 p.m.; Sunday, Jan. 30, 3 p.m.

“The Barber of Seville,” Saturday, Mar. 5, 8 p.m.; Tuesday, Mar. 8, 7:30 p.m.; Friday, Mar. 11, 8 p.m.; Sunday, Mar. 13, 3 p.m.

“The (R)evolution of Steve Jobs,” April 30, 8 p.m.; Tuesday, May 3, 7:30 p.m.; Friday, May 6, 8 p.m.; Sunday, May 8, 3 p.m.

“Cabaret,” Thursday, Jun. 2, 8 p.m.; Friday, Jun 3, 8 p.m.; Saturday, Jun. 4, 8 p.m.; Sunday, Jun. 5, 8 p.m.; Friday, Jun. 10, 8 p.m.; Sunday, Jun. 12, 2 p.m.; Thursday, Jun. 16, 8 p.m.; Friday, Jun. 17, 8 p.m.; Saturday, Jun. 18, 8 p.m.; Sunday, Jun. 19, 2 p.m.

“As One,” Thursday, Jun. 9, 8 p.m.; Saturday, Jun. 11, 8 p.m.

For tickets, visit The Atlanta Opera at www.atlantaopera.org/tickets or call 404-881-8885.

Cobb Energy Performing Arts Centre, 2800 Cobb Galleria Pkwy, Atlanta, 30339.    Felipe Barral FINDING THE TRUTH: Seen here in rehearsal for a production from last season, Israeli-born Tomer Zvulun has been the general and artistic director of The Atlanta Opera since 2013. Zvulun will steer the company through six productions during the 2021-22 season, which kicked off in November with George Frideric Handel's Julius Caesar at the Cobb Energy Performing Arts Centre.  0,0,10                           LISTENING POST: Back Home Again "
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  string(3168) "!!!ALL PHOTOS: RICK DIAMOND PHOTOGRAPHY


The Rolling Stones gathered no moss during their Nov. 11 appearance at Atlanta’s Mercedes-Benz Stadium. Sounds a bit cliche, doesn’t it? But what has the “greatest rock ’n’ roll band in the world” become in their nearly six decade existence, other than a cliche, right? Mick Jagger prancing around onstage. Keith Richards still pumping life into the term “junkie chic,” though he’s stopped pumping drugs into his body years ago. Attending one of their shows is almost tedious at this point. How many times can a person sit through “Jumping Jack Flash,” “Satisfaction,” or even “Midnight Rambler?”

Yet that was not the case when the Stones rolled into town for their recent performance during their “No Filter” tour, one that has had its stops and starts for four years during the coronavirus pandemic and the various health problems of two of the band’s members.

From the opening chords of “Street Fighting Man” to the closing notes of “Satisfaction” Mick Jagger commanded the stage for two hours and the band, well the band rocked like they would never stop.

It was a phenomenal night of age and experience over youth and exuberance that keenly brought into perspective what it means to be the the “greatest rock ’n’ roll band in the world.”

Having seen the Stones at least eight times through the years, I had my doubts that they could pull it off at Mercedes-Benz, much less keep me captivated during their set. Even during their 1975 “Tour of the Americas” I found myself bored during “It’s Only Rock ’N’ Roll (But I like It),” decided I didn’t, and wandered around the Omni, only to have someone put a knife to my throat and demand all of my money. But there was no reason to wander Nov. 11. As energetic as they started, things really began to pick up  during “She’s A Rainbow,” followed by an intense, plaintive “You Can’t Always Get What You Want.” Even the newly-penned “Ghost Town” was captivating — not an easy feat for most Stones compositions of the last twenty to thirty years — with its ominous overtones .

“Midnight Rambler” and “Gimme Shelter,” two of the truly awe-inspiring rock ’n’ roll songs of the genre, both from Let It Bleed, the band’s 1969 opus, bookended “Paint It Black,” “Sympathy for the Devil” and “Jumpin’ Jack Flash.” Those five songs, for me at least, were not only the highlight of the show, but the best of five songs of any Rolling Stones show I’ve ever seen. During “Paint It Black,” the cavernous stadium became as intimate as watching them on television during the “Ed Sullivan Show” in 1966. “Sympathy for the Devil was as haunting as seeing them play at Altamont in the film Gimme Shelter. “Gimme Shelter” was as powerful and dramatic as anything and everything The Rolling Stones are purported to be. Indeed, for the first time ever I “got” The Rolling Stones and understood what so many of their generation — and subsequent generations — see them to be.

It was a revelatory night. —CL—


 

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The Rolling Stones gathered no moss during their Nov. 11 appearance at Atlanta’s Mercedes-Benz Stadium. Sounds a bit cliche, doesn’t it? But what has the “greatest rock ’n’ roll band in the world” become in their nearly six decade existence, other than a cliche, right? Mick Jagger prancing around onstage. Keith Richards still pumping life into the term “junkie chic,” though he’s stopped pumping drugs into his body years ago. Attending one of their shows is almost tedious at this point. How many times can a person sit through “Jumping Jack Flash,” “Satisfaction,” or even “Midnight Rambler?”

Yet that was not the case when the Stones rolled into town for their recent performance during their “No Filter” tour, one that has had its stops and starts for four years during the coronavirus pandemic and the various health problems of two of the band’s members.

From the opening chords of “Street Fighting Man” to the closing notes of “Satisfaction” Mick Jagger commanded the stage for two hours and the band, well the band rocked like they would never stop.

It was a phenomenal night of age and experience over youth and exuberance that keenly brought into perspective what it means to be the the “greatest rock ’n’ roll band in the world.”

Having seen the Stones at least eight times through the years, I had my doubts that they could pull it off at Mercedes-Benz, much less keep me captivated during their set. Even during their 1975 “Tour of the Americas” I found myself bored during “It’s Only Rock ’N’ Roll (But I like It),” decided I didn’t, and wandered around the Omni, only to have someone put a knife to my throat and demand all of my money. But there was no reason to wander Nov. 11. As energetic as they started, things really began to pick up  during “She’s A Rainbow,” followed by an intense, plaintive “You Can’t Always Get What You Want.” Even the newly-penned “Ghost Town” was captivating — not an easy feat for most Stones compositions of the last twenty to thirty years — with its ominous overtones .

“Midnight Rambler” and “Gimme Shelter,” two of the truly awe-inspiring rock ’n’ roll songs of the genre, both from ''Let It Bleed'', the band’s 1969 opus, bookended “Paint It Black,” “Sympathy for the Devil” and “Jumpin’ Jack Flash.” Those five songs, for me at least, were not only the highlight of the show, but the best of five songs of any Rolling Stones show I’ve ever seen. During “Paint It Black,” the cavernous stadium became as intimate as watching them on television during the “Ed Sullivan Show” in 1966. “Sympathy for the Devil was as haunting as seeing them play at Altamont in the film ''Gimme Shelter.'' “Gimme Shelter” was as powerful and dramatic as anything and everything The Rolling Stones are purported to be. Indeed, for the first time ever I “got” The Rolling Stones and understood what so many of their generation — and subsequent generations — see them to be.

It was a revelatory night. __—CL—__

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The Rolling Stones gathered no moss during their Nov. 11 appearance at Atlanta’s Mercedes-Benz Stadium. Sounds a bit cliche, doesn’t it? But what has the “greatest rock ’n’ roll band in the world” become in their nearly six decade existence, other than a cliche, right? Mick Jagger prancing around onstage. Keith Richards still pumping life into the term “junkie chic,” though he’s stopped pumping drugs into his body years ago. Attending one of their shows is almost tedious at this point. How many times can a person sit through “Jumping Jack Flash,” “Satisfaction,” or even “Midnight Rambler?”

Yet that was not the case when the Stones rolled into town for their recent performance during their “No Filter” tour, one that has had its stops and starts for four years during the coronavirus pandemic and the various health problems of two of the band’s members.

From the opening chords of “Street Fighting Man” to the closing notes of “Satisfaction” Mick Jagger commanded the stage for two hours and the band, well the band rocked like they would never stop.

It was a phenomenal night of age and experience over youth and exuberance that keenly brought into perspective what it means to be the the “greatest rock ’n’ roll band in the world.”

Having seen the Stones at least eight times through the years, I had my doubts that they could pull it off at Mercedes-Benz, much less keep me captivated during their set. Even during their 1975 “Tour of the Americas” I found myself bored during “It’s Only Rock ’N’ Roll (But I like It),” decided I didn’t, and wandered around the Omni, only to have someone put a knife to my throat and demand all of my money. But there was no reason to wander Nov. 11. As energetic as they started, things really began to pick up  during “She’s A Rainbow,” followed by an intense, plaintive “You Can’t Always Get What You Want.” Even the newly-penned “Ghost Town” was captivating — not an easy feat for most Stones compositions of the last twenty to thirty years — with its ominous overtones .

“Midnight Rambler” and “Gimme Shelter,” two of the truly awe-inspiring rock ’n’ roll songs of the genre, both from Let It Bleed, the band’s 1969 opus, bookended “Paint It Black,” “Sympathy for the Devil” and “Jumpin’ Jack Flash.” Those five songs, for me at least, were not only the highlight of the show, but the best of five songs of any Rolling Stones show I’ve ever seen. During “Paint It Black,” the cavernous stadium became as intimate as watching them on television during the “Ed Sullivan Show” in 1966. “Sympathy for the Devil was as haunting as seeing them play at Altamont in the film Gimme Shelter. “Gimme Shelter” was as powerful and dramatic as anything and everything The Rolling Stones are purported to be. Indeed, for the first time ever I “got” The Rolling Stones and understood what so many of their generation — and subsequent generations — see them to be.

It was a revelatory night. —CL—


 

::::
 

::::    RICK DIAMOND PHOTOGRAPHY THE STAGE WAS SET: And The Rolling Stones were ready to rock this joint.  0,0,10                           The Rolling Stones rock the ATL "
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Live Reviews

High Frequencies"
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  string(36) "GRAZING: Pho Cue and banh mi, Mercer"
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  string(8709) "First of all: Merry Christmas. Now that I’ve gotten that over with, I must make my annual plea to boycott any restaurant playing Christmas music. The Yuletide noise pollution has decreased in the last 30 years and we don’t want to give restaurateurs any encouragement to resume Christian torture of our auditory nerves. Please report offenders to me. Thank you.

Second of all: Send me lunch money. In typical American fashion, the more the “booming economy” expands, the more the rich get richer and the poor get starved by inflation. The cost of dining out, like any other act of consumption, has increased remarkably. There are many reasons why and, understand, I’m not including restaurateurs among those who have made cosmetic surgery and space travel their hobbies. They are struggling to maintain a five percent profit margin and have, after a decade of intense competition, finally been left with no alternative to passing on more of their costs to customers.

But still … Fortunately, I’ve never been attracted much to “fine dining” because, honestly, it’s rarely been within my financial reach but, more important, I just prefer so called exotic cuisines that offer an adventure rather than refinement. (For a writer, the former is about stories and the latter is about adjectives.) So, imagine my surprise when I discovered that Buford Highway is no longer predictably a bargain-basement safari. My friend Rose and I have often headed out that way merrily, with our pockets full of coins. But we were stunned recently by a meal at Mamak, one of my longtime favorites for Malaysian cuisine. My memory was that lunch specials cost about $10. However, we were handed paper menus on which those specials had been slashed out of existence. Long story short, our lunch cost us $57 including tax and tip.

The food was as delicious as ever. We shared rendang beef simmered in coconut milk with mild spices and “walnut shrimp,” which I’d never noticed on the menu before. It’s jumbo shrimp fried in a light batter, tossed in a sweetened mayonnaise sauce, and garnished with candied walnuts. I confess it was nostalgic curiosity that led me to order it. I used to eat a similar dish frequently for brunch at Hong Kong Harbour (R.I.P.). You could argue that the dish requires something sharper than beef drowned in coconut milk to offset the sweetness, but we managed. The shrimp, by the way, actually had flavor like they lived in the sea at some time. We also ordered roti canai, the flatbread served with a curried sauce for dipping. Don’t miss it. Your $5 will get you one small single piece of the bread. Just to be clear, the rendang is, at $20, the most expensive item on the menu. You can order rice and noodle dishes for significantly less. Or you could go down the road a bit and dine at Mamak Vegan Kitchen. I love the sambal okra there.


 

On to affordable, fat portions: While restaurants are reopening, sales have yet to get anywhere near their pre-pandemic level. Thus (maddeningly) abbreviated hours and an emphasis on takeout are likely to continue for a long time. A perfect formula is offered by Chef Lance Gummere, who created Mercer Street Meals after leaving Bantam & Biddy, which he co-founded in 2012. Before then, he was chef at The Shed at Glenwood, where I dined weekly for a couple of years. One night a week, he prepared a menu of sliders imaginative enough to be served at the Mad Hatter’s tea party. The rest of the week his imagination took refuge in tweaking Southern comfort food.

Lance now cooks at home where wife Gracie enjoys his full-time assistance in raising their two sons. They have two large dogs that licked the cat saliva off my hands on the front porch of their home on Mercer Street, which, quaintly enough, is a gravel road in Ormewood Park. Every Wednesday morning, they post the week’s available meals on their website, where customers purchase their choices. Usually, two different meals are available each week, but not on the same day. Thus, if you want both meals, you’ll have to make two trips to pick them up. It’s worth it. In fact, it’s probably the best bargain in the city. Meals are $25 for two and $45 for four. Yep, that’s $12.50 or less per person for a meal that includes an entrée, two sides, and dessert. And portions are large, really large.

My only meal so far has been baked salmon with wild rice, Brussels sprouts, and chocolate pavlova. I was frankly worried about it. Fish is not typically a takeout food I choose since it’s usually overcooked and completely dry by the time it’s on the table, especially if it requires reheating. Lance brings the food out his front door, packed in loosely wrapped aluminum containers and still warm enough that I had no need to reheat it. The salmon, in honey butter with a few scallions, was juicy and flaky. Wild rice was an exotic favorite of my mother — to the degree that I quit eating it around, oh, 1975. Lance outdid her by adding toasted pecans and a lot of green onions. Maybe my favorite was the roasted Brussels sprouts with bacon and cipollini onions. If I have any complaint, it was the profuse oniony flavors, especially in the rice’s raw green onions. But the dessert, pavlova, cleaned the breath in the way orgasm cleans the depraved mind. It was creamy, chewy, fruity, chocolatey, and, best of all, there was a ton of it. Check out their website for forthcoming meals, which range at this writing from bridge-club-fancy (crab mornay with a “Green Goddess crunch sandwich,” chicken noodle soup, and brownies) to after-church-piggy (chicken fried steak, garlic mashed potatoes, green beans smothered with onions, and pecan pie).


 


Last month, I wrote about the then-unopened Pho Cue in Glenwood Park. It’s up and going! The restaurant, which started as a pop-up, blends Vietnamese cuisine with Texas-style barbecue. I was mystified. Vietnamese, which is my favorite cuisine, is for the most part super-healthy, with fresh herbs and vegetables, mainly lean meats, and spikes of pickled and hot flavors. Smoky Texas barbecue on the other hand is not exactly what cardiologists recommend. I could not imagine, say, a Vietnamese sandwich (banh mi) squooshy with fatty brisket. So, does it work? Mainly. Owners Julian Wissman and Brian Holloway were at this writing still tampering with their menu, but I enjoyed most everything I sampled (and I sampled a lot).

 

My favorite by far has been the pho, the Vietnamese soup that is everywhere these days. Pho Cue’s is an extra-rich beef broth, thanks to the brisket smoked on the premises, with the usual noodles and herbs. Squirt the lime and squeeze the sriracha. As with other dishes here, you have the choice of adding sliced brisket, pulled pork, smoked chicken, or portabella mushrooms. Since the intense broth is made from brisket, the best meat choice is likewise brisket. The meat’s fat floats and shimmers on the surface of the bowl. Stir it up or sip it straight up with a spoon. The kitchen will split a bowl of the pho into two portions and you can share a banh mi with it. I liked my brisket banh mi, ordered without pho, but I honestly found the meat piled too heavy for exactly the reason I feared – that it would overwhelm the sandwich’s veggies. On my second try, I picked the savory pulled pork, which was less overwhelming, but I missed the damn brisket.

I found a solution! The menu also includes “bahn fris,” an absurdist concoction of the bahn mi’s salad contents, with your choice of meat, over fries. Again, I chose the brisket (because I lived in Houston two years and can never get enough). There was a ton of it but I was freer to pick and choose. The portion, like most here, was gigantic and I took half of it home for dinner the next day. A night in the fridge and very brief microwaving caramelized much of the fat and turned the potatoes into glazed, creamy treats my cat liked as much as me. More pickled veggies, please. I’ve also enjoyed the pulled pork dumplings and brisket eggrolls. Diners recommended we try the wings, but they’re without the Viet seasoning I craved.

The restaurant is inexpensive, especially considering the portions, with a café ambiance. One of the best side dishes is the owners’ goofy humor which you can see more of on their Instagram page and by the bathroom door. Don’t piss yourself. —CL—

!!Quick Bites


Mamak, 5150 Buford Hwy, 678-395-3192, mamak-kitchen.com

Mercer Street Meals, 404-713-6001, order online at mercerstreetmeals.com, FB & IG: @mercerstreetmeals

Pho Cue, 925 Garrett St. 404-549-7595. eatphocue.com FB & IG: @eatphocue"
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Second of all: Send me lunch money. In typical American fashion, the more the “booming economy” expands, the more the rich get richer and the poor get starved by inflation. The cost of dining out, like any other act of consumption, has increased remarkably. There are many reasons why and, understand, I’m not including restaurateurs among those who have made cosmetic surgery and space travel their hobbies. They are struggling to maintain a five percent profit margin and have, after a decade of intense competition, finally been left with no alternative to passing on more of their costs to customers.

But still … Fortunately, I’ve never been attracted much to “fine dining” because, honestly, it’s rarely been within my financial reach but, more important, I just prefer so called exotic cuisines that offer an adventure rather than refinement. (For a writer, the former is about stories and the latter is about adjectives.) So, imagine my surprise when I discovered that Buford Highway is no longer predictably a bargain-basement safari. My friend Rose and I have often headed out that way merrily, with our pockets full of coins. But we were stunned recently by a meal at Mamak, one of my longtime favorites for Malaysian cuisine. My memory was that lunch specials cost about $10. However, we were handed paper menus on which those specials had been slashed out of existence. Long story short, our lunch cost us $57 including tax and tip.

The food was as delicious as ever. We shared rendang beef simmered in coconut milk with mild spices and “walnut shrimp,” which I’d never noticed on the menu before. It’s jumbo shrimp fried in a light batter, tossed in a sweetened mayonnaise sauce, and garnished with candied walnuts. I confess it was nostalgic curiosity that led me to order it. I used to eat a similar dish frequently for brunch at Hong Kong Harbour (R.I.P.). You could argue that the dish requires something sharper than beef drowned in coconut milk to offset the sweetness, but we managed. The shrimp, by the way, actually had flavor like they lived in the sea at some time. We also ordered roti canai, the flatbread served with a curried sauce for dipping. Don’t miss it. Your $5 will get you one small single piece of the bread. Just to be clear, the rendang is, at $20, the most expensive item on the menu. You can order rice and noodle dishes for significantly less. Or you could go down the road a bit and dine at Mamak Vegan Kitchen. I love the sambal okra there.

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On to affordable, fat portions: While restaurants are reopening, sales have yet to get anywhere near their pre-pandemic level. Thus (maddeningly) abbreviated hours and an emphasis on takeout are likely to continue for a long time. A perfect formula is offered by Chef Lance Gummere, who created Mercer Street Meals after leaving Bantam & Biddy, which he co-founded in 2012. Before then, he was chef at The Shed at Glenwood, where I dined weekly for a couple of years. One night a week, he prepared a menu of sliders imaginative enough to be served at the Mad Hatter’s tea party. The rest of the week his imagination took refuge in tweaking Southern comfort food.

Lance now cooks at home where wife Gracie enjoys his full-time assistance in raising their two sons. They have two large dogs that licked the cat saliva off my hands on the front porch of their home on Mercer Street, which, quaintly enough, is a gravel road in Ormewood Park. Every Wednesday morning, they post the week’s available meals on their website, where customers purchase their choices. Usually, two different meals are available each week, but not on the same day. Thus, if you want both meals, you’ll have to make two trips to pick them up. It’s worth it. In fact, it’s probably the best bargain in the city. Meals are $25 for two and $45 for four. Yep, that’s $12.50 or less per person for a meal that includes an entrée, two sides, and dessert. And portions are large, really large.

My only meal so far has been baked salmon with wild rice, Brussels sprouts, and chocolate pavlova. I was frankly worried about it. Fish is not typically a takeout food I choose since it’s usually overcooked and completely dry by the time it’s on the table, especially if it requires reheating. Lance brings the food out his front door, packed in loosely wrapped aluminum containers and still warm enough that I had no need to reheat it. The salmon, in honey butter with a few scallions, was juicy and flaky. Wild rice was an exotic favorite of my mother — to the degree that I quit eating it around, oh, 1975. Lance outdid her by adding toasted pecans and a lot of green onions. Maybe my favorite was the roasted Brussels sprouts with bacon and cipollini onions. If I have any complaint, it was the profuse oniony flavors, especially in the rice’s raw green onions. But the dessert, pavlova, cleaned the breath in the way orgasm cleans the depraved mind. It was creamy, chewy, fruity, chocolatey, and, best of all, there was a ton of it. Check out their website for forthcoming meals, which range at this writing from bridge-club-fancy (crab mornay with a “Green Goddess crunch sandwich,” chicken noodle soup, and brownies) to after-church-piggy (chicken fried steak, garlic mashed potatoes, green beans smothered with onions, and pecan pie).

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Last month, I wrote about the then-unopened Pho Cue in Glenwood Park. It’s up and going! The restaurant, which started as a pop-up, blends Vietnamese cuisine with Texas-style barbecue. I was mystified. Vietnamese, which is my favorite cuisine, is for the most part super-healthy, with fresh herbs and vegetables, mainly lean meats, and spikes of pickled and hot flavors. Smoky Texas barbecue on the other hand is not exactly what cardiologists recommend. I could not imagine, say, a Vietnamese sandwich (banh mi) squooshy with fatty brisket. So, does it work? Mainly. Owners Julian Wissman and Brian Holloway were at this writing still tampering with their menu, but I enjoyed most everything I sampled (and I sampled a lot).

 

My favorite by far has been the pho, the Vietnamese soup that is everywhere these days. Pho Cue’s is an extra-rich beef broth, thanks to the brisket smoked on the premises, with the usual noodles and herbs. Squirt the lime and squeeze the sriracha. As with other dishes here, you have the choice of adding sliced brisket, pulled pork, smoked chicken, or portabella mushrooms. Since the intense broth is made from brisket, the best meat choice is likewise brisket. The meat’s fat floats and shimmers on the surface of the bowl. Stir it up or sip it straight up with a spoon. The kitchen will split a bowl of the pho into two portions and you can share a banh mi with it. I liked my brisket banh mi, ordered without pho, but I honestly found the meat piled too heavy for exactly the reason I feared – that it would overwhelm the sandwich’s veggies. On my second try, I picked the savory pulled pork, which was less overwhelming, but I missed the damn brisket.

I found a solution! The menu also includes “bahn fris,” an absurdist concoction of the bahn mi’s salad contents, with your choice of meat, over fries. Again, I chose the brisket (because I lived in Houston two years and can never get enough). There was a ton of it but I was freer to pick and choose. The portion, like most here, was gigantic and I took half of it home for dinner the next day. A night in the fridge and very brief microwaving caramelized much of the fat and turned the potatoes into glazed, creamy treats my cat liked as much as me. More pickled veggies, please. I’ve also enjoyed the pulled pork dumplings and brisket eggrolls. Diners recommended we try the wings, but they’re without the Viet seasoning I craved.

The restaurant is inexpensive, especially considering the portions, with a café ambiance. One of the best side dishes is the owners’ goofy humor which you can see more of on their Instagram page and by the bathroom door. Don’t piss yourself. __—CL—__

!!Quick Bites
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''Mamak, 5150 Buford Hwy, 678-395-3192, mamak-kitchen.com''

''Mercer Street Meals, 404-713-6001, order online at mercerstreetmeals.com, FB & IG: @mercerstreetmeals''

''Pho Cue, 925 Garrett St. 404-549-7595. eatphocue.com FB & IG: @eatphocue''"
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  string(9343) " #1 LUNCH FOR TWO Reduced  2021-12-08T22:22:47+00:00 #1_LUNCH_FOR_TWO_reduced.jpeg      Texas-Vietnam mash up, plus a bargain among rising food prices #1 LUNCH FOR TWO Reduced   2021-12-02T22:20:00+00:00  GRAZING: Pho Cue and banh mi, Mercer jim.harris Jim Harris Cliff Bostock cliffbostock (Cliff Bostock) 2021-12-02T22:20:00+00:00 First of all: Merry Christmas. Now that I’ve gotten that over with, I must make my annual plea to boycott any restaurant playing Christmas music. The Yuletide noise pollution has decreased in the last 30 years and we don’t want to give restaurateurs any encouragement to resume Christian torture of our auditory nerves. Please report offenders to me. Thank you.

Second of all: Send me lunch money. In typical American fashion, the more the “booming economy” expands, the more the rich get richer and the poor get starved by inflation. The cost of dining out, like any other act of consumption, has increased remarkably. There are many reasons why and, understand, I’m not including restaurateurs among those who have made cosmetic surgery and space travel their hobbies. They are struggling to maintain a five percent profit margin and have, after a decade of intense competition, finally been left with no alternative to passing on more of their costs to customers.

But still … Fortunately, I’ve never been attracted much to “fine dining” because, honestly, it’s rarely been within my financial reach but, more important, I just prefer so called exotic cuisines that offer an adventure rather than refinement. (For a writer, the former is about stories and the latter is about adjectives.) So, imagine my surprise when I discovered that Buford Highway is no longer predictably a bargain-basement safari. My friend Rose and I have often headed out that way merrily, with our pockets full of coins. But we were stunned recently by a meal at Mamak, one of my longtime favorites for Malaysian cuisine. My memory was that lunch specials cost about $10. However, we were handed paper menus on which those specials had been slashed out of existence. Long story short, our lunch cost us $57 including tax and tip.

The food was as delicious as ever. We shared rendang beef simmered in coconut milk with mild spices and “walnut shrimp,” which I’d never noticed on the menu before. It’s jumbo shrimp fried in a light batter, tossed in a sweetened mayonnaise sauce, and garnished with candied walnuts. I confess it was nostalgic curiosity that led me to order it. I used to eat a similar dish frequently for brunch at Hong Kong Harbour (R.I.P.). You could argue that the dish requires something sharper than beef drowned in coconut milk to offset the sweetness, but we managed. The shrimp, by the way, actually had flavor like they lived in the sea at some time. We also ordered roti canai, the flatbread served with a curried sauce for dipping. Don’t miss it. Your $5 will get you one small single piece of the bread. Just to be clear, the rendang is, at $20, the most expensive item on the menu. You can order rice and noodle dishes for significantly less. Or you could go down the road a bit and dine at Mamak Vegan Kitchen. I love the sambal okra there.


 

On to affordable, fat portions: While restaurants are reopening, sales have yet to get anywhere near their pre-pandemic level. Thus (maddeningly) abbreviated hours and an emphasis on takeout are likely to continue for a long time. A perfect formula is offered by Chef Lance Gummere, who created Mercer Street Meals after leaving Bantam & Biddy, which he co-founded in 2012. Before then, he was chef at The Shed at Glenwood, where I dined weekly for a couple of years. One night a week, he prepared a menu of sliders imaginative enough to be served at the Mad Hatter’s tea party. The rest of the week his imagination took refuge in tweaking Southern comfort food.

Lance now cooks at home where wife Gracie enjoys his full-time assistance in raising their two sons. They have two large dogs that licked the cat saliva off my hands on the front porch of their home on Mercer Street, which, quaintly enough, is a gravel road in Ormewood Park. Every Wednesday morning, they post the week’s available meals on their website, where customers purchase their choices. Usually, two different meals are available each week, but not on the same day. Thus, if you want both meals, you’ll have to make two trips to pick them up. It’s worth it. In fact, it’s probably the best bargain in the city. Meals are $25 for two and $45 for four. Yep, that’s $12.50 or less per person for a meal that includes an entrée, two sides, and dessert. And portions are large, really large.

My only meal so far has been baked salmon with wild rice, Brussels sprouts, and chocolate pavlova. I was frankly worried about it. Fish is not typically a takeout food I choose since it’s usually overcooked and completely dry by the time it’s on the table, especially if it requires reheating. Lance brings the food out his front door, packed in loosely wrapped aluminum containers and still warm enough that I had no need to reheat it. The salmon, in honey butter with a few scallions, was juicy and flaky. Wild rice was an exotic favorite of my mother — to the degree that I quit eating it around, oh, 1975. Lance outdid her by adding toasted pecans and a lot of green onions. Maybe my favorite was the roasted Brussels sprouts with bacon and cipollini onions. If I have any complaint, it was the profuse oniony flavors, especially in the rice’s raw green onions. But the dessert, pavlova, cleaned the breath in the way orgasm cleans the depraved mind. It was creamy, chewy, fruity, chocolatey, and, best of all, there was a ton of it. Check out their website for forthcoming meals, which range at this writing from bridge-club-fancy (crab mornay with a “Green Goddess crunch sandwich,” chicken noodle soup, and brownies) to after-church-piggy (chicken fried steak, garlic mashed potatoes, green beans smothered with onions, and pecan pie).


 


Last month, I wrote about the then-unopened Pho Cue in Glenwood Park. It’s up and going! The restaurant, which started as a pop-up, blends Vietnamese cuisine with Texas-style barbecue. I was mystified. Vietnamese, which is my favorite cuisine, is for the most part super-healthy, with fresh herbs and vegetables, mainly lean meats, and spikes of pickled and hot flavors. Smoky Texas barbecue on the other hand is not exactly what cardiologists recommend. I could not imagine, say, a Vietnamese sandwich (banh mi) squooshy with fatty brisket. So, does it work? Mainly. Owners Julian Wissman and Brian Holloway were at this writing still tampering with their menu, but I enjoyed most everything I sampled (and I sampled a lot).

 

My favorite by far has been the pho, the Vietnamese soup that is everywhere these days. Pho Cue’s is an extra-rich beef broth, thanks to the brisket smoked on the premises, with the usual noodles and herbs. Squirt the lime and squeeze the sriracha. As with other dishes here, you have the choice of adding sliced brisket, pulled pork, smoked chicken, or portabella mushrooms. Since the intense broth is made from brisket, the best meat choice is likewise brisket. The meat’s fat floats and shimmers on the surface of the bowl. Stir it up or sip it straight up with a spoon. The kitchen will split a bowl of the pho into two portions and you can share a banh mi with it. I liked my brisket banh mi, ordered without pho, but I honestly found the meat piled too heavy for exactly the reason I feared – that it would overwhelm the sandwich’s veggies. On my second try, I picked the savory pulled pork, which was less overwhelming, but I missed the damn brisket.

I found a solution! The menu also includes “bahn fris,” an absurdist concoction of the bahn mi’s salad contents, with your choice of meat, over fries. Again, I chose the brisket (because I lived in Houston two years and can never get enough). There was a ton of it but I was freer to pick and choose. The portion, like most here, was gigantic and I took half of it home for dinner the next day. A night in the fridge and very brief microwaving caramelized much of the fat and turned the potatoes into glazed, creamy treats my cat liked as much as me. More pickled veggies, please. I’ve also enjoyed the pulled pork dumplings and brisket eggrolls. Diners recommended we try the wings, but they’re without the Viet seasoning I craved.

The restaurant is inexpensive, especially considering the portions, with a café ambiance. One of the best side dishes is the owners’ goofy humor which you can see more of on their Instagram page and by the bathroom door. Don’t piss yourself. —CL—

!!Quick Bites


Mamak, 5150 Buford Hwy, 678-395-3192, mamak-kitchen.com

Mercer Street Meals, 404-713-6001, order online at mercerstreetmeals.com, FB & IG: @mercerstreetmeals

Pho Cue, 925 Garrett St. 404-549-7595. eatphocue.com FB & IG: @eatphocue    CLIFF BOSTOCK LUNCH FOR TWO: Beef rendang, rice, and shrimp in a sweetened mayo sauce with walnuts at Mamak on Buford Highway. With one piece of roti canai and a tip, that'll be $57. Please bring back the lunch specials!  0,0,10                           GRAZING: Pho Cue and banh mi, Mercer "
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  string(64) "The Atlanta-based recording artist’s life has imitated his art"
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  string(5745) "In 19th century poet and playwright Oscar Wilde’s often-cited essay, “The Decay of Lying,” the famous Irish writer argued that “life imitates art far more than art imitates life.” “Life holds the mirror up to art, and either reproduces some strange type imagined by painter or sculptor, or realizes in fact what has been dreamed in fiction,” Wilde wrote in 1891. “Life seizes on them and uses them, even if they be to her own hurt.”

Over 100 years later, Wilde’s words ring true as Atlanta artist DvDx (pronounced David X) faces a new reality that’s eerily similar to the central theme of his recently released project, The Irreplaceable Now. Throughout the 6-track EP, DvDx laments about feeling stagnant, pushing through hard times, and embracing the present. Unbeknownst to him at the time of The Irreplaceable Now’s release in September, the following months would force him to confront those very same concepts in a rather unforgiving fashion.

Thursday, October 21, saw DvDx’s car get broken into while he was shooting the music video for The Irreplaceable Now’s experimental fourth track “Mid-Air,” and his laptop and two hard drives were among the items stolen from the vehicle. The following day, he issued a statement to his listeners and collaborators, and in the heart-wrenching post, he revealed that virtually all of the music he had been working on since 2012 was lost. After involuntarily bidding farewell to a decade worth of music, DvDx is embracing his new, irreplaceable now as he heads into the New Year.

“It definitely did put a damper on my plans,” the multitalented artist admits. “With everything being gone, I’m just trying to play catch up and keep moving. I can’t really like think about it too much, but honestly, I think it could be a blessing in disguise, you know? They can take all that stuff away, but they can’t take (my) talent away.”

As optimistic as DvDx is about this unexpected turn of events, even he can’t help but notice the uncanny relationship between his current situation and the concept of The Irreplaceable Now.

“It’s kind of a sick joke,” he says, laughing. “Ever since it happened, like minutes after, I’ve just been laughing the entire time. All you can do is just sit back and like laugh at it. It’s the pain laugh.”

In hindsight, several lyrics on The Irreplaceable Now feel somewhat prophetic, like the writing on the wall for DvDx’s unfortunate predicament. On the EP’s second track “Nothing Here,” he sings, “Where do I go from here?/I hit a dead end/They’re saying that there’s nothing here for you.” Then, during the hook of the distressing, yet infectious song “1000,” DvDx wonders aloud, “Where did my life go?” Furthermore, just as he now debates whether the theft of his laptop and hard drives is a tragedy or a blessing in disguise, “Mid-Air” features him wailing, “Can’t tell if I’m flying or falling.” Yet when considering each cut on The Irreplaceable Now, the EP’s penultimate track, “Been Here Before,” best foreshadowed his current circumstances. You can hear the pain — the same pain that hangs onto all of DvDx’s words as he recounts his recent loss — in his voice when he delivers the song’s chilling closing line, “I’ve been here before.”

He has. Earlier this year, DvDx’s hard drive crashed, and as a result, he lost approximately a year’s worth of material, including the original version of The Irreplaceable Now.

“Everything I had done, from like March 2020 to like April 2021 — all that stuff was gone,” he says. “I actually finished all the songs [[[for the EP] right before it happened, so two of the songs on there — I don’t want to say which ones — are actually the demos that didn’t really get mixed. So this is kind of a familiar feeling. It was just like a baby version of this situation. I got through that. Made some new stuff, some really cool stuff.”

Like his hard drive ordeal earlier this year, DvDx’s current hurdle isn’t insuperable. He has some material to work with, thanks to email correspondence with a select number of his collaborators, and at the time of the interview, which is just under two weeks after the car burglary, he already has a new laptop, thanks to the financial support of his friends and fans.

“So many people reached out and, you know, hit the Cash App,” DvDx chuckles. “The support has been crazy. It really put into perspective how many people are out there who I’ve really affected. I think the last time I like felt like that was my release party for the EP. Those moments made this year worthwhile.”

With a recent appearance at Lotus Rosery’s You Are Here Fest and the November premiere of his “Mid-Air” music video checked off his to-do list, DvDx looks to slow down the tempo for the final stretch of 2021. Instead of rushing into a new project, he is taking some time away from his craft to do a bit of soul-searching.

