July 2019
|
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string(7938) "!LEO
!!July 23-Aug. 22
!!!Let’s check in with our psychic journalist, LoveMancer, who’s standing by with a live report from inside your imagination. What’s happening, LoveMancer? “Well, Rob, the enchanting creature on whose thoughts I’ve been eavesdropping has slipped into an intriguing frontier. This place seems to be a hot zone where love and healing interact intensely. My guess is that being here will lead our hero to breakthrough surges of love that result in deep healing, or deep healing that leads to breakthrough surges of love—probably both.”
VIRGO (Aug. 23-Sept. 22): Virgo figure skater Scott Hamilton won an Olympic gold medal and four World Championships. He was a star who got inducted into the United States Olympic Hall of Fame and made a lot of money after he turned professional. “I calculated once how many times I fell during my skating career—41,600 times,” he testified in his autobiography. “But here’s the funny thing: I also got up 41,600 times. That’s the muscle you have to build in your psyche—the one that reminds you to just get up.” In accordance with current astrological omens, Virgo, I’ll be cheering you on as you strengthen that muscle in your psyche during the coming weeks.
LIBRA (Sept. 23-Oct. 22): What’s the story of your life? Psychologist James Hillman said that in order to thrive, you need to develop a clear vision of that story. How do you do that? Hillman advised you to ask yourself this question: “How can I assemble the pieces of my life into a coherent plot?” And why is this effort to decode your biography so important? Because your soul’s health requires you to cultivate curiosity and excitement about the big picture of your destiny. If you hope to respond with intelligence to the questions and challenges that each new day brings, you must be steadily nourished with an expansive understanding of why you are here on earth. I bring these ideas to your attention, Libra, because the coming weeks will be an excellent time to illuminate and deepen and embellish your conception of your life story.
SCORPIO (Oct. 23-Nov. 21): “Artists are people driven by the tension between the desire to communicate and the desire to hide,” wrote psychoanalyst Donald Winnicott. I think that description fits many people born under the sign of the Scorpio, not just Scorpio artists. Knowing how important and necessary this dilemma can be for you, I would never glibly advise you to always favor candid, straightforward communication over protective, strategic hiding. But I recommend you do that in the coming weeks. Being candid and straightforward will serve you well.
SAGITTARIUS (Nov. 22-Dec. 21): Sagittarian poet Aracelis Girmay writes, “How ramshackle, how brilliant, how haphazardly & strangely rendered we are. Gloriously, fantastically mixed & monstered. We exist as phantom, monster, miracle, each a theme park all one’s own.” Of course that’s always true about every one of us. But it will be extraordinarily true about you in the coming weeks. According to my analysis of the astrological omens, you will be at the peak of your ability to express what’s most idiosyncratic and essential about your unique array of talents and specialties.
CAPRICORN (Dec. 22-Jan. 19): Sometime soon I suspect you will arrive at a crossroads in your relationship with love and sex—as well as your fantasies about love and sex. In front of you: a hearty cosmic joke that would mutate your expectations and expand your savvy. Behind you: an alluring but perhaps confusing call toward an unknown future. To your left: the prospect of a dreamy adventure that might be only half-imaginary. To your right: the possibility of living out a slightly bent fairy tale version of romantic catharsis. I’m not here to tell you what you should do, Capricorn. My task is simply to help you identify the options.
AQUARIUS (Jan. 20-Feb. 18): How many handcuffs are there in the world? Millions. Yet there are far fewer different keys than that to open all those handcuffs. In fact, in many countries, there’s a standard universal key that works to open most handcuffs. In this spirit, and in accordance with current astrological omens, I’m designating August as Free Yourself from Your Metaphorical Handcuffs Month. It’s never as complicated or difficult as you might imagine to unlock your metaphorical handcuffs; and for the foreseeable future it will be even less complicated and difficult than usual for you.
PISCES (Feb. 19-March 20): People who sneak a gaze into your laboratory might be unnerved by what they see. You know and I know that your daring experiments are in service to the ultimate good, but that may not be obvious to those who understand you incompletely. So perhaps you should post a sign outside your lab that reads, “Please don’t leap to premature conclusions! My in-progress projects may seem inexplicable to the uninitiated!” Or maybe you should just close all your curtains and lock the door until your future handiwork is more presentable. P.S. There may be allies who can provide useful feedback about your explorations. I call them the wounded healers.
ARIES (March 21-April 19): “Dear Diary: Last night my Aries friend dragged me to the Karaoke Bowling Alley and Sushi Bar. I was deeply skeptical. The place sounded tacky. But after being there for twenty minutes, I had to admit that I was having a fantastic time. And it just got better and more fun as the night wore on. I’m sure I made a fool of myself when I did my bowling ball imitation, but I can live with that. At one point I was juggling a bowling pin, a rather large piece of sweet potato tempura, and my own shoe while singing Led Zeppelin’s “Kashmir”—and I don’t even know how to juggle. I have to admit that this sequence of events was typical of my adventures with Aries folks. I suppose I should learn to trust that they will lead me to where I don’t know I want to go.”
TAURUS (April 20-May 20): In his poem “Wild Oats,” poet W. S. Merwin provided a message that’s in perfect alignment with your current astrological needs: “I needed my mistakes in their own order to get me here.” He was not being ironic in saying that; he was not making a lame attempt to excuse his errors; he was not struggling to make himself feel better for the inconvenience caused by his wrong turns. No! He understood that the apparent flubs and miscues he had committed were essential in creating his successful life. I invite you to reinterpret your own past using his perspective.
GEMINI (May 21-June 20): Even if you’re an ambidextrous, multi-gendered, neurologically diverse, Phoenician-Romanian Gemini with a fetish for pink duct tape and an affinity for ideas that no one has ever thought of, you will eventually find your sweet spot, your power niche, and your dream sanctuary. I promise. Same for the rest of you Geminis, too. It might take a while. But I beg you to have faith that you will eventually tune in to the homing beacon of the mother lode that’s just right for you. P.S.: Important clues and signs should be arriving soon.
CANCER (June 21-July 22): What would a normal, boring astrologer tell you at a time like now? Maybe something like this: “More of other people’s money and resources can be at your disposal if you emanate sincerity and avoid being manipulative. If you want to negotiate vibrant compromises, pay extra attention to good timing and the right setting. Devote special care and sensitivity to all matters affecting your close alliances and productive partnerships.” As you know, Cancerian, I’m not a normal, boring astrologer, so I wouldn’t typically say something like what I just said. But I felt it was my duty to do so because right now you need simple, basic, no-frills advice. I promise I’ll resume with my cryptic, lyrical oracles next time."
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!!~~#b22e2a:__July 23-Aug. 22__~~
!!!Let’s check in with our psychic journalist, LoveMancer, who’s standing by with a live report from inside your imagination. What’s happening, LoveMancer? “Well, Rob, the enchanting creature on whose thoughts I’ve been eavesdropping has slipped into an intriguing frontier. This place seems to be a hot zone where love and healing interact intensely. My guess is that being here will lead our hero to breakthrough surges of love that result in deep healing, or deep healing that leads to breakthrough surges of love—probably both.”
__VIRGO (Aug. 23-Sept. 22):__ Virgo figure skater Scott Hamilton won an Olympic gold medal and four World Championships. He was a star who got inducted into the United States Olympic Hall of Fame and made a lot of money after he turned professional. “I calculated once how many times I fell during my skating career—41,600 times,” he testified in his autobiography. “But here’s the funny thing: I also got up 41,600 times. That’s the muscle you have to build in your psyche—the one that reminds you to just get up.” In accordance with current astrological omens, Virgo, I’ll be cheering you on as you strengthen that muscle in your psyche during the coming weeks.
__LIBRA (Sept. 23-Oct. 22):__ What’s the story of your life? Psychologist James Hillman said that in order to thrive, you need to develop a clear vision of that story. How do you do that? Hillman advised you to ask yourself this question: “How can I assemble the pieces of my life into a coherent plot?” And why is this effort to decode your biography so important? Because your soul’s health requires you to cultivate curiosity and excitement about the big picture of your destiny. If you hope to respond with intelligence to the questions and challenges that each new day brings, you must be steadily nourished with an expansive understanding of why you are here on earth. I bring these ideas to your attention, Libra, because the coming weeks will be an excellent time to illuminate and deepen and embellish your conception of your life story.
__SCORPIO (Oct. 23-Nov. 21):__ “Artists are people driven by the tension between the desire to communicate and the desire to hide,” wrote psychoanalyst Donald Winnicott. I think that description fits many people born under the sign of the Scorpio, not just Scorpio artists. Knowing how important and necessary this dilemma can be for you, I would never glibly advise you to always favor candid, straightforward communication over protective, strategic hiding. But I recommend you do that in the coming weeks. Being candid and straightforward will serve you well.
__SAGITTARIUS (Nov. 22-Dec. 21):__ Sagittarian poet Aracelis Girmay writes, “How ramshackle, how brilliant, how haphazardly & strangely rendered we are. Gloriously, fantastically mixed & monstered. We exist as phantom, monster, miracle, each a theme park all one’s own.” Of course that’s always true about every one of us. But it will be extraordinarily true about you in the coming weeks. According to my analysis of the astrological omens, you will be at the peak of your ability to express what’s most idiosyncratic and essential about your unique array of talents and specialties.
__CAPRICORN (Dec. 22-Jan. 19):__ Sometime soon I suspect you will arrive at a crossroads in your relationship with love and sex—as well as your fantasies about love and sex. In front of you: a hearty cosmic joke that would mutate your expectations and expand your savvy. Behind you: an alluring but perhaps confusing call toward an unknown future. To your left: the prospect of a dreamy adventure that might be only half-imaginary. To your right: the possibility of living out a slightly bent fairy tale version of romantic catharsis. I’m not here to tell you what you should do, Capricorn. My task is simply to help you identify the options.
__AQUARIUS (Jan. 20-Feb. 18):__ How many handcuffs are there in the world? Millions. Yet there are far fewer different keys than that to open all those handcuffs. In fact, in many countries, there’s a standard universal key that works to open most handcuffs. In this spirit, and in accordance with current astrological omens, I’m designating August as Free Yourself from Your Metaphorical Handcuffs Month. It’s never as complicated or difficult as you might imagine to unlock your metaphorical handcuffs; and for the foreseeable future it will be even less complicated and difficult than usual for you.
__PISCES (Feb. 19-March 20):__ People who sneak a gaze into your laboratory might be unnerved by what they see. You know and I know that your daring experiments are in service to the ultimate good, but that may not be obvious to those who understand you incompletely. So perhaps you should post a sign outside your lab that reads, “Please don’t leap to premature conclusions! My in-progress projects may seem inexplicable to the uninitiated!” Or maybe you should just close all your curtains and lock the door until your future handiwork is more presentable. P.S. There may be allies who can provide useful feedback about your explorations. I call them the wounded healers.