“I’m looking at myself as more than just a musical being, with multiple facets and different parts of me,” DvDx explains. “For the longest, I think I solely based my personality around music, so I haven’t been able to experience certain things — like not being slouched over in front of a computer all day or just realizing how much I like to TV — to the fullest.”

Eventually, the young producer and singer-songwriter will return with new music, but for now, DvDx has adopted Danny Cox’s “Declaration of Personal Responsibility” — a mantra he pays homage to with the title of his latest EP — and accepted full responsibility for the best use of his irreplaceable now. —CL—"
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Over 100 years later, Wilde’s words ring true as Atlanta artist DvDx (pronounced David X) faces a new reality that’s eerily similar to the central theme of his recently released project, ''The Irreplaceable Now''. Throughout the 6-track EP, DvDx laments about feeling stagnant, pushing through hard times, and embracing the present. Unbeknownst to him at the time of ''The Irreplaceable Now''’s release in September, the following months would force him to confront those very same concepts in a rather unforgiving fashion.

Thursday, October 21, saw DvDx’s car get broken into while he was shooting the music video for ''The Irreplaceable Now''’s experimental fourth track “Mid-Air,” and his laptop and two hard drives were among the items stolen from the vehicle. The following day, he issued a statement to his listeners and collaborators, and in the heart-wrenching post, he revealed that virtually all of the music he had been working on since 2012 was lost. After involuntarily bidding farewell to a decade worth of music, DvDx is embracing his new, irreplaceable now as he heads into the New Year.

“It definitely did put a damper on my plans,” the multitalented artist admits. “With everything being gone, I’m just trying to play catch up and keep moving. I can’t really like think about it too much, but honestly, I think it could be a blessing in disguise, you know? They can take all that stuff away, but they can’t take (my) talent away.”

As optimistic as DvDx is about this unexpected turn of events, even he can’t help but notice the uncanny relationship between his current situation and the concept of ''The Irreplaceable Now''.

“It’s kind of a sick joke,” he says, laughing. “Ever since it happened, like minutes after, I’ve just been laughing the entire time. All you can do is just sit back and like laugh at it. It’s the pain laugh.”

In hindsight, several lyrics on ''The Irreplaceable Now'' feel somewhat prophetic, like the writing on the wall for DvDx’s unfortunate predicament. On the EP’s second track “Nothing Here,” he sings, “Where do I go from here?/I hit a dead end/They’re saying that there’s nothing here for you.” Then, during the hook of the distressing, yet infectious song “1000,” DvDx wonders aloud, “Where did my life go?” Furthermore, just as he now debates whether the theft of his laptop and hard drives is a tragedy or a blessing in disguise, “Mid-Air” features him wailing, “Can’t tell if I’m flying or falling.” Yet when considering each cut on ''The Irreplaceable Now'', the EP’s penultimate track, “Been Here Before,” best foreshadowed his current circumstances. You can hear the pain — the same pain that hangs onto all of DvDx’s words as he recounts his recent loss — in his voice when he delivers the song’s chilling closing line, “I’ve been here before.”

He has. Earlier this year, DvDx’s hard drive crashed, and as a result, he lost approximately a year’s worth of material, including the original version of ''The Irreplaceable Now''.

“Everything I had done, from like March 2020 to like April 2021 — all that stuff was gone,” he says. “I actually finished all the songs [[[[for the EP] right before it happened, so two of the songs on there — I don’t want to say which ones — are actually the demos that didn’t really get mixed. So this is kind of a familiar feeling. It was just like a baby version of this situation. I got through that. Made some new stuff, some really cool stuff.”

Like his hard drive ordeal earlier this year, DvDx’s current hurdle isn’t insuperable. He has some material to work with, thanks to email correspondence with a select number of his collaborators, and at the time of the interview, which is just under two weeks after the car burglary, he already has a new laptop, thanks to the financial support of his friends and fans.

“So many people reached out and, you know, hit the Cash App,” DvDx chuckles. “The support has been crazy. It really put into perspective how many people are out there who I’ve really affected. I think the last time I like felt like that was my release party for the EP. Those moments made this year worthwhile.”

With a recent appearance at Lotus Rosery’s You Are Here Fest and the November premiere of his “Mid-Air” music video checked off his to-do list, DvDx looks to slow down the tempo for the final stretch of 2021. Instead of rushing into a new project, he is taking some time away from his craft to do a bit of soul-searching.

“I’m looking at myself as more than just a musical being, with multiple facets and different parts of me,” DvDx explains. “For the longest, I think I solely based my personality around music, so I haven’t been able to experience certain things — like not being slouched over in front of a computer all day or just realizing how much I like to TV — to the fullest.”

Eventually, the young producer and singer-songwriter will return with new music, but for now, DvDx has adopted Danny Cox’s “Declaration of Personal Responsibility” — a mantra he pays homage to with the title of his latest EP — and accepted full responsibility for the best use of his irreplaceable now. __—CL—__"
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  string(6241) " DEC Atl Untrap Pic Reduced Web  2021-12-09T16:23:11+00:00 DEC_Atl_Untrap_pic_reduced_web.jpg      The Atlanta-based recording artist’s life has imitated his art DEC Atl Untrap Pic Reduced Web   2021-12-03T16:21:00+00:00  ATL UNTRAPPED: DvDx’s Irreplaceable Now jim.harris Jim Harris Joshua Robinson joshfrob17 (Joshua Robinson) 2021-12-03T16:21:00+00:00 In 19th century poet and playwright Oscar Wilde’s often-cited essay, “The Decay of Lying,” the famous Irish writer argued that “life imitates art far more than art imitates life.” “Life holds the mirror up to art, and either reproduces some strange type imagined by painter or sculptor, or realizes in fact what has been dreamed in fiction,” Wilde wrote in 1891. “Life seizes on them and uses them, even if they be to her own hurt.”

Over 100 years later, Wilde’s words ring true as Atlanta artist DvDx (pronounced David X) faces a new reality that’s eerily similar to the central theme of his recently released project, The Irreplaceable Now. Throughout the 6-track EP, DvDx laments about feeling stagnant, pushing through hard times, and embracing the present. Unbeknownst to him at the time of The Irreplaceable Now’s release in September, the following months would force him to confront those very same concepts in a rather unforgiving fashion.

Thursday, October 21, saw DvDx’s car get broken into while he was shooting the music video for The Irreplaceable Now’s experimental fourth track “Mid-Air,” and his laptop and two hard drives were among the items stolen from the vehicle. The following day, he issued a statement to his listeners and collaborators, and in the heart-wrenching post, he revealed that virtually all of the music he had been working on since 2012 was lost. After involuntarily bidding farewell to a decade worth of music, DvDx is embracing his new, irreplaceable now as he heads into the New Year.

“It definitely did put a damper on my plans,” the multitalented artist admits. “With everything being gone, I’m just trying to play catch up and keep moving. I can’t really like think about it too much, but honestly, I think it could be a blessing in disguise, you know? They can take all that stuff away, but they can’t take (my) talent away.”

As optimistic as DvDx is about this unexpected turn of events, even he can’t help but notice the uncanny relationship between his current situation and the concept of The Irreplaceable Now.

“It’s kind of a sick joke,” he says, laughing. “Ever since it happened, like minutes after, I’ve just been laughing the entire time. All you can do is just sit back and like laugh at it. It’s the pain laugh.”

In hindsight, several lyrics on The Irreplaceable Now feel somewhat prophetic, like the writing on the wall for DvDx’s unfortunate predicament. On the EP’s second track “Nothing Here,” he sings, “Where do I go from here?/I hit a dead end/They’re saying that there’s nothing here for you.” Then, during the hook of the distressing, yet infectious song “1000,” DvDx wonders aloud, “Where did my life go?” Furthermore, just as he now debates whether the theft of his laptop and hard drives is a tragedy or a blessing in disguise, “Mid-Air” features him wailing, “Can’t tell if I’m flying or falling.” Yet when considering each cut on The Irreplaceable Now, the EP’s penultimate track, “Been Here Before,” best foreshadowed his current circumstances. You can hear the pain — the same pain that hangs onto all of DvDx’s words as he recounts his recent loss — in his voice when he delivers the song’s chilling closing line, “I’ve been here before.”

He has. Earlier this year, DvDx’s hard drive crashed, and as a result, he lost approximately a year’s worth of material, including the original version of The Irreplaceable Now.

“Everything I had done, from like March 2020 to like April 2021 — all that stuff was gone,” he says. “I actually finished all the songs [[[for the EP] right before it happened, so two of the songs on there — I don’t want to say which ones — are actually the demos that didn’t really get mixed. So this is kind of a familiar feeling. It was just like a baby version of this situation. I got through that. Made some new stuff, some really cool stuff.”

Like his hard drive ordeal earlier this year, DvDx’s current hurdle isn’t insuperable. He has some material to work with, thanks to email correspondence with a select number of his collaborators, and at the time of the interview, which is just under two weeks after the car burglary, he already has a new laptop, thanks to the financial support of his friends and fans.

“So many people reached out and, you know, hit the Cash App,” DvDx chuckles. “The support has been crazy. It really put into perspective how many people are out there who I’ve really affected. I think the last time I like felt like that was my release party for the EP. Those moments made this year worthwhile.”

With a recent appearance at Lotus Rosery’s You Are Here Fest and the November premiere of his “Mid-Air” music video checked off his to-do list, DvDx looks to slow down the tempo for the final stretch of 2021. Instead of rushing into a new project, he is taking some time away from his craft to do a bit of soul-searching.

“I’m looking at myself as more than just a musical being, with multiple facets and different parts of me,” DvDx explains. “For the longest, I think I solely based my personality around music, so I haven’t been able to experience certain things — like not being slouched over in front of a computer all day or just realizing how much I like to TV — to the fullest.”

Eventually, the young producer and singer-songwriter will return with new music, but for now, DvDx has adopted Danny Cox’s “Declaration of Personal Responsibility” — a mantra he pays homage to with the title of his latest EP — and accepted full responsibility for the best use of his irreplaceable now. —CL—    Bryan BBL NOTHING HERE: DvDx is back at square one.  0,0,10                           ATL UNTRAPPED: DvDx’s Irreplaceable Now "
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  string(9041) "“Fagot. John Fagot,” he would say as he leaned into you and looked you in the eye, allowing you to be introduced to him. There was a stern look on his face, yet a gleam in his eye as he said his name, daring you to say anything derogatory back to him.

John Fagot died in Los Angeles Nov. 2, the same day his beloved Atlanta Braves won the 2021 World Series and and others celebrated All Souls’ Day and Day of the Dead. Born in Nicaragua, he grew up in Tampa, Florida, where he attended Jesuit High School. But it was Atlanta that he called home, the city where he moved to attend Georgia State University, met his wife Lucy and started his family.

The first time I remember meeting John was at Franklin Music, a record store in Lenox Square. He was dressed wearing a coat and a tie. A far cry from the t-shirts and jeans of the rest of the employees. It must’ve been 1975, ’76.

I didn’t really get to know John until sometime in 1977. I was working the night shift at Peaches Records and Tapes on Peachtree, and John started working there, too. I was 19. I didn’t know how old John was, but I could tell he was older. Fifteen years older, it turned out.

John had a thing then, of posing like Iggy Pop on the cover of The Idiot, with a dumb look on his twisted face and his two hands outstretched, parallel with each other, but not really, if you remember that album cover.

He also used to wear an Iggy Pop, Lust for Life t-shirt. The cover for that album was simple, with a close-up of a smiling Iggy’s face. But on John, who was broad — and had maybe even gained some weight since acquiring the t-shirt — it stretched across his chest, and the usually gaunt Iggy looked more like Paul McCartney.

One of the many trade magazines that wrote of John’s death published that John started working in the mailroom at CBS Records fresh out of college and rose through the ranks to become the head of promotions at Columbia, and then two other major labels.

That’s not true.

John started working a job in Atlanta city government after graduating from Georgia State University with a B.S. in Urban Planning and a minor in Chemistry, but that’s not where his head was at. He loved music. And after putting in an eight-hour day, he would go to work at Franklin Music, hence the coat and tie.

Once he started at Peaches — he also did a stint at Oz Records and Tapes on Peachtree, flying monkeys and all — he was also the music editor at the Atlanta Gazette, an alternative weekly publication in Atlanta in competition for local ad dollars with Creative Loafing.

At the same time, I was writing music articles for the The Signal, Georgia State’s student newspaper. Since we were both writers, we got invited to a lot of record company press parties — and we would many times go together.

I remember one lunch in particular. It was for Johnny Winter at the CBS branch. Back then, record companies spared no expense and had lavish, catered affairs to promote an artist and their latest album release, with the branch employees, key retail, and the press invited.

John had been sitting close to the Texas guitar slinger that afternoon, and, after the usual questions about musical influences, styles, and the new record had been posed, John stood up, commanded the floor, and leaned into Winter. “Johnny, I’ve got a more personal question for you. One you might not want to answer, but, between you and your brother Edgar, which one of you has the bigger …” and suddenly, the room went quiet, and John continued, “which one of you has the bigger feet?” You could hear a collective sigh of relief from the branch suits.

I have three older sisters, the older two are twins, and one day I happened to mention to them my new friend John Fagot.

“Oh, Johnny Fagot!” they both exclaimed. “He married Lucy!” They both became really animated remembering John from their college days. “We used to call him Count Fagot. He would get up onstage with bands wearing a cape and sing at fraternity parties, and fall to the ground, and someone would pick him up just like James Brown.”

The next night at Peaches, I addressed John as “Count Fagot.” He got a look on his face like a dear caught in the headlights of an oncoming car.

“No. No. No.” he yelled, in that loud, boisterous way of his. “They’re mistaken!”

But, with John, a lot of times his exclamations of denial revealed the truth.

January 5, 1978, the Sex Pistols made their U.S. debut at Atlanta’s Great Southeast Music Hall in what was then Lindbergh Plaza. John and I were both working the dayshift by then, but John didn’t show up for work that day.

When I got to the show, and finally got in, John was already there. “Where you been?”

John had been hanging out all day at the Music Hall with the Sex Pistols.

Atlanta had a small music community back then. Everyone knew each other — and everyone loved John. So, when he showed up at the Music Hall, no one objected to him pretending to be part of the cleaning crew!

He hung out at soundcheck, had many beers with the band. Remember, at this time, the Sex Pistols were considered the most dangerous band on the planet. The show was attended by members of the FBI, the GBI, the Georgia State Patrol, the Tennessee State Patrol, and many other law enforcement agencies.

John’s take on the band? They were all really nice guys — except they drank beer in green glass bottles!

John had a thing about beer. You only drank beer that came in brown or clear bottles. Beer in green bottles wasn’t beer. It was pretentious.

In addition to attracting a multitude of law enforcement officers, the Sex Pistols’ American debut was a huge media circus. All of the major T.V. networks and wire services had people there. One of the major network reporters stopped John as we were leaving the show and asked him what he thought of the Sex Pistols. John was wearing ripped jeans. With the cameraman zooming in on him, John said, “I’ll show you a Sex Pistol” and unbuttoned his pants. I never saw that footage on the nightly news.

There are a million stories I could tell about John — and I will. Like the time he and I and someone else were heading west into Atlanta on I-20, and suddenly, John looked out the window and yelled, “Stop the car!” He started yelling, “Hodgee! Hodgee!” and jumped out of the car and ran across the four-lane expressway, up a hill and jumped the fence. I never thought I’d see him again.

There was the day we were working at Peaches and John told me he had gotten tickets. For David Bowie. In Nashville. That night!

He figured if we left Atlanta immediately after work, with the time change, we could just make the show. And we did!

After the show we made the four-hour return trip to Atlanta and got a few hours sleep before work the next day.

Everyone who knew John Fagot has great stories to tell about him. And great feelings of love for him. If you and John got on, he was your best friend forever, long before the term “BFF.” was thrown around. And, knowing John as we did, we knew the love and friendship that emanated from John.

If he said something, or did something, that might embarrass you, he didn’t do it out of meanness or spite. He did it out of love, to challenge you to embrace your weakness or fears, and to overcome them.

I think one of the things that made John so good at his job — he was Senior Vice President of Promotion at Columbia, Capitol and Hollywood Records during his long tenure in the music business — is that, to him, there were no sacred cows. Everyone was a person. Equal.

Whether he was working with Paul McCartney, Bruce Springsteen, Billy Joel, Bob Geldof or some new act with their first record out, everyone was treated the same, with respect.

No one was larger than life.

In retrospect, I have to say, no one but John.

And that’s not to say he was egotistical. Or had a big head. Quite the contrary. But, with all of the stories that people tell about him, while they may seem exaggerated, extreme, incredulous, even, they are not. Because with John, and the way he lived his life, the love he had for his family — Lucy, Mary, and Chris — was greater than any story you could make up, any fantasy you could imagine.

As I said earlier, a trade magazine reported that he started in the mail room at CBS.

That is true.

But John wasn’t some kid, fresh out of school, with no idea of what he wanted to do in life. John had goals. And he had ambition. He wanted to do the best he could for his family.

He told me on the floor at Peaches, “There’s a mailroom position at CBS. I’m going to apply." He knew it wasn’t the type of job a man of his age, his level of education and his experience would normally take.

But, he also knew himself. Who he was. And, that once he got his foot in the door, there would be no stopping him. And there never was. —CL—"
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John Fagot died in Los Angeles Nov. 2, the same day his beloved Atlanta Braves won the 2021 World Series and and others celebrated All Souls’ Day and Day of the Dead. Born in Nicaragua, he grew up in Tampa, Florida, where he attended Jesuit High School. But it was Atlanta that he called home, the city where he moved to attend Georgia State University, met his wife Lucy and started his family.

The first time I remember meeting John was at Franklin Music, a record store in Lenox Square. He was dressed wearing a coat and a tie. A far cry from the t-shirts and jeans of the rest of the employees. It must’ve been 1975, ’76.

I didn’t really get to know John until sometime in 1977. I was working the night shift at Peaches Records and Tapes on Peachtree, and John started working there, too. I was 19. I didn’t know how old John was, but I could tell he was older. Fifteen years older, it turned out.

John had a thing then, of posing like Iggy Pop on the cover of ''The Idiot'', with a dumb look on his twisted face and his two hands outstretched, parallel with each other, but not really, if you remember that album cover.

He also used to wear an Iggy Pop, ''Lust for Life'' t-shirt. The cover for that album was simple, with a close-up of a smiling Iggy’s face. But on John, who was broad — and had maybe even gained some weight since acquiring the t-shirt — it stretched across his chest, and the usually gaunt Iggy looked more like Paul McCartney.

One of the many trade magazines that wrote of John’s death published that John started working in the mailroom at CBS Records fresh out of college and rose through the ranks to become the head of promotions at Columbia, and then two other major labels.

That’s not true.

John started working a job in Atlanta city government after graduating from Georgia State University with a B.S. in Urban Planning and a minor in Chemistry, but that’s not where his head was at. He loved music. And after putting in an eight-hour day, he would go to work at Franklin Music, hence the coat and tie.

Once he started at Peaches — he also did a stint at Oz Records and Tapes on Peachtree, flying monkeys and all — he was also the music editor at the ''Atlanta Gazette'', an alternative weekly publication in Atlanta in competition for local ad dollars with ''Creative Loafing''.

At the same time, I was writing music articles for the ''The Signal'', Georgia State’s student newspaper. Since we were both writers, we got invited to a lot of record company press parties — and we would many times go together.

I remember one lunch in particular. It was for Johnny Winter at the CBS branch. Back then, record companies spared no expense and had lavish, catered affairs to promote an artist and their latest album release, with the branch employees, key retail, and the press invited.

John had been sitting close to the Texas guitar slinger that afternoon, and, after the usual questions about musical influences, styles, and the new record had been posed, John stood up, commanded the floor, and leaned into Winter. “Johnny, I’ve got a more personal question for you. One you might not want to answer, but, between you and your brother Edgar, which one of you has the bigger …” and suddenly, the room went quiet, and John continued, “which one of you has the bigger feet?” You could hear a collective sigh of relief from the branch suits.

I have three older sisters, the older two are twins, and one day I happened to mention to them my new friend John Fagot.

“Oh, Johnny Fagot!” they both exclaimed. “He married Lucy!” They both became really animated remembering John from their college days. “We used to call him Count Fagot. He would get up onstage with bands wearing a cape and sing at fraternity parties, and fall to the ground, and someone would pick him up just like James Brown.”

The next night at Peaches, I addressed John as “Count Fagot.” He got a look on his face like a dear caught in the headlights of an oncoming car.

“No. No. No.” he yelled, in that loud, boisterous way of his. “They’re mistaken!”

But, with John, a lot of times his exclamations of denial revealed the truth.

January 5, 1978, the Sex Pistols made their U.S. debut at Atlanta’s Great Southeast Music Hall in what was then Lindbergh Plaza. John and I were both working the dayshift by then, but John didn’t show up for work that day.

When I got to the show, and finally got in, John was already there. “Where you been?”

John had been hanging out all day at the Music Hall with the Sex Pistols.

Atlanta had a small music community back then. Everyone knew each other — and everyone loved John. So, when he showed up at the Music Hall, no one objected to him pretending to be part of the cleaning crew!

He hung out at soundcheck, had many beers with the band. Remember, at this time, the Sex Pistols were considered the most dangerous band on the planet. The show was attended by members of the FBI, the GBI, the Georgia State Patrol, the Tennessee State Patrol, and many other law enforcement agencies.

John’s take on the band? They were all really nice guys — except they drank beer in green glass bottles!

John had a thing about beer. You only drank beer that came in brown or clear bottles. Beer in green bottles wasn’t beer. It was pretentious.

In addition to attracting a multitude of law enforcement officers, the Sex Pistols’ American debut was a huge media circus. All of the major T.V. networks and wire services had people there. One of the major network reporters stopped John as we were leaving the show and asked him what he thought of the Sex Pistols. John was wearing ripped jeans. With the cameraman zooming in on him, John said, “I’ll show you a Sex Pistol” and unbuttoned his pants. I never saw that footage on the nightly news.

There are a million stories I could tell about John — and I will. Like the time he and I and someone else were heading west into Atlanta on I-20, and suddenly, John looked out the window and yelled, “Stop the car!” He started yelling, “Hodgee! Hodgee!” and jumped out of the car and ran across the four-lane expressway, up a hill and jumped the fence. I never thought I’d see him again.

There was the day we were working at Peaches and John told me he had gotten tickets. For David Bowie. In Nashville. That night!

He figured if we left Atlanta immediately after work, with the time change, we could just make the show. And we did!

After the show we made the four-hour return trip to Atlanta and got a few hours sleep before work the next day.

Everyone who knew John Fagot has great stories to tell about him. And great feelings of love for him. If you and John got on, he was your best friend forever, long before the term “BFF.” was thrown around. And, knowing John as we did, we knew the love and friendship that emanated from John.

If he said something, or did something, that might embarrass you, he didn’t do it out of meanness or spite. He did it out of love, to challenge you to embrace your weakness or fears, and to overcome them.

I think one of the things that made John so good at his job — he was Senior Vice President of Promotion at Columbia, Capitol and Hollywood Records during his long tenure in the music business — is that, to him, there were no sacred cows. Everyone was a person. Equal.

Whether he was working with Paul McCartney, Bruce Springsteen, Billy Joel, Bob Geldof or some new act with their first record out, everyone was treated the same, with respect.

No one was larger than life.

In retrospect, I have to say, no one but John.

And that’s not to say he was egotistical. Or had a big head. Quite the contrary. But, with all of the stories that people tell about him, while they may seem exaggerated, extreme, incredulous, even, they are not. Because with John, and the way he lived his life, the love he had for his family — Lucy, Mary, and Chris — was greater than any story you could make up, any fantasy you could imagine.

As I said earlier, a trade magazine reported that he started in the mail room at CBS.

That is true.

But John wasn’t some kid, fresh out of school, with no idea of what he wanted to do in life. John had goals. And he had ambition. He wanted to do the best he could for his family.

He told me on the floor at Peaches, “There’s a mailroom position at CBS. I’m going to apply." He knew it wasn’t the type of job a man of his age, his level of education and his experience would normally take.

But, he also knew himself. Who he was. And, that once he got his foot in the door, there would be no stopping him. And there never was. __—CL—__"
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  string(11761) " IMG 6276 4 Copy Web  2021-12-09T16:44:33+00:00 IMG_6276_4_copy_web.jpg    Great Story, sorry I never met him. I met John the day he applied for a job at CBS Atlanta. I was the local EPIC records Promo guy covering the Southeast. When came in the building he looked hung over, besides  that his clothes looked like he had slept in them. Shortly after entering the GM's office he threw up in the waste can. However when he left the building he got the job, much to the surprise of many of the employees working in the office that day. I had seen John at many back stage events, but had never met hm, but after his interview, I knew he must have known the music business inside out or he never would have been hired. John became the Columbia local promo guy with his office next to mine. We worked side by side for several years and he was always there for help when I needed it. brilliant, romantic and so damn well written I was a young baby DJ in 1980 and I first met John at the age of 20. He always treated me with respect like I was his dear little sister. That doesn’t mean he didn’t give me a lot of shit but he loved his people and anyone in his orbit was made to feel special. He followed my career and after I began working in the record business doing  promotion, he supported me even though I wasn’t on his labels team. He invited me to every party and introduced me to every celebrity as if I were a bigger celebrity than them. When the earthquake hit San Francisco in 1989 I was with his beloved Capitol Records rep Dave Rothstein. Dave and I were completely isolated without electricity, in shock, watching from the window of a high rise as rescue vehicles at the collapsed Bay Bridge tried to save people. Suddenly out of nowhere the landline telephone rings and it was John calling from New York City to find Dave. The irony here is we could not make any phone calls out and no calls we’re getting in. But John Fagot somehow made that phone ring as he was desperately looking for his people in the burning city. I asked John to call my parents to tell them I was OK. They never forgot him and his kindness in helping them to find me and communicate that I had survived. My big brother John ❤️  The embodiment of Punk Rock!  ATL music biz veteran had ‘the right stuff’ IMG 6276 4 Copy Web   2021-12-03T16:37:00+00:00  HIGH FREQUENCIES: Remembering John Fagot jim.harris Jim Harris TONY PARIS tony.paris (Tony Paris) 2021-12-03T16:37:00+00:00 “Fagot. John Fagot,” he would say as he leaned into you and looked you in the eye, allowing you to be introduced to him. There was a stern look on his face, yet a gleam in his eye as he said his name, daring you to say anything derogatory back to him.

John Fagot died in Los Angeles Nov. 2, the same day his beloved Atlanta Braves won the 2021 World Series and and others celebrated All Souls’ Day and Day of the Dead. Born in Nicaragua, he grew up in Tampa, Florida, where he attended Jesuit High School. But it was Atlanta that he called home, the city where he moved to attend Georgia State University, met his wife Lucy and started his family.

The first time I remember meeting John was at Franklin Music, a record store in Lenox Square. He was dressed wearing a coat and a tie. A far cry from the t-shirts and jeans of the rest of the employees. It must’ve been 1975, ’76.

I didn’t really get to know John until sometime in 1977. I was working the night shift at Peaches Records and Tapes on Peachtree, and John started working there, too. I was 19. I didn’t know how old John was, but I could tell he was older. Fifteen years older, it turned out.

John had a thing then, of posing like Iggy Pop on the cover of The Idiot, with a dumb look on his twisted face and his two hands outstretched, parallel with each other, but not really, if you remember that album cover.

He also used to wear an Iggy Pop, Lust for Life t-shirt. The cover for that album was simple, with a close-up of a smiling Iggy’s face. But on John, who was broad — and had maybe even gained some weight since acquiring the t-shirt — it stretched across his chest, and the usually gaunt Iggy looked more like Paul McCartney.

One of the many trade magazines that wrote of John’s death published that John started working in the mailroom at CBS Records fresh out of college and rose through the ranks to become the head of promotions at Columbia, and then two other major labels.

That’s not true.

John started working a job in Atlanta city government after graduating from Georgia State University with a B.S. in Urban Planning and a minor in Chemistry, but that’s not where his head was at. He loved music. And after putting in an eight-hour day, he would go to work at Franklin Music, hence the coat and tie.

Once he started at Peaches — he also did a stint at Oz Records and Tapes on Peachtree, flying monkeys and all — he was also the music editor at the Atlanta Gazette, an alternative weekly publication in Atlanta in competition for local ad dollars with Creative Loafing.

At the same time, I was writing music articles for the The Signal, Georgia State’s student newspaper. Since we were both writers, we got invited to a lot of record company press parties — and we would many times go together.

I remember one lunch in particular. It was for Johnny Winter at the CBS branch. Back then, record companies spared no expense and had lavish, catered affairs to promote an artist and their latest album release, with the branch employees, key retail, and the press invited.

John had been sitting close to the Texas guitar slinger that afternoon, and, after the usual questions about musical influences, styles, and the new record had been posed, John stood up, commanded the floor, and leaned into Winter. “Johnny, I’ve got a more personal question for you. One you might not want to answer, but, between you and your brother Edgar, which one of you has the bigger …” and suddenly, the room went quiet, and John continued, “which one of you has the bigger feet?” You could hear a collective sigh of relief from the branch suits.

I have three older sisters, the older two are twins, and one day I happened to mention to them my new friend John Fagot.

“Oh, Johnny Fagot!” they both exclaimed. “He married Lucy!” They both became really animated remembering John from their college days. “We used to call him Count Fagot. He would get up onstage with bands wearing a cape and sing at fraternity parties, and fall to the ground, and someone would pick him up just like James Brown.”

The next night at Peaches, I addressed John as “Count Fagot.” He got a look on his face like a dear caught in the headlights of an oncoming car.

“No. No. No.” he yelled, in that loud, boisterous way of his. “They’re mistaken!”

But, with John, a lot of times his exclamations of denial revealed the truth.

January 5, 1978, the Sex Pistols made their U.S. debut at Atlanta’s Great Southeast Music Hall in what was then Lindbergh Plaza. John and I were both working the dayshift by then, but John didn’t show up for work that day.

When I got to the show, and finally got in, John was already there. “Where you been?”

John had been hanging out all day at the Music Hall with the Sex Pistols.

Atlanta had a small music community back then. Everyone knew each other — and everyone loved John. So, when he showed up at the Music Hall, no one objected to him pretending to be part of the cleaning crew!

He hung out at soundcheck, had many beers with the band. Remember, at this time, the Sex Pistols were considered the most dangerous band on the planet. The show was attended by members of the FBI, the GBI, the Georgia State Patrol, the Tennessee State Patrol, and many other law enforcement agencies.

John’s take on the band? They were all really nice guys — except they drank beer in green glass bottles!

John had a thing about beer. You only drank beer that came in brown or clear bottles. Beer in green bottles wasn’t beer. It was pretentious.

In addition to attracting a multitude of law enforcement officers, the Sex Pistols’ American debut was a huge media circus. All of the major T.V. networks and wire services had people there. One of the major network reporters stopped John as we were leaving the show and asked him what he thought of the Sex Pistols. John was wearing ripped jeans. With the cameraman zooming in on him, John said, “I’ll show you a Sex Pistol” and unbuttoned his pants. I never saw that footage on the nightly news.

There are a million stories I could tell about John — and I will. Like the time he and I and someone else were heading west into Atlanta on I-20, and suddenly, John looked out the window and yelled, “Stop the car!” He started yelling, “Hodgee! Hodgee!” and jumped out of the car and ran across the four-lane expressway, up a hill and jumped the fence. I never thought I’d see him again.

There was the day we were working at Peaches and John told me he had gotten tickets. For David Bowie. In Nashville. That night!

He figured if we left Atlanta immediately after work, with the time change, we could just make the show. And we did!

After the show we made the four-hour return trip to Atlanta and got a few hours sleep before work the next day.

Everyone who knew John Fagot has great stories to tell about him. And great feelings of love for him. If you and John got on, he was your best friend forever, long before the term “BFF.” was thrown around. And, knowing John as we did, we knew the love and friendship that emanated from John.

If he said something, or did something, that might embarrass you, he didn’t do it out of meanness or spite. He did it out of love, to challenge you to embrace your weakness or fears, and to overcome them.

I think one of the things that made John so good at his job — he was Senior Vice President of Promotion at Columbia, Capitol and Hollywood Records during his long tenure in the music business — is that, to him, there were no sacred cows. Everyone was a person. Equal.

Whether he was working with Paul McCartney, Bruce Springsteen, Billy Joel, Bob Geldof or some new act with their first record out, everyone was treated the same, with respect.

No one was larger than life.

In retrospect, I have to say, no one but John.

And that’s not to say he was egotistical. Or had a big head. Quite the contrary. But, with all of the stories that people tell about him, while they may seem exaggerated, extreme, incredulous, even, they are not. Because with John, and the way he lived his life, the love he had for his family — Lucy, Mary, and Chris — was greater than any story you could make up, any fantasy you could imagine.

As I said earlier, a trade magazine reported that he started in the mail room at CBS.

That is true.

But John wasn’t some kid, fresh out of school, with no idea of what he wanted to do in life. John had goals. And he had ambition. He wanted to do the best he could for his family.

He told me on the floor at Peaches, “There’s a mailroom position at CBS. I’m going to apply." He knew it wasn’t the type of job a man of his age, his level of education and his experience would normally take.

But, he also knew himself. Who he was. And, that once he got his foot in the door, there would be no stopping him. And there never was. —CL—    Tony Paris SURVEYING THE SCENE: John Fagot’s image keeps a watchful eye on the ‘Storytelling Circle’ gathering in his honor in Los Angeles, Sunday, Nov. 14.  0,0,10                           HIGH FREQUENCIES: Remembering John Fagot "
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  string(6224) "Before Atlanta became the capitol of Southern hip-hop, Athens enjoyed a reputation as the coolest, most creative place in Georgia. The success of R.E.M., The B-52’s and other 1980s alternative rockers shaped Athens’ image as a place of both cutting-edge artistry and sunny Southern hospitality.

In 1987 the documentary Athens, GA: Inside/Out took a loose, unstructured approach to capturing the sounds and personalities of the scene, largely avoiding thesis statements in favor of performances from R.E.M., critical darlings Pylon and more. The new documentary Red Turns Into Blue: Athens/Inside-Out 2, directed by Bill Cody, reconsiders the city’s culture for the 21st century, filling in some of the previous film’s blind spots.

At first, Red Turns Into Blue seems like it may keep one foot in the past, with its first sections catching up with Pylon’s Vanessa Briscoe-Hay and The B-52s’ Cindy Wilson. Briscoe-Hay, singing her signature tune “Crazy” with younger musicians in the Pylon Reenactment Society, particularly seems like a matriarch of the scene.

After those segments, however, the film spends more time with younger artists, frequently finding their musical interests entwined with political activism. If a single person embodies the film’s vision of Athens, it’s Mariah Parker, a University of Georgia Ph.D. candidate who raps under the name Linqua Franqa and won election to the Athens-Clarke County commission.

Parker speaks passionately about racial reconciliation in one scene, then gives an electric performance of the song “Gold Bike” in another. Later, she has a cross-generational dialogue about politicized songwriting with veteran rocker Patterson Hood of the Drive-By Truckers, whose song “What It Means” addresses the Trayvon Martin shooting.

The film at times punctures the college town’s progressive image, interviewing activists about bars in downtown that selectively enforced a “dress code” to keep out black customers. And where the first film primarily showcased white bands, Red Turns Into Blue draws on a greater diversity of musicians.

Red Turns Into Blue was released on VOD and DVD in November, proving to be another entry in a year marked by vibrant music documentaries, such as Summer of Soul and The Sparks Brothers. Todd Haynes’ excellent The Velvet Underground makes an interesting contrast to Cody’s film, as it places the legendary avant-garde rockers at the center of a sprawling, dense yet engaging analysis of multiple artistic and social trends in 1960s New York, including drug addiction, homosexuality and Pop Art.

Red Turns Into Blue seems more inclined to let the music speak for itself, rather than lean in for deeper analysis. It’s like a mixtape of young punk bands, Latinx folk singers, rappers and more, an interdependent community of artists with divergent interests but still inclined to reach across borders.

Titles inform the viewer that the film finished principle photography in January 2020, shortly before Athens and the rest of the world went into quarantine. A cover of R.E.M.’s “Losing My Religion” offers a melancholy epilogue while holding out hope that Athens will rise again.

Seeing Red and Deadshot

The weekend Red Notice debuted on Netflix, I saw a commenter on the film review social network Letterboxd remark that the globetrotting action film looked like it was filmed in Atlanta.

This was not meant as praise.