__ARIES (March 21-April 19):__ “Dear Diary: Last night my Aries friend dragged me to the Karaoke Bowling Alley and Sushi Bar. I was deeply skeptical. The place sounded tacky. But after being there for twenty minutes, I had to admit that I was having a fantastic time. And it just got better and more fun as the night wore on. I’m sure I made a fool of myself when I did my bowling ball imitation, but I can live with that. At one point I was juggling a bowling pin, a rather large piece of sweet potato tempura, and my own shoe while singing Led Zeppelin’s “Kashmir”—and I don’t even know how to juggle. I have to admit that this sequence of events was typical of my adventures with Aries folks. I suppose I should learn to trust that they will lead me to where I don’t know I want to go.”
__TAURUS (April 20-May 20):__ In his poem “Wild Oats,” poet W. S. Merwin provided a message that’s in perfect alignment with your current astrological needs: “I needed my mistakes in their own order to get me here.” He was not being ironic in saying that; he was not making a lame attempt to excuse his errors; he was not struggling to make himself feel better for the inconvenience caused by his wrong turns. No! He understood that the apparent flubs and miscues he had committed were essential in creating his successful life. I invite you to reinterpret your own past using his perspective.
__GEMINI (May 21-June 20):__ Even if you’re an ambidextrous, multi-gendered, neurologically diverse, Phoenician-Romanian Gemini with a fetish for pink duct tape and an affinity for ideas that no one has ever thought of, you will eventually find your sweet spot, your power niche, and your dream sanctuary. I promise. Same for the rest of you Geminis, too. It might take a while. But I beg you to have faith that you will eventually tune in to the homing beacon of the mother lode that’s just right for you. P.S.: Important clues and signs should be arriving soon.
__CANCER (June 21-July 22):__ What would a normal, boring astrologer tell you at a time like now? Maybe something like this: “More of other people’s money and resources can be at your disposal if you emanate sincerity and avoid being manipulative. If you want to negotiate vibrant compromises, pay extra attention to good timing and the right setting. Devote special care and sensitivity to all matters affecting your close alliances and productive partnerships.” As you know, Cancerian, I’m not a normal, boring astrologer, so I wouldn’t typically say something like what I just said. But I felt it was my duty to do so because right now you need simple, basic, no-frills advice. I promise I’ll resume with my cryptic, lyrical oracles next time."
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!!!Let’s check in with our psychic journalist, LoveMancer, who’s standing by with a live report from inside your imagination. What’s happening, LoveMancer? “Well, Rob, the enchanting creature on whose thoughts I’ve been eavesdropping has slipped into an intriguing frontier. This place seems to be a hot zone where love and healing interact intensely. My guess is that being here will lead our hero to breakthrough surges of love that result in deep healing, or deep healing that leads to breakthrough surges of love—probably both.”
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LIBRA (Sept. 23-Oct. 22): What’s the story of your life? Psychologist James Hillman said that in order to thrive, you need to develop a clear vision of that story. How do you do that? Hillman advised you to ask yourself this question: “How can I assemble the pieces of my life into a coherent plot?” And why is this effort to decode your biography so important? Because your soul’s health requires you to cultivate curiosity and excitement about the big picture of your destiny. If you hope to respond with intelligence to the questions and challenges that each new day brings, you must be steadily nourished with an expansive understanding of why you are here on earth. I bring these ideas to your attention, Libra, because the coming weeks will be an excellent time to illuminate and deepen and embellish your conception of your life story.
SCORPIO (Oct. 23-Nov. 21): “Artists are people driven by the tension between the desire to communicate and the desire to hide,” wrote psychoanalyst Donald Winnicott. I think that description fits many people born under the sign of the Scorpio, not just Scorpio artists. Knowing how important and necessary this dilemma can be for you, I would never glibly advise you to always favor candid, straightforward communication over protective, strategic hiding. But I recommend you do that in the coming weeks. Being candid and straightforward will serve you well.
SAGITTARIUS (Nov. 22-Dec. 21): Sagittarian poet Aracelis Girmay writes, “How ramshackle, how brilliant, how haphazardly & strangely rendered we are. Gloriously, fantastically mixed & monstered. We exist as phantom, monster, miracle, each a theme park all one’s own.” Of course that’s always true about every one of us. But it will be extraordinarily true about you in the coming weeks. According to my analysis of the astrological omens, you will be at the peak of your ability to express what’s most idiosyncratic and essential about your unique array of talents and specialties.
CAPRICORN (Dec. 22-Jan. 19): Sometime soon I suspect you will arrive at a crossroads in your relationship with love and sex—as well as your fantasies about love and sex. In front of you: a hearty cosmic joke that would mutate your expectations and expand your savvy. Behind you: an alluring but perhaps confusing call toward an unknown future. To your left: the prospect of a dreamy adventure that might be only half-imaginary. To your right: the possibility of living out a slightly bent fairy tale version of romantic catharsis. I’m not here to tell you what you should do, Capricorn. My task is simply to help you identify the options.
AQUARIUS (Jan. 20-Feb. 18): How many handcuffs are there in the world? Millions. Yet there are far fewer different keys than that to open all those handcuffs. In fact, in many countries, there’s a standard universal key that works to open most handcuffs. In this spirit, and in accordance with current astrological omens, I’m designating August as Free Yourself from Your Metaphorical Handcuffs Month. It’s never as complicated or difficult as you might imagine to unlock your metaphorical handcuffs; and for the foreseeable future it will be even less complicated and difficult than usual for you.
PISCES (Feb. 19-March 20): People who sneak a gaze into your laboratory might be unnerved by what they see. You know and I know that your daring experiments are in service to the ultimate good, but that may not be obvious to those who understand you incompletely. So perhaps you should post a sign outside your lab that reads, “Please don’t leap to premature conclusions! My in-progress projects may seem inexplicable to the uninitiated!” Or maybe you should just close all your curtains and lock the door until your future handiwork is more presentable. P.S. There may be allies who can provide useful feedback about your explorations. I call them the wounded healers.
ARIES (March 21-April 19): “Dear Diary: Last night my Aries friend dragged me to the Karaoke Bowling Alley and Sushi Bar. I was deeply skeptical. The place sounded tacky. But after being there for twenty minutes, I had to admit that I was having a fantastic time. And it just got better and more fun as the night wore on. I’m sure I made a fool of myself when I did my bowling ball imitation, but I can live with that. At one point I was juggling a bowling pin, a rather large piece of sweet potato tempura, and my own shoe while singing Led Zeppelin’s “Kashmir”—and I don’t even know how to juggle. I have to admit that this sequence of events was typical of my adventures with Aries folks. I suppose I should learn to trust that they will lead me to where I don’t know I want to go.”
TAURUS (April 20-May 20): In his poem “Wild Oats,” poet W. S. Merwin provided a message that’s in perfect alignment with your current astrological needs: “I needed my mistakes in their own order to get me here.” He was not being ironic in saying that; he was not making a lame attempt to excuse his errors; he was not struggling to make himself feel better for the inconvenience caused by his wrong turns. No! He understood that the apparent flubs and miscues he had committed were essential in creating his successful life. I invite you to reinterpret your own past using his perspective.
GEMINI (May 21-June 20): Even if you’re an ambidextrous, multi-gendered, neurologically diverse, Phoenician-Romanian Gemini with a fetish for pink duct tape and an affinity for ideas that no one has ever thought of, you will eventually find your sweet spot, your power niche, and your dream sanctuary. I promise. Same for the rest of you Geminis, too. It might take a while. But I beg you to have faith that you will eventually tune in to the homing beacon of the mother lode that’s just right for you. P.S.: Important clues and signs should be arriving soon.
CANCER (June 21-July 22): What would a normal, boring astrologer tell you at a time like now? Maybe something like this: “More of other people’s money and resources can be at your disposal if you emanate sincerity and avoid being manipulative. If you want to negotiate vibrant compromises, pay extra attention to good timing and the right setting. Devote special care and sensitivity to all matters affecting your close alliances and productive partnerships.” As you know, Cancerian, I’m not a normal, boring astrologer, so I wouldn’t typically say something like what I just said. But I felt it was my duty to do so because right now you need simple, basic, no-frills advice. I promise I’ll resume with my cryptic, lyrical oracles next time. 0,0,1 horoscopes astrology august Free Will Astrology - August 2019 "
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Free Will Astrology - August 2019 News Features
Thursday August 1, 2019 05:16 PM EDT
LEO
July 23-Aug. 22
Let’s check in with our psychic journalist, LoveMancer, who’s standing by with a live report from inside your imagination. What’s happening, LoveMancer? “Well, Rob, the enchanting creature on whose thoughts I’ve been eavesdropping has slipped into an intriguing frontier. This place seems to be a hot zone where love and healing interact intensely. My guess is that...
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Podcast: Weekend roundup August 2-4 Music and Nightlife
Thursday August 1, 2019 05:18 PM EDT
Gringo Star at 529, the Growlers at Variety Playhouse, Show Me Your Sandwich Pop-Up at Aisle 5, and more
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Atreyu, visiting Atlanta for the second time this year, kicked off music on the Main Stage with the newly-released "The Time Is Now.” They played favorites such as "Becoming The Bull" and "Falling Down." Frontman Alex Varkatzas, who recently underwent back surgery, proved to be fully-recovered, rocking out with fans.
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Trophy Eyes also performed on the outdoor stage, rousing the crowd with tracks from their most recent album The American Dream.
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string(3636) " 01 Rockstar Disrupt Music Fest Web Res 1 CROWD GOES WILD: Rocking out to raging bands. Photo credit: Stephanie Heath 2019-07-08T17:03:00+00:00 1 Rockstar_Disrupt_Music_Fest_-_Web_Res-1.jpg Mosh pits and mayhem in the midday sun 01 Rockstar Disrupt Music Fest Web Res 1 2019-08-02T14:30:25+00:00 TALK OF THE TOWN: Rockstar Disrupt Music Fest jim.harris Jim Harris STEPHANIE HEATH 2019-08-02T14:30:25+00:00 Fans formed mosh pits in the summer heat rocked out to raging bands at the Rockstar Disrupt Music Fest held at the Cellairis Amphitheater. Whether bands like Memphis May Fire or Hyro The Hero, on the Festival Stage, or those on the Main Stage, the crowd was ready to rumble, fueled by four different flavors of the energy drink available at the Rockstar Energy Lounge.
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TALK OF THE TOWN: Rockstar Disrupt Music Fest News Features
Friday August 2, 2019 10:30 AM EDT
Mosh pits and mayhem in the midday sun
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string(6703) "Back in March, Adam Venerable, better known as Obeah, checked in with a video for a new song titled “Against the Grain.” The video, created by longtime cohort Tvpes (Anthony Wendelboe), is a saturated visual accompaniment to a slow-burning and politically-charged mantra that finds Obeah sharing verses with his musical mentor Chuck D of Public Enemy.