It wasn’t the first-time that I’ve noticed “shot in Atlanta” used as a pejorative. This kind of remark isn’t necessarily meant to insult the local film industry, but takes aim at the aesthetically-flattening trends of current blockbuster filmmaking. (If anything, it could be considered a backhanded compliment as it conveys the sheer quantity of productions made here.)

It’s true that Red Notice is about as generic as mainstream movies get, drawing on international heist and manhunt tropes, with a little Indiana Jones-style adventure tossed in at the end. Dwayne Johnson plays an FBI profiler hunting Ryan Reynolds’ notorious art thief, and they inevitably team up to stop Gal Gadot from stealing a priceless treasure. Red Notice was filmed on Atlanta soundstages, along with some international location work.

While the film includes set pieces in Spanish bullfighting rings, Italian streets and South American rain forests, between the familiar plotting, obvious sets and heavy use of CGI, it looks weirdly fake and homogenous. It’s weirdly reminiscent of Johnson’s bickering-buddy scenes with Jason Statham in the Fast and the Furious franchise, practically remaking sequences with torture and prison breaks.

In this case, criticizing Red Notice, or any practically any movie, for looking like it was shot in Atlanta is a way of saying it could have been shot anywhere or nowhere. And it’s not that good movies can’t be shot here, they just need to have personality, authenticity and fresh choices. Red Notice is so synthetic and unengaging, it’s like a $200 million screensaver for a widescreen television.

Deadshot: Speaking of Netflix, the streaming service’s new Western The Harder They Fall stars a murderer’s row of Hollywood’s best Black actors, including Jonathan Majors, Idris Elba, Regina King, Zazie Beetz, Delroy Lindo and Lakeith Stanfield. Yet amid all that talent, native Atlanta actor Danielle Deadwyler practically steals the movie.

The Harder They Fall offers fictionalized versions of Black outlaws and heroes of the old West, neglected by the history books. Deadwyler gives a genuinely excellent performance as Cuffee, a character inspired by Cathay Williams, a Black woman who posed as a man in the U.S. Army. Deadwyler gives a excellent performance full of sparking unpredictable energy.

Plus, she stands out in a film that unfolds as a stylish but fairly conventional Western revenge story. Most of the cast, however talented, leans into ultimately familiar archetypes of heroes and villains. Deadwyler stands out by introducing us to someone we’ve never met before. —CL—

Screen Time is a monthly column about film and video from the big screen to streaming services."
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  string(6308) "Before Atlanta became the capitol of Southern hip-hop, Athens enjoyed a reputation as the coolest, most creative place in Georgia. The success of R.E.M., The B-52’s and other 1980s alternative rockers shaped Athens’ image as a place of both cutting-edge artistry and sunny Southern hospitality.

In 1987 the documentary ''Athens, GA: Inside/Out'' took a loose, unstructured approach to capturing the sounds and personalities of the scene, largely avoiding thesis statements in favor of performances from R.E.M., critical darlings Pylon and more. The new documentary ''Red Turns Into Blue: Athens/Inside-Out 2'', directed by Bill Cody, reconsiders the city’s culture for the 21st century, filling in some of the previous film’s blind spots.

At first, ''Red Turns Into Blue'' seems like it may keep one foot in the past, with its first sections catching up with Pylon’s Vanessa Briscoe-Hay and The B-52s’ Cindy Wilson. Briscoe-Hay, singing her signature tune “Crazy” with younger musicians in the Pylon Reenactment Society, particularly seems like a matriarch of the scene.

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The film at times punctures the college town’s progressive image, interviewing activists about bars in downtown that selectively enforced a “dress code” to keep out black customers. And where the first film primarily showcased white bands, ''Red Turns Into Blue'' draws on a greater diversity of musicians.

''Red Turns Into Blue'' was released on VOD and DVD in November, proving to be another entry in a year marked by vibrant music documentaries, such as ''Summer of Soul'' and ''The Sparks Brothers''. Todd Haynes’ excellent ''The Velvet Underground'' makes an interesting contrast to Cody’s film, as it places the legendary avant-garde rockers at the center of a sprawling, dense yet engaging analysis of multiple artistic and social trends in 1960s New York, including drug addiction, homosexuality and Pop Art.

''Red Turns Into Blue'' seems more inclined to let the music speak for itself, rather than lean in for deeper analysis. It’s like a mixtape of young punk bands, Latinx folk singers, rappers and more, an interdependent community of artists with divergent interests but still inclined to reach across borders.

Titles inform the viewer that the film finished principle photography in January 2020, shortly before Athens and the rest of the world went into quarantine. A cover of R.E.M.’s “Losing My Religion” offers a melancholy epilogue while holding out hope that Athens will rise again.

__Seeing Red and Deadshot__

The weekend ''Red Notice'' debuted on Netflix, I saw a commenter on the film review social network Letterboxd remark that the globetrotting action film looked like it was filmed in Atlanta.

This was not meant as praise.

It wasn’t the first-time that I’ve noticed “shot in Atlanta” used as a pejorative. This kind of remark isn’t necessarily meant to insult the local film industry, but takes aim at the aesthetically-flattening trends of current blockbuster filmmaking. (If anything, it could be considered a backhanded compliment as it conveys the sheer quantity of productions made here.)

It’s true that ''Red Notice'' is about as generic as mainstream movies get, drawing on international heist and manhunt tropes, with a little Indiana Jones-style adventure tossed in at the end. Dwayne Johnson plays an FBI profiler hunting Ryan Reynolds’ notorious art thief, and they inevitably team up to stop Gal Gadot from stealing a priceless treasure. ''Red Notice'' was filmed on Atlanta soundstages, along with some international location work.

While the film includes set pieces in Spanish bullfighting rings, Italian streets and South American rain forests, between the familiar plotting, obvious sets and heavy use of CGI, it looks weirdly fake and homogenous. It’s weirdly reminiscent of Johnson’s bickering-buddy scenes with Jason Statham in the ''Fast and the Furious'' franchise, practically remaking sequences with torture and prison breaks.

In this case, criticizing ''Red Notice'', or any practically any movie, for looking like it was shot in Atlanta is a way of saying it could have been shot anywhere or nowhere. And it’s not that good movies can’t be shot here, they just need to have personality, authenticity and fresh choices. ''Red Notice'' is so synthetic and unengaging, it’s like a $200 million screensaver for a widescreen television.

__Deadshot:__ Speaking of Netflix, the streaming service’s new Western ''The Harder They Fall'' stars a murderer’s row of Hollywood’s best Black actors, including Jonathan Majors, Idris Elba, Regina King, Zazie Beetz, Delroy Lindo and Lakeith Stanfield. Yet amid all that talent, native Atlanta actor Danielle Deadwyler practically steals the movie.

''The Harder They Fall'' offers fictionalized versions of Black outlaws and heroes of the old West, neglected by the history books. Deadwyler gives a genuinely excellent performance as Cuffee, a character inspired by Cathay Williams, a Black woman who posed as a man in the U.S. Army. Deadwyler gives a excellent performance full of sparking unpredictable energy.

Plus, she stands out in a film that unfolds as a stylish but fairly conventional Western revenge story. Most of the cast, however talented, leans into ultimately familiar archetypes of heroes and villains. Deadwyler stands out by introducing us to someone we’ve never met before. __—CL—__

''Screen Time is a monthly column about film and video from the big screen to streaming services.''"
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  string(6744) " DEC Screen Time Web  2021-12-09T16:52:27+00:00 DEC_Screen_Time_web.jpg     screen time “Red Turns Into Blue” Revisits Athens Music Scene DEC Screen Time Web   2021-12-03T16:49:00+00:00  SCREEN TIME: Radio Free Georgia jim.harris Jim Harris Curt Holman holmanx3 (Curt Holman) 2021-12-03T16:49:00+00:00 Before Atlanta became the capitol of Southern hip-hop, Athens enjoyed a reputation as the coolest, most creative place in Georgia. The success of R.E.M., The B-52’s and other 1980s alternative rockers shaped Athens’ image as a place of both cutting-edge artistry and sunny Southern hospitality.

In 1987 the documentary Athens, GA: Inside/Out took a loose, unstructured approach to capturing the sounds and personalities of the scene, largely avoiding thesis statements in favor of performances from R.E.M., critical darlings Pylon and more. The new documentary Red Turns Into Blue: Athens/Inside-Out 2, directed by Bill Cody, reconsiders the city’s culture for the 21st century, filling in some of the previous film’s blind spots.

At first, Red Turns Into Blue seems like it may keep one foot in the past, with its first sections catching up with Pylon’s Vanessa Briscoe-Hay and The B-52s’ Cindy Wilson. Briscoe-Hay, singing her signature tune “Crazy” with younger musicians in the Pylon Reenactment Society, particularly seems like a matriarch of the scene.

After those segments, however, the film spends more time with younger artists, frequently finding their musical interests entwined with political activism. If a single person embodies the film’s vision of Athens, it’s Mariah Parker, a University of Georgia Ph.D. candidate who raps under the name Linqua Franqa and won election to the Athens-Clarke County commission.

Parker speaks passionately about racial reconciliation in one scene, then gives an electric performance of the song “Gold Bike” in another. Later, she has a cross-generational dialogue about politicized songwriting with veteran rocker Patterson Hood of the Drive-By Truckers, whose song “What It Means” addresses the Trayvon Martin shooting.

The film at times punctures the college town’s progressive image, interviewing activists about bars in downtown that selectively enforced a “dress code” to keep out black customers. And where the first film primarily showcased white bands, Red Turns Into Blue draws on a greater diversity of musicians.

Red Turns Into Blue was released on VOD and DVD in November, proving to be another entry in a year marked by vibrant music documentaries, such as Summer of Soul and The Sparks Brothers. Todd Haynes’ excellent The Velvet Underground makes an interesting contrast to Cody’s film, as it places the legendary avant-garde rockers at the center of a sprawling, dense yet engaging analysis of multiple artistic and social trends in 1960s New York, including drug addiction, homosexuality and Pop Art.

Red Turns Into Blue seems more inclined to let the music speak for itself, rather than lean in for deeper analysis. It’s like a mixtape of young punk bands, Latinx folk singers, rappers and more, an interdependent community of artists with divergent interests but still inclined to reach across borders.

Titles inform the viewer that the film finished principle photography in January 2020, shortly before Athens and the rest of the world went into quarantine. A cover of R.E.M.’s “Losing My Religion” offers a melancholy epilogue while holding out hope that Athens will rise again.

Seeing Red and Deadshot

The weekend Red Notice debuted on Netflix, I saw a commenter on the film review social network Letterboxd remark that the globetrotting action film looked like it was filmed in Atlanta.

This was not meant as praise.

It wasn’t the first-time that I’ve noticed “shot in Atlanta” used as a pejorative. This kind of remark isn’t necessarily meant to insult the local film industry, but takes aim at the aesthetically-flattening trends of current blockbuster filmmaking. (If anything, it could be considered a backhanded compliment as it conveys the sheer quantity of productions made here.)

It’s true that Red Notice is about as generic as mainstream movies get, drawing on international heist and manhunt tropes, with a little Indiana Jones-style adventure tossed in at the end. Dwayne Johnson plays an FBI profiler hunting Ryan Reynolds’ notorious art thief, and they inevitably team up to stop Gal Gadot from stealing a priceless treasure. Red Notice was filmed on Atlanta soundstages, along with some international location work.

While the film includes set pieces in Spanish bullfighting rings, Italian streets and South American rain forests, between the familiar plotting, obvious sets and heavy use of CGI, it looks weirdly fake and homogenous. It’s weirdly reminiscent of Johnson’s bickering-buddy scenes with Jason Statham in the Fast and the Furious franchise, practically remaking sequences with torture and prison breaks.

In this case, criticizing Red Notice, or any practically any movie, for looking like it was shot in Atlanta is a way of saying it could have been shot anywhere or nowhere. And it’s not that good movies can’t be shot here, they just need to have personality, authenticity and fresh choices. Red Notice is so synthetic and unengaging, it’s like a $200 million screensaver for a widescreen television.

Deadshot: Speaking of Netflix, the streaming service’s new Western The Harder They Fall stars a murderer’s row of Hollywood’s best Black actors, including Jonathan Majors, Idris Elba, Regina King, Zazie Beetz, Delroy Lindo and Lakeith Stanfield. Yet amid all that talent, native Atlanta actor Danielle Deadwyler practically steals the movie.

The Harder They Fall offers fictionalized versions of Black outlaws and heroes of the old West, neglected by the history books. Deadwyler gives a genuinely excellent performance as Cuffee, a character inspired by Cathay Williams, a Black woman who posed as a man in the U.S. Army. Deadwyler gives a excellent performance full of sparking unpredictable energy.

Plus, she stands out in a film that unfolds as a stylish but fairly conventional Western revenge story. Most of the cast, however talented, leans into ultimately familiar archetypes of heroes and villains. Deadwyler stands out by introducing us to someone we’ve never met before. —CL—

Screen Time is a monthly column about film and video from the big screen to streaming services.    HANNAH HAY VOLUME IS STILL PLEASANT: The Pylon Reenactment Society performs in ‘Red Turns Into Blue: Athens/Inside-Out 2.’  0,0,2    "screen time"                       SCREEN TIME: Radio Free Georgia "
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  string(15713) "Christmas music … bah, humbug you’re thinking?

Thankfully, roots music fans have alternatives to the usual stodgy December holiday fare. Locally based annual Christmas themed performances from Michelle Malone’s Hot Toddies and Jeffrey Butzer’s “A Charlie Brown Christmas” provide an edgier experience than you’ll get at the Fox watching “The Nutcracker” (Okay, now “The Hip Hop Nutcracker”) or “How the Grinch Stole Christmas” for the umpteenth time.

One of the season’s best and highest profile shows is the Holiday Hootenanny. This year, HH auteur TDawg (aka locally based promoter Thomas Helland) has corralled a stellar collection of Southern based artists for a tenth anniversary edition that promises to be the best, and most celebratory, one yet. Circle Dec. 19 on your calendar and set a reminder to be at the Variety Playhouse — it’s a must see event.

While calling it the tenth isn’t exactly correct (it’s actually the ninth), no one will complain when they eyeball a lineup headlined by some of the most recognizable names on the roots scene. Randall Bramblett’s band and longtime friend Nashville based Jim Lauderdale top the bill that also includes Jeff Mosier, Matt Slocum, Tommy Talton, Grant Green Jr., Jeff Sipe, Jason Carter (from Del McCoury’s band), Delta Moon’s Mark Johnson, Diane Durrett, Donna Hopkins and a full horn section. Who wouldn’t want to be a fly on the wall backstage for this? The evening’s poster is even created by local graphic design icon Flournoy Holmes. If the name Col. Bruce Hampton comes to mind when seeing this lineup, that’s no accident. More on that below.

This Hootenanny is particularly enticing because it honors three significant Atlanta musicians — percussionist Count MButu, keyboardist Ike Stubblefield, and Delta Moon frontman Tom Gray — all veterans influential in the jam and roots community that we lost in the minefield of 2021.

There are three sets. The first features Lauderdale with the ATL Allstars (Mosier and others) followed by the tribute to Stubblefield and a percussion jam dedicated to M’Butu with the final third section a rousing, one-off closing Capricorn Jam featuring Bramblett and Talton. Special guests are likely and the lineup remains fluid until the lights go down.

It’s a big, bold, sprawling experience managed behind the scenes by Helland (he got the TDawg nickname in college and it stuck), who has plenty of practice delivering musical memories that will last until next year’s Hootenanny. “It’s going to be a pretty wonderful, emotional but positive concert,” he says. That’s something we can all use around this time of year, especially after the last 18 months that have been iffy, at best, for live music.

Helland started booking live music at age 30 in 1998 with the Harvest Fest (later the Blue Ridge Harvest Fest which continued until 2005), in Fairburn, GA (South Fulton County). He wasn’t new to the industry, having done freelance production work and later employed as the booking coordinator for the 1996 Atlanta Olympics for two years. “I figured if I could manage 12 million dollars in accounts and handle all the minute details (for broadcasters at the Olympics), I could do anything,” he laughs. He also attended a lot of music festivals. “The two came together and created the pathway that I took on my own.” Producing  a series of various artist Back Porch Hootenannies got things underway for the entrepreneur in 2006, ultimately yielding 19 of those fests through 2018, all at Cherokee Farms in Lafayette, Georgia. He now works for Atlanta Botanical Garden, coordinating music for them from May through October, and has also been involved with Jerry (Garcia) Day Atlanta, another annual presentation at Terminal West, for the past eight years.

But the Holiday Hootenanny is his baby.

Hampton was a close friend of Helland and integral in the initial concept. “When I dove into the music business to begin with, I sat down with him first. That musical energy transferred into the Holiday Hootenanny.” Starting in 2011, the first few were at the Variety Playhouse. The initial go-round had Hampton, Durrett, Stubblefield, M’Butu, Mosier, Sipe and others. It then downsized for four years to Terminal West but has returned to its original space since. “It started bigger than it should have been. I then got my feet under it and brought it back to the Variety when I knew it could work.”

It takes nearly six months of prep to pull something of this scale together, Helland maintains, even though most of the work started in September. The theme of this year’s gig was also Helland’s. “We lost a lot of great musicians and they were all a big part of my shows. I feel it’s the appropriate way to tribute to these guys who had such a big impact on Atlanta. They were such amazing, inspiring musicians to watch and such genuinely nice people. I took it upon myself to pay tribute to them or else I don’t think it would be happening.”

Even better is that it’s a benefit for Atlanta Habitat for Humanity, for the eighth year running.

Interestingly, even with all these players, there are no rehearsals. Most of the participants return from previous iterations which helps. “People work on the music on their own and we all come together and make it happen.” But the thread that runs through all of the Holiday Hootenannies remains Hampton. “Bruce was a part of every Holiday Hootenanny before he passed. His 2015 show was just mind blowing.”

Even if Jim Lauderdale isn’t based in the city, Helland wanted to keep the 2021 edition homegrown. At this point, he considers the Holiday Hootenanny a family affair. “I decided this was the year to stay local with it and showcase what is Atlanta with these wonderful musicians we lost. I wanted our family to step up and do the music.”

The Holiday Hootenanny, Sunday Dec. 19, at the Variety Playhouse, 1099 Euclid Avenue. Show at 7 p.m.

!!Blues & Beyond calendar of events
!!!Make sure some of these shows are on your Christmas gift-giving and to-do lists   
!!Thurs.-Sun., Dec. 9-12
Billy Strings, The Eastern — Give the Michigan-bred Strings credit for playing multiple nights at this relatively intimate venue rather than going for one show at a larger place. Not yet 30, Strings is one of the shining young stars of bluegrass, a genre whose boundaries he pushes in a way similar way to the Avett Brothers. He sure can play, too, and his lightning fast fret shredding is both crowd pleasing and nimble. He’s a solid vocalist as well, writes memorable songs, and respects his storied Americana genre’s past without being beholden to it.

!!Fri., Dec. 10
Taylor McCall, Eddie’s Attic — Singer songwriter McCall leans to the darker side of folk, preferring an ominous and mysterious sound that’s personal and authentic. He will feature material from his terrific new Black Powder Soul release which incorporates a Lucinda Williams/Steve Earle styled vocal intensity that plumbs powerful musical and lyrical territory.

!!Fri.-Sun., Dec. 10-12
A Charlie Brown Christmas, The EARL — Few events herald the holidays in Atlanta more these days than Jeffrey Butzer and T.T. Mahony’s annual walk down Vince Guaraldi’s Peanut’s Christmas classic lane. So popular that it has expanded to a three day run, the production gets a little bigger and better each year, adding other cool yuletide tunes — and props — to the program. If you haven’t experienced it yet, make this year your first. You will return.

!!Sat.-Sun., Dec. 11-12
Wood Brothers, Variety Playhouse — Oliver Wood may have moved to Nashville, but he has plenty of friends and fans here who remember his King Johnson years. Lots of water has gone under the bridge since then, especially after joining with brother/bassist Chris and multi-instrumentalist Jano Rix as the Wood Brothers band and releasing a handful of terrific albums that blur the lines between folk, blues, country, swamp rock and gospel in all sorts of creative ways. Through hard work and endless touring, they have become full blown Americana headliners. The best way to experience their often caffeinated, always soulful music is live.

!!Sat., Dec. 11
Midland, The Roxy — The California-based, traditional C&W three piece hits town on “The Last Resort” tour, playing tracks from the titular 2021 EP along with others that have put them on the playlists of roots music lovers who like their country melodic but not too slick. Those unfamiliar with their sound just need to push play on 2020’s Live From the Palomino to hear how the trio’s twangy and catchy tunes connect with a crowd in concert.

Julian Lage, Vinyl — Child prodigy guitar master Lage is best known for his tasty and intricate jazz work, but he also touches on show tunes, classical, American Songbook chestnuts and even country. His acoustic playing is just as impressive as his electric skills but the rock club atmosphere of this gig might push him more to the plugged in style. It’s likely every jazz guitarist in town already has this on their schedules.

!!Tues, Dec. 14
Danielle Nicole, Vinyl — Give the bassist some. The Kansas born and bred bassist/singer/songwriter first came to prominence with her guitar slinging brother Nick Schnebelen and drummer Kris in the Trampled Underfoot band. She now has two solid, well received blues rocking albums to her credit as a solo artist. Nicole’s husky voice, soulful delivery, strong songs, gutsy bass playing and professional stage presence hones through hundreds of shows pushes her to the top of the few female fronted blues acts on the road. Not to be missed.

!!Wed., Dec. 15
Tommy Emmanuel, Rob Ickes & Trey Hensley, Variety Playhouse — There aren’t many solo acoustic musicians who can hold large crowds spellbound with as much effortless charm as Tommy Emmanuel. The award winning Australian guitarist has been doing just that for the better part of 30 years, mixing creatively rearranged covers — his inspired Beatles work is a genre unto itself — with originals and a humble yet magnetic stage presence. His wildly eclectic repertoire spans folk, country, jazz, blues and just enough rock to keep you guessing. Openers Ickes (dobro) & Hensley (guitar) trade impossibly nimble acoustic licks on mainly country-based fare and hold the audience in the palms of their four hands.

!!Thurs.-Sun., Dec. 16-19
Jason Isbell & the 400 Unit, The Tabernacle — Few expected ex-Drive-By Trucker Isbell to connect quite as effectively with an audience when he left that band in 2007 for a solo career. But through a clutch of literate, rocking Americana albums and a grinding tour schedule with a great band in tow, he has become one of the top draws in his rootsy singer/songwriter field. Better still, this four night stand will feature music from his new Georgia Blue album, a tour-de-force of diverse covers from artists originating from the Peach State ranging from R.E.M. to Gladys Knight, Drivin N Cryin and even Cat Power and Vic Chesnutt.

!!Fri., Dec. 17
Amanda Anne Platt & the Honeycutters, Eddie’s Attic — Asheville’s Platt recently played here as a solo act but now returns with her full band. She has a gorgeous, compelling voice and some fine organic Americana folk/country tunes that connect due to sheer song craft. Low key and lovely, request her soulful version of the Bee Gees’ “To Love Somebody.”

Rising Appalachia, Variety Playhouse — Atlanta raised sisters Leah and Chloe Smith have fronted and crafted Rising Appalachia’s unique blend of world beat, Southern indigenous and folk music from around the globe, creating an enticing, unpredictable and inclusive mélange that has expanded their boundaries to national and international tours. They are also activists whose many projects include social, racial and environmental justice. Their albums are wonderful but are no replacement for the live experience that adds dance and often surprising, exciting visuals to their musical stew.

!!Sat., Dec. 18
SUSTO, Rose Hotel, Terminal West — The band members may have changed through the years, but SUSTO remains the project of singer/songwriter Justin Osbourne who has maintained a comforting, pleasant if somewhat faceless blend of folk, rock and jam band music. Arrive early for Atlanta’s Jordan Reynolds whose band’s dreamy combination of psyche-folk (her bio’s words) and songs from her 2019 debut intriguingly titled I Will Only Come When It’s a Yesare worth catching.

!!Sun., Dec. 19
Tenth Annual Holiday Hootenanny, Variety Playhouse — see feature above.

!!Tues.-Fri., Dec. 28-31
Widespread Panic, Fox Theater — Would it be an Atlanta New Year without Athens’ most famous jam band export? Ring it in for four nights as Panic returns after a year off with their extended shows, long winding improvisations, sprawling bluesy Southern rocking, and bulging catalog of originals and covers. New music has been scarce (only two studio albums since 2010), so there will likely be fresh tunes to introduce. No two performances are the same and all are guaranteed to sell out, get tickets early.

!!Wed., Dec. 29
Bloodkin, Vinyl — The recent passing of Bloodkin co-founder Danny Hutchens has left his lifelong friend and Bloodkin co-founder Eric Carter (they met when each eight years old), and musical partner in a difficult situation — especially since the twosome had just released their stunning David Barbe-produced Black Market Tango double album and hadn’t had a chance to fully tour behind it. Making music together since around 1994, Carter has decided to press on, though Hutchens’ presence will be missed. The music lives on through a new batch of talented band members backing Carter, who is ready to display its roots rocking charms and lyrically inventiveness in songs like “John Coltrane in Nagasaki.”

!!Thurs., Dec. 30
Karl Denson’s Tiny Universe, Terminal West — The challenge for extraordinary tenor saxophonist Karl Denson (at last look he was also holding down one of the horn spots in the Stones’ touring ensemble) is to write quality songs that feature his fiery playing, giving his band room to roam. But even if the hooks and his vocals aren’t of James Brown or Prince quality (whose are?), he sure can generate a funky groove and that’s all that matters with a packed room of fans dancing to his scorching jazz/rocking soul.

!!Thurs.-Fri., Dec. 30-31
Indigo Girls with The Atlanta Symphony Orchestra, Symphony Hall — It’s always a love fest when Atlanta’s favorite folk duo return, even more so when they play their hometown on New Year’s Eve. This isn’t the first time they have played with the ASO, but it’s still a special event. The orchestra lends additional gravitas to Amy and Emily’s songs. The duo is as powerful now as when they first started performing almost 35 years ago. Theirs is an impressive run — with no signs of slowing down.

!!Fri., Dec. 31
Michelle Malone, Eddie’s Attic — Even Malone has probably lost count of how many New Year’s Eve shows she has performed at this storied Decatur venue. But it’s always a hoot and one of the highlights of the year. With a new album in 2022, fans will get a taste of what’s to come as they raise their champagne glasses and welcome in the next trip around the sun with one of Atlanta’s finest singer/songwriters. —CL—

Please send upcoming blues events to consider for CL’s Blues & Beyond concert calendar to hal.horowitz at creativeloafing.com."
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  string(15873) "Christmas music … bah, humbug you’re thinking?

Thankfully, roots music fans have alternatives to the usual stodgy December holiday fare. Locally based annual Christmas themed performances from Michelle Malone’s Hot Toddies and Jeffrey Butzer’s “A Charlie Brown Christmas” provide an edgier experience than you’ll get at the Fox watching “The Nutcracker” (Okay, now “The Hip Hop Nutcracker”) or “How the Grinch Stole Christmas” for the umpteenth time.

One of the season’s best and highest profile shows is the Holiday Hootenanny. This year, HH auteur TDawg (aka locally based promoter Thomas Helland) has corralled a stellar collection of Southern based artists for a tenth anniversary edition that promises to be the best, and most celebratory, one yet. Circle Dec. 19 on your calendar and set a reminder to be at the Variety Playhouse — it’s a must see event.

While calling it the tenth isn’t exactly correct (it’s actually the ninth), no one will complain when they eyeball a lineup headlined by some of the most recognizable names on the roots scene. Randall Bramblett’s band and longtime friend Nashville based Jim Lauderdale top the bill that also includes Jeff Mosier, Matt Slocum, Tommy Talton, Grant Green Jr., Jeff Sipe, Jason Carter (from Del McCoury’s band), Delta Moon’s Mark Johnson, Diane Durrett, Donna Hopkins and a full horn section. Who wouldn’t want to be a fly on the wall backstage for this? The evening’s poster is even created by local graphic design icon Flournoy Holmes. If the name Col. Bruce Hampton comes to mind when seeing this lineup, that’s no accident. More on that below.

This Hootenanny is particularly enticing because it honors three significant Atlanta musicians — percussionist Count MButu, keyboardist Ike Stubblefield, and Delta Moon frontman Tom Gray — all veterans influential in the jam and roots community that we lost in the minefield of 2021.

There are three sets. The first features Lauderdale with the ATL Allstars (Mosier and others) followed by the tribute to Stubblefield and a percussion jam dedicated to M’Butu with the final third section a rousing, one-off closing Capricorn Jam featuring Bramblett and Talton. Special guests are likely and the lineup remains fluid until the lights go down.

It’s a big, bold, sprawling experience managed behind the scenes by Helland (he got the TDawg nickname in college and it stuck), who has plenty of practice delivering musical memories that will last until next year’s Hootenanny. “It’s going to be a pretty wonderful, emotional but positive concert,” he says. That’s something we can all use around this time of year, especially after the last 18 months that have been iffy, at best, for live music.

Helland started booking live music at age 30 in 1998 with the Harvest Fest (later the Blue Ridge Harvest Fest which continued until 2005), in Fairburn, GA (South Fulton County). He wasn’t new to the industry, having done freelance production work and later employed as the booking coordinator for the 1996 Atlanta Olympics for two years. “I figured if I could manage 12 million dollars in accounts and handle all the minute details (for broadcasters at the Olympics), I could do anything,” he laughs. He also attended a lot of music festivals. “The two came together and created the pathway that I took on my own.” Producing  a series of various artist Back Porch Hootenannies got things underway for the entrepreneur in 2006, ultimately yielding 19 of those fests through 2018, all at Cherokee Farms in Lafayette, Georgia. He now works for Atlanta Botanical Garden, coordinating music for them from May through October, and has also been involved with Jerry (Garcia) Day Atlanta, another annual presentation at Terminal West, for the past eight years.

But the Holiday Hootenanny is his baby.

Hampton was a close friend of Helland and integral in the initial concept. “When I dove into the music business to begin with, I sat down with him first. That musical energy transferred into the Holiday Hootenanny.” Starting in 2011, the first few were at the Variety Playhouse. The initial go-round had Hampton, Durrett, Stubblefield, M’Butu, Mosier, Sipe and others. It then downsized for four years to Terminal West but has returned to its original space since. “It started bigger than it should have been. I then got my feet under it and brought it back to the Variety when I knew it could work.”

It takes nearly six months of prep to pull something of this scale together, Helland maintains, even though most of the work started in September. The theme of this year’s gig was also Helland’s. “We lost a lot of great musicians and they were all a big part of my shows. I feel it’s the appropriate way to tribute to these guys who had such a big impact on Atlanta. They were such amazing, inspiring musicians to watch and such genuinely nice people. I took it upon myself to pay tribute to them or else I don’t think it would be happening.”

Even better is that it’s a benefit for Atlanta Habitat for Humanity, for the eighth year running.

Interestingly, even with all these players, there are no rehearsals. Most of the participants return from previous iterations which helps. “People work on the music on their own and we all come together and make it happen.” But the thread that runs through all of the Holiday Hootenannies remains Hampton. “Bruce was a part of every Holiday Hootenanny before he passed. His 2015 show was just mind blowing.”

Even if Jim Lauderdale isn’t based in the city, Helland wanted to keep the 2021 edition homegrown. At this point, he considers the Holiday Hootenanny a family affair. “I decided this was the year to stay local with it and showcase what is Atlanta with these wonderful musicians we lost. I wanted our family to step up and do the music.”

''The Holiday Hootenanny, Sunday Dec. 19, at the Variety Playhouse, 1099 Euclid Avenue. Show at 7 p.m.''

!!Blues & Beyond calendar of events
!!!Make sure some of these shows are on your Christmas gift-giving and to-do lists %%%  
!!__Thurs.-Sun., Dec. 9-12__
__Billy Strings, The Eastern —__ Give the Michigan-bred Strings credit for playing multiple nights at this relatively intimate venue rather than going for one show at a larger place. Not yet 30, Strings is one of the shining young stars of bluegrass, a genre whose boundaries he pushes in a way similar way to the Avett Brothers. He sure can play, too, and his lightning fast fret shredding is both crowd pleasing and nimble. He’s a solid vocalist as well, writes memorable songs, and respects his storied Americana genre’s past without being beholden to it.

!!__Fri., Dec. 10__
__Taylor McCall, Eddie’s Attic —__ Singer songwriter McCall leans to the darker side of folk, preferring an ominous and mysterious sound that’s personal and authentic. He will feature material from his terrific new ''Black Powder Soul'' release which incorporates a Lucinda Williams/Steve Earle styled vocal intensity that plumbs powerful musical and lyrical territory.

!!__Fri.-Sun., Dec. 10-12__
__A Charlie Brown Christmas, The EARL —__ Few events herald the holidays in Atlanta more these days than Jeffrey Butzer and T.T. Mahony’s annual walk down Vince Guaraldi’s Peanut’s Christmas classic lane. So popular that it has expanded to a three day run, the production gets a little bigger and better each year, adding other cool yuletide tunes — and props — to the program. If you haven’t experienced it yet, make this year your first. You will return.

!!__Sat.-Sun., Dec. 11-12__
__Wood Brothers, Variety Playhouse —__ Oliver Wood may have moved to Nashville, but he has plenty of friends and fans here who remember his King Johnson years. Lots of water has gone under the bridge since then, especially after joining with brother/bassist Chris and multi-instrumentalist Jano Rix as the Wood Brothers band and releasing a handful of terrific albums that blur the lines between folk, blues, country, swamp rock and gospel in all sorts of creative ways. Through hard work and endless touring, they have become full blown Americana headliners. The best way to experience their often caffeinated, always soulful music is live.

!!__Sat., Dec. 11__
__Midland, The Roxy —__ The California-based, traditional C&W three piece hits town on “The Last Resort” tour, playing tracks from the titular 2021 EP along with others that have put them on the playlists of roots music lovers who like their country melodic but not too slick. Those unfamiliar with their sound just need to push play on 2020’s ''Live From the Palomino'' to hear how the trio’s twangy and catchy tunes connect with a crowd in concert.

__Julian Lage, Vinyl —__ Child prodigy guitar master Lage is best known for his tasty and intricate jazz work, but he also touches on show tunes, classical, American Songbook chestnuts and even country. His acoustic playing is just as impressive as his electric skills but the rock club atmosphere of this gig might push him more to the plugged in style. It’s likely every jazz guitarist in town already has this on their schedules.

!!__Tues, Dec. 14__
__Danielle Nicole, Vinyl —__ Give the bassist some. The Kansas born and bred bassist/singer/songwriter first came to prominence with her guitar slinging brother Nick Schnebelen and drummer Kris in the Trampled Underfoot band. She now has two solid, well received blues rocking albums to her credit as a solo artist. Nicole’s husky voice, soulful delivery, strong songs, gutsy bass playing and professional stage presence hones through hundreds of shows pushes her to the top of the few female fronted blues acts on the road. Not to be missed.

!!__Wed., Dec. 15__
__Tommy Emmanuel, Rob Ickes & Trey Hensley, Variety Playhouse —__ There aren’t many solo acoustic musicians who can hold large crowds spellbound with as much effortless charm as Tommy Emmanuel. The award winning Australian guitarist has been doing just that for the better part of 30 years, mixing creatively rearranged covers — his inspired Beatles work is a genre unto itself — with originals and a humble yet magnetic stage presence. His wildly eclectic repertoire spans folk, country, jazz, blues and just enough rock to keep you guessing. Openers Ickes (dobro) & Hensley (guitar) trade impossibly nimble acoustic licks on mainly country-based fare and hold the audience in the palms of their four hands.

!!__Thurs.-Sun., Dec. 16-19__
__Jason Isbell & the 400 Unit, The Tabernacle —__ Few expected ex-Drive-By Trucker Isbell to connect quite as effectively with an audience when he left that band in 2007 for a solo career. But through a clutch of literate, rocking Americana albums and a grinding tour schedule with a great band in tow, he has become one of the top draws in his rootsy singer/songwriter field. Better still, this four night stand will feature music from his new ''Georgia Blue'' album, a tour-de-force of diverse covers from artists originating from the Peach State ranging from R.E.M. to Gladys Knight, Drivin N Cryin and even Cat Power and Vic Chesnutt.

!!__Fri., Dec. 17__
__Amanda Anne Platt & the Honeycutters, Eddie’s Attic —__ Asheville’s Platt recently played here as a solo act but now returns with her full band. She has a gorgeous, compelling voice and some fine organic Americana folk/country tunes that connect due to sheer song craft. Low key and lovely, request her soulful version of the Bee Gees’ “To Love Somebody.”

__Rising Appalachia, Variety Playhouse —__ Atlanta raised sisters Leah and Chloe Smith have fronted and crafted Rising Appalachia’s unique blend of world beat, Southern indigenous and folk music from around the globe, creating an enticing, unpredictable and inclusive mélange that has expanded their boundaries to national and international tours. They are also activists whose many projects include social, racial and environmental justice. Their albums are wonderful but are no replacement for the live experience that adds dance and often surprising, exciting visuals to their musical stew.

!!__Sat., Dec. 18__
__SUSTO, Rose Hotel, Terminal West — __The band members may have changed through the years, but SUSTO remains the project of singer/songwriter Justin Osbourne who has maintained a comforting, pleasant if somewhat faceless blend of folk, rock and jam band music. Arrive early for Atlanta’s Jordan Reynolds whose band’s dreamy combination of psyche-folk (her bio’s words) and songs from her 2019 debut intriguingly titled ''I Will Only Come When It’s a Yes''are worth catching.

!!__Sun., Dec. 19__
__Tenth Annual Holiday Hootenanny, Variety Playhouse —__ see feature above.

!!__Tues.-Fri., Dec. 28-31__
__Widespread Panic, Fox Theater —__ Would it be an Atlanta New Year without Athens’ most famous jam band export? Ring it in for four nights as Panic returns after a year off with their extended shows, long winding improvisations, sprawling bluesy Southern rocking, and bulging catalog of originals and covers. New music has been scarce (only two studio albums since 2010), so there will likely be fresh tunes to introduce. No two performances are the same and all are guaranteed to sell out, get tickets early.

!!__Wed., Dec. 29__
__Bloodkin, Vinyl —__ The recent passing of Bloodkin co-founder Danny Hutchens has left his lifelong friend and Bloodkin co-founder Eric Carter (they met when each eight years old), and musical partner in a difficult situation — especially since the twosome had just released their stunning David Barbe-produced ''Black Market Tango'' double album and hadn’t had a chance to fully tour behind it. Making music together since around 1994, Carter has decided to press on, though Hutchens’ presence will be missed. The music lives on through a new batch of talented band members backing Carter, who is ready to display its roots rocking charms and lyrically inventiveness in songs like “John Coltrane in Nagasaki.”

!!__Thurs., Dec. 30__
__Karl Denson’s Tiny Universe, Terminal West —__ The challenge for extraordinary tenor saxophonist Karl Denson (at last look he was also holding down one of the horn spots in the Stones’ touring ensemble) is to write quality songs that feature his fiery playing, giving his band room to roam. But even if the hooks and his vocals aren’t of James Brown or Prince quality (whose are?), he sure can generate a funky groove and that’s all that matters with a packed room of fans dancing to his scorching jazz/rocking soul.

!!__Thurs.-Fri., Dec. 30-31__
__Indigo Girls with The Atlanta Symphony Orchestra, Symphony Hall —__ It’s always a love fest when Atlanta’s favorite folk duo return, even more so when they play their hometown on New Year’s Eve. This isn’t the first time they have played with the ASO, but it’s still a special event. The orchestra lends additional gravitas to Amy and Emily’s songs. The duo is as powerful now as when they first started performing almost 35 years ago. Theirs is an impressive run — with no signs of slowing down.

!!__Fri., Dec. 31__
__Michelle Malone, Eddie’s Attic —__ Even Malone has probably lost count of how many New Year’s Eve shows she has performed at this storied Decatur venue. But it’s always a hoot and one of the highlights of the year. With a new album in 2022, fans will get a taste of what’s to come as they raise their champagne glasses and welcome in the next trip around the sun with one of Atlanta’s finest singer/songwriters. —CL—

''Please send upcoming blues events to consider for CL’s Blues & Beyond concert calendar to hal.horowitz@creativeloafing.com.''"
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  string(16244) " DEC Blues & Beyond Web  2021-12-09T17:05:56+00:00 DEC_Blues_&_Beyond_web.jpg      The tenth Holiday Hootenanny promises to be the best yet DEC Blues & Beyond Web Content::Music and Nightlife::Music Columns::Blues and Beyond - blues  2021-12-03T16:59:00+00:00  BLUES & BEYOND: A family affair jim.harris Jim Harris Hal Horowitz hal2222 (Hal Horowitz) 2021-12-03T16:59:00+00:00 Christmas music … bah, humbug you’re thinking?

Thankfully, roots music fans have alternatives to the usual stodgy December holiday fare. Locally based annual Christmas themed performances from Michelle Malone’s Hot Toddies and Jeffrey Butzer’s “A Charlie Brown Christmas” provide an edgier experience than you’ll get at the Fox watching “The Nutcracker” (Okay, now “The Hip Hop Nutcracker”) or “How the Grinch Stole Christmas” for the umpteenth time.

One of the season’s best and highest profile shows is the Holiday Hootenanny. This year, HH auteur TDawg (aka locally based promoter Thomas Helland) has corralled a stellar collection of Southern based artists for a tenth anniversary edition that promises to be the best, and most celebratory, one yet. Circle Dec. 19 on your calendar and set a reminder to be at the Variety Playhouse — it’s a must see event.

While calling it the tenth isn’t exactly correct (it’s actually the ninth), no one will complain when they eyeball a lineup headlined by some of the most recognizable names on the roots scene. Randall Bramblett’s band and longtime friend Nashville based Jim Lauderdale top the bill that also includes Jeff Mosier, Matt Slocum, Tommy Talton, Grant Green Jr., Jeff Sipe, Jason Carter (from Del McCoury’s band), Delta Moon’s Mark Johnson, Diane Durrett, Donna Hopkins and a full horn section. Who wouldn’t want to be a fly on the wall backstage for this? The evening’s poster is even created by local graphic design icon Flournoy Holmes. If the name Col. Bruce Hampton comes to mind when seeing this lineup, that’s no accident. More on that below.

This Hootenanny is particularly enticing because it honors three significant Atlanta musicians — percussionist Count MButu, keyboardist Ike Stubblefield, and Delta Moon frontman Tom Gray — all veterans influential in the jam and roots community that we lost in the minefield of 2021.

There are three sets. The first features Lauderdale with the ATL Allstars (Mosier and others) followed by the tribute to Stubblefield and a percussion jam dedicated to M’Butu with the final third section a rousing, one-off closing Capricorn Jam featuring Bramblett and Talton. Special guests are likely and the lineup remains fluid until the lights go down.

It’s a big, bold, sprawling experience managed behind the scenes by Helland (he got the TDawg nickname in college and it stuck), who has plenty of practice delivering musical memories that will last until next year’s Hootenanny. “It’s going to be a pretty wonderful, emotional but positive concert,” he says. That’s something we can all use around this time of year, especially after the last 18 months that have been iffy, at best, for live music.

Helland started booking live music at age 30 in 1998 with the Harvest Fest (later the Blue Ridge Harvest Fest which continued until 2005), in Fairburn, GA (South Fulton County). He wasn’t new to the industry, having done freelance production work and later employed as the booking coordinator for the 1996 Atlanta Olympics for two years. “I figured if I could manage 12 million dollars in accounts and handle all the minute details (for broadcasters at the Olympics), I could do anything,” he laughs. He also attended a lot of music festivals. “The two came together and created the pathway that I took on my own.” Producing  a series of various artist Back Porch Hootenannies got things underway for the entrepreneur in 2006, ultimately yielding 19 of those fests through 2018, all at Cherokee Farms in Lafayette, Georgia. He now works for Atlanta Botanical Garden, coordinating music for them from May through October, and has also been involved with Jerry (Garcia) Day Atlanta, another annual presentation at Terminal West, for the past eight years.

But the Holiday Hootenanny is his baby.

Hampton was a close friend of Helland and integral in the initial concept. “When I dove into the music business to begin with, I sat down with him first. That musical energy transferred into the Holiday Hootenanny.” Starting in 2011, the first few were at the Variety Playhouse. The initial go-round had Hampton, Durrett, Stubblefield, M’Butu, Mosier, Sipe and others. It then downsized for four years to Terminal West but has returned to its original space since. “It started bigger than it should have been. I then got my feet under it and brought it back to the Variety when I knew it could work.”

It takes nearly six months of prep to pull something of this scale together, Helland maintains, even though most of the work started in September. The theme of this year’s gig was also Helland’s. “We lost a lot of great musicians and they were all a big part of my shows. I feel it’s the appropriate way to tribute to these guys who had such a big impact on Atlanta. They were such amazing, inspiring musicians to watch and such genuinely nice people. I took it upon myself to pay tribute to them or else I don’t think it would be happening.”

Even better is that it’s a benefit for Atlanta Habitat for Humanity, for the eighth year running.

Interestingly, even with all these players, there are no rehearsals. Most of the participants return from previous iterations which helps. “People work on the music on their own and we all come together and make it happen.” But the thread that runs through all of the Holiday Hootenannies remains Hampton. “Bruce was a part of every Holiday Hootenanny before he passed. His 2015 show was just mind blowing.”

Even if Jim Lauderdale isn’t based in the city, Helland wanted to keep the 2021 edition homegrown. At this point, he considers the Holiday Hootenanny a family affair. “I decided this was the year to stay local with it and showcase what is Atlanta with these wonderful musicians we lost. I wanted our family to step up and do the music.”

The Holiday Hootenanny, Sunday Dec. 19, at the Variety Playhouse, 1099 Euclid Avenue. Show at 7 p.m.

!!Blues & Beyond calendar of events
!!!Make sure some of these shows are on your Christmas gift-giving and to-do lists   
!!Thurs.-Sun., Dec. 9-12
Billy Strings, The Eastern — Give the Michigan-bred Strings credit for playing multiple nights at this relatively intimate venue rather than going for one show at a larger place. Not yet 30, Strings is one of the shining young stars of bluegrass, a genre whose boundaries he pushes in a way similar way to the Avett Brothers. He sure can play, too, and his lightning fast fret shredding is both crowd pleasing and nimble. He’s a solid vocalist as well, writes memorable songs, and respects his storied Americana genre’s past without being beholden to it.

!!Fri., Dec. 10
Taylor McCall, Eddie’s Attic — Singer songwriter McCall leans to the darker side of folk, preferring an ominous and mysterious sound that’s personal and authentic. He will feature material from his terrific new Black Powder Soul release which incorporates a Lucinda Williams/Steve Earle styled vocal intensity that plumbs powerful musical and lyrical territory.

!!Fri.-Sun., Dec. 10-12
A Charlie Brown Christmas, The EARL — Few events herald the holidays in Atlanta more these days than Jeffrey Butzer and T.T. Mahony’s annual walk down Vince Guaraldi’s Peanut’s Christmas classic lane. So popular that it has expanded to a three day run, the production gets a little bigger and better each year, adding other cool yuletide tunes — and props — to the program. If you haven’t experienced it yet, make this year your first. You will return.

!!Sat.-Sun., Dec. 11-12
Wood Brothers, Variety Playhouse — Oliver Wood may have moved to Nashville, but he has plenty of friends and fans here who remember his King Johnson years. Lots of water has gone under the bridge since then, especially after joining with brother/bassist Chris and multi-instrumentalist Jano Rix as the Wood Brothers band and releasing a handful of terrific albums that blur the lines between folk, blues, country, swamp rock and gospel in all sorts of creative ways. Through hard work and endless touring, they have become full blown Americana headliners. The best way to experience their often caffeinated, always soulful music is live.

!!Sat., Dec. 11
Midland, The Roxy — The California-based, traditional C&W three piece hits town on “The Last Resort” tour, playing tracks from the titular 2021 EP along with others that have put them on the playlists of roots music lovers who like their country melodic but not too slick. Those unfamiliar with their sound just need to push play on 2020’s Live From the Palomino to hear how the trio’s twangy and catchy tunes connect with a crowd in concert.

Julian Lage, Vinyl — Child prodigy guitar master Lage is best known for his tasty and intricate jazz work, but he also touches on show tunes, classical, American Songbook chestnuts and even country. His acoustic playing is just as impressive as his electric skills but the rock club atmosphere of this gig might push him more to the plugged in style. It’s likely every jazz guitarist in town already has this on their schedules.

!!Tues, Dec. 14
Danielle Nicole, Vinyl — Give the bassist some. The Kansas born and bred bassist/singer/songwriter first came to prominence with her guitar slinging brother Nick Schnebelen and drummer Kris in the Trampled Underfoot band. She now has two solid, well received blues rocking albums to her credit as a solo artist. Nicole’s husky voice, soulful delivery, strong songs, gutsy bass playing and professional stage presence hones through hundreds of shows pushes her to the top of the few female fronted blues acts on the road. Not to be missed.

!!Wed., Dec. 15
Tommy Emmanuel, Rob Ickes & Trey Hensley, Variety Playhouse — There aren’t many solo acoustic musicians who can hold large crowds spellbound with as much effortless charm as Tommy Emmanuel. The award winning Australian guitarist has been doing just that for the better part of 30 years, mixing creatively rearranged covers — his inspired Beatles work is a genre unto itself — with originals and a humble yet magnetic stage presence. His wildly eclectic repertoire spans folk, country, jazz, blues and just enough rock to keep you guessing. Openers Ickes (dobro) & Hensley (guitar) trade impossibly nimble acoustic licks on mainly country-based fare and hold the audience in the palms of their four hands.

!!Thurs.-Sun., Dec. 16-19
Jason Isbell & the 400 Unit, The Tabernacle — Few expected ex-Drive-By Trucker Isbell to connect quite as effectively with an audience when he left that band in 2007 for a solo career. But through a clutch of literate, rocking Americana albums and a grinding tour schedule with a great band in tow, he has become one of the top draws in his rootsy singer/songwriter field. Better still, this four night stand will feature music from his new Georgia Blue album, a tour-de-force of diverse covers from artists originating from the Peach State ranging from R.E.M. to Gladys Knight, Drivin N Cryin and even Cat Power and Vic Chesnutt.

!!Fri., Dec. 17
Amanda Anne Platt & the Honeycutters, Eddie’s Attic — Asheville’s Platt recently played here as a solo act but now returns with her full band. She has a gorgeous, compelling voice and some fine organic Americana folk/country tunes that connect due to sheer song craft. Low key and lovely, request her soulful version of the Bee Gees’ “To Love Somebody.”

Rising Appalachia, Variety Playhouse — Atlanta raised sisters Leah and Chloe Smith have fronted and crafted Rising Appalachia’s unique blend of world beat, Southern indigenous and folk music from around the globe, creating an enticing, unpredictable and inclusive mélange that has expanded their boundaries to national and international tours. They are also activists whose many projects include social, racial and environmental justice. Their albums are wonderful but are no replacement for the live experience that adds dance and often surprising, exciting visuals to their musical stew.

!!Sat., Dec. 18
SUSTO, Rose Hotel, Terminal West — The band members may have changed through the years, but SUSTO remains the project of singer/songwriter Justin Osbourne who has maintained a comforting, pleasant if somewhat faceless blend of folk, rock and jam band music. Arrive early for Atlanta’s Jordan Reynolds whose band’s dreamy combination of psyche-folk (her bio’s words) and songs from her 2019 debut intriguingly titled I Will Only Come When It’s a Yesare worth catching.

!!Sun., Dec. 19
Tenth Annual Holiday Hootenanny, Variety Playhouse — see feature above.

!!Tues.-Fri., Dec. 28-31
Widespread Panic, Fox Theater — Would it be an Atlanta New Year without Athens’ most famous jam band export? Ring it in for four nights as Panic returns after a year off with their extended shows, long winding improvisations, sprawling bluesy Southern rocking, and bulging catalog of originals and covers. New music has been scarce (only two studio albums since 2010), so there will likely be fresh tunes to introduce. No two performances are the same and all are guaranteed to sell out, get tickets early.

!!Wed., Dec. 29
Bloodkin, Vinyl — The recent passing of Bloodkin co-founder Danny Hutchens has left his lifelong friend and Bloodkin co-founder Eric Carter (they met when each eight years old), and musical partner in a difficult situation — especially since the twosome had just released their stunning David Barbe-produced Black Market Tango double album and hadn’t had a chance to fully tour behind it. Making music together since around 1994, Carter has decided to press on, though Hutchens’ presence will be missed. The music lives on through a new batch of talented band members backing Carter, who is ready to display its roots rocking charms and lyrically inventiveness in songs like “John Coltrane in Nagasaki.”

!!Thurs., Dec. 30
Karl Denson’s Tiny Universe, Terminal West — The challenge for extraordinary tenor saxophonist Karl Denson (at last look he was also holding down one of the horn spots in the Stones’ touring ensemble) is to write quality songs that feature his fiery playing, giving his band room to roam. But even if the hooks and his vocals aren’t of James Brown or Prince quality (whose are?), he sure can generate a funky groove and that’s all that matters with a packed room of fans dancing to his scorching jazz/rocking soul.

!!Thurs.-Fri., Dec. 30-31
Indigo Girls with The Atlanta Symphony Orchestra, Symphony Hall — It’s always a love fest when Atlanta’s favorite folk duo return, even more so when they play their hometown on New Year’s Eve. This isn’t the first time they have played with the ASO, but it’s still a special event. The orchestra lends additional gravitas to Amy and Emily’s songs. The duo is as powerful now as when they first started performing almost 35 years ago. Theirs is an impressive run — with no signs of slowing down.

!!Fri., Dec. 31
Michelle Malone, Eddie’s Attic — Even Malone has probably lost count of how many New Year’s Eve shows she has performed at this storied Decatur venue. But it’s always a hoot and one of the highlights of the year. With a new album in 2022, fans will get a taste of what’s to come as they raise their champagne glasses and welcome in the next trip around the sun with one of Atlanta’s finest singer/songwriters. —CL—

Please send upcoming blues events to consider for CL’s Blues & Beyond concert calendar to hal.horowitz at creativeloafing.com.    ARTWORK BY FLOURNOY HOLMES HOLIDAY HOOTENANNY: This year’s poster.  0,0,18                           BLUES & BEYOND: A family affair "
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  string(10415) "(Editor's Note: All remaining shows of the Michigan Rattlers Eastern Tour have been postponed. Read here for details) - Michigan Rattlers, Vinyl — Despite their clattering name, the Michigan Rattlers settle into an often dreamy, always melodic Americana that’s low key yet consistently invigorating. Folk with touches of country and pensive rock inform beautiful, sweeping songs with sweet vocals that glide and float, even if they never really rattle.

Thurs.-Sun., Dec. 9-12

Billy Strings, The Eastern — Give the Michigan-bred Strings credit for playing multiple nights at this relatively intimate venue rather than going for one show at a larger place. Not yet 30, Strings is one of the shining young stars of bluegrass, a genre whose boundaries he pushes in a way similar way to the Avett Brothers. He sure can play, too, and his lightning fast fret shredding is both crowd pleasing and nimble. He’s a solid vocalist as well, writes memorable songs, and respects his storied Americana genre’s past without being beholden to it.

Fri., Dec. 10

Taylor McCall, Eddie’s Attic — Singer songwriter McCall leans to the darker side of folk, preferring an ominous and mysterious sound that’s personal and authentic. He will feature material from his terrific new Black Powder Soul release which incorporates a Lucinda Williams/Steve Earle styled vocal intensity that plumbs powerful musical and lyrical territory.

Fri.-Sun., Dec. 10-12

A Charlie Brown Christmas, The EARL — Few events herald the holidays in Atlanta more these days than Jeffrey Butzer and T.T. Mahony’s annual walk down Vince Guaraldi’s Peanut’s Christmas classic lane. So popular that it has expanded to a three day run, the production gets a little bigger and better each year, adding other cool yuletide tunes — and props — to the program. If you haven’t experienced it yet, make this year your first. You will return.

Sat.-Sun., Dec. 11-12

Wood Brothers, Variety Playhouse — Oliver Wood may have moved to Nashville, but he has plenty of friends and fans here who remember his King Johnson years. Lots of water has gone under the bridge since then, especially after joining with brother/bassist Chris and multi-instrumentalist Jano Rix as the Wood Brothers band and releasing a handful of terrific albums that blur the lines between folk, blues, country, swamp rock and gospel in all sorts of creative ways. Through hard work and endless touring, they have become full blown Americana headliners. The best way to experience their often caffeinated, always soulful music is live.

Sat., Dec. 11

Midland, The Roxy — The California-based, traditional C&W three piece hits town on “The Last Resort” tour, playing tracks from the titular 2021 EP along with others that have put them on the playlists of roots music lovers who like their country melodic but not too slick. Those unfamiliar with their sound just need to push play on 2020’s Live From the Palomino to hear how the trio’s twangy and catchy tunes connect with a crowd in concert.

Sat., Dec. 11

Julian Lage, Vinyl — Child prodigy guitar master Lage is best known for his tasty and intricate jazz work, but he also touches on show tunes, classical, American Songbook chestnuts and even country. His acoustic playing is just as impressive as his electric skills but the rock club atmosphere of this gig might push him more to the plugged in style. It’s likely every jazz guitarist in town already has this on their schedules.

Tues, Dec. 14

Danielle Nicole, Vinyl — Give the bassist some. The Kansas born and bred bassist/singer/songwriter first came to prominence with her guitar slinging brother Nick Schnebelen and drummer Kris in the Trampled Underfoot band. She now has two solid, well received blues rocking albums to her credit as a solo artist. Nicole’s husky voice, soulful delivery, strong songs, gutsy bass playing and professional stage presence hones through hundreds of shows pushes her to the top of the few female fronted blues acts on the road. Not to be missed.

Wed., Dec. 15

Tommy Emmanuel, Rob Ickes & Trey Hensley, Variety Playhouse — There aren’t many solo acoustic musicians who can hold large crowds spellbound with as much effortless charm as Tommy Emmanuel. The award winning Australian guitarist has been doing just that for the better part of 30 years, mixing creatively rearranged covers — his inspired Beatles work is a genre unto itself — with originals and a humble yet magnetic stage presence. His wildly eclectic repertoire spans folk, country, jazz, blues and just enough rock to keep you guessing. Openers Ickes (dobro) & Hensley (guitar) trade impossibly nimble acoustic licks on mainly country-based fare and hold the audience in the palms of their four hands.

Thurs.-Sun., Dec. 16-19

Jason Isbell & the 400 Unit, The Tabernacle — Few expected ex-Drive-By Trucker Isbell to connect quite as effectively with an audience when he left that band in 2007 for a solo career. But through a clutch of literate, rocking Americana albums and a grinding tour schedule with a great band in tow, he has become one of the top draws in his rootsy singer/songwriter field. Better still, this four night stand will feature music from his new Georgia Blue album, a tour-de-force of diverse covers from artists originating from the Peach State ranging from R.E.M. to Gladys Knight, Drivin N Cryin and even Cat Power and Vic Chesnutt.

Fri., Dec. 17

Amanda Anne Platt & the Honeycutters, Eddie’s Attic — Asheville’s Platt recently played here as a solo act but now returns with her full band. She has a gorgeous, compelling voice and some fine organic Americana folk/country tunes that connect due to sheer song craft. Low key and lovely, request her soulful version of the Bee Gees’ “To Love Somebody.”

Fri., Dec. 17

Rising Appalachia, Variety Playhouse — Atlanta raised sisters Leah and Chloe Smith have fronted and crafted Rising Appalachia’s unique blend of world beat, Southern indigenous and folk music from around the globe, creating an enticing, unpredictable and inclusive mélange that has expanded their boundaries to national and international tours. They are also activists whose many projects include social, racial and environmental justice. Their albums are wonderful but are no replacement for the live experience that adds dance and often surprising, exciting visuals to their musical stew.

Sat., Dec. 18

SUSTO, Rose Hotel, Terminal West — The band members may have changed through the years, but SUSTO remains the project of singer/songwriter Justin Osbourne who has maintained a comforting, pleasant if somewhat faceless blend of folk, rock and jam band music. Arrive early for Atlanta’s Jordan Reynolds whose band’s dreamy combination of psyche-folk (her bio’s words) and songs from her 2019 debut intriguingly titled I Will Only Come When It’s a Yesare worth catching.

Sun., Dec. 19

Tenth Annual Holiday Hootenanny, Variety Playhouse — see feature.

Thurs., Dec. 23

Michelle Malone’s Hot Toddies, Red Clay Theater — It wouldn’t be an Atlanta Christmas without veteran singer/songwriter Malone taking her annual side trip down Santa Claus lane. Lower key and jazzier than her usual rocking fare, the trio creatively rearranges old favorites and throws some originals in for a fun, frothy evening that has become a holiday tradition.

Tues.-Fri., Dec. 28-31

Widespread Panic, Fox Theater — Would it be an Atlanta New Year without Athens’ most famous jam band export? Ring it in for four nights as Panic returns after a year off with their extended shows, long winding improvisations, sprawling bluesy Southern rocking, and bulging catalog of originals and covers. New music has been scarce (only two studio albums since 2010), so there will likely be fresh tunes to introduce. No two performances are the same and all are guaranteed to sell out, get tickets early.

Wed., Dec. 29

Bloodkin, Vinyl — The recent passing of Bloodkin co-founder Danny Hutchens has left his lifelong friend and Bloodkin co-founder Eric Carter (they met when each eight years old), and musical partner in a difficult situation — especially since the twosome had just released their stunning David Barbe-produced Black Market Tango double album and hadn’t had a chance to fully tour behind it. Making music together since around 1994, Carter has decided to press on, though Hutchens’ presence will be missed. The music lives on through a new batch of talented band members backing Carter, who is ready to display its roots rocking charms and lyrically inventiveness in songs like “John Coltrane in Nagasaki.”

Thurs., Dec. 30

Karl Denson’s Tiny Universe, Terminal West — The challenge for extraordinary tenor saxophonist Karl Denson (at last look he was also holding down one of the horn spots in the Stones’ touring ensemble) is to write quality songs that feature his fiery playing, giving his band room to roam. But even if the hooks and his vocals aren’t of James Brown or Prince quality (whose are?), he sure can generate a funky groove and that’s all that matters with a packed room of fans dancing to his scorching jazz/rocking soul.

Thurs.-Fri., Dec. 30-31

Indigo Girls with The Atlanta Symphony Orchestra, Symphony Hall — It’s always a love fest when Atlanta’s favorite folk duo return, even more so when they play their hometown on New Year’s Eve. This isn’t the first time they have played with the ASO, but it’s still a special event. The orchestra lends additional gravitas to Amy and Emily’s songs. The duo is as powerful now as when they first started performing almost 35 years ago. Theirs is an impressive run — with no signs of slowing down.

Fri., Dec. 31

Michelle Malone, Eddie’s Attic — Even Malone has probably lost count of how many New Year’s Eve shows she has performed at this storied Decatur venue. But it’s always a hoot and one of the highlights of the year. With a new album in 2022, fans will get a taste of what’s to come as they raise their champagne glasses and welcome in the next trip around the sun with one of Atlanta’s finest singer/songwriters. —CL—

Please send upcoming blues events to consider for CL’s Blues & Beyond concert calendar to hal.horowitz at creativeloafing.com."
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  string(10551) "(Editor's Note: All remaining shows of the Michigan Rattlers Eastern Tour have been postponed. Read [https://www.instagram.com/p/CXL4wB3OPcW/|here] for details) - Michigan Rattlers, Vinyl — Despite their clattering name, the Michigan Rattlers settle into an often dreamy, always melodic Americana that’s low key yet consistently invigorating. Folk with touches of country and pensive rock inform beautiful, sweeping songs with sweet vocals that glide and float, even if they never really rattle.

__Thurs.-Sun., Dec. 9-12__

Billy Strings, The Eastern — Give the Michigan-bred Strings credit for playing multiple nights at this relatively intimate venue rather than going for one show at a larger place. Not yet 30, Strings is one of the shining young stars of bluegrass, a genre whose boundaries he pushes in a way similar way to the Avett Brothers. He sure can play, too, and his lightning fast fret shredding is both crowd pleasing and nimble. He’s a solid vocalist as well, writes memorable songs, and respects his storied Americana genre’s past without being beholden to it.

__Fri., Dec. 10__

Taylor McCall, Eddie’s Attic — Singer songwriter McCall leans to the darker side of folk, preferring an ominous and mysterious sound that’s personal and authentic. He will feature material from his terrific new ''Black Powder Soul'' release which incorporates a Lucinda Williams/Steve Earle styled vocal intensity that plumbs powerful musical and lyrical territory.

__Fri.-Sun., Dec. 10-12__

A Charlie Brown Christmas, The EARL — Few events herald the holidays in Atlanta more these days than Jeffrey Butzer and T.T. Mahony’s annual walk down Vince Guaraldi’s Peanut’s Christmas classic lane. So popular that it has expanded to a three day run, the production gets a little bigger and better each year, adding other cool yuletide tunes — and props — to the program. If you haven’t experienced it yet, make this year your first. You will return.

__Sat.-Sun., Dec. 11-12__

Wood Brothers, Variety Playhouse — Oliver Wood may have moved to Nashville, but he has plenty of friends and fans here who remember his King Johnson years. Lots of water has gone under the bridge since then, especially after joining with brother/bassist Chris and multi-instrumentalist Jano Rix as the Wood Brothers band and releasing a handful of terrific albums that blur the lines between folk, blues, country, swamp rock and gospel in all sorts of creative ways. Through hard work and endless touring, they have become full blown Americana headliners. The best way to experience their often caffeinated, always soulful music is live.

__Sat., Dec. 11__

Midland, The Roxy — The California-based, traditional C&W three piece hits town on “The Last Resort” tour, playing tracks from the titular 2021 EP along with others that have put them on the playlists of roots music lovers who like their country melodic but not too slick. Those unfamiliar with their sound just need to push play on 2020’s ''Live From the Palomino'' to hear how the trio’s twangy and catchy tunes connect with a crowd in concert.

__Sat., Dec. 11__

Julian Lage, Vinyl — Child prodigy guitar master Lage is best known for his tasty and intricate jazz work, but he also touches on show tunes, classical, American Songbook chestnuts and even country. His acoustic playing is just as impressive as his electric skills but the rock club atmosphere of this gig might push him more to the plugged in style. It’s likely every jazz guitarist in town already has this on their schedules.

__Tues, Dec. 14__

Danielle Nicole, Vinyl — Give the bassist some. The Kansas born and bred bassist/singer/songwriter first came to prominence with her guitar slinging brother Nick Schnebelen and drummer Kris in the Trampled Underfoot band. She now has two solid, well received blues rocking albums to her credit as a solo artist. Nicole’s husky voice, soulful delivery, strong songs, gutsy bass playing and professional stage presence hones through hundreds of shows pushes her to the top of the few female fronted blues acts on the road. Not to be missed.

__Wed., Dec. 15__

Tommy Emmanuel, Rob Ickes & Trey Hensley, Variety Playhouse — There aren’t many solo acoustic musicians who can hold large crowds spellbound with as much effortless charm as Tommy Emmanuel. The award winning Australian guitarist has been doing just that for the better part of 30 years, mixing creatively rearranged covers — his inspired Beatles work is a genre unto itself — with originals and a humble yet magnetic stage presence. His wildly eclectic repertoire spans folk, country, jazz, blues and just enough rock to keep you guessing. Openers Ickes (dobro) & Hensley (guitar) trade impossibly nimble acoustic licks on mainly country-based fare and hold the audience in the palms of their four hands.

__Thurs.-Sun., Dec. 16-19__

Jason Isbell & the 400 Unit, The Tabernacle — Few expected ex-Drive-By Trucker Isbell to connect quite as effectively with an audience when he left that band in 2007 for a solo career. But through a clutch of literate, rocking Americana albums and a grinding tour schedule with a great band in tow, he has become one of the top draws in his rootsy singer/songwriter field. Better still, this four night stand will feature music from his new ''Georgia Blue'' album, a tour-de-force of diverse covers from artists originating from the Peach State ranging from R.E.M. to Gladys Knight, Drivin N Cryin and even Cat Power and Vic Chesnutt.

__Fri., Dec. 17__

Amanda Anne Platt & the Honeycutters, Eddie’s Attic — Asheville’s Platt recently played here as a solo act but now returns with her full band. She has a gorgeous, compelling voice and some fine organic Americana folk/country tunes that connect due to sheer song craft. Low key and lovely, request her soulful version of the Bee Gees’ “To Love Somebody.”

__Fri., Dec. 17__

Rising Appalachia, Variety Playhouse — Atlanta raised sisters Leah and Chloe Smith have fronted and crafted Rising Appalachia’s unique blend of world beat, Southern indigenous and folk music from around the globe, creating an enticing, unpredictable and inclusive mélange that has expanded their boundaries to national and international tours. They are also activists whose many projects include social, racial and environmental justice. Their albums are wonderful but are no replacement for the live experience that adds dance and often surprising, exciting visuals to their musical stew.

__Sat., Dec. 18__

SUSTO, Rose Hotel, Terminal West — The band members may have changed through the years, but SUSTO remains the project of singer/songwriter Justin Osbourne who has maintained a comforting, pleasant if somewhat faceless blend of folk, rock and jam band music. Arrive early for Atlanta’s Jordan Reynolds whose band’s dreamy combination of psyche-folk (her bio’s words) and songs from her 2019 debut intriguingly titled ''I Will Only Come When It’s a Yes''are worth catching.

__Sun., Dec. 19__

Tenth Annual Holiday Hootenanny, Variety Playhouse — see feature.

__Thurs., Dec. 23__

Michelle Malone’s Hot Toddies, Red Clay Theater — It wouldn’t be an Atlanta Christmas without veteran singer/songwriter Malone taking her annual side trip down Santa Claus lane. Lower key and jazzier than her usual rocking fare, the trio creatively rearranges old favorites and throws some originals in for a fun, frothy evening that has become a holiday tradition.

__Tues.-Fri., Dec. 28-31__

Widespread Panic, Fox Theater — Would it be an Atlanta New Year without Athens’ most famous jam band export? Ring it in for four nights as Panic returns after a year off with their extended shows, long winding improvisations, sprawling bluesy Southern rocking, and bulging catalog of originals and covers. New music has been scarce (only two studio albums since 2010), so there will likely be fresh tunes to introduce. No two performances are the same and all are guaranteed to sell out, get tickets early.

__Wed., Dec. 29__

Bloodkin, Vinyl — The recent passing of Bloodkin co-founder Danny Hutchens has left his lifelong friend and Bloodkin co-founder Eric Carter (they met when each eight years old), and musical partner in a difficult situation — especially since the twosome had just released their stunning David Barbe-produced ''Black Market Tango'' double album and hadn’t had a chance to fully tour behind it. Making music together since around 1994, Carter has decided to press on, though Hutchens’ presence will be missed. The music lives on through a new batch of talented band members backing Carter, who is ready to display its roots rocking charms and lyrically inventiveness in songs like “John Coltrane in Nagasaki.”

__Thurs., Dec. 30__

Karl Denson’s Tiny Universe, Terminal West — The challenge for extraordinary tenor saxophonist Karl Denson (at last look he was also holding down one of the horn spots in the Stones’ touring ensemble) is to write quality songs that feature his fiery playing, giving his band room to roam. But even if the hooks and his vocals aren’t of James Brown or Prince quality (whose are?), he sure can generate a funky groove and that’s all that matters with a packed room of fans dancing to his scorching jazz/rocking soul.

__Thurs.-Fri., Dec. 30-31__

Indigo Girls with The Atlanta Symphony Orchestra, Symphony Hall — It’s always a love fest when Atlanta’s favorite folk duo return, even more so when they play their hometown on New Year’s Eve. This isn’t the first time they have played with the ASO, but it’s still a special event. The orchestra lends additional gravitas to Amy and Emily’s songs. The duo is as powerful now as when they first started performing almost 35 years ago. Theirs is an impressive run — with no signs of slowing down.

__Fri., Dec. 31__

Michelle Malone, Eddie’s Attic — Even Malone has probably lost count of how many New Year’s Eve shows she has performed at this storied Decatur venue. But it’s always a hoot and one of the highlights of the year. With a new album in 2022, fans will get a taste of what’s to come as they raise their champagne glasses and welcome in the next trip around the sun with one of Atlanta’s finest singer/songwriters. —CL—

''Please send upcoming blues events to consider for CL’s Blues & Beyond concert calendar to hal.horowitz@creativeloafing.com.''"
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  string(10805) "    Make sure some of these shows are on your Christmas gift-giving and to-do lists  Content::Music and Nightlife::Music Columns::Blues and Beyond - blues  2021-12-03T17:09:00+00:00  Blues & Beyond calendar of events jim.harris Jim Harris HAL HOROWITZ hal2222 (Hal Horowitz) 2021-12-03T17:09:00+00:00 (Editor's Note: All remaining shows of the Michigan Rattlers Eastern Tour have been postponed. Read here for details) - Michigan Rattlers, Vinyl — Despite their clattering name, the Michigan Rattlers settle into an often dreamy, always melodic Americana that’s low key yet consistently invigorating. Folk with touches of country and pensive rock inform beautiful, sweeping songs with sweet vocals that glide and float, even if they never really rattle.