This week, Obeah and Tvpes return with another new song titled “Pizzagate.” Tvpes created the beat, and the song also features verses from DT of the Difference Machine, who is reportedly hard at work producing a new album.
In the meantime, “Pizzagate” builds upon the same tone of intellectual exhaustion and brewing outrage that are just part of coping with a day in the life of America circa 2019. This time, however, Obeah channels his creative energies into a deep, inward rumination to come back with a spiraling stream-of-consciousness lyrical collage driven by lines such as “Now America has been defined by this hatred / Searching online trying to find something sacred.”
“It's really just about living in the absurdity that is now,” Obeah says. “Obviously the song isn't about Pizzagate, but it is a subconscious nod to the absurdity of the reality that we currently live in. The theme and the aesthetics of the song draw from that nervous and uncomfortable feeling that comes from trying to wade our way through this fucked up place that everyone is in.”
The single dropped Friday August 2, in time for Obeah and Tvpes to appear on stage at Terminal West when Daily Bread headlines an evening of hip-hop and EDM.
Obeah also appears in the song “A Loss In Electrical Power” on Daily Bread’s latest album Navigator, Standby.
“Rhett Whatley hit me with this concept to write a song from the perspective of an astronaut who is in orbit, and is kind of losing his mind,” Obeah says. “The crazy thing is, when he asked me to do it, I had just finished listening to a Radiolab episode in which they were interviewing all of these astronauts about their experiences in space. So I was armed with all of this knowledge and these ideas,” he adds. “There’s all kinds of random stuff in that song, but everything I wrote for it comes from the perspective of real astronauts.”
Obeah plans on rolling out several new singles throughout the year, so keep an eye and an ear out for more music coming soon.
Ramshackle punk outfit GG King has a new cassette tape out via Scavenger of Death Records, titled Mass of Entrails. It’s essentially a demo tape that rounds up a few greatest hits from throughout the years, such as “Joyless Masturbation,” “Bored of Breathing,” and “Picnic Destinations,” along with newer numbers “Cul-de-Sac,” “Epoch Rock,” “Remain Intact,” and “Golden Horde Rising.”
Mass of Entrails was recorded one night during practice at Notch 8 Gallery. The idea was to turn out something quick that sounded good enough to sell at shows, and to stamp in time the current lineup, featuring King on vocals, Josh Feigert and Mike Koechlin on guitar, Ryan Bell on bass, and Tyler Kinney playing drums.
“We are working on a new album, but it's taking a long time,” King says. “In the back of my mind I’m always worried that we might not finish, or it won’t ever come out. So I wanted to have some documentation of how this lineup sounds. There are some songs that will be on the next album whenever that's done. Some of the riffs on the tape are things I’ve been working out in my head for 20 years.”
GG King’s next show takes place during the annual Hopscotch Music Festival in Raleigh, N.C. September 5-7.
Bright Spot and the Midnight Sun is the latest offering from Picture One, Thomas Barnwell of Deanwell Global Music’s second solo offering — a limited edition cassette tape — following 2015’s self-titled tape. Songs with titles such as “Spectral Landings,” “A Prismal Reckoning,” and “The Faithful Hours” are cut from a swathe of instrumental goth, cold wave, and neo-classical sounds. The tape features Barnwell playing synths, drum machines, two basses, and minimal guitar parts.
Barnwell has one show on the calendar coming up at 529 on Sept. 18. For this show he has assmebled a lineup in which he plays bass alongside bass player Chris Ware and drummer and keyboard player Max McDonough. Both Ware and McDonough are on loan from mathy post-punk band Casual Tiger.
Much of Barnwell’s time between these Picture One offerings was spent working on various other musical endeavors, including reissuing French goth-punk group Asylum Pary's first two LPs, 1988's Picture One, and '89's Borderline. He also teamed up with his songwriting partner Ian Deaton to release a discography LP covering Atlanta synth-punk group the Modern Mannequin's output from 1983-1985.
Barnwel also has reissue LP in the works by French new wave group Little Nemo, titled Turquoise Fields.
In the meantime, Barnwell and Deaton have also composed film scores for The Arbalest and Poor Jane as well as multiple short films, PSAs, and trailers. As a result, much of the music heard throughout Bright Spot and the Midnight Sun takes shape with more cinematic and orchestrated soundscapes punctuated by up front choir elements and more defined changes in thematic elements. This one is definitely for fans of the Sisters of Mercy circa Floodland, and the Cure’s Faith LP.
Barnwell has also recently completed recording and engineering Deaton’s forthcoming solo album which should arrive later this year. The album's title remains to be determined.
In other new releases news, rapper Victor Mariachi recently dropped a new video for the song “Preyer” to appear on his album, Eleven Eleven.
Trappy Bats the latest release from Moon Diagrams, aka Moses Archuleta of Deerhunter is out August 10 via Geographic North Records. Check out the release party at the Sound Table’s Space 2 that night. Bradford Cox also performs.
Last, but certainly not least, on Aug. 2, Neurot Recordings reissued a remastered new version of Neurosis & Jarboe’s mammoth 2003 collaboration album. The recordings were remastered by Bob Weston, and include new artwork via Aaron Turner. Both artists summon the most beautiful and harrowing qualities in each other, culminating is a haunting and inspired collision of post-hardcore grind and Southern avant-garde atmosphere — a high mark for both artists. The CD and LP arrive Aug. 2, less than a week before Neurosis graces the stage in Heaven at the Masquerade on Aug. 7.
Send Atlanta music news to chad.radford at creativeloafing.com"
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string(8312) "Back in March, Adam Venerable, better known as Obeah, checked in with a video for a new song titled [https://www.youtube.com/watch?v=4eEJjYdif-w|“Against the Grain.”] The video, created by longtime cohort [https://tapemastah.bandcamp.com/|Tvpes] (Anthony Wendelboe), is a saturated visual accompaniment to a slow-burning and politically-charged mantra that finds Obeah sharing verses with his musical mentor Chuck D of Public Enemy.
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This week, Obeah and Tvpes return with another new song titled “Pizzagate.” Tvpes created the beat, and the song also features verses from DT of [https://thedifferencemachine.bandcamp.com/|the Difference Machine], who is reportedly hard at work producing a new album.
In the meantime, “Pizzagate” builds upon the same tone of intellectual exhaustion and brewing outrage that are just part of coping with a day in the life of America circa 2019. This time, however, Obeah channels his creative energies into a deep, inward rumination to come back with a spiraling stream-of-consciousness lyrical collage driven by lines such as “Now America has been defined by this hatred / Searching online trying to find something sacred.”
“It's really just about living in the absurdity that is now,” Obeah says. “Obviously the song isn't about Pizzagate, but it is a subconscious nod to the absurdity of the reality that we currently live in. The theme and the aesthetics of the song draw from that nervous and uncomfortable feeling that comes from trying to wade our way through this fucked up place that everyone is in.”
The single dropped Friday __August 2__, in time for Obeah and Tvpes to appear on stage at Terminal West when Daily Bread headlines an evening of hip-hop and EDM.
Obeah also appears in the song “A Loss In Electrical Power” on Daily Bread’s latest album ''Navigator, Standby''.
“Rhett Whatley hit me with this concept to write a song from the perspective of an astronaut who is in orbit, and is kind of losing his mind,” Obeah says. “The crazy thing is, when he asked me to do it, I had just finished listening to a Radiolab episode in which they were interviewing all of these astronauts about their experiences in space. So I was armed with all of this knowledge and these ideas,” he adds. “There’s all kinds of random stuff in that song, but everything I wrote for it comes from the perspective of real astronauts.”
Obeah plans on rolling out several new singles throughout the year, so keep an eye and an ear out for more music coming soon.
Ramshackle punk outfit __[https://www.facebook.com/pages/category/Public-Figure/GG-KING-132216303464293/|GG King]__ has a new cassette tape out via [https://scavengerofdeathrecords.bandcamp.com/|Scavenger of Death Records], titled ''Mass of Entrails''. It’s essentially a demo tape that rounds up a few greatest hits from throughout the years, such as “Joyless Masturbation,” “Bored of Breathing,” and “Picnic Destinations,” along with newer numbers “Cul-de-Sac,” “Epoch Rock,” “Remain Intact,” and “Golden Horde Rising.”
''Mass of Entrails'' was recorded one night during practice at [https://www.facebook.com/notch8gallery/|Notch 8 Gallery]. The idea was to turn out something quick that sounded good enough to sell at shows, and to stamp in time the current lineup, featuring King on vocals, Josh Feigert and Mike Koechlin on guitar, Ryan Bell on bass, and Tyler Kinney playing drums.
“We are working on a new album, but it's taking a long time,” King says. “In the back of my mind I’m always worried that we might not finish, or it won’t ever come out. So I wanted to have some documentation of how this lineup sounds. There are some songs that will be on the next album whenever that's done. Some of the riffs on the tape are things I’ve been working out in my head for 20 years.”
GG King’s next show takes place during the annual [https://hopscotchmusicfest.com/|Hopscotch Music Festival] in Raleigh, N.C. __September 5-7__.
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''Bright Spot and the Midnight Sun'' is the latest offering from [https://pictureone.bandcamp.com/?fbclid=IwAR0lzYnlvSRVHVfjOGnnbdJOw6Aon0fZyuLE5ftp5a0VfqVsVM-OzWMQbk8|Picture One], Thomas Barnwell of [http://www.deanwellglobalmusic.com/|Deanwell Global Music]’s second solo offering — a limited edition cassette tape — following 2015’s self-titled tape. Songs with titles such as “Spectral Landings,” “A Prismal Reckoning,” and “The Faithful Hours” are cut from a swathe of instrumental goth, cold wave, and neo-classical sounds. The tape features Barnwell playing synths, drum machines, two basses, and minimal guitar parts.
Barnwell has one show on the calendar coming up at 529 on __Sept. 18__. For this show he has assmebled a lineup in which he plays bass alongside bass player Chris Ware and drummer and keyboard player Max McDonough. Both Ware and McDonough are on loan from mathy post-punk band Casual Tiger.
Much of Barnwell’s time between these Picture One offerings was spent working on various other musical endeavors, including reissuing French goth-punk group Asylum Pary's first two LPs, 1988's ''Picture One'', and '89's ''Borderline''. He also teamed up with his songwriting partner Ian Deaton to release [https://deanwellglobalmusic.bandcamp.com/|a discography LP covering Atlanta synth-punk group the Modern Mannequin's output from 1983-1985].
Barnwel also has reissue LP in the works by French new wave group Little Nemo, titled ''Turquoise Fields''.