Thurs.-Sun., Dec. 9-12

Billy Strings, The Eastern — Give the Michigan-bred Strings credit for playing multiple nights at this relatively intimate venue rather than going for one show at a larger place. Not yet 30, Strings is one of the shining young stars of bluegrass, a genre whose boundaries he pushes in a way similar way to the Avett Brothers. He sure can play, too, and his lightning fast fret shredding is both crowd pleasing and nimble. He’s a solid vocalist as well, writes memorable songs, and respects his storied Americana genre’s past without being beholden to it.

Fri., Dec. 10

Taylor McCall, Eddie’s Attic — Singer songwriter McCall leans to the darker side of folk, preferring an ominous and mysterious sound that’s personal and authentic. He will feature material from his terrific new Black Powder Soul release which incorporates a Lucinda Williams/Steve Earle styled vocal intensity that plumbs powerful musical and lyrical territory.

Fri.-Sun., Dec. 10-12

A Charlie Brown Christmas, The EARL — Few events herald the holidays in Atlanta more these days than Jeffrey Butzer and T.T. Mahony’s annual walk down Vince Guaraldi’s Peanut’s Christmas classic lane. So popular that it has expanded to a three day run, the production gets a little bigger and better each year, adding other cool yuletide tunes — and props — to the program. If you haven’t experienced it yet, make this year your first. You will return.

Sat.-Sun., Dec. 11-12

Wood Brothers, Variety Playhouse — Oliver Wood may have moved to Nashville, but he has plenty of friends and fans here who remember his King Johnson years. Lots of water has gone under the bridge since then, especially after joining with brother/bassist Chris and multi-instrumentalist Jano Rix as the Wood Brothers band and releasing a handful of terrific albums that blur the lines between folk, blues, country, swamp rock and gospel in all sorts of creative ways. Through hard work and endless touring, they have become full blown Americana headliners. The best way to experience their often caffeinated, always soulful music is live.

Sat., Dec. 11

Midland, The Roxy — The California-based, traditional C&W three piece hits town on “The Last Resort” tour, playing tracks from the titular 2021 EP along with others that have put them on the playlists of roots music lovers who like their country melodic but not too slick. Those unfamiliar with their sound just need to push play on 2020’s Live From the Palomino to hear how the trio’s twangy and catchy tunes connect with a crowd in concert.

Sat., Dec. 11

Julian Lage, Vinyl — Child prodigy guitar master Lage is best known for his tasty and intricate jazz work, but he also touches on show tunes, classical, American Songbook chestnuts and even country. His acoustic playing is just as impressive as his electric skills but the rock club atmosphere of this gig might push him more to the plugged in style. It’s likely every jazz guitarist in town already has this on their schedules.

Tues, Dec. 14

Danielle Nicole, Vinyl — Give the bassist some. The Kansas born and bred bassist/singer/songwriter first came to prominence with her guitar slinging brother Nick Schnebelen and drummer Kris in the Trampled Underfoot band. She now has two solid, well received blues rocking albums to her credit as a solo artist. Nicole’s husky voice, soulful delivery, strong songs, gutsy bass playing and professional stage presence hones through hundreds of shows pushes her to the top of the few female fronted blues acts on the road. Not to be missed.

Wed., Dec. 15

Tommy Emmanuel, Rob Ickes & Trey Hensley, Variety Playhouse — There aren’t many solo acoustic musicians who can hold large crowds spellbound with as much effortless charm as Tommy Emmanuel. The award winning Australian guitarist has been doing just that for the better part of 30 years, mixing creatively rearranged covers — his inspired Beatles work is a genre unto itself — with originals and a humble yet magnetic stage presence. His wildly eclectic repertoire spans folk, country, jazz, blues and just enough rock to keep you guessing. Openers Ickes (dobro) & Hensley (guitar) trade impossibly nimble acoustic licks on mainly country-based fare and hold the audience in the palms of their four hands.

Thurs.-Sun., Dec. 16-19

Jason Isbell & the 400 Unit, The Tabernacle — Few expected ex-Drive-By Trucker Isbell to connect quite as effectively with an audience when he left that band in 2007 for a solo career. But through a clutch of literate, rocking Americana albums and a grinding tour schedule with a great band in tow, he has become one of the top draws in his rootsy singer/songwriter field. Better still, this four night stand will feature music from his new Georgia Blue album, a tour-de-force of diverse covers from artists originating from the Peach State ranging from R.E.M. to Gladys Knight, Drivin N Cryin and even Cat Power and Vic Chesnutt.

Fri., Dec. 17

Amanda Anne Platt & the Honeycutters, Eddie’s Attic — Asheville’s Platt recently played here as a solo act but now returns with her full band. She has a gorgeous, compelling voice and some fine organic Americana folk/country tunes that connect due to sheer song craft. Low key and lovely, request her soulful version of the Bee Gees’ “To Love Somebody.”

Fri., Dec. 17

Rising Appalachia, Variety Playhouse — Atlanta raised sisters Leah and Chloe Smith have fronted and crafted Rising Appalachia’s unique blend of world beat, Southern indigenous and folk music from around the globe, creating an enticing, unpredictable and inclusive mélange that has expanded their boundaries to national and international tours. They are also activists whose many projects include social, racial and environmental justice. Their albums are wonderful but are no replacement for the live experience that adds dance and often surprising, exciting visuals to their musical stew.

Sat., Dec. 18

SUSTO, Rose Hotel, Terminal West — The band members may have changed through the years, but SUSTO remains the project of singer/songwriter Justin Osbourne who has maintained a comforting, pleasant if somewhat faceless blend of folk, rock and jam band music. Arrive early for Atlanta’s Jordan Reynolds whose band’s dreamy combination of psyche-folk (her bio’s words) and songs from her 2019 debut intriguingly titled I Will Only Come When It’s a Yesare worth catching.

Sun., Dec. 19

Tenth Annual Holiday Hootenanny, Variety Playhouse — see feature.

Thurs., Dec. 23

Michelle Malone’s Hot Toddies, Red Clay Theater — It wouldn’t be an Atlanta Christmas without veteran singer/songwriter Malone taking her annual side trip down Santa Claus lane. Lower key and jazzier than her usual rocking fare, the trio creatively rearranges old favorites and throws some originals in for a fun, frothy evening that has become a holiday tradition.

Tues.-Fri., Dec. 28-31

Widespread Panic, Fox Theater — Would it be an Atlanta New Year without Athens’ most famous jam band export? Ring it in for four nights as Panic returns after a year off with their extended shows, long winding improvisations, sprawling bluesy Southern rocking, and bulging catalog of originals and covers. New music has been scarce (only two studio albums since 2010), so there will likely be fresh tunes to introduce. No two performances are the same and all are guaranteed to sell out, get tickets early.

Wed., Dec. 29

Bloodkin, Vinyl — The recent passing of Bloodkin co-founder Danny Hutchens has left his lifelong friend and Bloodkin co-founder Eric Carter (they met when each eight years old), and musical partner in a difficult situation — especially since the twosome had just released their stunning David Barbe-produced Black Market Tango double album and hadn’t had a chance to fully tour behind it. Making music together since around 1994, Carter has decided to press on, though Hutchens’ presence will be missed. The music lives on through a new batch of talented band members backing Carter, who is ready to display its roots rocking charms and lyrically inventiveness in songs like “John Coltrane in Nagasaki.”

Thurs., Dec. 30

Karl Denson’s Tiny Universe, Terminal West — The challenge for extraordinary tenor saxophonist Karl Denson (at last look he was also holding down one of the horn spots in the Stones’ touring ensemble) is to write quality songs that feature his fiery playing, giving his band room to roam. But even if the hooks and his vocals aren’t of James Brown or Prince quality (whose are?), he sure can generate a funky groove and that’s all that matters with a packed room of fans dancing to his scorching jazz/rocking soul.

Thurs.-Fri., Dec. 30-31

Indigo Girls with The Atlanta Symphony Orchestra, Symphony Hall — It’s always a love fest when Atlanta’s favorite folk duo return, even more so when they play their hometown on New Year’s Eve. This isn’t the first time they have played with the ASO, but it’s still a special event. The orchestra lends additional gravitas to Amy and Emily’s songs. The duo is as powerful now as when they first started performing almost 35 years ago. Theirs is an impressive run — with no signs of slowing down.

Fri., Dec. 31

Michelle Malone, Eddie’s Attic — Even Malone has probably lost count of how many New Year’s Eve shows she has performed at this storied Decatur venue. But it’s always a hoot and one of the highlights of the year. With a new album in 2022, fans will get a taste of what’s to come as they raise their champagne glasses and welcome in the next trip around the sun with one of Atlanta’s finest singer/songwriters. —CL—

Please send upcoming blues events to consider for CL’s Blues & Beyond concert calendar to hal.horowitz at creativeloafing.com.       0,0,10                           Blues & Beyond calendar of events "
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Marvin Jackson has been on a roll lately. Despite having a solid career playing in bands that began fifty years ago, he is finally getting around to putting out solo records — four of them in just the last six years. His new album, Radio Soft and Low, was recorded in Atlanta during the coronavirus pandemic.


Jackson’s introduction to playing music took place in his teens. “I was in high school with a bunch of crazy people,” he recalls. “There was Bruce Hampton, Glenn Phillips, several of the Thermos Greenwood guys. We were just a bunch of hellcats who all loved music, and Bruce, who was two years older than the rest of us, was like our gang leader.” Later, at the University of Georgia, Jackson got into Bob Dylan and began writing “real rudimentary” songs while plucking on a cheap acoustic guitar.

For a time Jackson and Hampton were in a band called Avenue of Happiness that toured alongside the Hampton Grease Band. “My second time ever on a stage was us opening for (Peter Green’s) Fleetwood Mac at the old Municipal Auditorium — a night to remember,” he says. His mother had a Pontiac Catalina that was big enough to carry their entire PA system in the back seat. “We were just driving to gigs and goofing off the whole time.”

A song on the new album called “Pot of Gold” is based on a text Jackson received from Hampton not long before his death. The title was the name of a convenience store the boys frequented on their way home from school, located at the corner of Powers Ferry and Roswell roads. “Years later I drove by there and the store had been torn down. So I texted Bruce to meet me. He went ‘yes sir, right away; I’ll be there.’ So I saved that and turned it into a song after he died.”

Radio Soft and Low was produced by Martin Kearns, the keyboardist and producer who has worked with hundreds of musicians in various genres, though locally, he’s probably best known for his work with the likes of Love Tractor, Drivin N Cryin, Shawn Mullins, The Swimming Pool Qs, and Cindy Wilson. Jackson calls him a “genius who gets crazy” in the studio. The title track refers to a drive Jackson took alone to Charleston. “Radio soft and low/Moonlight fades to glow/Drive the dark into the day/And the nightmare goes away.”

The Atlanta-based guitarist and singer (not to be confused with the 1950s rockabilly star of the same name) toured incessantly in the 1970s and ‘80s with artists like Darryl Rhoades. “I was his lead guitar player for the whole time that band was together,” he says. “We went all over the country and we got really close to making it and getting a record deal. Saturday Night Live was lined up but it fell through; that was a heartbreaker. All of a sudden I was in a sixties copy band named Cruis-O-Matic that opened up for The Cars.” Stints in bar bands followed and by this time Jackson was trying his hand at writing New Wave pop songs.

By 1986, though, Jackson decided he’d had enough; he quit the road and the music business itself, and stayed away for 20 years, becoming a house appraiser to earn a living. “I had just had a daughter and I didn’t want to be playing somewhere in Florida when she was learning how to walk.” He adds that while he didn’t even pick up a guitar during that period, music remained his obsession. “This latest batch of songs were percolating for all those years.”

Two of them are instrumentals. “Monaco” is reminiscent of a 1970s movie soundtrack. Jackson says “You can just see Dean Martin — with a cigarette holder — and Grace Kelly driving down to the beach in a Jaguar convertible.”

The other one is the melodic “Horizon Muse” featuring a lovely cello passage by Okorie Johnson (a/k/a OkCello). “Elegy for 2,” written in tribute to two deceased friends. “I didn’t want to write a whole bunch of mushy lyrics, so I just put together an Irish-sounding ballad with accordion” with a brief chorus about friendship, he explains. “The lyrics have to mean something to me, or else they’re crap.”

Michael Meyer, former frontman of the Lizardmen and now with The Rainmen, sings the lead on “the prettiest song on there,” according to Jackson: “Still Remains” is about an “old love.” Jackson has used Meyer and “that brilliant voice of his” on all four of his albums — Tip of my Finger, Never Say Goodbye, Big Yellow Moon, and, of course, Radio Soft and Low —  the only musician to have that distinction. Meyer’s bandmate, bassist and singer Lyle Bufkin, is also on the album, and so are other Atlanta diehards such as saxophonist Phillip Raines, vocalist Ansley Stewart, and engineer Martina Albano.

“For some weird reason making it was kind of easy,” Jackson says of the recording process. “The whole album flowed out. There’s a lot of variety on it — country, rock ‘n’ roll, whatever. My mind is over here singing a Dylan song and then I’m doing Chick Corea. But you know what? It’s all beautiful music.”

Marvin Jackson and his band will play the Red Light Cafe on Sunday, Jan. 23, 2022. 553-1 Amsterdam Ave. NE 404-874-7828 redlightcafe.com"
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Marvin Jackson has been on a roll lately. Despite having a solid career playing in bands that began fifty years ago, he is finally getting around to putting out solo records — four of them in just the last six years. His new album, ''Radio Soft and Low'', was recorded in Atlanta during the coronavirus pandemic.


Jackson’s introduction to playing music took place in his teens. “I was in high school with a bunch of crazy people,” he recalls. “There was Bruce Hampton, Glenn Phillips, several of the Thermos Greenwood guys. We were just a bunch of hellcats who all loved music, and Bruce, who was two years older than the rest of us, was like our gang leader.” Later, at the University of Georgia, Jackson got into Bob Dylan and began writing “real rudimentary” songs while plucking on a cheap acoustic guitar.

For a time Jackson and Hampton were in a band called Avenue of Happiness that toured alongside the Hampton Grease Band. “My second time ever on a stage was us opening for (Peter Green’s) Fleetwood Mac at the old Municipal Auditorium — a night to remember,” he says. His mother had a Pontiac Catalina that was big enough to carry their entire PA system in the back seat. “We were just driving to gigs and goofing off the whole time.”

A song on the new album called “Pot of Gold” is based on a text Jackson received from Hampton not long before his death. The title was the name of a convenience store the boys frequented on their way home from school, located at the corner of Powers Ferry and Roswell roads. “Years later I drove by there and the store had been torn down. So I texted Bruce to meet me. He went ‘yes sir, right away; I’ll be there.’ So I saved that and turned it into a song after he died.”

''Radio Soft and Low'' was produced by Martin Kearns, the keyboardist and producer who has worked with hundreds of musicians in various genres, though locally, he’s probably best known for his work with the likes of Love Tractor, Drivin N Cryin, Shawn Mullins, The Swimming Pool Qs, and Cindy Wilson. Jackson calls him a “genius who gets crazy” in the studio. The title track refers to a drive Jackson took alone to Charleston. “Radio soft and low/Moonlight fades to glow/Drive the dark into the day/And the nightmare goes away.”

The Atlanta-based guitarist and singer (not to be confused with the 1950s rockabilly star of the same name) toured incessantly in the 1970s and ‘80s with artists like Darryl Rhoades. “I was his lead guitar player for the whole time that band was together,” he says. “We went all over the country and we got really close to making it and getting a record deal. ''Saturday Night Live'' was lined up but it fell through; that was a heartbreaker. All of a sudden I was in a sixties copy band named Cruis-O-Matic that opened up for The Cars.” Stints in bar bands followed and by this time Jackson was trying his hand at writing New Wave pop songs.

By 1986, though, Jackson decided he’d had enough; he quit the road and the music business itself, and stayed away for 20 years, becoming a house appraiser to earn a living. “I had just had a daughter and I didn’t want to be playing somewhere in Florida when she was learning how to walk.” He adds that while he didn’t even pick up a guitar during that period, music remained his obsession. “This latest batch of songs were percolating for all those years.”

Two of them are instrumentals. “Monaco” is reminiscent of a 1970s movie soundtrack. Jackson says “You can just see Dean Martin — with a cigarette holder — and Grace Kelly driving down to the beach in a Jaguar convertible.”

The other one is the melodic “Horizon Muse” featuring a lovely cello passage by Okorie Johnson (a/k/a OkCello). “Elegy for 2,” written in tribute to two deceased friends. “I didn’t want to write a whole bunch of mushy lyrics, so I just put together an Irish-sounding ballad with accordion” with a brief chorus about friendship, he explains. “The lyrics have to mean something to me, or else they’re crap.”

Michael Meyer, former frontman of the Lizardmen and now with The Rainmen, sings the lead on “the prettiest song on there,” according to Jackson: “Still Remains” is about an “old love.” Jackson has used Meyer and “that brilliant voice of his” on all four of his albums — ''Tip of my Finger'', ''Never Say Goodbye'', ''Big Yellow Moon'', and, of course, ''Radio Soft and Low'' —  the only musician to have that distinction. Meyer’s bandmate, bassist and singer Lyle Bufkin, is also on the album, and so are other Atlanta diehards such as saxophonist Phillip Raines, vocalist Ansley Stewart, and engineer Martina Albano.

“For some weird reason making it was kind of easy,” Jackson says of the recording process. “The whole album flowed out. There’s a lot of variety on it — country, rock ‘n’ roll, whatever. My mind is over here singing a Dylan song and then I’m doing Chick Corea. But you know what? It’s all beautiful music.”

''Marvin Jackson and his band will play the Red Light Cafe on Sunday, Jan. 23, 2022. 553-1 Amsterdam Ave. NE 404-874-7828 redlightcafe.com''"
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  string(5821) " JACKSON Marvin AtKathy S Reduced Web  2021-12-09T17:34:19+00:00 JACKSON_Marvin_AtKathy_s_reduced_web.jpg    What a treat this album is...all of the others too! Marvin has a gift and the talent  playing with him on all of his songs is phenomenal!  Marvin Jackson’s fourth solo album JACKSON Marvin AtKathy S Reduced Web   2021-12-03T17:21:00+00:00  REVIEW: ‘Radio Soft and Low’ jim.harris Jim Harris KEVIN C. MADIGAN kcmadigan (Kevin C. Madigan) 2021-12-03T17:21:00+00:00 
Marvin Jackson has been on a roll lately. Despite having a solid career playing in bands that began fifty years ago, he is finally getting around to putting out solo records — four of them in just the last six years. His new album, Radio Soft and Low, was recorded in Atlanta during the coronavirus pandemic.


Jackson’s introduction to playing music took place in his teens. “I was in high school with a bunch of crazy people,” he recalls. “There was Bruce Hampton, Glenn Phillips, several of the Thermos Greenwood guys. We were just a bunch of hellcats who all loved music, and Bruce, who was two years older than the rest of us, was like our gang leader.” Later, at the University of Georgia, Jackson got into Bob Dylan and began writing “real rudimentary” songs while plucking on a cheap acoustic guitar.

For a time Jackson and Hampton were in a band called Avenue of Happiness that toured alongside the Hampton Grease Band. “My second time ever on a stage was us opening for (Peter Green’s) Fleetwood Mac at the old Municipal Auditorium — a night to remember,” he says. His mother had a Pontiac Catalina that was big enough to carry their entire PA system in the back seat. “We were just driving to gigs and goofing off the whole time.”

A song on the new album called “Pot of Gold” is based on a text Jackson received from Hampton not long before his death. The title was the name of a convenience store the boys frequented on their way home from school, located at the corner of Powers Ferry and Roswell roads. “Years later I drove by there and the store had been torn down. So I texted Bruce to meet me. He went ‘yes sir, right away; I’ll be there.’ So I saved that and turned it into a song after he died.”

Radio Soft and Low was produced by Martin Kearns, the keyboardist and producer who has worked with hundreds of musicians in various genres, though locally, he’s probably best known for his work with the likes of Love Tractor, Drivin N Cryin, Shawn Mullins, The Swimming Pool Qs, and Cindy Wilson. Jackson calls him a “genius who gets crazy” in the studio. The title track refers to a drive Jackson took alone to Charleston. “Radio soft and low/Moonlight fades to glow/Drive the dark into the day/And the nightmare goes away.”

The Atlanta-based guitarist and singer (not to be confused with the 1950s rockabilly star of the same name) toured incessantly in the 1970s and ‘80s with artists like Darryl Rhoades. “I was his lead guitar player for the whole time that band was together,” he says. “We went all over the country and we got really close to making it and getting a record deal. Saturday Night Live was lined up but it fell through; that was a heartbreaker. All of a sudden I was in a sixties copy band named Cruis-O-Matic that opened up for The Cars.” Stints in bar bands followed and by this time Jackson was trying his hand at writing New Wave pop songs.

By 1986, though, Jackson decided he’d had enough; he quit the road and the music business itself, and stayed away for 20 years, becoming a house appraiser to earn a living. “I had just had a daughter and I didn’t want to be playing somewhere in Florida when she was learning how to walk.” He adds that while he didn’t even pick up a guitar during that period, music remained his obsession. “This latest batch of songs were percolating for all those years.”

Two of them are instrumentals. “Monaco” is reminiscent of a 1970s movie soundtrack. Jackson says “You can just see Dean Martin — with a cigarette holder — and Grace Kelly driving down to the beach in a Jaguar convertible.”

The other one is the melodic “Horizon Muse” featuring a lovely cello passage by Okorie Johnson (a/k/a OkCello). “Elegy for 2,” written in tribute to two deceased friends. “I didn’t want to write a whole bunch of mushy lyrics, so I just put together an Irish-sounding ballad with accordion” with a brief chorus about friendship, he explains. “The lyrics have to mean something to me, or else they’re crap.”

Michael Meyer, former frontman of the Lizardmen and now with The Rainmen, sings the lead on “the prettiest song on there,” according to Jackson: “Still Remains” is about an “old love.” Jackson has used Meyer and “that brilliant voice of his” on all four of his albums — Tip of my Finger, Never Say Goodbye, Big Yellow Moon, and, of course, Radio Soft and Low —  the only musician to have that distinction. Meyer’s bandmate, bassist and singer Lyle Bufkin, is also on the album, and so are other Atlanta diehards such as saxophonist Phillip Raines, vocalist Ansley Stewart, and engineer Martina Albano.

“For some weird reason making it was kind of easy,” Jackson says of the recording process. “The whole album flowed out. There’s a lot of variety on it — country, rock ‘n’ roll, whatever. My mind is over here singing a Dylan song and then I’m doing Chick Corea. But you know what? It’s all beautiful music.”

Marvin Jackson and his band will play the Red Light Cafe on Sunday, Jan. 23, 2022. 553-1 Amsterdam Ave. NE 404-874-7828 redlightcafe.com    SLOAN CARROLL RAINWATER/MYSLOANPHOTO.COM AT KATHY’S: Marvin Jackson.  0,0,1                           REVIEW: ‘Radio Soft and Low’ "
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  string(7869) "From now until Tues., Dec. 31 — with the exception of Sat., Dec. 25 — Best End Brewing Company, 1036 White Street SW, in the West End. is bringing back its pop-up Christmas Bar. Right off the SW trail of the BeltLine in the brewery’s Flamingo Room, the bar will be open until the usual closing hours (unless the elves feel like they want to keep partying).

Red Hare Brewing in Marietta is having a Rockin’ Ugly Sweater Party on Dec. 17 from noon-7 p.m. with live music, specialty cocktails, and limited small batch beers available. Show off your ugliest sweater for a chance to win gift cards! Check out our Red Hare podcast!

Roswell’s From the Earth Brewing Company is having a holiday party Friday, Dec. 17 starting at 5 p.m.  Join them for live music and plenty of good cheer.

Cultivation Brewing in Norcross is having a chili cook-off on Dec. 18 at 4 p.m.  Tickets are $10 or a new, unwrapped toy for Toys for Tots.

Check out the Wreath Making Workshop at Arches Brewing in Hapeville on Dec. 18 from 4-6:30 p.m.  Tickets include all materials needed to create your own 12-inch holiday wreath! Check out our Arches Brewing podcast!

Join Fire Maker Brewing on Dec. 18 from noon-3 p.m. for Pups and Pints!  Meet adoptable dogs and  a percentage of beer and coffee sales that day will go to benefit PAWS Atlanta, a non-profit animal welfare organization in Decatur. Check out our Fire Maker Brewing podcast!

Looking ahead to Christmas, Alpharetta’s Cherry Street Brew Pub at Halcyon celebrates Brunch and Brews with Santa on Saturday, Dec. 18 from 10:00 a.m. to 2:00 p. m.  In addition to brunch and Santa, they’ll have a kid’s ornament decorating class—and no charge for photos with Santa!  You can also spend New Years with them from 9-12:30 p.m with live music, light snacks and a free champagne toast.  Tickets available here.

Santa is also dropping by Social Fox Brewing in Norcross on Saturday, Dec. 18 from 1-3 p.m. Come by and take your family photos with Santa and bring the kids for story time as well! Check out our Social Fox Brewing podcast!

Tacky sweater parties seem to be the big theme this year, and StillFire Brewing in Suwanee is having one on Saturday, Dec. 18 at 9 p.m. during their holiday party that starts at 4 p.m. Check out our StillFire Brewing podcast!

Dry County Brewing in Kennesaw is having their own tacky sweater party on Dec. 18 from 2 p.m. to midnight.  They’ll have live music starting at 7 p.m. and the Crazy Hawg BBQ food truck starting at 4 p.m. Check out ourDry County Brewing podcast!

Join Line Creek Brewing Company in Peachtree City for their Cheers and Beers Christmas Pajama Party on Dec. 18 from 7-10 p.m. featuring live music, fresh craft brews, and food from Blue Nomad Grill and Georgia Tacos. Check out our Line Creek Brewing podcast!

Santa will be hanging out at Scofflaw Brewing Company on the Westside on Sunday, Dec. 19 from 1-6:30 p.m.  Come take your photo with Santa (kids have first priority over adults and animals).  They’ll also have a Hot Cocoa station and a food truck on site.

Join Eventide Brewing in Grant Park for their Holiday Extravaganza from 1-6 p.m. on Dec. 19.   Santa will be there, and they’ll have a local artist holiday market as well.  Bring a donation of new, unwrapped toy or coats for all ages and get a free beer! Check out our Eventide Brewing podcast!

If you are already looking ahead to New Year’s, New Realm Brewing in Old Fourth Ward is already selling tickets for their New Year’s Eve party that will include an open bar, live music, and two buffets.  Tickets available here.

Celebrate the New Year with Gate City Brewing in Roswell from noon to 12:30am.  They’ll have a live DJ, 18 beers on tap, and seasonal craft cocktails in addition to food from Q’Paso—no ticket necessary!

And if you want to look even further into 2022, Sweetwater Brewing has announced the dates for that year’s 420 Fest—it’s happening in Centennial Olympic Park from Thursday, Apr. 28 through May 1!

!!Ongoing:
Arches Brewing (3361 Dogwood Dr, Hapeville) hosts The Bingo Show on Sundays from 1-3 p.m. Play bingo with beer and drag queens! Check out our Arches podcast!

Fire Maker Brewing (975 Chattahoochee Ave, Atlanta) in West Midtown features trivia every Wednesday and themed trivia every Thursday, both starting at 6:30 p.m. Check out their new beer garden and their new hazy Winter IPA called Yukon Cornelius! Check out our Fire Maker podcast!

Ironmonger Brewing (2129 NW Pkwy, Marietta) features trivia every Wednesday from 7-9 p.m. It’s free to play, and you get $1 off selected pints for your team! Check out our Ironmonger podcast!

Ironshield Brewing (457 N Chestnut St, Lawrenceville) also features trivia every Wednesday from 7:15-9:00 p.m. and Game Night every Thursday from 5-9 p.m. Check out our Ironshield podcast!

Watch NFL and College football games every Saturday and Sunday through the season from noon-8:00 p.m at Monday Night Brewing (670 Trabert Ave, Atlanta) in West Midtown and Monday Night Garage (933 Lee St, Atlanta) in West End. Wear your team’s gear and get a free beer! Check out our Monday Night podcast!

NoFo Brew Co (6150 GA-400, Cumming) features Music Bingo every Wednesday from 7-9 p.m.

Orpheus Brewing (1440 Dutch Valley Pl, Atlanta) in Ansley Park has trivia every Tuesday from 7-9 p.m. First, second, and third place all win Orpheus gift cards. Check out our Orpheus Brewing podcast!

Outrun Brewing Company in Stone Mountain features trivia competitions every Thursday from 7-9 p.m. Stop by for a chance to win beer credit and check out their new brew called Midnight Run featuring flavors of malt and chocolate, it is light with a dry finish. Check out our Outrun Brewing podcast!

Reformation Brewery has trivia at their Woodstock location (105 Elm St) on Wednesdays from 7-9 p.m., at their Canton location (225 Reformation Pkwy) on Thursdays from 7-9 p.m., and at the Smyrna location (6255 Riverview Rd) on Sundays from 6-8 p.m. Check out our Reformation podcast!

If you’re looking for something other than trivia, check out Speed Puzzles at Round Trip Brewing (1279 Seaboard Industrial Blvd, Atlanta) on the Westside every Tuesday from 6:30-9:00 p.m. Assemble a 500 piece puzzle as quickly as possible, and you might win a gift card for your next visit! Check out our Round Trip podcast!

Join Second Self Beer Company (1317 Logan Circle, Atlanta) in West Midtown for their new Wag-A-Long Wednesdays! Every Wednesday from 5-9 p.m, bring your doggy friend with you and get $1 off your first pint, and $10 pitchers for everyone else! Check out our Second Self podcast!

Six Bridges Brewing (11455 Lakefield Dr, Johns Creek) joins Hard Hitting Trivia every Tuesday from 7:30 to 9:00 p.m. and check out food truck nights on Tuesdays, Fridays, and Saturdays from 4-9 p.m. Check out our Six Bridges podcast!

Slow Pour Brewing Company (407 N Clayton St, Lawrenceville) has trivia every Thursday from 7-9 p.m. First, second, and third place teams win Slow Pour gift cards.

Social Fox Brewing (20 Skin Alley, Norcross) is now a proud sponsor of the Atlanta Gladiators and you’ll be able to purchase some of their brews at the Gas South Arena as of November 5! You can also watch all the Gladiators away games in the taproom! Check out our Social Fox podcast!

Play trivia with the good folks at Sweetwater Brewing (195 Ottley Dr) in Midtown on Wednesdays at 7 p.m.

Tucker Brewing (2003 S Bibb Dr, Tucker) has trivia on the first and third Wednesdays every month from 6:30-8:00 p.m. Check out our Tucker Brewing podcast!

Variant Brewing Company (66 Norcross St, Roswell) celebrates Trivia Tuesday every Tuesday from 7-9 p.m. Prizes for first, second, and third place. Check out our Variant Brewing podcast! —CL—"
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  string(10255) "From now until Tues., Dec. 31 — with the exception of Sat., Dec. 25 — __[https://www.bestendbrewing.com/|Best End Brewing Company]__, 1036 White Street SW, in the West End. is bringing back its pop-up Christmas Bar. Right off the SW trail of the BeltLine in the brewery’s Flamingo Room, the bar will be open until the usual closing hours (unless the elves feel like they want to keep partying).

__[https://www.redharebrewing.com/|Red Hare Brewing]__ in Marietta is having a Rockin’ Ugly Sweater Party on Dec. 17 from noon-7 p.m. with live music, specialty cocktails, and limited small batch beers available. Show off your ugliest sweater for a chance to win gift cards! Check out our [https://creativeloafing.com/content-469880|Red Hare] podcast!

Roswell’s __[https://www.ftebrewing.com/|From the Earth Brewing Company]__ is having a holiday party Friday, Dec. 17 starting at 5 p.m.  Join them for live music and plenty of good cheer.

__[https://www.cultivationbrew.com/|Cultivation Brewing]__ in Norcross is having a chili cook-off on Dec. 18 at 4 p.m.  Tickets are $10 or a new, unwrapped toy for Toys for Tots.

Check out the Wreath Making Workshop at __[https://www.archesbrewing.com/|Arches Brewing]__ in Hapeville on Dec. 18 from 4-6:30 p.m.  Tickets include all materials needed to create your own 12-inch holiday wreath! Check out our [https://creativeloafing.com/content-468107|Arches Brewing podcast]!

Join __[https://www.firemakerbeer.com/|Fire Maker Brewing]__ on Dec. 18 from noon-3 p.m. for Pups and Pints!  Meet adoptable dogs and  a percentage of beer and coffee sales that day will go to benefit PAWS Atlanta, a non-profit animal welfare organization in Decatur. Check out our [https://creativeloafing.com/content-476419|Fire Maker Brewing podcast]!

Looking ahead to Christmas, Alpharetta’s __[http://www.cherrystreetbrewing.com/halcyon/|Cherry Street Brew Pub at Halcyon]__ celebrates Brunch and Brews with Santa on Saturday, Dec. 18 from 10:00 a.m. to 2:00 p. m.  In addition to brunch and Santa, they’ll have a kid’s ornament decorating class—and no charge for photos with Santa!  You can also spend New Years with them from 9-12:30 p.m with live music, light snacks and a free champagne toast.  Tickets available [https://biermi.com/store/cherry-street-halcyon/store|here].

Santa is also dropping by __[https://www.socialfoxbrewing.com/|Social Fox Brewing]__ in Norcross on Saturday, Dec. 18 from 1-3 p.m. Come by and take your family photos with Santa and bring the kids for story time as well! Check out our [https://creativeloafing.com/content-490339    |Social Fox Brewing podcast]!

Tacky sweater parties seem to be the big theme this year, and __[https://stillfirebrewing.com/|StillFire Brewing]__ in Suwanee is having one on Saturday, Dec. 18 at 9 p.m. during their holiday party that starts at 4 p.m. Check out our [https://creativeloafing.com/content-479175|StillFire Brewing podcast]!

__[https://drycountybrewco.com/|Dry County Brewing]__ in Kennesaw is having their own tacky sweater party on Dec. 18 from 2 p.m. to midnight.  They’ll have live music starting at 7 p.m. and the Crazy Hawg BBQ food truck starting at 4 p.m. Check out our[https://creativeloafing.com/content-472433|Dry County Brewing podcast]!

Join __[https://linecreekbrewing.com/|Line Creek Brewing Company]__ in Peachtree City for their Cheers and Beers Christmas Pajama Party on Dec. 18 from 7-10 p.m. featuring live music, fresh craft brews, and food from Blue Nomad Grill and Georgia Tacos. Check out our [https://creativeloafing.com/content-489089|Line Creek Brewing podcast]!

Santa will be hanging out at __[https://scofflawbeer.com/|Scofflaw Brewing Company]__ on the Westside on Sunday, Dec. 19 from 1-6:30 p.m.  Come take your photo with Santa (kids have first priority over adults and animals).  They’ll also have a Hot Cocoa station and a food truck on site.

Join __[https://www.eventidebrewing.com/|Eventide Brewing]__ in Grant Park for their Holiday Extravaganza from 1-6 p.m. on Dec. 19.   Santa will be there, and they’ll have a local artist holiday market as well.  Bring a donation of new, unwrapped toy or coats for all ages and get a free beer! Check out our [https://creativeloafing.com/content-468597|Eventide Brewing podcast]!

If you are already looking ahead to New Year’s, __[https://newrealmbrewing.com/|New Realm Brewing]__ in Old Fourth Ward is already selling tickets for their New Year’s Eve party that will include an open bar, live music, and two buffets.  Tickets available [www.eventbrite.com/e/new-years-eve-at-new-realm-tickets-198476798447|here].

Celebrate the New Year with __[https://www.gatecitybrewingcompany.com/|Gate City Brewing]__ in Roswell from noon to 12:30am.  They’ll have a live DJ, 18 beers on tap, and seasonal craft cocktails in addition to food from Q’Paso—no ticket necessary!

And if you want to look even further into 2022, __[sweetwaterbrew.com|Sweetwater Brewing]__ has announced the dates for that year’s 420 Fest—it’s happening in Centennial Olympic Park from Thursday, Apr. 28 through May 1!

!!__Ongoing:__
__[https://www.archesbrewing.com/|Arches Brewing]__ (3361 Dogwood Dr, Hapeville) hosts The Bingo Show on Sundays from 1-3 p.m. Play bingo with beer and drag queens! Check out our [https://creativeloafing.com/content-468107|Arches podcast]!