In the meantime, Barnwell and Deaton have also composed film scores for ''The Arbalest'' and ''Poor Jane'' as well as multiple short films, PSAs, and trailers. As a result, much of the music heard throughout ''Bright Spot and the Midnight Sun ''takes shape with more cinematic and orchestrated soundscapes punctuated by up front choir elements and more defined changes in thematic elements. This one is definitely for fans of the Sisters of Mercy circa ''Floodland'', and the Cure’s ''Faith'' LP.
Barnwell has also recently completed recording and engineering Deaton’s forthcoming solo album which should arrive later this year. The album's title remains to be determined.
{youtube movie="ODnZdlJLAys" width="640" height="395" quality="high" allowFullScreen="y"}
In other new releases news, rapper Victor Mariachi recently dropped a new video for the song [https://www.youtube.com/watch?v=ODnZdlJLAys|“Preyer”] to appear on his album, ''Eleven Eleven''.
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''Trappy Bats'' the latest release from __Moon Diagrams__, aka Moses Archuleta of Deerhunter is out __August 10__ via Geographic North Records. [https://creativeloafing.com/event-431730|Check out the release party at the Sound Table’s Space 2 that night. Bradford Cox also performs.]
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Last, but certainly not least, on __Aug. 2__, Neurot Recordings reissued a remastered new version of [https://neurosis.bandcamp.com/album/neurosis-jarboe|Neurosis & Jarboe’s mammoth 2003 collaboration album]. The recordings were remastered by Bob Weston, and include new artwork via Aaron Turner. Both artists summon the most beautiful and harrowing qualities in each other, culminating is a haunting and inspired collision of post-hardcore grind and Southern avant-garde atmosphere — a high mark for both artists. The CD and LP arrive __Aug. 2__, less than a week before [http://www.masqueradeatlanta.com/events/neurosis/|Neurosis graces the stage in Heaven at the Masquerade on Aug. 7].
''[mailto:chad.radford@creativeloafing.com|Send Atlanta music news to chad.radford@creativeloafing.com]''"
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string(7391) " P1350821 2019-08-01T04:53:42+00:00 P1350821.JPG obeah, gg king victor mariachi picture one jarboe & neurosis moon diagrams amn Plus GG King’s ‘Mass of Entrails,’ Picture One’s ‘Bright Spot,’ and more P1350821 2019-08-02T20:00:00+00:00 ATLANTA MUSIC NEWS: Obeah returns with ‘Pizzagate’ chad.radford Chad Radford Chad Radford chad.radford (Chad Radford) 2019-08-02T20:00:00+00:00 Back in March, Adam Venerable, better known as Obeah, checked in with a video for a new song titled “Against the Grain.” The video, created by longtime cohort Tvpes (Anthony Wendelboe), is a saturated visual accompaniment to a slow-burning and politically-charged mantra that finds Obeah sharing verses with his musical mentor Chuck D of Public Enemy.
This week, Obeah and Tvpes return with another new song titled “Pizzagate.” Tvpes created the beat, and the song also features verses from DT of the Difference Machine, who is reportedly hard at work producing a new album.
In the meantime, “Pizzagate” builds upon the same tone of intellectual exhaustion and brewing outrage that are just part of coping with a day in the life of America circa 2019. This time, however, Obeah channels his creative energies into a deep, inward rumination to come back with a spiraling stream-of-consciousness lyrical collage driven by lines such as “Now America has been defined by this hatred / Searching online trying to find something sacred.”
“It's really just about living in the absurdity that is now,” Obeah says. “Obviously the song isn't about Pizzagate, but it is a subconscious nod to the absurdity of the reality that we currently live in. The theme and the aesthetics of the song draw from that nervous and uncomfortable feeling that comes from trying to wade our way through this fucked up place that everyone is in.”
The single dropped Friday August 2, in time for Obeah and Tvpes to appear on stage at Terminal West when Daily Bread headlines an evening of hip-hop and EDM.
Obeah also appears in the song “A Loss In Electrical Power” on Daily Bread’s latest album Navigator, Standby.
“Rhett Whatley hit me with this concept to write a song from the perspective of an astronaut who is in orbit, and is kind of losing his mind,” Obeah says. “The crazy thing is, when he asked me to do it, I had just finished listening to a Radiolab episode in which they were interviewing all of these astronauts about their experiences in space. So I was armed with all of this knowledge and these ideas,” he adds. “There’s all kinds of random stuff in that song, but everything I wrote for it comes from the perspective of real astronauts.”
Obeah plans on rolling out several new singles throughout the year, so keep an eye and an ear out for more music coming soon.
Ramshackle punk outfit GG King has a new cassette tape out via Scavenger of Death Records, titled Mass of Entrails. It’s essentially a demo tape that rounds up a few greatest hits from throughout the years, such as “Joyless Masturbation,” “Bored of Breathing,” and “Picnic Destinations,” along with newer numbers “Cul-de-Sac,” “Epoch Rock,” “Remain Intact,” and “Golden Horde Rising.”
Mass of Entrails was recorded one night during practice at Notch 8 Gallery. The idea was to turn out something quick that sounded good enough to sell at shows, and to stamp in time the current lineup, featuring King on vocals, Josh Feigert and Mike Koechlin on guitar, Ryan Bell on bass, and Tyler Kinney playing drums.
“We are working on a new album, but it's taking a long time,” King says. “In the back of my mind I’m always worried that we might not finish, or it won’t ever come out. So I wanted to have some documentation of how this lineup sounds. There are some songs that will be on the next album whenever that's done. Some of the riffs on the tape are things I’ve been working out in my head for 20 years.”
GG King’s next show takes place during the annual Hopscotch Music Festival in Raleigh, N.C. September 5-7.
Bright Spot and the Midnight Sun is the latest offering from Picture One, Thomas Barnwell of Deanwell Global Music’s second solo offering — a limited edition cassette tape — following 2015’s self-titled tape. Songs with titles such as “Spectral Landings,” “A Prismal Reckoning,” and “The Faithful Hours” are cut from a swathe of instrumental goth, cold wave, and neo-classical sounds. The tape features Barnwell playing synths, drum machines, two basses, and minimal guitar parts.
Barnwell has one show on the calendar coming up at 529 on Sept. 18. For this show he has assmebled a lineup in which he plays bass alongside bass player Chris Ware and drummer and keyboard player Max McDonough. Both Ware and McDonough are on loan from mathy post-punk band Casual Tiger.
Much of Barnwell’s time between these Picture One offerings was spent working on various other musical endeavors, including reissuing French goth-punk group Asylum Pary's first two LPs, 1988's Picture One, and '89's Borderline. He also teamed up with his songwriting partner Ian Deaton to release a discography LP covering Atlanta synth-punk group the Modern Mannequin's output from 1983-1985.
Barnwel also has reissue LP in the works by French new wave group Little Nemo, titled Turquoise Fields.
In the meantime, Barnwell and Deaton have also composed film scores for The Arbalest and Poor Jane as well as multiple short films, PSAs, and trailers. As a result, much of the music heard throughout Bright Spot and the Midnight Sun takes shape with more cinematic and orchestrated soundscapes punctuated by up front choir elements and more defined changes in thematic elements. This one is definitely for fans of the Sisters of Mercy circa Floodland, and the Cure’s Faith LP.
Barnwell has also recently completed recording and engineering Deaton’s forthcoming solo album which should arrive later this year. The album's title remains to be determined.
In other new releases news, rapper Victor Mariachi recently dropped a new video for the song “Preyer” to appear on his album, Eleven Eleven.
Trappy Bats the latest release from Moon Diagrams, aka Moses Archuleta of Deerhunter is out August 10 via Geographic North Records. Check out the release party at the Sound Table’s Space 2 that night. Bradford Cox also performs.
Last, but certainly not least, on Aug. 2, Neurot Recordings reissued a remastered new version of Neurosis & Jarboe’s mammoth 2003 collaboration album. The recordings were remastered by Bob Weston, and include new artwork via Aaron Turner. Both artists summon the most beautiful and harrowing qualities in each other, culminating is a haunting and inspired collision of post-hardcore grind and Southern avant-garde atmosphere — a high mark for both artists. The CD and LP arrive Aug. 2, less than a week before Neurosis graces the stage in Heaven at the Masquerade on Aug. 7.
Send Atlanta music news to chad.radford at creativeloafing.com Jasmine Butler DEALIN' WITH IT: DT (from left), Tvpes, and Obeah the crew that behind 'Pizzagate.' 0,0,1 AMN Obeah, "GG King" "Victor Mariachi" "Picture One" "Jarboe & Neurosis" "Moon Diagrams" ATLANTA MUSIC NEWS: Obeah returns with ‘Pizzagate’ "
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ATLANTA MUSIC NEWS: Obeah returns with ‘Pizzagate’ Music and Nightlife, Music Briefs
Friday August 2, 2019 04:00 PM EDT
Plus GG King’s ‘Mass of Entrails,’ Picture One’s ‘Bright Spot,’ and more
|
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string(467) "It isn’t just the music of dead white guys wearing wigs anymore. Far from it: “Classical music” in the 21st century is enjoying widespread popularity as well as growth in terms of diversity, inclusiveness, and eclecticism. While broad acknowledgment exists among those at the forefront of this transformative shift that more progress is needed before aspirational goals align with reality, classical music has never ceased evolving in accordance with the times."
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string(29385) "SIDEBAR: Choral Singing and Community
It isn’t just the music of dead white guys wearing wigs anymore. Far from it: “Classical music” in the 21st century is enjoying widespread popularity as well as growth in terms of diversity, inclusiveness, and eclecticism. While broad acknowledgment exists among those at the forefront of this transformative shift that more progress is needed before aspirational goals align with reality, classical music has never ceased evolving in accordance with the times.
The reality is that classical music is becoming more, not less, relevant in the 21st century. Part of that reality concerns the definition of “classical music.” It’s certainly not limited to the Classical period of music and its antecedent Romantic era. Classical music history spans more than a millennium of artistic expression and remains very much a living tradition of thought and practice by composers and performers. Its stylistic nature has changed over time, especially during the last half century, but that change attests in part to the persistent influence of the genre on our rapidly evolving culture: “Classical music” has always been a highly adaptable species.
In spite of the overwhelming prevalence and commercial economic power of pop music in Western culture, classical music is thriving. In 2018, classical music “was the fastest-growing genre” in sales volume in the United Kingdom, according to figures released by the British Phonographic Industry (BPI). Last year, sales and streams of classical recordings increased by a little over 10 percent in the UK compared to the previous year — not bad considering a rise of just under 6 percent across all genres. Significantly, sales of classical CDs alone increased by almost 7 percent versus the negative trend in pop and rock. Perhaps because classical music listeners still prefer a physical product, only a quarter of classical music sales in 2018 was handled by streaming services, versus nearly 64 percent streaming for the non-classical market.