__[https://www.firemakerbeer.com/|Fire Maker Brewing] __(975 Chattahoochee Ave, Atlanta) in West Midtown features trivia every Wednesday and themed trivia every Thursday, both starting at 6:30 p.m. Check out their new beer garden and their new hazy Winter IPA called Yukon Cornelius! Check out our [https://creativeloafing.com/content-476419|Fire Maker podcast]!

__[https://www.ironmongerbrewing.com/|Ironmonger Brewing]__ (2129 NW Pkwy, Marietta) features trivia every Wednesday from 7-9 p.m. It’s free to play, and you get $1 off selected pints for your team! Check out our [https://creativeloafing.com/content-470339|Ironmonger podcast]!

__[https://www.ironshieldbrewing.com/|Ironshield Brewing]__ (457 N Chestnut St, Lawrenceville) also features trivia every Wednesday from 7:15-9:00 p.m. and Game Night every Thursday from 5-9 p.m. Check out our [https://creativeloafing.com/content-477448|Ironshield podcast]!

Watch NFL and College football games every Saturday and Sunday through the season from noon-8:00 p.m at __[https://mondaynightbrewing.com/|Monday Night Brewing] __(670 Trabert Ave, Atlanta) in West Midtown and __Monday Night Garage__ (933 Lee St, Atlanta) in West End. Wear your team’s gear and get a free beer! Check out our [https://creativeloafing.com/content-467392|Monday Night podcast]!

__[https://www.nofobrew.co/age-check/|NoFo Brew Co]__ (6150 GA-400, Cumming) features Music Bingo every Wednesday from 7-9 p.m.

__[https://www.orpheusbrewing.com/|Orpheus Brewing]__ (1440 Dutch Valley Pl, Atlanta) in Ansley Park has trivia every Tuesday from 7-9 p.m. First, second, and third place all win Orpheus gift cards. Check out our [https://creativeloafing.com/content-466935|Orpheus Brewing podcast]!

__[https://www.outrunbrewingco.com/#/|Outrun Brewing Company]__ in Stone Mountain features trivia competitions every Thursday from 7-9 p.m. Stop by for a chance to win beer credit and check out their new brew called Midnight Run featuring flavors of malt and chocolate, it is light with a dry finish. Check out our [https://creativeloafing.com/content-478491|Outrun Brewing podcast]!

__[https://reformationbrewery.com/|Reformation Brewery]__ has trivia at their Woodstock location (105 Elm St) on Wednesdays from 7-9 p.m., at their Canton location (225 Reformation Pkwy) on Thursdays from 7-9 p.m., and at the Smyrna location (6255 Riverview Rd) on Sundays from 6-8 p.m. Check out our [https://creativeloafing.com/content-478566|Reformation podcast]!

If you’re looking for something other than trivia, check out Speed Puzzles at __[https://roundtripbrewing.com/|Round Trip Brewing]__ (1279 Seaboard Industrial Blvd, Atlanta) on the Westside every Tuesday from 6:30-9:00 p.m. Assemble a 500 piece puzzle as quickly as possible, and you might win a gift card for your next visit! Check out our [https://creativeloafing.com/content-479366|Round Trip podcast]!

Join __[https://secondselfbeer.com/|Second Self Beer Company]__ (1317 Logan Circle, Atlanta) in West Midtown for their new Wag-A-Long Wednesdays! Every Wednesday from 5-9 p.m, bring your doggy friend with you and get $1 off your first pint, and $10 pitchers for everyone else! Check out our [https://creativeloafing.com/content-466778|Second Self podcast]!

__[https://www.sixbridgesbrewing.com/|Six Bridges Brewing]__ (11455 Lakefield Dr, Johns Creek) joins Hard Hitting Trivia every Tuesday from 7:30 to 9:00 p.m. and check out food truck nights on Tuesdays, Fridays, and Saturdays from 4-9 p.m. Check out our [https://creativeloafing.com/content-477097|Six Bridges podcast]!

__[https://slowpourbrewing.com/|Slow Pour Brewing Company]__ (407 N Clayton St, Lawrenceville) has trivia every Thursday from 7-9 p.m. First, second, and third place teams win Slow Pour gift cards.

__[https://www.socialfoxbrewing.com/|Social Fox Brewing]__ (20 Skin Alley, Norcross) is now a proud sponsor of the Atlanta Gladiators and you’ll be able to purchase some of their brews at the Gas South Arena as of November 5! You can also watch all the Gladiators away games in the taproom! Check out our [https://creativeloafing.com/content-490339    |Social Fox podcast]!

Play trivia with the good folks at __[https://www.sweetwaterbrew.com/|Sweetwater Brewing]__ (195 Ottley Dr) in Midtown on Wednesdays at 7 p.m.

__[https://tuckerbrewing.com/|Tucker Brewing]__ (2003 S Bibb Dr, Tucker) has trivia on the first and third Wednesdays every month from 6:30-8:00 p.m. Check out our [https://creativeloafing.com/content-469494|Tucker Brewing podcast]!

__[https://www.variantbrewing.com/|Variant Brewing Company]__ (66 Norcross St, Roswell) celebrates Trivia Tuesday every Tuesday from 7-9 p.m. Prizes for first, second, and third place. Check out our [https://creativeloafing.com/content-478246|Variant Brewing podcast]! __—CL—__"
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  string(8347) " DSC 0361 Copy  2021-12-10T19:55:36+00:00 DSC_0361 copy.JPG      ATL breweries line-up holiday festivities DSC 0361 Copy   2021-12-10T19:49:19+00:00  ON TAP: Jingle jangle all the way tony.paris Tony Paris Jill Melancon jill.melancon (Jill Melancon) 2021-12-10T19:49:19+00:00 From now until Tues., Dec. 31 — with the exception of Sat., Dec. 25 — Best End Brewing Company, 1036 White Street SW, in the West End. is bringing back its pop-up Christmas Bar. Right off the SW trail of the BeltLine in the brewery’s Flamingo Room, the bar will be open until the usual closing hours (unless the elves feel like they want to keep partying).

Red Hare Brewing in Marietta is having a Rockin’ Ugly Sweater Party on Dec. 17 from noon-7 p.m. with live music, specialty cocktails, and limited small batch beers available. Show off your ugliest sweater for a chance to win gift cards! Check out our Red Hare podcast!

Roswell’s From the Earth Brewing Company is having a holiday party Friday, Dec. 17 starting at 5 p.m.  Join them for live music and plenty of good cheer.

Cultivation Brewing in Norcross is having a chili cook-off on Dec. 18 at 4 p.m.  Tickets are $10 or a new, unwrapped toy for Toys for Tots.

Check out the Wreath Making Workshop at Arches Brewing in Hapeville on Dec. 18 from 4-6:30 p.m.  Tickets include all materials needed to create your own 12-inch holiday wreath! Check out our Arches Brewing podcast!

Join Fire Maker Brewing on Dec. 18 from noon-3 p.m. for Pups and Pints!  Meet adoptable dogs and  a percentage of beer and coffee sales that day will go to benefit PAWS Atlanta, a non-profit animal welfare organization in Decatur. Check out our Fire Maker Brewing podcast!

Looking ahead to Christmas, Alpharetta’s Cherry Street Brew Pub at Halcyon celebrates Brunch and Brews with Santa on Saturday, Dec. 18 from 10:00 a.m. to 2:00 p. m.  In addition to brunch and Santa, they’ll have a kid’s ornament decorating class—and no charge for photos with Santa!  You can also spend New Years with them from 9-12:30 p.m with live music, light snacks and a free champagne toast.  Tickets available here.

Santa is also dropping by Social Fox Brewing in Norcross on Saturday, Dec. 18 from 1-3 p.m. Come by and take your family photos with Santa and bring the kids for story time as well! Check out our Social Fox Brewing podcast!

Tacky sweater parties seem to be the big theme this year, and StillFire Brewing in Suwanee is having one on Saturday, Dec. 18 at 9 p.m. during their holiday party that starts at 4 p.m. Check out our StillFire Brewing podcast!

Dry County Brewing in Kennesaw is having their own tacky sweater party on Dec. 18 from 2 p.m. to midnight.  They’ll have live music starting at 7 p.m. and the Crazy Hawg BBQ food truck starting at 4 p.m. Check out ourDry County Brewing podcast!

Join Line Creek Brewing Company in Peachtree City for their Cheers and Beers Christmas Pajama Party on Dec. 18 from 7-10 p.m. featuring live music, fresh craft brews, and food from Blue Nomad Grill and Georgia Tacos. Check out our Line Creek Brewing podcast!

Santa will be hanging out at Scofflaw Brewing Company on the Westside on Sunday, Dec. 19 from 1-6:30 p.m.  Come take your photo with Santa (kids have first priority over adults and animals).  They’ll also have a Hot Cocoa station and a food truck on site.

Join Eventide Brewing in Grant Park for their Holiday Extravaganza from 1-6 p.m. on Dec. 19.   Santa will be there, and they’ll have a local artist holiday market as well.  Bring a donation of new, unwrapped toy or coats for all ages and get a free beer! Check out our Eventide Brewing podcast!

If you are already looking ahead to New Year’s, New Realm Brewing in Old Fourth Ward is already selling tickets for their New Year’s Eve party that will include an open bar, live music, and two buffets.  Tickets available here.

Celebrate the New Year with Gate City Brewing in Roswell from noon to 12:30am.  They’ll have a live DJ, 18 beers on tap, and seasonal craft cocktails in addition to food from Q’Paso—no ticket necessary!

And if you want to look even further into 2022, Sweetwater Brewing has announced the dates for that year’s 420 Fest—it’s happening in Centennial Olympic Park from Thursday, Apr. 28 through May 1!

!!Ongoing:
Arches Brewing (3361 Dogwood Dr, Hapeville) hosts The Bingo Show on Sundays from 1-3 p.m. Play bingo with beer and drag queens! Check out our Arches podcast!

Fire Maker Brewing (975 Chattahoochee Ave, Atlanta) in West Midtown features trivia every Wednesday and themed trivia every Thursday, both starting at 6:30 p.m. Check out their new beer garden and their new hazy Winter IPA called Yukon Cornelius! Check out our Fire Maker podcast!

Ironmonger Brewing (2129 NW Pkwy, Marietta) features trivia every Wednesday from 7-9 p.m. It’s free to play, and you get $1 off selected pints for your team! Check out our Ironmonger podcast!

Ironshield Brewing (457 N Chestnut St, Lawrenceville) also features trivia every Wednesday from 7:15-9:00 p.m. and Game Night every Thursday from 5-9 p.m. Check out our Ironshield podcast!

Watch NFL and College football games every Saturday and Sunday through the season from noon-8:00 p.m at Monday Night Brewing (670 Trabert Ave, Atlanta) in West Midtown and Monday Night Garage (933 Lee St, Atlanta) in West End. Wear your team’s gear and get a free beer! Check out our Monday Night podcast!

NoFo Brew Co (6150 GA-400, Cumming) features Music Bingo every Wednesday from 7-9 p.m.

Orpheus Brewing (1440 Dutch Valley Pl, Atlanta) in Ansley Park has trivia every Tuesday from 7-9 p.m. First, second, and third place all win Orpheus gift cards. Check out our Orpheus Brewing podcast!

Outrun Brewing Company in Stone Mountain features trivia competitions every Thursday from 7-9 p.m. Stop by for a chance to win beer credit and check out their new brew called Midnight Run featuring flavors of malt and chocolate, it is light with a dry finish. Check out our Outrun Brewing podcast!

Reformation Brewery has trivia at their Woodstock location (105 Elm St) on Wednesdays from 7-9 p.m., at their Canton location (225 Reformation Pkwy) on Thursdays from 7-9 p.m., and at the Smyrna location (6255 Riverview Rd) on Sundays from 6-8 p.m. Check out our Reformation podcast!

If you’re looking for something other than trivia, check out Speed Puzzles at Round Trip Brewing (1279 Seaboard Industrial Blvd, Atlanta) on the Westside every Tuesday from 6:30-9:00 p.m. Assemble a 500 piece puzzle as quickly as possible, and you might win a gift card for your next visit! Check out our Round Trip podcast!

Join Second Self Beer Company (1317 Logan Circle, Atlanta) in West Midtown for their new Wag-A-Long Wednesdays! Every Wednesday from 5-9 p.m, bring your doggy friend with you and get $1 off your first pint, and $10 pitchers for everyone else! Check out our Second Self podcast!

Six Bridges Brewing (11455 Lakefield Dr, Johns Creek) joins Hard Hitting Trivia every Tuesday from 7:30 to 9:00 p.m. and check out food truck nights on Tuesdays, Fridays, and Saturdays from 4-9 p.m. Check out our Six Bridges podcast!

Slow Pour Brewing Company (407 N Clayton St, Lawrenceville) has trivia every Thursday from 7-9 p.m. First, second, and third place teams win Slow Pour gift cards.

Social Fox Brewing (20 Skin Alley, Norcross) is now a proud sponsor of the Atlanta Gladiators and you’ll be able to purchase some of their brews at the Gas South Arena as of November 5! You can also watch all the Gladiators away games in the taproom! Check out our Social Fox podcast!

Play trivia with the good folks at Sweetwater Brewing (195 Ottley Dr) in Midtown on Wednesdays at 7 p.m.

Tucker Brewing (2003 S Bibb Dr, Tucker) has trivia on the first and third Wednesdays every month from 6:30-8:00 p.m. Check out our Tucker Brewing podcast!

Variant Brewing Company (66 Norcross St, Roswell) celebrates Trivia Tuesday every Tuesday from 7-9 p.m. Prizes for first, second, and third place. Check out our Variant Brewing podcast! —CL—    COURTESY BEST END BREWING COMPANY MINGLE AND JINGLE: Spirits are warm and bright this month at the Best End Brewing Company.  0,0,10                           ON TAP: Jingle jangle all the way "
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Cultivation Brewing in Norcross is having a chili cook off holiday fundraiser for Toys for Tots on Dec. 18 starting at 4 p.m. Your $10 ticket (or a new, unwrapped toy) gets you the chili tastings.

Check out the Wreath Making Workshop at Arches Brewing in Hapeville on Dec. 18 from 4-6:30 p.m. Tickets include all materials needed to create your own 12-inch holiday wreath! Check out our Arches Brewing podcast!

Join Fire Maker Brewing on Dec. 18 from noon-3 p.m. for Pups and Pints! Meet adoptable dogs and a percentage of beer and coffee sales that day will go to benefit PAWS Atlanta, a non-profit animal welfare organization in Decatur. Check out our Fire Maker Brewing podcast!

Looking ahead to Christmas, Alpharetta’s Cherry Street Brew Pub at Halcyon celebrates Brunch and Brews with Santa on Saturday, Dec. 18 from 10:00 a.m. to 2:00 p. m. In addition to brunch and Santa, they’ll have a kid’s ornament decorating class—and no charge for photos with Santa! You can also spend New Year’s Eve with them from 9 p.m.-12:30 a.m with live music, light snacks and a free champagne toast. 

Santa is also dropping by Social Fox Brewing in Norcross on Saturday, Dec. 18 from 1-3 p.m. Come by and take your family photos with Santa and bring the kids for story time as well! Check out our Social Fox Brewing podcast!

Tacky sweater parties seem to be the big theme this year, and StillFire Brewing in Suwanee is having one on Saturday, Dec. 18 at 9 p.m. during their holiday party that starts at 4 p.m. Check out our StillFire Brewing podcast!

Dry County Brewing in Kennesaw is having their own tacky sweater party on Dec. 18 from 2 p.m. to midnight. They’ll have live music starting at 7 p.m. and the Crazy Hawg BBQ food truck starting at 4 p.m. Check out our Dry County Brewing podcast!

Join Line Creek Brewing Company in Peachtree City for their Cheers and Beers Christmas Pajama Party on Dec. 18 from 7-10 p.m. featuring live music, fresh craft brews, and food from Blue Nomad Grill and Georgia Tacos. Check out our Line Creek Brewing podcast!

Santa will be hanging out at Scofflaw Brewing Company on the Westside on Sunday, Dec. 19 from 1-6:30 p.m. Come take your photo with Santa (kids have first priority over adults and animals). They’ll also have a Hot Cocoa station and a food truck on site.

Eventide Brewing in Grant Park hosts their Holiday Extravaganza from 1-6 p.m. on Dec. 19.  Santa will be there, and they’ll have a local artist holiday market as well. Bring a donation of new, unwrapped toy or coats for all ages and get a free beer! Check out our Eventide Brewing podcast!

Looking ahead to New Year’s, New Realm Brewing in Old Fourth Ward is selling tickets for their New Year’s Eve party that will include an open bar, live music, and two buffets.

Ironshield Brewing in Lawrenceville is having a very unique New Year’s celebration—they will celebrate Germany and Belgium’s New Year at 6 p.m. with specials on German and Belgian beers, and Ireland and Scotland’s New Year at 7 p.m. with specials on their Irish and Scotch Ales, and college football will be on all day! Check out our Ironshield Brewing podcast!

Celebrate the New Year with Gate City Brewing in Roswell from noon to 12:30am. They’ll have a live DJ, 18 beers on tap, and seasonal craft cocktails in addition to food from Q’Paso—no ticket necessary!

Brew Year’s Eve at Line Creek Brewing in Peachtree City will feature live music, food from Blue Nomad Grill from noon to 9 p.m., and all your favorite brews from 9 p.m. till midnight. Check out our Line Creek Brewing podcast!

Reformation Brewery’s Canton and Woodstock locations will be open late for New Year’s celebrations and plenty of surprises! Check out our Reformation Brewery podcast!

StillFire Brewing in Suwanee is having an 80s Prom Party for New Year’s! They’ll have BBQ for purchase from 6-10 p.m., and no cover before 8 p.m. Wear your best 80s prom gear and see who gets crowned prom King and Queen! Check out our StillFire Brewing podcast!

Start celebrating New Years earlier in the day with Brew Year’s Brunch at Monday Night Garage in the West End. Join them from 11 a.m. to 3 p.m. for brunch bites, seasonal beers, and $20 bottomless beermosas. Check out our Monday Night Brewing podcast!

Ironmonger Brewing in Marietta celebrates New Years from 8 p.m. to 1 a.m. VIP tickets include your midnight toast and a full evening of axe throwing. Check out our Ironmonger Brewing podcast!

And if you want to look even further into 2022, Sweetwater Brewing has announced the dates for that year’s 420 Fest—it’s happening in Centennial Olympic Park from Thursday, Apr. 28 through May 1!

!!Ongoing:
Arches Brewing (3361 Dogwood Dr, Hapeville) hosts The Bingo Show on Sundays from 1-3 p.m. Play bingo with beer and drag queens! Check out our Arches podcast!

Fire Maker Brewing (975 Chattahoochee Ave, Atlanta) in West Midtown features trivia every Wednesday and themed trivia every Thursday, both starting at 6:30 p.m. Check out their new beer garden and their new hazy Winter IPA called Yukon Cornelius! Check out our Fire Maker podcast!

Ironmonger Brewing (2129 NW Pkwy, Marietta) features trivia every Wednesday from 7-9 p.m. It’s free to play, and you get $1 off selected pints for your team! Check out our Ironmonger podcast!

Ironshield Brewing (457 N Chestnut St, Lawrenceville) also features trivia every Wednesday from 7:15-9:00 p.m. and Game Night every Thursday from 5-9 p.m. Check out our Ironshield podcast!

Watch NFL and College football games every Saturday and Sunday through the season from noon-8:00 p.m at Monday Night Brewing (670 Trabert Ave, Atlanta) in West Midtown and Monday Night Garage (933 Lee St, Atlanta) in West End. Wear your team’s gear and get a free beer! Check out our Monday Night podcast!

NoFo Brew Co (6150 GA-400, Cumming) features Music Bingo every Wednesday from 7-9 p.m.

Orpheus Brewing (1440 Dutch Valley Pl, Atlanta) in Ansley Park has trivia every Tuesday from 7-9 p.m. First, second, and third place all win Orpheus gift cards. Check out our Orpheus Brewing podcast!

Outrun Brewing Company in Stone Mountain features trivia competitions every Thursday from 7-9 p.m. Stop by for a chance to win beer credit and check out their new brew called Midnight Run featuring flavors of malt and chocolate, it is light with a dry finish. Check out our Outrun Brewing podcast!

Reformation Brewery has trivia at their Woodstock location (105 Elm St) on Wednesdays from 7-9 p.m., at their Canton location (225 Reformation Pkwy) on Thursdays from 7-9 p.m., and at the Smyrna location (6255 Riverview Rd) on Sundays from 6-8 p.m. Check out our Reformation podcast!

If you’re looking for something other than trivia, check out Speed Puzzles at Round Trip Brewing (1279 Seaboard Industrial Blvd, Atlanta) on the Westside every Tuesday from 6:30-9:00 p.m. Assemble a 500 piece puzzle as quickly as possible, and you might win a gift card for your next visit! Check out our Round Trip podcast!

Join Second Self Beer Company (1317 Logan Circle, Atlanta) in West Midtown for their new Wag-A-Long Wednesdays! Every Wednesday from 5-9 p.m, bring your doggy friend with you and get $1 off your first pint, and $10 pitchers for everyone else! Check out our Second Self podcast!

Six Bridges Brewing (11455 Lakefield Dr, Johns Creek) joins Hard Hitting Trivia every Tuesday from 7:30 to 9:00 p.m. and check out food truck nights on Tuesdays, Fridays, and Saturdays from 4-9 p.m. Check out our Six Bridges podcast!

Slow Pour Brewing Company (407 N Clayton St, Lawrenceville) has trivia every Thursday from 7-9 p.m. First, second, and third place teams win Slow Pour gift cards.

Social Fox Brewing (20 Skin Alley, Norcross) is now a proud sponsor of the Atlanta Gladiators and you’ll be able to purchase some of their brews at the Gas South Arena as of November 5! You can also watch all the Gladiators away games in the taproom! Check out our Social Fox podcast!

Play trivia with the good folks at Sweetwater Brewing (195 Ottley Dr) in Midtown on Wednesdays at 7 p.m.

Tucker Brewing (2003 S Bibb Dr, Tucker) has trivia on the first and third Wednesdays every month from 6:30-8:00 p.m. Check out our Tucker Brewing podcast!

Variant Brewing Company (66 Norcross St, Roswell) celebrates Trivia Tuesday every Tuesday from 7-9 p.m. Prizes for first, second, and third place. Check out our Variant Brewing podcast! —CL—"
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__[https://www.cultivationbrew.com/|Cultivation Brewing]__ in Norcross is having a chili cook off holiday fundraiser for Toys for Tots on Dec. 18 starting at 4 p.m. Your $10 ticket (or a new, unwrapped toy) gets you the chili tastings.

Check out the Wreath Making Workshop at __[https://www.archesbrewing.com/|Arches Brewing]__ in Hapeville on Dec. 18 from 4-6:30 p.m. Tickets include all materials needed to create your own 12-inch holiday wreath! Check out our [https://creativeloafing.com/content-468107|Arches Brewing podcast]!

Join __[https://www.firemakerbeer.com/|Fire Maker Brewing]__ on Dec. 18 from noon-3 p.m. for Pups and Pints! Meet adoptable dogs and a percentage of beer and coffee sales that day will go to benefit PAWS Atlanta, a non-profit animal welfare organization in Decatur. Check out our [https://creativeloafing.com/content-476419|Fire Maker Brewing podcast]!

Looking ahead to Christmas, Alpharetta’s __[http://www.cherrystreetbrewing.com/halcyon/|Cherry Street Brew Pub at Halcyon]__ celebrates Brunch and Brews with Santa on Saturday, Dec. 18 from 10:00 a.m. to 2:00 p. m. In addition to brunch and Santa, they’ll have a kid’s ornament decorating class—and no charge for photos with Santa! You can also spend New Year’s Eve with them from 9 p.m.-12:30 a.m with live music, light snacks and a free champagne toast. 

Santa is also dropping by __[https://www.socialfoxbrewing.com/|Social Fox Brewing]__ in Norcross on Saturday, Dec. 18 from 1-3 p.m. Come by and take your family photos with Santa and bring the kids for story time as well! Check out our [https://creativeloafing.com/content-490339    |Social Fox Brewing podcast]!

Tacky sweater parties seem to be the big theme this year, and __[https://stillfirebrewing.com/|StillFire Brewing]__ in Suwanee is having one on Saturday, Dec. 18 at 9 p.m. during their holiday party that starts at 4 p.m. Check out our [https://creativeloafing.com/content-479175|StillFire Brewing podcast]!

__[https://drycountybrewco.com/|Dry County Brewing]__ in Kennesaw is having their own tacky sweater party on Dec. 18 from 2 p.m. to midnight. They’ll have live music starting at 7 p.m. and the Crazy Hawg BBQ food truck starting at 4 p.m. Check out our [https://creativeloafing.com/content-472433|Dry County Brewing podcast]!

Join __[https://linecreekbrewing.com/|Line Creek Brewing Company]__ in Peachtree City for their Cheers and Beers Christmas Pajama Party on Dec. 18 from 7-10 p.m. featuring live music, fresh craft brews, and food from Blue Nomad Grill and Georgia Tacos. Check out our [https://creativeloafing.com/content-489089|Line Creek Brewing podcast]!

Santa will be hanging out at __[https://scofflawbeer.com/|Scofflaw Brewing Company]__ on the Westside on Sunday, Dec. 19 from 1-6:30 p.m. Come take your photo with Santa (kids have first priority over adults and animals). They’ll also have a Hot Cocoa station and a food truck on site.

__[https://www.eventidebrewing.com/|Eventide Brewing]__ in Grant Park hosts their Holiday Extravaganza from 1-6 p.m. on Dec. 19.  Santa will be there, and they’ll have a local artist holiday market as well. Bring a donation of new, unwrapped toy or coats for all ages and get a free beer! Check out our [https://creativeloafing.com/content-468597|Eventide Brewing podcast]!

Looking ahead to New Year’s, __[https://newrealmbrewing.com/|New Realm Brewing]__ in Old Fourth Ward is selling tickets for their New Year’s Eve party that will include an open bar, live music, and two buffets.

__[https://www.ironshieldbrewing.com/|Ironshield Brewing]__ in Lawrenceville is having a very unique New Year’s celebration—they will celebrate Germany and Belgium’s New Year at 6 p.m. with specials on German and Belgian beers, and Ireland and Scotland’s New Year at 7 p.m. with specials on their Irish and Scotch Ales, and college football will be on all day! Check out our [https://creativeloafing.com/content-477448|Ironshield Brewing podcast]!

Celebrate the New Year with __[https://www.gatecitybrewingcompany.com/|Gate City Brewing]__ in Roswell from noon to 12:30am. They’ll have a live DJ, 18 beers on tap, and seasonal craft cocktails in addition to food from Q’Paso—no ticket necessary!

Brew Year’s Eve at __[https://linecreekbrewing.com/|Line Creek Brewing]__ in Peachtree City will feature live music, food from Blue Nomad Grill from noon to 9 p.m., and all your favorite brews from 9 p.m. till midnight. Check out our [https://creativeloafing.com/content-489089|Line Creek Brewing podcast]!

__[https://reformationbrewery.com/|Reformation Brewery]’s__ Canton and Woodstock locations will be open late for New Year’s celebrations and plenty of surprises! Check out our [https://creativeloafing.com/content-478566|Reformation Brewery podcast]!

__[https://stillfirebrewing.com/|StillFire Brewing]__ in Suwanee is having an 80s Prom Party for New Year’s! They’ll have BBQ for purchase from 6-10 p.m., and no cover before 8 p.m. Wear your best 80s prom gear and see who gets crowned prom King and Queen! Check out our [https://creativeloafing.com/content-479175|StillFire Brewing podcast]!

Start celebrating New Years earlier in the day with Brew Year’s Brunch at __[https://mondaynightbrewing.com/|Monday Night Garage]__ in the West End. Join them from 11 a.m. to 3 p.m. for brunch bites, seasonal beers, and $20 bottomless beermosas. Check out our [https://creativeloafing.com/content-467392|Monday Night Brewing podcast]!

__[https://www.ironmongerbrewing.com/|Ironmonger Brewing]__ in Marietta celebrates New Years from 8 p.m. to 1 a.m. VIP tickets include your midnight toast and a full evening of axe throwing. Check out our [https://creativeloafing.com/content-470339|Ironmonger Brewing podcast]!

And if you want to look even further into 2022, __[https://www.sweetwaterbrew.com/|Sweetwater Brewing]__ has announced the dates for that year’s 420 Fest—it’s happening in Centennial Olympic Park from Thursday, Apr. 28 through May 1!

!!__Ongoing:__
__[https://www.archesbrewing.com/|Arches Brewing]__ (3361 Dogwood Dr, Hapeville) hosts The Bingo Show on Sundays from 1-3 p.m. Play bingo with beer and drag queens! Check out our [https://creativeloafing.com/content-468107|Arches podcast]!

__[https://www.firemakerbeer.com/|Fire Maker Brewing] __(975 Chattahoochee Ave, Atlanta) in West Midtown features trivia every Wednesday and themed trivia every Thursday, both starting at 6:30 p.m. Check out their new beer garden and their new hazy Winter IPA called Yukon Cornelius! Check out our [https://creativeloafing.com/content-476419|Fire Maker podcast]!

__[https://www.ironmongerbrewing.com/|Ironmonger Brewing]__ (2129 NW Pkwy, Marietta) features trivia every Wednesday from 7-9 p.m. It’s free to play, and you get $1 off selected pints for your team! Check out our [https://creativeloafing.com/content-470339|Ironmonger podcast]!

__[https://www.ironshieldbrewing.com/|Ironshield Brewing]__ (457 N Chestnut St, Lawrenceville) also features trivia every Wednesday from 7:15-9:00 p.m. and Game Night every Thursday from 5-9 p.m. Check out our [https://creativeloafing.com/content-477448|Ironshield podcast]!

Watch NFL and College football games every Saturday and Sunday through the season from noon-8:00 p.m at __[https://mondaynightbrewing.com/|Monday Night Brewing] __(670 Trabert Ave, Atlanta) in West Midtown and __Monday Night Garage__ (933 Lee St, Atlanta) in West End. Wear your team’s gear and get a free beer! Check out our [https://creativeloafing.com/content-467392|Monday Night podcast]!

__[https://www.nofobrew.co/age-check/|NoFo Brew Co]__ (6150 GA-400, Cumming) features Music Bingo every Wednesday from 7-9 p.m.

__[https://www.orpheusbrewing.com/|Orpheus Brewing]__ (1440 Dutch Valley Pl, Atlanta) in Ansley Park has trivia every Tuesday from 7-9 p.m. First, second, and third place all win Orpheus gift cards. Check out our [https://creativeloafing.com/content-466935|Orpheus Brewing podcast]!

__[https://www.outrunbrewingco.com/#/|Outrun Brewing Company]__ in Stone Mountain features trivia competitions every Thursday from 7-9 p.m. Stop by for a chance to win beer credit and check out their new brew called Midnight Run featuring flavors of malt and chocolate, it is light with a dry finish. Check out our [https://creativeloafing.com/content-478491|Outrun Brewing podcast]!

__[https://reformationbrewery.com/|Reformation Brewery]__ has trivia at their Woodstock location (105 Elm St) on Wednesdays from 7-9 p.m., at their Canton location (225 Reformation Pkwy) on Thursdays from 7-9 p.m., and at the Smyrna location (6255 Riverview Rd) on Sundays from 6-8 p.m. Check out our [https://creativeloafing.com/content-478566|Reformation podcast]!

If you’re looking for something other than trivia, check out Speed Puzzles at __[https://roundtripbrewing.com/|Round Trip Brewing]__ (1279 Seaboard Industrial Blvd, Atlanta) on the Westside every Tuesday from 6:30-9:00 p.m. Assemble a 500 piece puzzle as quickly as possible, and you might win a gift card for your next visit! Check out our [https://creativeloafing.com/content-479366|Round Trip podcast]!

Join __[https://secondselfbeer.com/|Second Self Beer Company]__ (1317 Logan Circle, Atlanta) in West Midtown for their new Wag-A-Long Wednesdays! Every Wednesday from 5-9 p.m, bring your doggy friend with you and get $1 off your first pint, and $10 pitchers for everyone else! Check out our [https://creativeloafing.com/content-466778|Second Self podcast]!

__[https://www.sixbridgesbrewing.com/|Six Bridges Brewing]__ (11455 Lakefield Dr, Johns Creek) joins Hard Hitting Trivia every Tuesday from 7:30 to 9:00 p.m. and check out food truck nights on Tuesdays, Fridays, and Saturdays from 4-9 p.m. Check out our [https://creativeloafing.com/content-477097|Six Bridges podcast]!

__[https://slowpourbrewing.com/|Slow Pour Brewing Company]__ (407 N Clayton St, Lawrenceville) has trivia every Thursday from 7-9 p.m. First, second, and third place teams win Slow Pour gift cards.

__[https://www.socialfoxbrewing.com/|Social Fox Brewing]__ (20 Skin Alley, Norcross) is now a proud sponsor of the Atlanta Gladiators and you’ll be able to purchase some of their brews at the Gas South Arena as of November 5! You can also watch all the Gladiators away games in the taproom! Check out our [https://creativeloafing.com/content-490339    |Social Fox podcast]!

Play trivia with the good folks at __[https://www.sweetwaterbrew.com/|Sweetwater Brewing]__ (195 Ottley Dr) in Midtown on Wednesdays at 7 p.m.

__[https://tuckerbrewing.com/|Tucker Brewing]__ (2003 S Bibb Dr, Tucker) has trivia on the first and third Wednesdays every month from 6:30-8:00 p.m. Check out our [https://creativeloafing.com/content-469494|Tucker Brewing podcast]!

__[https://www.variantbrewing.com/|Variant Brewing Company]__ (66 Norcross St, Roswell) celebrates Trivia Tuesday every Tuesday from 7-9 p.m. Prizes for first, second, and third place. Check out our [https://creativeloafing.com/content-478246|Variant Brewing podcast]! __—CL—__"
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  string(9063) " TackySweater 300x300 1 Copy  2021-12-17T16:25:32+00:00 TackySweater-300x300-1 copy.jpg      Local breweries offer holiday festivities TackySweater 300x300 1 Copy   2021-12-17T16:21:26+00:00  ON TAP: Santa, tacky sweaters, and a pajama party tony.paris Tony Paris JILL MELANCON jill.melancon (Jill Melancon) 2021-12-17T16:21:26+00:00 BYLINE: JILL MELANCON

Cultivation Brewing in Norcross is having a chili cook off holiday fundraiser for Toys for Tots on Dec. 18 starting at 4 p.m. Your $10 ticket (or a new, unwrapped toy) gets you the chili tastings.

Check out the Wreath Making Workshop at Arches Brewing in Hapeville on Dec. 18 from 4-6:30 p.m. Tickets include all materials needed to create your own 12-inch holiday wreath! Check out our Arches Brewing podcast!

Join Fire Maker Brewing on Dec. 18 from noon-3 p.m. for Pups and Pints! Meet adoptable dogs and a percentage of beer and coffee sales that day will go to benefit PAWS Atlanta, a non-profit animal welfare organization in Decatur. Check out our Fire Maker Brewing podcast!

Looking ahead to Christmas, Alpharetta’s Cherry Street Brew Pub at Halcyon celebrates Brunch and Brews with Santa on Saturday, Dec. 18 from 10:00 a.m. to 2:00 p. m. In addition to brunch and Santa, they’ll have a kid’s ornament decorating class—and no charge for photos with Santa! You can also spend New Year’s Eve with them from 9 p.m.-12:30 a.m with live music, light snacks and a free champagne toast. 

Santa is also dropping by Social Fox Brewing in Norcross on Saturday, Dec. 18 from 1-3 p.m. Come by and take your family photos with Santa and bring the kids for story time as well! Check out our Social Fox Brewing podcast!

Tacky sweater parties seem to be the big theme this year, and StillFire Brewing in Suwanee is having one on Saturday, Dec. 18 at 9 p.m. during their holiday party that starts at 4 p.m. Check out our StillFire Brewing podcast!

Dry County Brewing in Kennesaw is having their own tacky sweater party on Dec. 18 from 2 p.m. to midnight. They’ll have live music starting at 7 p.m. and the Crazy Hawg BBQ food truck starting at 4 p.m. Check out our Dry County Brewing podcast!

Join Line Creek Brewing Company in Peachtree City for their Cheers and Beers Christmas Pajama Party on Dec. 18 from 7-10 p.m. featuring live music, fresh craft brews, and food from Blue Nomad Grill and Georgia Tacos. Check out our Line Creek Brewing podcast!

Santa will be hanging out at Scofflaw Brewing Company on the Westside on Sunday, Dec. 19 from 1-6:30 p.m. Come take your photo with Santa (kids have first priority over adults and animals). They’ll also have a Hot Cocoa station and a food truck on site.

Eventide Brewing in Grant Park hosts their Holiday Extravaganza from 1-6 p.m. on Dec. 19.  Santa will be there, and they’ll have a local artist holiday market as well. Bring a donation of new, unwrapped toy or coats for all ages and get a free beer! Check out our Eventide Brewing podcast!

Looking ahead to New Year’s, New Realm Brewing in Old Fourth Ward is selling tickets for their New Year’s Eve party that will include an open bar, live music, and two buffets.

Ironshield Brewing in Lawrenceville is having a very unique New Year’s celebration—they will celebrate Germany and Belgium’s New Year at 6 p.m. with specials on German and Belgian beers, and Ireland and Scotland’s New Year at 7 p.m. with specials on their Irish and Scotch Ales, and college football will be on all day! Check out our Ironshield Brewing podcast!

Celebrate the New Year with Gate City Brewing in Roswell from noon to 12:30am. They’ll have a live DJ, 18 beers on tap, and seasonal craft cocktails in addition to food from Q’Paso—no ticket necessary!

Brew Year’s Eve at Line Creek Brewing in Peachtree City will feature live music, food from Blue Nomad Grill from noon to 9 p.m., and all your favorite brews from 9 p.m. till midnight. Check out our Line Creek Brewing podcast!

Reformation Brewery’s Canton and Woodstock locations will be open late for New Year’s celebrations and plenty of surprises! Check out our Reformation Brewery podcast!

StillFire Brewing in Suwanee is having an 80s Prom Party for New Year’s! They’ll have BBQ for purchase from 6-10 p.m., and no cover before 8 p.m. Wear your best 80s prom gear and see who gets crowned prom King and Queen! Check out our StillFire Brewing podcast!

Start celebrating New Years earlier in the day with Brew Year’s Brunch at Monday Night Garage in the West End. Join them from 11 a.m. to 3 p.m. for brunch bites, seasonal beers, and $20 bottomless beermosas. Check out our Monday Night Brewing podcast!

Ironmonger Brewing in Marietta celebrates New Years from 8 p.m. to 1 a.m. VIP tickets include your midnight toast and a full evening of axe throwing. Check out our Ironmonger Brewing podcast!

And if you want to look even further into 2022, Sweetwater Brewing has announced the dates for that year’s 420 Fest—it’s happening in Centennial Olympic Park from Thursday, Apr. 28 through May 1!

!!Ongoing:
Arches Brewing (3361 Dogwood Dr, Hapeville) hosts The Bingo Show on Sundays from 1-3 p.m. Play bingo with beer and drag queens! Check out our Arches podcast!

Fire Maker Brewing (975 Chattahoochee Ave, Atlanta) in West Midtown features trivia every Wednesday and themed trivia every Thursday, both starting at 6:30 p.m. Check out their new beer garden and their new hazy Winter IPA called Yukon Cornelius! Check out our Fire Maker podcast!

Ironmonger Brewing (2129 NW Pkwy, Marietta) features trivia every Wednesday from 7-9 p.m. It’s free to play, and you get $1 off selected pints for your team! Check out our Ironmonger podcast!

Ironshield Brewing (457 N Chestnut St, Lawrenceville) also features trivia every Wednesday from 7:15-9:00 p.m. and Game Night every Thursday from 5-9 p.m. Check out our Ironshield podcast!

Watch NFL and College football games every Saturday and Sunday through the season from noon-8:00 p.m at Monday Night Brewing (670 Trabert Ave, Atlanta) in West Midtown and Monday Night Garage (933 Lee St, Atlanta) in West End. Wear your team’s gear and get a free beer! Check out our Monday Night podcast!

NoFo Brew Co (6150 GA-400, Cumming) features Music Bingo every Wednesday from 7-9 p.m.

Orpheus Brewing (1440 Dutch Valley Pl, Atlanta) in Ansley Park has trivia every Tuesday from 7-9 p.m. First, second, and third place all win Orpheus gift cards. Check out our Orpheus Brewing podcast!

Outrun Brewing Company in Stone Mountain features trivia competitions every Thursday from 7-9 p.m. Stop by for a chance to win beer credit and check out their new brew called Midnight Run featuring flavors of malt and chocolate, it is light with a dry finish. Check out our Outrun Brewing podcast!

Reformation Brewery has trivia at their Woodstock location (105 Elm St) on Wednesdays from 7-9 p.m., at their Canton location (225 Reformation Pkwy) on Thursdays from 7-9 p.m., and at the Smyrna location (6255 Riverview Rd) on Sundays from 6-8 p.m. Check out our Reformation podcast!

If you’re looking for something other than trivia, check out Speed Puzzles at Round Trip Brewing (1279 Seaboard Industrial Blvd, Atlanta) on the Westside every Tuesday from 6:30-9:00 p.m. Assemble a 500 piece puzzle as quickly as possible, and you might win a gift card for your next visit! Check out our Round Trip podcast!

Join Second Self Beer Company (1317 Logan Circle, Atlanta) in West Midtown for their new Wag-A-Long Wednesdays! Every Wednesday from 5-9 p.m, bring your doggy friend with you and get $1 off your first pint, and $10 pitchers for everyone else! Check out our Second Self podcast!

Six Bridges Brewing (11455 Lakefield Dr, Johns Creek) joins Hard Hitting Trivia every Tuesday from 7:30 to 9:00 p.m. and check out food truck nights on Tuesdays, Fridays, and Saturdays from 4-9 p.m. Check out our Six Bridges podcast!

Slow Pour Brewing Company (407 N Clayton St, Lawrenceville) has trivia every Thursday from 7-9 p.m. First, second, and third place teams win Slow Pour gift cards.

Social Fox Brewing (20 Skin Alley, Norcross) is now a proud sponsor of the Atlanta Gladiators and you’ll be able to purchase some of their brews at the Gas South Arena as of November 5! You can also watch all the Gladiators away games in the taproom! Check out our Social Fox podcast!

Play trivia with the good folks at Sweetwater Brewing (195 Ottley Dr) in Midtown on Wednesdays at 7 p.m.

Tucker Brewing (2003 S Bibb Dr, Tucker) has trivia on the first and third Wednesdays every month from 6:30-8:00 p.m. Check out our Tucker Brewing podcast!

Variant Brewing Company (66 Norcross St, Roswell) celebrates Trivia Tuesday every Tuesday from 7-9 p.m. Prizes for first, second, and third place. Check out our Variant Brewing podcast! —CL—    Courtesy Stillfire Brewing DRESS YOUR ...TACKIEST: It's that time of year!  0,0,10                           ON TAP: Santa, tacky sweaters, and a pajama party "
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  string(7222) "ARIES (March 21-April 19): You may become a more audacious storyteller in
2022. You could ripen your ability to express the core truths about your
life with entertaining narratives. Bonus: The experiences that come your way
will provide raw material for you to become even more interesting than you
already are. Now study these words by storyteller Ruth Sawyer: "To be a good
storyteller, one must be gloriously alive. It is not possible to kindle
fresh fires from burned-out embers. The best of the traditional storytellers
are those who live close to the heart of things—to the earth, sea, wind, and
weather. They have known solitude, silence. They have been given unbroken
time in which to feel deeply, to reach constantly for understanding."

TAURUS (April 20-May 20): Taurus author May Sarton wrote a poem celebrating
her maturation into the person she had always dreamed she would be. "Now I
become myself," she exulted. "It's taken time, many years and places; I have
been dissolved and shaken, have worn other people's faces." But at last, she
said, "All fuses together now, falls into place from wish to action, word to
silence. My work, my love, my time, my face: gathered into one intense
gesture of growing like a plant." I invite you to adopt Sarton's poem as a
primary source of inspiration in 2022. Make it your guide as you, too,
become fully and richly yourself.

GEMINI (May 21-June 20): In 2012, the writer Gore Vidal died the day after
Gemini writer Maeve Binchy passed away. They were both famous, though Bincy
sold more books than Vidal. Vidal was interesting but problematic for me. He
was fond of saying that it wasn't enough for him to succeed; he wanted
others to fail. The misery of his fellow humans intensified his satisfaction
about his own accomplishments. On the other hand, Binchy had a generous wish
that everyone would be a success. She felt her magnificence was magnified by
others' magnificence. In 2022, it will be vital for your physical and mental
health to cultivate Binchy's perspective, not Vidal's. To the degree that
you celebrate and enhance the fortunes of others, your own fortunes will
thrive.

CANCER (June 21-July 22): Cancerian political leader Nelson Mandela was
wrongly incarcerated for 27 years. After his release, he became President of
South Africa and won the Nobel Peace Prize. About leaving jail in 1990, he
wrote, "As I walked out the door toward the gate that would lead to my
freedom, I knew if I didn't leave my bitterness and hatred behind, I'd still
be in prison." Although you haven't suffered deprivation anywhere close to
what Mandela did, I'm happy to report that 2022 will bring you liberations
from limiting situations. Please adopt Mandela's approach as you make
creative use of your new freedom.

LEO (July 23-Aug. 22): French poet André Breton wrote, "Je vous souhaite
d'être follement aimée." In English, those words can be rendered as "My wish
is that you may be loved to the point of madness" or "I wish you to be loved
madly." That's got a romantic ring to it, but it's actually a curse. Why
would we want to be loved to the point of madness? A person who "loved" you
like that might be fun for a while, but would ultimately become a terrible
inconvenience and ongoing disruption. So, dear Leo, I won't wish that you
will be loved to the point of madness in 2022—even though I think the coming
months will be an interesting and educational time for amour. Instead, I
will wish you something more manageable and enjoyable: that you will be
loved with respect, sensitivity, care, and intelligence.

VIRGO (Aug. 23-Sept. 22): Many people in our culture are smart
intellectually, but not very smart emotionally. The wisdom of feelings is
undervalued. I protest! One of my great crusades is to champion this
neglected source of insight. I am counting on you to be my ally in 2022.
Why? Because according to my reading of the astrological omens, you have the
potential to ripen your emotional intelligence in the coming months. Do you
have ideas about how to take full advantage of this lucky opportunity?
Here's a tip: Whenever you have a decision to make, tune in to what your
body and heart tell you as well as to what your mind advises.

LIBRA (Sept. 23-Oct. 22): Holocaust survivor Viktor Frankl said that a sense
of meaning is crucial. It's the key gratification that sustains people
through the years: the feeling that their life has a meaning and that
particular experiences have meaning. I suggest you make this your theme for
2022. The question "Are you happy?" will be a subset of the more inclusive
question, "Are you pursuing a destiny that feels meaningful to you?" Here's
the other big question: "If what you're doing doesn't feel meaningful, what
are you going to do about it?"

SCORPIO (Oct. 23-Nov. 21): Scorpio guitarist Rowland S. Howard spoke of "the
grand occasions when love really does turn into something far greater than
you had ever dreamed of, something auto-luminescent." Judging from the
astrological configurations in 2022, I have strong hopes and expectations
that you will experience prolonged periods when love will fit that
description. For best results, resolve to become more generous and ingenious
in expressing love than you have ever been.

SAGITTARIUS (Nov. 22-Dec. 21): "I've been trying to go home my whole life,"
writes poet Chelsea Dingman. I know some of you Sagittarians resist the urge
to do that. It's possible you avoid seeking a true and complete home. You
may think of the whole world as your home, or you may regard a lot of
different places as your homes. And you'd prefer not to narrow down the
feeling and concept of "home" to one location or building or community.
Whether or not you are one of those kinds of Centaurs, I suspect that 2022
will bring you unexpected new understandings of home—and maybe even give you
the sense that you have finally arrived in your ultimate sanctuary.

CAPRICORN (Dec. 22-Jan. 19): To ensure that 2022 will bring you the most
interesting and useful kind of progress, take good care of your key
friendships and alliances, even as you seek out excellent new friendships
and alliances. For best results, heed these thoughts from author Hanya
Yanagihara: "Find people who are better than you are—not smarter, not
cooler, but kinder, and more generous, and more forgiving—and then
appreciate them for what they can teach you, and listen to them when they
tell you something about yourself, no matter how bad—or good—it might be."

AQUARIUS (Jan. 20-Feb. 18): Sometime during the Northern Song Dynasty that
ruled China from 960 to 1127, an artisan made a white ceramic bowl five
inches in diameter. About a thousand years later, a family in New York
bought it at a garage sale for $3. It sat on a mantel in their home for a
few years until they got a hunch to have it evaluated by an art collector. A
short time later, the bowl was sold at an auction for $2.2 million. I'm not
saying that 2022 will bring a financial event as dramatic as that one. But I
do expect that your luck with money will be at a peak.

®Copyright 2021 Rob Breszny"
  ["tracker_field_contentWikiPage_raw"]=>
  string(7402) "~~#000000:__ARIES (March 21-April 19):__~~ You may become a more audacious storyteller in
2022. You could ripen your ability to express the core truths about your
life with entertaining narratives. Bonus: The experiences that come your way
will provide raw material for you to become even more interesting than you
already are. Now study these words by storyteller Ruth Sawyer: "To be a good
storyteller, one must be gloriously alive. It is not possible to kindle
fresh fires from burned-out embers. The best of the traditional storytellers
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~~#000000:__TAURUS (April 20-May 20):__~~ Taurus author May Sarton wrote a poem celebrating
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been dissolved and shaken, have worn other people's faces." But at last, she
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silence. My work, my love, my time, my face: gathered into one intense
gesture of growing like a plant." I invite you to adopt Sarton's poem as a
primary source of inspiration in 2022. Make it your guide as you, too,
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~~#000000:__GEMINI (May 21-June 20):__~~ In 2012, the writer Gore Vidal died the day after
Gemini writer Maeve Binchy passed away. They were both famous, though Bincy
sold more books than Vidal. Vidal was interesting but problematic for me. He
was fond of saying that it wasn't enough for him to succeed; he wanted
others to fail. The misery of his fellow humans intensified his satisfaction
about his own accomplishments. On the other hand, Binchy had a generous wish
that everyone would be a success. She felt her magnificence was magnified by
others' magnificence. In 2022, it will be vital for your physical and mental
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you celebrate and enhance the fortunes of others, your own fortunes will
thrive.

~~#000000:__CANCER (June 21-July 22):__~~ Cancerian political leader Nelson Mandela was
wrongly incarcerated for 27 years. After his release, he became President of
South Africa and won the Nobel Peace Prize. About leaving jail in 1990, he
wrote, "As I walked out the door toward the gate that would lead to my
freedom, I knew if I didn't leave my bitterness and hatred behind, I'd still
be in prison." Although you haven't suffered deprivation anywhere close to
what Mandela did, I'm happy to report that 2022 will bring you liberations
from limiting situations. Please adopt Mandela's approach as you make
creative use of your new freedom.

~~#000000:__LEO (July 23-Aug. 22):__~~ French poet André Breton wrote, "Je vous souhaite
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is that you may be loved to the point of madness" or "I wish you to be loved
madly." That's got a romantic ring to it, but it's actually a curse. Why
would we want to be loved to the point of madness? A person who "loved" you
like that might be fun for a while, but would ultimately become a terrible
inconvenience and ongoing disruption. So, dear Leo, I won't wish that you
will be loved to the point of madness in 2022—even though I think the coming
months will be an interesting and educational time for amour. Instead, I
will wish you something more manageable and enjoyable: that you will be
loved with respect, sensitivity, care, and intelligence.

~~#000000:__VIRGO (Aug. 23-Sept. 22):__~~ Many people in our culture are smart
intellectually, but not very smart emotionally. The wisdom of feelings is
undervalued. I protest! One of my great crusades is to champion this
neglected source of insight. I am counting on you to be my ally in 2022.
Why? Because according to my reading of the astrological omens, you have the
potential to ripen your emotional intelligence in the coming months. Do you
have ideas about how to take full advantage of this lucky opportunity?
Here's a tip: Whenever you have a decision to make, tune in to what your
body and heart tell you as well as to what your mind advises.

~~#000000:__LIBRA (Sept. 23-Oct. 22):__~~ Holocaust survivor Viktor Frankl said that a sense
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through the years: the feeling that their life has a meaning and that
particular experiences have meaning. I suggest you make this your theme for
2022. The question "Are you happy?" will be a subset of the more inclusive
question, "Are you pursuing a destiny that feels meaningful to you?" Here's
the other big question: "If what you're doing doesn't feel meaningful, what
are you going to do about it?"

~~#000000:__SCORPIO (Oct. 23-Nov. 21):__~~ Scorpio guitarist Rowland S. Howard spoke of "the
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you had ever dreamed of, something auto-luminescent." Judging from the
astrological configurations in 2022, I have strong hopes and expectations
that you will experience prolonged periods when love will fit that
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~~#000000:__SAGITTARIUS (Nov. 22-Dec. 21):__~~ "I've been trying to go home my whole life,"
writes poet Chelsea Dingman. I know some of you Sagittarians resist the urge
to do that. It's possible you avoid seeking a true and complete home. You
may think of the whole world as your home, or you may regard a lot of
different places as your homes. And you'd prefer not to narrow down the
feeling and concept of "home" to one location or building or community.
Whether or not you are one of those kinds of Centaurs, I suspect that 2022
will bring you unexpected new understandings of home—and maybe even give you
the sense that you have finally arrived in your ultimate sanctuary.

~~#000000:__CAPRICORN (Dec. 22-Jan. 19):__~~ To ensure that 2022 will bring you the most
interesting and useful kind of progress, take good care of your key
friendships and alliances, even as you seek out excellent new friendships
and alliances. For best results, heed these thoughts from author Hanya
Yanagihara: "Find people who are better than you are—not smarter, not
cooler, but kinder, and more generous, and more forgiving—and then
appreciate them for what they can teach you, and listen to them when they
tell you something about yourself, no matter how bad—or good—it might be."

~~#000000:__AQUARIUS (Jan. 20-Feb. 18):__~~ Sometime during the Northern Song Dynasty that
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bought it at a garage sale for $3. It sat on a mantel in their home for a
few years until they got a hunch to have it evaluated by an art collector. A
short time later, the bowl was sold at an auction for $2.2 million. I'm not
saying that 2022 will bring a financial event as dramatic as that one. But I
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''®Copyright 2021 Rob Breszny''"
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  string(7570) " Free Will Astro Header Logo  2021-12-21T15:09:50+00:00 free_will_astro_header_logo.png       Free Will Astro Header Logo   2021-12-21T14:52:02+00:00  Free Will Astrology - Week of December 23, 2021 jim.harris Jim Harris Rob Brezsny  2021-12-21T14:52:02+00:00 ARIES (March 21-April 19): You may become a more audacious storyteller in
2022. You could ripen your ability to express the core truths about your
life with entertaining narratives. Bonus: The experiences that come your way
will provide raw material for you to become even more interesting than you
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been dissolved and shaken, have worn other people's faces." But at last, she
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silence. My work, my love, my time, my face: gathered into one intense
gesture of growing like a plant." I invite you to adopt Sarton's poem as a
primary source of inspiration in 2022. Make it your guide as you, too,
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others to fail. The misery of his fellow humans intensified his satisfaction
about his own accomplishments. On the other hand, Binchy had a generous wish
that everyone would be a success. She felt her magnificence was magnified by
others' magnificence. In 2022, it will be vital for your physical and mental
health to cultivate Binchy's perspective, not Vidal's. To the degree that
you celebrate and enhance the fortunes of others, your own fortunes will
thrive.

CANCER (June 21-July 22): Cancerian political leader Nelson Mandela was
wrongly incarcerated for 27 years. After his release, he became President of
South Africa and won the Nobel Peace Prize. About leaving jail in 1990, he
wrote, "As I walked out the door toward the gate that would lead to my
freedom, I knew if I didn't leave my bitterness and hatred behind, I'd still
be in prison." Although you haven't suffered deprivation anywhere close to
what Mandela did, I'm happy to report that 2022 will bring you liberations
from limiting situations. Please adopt Mandela's approach as you make
creative use of your new freedom.

LEO (July 23-Aug. 22): French poet André Breton wrote, "Je vous souhaite
d'être follement aimée." In English, those words can be rendered as "My wish
is that you may be loved to the point of madness" or "I wish you to be loved
madly." That's got a romantic ring to it, but it's actually a curse. Why
would we want to be loved to the point of madness? A person who "loved" you
like that might be fun for a while, but would ultimately become a terrible
inconvenience and ongoing disruption. So, dear Leo, I won't wish that you
will be loved to the point of madness in 2022—even though I think the coming
months will be an interesting and educational time for amour. Instead, I
will wish you something more manageable and enjoyable: that you will be
loved with respect, sensitivity, care, and intelligence.

VIRGO (Aug. 23-Sept. 22): Many people in our culture are smart
intellectually, but not very smart emotionally. The wisdom of feelings is
undervalued. I protest! One of my great crusades is to champion this
neglected source of insight. I am counting on you to be my ally in 2022.
Why? Because according to my reading of the astrological omens, you have the
potential to ripen your emotional intelligence in the coming months. Do you
have ideas about how to take full advantage of this lucky opportunity?
Here's a tip: Whenever you have a decision to make, tune in to what your
body and heart tell you as well as to what your mind advises.

LIBRA (Sept. 23-Oct. 22): Holocaust survivor Viktor Frankl said that a sense
of meaning is crucial. It's the key gratification that sustains people
through the years: the feeling that their life has a meaning and that
particular experiences have meaning. I suggest you make this your theme for
2022. The question "Are you happy?" will be a subset of the more inclusive
question, "Are you pursuing a destiny that feels meaningful to you?" Here's
the other big question: "If what you're doing doesn't feel meaningful, what
are you going to do about it?"

SCORPIO (Oct. 23-Nov. 21): Scorpio guitarist Rowland S. Howard spoke of "the
grand occasions when love really does turn into something far greater than
you had ever dreamed of, something auto-luminescent." Judging from the
astrological configurations in 2022, I have strong hopes and expectations
that you will experience prolonged periods when love will fit that
description. For best results, resolve to become more generous and ingenious
in expressing love than you have ever been.

SAGITTARIUS (Nov. 22-Dec. 21): "I've been trying to go home my whole life,"
writes poet Chelsea Dingman. I know some of you Sagittarians resist the urge
to do that. It's possible you avoid seeking a true and complete home. You
may think of the whole world as your home, or you may regard a lot of
different places as your homes. And you'd prefer not to narrow down the
feeling and concept of "home" to one location or building or community.
Whether or not you are one of those kinds of Centaurs, I suspect that 2022
will bring you unexpected new understandings of home—and maybe even give you
the sense that you have finally arrived in your ultimate sanctuary.

CAPRICORN (Dec. 22-Jan. 19): To ensure that 2022 will bring you the most
interesting and useful kind of progress, take good care of your key
friendships and alliances, even as you seek out excellent new friendships
and alliances. For best results, heed these thoughts from author Hanya
Yanagihara: "Find people who are better than you are—not smarter, not
cooler, but kinder, and more generous, and more forgiving—and then
appreciate them for what they can teach you, and listen to them when they
tell you something about yourself, no matter how bad—or good—it might be."

AQUARIUS (Jan. 20-Feb. 18): Sometime during the Northern Song Dynasty that
ruled China from 960 to 1127, an artisan made a white ceramic bowl five
inches in diameter. About a thousand years later, a family in New York
bought it at a garage sale for $3. It sat on a mantel in their home for a
few years until they got a hunch to have it evaluated by an art collector. A
short time later, the bowl was sold at an auction for $2.2 million. I'm not
saying that 2022 will bring a financial event as dramatic as that one. But I
do expect that your luck with money will be at a peak.

®Copyright 2021 Rob Breszny       0,0,10                           Free Will Astrology - Week of December 23, 2021 "
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  string(4896) "Looking ahead to New Year’s, New Realm Brewing in Old Fourth Ward is selling tickets for their New Year’s Eve party that will include an open bar, live music, and two buffets.

Ironshield Brewing in Lawrenceville is having a very unique New Year’s celebration—they will celebrate Germany and Belgium’s New Year at 6 p.m. with specials on German and Belgian beers, and Ireland and Scotland’s New Year at 7 p.m. with specials on their Irish and Scotch Ales, and college football will be on all day!

Celebrate the New Year with Gate City Brewing in Roswell from noon to 12:30am. They’ll have a live DJ, 18 beers on tap, and seasonal craft cocktails in addition to food from Q’Paso—no ticket necessary!

Brew Year’s Eve at Line Creek Brewing in Peachtree City will feature live music, food from Blue Nomad Grill from noon to 9 p.m., and all your favorite brews from 9 p.m. till midnight.

Reformation Brewery’s Canton and Woodstock locations will be open late for New Year’s celebrations and plenty of surprises!

StillFire Brewing in Suwanee is having an 80s Prom Party for New Year’s! They’ll have BBQ for purchase from 6-10 p.m., and no cover before 8 p.m. Wear your best 80s prom gear and see who gets crowned prom King and Queen!

Start celebrating New Years earlier in the day with Brew Year’s Brunch at Monday Night Garage in the West End. Join them from 11 a.m. to 3 p.m. for brunch bites, seasonal beers, and $20 bottomless beermosas.

Ironmonger Brewing in Marietta celebrates New Years from 8 p.m. to 1 a.m. VIP tickets include your midnight toast and a full evening of axe throwing.

And if you want to look even further into 2022, Sweetwater Brewing has announced the dates for that year’s 420 Fest—it’s happening in Centennial Olympic Park from Thursday, Apr. 28 through May 1!

!!Ongoing:
Sundays from 1-3 p.m. check out The Bingo Show at Arches Brewing (3361 Dogwood Dr, Hapeville).  Play bingo with beer and drag queens!

West Midtown’s Fire Maker Brewing (975 Chattahoochee Ave, Atlanta) features trivia every Wednesday and themed trivia every Thursday, both starting at 6:30 p.m. Check out their new beer garden and their new hazy Winter IPA called Yukon Cornelius!

Ironmonger Brewing (2129 NW Pkwy, Marietta) features trivia every Wednesday from 7-9 p.m. It’s free to play, and you get $1 off selected pints for your team!

Ironshield Brewing (457 N Chestnut St, Lawrenceville) also features trivia every Wednesday from 7:15-9:00 p.m. and Game Night every Thursday from 5-9 p.m.

Watch NFL and College football games every Saturday and Sunday through the season from noon-8:00 p.m at Monday Night Brewing (670 Trabert Ave, Atlanta) in West Midtown and Monday Night Garage (933 Lee St, Atlanta) in West End. Wear your team’s gear and get a free beer!

NoFo Brew Co (6150 GA-400, Cumming) features Music Bingo every Wednesday from 7-9 p.m.

Orpheus Brewing (1440 Dutch Valley Pl, Atlanta) in Ansley Park has trivia every Tuesday from 7-9 p.m. First, second, and third place all win Orpheus gift cards.

Reformation Brewery has trivia at their Woodstock location (105 Elm St) on Wednesdays from 7-9 p.m., at their Canton location (225 Reformation Pkwy) on Thursdays from 7-9 p.m., and at the Smyrna location (6255 Riverview Rd) on Sundays from 6-8 p.m.

If you’re looking for something other than trivia, check out Speed Puzzles at Round Trip Brewing (1279 Seaboard Industrial Blvd, Atlanta) on the Westside every Tuesday from 6:30-9:00 p.m. Assemble a 500 piece puzzle as quickly as possible, and you might win a gift card for your next visit!

Join Second Self Beer Company (1317 Logan Circle, Atlanta) in West Midtown for their new Wag-A-Long Wednesdays! Every Wednesday from 5-9 p.m, bring your doggy friend with you and get $1 off your first pint, and $10 pitchers for everyone else!

Six Bridges Brewing (11455 Lakefield Dr, Johns Creek) joins Hard Hitting Trivia every Tuesday from 7:30 to 9:00 p.m. and check out food truck nights on Tuesdays, Fridays, and Saturdays from 4-9 p.m.

Social Fox Brewing (20 Skin Alley, Norcross) is now a proud sponsor of the Atlanta Gladiators and you’ll be able to purchase some of their brews at the Gas South Arena as of November 5! You can also watch all the Gladiators away games in the taproom!

Play trivia with the good folks at Sweetwater Brewing (195 Ottley Dr) in Midtown on Wednesdays at 7 p.m.

Slow Pour Brewing Company (407 N Clayton St, Lawrenceville) has trivia every Thursday from 7-9 p.m. First, second, and third place teams win Slow Pour gift cards.

Tucker Brewing (2003 S Bibb Dr, Tucker) has trivia on the first and third Wednesdays every month from 6:30-8:00 p.m.

Variant Brewing Company (66 Norcross St, Roswell) celebrates Trivia Tuesday every Tuesday from 7-9 p.m. Prizes for first, second, and third place. —CL—"
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  string(5008) "Looking ahead to New Year’s, __New Realm Brewing__ in Old Fourth Ward is selling tickets for their New Year’s Eve party that will include an open bar, live music, and two buffets.

__Ironshield Brewing__ in Lawrenceville is having a very unique New Year’s celebration—they will celebrate Germany and Belgium’s New Year at 6 p.m. with specials on German and Belgian beers, and Ireland and Scotland’s New Year at 7 p.m. with specials on their Irish and Scotch Ales, and college football will be on all day!

Celebrate the New Year with __Gate City Brewing__ in Roswell from noon to 12:30am. They’ll have a live DJ, 18 beers on tap, and seasonal craft cocktails in addition to food from Q’Paso—no ticket necessary!

Brew Year’s Eve at __Line Creek Brewing__ in Peachtree City will feature live music, food from Blue Nomad Grill from noon to 9 p.m., and all your favorite brews from 9 p.m. till midnight.

__Reformation Brewery’s__ Canton and Woodstock locations will be open late for New Year’s celebrations and plenty of surprises!

__StillFire Brewing__ in Suwanee is having an 80s Prom Party for New Year’s! They’ll have BBQ for purchase from 6-10 p.m., and no cover before 8 p.m. Wear your best 80s prom gear and see who gets crowned prom King and Queen!

Start celebrating New Years earlier in the day with Brew Year’s Brunch at __Monday Night Garage__ in the West End. Join them from 11 a.m. to 3 p.m. for brunch bites, seasonal beers, and $20 bottomless beermosas.

__Ironmonger Brewing__ in Marietta celebrates New Years from 8 p.m. to 1 a.m. VIP tickets include your midnight toast and a full evening of axe throwing.

And if you want to look even further into 2022, __Sweetwater Brewing__ has announced the dates for that year’s 420 Fest—it’s happening in Centennial Olympic Park from Thursday, Apr. 28 through May 1!

!!__Ongoing:__
Sundays from 1-3 p.m. check out The Bingo Show at __Arches Brewing__ (3361 Dogwood Dr, Hapeville).  Play bingo with beer and drag queens!

West Midtown’s __Fire Maker Brewing __(975 Chattahoochee Ave, Atlanta) features trivia every Wednesday and themed trivia every Thursday, both starting at 6:30 p.m. Check out their new beer garden and their new hazy Winter IPA called Yukon Cornelius!

__Ironmonger Brewing__ (2129 NW Pkwy, Marietta) features trivia every Wednesday from 7-9 p.m. It’s free to play, and you get $1 off selected pints for your team!

__Ironshield Brewing__ (457 N Chestnut St, Lawrenceville) also features trivia every Wednesday from 7:15-9:00 p.m. and Game Night every Thursday from 5-9 p.m.

Watch NFL and College football games every Saturday and Sunday through the season from noon-8:00 p.m at __Monday Night Brewing __(670 Trabert Ave, Atlanta) in West Midtown and __Monday Night Garage__ (933 Lee St, Atlanta) in West End. Wear your team’s gear and get a free beer!

__NoFo Brew Co__ (6150 GA-400, Cumming) features Music Bingo every Wednesday from 7-9 p.m.

__Orpheus Brewing__ (1440 Dutch Valley Pl, Atlanta) in Ansley Park has trivia every Tuesday from 7-9 p.m. First, second, and third place all win Orpheus gift cards.

__Reformation Brewery__ has trivia at their Woodstock location (105 Elm St) on Wednesdays from 7-9 p.m., at their Canton location (225 Reformation Pkwy) on Thursdays from 7-9 p.m., and at the Smyrna location (6255 Riverview Rd) on Sundays from 6-8 p.m.

If you’re looking for something other than trivia, check out Speed Puzzles at __Round Trip Brewing__ (1279 Seaboard Industrial Blvd, Atlanta) on the Westside every Tuesday from 6:30-9:00 p.m. Assemble a 500 piece puzzle as quickly as possible, and you might win a gift card for your next visit!

Join __Second Self Beer Company__ (1317 Logan Circle, Atlanta) in West Midtown for their new Wag-A-Long Wednesdays! Every Wednesday from 5-9 p.m, bring your doggy friend with you and get $1 off your first pint, and $10 pitchers for everyone else!

__Six Bridges Brewing__ (11455 Lakefield Dr, Johns Creek) joins Hard Hitting Trivia every Tuesday from 7:30 to 9:00 p.m. and check out food truck nights on Tuesdays, Fridays, and Saturdays from 4-9 p.m.

__Social Fox Brewing__ (20 Skin Alley, Norcross) is now a proud sponsor of the Atlanta Gladiators and you’ll be able to purchase some of their brews at the Gas South Arena as of November 5! You can also watch all the Gladiators away games in the taproom!

Play trivia with the good folks at __Sweetwater Brewing__ (195 Ottley Dr) in Midtown on Wednesdays at 7 p.m.

__Slow Pour Brewing Company__ (407 N Clayton St, Lawrenceville) has trivia every Thursday from 7-9 p.m. First, second, and third place teams win Slow Pour gift cards.

__Tucker Brewing__ (2003 S Bibb Dr, Tucker) has trivia on the first and third Wednesdays every month from 6:30-8:00 p.m.

__Variant Brewing Company__ (66 Norcross St, Roswell) celebrates Trivia Tuesday every Tuesday from 7-9 p.m. Prizes for first, second, and third place. —__CL—__"
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  string(5424) " Ironshield Brewing  2021-12-27T16:02:02+00:00 Ironshield Brewing.jpeg     on tap Atlanta breweries welcome 2022 Ironshield Brewing   2021-12-27T15:57:31+00:00  ATL BREWS: Ringing in the New Year tony.paris Tony Paris Jill Melancon jill.melancon (Jill Melancon) 2021-12-27T15:57:31+00:00 Looking ahead to New Year’s, New Realm Brewing in Old Fourth Ward is selling tickets for their New Year’s Eve party that will include an open bar, live music, and two buffets.

Ironshield Brewing in Lawrenceville is having a very unique New Year’s celebration—they will celebrate Germany and Belgium’s New Year at 6 p.m. with specials on German and Belgian beers, and Ireland and Scotland’s New Year at 7 p.m. with specials on their Irish and Scotch Ales, and college football will be on all day!

Celebrate the New Year with Gate City Brewing in Roswell from noon to 12:30am. They’ll have a live DJ, 18 beers on tap, and seasonal craft cocktails in addition to food from Q’Paso—no ticket necessary!

Brew Year’s Eve at Line Creek Brewing in Peachtree City will feature live music, food from Blue Nomad Grill from noon to 9 p.m., and all your favorite brews from 9 p.m. till midnight.

Reformation Brewery’s Canton and Woodstock locations will be open late for New Year’s celebrations and plenty of surprises!

StillFire Brewing in Suwanee is having an 80s Prom Party for New Year’s! They’ll have BBQ for purchase from 6-10 p.m., and no cover before 8 p.m. Wear your best 80s prom gear and see who gets crowned prom King and Queen!

Start celebrating New Years earlier in the day with Brew Year’s Brunch at Monday Night Garage in the West End. Join them from 11 a.m. to 3 p.m. for brunch bites, seasonal beers, and $20 bottomless beermosas.

Ironmonger Brewing in Marietta celebrates New Years from 8 p.m. to 1 a.m. VIP tickets include your midnight toast and a full evening of axe throwing.

And if you want to look even further into 2022, Sweetwater Brewing has announced the dates for that year’s 420 Fest—it’s happening in Centennial Olympic Park from Thursday, Apr. 28 through May 1!

!!Ongoing:
Sundays from 1-3 p.m. check out The Bingo Show at Arches Brewing (3361 Dogwood Dr, Hapeville).  Play bingo with beer and drag queens!

West Midtown’s Fire Maker Brewing (975 Chattahoochee Ave, Atlanta) features trivia every Wednesday and themed trivia every Thursday, both starting at 6:30 p.m. Check out their new beer garden and their new hazy Winter IPA called Yukon Cornelius!