These numbers account for various directions taken by “contemporary” classical music makers from concert stage music and film scores to opera and video games. They also reflect the resilient popularity of familiar traditional repertoire by composers such as Haydn, Mozart, Bach, Beethoven, Brahms, and Rachmaninoff.
Yet, a cynical observer might ask: Why do we even need classical music in the Hip-Hop Capital of the Universe? Common wisdom says that interest in classical music comes only from a relatively small base. But, says the attentive observer, let’s look at one telling current statistic from our internet-age world:
According to Facebook’s advertising algorithms, one out of every six users between the ages of 21 and 39 located within 50 miles of downtown Atlanta is interested in classical music. That percentage is slightly higher, by about one point, for the 21-to-65 age category, contradicting the notion that “only old people” care about or listen to classical music. Although a minority, that’s still a sizable chunk of the metro area population.
The thousands of attendees who show up in June at Piedmont Park for the Atlanta Symphony Orchestra (ASO) free classical concerts offer further testimony to the local appeal of classical music. Beyond metro Atlanta, the ASO reigns as one of America’s most popular orchestras with 28 Grammy Awards representing some serious street cred.
The cultural milieu of classical and post-classical music in Atlanta encompasses a combination of leading organizations, such as the ASO and the Atlanta Opera, top-level presenters such as Spivey Hall, plus a panoply of interdependent classical and contemporary chamber ensembles, university venues, and adventurous alternative performance spaces. Concurrently, educational programs like the ASO’s Talent Development Program and the Atlanta Symphony Youth Orchestra, and the independent “El Sistema”-inspired Atlanta Music Project, are shaping the diverse landscape of classical music’s future.
The following compendium is a non-exhaustive list of organizations and venues offering readers a few waypoints by which to explore the rich community of classical music in and around Atlanta.
!!ATLANTA BAROQUE ORCHESTRA
The first and longest-running professional Baroque chamber orchestra in the Southeastern United States, the Atlanta Baroque Orchestra (ABO) has been performing continuously since 1998. Today, under the direction of violinist Julie Andrijeski, the ABO – www.atlantabaroque.org – calls Roswell, Georgia, home and also performs as “ensemble-in-residence” at the Cathedral of St. Philip in Buckhead as part of a collaborative arrangement with the Friends of Cathedral Music.
This fall, the Cathedral Schola, directed by Dale Adelmann, will join forces with the ABO on Friday, October 11, at the Cathedral of St. Philip, and on Saturday, October 12, at St. David’s Episcopal Church in Roswell, to perform J.S. Bach’s Magnificat paired with the famed German composer’s Orchestral Suite No. 3 in D Major. Both concerts will feature the ABO wielding period instruments in pursuit of a historically-informed rendering of Bach’s music as the maestro himself might have heard it.
!!ATLANTA CHAMBER PLAYERS
Founded in 1976 by pianist Paula Peace, the Atlanta Chamber Players (ACP) – www.atlantachamberplayers.com – has earned a national reputation as a pioneering chamber group. A mixed ensemble of strings, winds, and piano, the ACP’s broad repertoire includes traditional masterpieces and contemporary classics. The current artistic director of the ensemble is pianist Elizabeth Pridgen.
In 2009, the ACP’s long-standing commitment to performing the music of living American composers led to the formation of Rapido!, a national composition competition supported by the Antinori Foundation.
The ACP’s 2019-2020 season opens on Sunday, October 13, at Peachtree Road United Methodist Church, performing works by Clara Schumann for the 200th anniversary of her birth, plus a clarinet trio by Atlanta composer Tommy Joe Anderson featuring clarinetist Laura Ardan.
On Tuesday, November 19, the ACP performs at the Shakespeare Tavern Playhouse, premiering a new work by last year’s Rapido! winner Brian Nabors.
!!ATLANTA CONTEMPORARY ENSEMBLE
The Atlanta Contemporary Ensemble (ACE) – www.atlce.org – is a mixed chamber orchestra specializing in avant-garde works by living composers in performances that combine live music with choreography by Sukha Artists, a contemporary dance company headquartered in Avondale. The ACE holds an annual open call for scores. September 1 is the deadline for submissions to be considered for the ACE’s “Electric Eve” concert in April as part of the 2020 SoundNOW music festival. ACE is seeking three pieces between 5-7 minutes, scored for modern dancers and small mixed chamber ensemble. The music must reflect and draw inspiration from paintings by Atlanta artist Krista M. Jones.
ACE executive director Tracy Woodard is also artistic director and violinist of the string quartet Cantos y Cuentos, which will soon announce its fall concert schedule. Amy Wilson, who conducts the ACE, also serves as music director of the Atlanta Philharmonic Orchestra.
!!ATLANTA GAY MEN’S CHORUS
Inspired by the formation of the San Francisco Gay Men’s Chorus four years earlier, the Atlanta Gay Men’s Chorus (AGMC) – www.voicesofnote.org/agmc – was founded in 1981 by Jeffrey McIntyre, becoming the first such chorus in the South. Today, under the direction of Donald Milton III, the AGMC remains committed to “changing hearts and minds through music.”
In 2012, the AGMC formed Voices of Note, Inc. under which the chorus and any future programs would operate. With the launching in 2013 of the Atlanta Women’s Project (now the Atlanta Women’s Chorus) – www.voicesofnote.org/awc – Voices of Note expanded its community leadership as an organization devoted to diversity and excellence in vocal performance.
This season’s AGMC holiday concerts take place on Friday and Saturday, December 6 and 7, at the Cathedral of St. Philip. The AWC, under the artistic direction of Melissa Arasi, will present a concert (program TBA) on Saturday, December 14, at Grace United Methodist Church.
!!THE ATLANTA OPERA
A growing presence and influence in the national and international operatic world, the Atlanta Opera – www.atlantaopera.org – celebrates its 40th anniversary in the 2019-2020 season. Under General and Artistic Director Tomer Zvulun, the Atlanta Opera has grown from a very good regional company into a dynamic, creative force, widely acclaimed for bringing operas large and small, popular and obscure, to 21st-century audiences. By reimagining the classics and introducing new works to metro audiences, the Atlanta Opera has expanded the audience for the grandest of the performing arts to an unprecedented degree.
“In our 40th anniversary season, we’re producing our largest Discoveries season yet; these operas are smaller in scope but big on impact, especially Frida,” says Zvulun.
Frida is the story of the Mexican icon Frida Kahlo, which will be performed at Sandy Springs Performing Arts Center at City Springs in October. A fantastical multifaceted theatrical production, Frida includes pantomime, puppetry, movement, and vocal performers. The music is a bright and spicy blend of mariachi, tango, zarzuela, ragtime, 1930s jazz, and vaudeville. Reflective of the Atlanta Opera’s commitment to broadening its repertoire and attracting a wider audience, scheduled in March is the Gershwin brothers’ (George and Ira) larger-than-life operatic musical, Porgy and Bess.
In May 2020, Giacomo Puccini’s masterwork Madame Butterfly returns to the stage with all the drama and spectacle of classic Italian operas. In addition, the main stage season includes Gioachino Rossini’s La Cenerentola and a new production of Richard Strauss’ Salome. The 2020 Discoveries series closes with Tom Cipullo’s Glory Denied, which recounts the story of the longest-held prisoner of war in American history.
With four main stage productions at the Cobb Energy Centre and two innovative Discoveries series productions at other venues, plus community and educational outreach programs, the Atlanta Opera fosters a welcome combination of forward-thinking artistic vision and smart business acumen. By providing an environment in which emerging artists work alongside internationally acclaimed professionals, the Atlanta Opera Studio provides a launching pad for talented singers and creatives who represent the next generation of opera stars.
In partnership with The Home Depot Foundation, the Atlanta Opera offers an award-winning Veterans Program, which makes it possible for veterans and current military servicemen and women to attend all main stage productions for free.
!!ATLANTA SYMPHONY ORCHESTRA
The 2019-2020 season marks the 75th anniversary of the Atlanta Symphony Orchestra (ASO) – www.atlantasymphony.org – which has unquestionably earned a place among the city’s “major league teams,” regardless of category.
“This season is both a celebration of our rich history and a time to look to the future and our next 75 years,” says ASO Executive Director Jennifer Barlament.
Superstar violinist Joshua Bell opens the Delta classical subscription series with concerts on Friday and Saturday, September 20-21. Music Director Robert Spano will conduct the program, which will include Henryk Wieniawski’s “Violin Concerto No. 2” and the “Concerto for Orchestra” by Jennifer Higdon, an Atlanta-raised, Pulitzer Prize-winning composer long-championed by Spano.
Throughout the season, top guest artists and long-time friends of the ASO will join in the celebration, including violinist Midori, pianist Emanuel Ax, and pianist André Watts. For a special one-night-only performance on March 11, former music director Yoel Levi returns to Symphony Hall to conduct the ASO with the incomparable violinist Itzhak Perlman as featured soloist.
The subscription season also includes world premieres of works by Atlanta composer Richard Prior and up-and-coming Rapido! composition contest winner Brian Nabors on Thursday, November 21, and Friday, November 23.
On Thursday, November 14, and Saturday, November 16, the ASO with Chorus and guest artists will perform and record live Gustav Mahler’s monumental Symphony No. 8 (the “Symphony of a Thousand”) with Spano conducting. Also on the program is Carl Orff’s compelling Carmina Burana under the baton of principal guest conductor Donald Runnicles. The season wraps up with an Atlanta first: a three-day festival featuring Richard Wagner’s opera Tristan und Isolde performed one act per evening over three successive evenings, Thursday–Saturday, June 11–14.
The 75th anniversary season marks a pivotal point in the ASO’s history. It’s a time to reflect on past successes, including a score of Grammy awards, but also to envision the orchestra’s values, mission, and audience. The ASO just hired a new chief artistic officer, Elena Dubinets, whose job description includes creating new streams of programming aimed at increasing the breadth and diversity of the ASO’s repertoire, artists and audience, and broadening the orchestra’s footprint in the metro Atlanta community. The ASO is also actively searching for a new music director to replace Robert Spano, who will step down from his post at the end of the 2020-2021 season.
!!ATLANTA YOUNG SINGERS
In 1975, Stephen J. Ortlip founded the Young Singers of Callanwolde in an era when the idea of boys and girls singing together in a community choir was rare. Today, the Atlanta Young Singers – www.aysc.org – directed by Paige Mathis, remains a leader in the national children’s choir movement.
On November 23, in partnership with the Morehouse College Glee Club, the AYS will present a “Young Men’s Power Sing” workshop for boys, culminating in a concert at the Ray Charles Performing Arts Center. On successive Fridays, December 14 and 21, the AYS will present the 44th annual “Music of the Holidays” concert at the Immaculate Heart of Mary Catholic Church.