Ironmonger Brewing (2129 NW Pkwy, Marietta) features trivia every Wednesday from 7-9 p.m. It’s free to play, and you get $1 off selected pints for your team!

Ironshield Brewing (457 N Chestnut St, Lawrenceville) also features trivia every Wednesday from 7:15-9:00 p.m. and Game Night every Thursday from 5-9 p.m.

Watch NFL and College football games every Saturday and Sunday through the season from noon-8:00 p.m at Monday Night Brewing (670 Trabert Ave, Atlanta) in West Midtown and Monday Night Garage (933 Lee St, Atlanta) in West End. Wear your team’s gear and get a free beer!

NoFo Brew Co (6150 GA-400, Cumming) features Music Bingo every Wednesday from 7-9 p.m.

Orpheus Brewing (1440 Dutch Valley Pl, Atlanta) in Ansley Park has trivia every Tuesday from 7-9 p.m. First, second, and third place all win Orpheus gift cards.

Reformation Brewery has trivia at their Woodstock location (105 Elm St) on Wednesdays from 7-9 p.m., at their Canton location (225 Reformation Pkwy) on Thursdays from 7-9 p.m., and at the Smyrna location (6255 Riverview Rd) on Sundays from 6-8 p.m.

If you’re looking for something other than trivia, check out Speed Puzzles at Round Trip Brewing (1279 Seaboard Industrial Blvd, Atlanta) on the Westside every Tuesday from 6:30-9:00 p.m. Assemble a 500 piece puzzle as quickly as possible, and you might win a gift card for your next visit!

Join Second Self Beer Company (1317 Logan Circle, Atlanta) in West Midtown for their new Wag-A-Long Wednesdays! Every Wednesday from 5-9 p.m, bring your doggy friend with you and get $1 off your first pint, and $10 pitchers for everyone else!

Six Bridges Brewing (11455 Lakefield Dr, Johns Creek) joins Hard Hitting Trivia every Tuesday from 7:30 to 9:00 p.m. and check out food truck nights on Tuesdays, Fridays, and Saturdays from 4-9 p.m.

Social Fox Brewing (20 Skin Alley, Norcross) is now a proud sponsor of the Atlanta Gladiators and you’ll be able to purchase some of their brews at the Gas South Arena as of November 5! You can also watch all the Gladiators away games in the taproom!

Play trivia with the good folks at Sweetwater Brewing (195 Ottley Dr) in Midtown on Wednesdays at 7 p.m.

Slow Pour Brewing Company (407 N Clayton St, Lawrenceville) has trivia every Thursday from 7-9 p.m. First, second, and third place teams win Slow Pour gift cards.

Tucker Brewing (2003 S Bibb Dr, Tucker) has trivia on the first and third Wednesdays every month from 6:30-8:00 p.m.

Variant Brewing Company (66 Norcross St, Roswell) celebrates Trivia Tuesday every Tuesday from 7-9 p.m. Prizes for first, second, and third place. —CL—    Courtesy Ironshield Brewing CELEBRATE THE NEW YEAR: If the weather stays warm, you may be able to celebrate New Year's Eve outdoors at Ironshield Brewing.  0,0,1    "On Tap"                       ATL BREWS: Ringing in the New Year "
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  string(5457) "Is it true that, as a class, psychotherapists and other mental health professionals are crazier than average? And that despite their training and experience, they can recognize their own issues less readily than the average nutcase?

— Paul

I defer judgment on whether shrinks don't recognize their problems. On the contrary, there are indications some mental health professionals enter the field because they do recognize their problems and think their work will help them get a grip.

I can hear you saying, "That's like becoming a cop so you can work on your anger management." Please, a little sympathy. The best way to understand shrinks is to put yourself in their shoes.

Let's suppose you dedicate yourself to healing the psychic wounds of others. Are you probably nuttier than average? Depends how we define nutty. I haven't seen good evidence you're statistically likely to hear voices, think you're the angel Gabriel, or otherwise show signs of clinical insanity. On the other hand, are the odds decent that you'll show signs of what we might call maladjustment? No question, they are.

It's easy to see why. Psychiatry and psychology, like police work, have long been recognized as high-stress fields of practice due to constant exposure to humanity's dark side. In interviews with medical students about their perceptions of psychiatry, researchers found a common concern was that (as one subject put it) "working with crazies will make you crazy."

For all that, the prevalence of mental disorders among mental health workers didn't receive much attention until the 1980s. A widely noted study from 1980 found 73 percent of psychiatrists had experienced moderate to incapacitating anxiety early in their careers, and 58 percent had suffered from moderate to incapacitating depression.

To some extent this is simply a result of working in medicine — physicians in general suffer from higher stress levels and depression than the general population and have a higher suicide rate. But research suggests mental health specialists are particularly at risk. One British study found psychiatrists had nearly five times the suicide rate of general practitioners, and U.S. research indicates psychiatrists commit suicide at two to three times the rate of the general population.

Similarly, depression, stress, and burnout are high among physicians but higher among psychiatrists; the same is true of alcohol and drug abuse. Psychiatrists have a divorce rate 2.7 times that of other physicians and as much as five times that of the general public. From a quarter to a half of psychiatrists say they're suffering from burnout at any given time.

A study of more than 8,000 Finnish hospital employees found the psychiatric staff was 81 percent more likely to suffer from a current or past mental illness and 61 percent more likely to miss work due to depression. Psychiatric staff were twice as likely to smoke as other hospital staff and had much higher rates of alcohol use. A 30-year study of 20,000 U.K. medical workers found psychiatrists were 46 percent more likely than their peers to die from injuries and poisoning, and at 12 percent greater risk of dying overall.

If you were a woman in the mental health field, Paul, you'd have an especially tough time of it. Compared to other female physicians, female psychiatrists have a 67 percent greater likelihood of suffering from psychological problems, primarily depression, and have a 26 percent greater likelihood of having a family history of psychological problems. They're twice as likely to smoke, drink 50 percent more alcohol, and rate their personal health much lower than their peers do.

As a male, you may find other ways to alleviate your stress. The California Medical Board found male psychiatrists were almost twice as likely to be disciplined for unethical sexual relationships with patients as their peers.

Many of the problems you'll encounter as a mental health professional have a lot to do with the nature of the work — hey, skimming through my inbox any given week is enough to make me reach for the Thorazine. Jung called the transference of psychological problems from patient to doctor an "unconscious infection."

Patients can get violent, either with you or themselves. Dealing with certain types of patients can be emotionally draining, such as those with borderline personality disorder or victims of sexual abuse. You've also got stressors such as overwork, job instability, liability fears, paperwork overload, and disciplinary actions and monitoring.

But let's get back to the point I made at the outset. Does the mental health field attract people with mental problems? Research is thin, but some studies have found mental health workers are more likely than average to have experienced early abuse and trauma. A much-cited 1963 study reported that 24 out of 25 psychiatrists had entered the field because of a wish to explore some personal conflict.

That gives one pause. Sure, there's value in consulting a health professional who's been down the same road as us. But who wants their therapist thinking, "Maybe after I get this head case straightened out, I'll figure out what's wrong with me"?

Send questions to Cecil via straightdope.com or write him c/o Chicago Reader, 2930 S. Michigan Ave., Suite 102, Chicago, IL 60616. "The Straight Dope" contained herein may have been previously published at an earlier date."
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''— Paul''

I defer judgment on whether shrinks don't recognize their problems. On the contrary, there are indications some mental health professionals enter the field because they do recognize their problems and think their work will help them get a grip.

I can hear you saying, "That's like becoming a cop so you can work on your anger management." Please, a little sympathy. The best way to understand shrinks is to put yourself in their shoes.

Let's suppose you dedicate yourself to healing the psychic wounds of others. Are you probably nuttier than average? Depends how we define nutty. I haven't seen good evidence you're statistically likely to hear voices, think you're the angel Gabriel, or otherwise show signs of clinical insanity. On the other hand, are the odds decent that you'll show signs of what we might call maladjustment? No question, they are.

It's easy to see why. Psychiatry and psychology, like police work, have long been recognized as high-stress fields of practice due to constant exposure to humanity's dark side. In interviews with medical students about their perceptions of psychiatry, researchers found a common concern was that (as one subject put it) "working with crazies will make you crazy."

For all that, the prevalence of mental disorders among mental health workers didn't receive much attention until the 1980s. A widely noted study from 1980 found 73 percent of psychiatrists had experienced moderate to incapacitating anxiety early in their careers, and 58 percent had suffered from moderate to incapacitating depression.

To some extent this is simply a result of working in medicine — physicians in general suffer from higher stress levels and depression than the general population and have a higher suicide rate. But research suggests mental health specialists are particularly at risk. One British study found psychiatrists had nearly five times the suicide rate of general practitioners, and U.S. research indicates psychiatrists commit suicide at two to three times the rate of the general population.

Similarly, depression, stress, and burnout are high among physicians but higher among psychiatrists; the same is true of alcohol and drug abuse. Psychiatrists have a divorce rate 2.7 times that of other physicians and as much as five times that of the general public. From a quarter to a half of psychiatrists say they're suffering from burnout at any given time.

A study of more than 8,000 Finnish hospital employees found the psychiatric staff was 81 percent more likely to suffer from a current or past mental illness and 61 percent more likely to miss work due to depression. Psychiatric staff were twice as likely to smoke as other hospital staff and had much higher rates of alcohol use. A 30-year study of 20,000 U.K. medical workers found psychiatrists were 46 percent more likely than their peers to die from injuries and poisoning, and at 12 percent greater risk of dying overall.

If you were a woman in the mental health field, Paul, you'd have an especially tough time of it. Compared to other female physicians, female psychiatrists have a 67 percent greater likelihood of suffering from psychological problems, primarily depression, and have a 26 percent greater likelihood of having a family history of psychological problems. They're twice as likely to smoke, drink 50 percent more alcohol, and rate their personal health much lower than their peers do.

As a male, you may find other ways to alleviate your stress. The California Medical Board found male psychiatrists were almost twice as likely to be disciplined for unethical sexual relationships with patients as their peers.

Many of the problems you'll encounter as a mental health professional have a lot to do with the nature of the work — hey, skimming through ''my'' inbox any given week is enough to make me reach for the Thorazine. Jung called the transference of psychological problems from patient to doctor an "unconscious infection."

Patients can get violent, either with you or themselves. Dealing with certain types of patients can be emotionally draining, such as those with borderline personality disorder or victims of sexual abuse. You've also got stressors such as overwork, job instability, liability fears, paperwork overload, and disciplinary actions and monitoring.

But let's get back to the point I made at the outset. Does the mental health field attract people with mental problems? Research is thin, but some studies have found mental health workers are more likely than average to have experienced early abuse and trauma. A much-cited 1963 study reported that 24 out of 25 psychiatrists had entered the field because of a wish to explore some personal conflict.

That gives one pause. Sure, there's value in consulting a health professional who's been down the same road as us. But who wants their therapist thinking, "Maybe after I get this head case straightened out, I'll figure out what's wrong with me"?

''Send questions to Cecil via [http://straightdope.com/|straightdope.com] or write him c/o ''Chicago Reader'', [https://chicagoreader.com/chicago/reader-2930-south-michigan-avenue-bronzeville/Map?oid=836108|2930 S. Michigan Ave., Suite 102, Chicago, IL 60616]. "The Straight Dope" contained herein may have been previously published at an earlier date.''"
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  string(5821) " Dope 120928 Areshrinksnuts  2021-12-27T23:23:37+00:00 dope_120928_areshrinksnuts.gif       Dope 120928 Areshrinksnuts   2021-12-28T09:00:00+00:00  The Straight Dope - Are shrinks nuts? jim.harris Jim Harris Cecil Adams  2021-12-28T09:00:00+00:00 Is it true that, as a class, psychotherapists and other mental health professionals are crazier than average? And that despite their training and experience, they can recognize their own issues less readily than the average nutcase?

— Paul

I defer judgment on whether shrinks don't recognize their problems. On the contrary, there are indications some mental health professionals enter the field because they do recognize their problems and think their work will help them get a grip.

I can hear you saying, "That's like becoming a cop so you can work on your anger management." Please, a little sympathy. The best way to understand shrinks is to put yourself in their shoes.

Let's suppose you dedicate yourself to healing the psychic wounds of others. Are you probably nuttier than average? Depends how we define nutty. I haven't seen good evidence you're statistically likely to hear voices, think you're the angel Gabriel, or otherwise show signs of clinical insanity. On the other hand, are the odds decent that you'll show signs of what we might call maladjustment? No question, they are.

It's easy to see why. Psychiatry and psychology, like police work, have long been recognized as high-stress fields of practice due to constant exposure to humanity's dark side. In interviews with medical students about their perceptions of psychiatry, researchers found a common concern was that (as one subject put it) "working with crazies will make you crazy."

For all that, the prevalence of mental disorders among mental health workers didn't receive much attention until the 1980s. A widely noted study from 1980 found 73 percent of psychiatrists had experienced moderate to incapacitating anxiety early in their careers, and 58 percent had suffered from moderate to incapacitating depression.

To some extent this is simply a result of working in medicine — physicians in general suffer from higher stress levels and depression than the general population and have a higher suicide rate. But research suggests mental health specialists are particularly at risk. One British study found psychiatrists had nearly five times the suicide rate of general practitioners, and U.S. research indicates psychiatrists commit suicide at two to three times the rate of the general population.

Similarly, depression, stress, and burnout are high among physicians but higher among psychiatrists; the same is true of alcohol and drug abuse. Psychiatrists have a divorce rate 2.7 times that of other physicians and as much as five times that of the general public. From a quarter to a half of psychiatrists say they're suffering from burnout at any given time.

A study of more than 8,000 Finnish hospital employees found the psychiatric staff was 81 percent more likely to suffer from a current or past mental illness and 61 percent more likely to miss work due to depression. Psychiatric staff were twice as likely to smoke as other hospital staff and had much higher rates of alcohol use. A 30-year study of 20,000 U.K. medical workers found psychiatrists were 46 percent more likely than their peers to die from injuries and poisoning, and at 12 percent greater risk of dying overall.

If you were a woman in the mental health field, Paul, you'd have an especially tough time of it. Compared to other female physicians, female psychiatrists have a 67 percent greater likelihood of suffering from psychological problems, primarily depression, and have a 26 percent greater likelihood of having a family history of psychological problems. They're twice as likely to smoke, drink 50 percent more alcohol, and rate their personal health much lower than their peers do.

As a male, you may find other ways to alleviate your stress. The California Medical Board found male psychiatrists were almost twice as likely to be disciplined for unethical sexual relationships with patients as their peers.

Many of the problems you'll encounter as a mental health professional have a lot to do with the nature of the work — hey, skimming through my inbox any given week is enough to make me reach for the Thorazine. Jung called the transference of psychological problems from patient to doctor an "unconscious infection."

Patients can get violent, either with you or themselves. Dealing with certain types of patients can be emotionally draining, such as those with borderline personality disorder or victims of sexual abuse. You've also got stressors such as overwork, job instability, liability fears, paperwork overload, and disciplinary actions and monitoring.

But let's get back to the point I made at the outset. Does the mental health field attract people with mental problems? Research is thin, but some studies have found mental health workers are more likely than average to have experienced early abuse and trauma. A much-cited 1963 study reported that 24 out of 25 psychiatrists had entered the field because of a wish to explore some personal conflict.

That gives one pause. Sure, there's value in consulting a health professional who's been down the same road as us. But who wants their therapist thinking, "Maybe after I get this head case straightened out, I'll figure out what's wrong with me"?

Send questions to Cecil via straightdope.com or write him c/o Chicago Reader, 2930 S. Michigan Ave., Suite 102, Chicago, IL 60616. "The Straight Dope" contained herein may have been previously published at an earlier date.    Illustration by Slug Signorino          6503880 13070600                   The Straight Dope - Are shrinks nuts? "
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  string(5349) "According to the Humane Society, you can extend your dog's life a couple of years by getting him neutered. Are testes really lethal? Does neutering your dog really extend his life? Would the same thing work for men?

— Dave Greenaway

You're not going to want to hear this, Dave. But according to one much-cited study, castrated men live nearly 14 years longer than their intact brethren, which if true means there's some elective surgery you may want to think about. But first let's talk about dogs.

It's not hard to find statements in the veterinary literature that neutering — here meaning gonadectomy in either sex — prolongs the life of both male and female pets. To cite an obvious advantage, a neutered male dog is unlikely to get testicular cancer, while spaying female dogs virtually eliminates uterine disease and mammary tumors. Animal welfare groups promoting neutering have been happy to spread the word about these benefits.

Researchers into human longevity have also been interested, although for a different reason. Life expectancy in the U.S. has increased sharply over the past century, but more so in women than men. In 1900, a newborn boy could expect to live 46.3 years and a newborn girl 48.3 years, a difference of two years. By 1970, in part due to fewer maternal deaths during childbirth, baby girls could expect to live 74.7 years, baby boys 67.1 years, a difference of 7.6 years. U.S. males have caught up some since then; in 2007 a baby boy could expect to live 75.4 years, a baby girl 80.4. But the question remains: Why, despite ongoing advances in health care, do women still live considerably longer than men?

A landmark 1969 study seemed to provide an answer. James Hamilton and Gordon Mestler compared the lifespans of 297 castrated inmates at a Kansas institution for the mentally retarded with those of 735 intact males at the same facility. The castrated males had gone under the knife at ages from 8 to 59 years old, with the average age ranging from 12 (!) in 1898 to 30 in 1923. They didn't vary markedly from intact inmates in terms of IQ, type of mental disability, and so on, suggesting there had been no firm criteria for the operation other than possibly your getting on the hospital staff's nerves — too bad if you were an inmate but lucky for science, since except for castration the two groups were indistinguishable.

Result: The castrated inmates on average lived 13.6 years longer than the intact ones (55.7 vs 69.3 years). What's more, the earlier you were castrated, the longer you lived. Conclusion: testosterone kills.

OK, Hamilton and Mestler didn't put it that dramatically. But they did believe their research applied to all males, not just the mentally retarded, in part because castrated animals in general were thought to live longer than those left intact. Their view has largely carried the day as the explanation for why women outlive men. My assistant Una found their paper had been cited at least 130 times by later researchers.

You're thinking: come on. What toxic effects could male hormones possibly have that would account for a 14-year difference in lifespan? It wasn't male predilections for smoking or violence, or male-only conditions like testicular cancer. Rather, according to Hamilton and Mestler, it was infections.

I know, makes no sense to me, either. One explanation I've seen is that castration was used to pacify the rambunctious. Troublemakers who didn't get orchidectomized instead were bound to chairs or beds, making them more vulnerable to chronic urinary infections and such. In other words, it wasn't so much castrated inmates living long lives, but rather intact ones dying young.

Which gets us back to dogs. Remember, Hamilton and Mestler believed their conclusions applied to everyone, not just the mentally retarded, because castrated animals in general lived longer. But it turns out the evidence for that is thin and contradictory.

Research on Rottweiler longevity is instructive on this score. A 2003 study found that of 21 dogs who lived exceptionally long lives by Rottweiler standards — more than 13 years — two-thirds were female and 90 percent had been neutered, supporting the conventional wisdom. On looking closer, however, we see that whereas five of seven male dogs had been neutered, all 14 of the females had been. Implication: while neutering helps male dogs live longer, it helps females even more.

So sex hormones of any kind mean an early grave? Not so fast. Matters may be confused by the failure to consider when in an animal's life neutering is performed. More recent Rottweiler research indicates the longer a female dog has ovaries, the longer she lives.

The supposedly lethal impact of testosterone may also be exaggerated. Browsing through the databases, we find a 1982 analysis of 2,000 canine post-mortems showing no significant difference between the lifespans of intact and neutered animals of either sex.

Inquiry into this murky business continues. For now about all we can say is: Having sex organs doesn't necessarily shorten your life. Whew.

Send questions to Cecil via straightdope.com or write him c/o Chicago Reader, 2930 S. Michigan Ave., Suite 102, Chicago, IL 60616. "The Straight Dope" contained herein may have been previously published at an earlier date"
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''— Dave Greenaway''

You're not going to want to hear this, Dave. But according to one much-cited study, castrated men live nearly ''14 years'' longer than their intact brethren, which if true means there's some elective surgery you may want to think about. But first let's talk about dogs.

It's not hard to find statements in the veterinary literature that neutering — here meaning gonadectomy in either sex — prolongs the life of both male and female pets. To cite an obvious advantage, a neutered male dog is unlikely to get testicular cancer, while spaying female dogs virtually eliminates uterine disease and mammary tumors. Animal welfare groups promoting neutering have been happy to spread the word about these benefits.

Researchers into human longevity have also been interested, although for a different reason. Life expectancy in the U.S. has increased sharply over the past century, but more so in women than men. In 1900, a newborn boy could expect to live 46.3 years and a newborn girl 48.3 years, a difference of two years. By 1970, in part due to fewer maternal deaths during childbirth, baby girls could expect to live 74.7 years, baby boys 67.1 years, a difference of 7.6 years. U.S. males have caught up some since then; in 2007 a baby boy could expect to live 75.4 years, a baby girl 80.4. But the question remains: Why, despite ongoing advances in health care, do women still live considerably longer than men?

A landmark 1969 study seemed to provide an answer. James Hamilton and Gordon Mestler compared the lifespans of 297 castrated inmates at a Kansas institution for the mentally retarded with those of 735 intact males at the same facility. The castrated males had gone under the knife at ages from 8 to 59 years old, with the average age ranging from 12 (!) in 1898 to 30 in 1923. They didn't vary markedly from intact inmates in terms of IQ, type of mental disability, and so on, suggesting there had been no firm criteria for the operation other than possibly your getting on the hospital staff's nerves — too bad if you were an inmate but lucky for science, since except for castration the two groups were indistinguishable.

Result: The castrated inmates on average lived 13.6 years longer than the intact ones (55.7 vs 69.3 years). What's more, the earlier you were castrated, the longer you lived. Conclusion: testosterone kills.

OK, Hamilton and Mestler didn't put it that dramatically. But they did believe their research applied to all males, not just the mentally retarded, in part because castrated animals in general were thought to live longer than those left intact. Their view has largely carried the day as the explanation for why women outlive men. My assistant Una found their paper had been cited at least 130 times by later researchers.

You're thinking: come ''on''. What toxic effects could male hormones possibly have that would account for a 14-year difference in lifespan? It wasn't male predilections for smoking or violence, or male-only conditions like testicular cancer. Rather, according to Hamilton and Mestler, it was infections.

I know, makes no sense to me, either. One explanation I've seen is that castration was used to pacify the rambunctious. Troublemakers who didn't get orchidectomized instead were bound to chairs or beds, making them more vulnerable to chronic urinary infections and such. In other words, it wasn't so much castrated inmates living long lives, but rather intact ones dying young.

Which gets us back to dogs. Remember, Hamilton and Mestler believed their conclusions applied to everyone, not just the mentally retarded, because castrated animals in general lived longer. But it turns out the evidence for that is thin and contradictory.

Research on Rottweiler longevity is instructive on this score. A 2003 study found that of 21 dogs who lived exceptionally long lives by Rottweiler standards — more than 13 years — two-thirds were female and 90 percent had been neutered, supporting the conventional wisdom. On looking closer, however, we see that whereas five of seven male dogs had been neutered, all 14 of the females had been. Implication: while neutering helps male dogs live longer, it helps females even more.

So sex hormones of ''any'' kind mean an early grave? Not so fast. Matters may be confused by the failure to consider when in an animal's life neutering is performed. More recent Rottweiler research indicates the longer a female dog has ovaries, the ''longer'' she lives.

The supposedly lethal impact of testosterone may also be exaggerated. Browsing through the databases, we find a 1982 analysis of 2,000 canine post-mortems showing no significant difference between the lifespans of intact and neutered animals of either sex.

Inquiry into this murky business continues. For now about all we can say is: Having sex organs doesn't necessarily shorten your life. Whew.

''Send questions to Cecil via [http://straightdope.com/|straightdope.com] or write him c/o ''Chicago Reader, [https://chicagoreader.com/chicago/reader-2930-south-michigan-avenue-bronzeville/Map?oid=836108|2930 S. Michigan Ave., Suite 102, Chicago, IL 60616]. "The Straight Dope" contained herein may have been previously published at an earlier date"
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  string(5727) " Dope 120831 Castration  2021-12-28T01:38:57+00:00 dope_120831_castration.gif       Dope 120831 Castration   2021-12-29T09:00:00+00:00  The Straight Dope - Does castration = longer life? jim.harris Jim Harris Cecil Adams  2021-12-29T09:00:00+00:00 According to the Humane Society, you can extend your dog's life a couple of years by getting him neutered. Are testes really lethal? Does neutering your dog really extend his life? Would the same thing work for men?

— Dave Greenaway

You're not going to want to hear this, Dave. But according to one much-cited study, castrated men live nearly 14 years longer than their intact brethren, which if true means there's some elective surgery you may want to think about. But first let's talk about dogs.

It's not hard to find statements in the veterinary literature that neutering — here meaning gonadectomy in either sex — prolongs the life of both male and female pets. To cite an obvious advantage, a neutered male dog is unlikely to get testicular cancer, while spaying female dogs virtually eliminates uterine disease and mammary tumors. Animal welfare groups promoting neutering have been happy to spread the word about these benefits.

Researchers into human longevity have also been interested, although for a different reason. Life expectancy in the U.S. has increased sharply over the past century, but more so in women than men. In 1900, a newborn boy could expect to live 46.3 years and a newborn girl 48.3 years, a difference of two years. By 1970, in part due to fewer maternal deaths during childbirth, baby girls could expect to live 74.7 years, baby boys 67.1 years, a difference of 7.6 years. U.S. males have caught up some since then; in 2007 a baby boy could expect to live 75.4 years, a baby girl 80.4. But the question remains: Why, despite ongoing advances in health care, do women still live considerably longer than men?

A landmark 1969 study seemed to provide an answer. James Hamilton and Gordon Mestler compared the lifespans of 297 castrated inmates at a Kansas institution for the mentally retarded with those of 735 intact males at the same facility. The castrated males had gone under the knife at ages from 8 to 59 years old, with the average age ranging from 12 (!) in 1898 to 30 in 1923. They didn't vary markedly from intact inmates in terms of IQ, type of mental disability, and so on, suggesting there had been no firm criteria for the operation other than possibly your getting on the hospital staff's nerves — too bad if you were an inmate but lucky for science, since except for castration the two groups were indistinguishable.

Result: The castrated inmates on average lived 13.6 years longer than the intact ones (55.7 vs 69.3 years). What's more, the earlier you were castrated, the longer you lived. Conclusion: testosterone kills.

OK, Hamilton and Mestler didn't put it that dramatically. But they did believe their research applied to all males, not just the mentally retarded, in part because castrated animals in general were thought to live longer than those left intact. Their view has largely carried the day as the explanation for why women outlive men. My assistant Una found their paper had been cited at least 130 times by later researchers.

You're thinking: come on. What toxic effects could male hormones possibly have that would account for a 14-year difference in lifespan? It wasn't male predilections for smoking or violence, or male-only conditions like testicular cancer. Rather, according to Hamilton and Mestler, it was infections.

I know, makes no sense to me, either. One explanation I've seen is that castration was used to pacify the rambunctious. Troublemakers who didn't get orchidectomized instead were bound to chairs or beds, making them more vulnerable to chronic urinary infections and such. In other words, it wasn't so much castrated inmates living long lives, but rather intact ones dying young.

Which gets us back to dogs. Remember, Hamilton and Mestler believed their conclusions applied to everyone, not just the mentally retarded, because castrated animals in general lived longer. But it turns out the evidence for that is thin and contradictory.

Research on Rottweiler longevity is instructive on this score. A 2003 study found that of 21 dogs who lived exceptionally long lives by Rottweiler standards — more than 13 years — two-thirds were female and 90 percent had been neutered, supporting the conventional wisdom. On looking closer, however, we see that whereas five of seven male dogs had been neutered, all 14 of the females had been. Implication: while neutering helps male dogs live longer, it helps females even more.

So sex hormones of any kind mean an early grave? Not so fast. Matters may be confused by the failure to consider when in an animal's life neutering is performed. More recent Rottweiler research indicates the longer a female dog has ovaries, the longer she lives.

The supposedly lethal impact of testosterone may also be exaggerated. Browsing through the databases, we find a 1982 analysis of 2,000 canine post-mortems showing no significant difference between the lifespans of intact and neutered animals of either sex.

Inquiry into this murky business continues. For now about all we can say is: Having sex organs doesn't necessarily shorten your life. Whew.

Send questions to Cecil via straightdope.com or write him c/o Chicago Reader, 2930 S. Michigan Ave., Suite 102, Chicago, IL 60616. "The Straight Dope" contained herein may have been previously published at an earlier date    Illustration by Slug Signorino          6238473 13069784                   The Straight Dope - Does castration = longer life? "
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  string(5005) "I'm taking a physics course, and we discussed how objects with hollow cores revolve slower. So I was wondering: Exactly how much dirt would I have to dig out of the ground and move to the surface before I'd notice the days getting longer?

— Mark D. Baragary, Ames, Iowa

Your question inspired my assistant Una to new heights of invention, Mark. She announced you'd given her an idea for an advanced recreational concept that would improve your life and the sucky economy, too.

First, she declared, let's acknowledge basic principles. It's true a hollow earth would spin slower than the current solid version, due to conservation of angular momentum. The standard example of this is a spinning figure skater. To start her spin, a skater initially flings her arms wide. Then, once spinning, she pulls them close, causing her speed of rotation to dramatically increase. The crowd having been suitably impressed, she spreads her arms wide again to slow down.

Planets work the same way, Una went on. The more of a planet's mass you can concentrate at its axis of rotation, the faster the spin and the shorter the day. Conversely, if you shift mass from the core to the equator — in effect, hollowing out the planet — it'll slow down.

That's the basis of my scheme, she declared. Think how often you've been awakened from a sound sleep by the alarm and punched the snooze button for a few more Zs. That doesn't solve your problems, it merely postpones them. With less time to get ready, you arrive at work in a groggy and unproductive state.

How much better if, instead of the snooze button, you flip on some turbines and cause magma to be pumped from the center of the earth to the surface, thereby slowing the planet's rotation. No short-term fix here — the day would actually become longer. Everyone would get more sleep and show up for work full of vigor, significantly increasing the nation's GNP.

A useful by-product of this concept is that the earth would now be hollow, and anything inside it would be completely weightless.

This woke up Little Ed, my other assistant. You mean in the exact center, he asked, because there's equal mass on all sides?

No, everywhere, said Una.

Get out, said Ed.

Spoken by somebody who obviously didn't get a 5 on the AP calc test, Una said. Think of it this way: Suppose we place you at a random spot inside hollow earth that isn't the center. The part of the earth's mass nearest to you — call it mass A — pulls you toward itself, but there's a larger mass, B, on the opposite side of the planet pulling you in the other direction. Yes, B is farther away, which lessens its gravitational attraction compared to A's, but its greater size compensates for that.

In fact, if we examine the illustration that the gifted Slug Signorino has been kind enough to provide, and assume hollow earth is a spherical shell of uniform thickness and density, we see (via equations suppressed here but viewable by the curious at the Straight Dope website) that for any two masses on opposite sides of you, the smaller but closer mass A and the larger but more distant mass B pull on you with precisely equal force. Ergo, all such forces cancel out, and you're weightless anywhere inside hollow earth.

Oh, said Ed.

This brings us to the advanced recreational concept of which I spoke, Una continued. Why kill yourself working out after a hard day at the office, when it would be so much more aerobic to carom weightlessly around inside hollow earth like a human jai alai ball? In no time we'd be as fit as gods. True, the interior surface of hollow earth, assuming a way could be found to prevent the whole thing from caving in, would consist of molten iron at a temperature of close to 10,000 degrees Fahrenheit. However, Ed, you live in Chicago. In winter that won't sound half bad.

Huh, said Ed. But here's a practical question. How much of the earth's core would you have to pump out?

Well, said Una, suppose we want to slow the earth's rotation by 15 minutes per day. The amount of magma we'd have to pump from the core to the surface would be 59 million trillion tons, a little less than 1 percent of the planet's total mass. If we spread it out evenly, this would give us a layer of iron covering the earth's entire surface eight miles thick.

No doubt environmentalists will squawk about the deleterious impact on the quality of life. However, the problems aren't insurmountable. If we pump the magma back down in the afternoon, things will be just as good as new, plus quitting time will arrive 15 minutes sooner. To assuage the persnickety, we can keep the Statue of Liberty and the Wisconsin Dells permanently pristine. Meanwhile, come on. You think Ecuador is really going to be missed?

Send questions to Cecil via straightdope.com or write him c/o Chicago Reader, 2930 S. Michigan Ave., Suite 102, Chicago, IL 60616. "The Straight Dope" contained herein may have been previously published at an earlier date."
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Your question inspired my assistant Una to new heights of invention, Mark. She announced you'd given her an idea for an advanced recreational concept that would improve your life and the sucky economy, too.

First, she declared, let's acknowledge basic principles. It's true a hollow earth would spin slower than the current solid version, due to conservation of angular momentum. The standard example of this is a spinning figure skater. To start her spin, a skater initially flings her arms wide. Then, once spinning, she pulls them close, causing her speed of rotation to dramatically increase. The crowd having been suitably impressed, she spreads her arms wide again to slow down.

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Get out, said Ed.

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Huh, said Ed. But here's a practical question. How much of the earth's core would you have to pump out?

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  string(5469) " Dope 110923 Hollowearth3  2021-12-28T15:32:09+00:00 dope_110923_hollowearth3.gif       Dope 110923 Hollowearth3   2021-12-30T09:00:00+00:00  The Straight Dope - How much would I have to hollow out the earth to make the days longer? jim.harris Jim Harris Cecil Adams  2021-12-30T09:00:00+00:00 I'm taking a physics course, and we discussed how objects with hollow cores revolve slower. So I was wondering: Exactly how much dirt would I have to dig out of the ground and move to the surface before I'd notice the days getting longer?

— Mark D. Baragary, Ames, Iowa

Your question inspired my assistant Una to new heights of invention, Mark. She announced you'd given her an idea for an advanced recreational concept that would improve your life and the sucky economy, too.

First, she declared, let's acknowledge basic principles. It's true a hollow earth would spin slower than the current solid version, due to conservation of angular momentum. The standard example of this is a spinning figure skater. To start her spin, a skater initially flings her arms wide. Then, once spinning, she pulls them close, causing her speed of rotation to dramatically increase. The crowd having been suitably impressed, she spreads her arms wide again to slow down.

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A useful by-product of this concept is that the earth would now be hollow, and anything inside it would be completely weightless.

This woke up Little Ed, my other assistant. You mean in the exact center, he asked, because there's equal mass on all sides?

No, everywhere, said Una.

Get out, said Ed.

Spoken by somebody who obviously didn't get a 5 on the AP calc test, Una said. Think of it this way: Suppose we place you at a random spot inside hollow earth that isn't the center. The part of the earth's mass nearest to you — call it mass A — pulls you toward itself, but there's a larger mass, B, on the opposite side of the planet pulling you in the other direction. Yes, B is farther away, which lessens its gravitational attraction compared to A's, but its greater size compensates for that.

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Oh, said Ed.

This brings us to the advanced recreational concept of which I spoke, Una continued. Why kill yourself working out after a hard day at the office, when it would be so much more aerobic to carom weightlessly around inside hollow earth like a human jai alai ball? In no time we'd be as fit as gods. True, the interior surface of hollow earth, assuming a way could be found to prevent the whole thing from caving in, would consist of molten iron at a temperature of close to 10,000 degrees Fahrenheit. However, Ed, you live in Chicago. In winter that won't sound half bad.

Huh, said Ed. But here's a practical question. How much of the earth's core would you have to pump out?

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Send questions to Cecil via straightdope.com or write him c/o Chicago Reader, 2930 S. Michigan Ave., Suite 102, Chicago, IL 60616. "The Straight Dope" contained herein may have been previously published at an earlier date.    Illustration by Slug Signorino          4011304 13063222                   The Straight Dope - How much would I have to hollow out the earth to make the days longer? "
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!!About Chick-fil-A Peach Bowl
The Chick-fil-A Peach Bowl is the ninth-oldest bowl game in the country - it has been going since 1968 - and hosts the longest-running rivalry series between the Atlantic Coast Conference and Southeastern Conference. Come for the game and hang around for the plethora of events leading up to and after the battle on the gridiron.

!!Chick-fil-A Peach Bowl Event

 

!!News





    Courtesy of Mercedes-Benz Stadium   0,0,10                           Chick-fil-A Peach Bowl 2021 "
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