The AYS is just part of Atlanta’s broad, diverse community of young persons’ choirs, which includes the Gwinnett Young Singers – gwinnettyoungsingers.com – Spivey Hall Children’s Choir – www.clayton.edu/spiveyhall/shccprogram – Atlanta Boy Choir – www.atlantaboychoir.org – Georgia Boy Choir – georgiaboychoir.org – and choirs of the Atlanta Music Project – www.atlantamusicproject.org.
!!BENT FREQUENCY
Atlanta’s premiere contemporary music ensemble, Bent Frequency – www.bentfrequency.com – brings the avant-garde to life through adventurous and socially conscious programming, cross-disciplinary collaborations, and community engagement. As champions of work by historically underrepresented composers — women, composers of color, and LGBTQIA+ — Bent Frequency plays a vital role in expanding the breadth and scope of contemporary music while challenging audiences with fresh new voices and sounds.
In recent years Bent Frequency co-founders Jan Berry Baker and Stuart Gerber have overseen highly adventurous programs including traditionally staged concerts and solo recitals, operatic works, performances on the Atlanta Streetcar, and a concert at Historic Fourth Ward Park involving 111 bicycle-mounted community performers.
Confirmed dates and locations for Bent Frequency’s 2019-2020 season, which opens in October, were not available at press time. In December, the ensemble will reprise its participatory street-crowd performance of Phil Kline’s “Unsilent Night,” this year in Hapeville.
!! CORO VOCATI
John H. Dickson is the founding artistic director and conductor of Coro Vocati – www.corovocati.org – recognized as “one of Atlanta’s most accomplished professional chamber choirs.” Most recently, the group attracted public and critical attention at the end of June with a presentation of “Considering Matthew Shepard” at the Sandy Springs Performing Arts Center.
Coro Vocati kicks off its 2019-20 season with “Can You Hear Me?” which focuses on giving voice to the voiceless and disenfranchised through musical selections from around the world. Performances will take place at First United Methodist Church of Marietta on Saturday, September 28, and Morningside Presbyterian Church on Sunday, September 29.
The “global” theme continues through the holidays with a program titled “Christmas with Coro: Carols Around the World” on Friday and Saturday, December 14-15. Venue TBA.
!!GEORGIA TECH SCHOOL OF MUSIC
The Georgia Tech School of Music – www.music.gatech.edu – cultivates a rich legacy of musical traditions and develops cutting-edge technologies to help define the music landscape of the future.
The annual Margaret Guthman New Instrument Competition showcases next-generation musical instruments, concluding with a concert performed on the submitted instruments. Research at Georgia Tech has produced a pair of robotic musicians, Shimi and Shimon, and spawned the development of prosthetic hands and arms, which allow amputees to play musical instruments.
On Friday, November 15, and Sunday, November 17, at the Ferst Center for the Arts, the Georgia Tech School of Music and Law Institute of Arts and Technology at the University of Denver join forces to present the world premiere of Four Seasons Double Concerto. Inspired by Antonio Vivaldi’s Four Seasons, Zhou Jiaojiao’s composition will be performed by an operatic soprano, guest instrumentalists, and the Georgia Tech Symphony Orchestra under the direction of Chaowen Ting.
!!GEORGIAN CHAMBER PLAYERS
With a roster based around principal string players of the Atlanta Symphony Orchestra, Georgian Chamber Players (GCP) – www.georgianchamberplayers.org – defines classical chamber music in Atlanta. The ensemble’s season opens Sunday, November 3, at the acoustically fine Kellett Chapel of Peachtree Presbyterian Church in Buckhead. On the GCP roster for the concert are violinists David Coucheron and Julianne Lee, violist Reid Harris, cellist Christopher Rex, and pianists Julie Coucheron and Elizabeth Pridgen, plus a pair of “mystery guest performers.” Insiders report the as-yet-unknown guest performers will soon be playing important roles at the top level of Atlanta’s classical music scene.
!!GSU SCHOOL OF MUSIC
The Georgia State University School of Music – www.music.gsu.edu – includes among its downtown complex of buildings two important music venues: the Rialto Center for the Arts and the Florence Kopleff Recital Hall. The Rialto Center – www.rialto.gsu.edu – is a 900-seat performance facility well suited to touring performing artists and the School’s larger ensembles and performance projects. Kopleff Recital Hall, which sits adjacent to Hurt Park, is a more intimate 400-seat hall ideally configured for chamber and solo performances. The Rialto has its own eclectic, multidisciplinary series, which ventures into genres far afield from the classical programming that predominates at the Kopleff facility.
This fall’s “Rialto Series” includes musical performers as diverse as Red Baraat, a “Bollywood funky party band,” which plays North Indian bhangra, a popular style that mixes elements of hip-hop, jazz, and punk (October 12); and the legendary empress of soul Gladys Knight (November 10). Also scheduled are the Ailey II dance troupe on Saturday, October 26, comedy acts, visual art shows, and even video gaming events. The Rialto will also serve as the venue for Atlanta’s annual “Celtic Christmas” show, which combines Celtic music, dance, and poetry (Saturday-Sunday, December 21-22).
On the classical side, the GSU School of Music’s “Signature Series” features self-produced concerts divided between Kopleff Recital Hall and the Rialto Center for the Arts. In addition to the GSU orchestra, symphonic bands, jazz bands, and choruses, more specialized groups, such as a saxophone ensemble and percussion ensemble, offer opportunities to hear newer and more adventurous repertoire.
Ensemble-in-residence Bent Frequency has become one of the most active and visible contemporary ensembles in the Southeast. In the same vein, the neoPhonia New Music Ensemble, with its flexible instrumentation and mixed roster comprised of GSU faculty, students, and local professional musicians, champions the music of established contemporary composers, performs important chamber works from the late 20th and early 21st century, and premiers new works by emerging young composers.
The annual SoundNOW Festival, held in April, which showcases Atlanta-based composers and performers of contemporary music, largely centers around Kopleff Recital Hall and other parts the GSU campus, as well as edgy, alternative venues across Atlanta.
!! PEACHTREE STRING QUARTET
Formed in 2012 by violinist/artistic director Christopher Pulgram, the Peachtree String Quartet (PSQ) – www.peachtreestringquartet.org – enters its eighth season with a lineup that includes Pulgram, violinist Sissi Yuqing Zhang, violist Yang-Yoon Kim, and cellist Thomas Carpenter — all four members of the Atlanta Symphony Orchestra.
During the 2019-2020 season, the PSQ will celebrate Beethoven’s 250th birthday with the “Better Be Beethoven” concert series, which runs on three Sundays (October 6, January 12, and March 15). The concerts at the intimate Garden Hills Recreation Center will feature one Beethoven string quartet each from the composer’s early, middle, and late periods: opus 18, opus 74 and the glorious opus 132.
The concerts will also include works by Joseph Haydn, Edvard Grieg, Luigi Boccherini, and Arvo Part. In addition to the Garden Hills series, PSQ will perform around the metro area and Georgia.
!!RIVERSIDE CHAMBER PLAYERS
Based in Roswell, Riverside Chamber Players (RCP) – www.riversidechamberplayers.org – brings high-quality classical music to the suburban North Fulton region with accessible quality programming. The RCP’s season opens Sunday, November 3, at their home venue, the Unitarian Universalist Metro Atlanta North congregation (UUMAN), with a concert featuring Anton Arensky’s String Quartet No. 2, which is scored for an unusual combination of violin, viola, and two cellos.
On Sunday, March 8, 2020, the RCP will host a concert featuring works by finalists in the RCP String Quartet Commission Award competition, which challenges Georgia college students to compose music for standard string quartet. Judges for the award are ASO Music Director Robert Spano, ASO bassist and RCP Composer-in-Residence Michael Kurth, and RCP Artistic Director and cellist Joel Dallow.
!!SCHWARTZ CENTER FOR PERFORMING ARTS
The Schwartz Center for Performing Arts, including its 800-seat Emerson Concert Hall is the flagship complex of Emory University’s “Arts Village.” – www.arts.emory.edu. The 2019-2020 edition of the Flora Glenn Candler Series promises to “celebrate cultural connections” with top-tier programming and guest artists.
“Music is one of the beautiful things we share around the world — my hope is this coming season provides our audience the opportunity for new and meaningful shared experiences celebrating this commonality,” says Rachael Brightwell, managing director of the Schwartz Center for Performing Arts. “The 2019-2020 Candler concert series celebrates the ways in which music brings people together.”
The famed Kronos Quartet opens the Candler series on Saturday, September 14, bringing their “Music for Change” project to the Schwartz Center. “It’s going to leave our audience asking new questions of themselves about our similarities and our differences,” remarks Brightwell.
On Friday, October 18, a Candler series concert features acclaimed jazz pianist Brad Mehldau and classical tenor Ian Bostridge performing together in a recital that acknowledges their different musical backgrounds and shared musical affinities. On Sunday, November 3, mezzo-soprano Joyce Didonato brings her “In War & Peace: Harmony through Music” program to the Schwartz. The program examines the chaotic world in which we live in today, raising the question, “How do you find your joy, how do you find your peace?”
Although the concert isn’t until spring 2020, it’s well worth noting that, on Friday, April 10, ASO music director and pianist Robert Spano and internationally acclaimed, Macon-born violinist Robert McDuffie will perform a special recital of Brahms and Beethoven to close the Candler series season.
Beyond the Candler series, Emory has more to offer. The Emory Chamber Music Society of Atlanta is the largest and most active organization of its kind in the Southeast, building new audiences through a wide variety of performances and teaching activities. The 2019-2020 season will include the first half of the “Beethoven 2020” project, a celebration of the composer’s 250th birth year, which includes all 32 of his piano sonatas performed consecutively; the complete works for piano and violin and piano and cello; and the complete cycle of Beethoven’s string quartets performed by Emory’s award-winning string quartet in residence, the Vega String Quartet, in six concerts over the course of 2020.
!!SPELMAN & MOREHOUSE COLLEGE GLEE CLUBS
The Morehouse College Glee Club – www.morehouse.edu/academics/music/concert.html – directed by Dr. David Morrow (see sidebar), is the official choral group of Morehouse College. Founded in 1911, the Glee Club has a long tradition of significant public appearances, having performed at Martin Luther King Jr.’s funeral, President Jimmy Carter’s inauguration, Super Bowl XXVIII, and the 1996 Summer Olympics in Atlanta. The Glee Club participates annually in the Atlanta Symphony Orchestra’s “Christmas with the ASO” concerts.
The Spelman College Glee Club – www.spelman.edu/academics/majors-and-programs/music/ensembles/glee-club/schedule – directed by Dr. Kevin Johnson, has maintained a reputation for choral excellence since 1925. The Glee Club’s repertoire draws from sacred and secular choral literature for women’s voices with a particular focus on traditional spirituals, African American composers, and music from many cultures, plus commissioned works. The Glee Club has performed with the Atlanta Symphony Orchestra, renowned opera singer Jessye Norman, and in 2016 at the White House for President Barack Obama.
!!SPIVEY HALL
The crown jewel of metro-Atlanta’s classical music venues, Spivey Hall – www.spiveyhall.org – is unmatched in its combination of pristine acoustics, consistently excellent programming, and roster of outstanding guest artists. Located on the campus of Clayton State University in the city of Morrow on Atlanta’s suburban south side, the 400-seat hall sports a pair of complementary Hamburg Steinway concert grand pianos, plus the esteemed Albert Schweitzer Memorial Organ. Ample free parking in front of the Hall adds convenience to the wonderful experience inside the facility.
While Spivey Hall regularly presents leading classical, jazz, and popular music stars, the venue is also known for introducing promising emerging talents to Atlanta audiences. For the city’s classical music cognoscenti, Spivey Hall is the luxury vehicle of choice.
The Dover and Escher string quartets kick off Spivey Hall’s 29th concert season with music by Joseph Haydn and Paul Hindemith, then join forces for one of chamber music’s most exhilarating masterworks, the Octet for Strings composed by the 16-year-old wunderkind Felix Mendelssohn. Returning favorites include Canadian pianist Angela Hewitt in an all-Bach program, celebrated young British “wizard of the piano” Benjamin Grosvenor, and the Takács Quartet, entering its 45th season as one of the world’s leading string quartets.
The glorious voice of Georgia-born Metropolitan Opera star mezzo-soprano Jamie Barton returns for her second Spivey Hall recital in December. In February, Grammy Award-winning Juilliard School faculty organist Paul Jacobs performs on the magnificent Albert Schweitzer Memorial Organ.
The Spivey Hall jazz calendar includes a quintet led by pianist Kenny Barron, the Christian Sands High Wire Trio, and vocalist Cécile McLorin Salvant. For lighter fare, Spivey Hall offers the tongue-in-cheek high spirits of the Ukulele Orchestra of Great Britain; the Swingles vocal ensemble (with a Christmas program, Winter Tales); and guitarist Miloš Karadaglić, known for popular interpretations of classical Spanish repertoire and original arrangements of Beatles tunes.
Making their Atlanta premieres are the dynamic husband-and-wife piano duo Alessio Bax and Lucille Chung; the golden-voiced British soprano Mary Bevan; and the captivating Ukrainian piano virtuoso, Alexander Romanovsky performing music by Frederic Chopin.
Return to Fall Arts Preview 2019"
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It isn’t just the music of dead white guys wearing wigs anymore. Far from it: “Classical music” in the 21st century is enjoying widespread popularity as well as growth in terms of diversity, inclusiveness, and eclecticism. While broad acknowledgment exists among those at the forefront of this transformative shift that more progress is needed before aspirational goals align with reality, classical music has never ceased evolving in accordance with the times.
The reality is that classical music is becoming more, not less, relevant in the 21st century. Part of that reality concerns the definition of “classical music.” It’s certainly not limited to the Classical period of music and its antecedent Romantic era. Classical music history spans more than a millennium of artistic expression and remains very much a living tradition of thought and practice by composers and performers. Its stylistic nature has changed over time, especially during the last half century, but that change attests in part to the persistent influence of the genre on our rapidly evolving culture: “Classical music” has always been a highly adaptable species.
In spite of the overwhelming prevalence and commercial economic power of pop music in Western culture, classical music is thriving. In 2018, classical music “was the fastest-growing genre” in sales volume in the United Kingdom, according to figures released by the British Phonographic Industry (BPI). Last year, sales and streams of classical recordings increased by a little over 10 percent in the UK compared to the previous year — not bad considering a rise of just under 6 percent across all genres. Significantly, sales of classical CDs alone increased by almost 7 percent versus the negative trend in pop and rock. Perhaps because classical music listeners still prefer a physical product, only a quarter of classical music sales in 2018 was handled by streaming services, versus nearly 64 percent streaming for the non-classical market.
These numbers account for various directions taken by “contemporary” classical music makers from concert stage music and film scores to opera and video games. They also reflect the resilient popularity of familiar traditional repertoire by composers such as Haydn, Mozart, Bach, Beethoven, Brahms, and Rachmaninoff.
Yet, a cynical observer might ask: Why do we even need classical music in the Hip-Hop Capital of the Universe? Common wisdom says that interest in classical music comes only from a relatively small base. But, says the attentive observer, let’s look at one telling current statistic from our internet-age world:
According to Facebook’s advertising algorithms, one out of every six users between the ages of 21 and 39 located within 50 miles of downtown Atlanta is interested in classical music. That percentage is slightly higher, by about one point, for the 21-to-65 age category, contradicting the notion that “only old people” care about or listen to classical music. Although a minority, that’s still a sizable chunk of the metro area population.
The thousands of attendees who show up in June at Piedmont Park for the Atlanta Symphony Orchestra (ASO) free classical concerts offer further testimony to the local appeal of classical music. Beyond metro Atlanta, the ASO reigns as one of America’s most popular orchestras with 28 Grammy Awards representing some serious street cred.
The cultural milieu of classical and post-classical music in Atlanta encompasses a combination of leading organizations, such as the ASO and the Atlanta Opera, top-level presenters such as Spivey Hall, plus a panoply of interdependent classical and contemporary chamber ensembles, university venues, and adventurous alternative performance spaces. Concurrently, educational programs like the ASO’s Talent Development Program and the Atlanta Symphony Youth Orchestra, and the independent “El Sistema”-inspired Atlanta Music Project, are shaping the diverse landscape of classical music’s future.
The following compendium is a non-exhaustive list of organizations and venues offering readers a few waypoints by which to explore the rich community of classical music in and around Atlanta.
!!__ATLANTA BAROQUE ORCHESTRA__
The first and longest-running professional Baroque chamber orchestra in the Southeastern United States, the Atlanta Baroque Orchestra (ABO) has been performing continuously since 1998. Today, under the direction of violinist Julie Andrijeski, the ABO – www.atlantabaroque.org – calls Roswell, Georgia, home and also performs as “ensemble-in-residence” at the Cathedral of St. Philip in Buckhead as part of a collaborative arrangement with the Friends of Cathedral Music.
This fall, the Cathedral Schola, directed by Dale Adelmann, will join forces with the ABO on Friday, October 11, at the Cathedral of St. Philip, and on Saturday, October 12, at St. David’s Episcopal Church in Roswell, to perform J.S. Bach’s ''Magnificat'' paired with the famed German composer’s ''Orchestral Suite No. 3 in D Major''. Both concerts will feature the ABO wielding period instruments in pursuit of a historically-informed rendering of Bach’s music as the maestro himself might have heard it.
!!__ATLANTA CHAMBER PLAYERS__
Founded in 1976 by pianist Paula Peace, the Atlanta Chamber Players (ACP) – www.atlantachamberplayers.com – has earned a national reputation as a pioneering chamber group. A mixed ensemble of strings, winds, and piano, the ACP’s broad repertoire includes traditional masterpieces and contemporary classics. The current artistic director of the ensemble is pianist Elizabeth Pridgen.
In 2009, the ACP’s long-standing commitment to performing the music of living American composers led to the formation of Rapido!, a national composition competition supported by the Antinori Foundation.
The ACP’s 2019-2020 season opens on Sunday, October 13, at Peachtree Road United Methodist Church, performing works by Clara Schumann for the 200th anniversary of her birth, plus a clarinet trio by Atlanta composer Tommy Joe Anderson featuring clarinetist Laura Ardan.
On Tuesday, November 19, the ACP performs at the Shakespeare Tavern Playhouse, premiering a new work by last year’s Rapido! winner Brian Nabors.
!!__ATLANTA CONTEMPORARY ENSEMBLE__
The Atlanta Contemporary Ensemble (ACE) – www.atlce.org – is a mixed chamber orchestra specializing in avant-garde works by living composers in performances that combine live music with choreography by Sukha Artists, a contemporary dance company headquartered in Avondale. The ACE holds an annual open call for scores. September 1 is the deadline for submissions to be considered for the ACE’s “Electric Eve” concert in April as part of the 2020 SoundNOW music festival. ACE is seeking three pieces between 5-7 minutes, scored for modern dancers and small mixed chamber ensemble. The music must reflect and draw inspiration from paintings by Atlanta artist Krista M. Jones.
ACE executive director Tracy Woodard is also artistic director and violinist of the string quartet Cantos y Cuentos, which will soon announce its fall concert schedule. Amy Wilson, who conducts the ACE, also serves as music director of the Atlanta Philharmonic Orchestra.
!!__ATLANTA GAY MEN’S CHORUS__
Inspired by the formation of the San Francisco Gay Men’s Chorus four years earlier, the Atlanta Gay Men’s Chorus (AGMC) – www.voicesofnote.org/agmc – was founded in 1981 by Jeffrey McIntyre, becoming the first such chorus in the South. Today, under the direction of Donald Milton III, the AGMC remains committed to “changing hearts and minds through music.”
In 2012, the AGMC formed Voices of Note, Inc. under which the chorus and any future programs would operate. With the launching in 2013 of the Atlanta Women’s Project (now the Atlanta Women’s Chorus) – www.voicesofnote.org/awc – Voices of Note expanded its community leadership as an organization devoted to diversity and excellence in vocal performance.
This season’s AGMC holiday concerts take place on Friday and Saturday, December 6 and 7, at the Cathedral of St. Philip. The AWC, under the artistic direction of Melissa Arasi, will present a concert (program TBA) on Saturday, December 14, at Grace United Methodist Church.
!!__THE ATLANTA OPERA__
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A growing presence and influence in the national and international operatic world, the Atlanta Opera – www.atlantaopera.org – celebrates its 40th anniversary in the 2019-2020 season. Under General and Artistic Director Tomer Zvulun, the Atlanta Opera has grown from a very good regional company into a dynamic, creative force, widely acclaimed for bringing operas large and small, popular and obscure, to 21st-century audiences. By reimagining the classics and introducing new works to metro audiences, the Atlanta Opera has expanded the audience for the grandest of the performing arts to an unprecedented degree.
“In our 40th anniversary season, we’re producing our largest Discoveries season yet; these operas are smaller in scope but big on impact, especially ''Frida'',” says Zvulun.
''Frida'' is the story of the Mexican icon Frida Kahlo, which will be performed at Sandy Springs Performing Arts Center at City Springs in October. A fantastical multifaceted theatrical production, ''Frida'' includes pantomime, puppetry, movement, and vocal performers. The music is a bright and spicy blend of mariachi, tango, zarzuela, ragtime, 1930s jazz, and vaudeville. Reflective of the Atlanta Opera’s commitment to broadening its repertoire and attracting a wider audience, scheduled in March is the Gershwin brothers’ (George and Ira) larger-than-life operatic musical, ''Porgy and Bess''.
In May 2020, Giacomo Puccini’s masterwork ''Madame Butterfly'' returns to the stage with all the drama and spectacle of classic Italian operas. In addition, the main stage season includes Gioachino Rossini’s ''La Cenerentola'' and a new production of Richard Strauss’ ''Salome''. The 2020 Discoveries series closes with Tom Cipullo’s ''Glory Denied'', which recounts the story of the longest-held prisoner of war in American history.
With four main stage productions at the Cobb Energy Centre and two innovative Discoveries series productions at other venues, plus community and educational outreach programs, the Atlanta Opera fosters a welcome combination of forward-thinking artistic vision and smart business acumen. By providing an environment in which emerging artists work alongside internationally acclaimed professionals, the Atlanta Opera Studio provides a launching pad for talented singers and creatives who represent the next generation of opera stars.
In partnership with The Home Depot Foundation, the Atlanta Opera offers an award-winning Veterans Program, which makes it possible for veterans and current military servicemen and women to attend all main stage productions for free.
!!__ATLANTA SYMPHONY ORCHESTRA__
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The 2019-2020 season marks the 75th anniversary of the Atlanta Symphony Orchestra (ASO) – www.atlantasymphony.org – which has unquestionably earned a place among the city’s “major league teams,” regardless of category.
“This season is both a celebration of our rich history and a time to look to the future and our next 75 years,” says ASO Executive Director Jennifer Barlament.
Superstar violinist Joshua Bell opens the Delta classical subscription series with concerts on Friday and Saturday, September 20-21. Music Director Robert Spano will conduct the program, which will include Henryk Wieniawski’s “Violin Concerto No. 2” and the “Concerto for Orchestra” by Jennifer Higdon, an Atlanta-raised, Pulitzer Prize-winning composer long-championed by Spano.
Throughout the season, top guest artists and long-time friends of the ASO will join in the celebration, including violinist Midori, pianist Emanuel Ax, and pianist André Watts. For a special one-night-only performance on March 11, former music director Yoel Levi returns to Symphony Hall to conduct the ASO with the incomparable violinist Itzhak Perlman as featured soloist.
The subscription season also includes world premieres of works by Atlanta composer Richard Prior and up-and-coming Rapido! composition contest winner Brian Nabors on Thursday, November 21, and Friday, November 23.
On Thursday, November 14, and Saturday, November 16, the ASO with Chorus and guest artists will perform and record live Gustav Mahler’s monumental ''Symphony No. 8'' (the “Symphony of a Thousand”) with Spano conducting. Also on the program is Carl Orff’s compelling ''Carmina Burana'' under the baton of principal guest conductor Donald Runnicles. The season wraps up with an Atlanta first: a three-day festival featuring Richard Wagner’s opera ''Tristan und Isolde'' performed one act per evening over three successive evenings, Thursday–Saturday, June 11–14.
The 75th anniversary season marks a pivotal point in the ASO’s history. It’s a time to reflect on past successes, including a score of Grammy awards, but also to envision the orchestra’s values, mission, and audience. The ASO just hired a new chief artistic officer, Elena Dubinets, whose job description includes creating new streams of programming aimed at increasing the breadth and diversity of the ASO’s repertoire, artists and audience, and broadening the orchestra’s footprint in the metro Atlanta community. The ASO is also actively searching for a new music director to replace Robert Spano, who will step down from his post at the end of the 2020-2021 season.
!!__ATLANTA YOUNG SINGERS__
In 1975, Stephen J. Ortlip founded the Young Singers of Callanwolde in an era when the idea of boys and girls singing together in a community choir was rare. Today, the Atlanta Young Singers – www.aysc.org – directed by Paige Mathis, remains a leader in the national children’s choir movement.
On November 23, in partnership with the Morehouse College Glee Club, the AYS will present a “Young Men’s Power Sing” workshop for boys, culminating in a concert at the Ray Charles Performing Arts Center. On successive Fridays, December 14 and 21, the AYS will present the 44th annual “Music of the Holidays” concert at the Immaculate Heart of Mary Catholic Church.
The AYS is just part of Atlanta’s broad, diverse community of young persons’ choirs, which includes the Gwinnett Young Singers – gwinnettyoungsingers.com – Spivey Hall Children’s Choir – www.clayton.edu/spiveyhall/shccprogram – Atlanta Boy Choir – www.atlantaboychoir.org – Georgia Boy Choir – georgiaboychoir.org – and choirs of the Atlanta Music Project – www.atlantamusicproject.org.
!!__BENT FREQUENCY__
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Atlanta’s premiere contemporary music ensemble, Bent Frequency – www.bentfrequency.com – brings the avant-garde to life through adventurous and socially conscious programming, cross-disciplinary collaborations, and community engagement. As champions of work by historically underrepresented composers — women, composers of color, and LGBTQIA+ — Bent Frequency plays a vital role in expanding the breadth and scope of contemporary music while challenging audiences with fresh new voices and sounds.
In recent years Bent Frequency co-founders Jan Berry Baker and Stuart Gerber have overseen highly adventurous programs including traditionally staged concerts and solo recitals, operatic works, performances on the Atlanta Streetcar, and a concert at Historic Fourth Ward Park involving 111 bicycle-mounted community performers.
Confirmed dates and locations for Bent Frequency’s 2019-2020 season, which opens in October, were not available at press time. In December, the ensemble will reprise its participatory street-crowd performance of Phil Kline’s “Unsilent Night,” this year in Hapeville.
!! %%% __CORO VOCATI__
John H. Dickson is the founding artistic director and conductor of Coro Vocati – www.corovocati.org – recognized as “one of Atlanta’s most accomplished professional chamber choirs.” Most recently, the group attracted public and critical attention at the end of June with a presentation of “Considering Matthew Shepard” at the Sandy Springs Performing Arts Center.
Coro Vocati kicks off its 2019-20 season with “Can You Hear Me?” which focuses on giving voice to the voiceless and disenfranchised through musical selections from around the world. Performances will take place at First United Methodist Church of Marietta on Saturday, September 28, and Morningside Presbyterian Church on Sunday, September 29.
The “global” theme continues through the holidays with a program titled “Christmas with Coro: Carols Around the World” on Friday and Saturday, December 14-15. Venue TBA.
!!__GEORGIA TECH SCHOOL OF MUSIC__
The Georgia Tech School of Music – www.music.gatech.edu – cultivates a rich legacy of musical traditions and develops cutting-edge technologies to help define the music landscape of the future.
The annual Margaret Guthman New Instrument Competition showcases next-generation musical instruments, concluding with a concert performed on the submitted instruments. Research at Georgia Tech has produced a pair of robotic musicians, Shimi and Shimon, and spawned the development of prosthetic hands and arms, which allow amputees to play musical instruments.
On Friday, November 15, and Sunday, November 17, at the Ferst Center for the Arts, the Georgia Tech School of Music and Law Institute of Arts and Technology at the University of Denver join forces to present the world premiere of ''Four Seasons Double Concerto''. Inspired by Antonio Vivaldi’s Four Seasons, Zhou Jiaojiao’s composition will be performed by an operatic soprano, guest instrumentalists, and the Georgia Tech Symphony Orchestra under the direction of Chaowen Ting.
!!__GEORGIAN CHAMBER PLAYERS__
With a roster based around principal string players of the Atlanta Symphony Orchestra, Georgian Chamber Players (GCP) – www.georgianchamberplayers.org – defines classical chamber music in Atlanta. The ensemble’s season opens Sunday, November 3, at the acoustically fine Kellett Chapel of Peachtree Presbyterian Church in Buckhead. On the GCP roster for the concert are violinists David Coucheron and Julianne Lee, violist Reid Harris, cellist Christopher Rex, and pianists Julie Coucheron and Elizabeth Pridgen, plus a pair of “mystery guest performers.” Insiders report the as-yet-unknown guest performers will soon be playing important roles at the top level of Atlanta’s classical music scene.
!!__GSU SCHOOL OF MUSIC__
The Georgia State University School of Music – www.music.gsu.edu – includes among its downtown complex of buildings two important music venues: the Rialto Center for the Arts and the Florence Kopleff Recital Hall. The Rialto Center – www.rialto.gsu.edu – is a 900-seat performance facility well suited to touring performing artists and the School’s larger ensembles and performance projects. Kopleff Recital Hall, which sits adjacent to Hurt Park, is a more intimate 400-seat hall ideally configured for chamber and solo performances. The Rialto has its own eclectic, multidisciplinary series, which ventures into genres far afield from the classical programming that predominates at the Kopleff facility.
This fall’s “Rialto Series” includes musical performers as diverse as Red Baraat, a “Bollywood funky party band,” which plays North Indian bhangra, a popular style that mixes elements of hip-hop, jazz, and punk (October 12); and the legendary empress of soul Gladys Knight (November 10). Also scheduled are the Ailey II dance troupe on Saturday, October 26, comedy acts, visual art shows, and even video gaming events. The Rialto will also serve as the venue for Atlanta’s annual “Celtic Christmas” show, which combines Celtic music, dance, and poetry (Saturday-Sunday, December 21-22).
On the classical side, the GSU School of Music’s “Signature Series” features self-produced concerts divided between Kopleff Recital Hall and the Rialto Center for the Arts. In addition to the GSU orchestra, symphonic bands, jazz bands, and choruses, more specialized groups, such as a saxophone ensemble and percussion ensemble, offer opportunities to hear newer and more adventurous repertoire.
Ensemble-in-residence Bent Frequency has become one of the most active and visible contemporary ensembles in the Southeast. In the same vein, the neoPhonia New Music Ensemble, with its flexible instrumentation and mixed roster comprised of GSU faculty, students, and local professional musicians, champions the music of established contemporary composers, performs important chamber works from the late 20th and early 21st century, and premiers new works by emerging young composers.
The annual SoundNOW Festival, held in April, which showcases Atlanta-based composers and performers of contemporary music, largely centers around Kopleff Recital Hall and other parts the GSU campus, as well as edgy, alternative venues across Atlanta.
!! %%% __PEACHTREE STRING QUARTET__
Formed in 2012 by violinist/artistic director Christopher Pulgram, the Peachtree String Quartet (PSQ) – www.peachtreestringquartet.org – enters its eighth season with a lineup that includes Pulgram, violinist Sissi Yuqing Zhang, violist Yang-Yoon Kim, and cellist Thomas Carpenter — all four members of the Atlanta Symphony Orchestra.
During the 2019-2020 season, the PSQ will celebrate Beethoven’s 250th birthday with the “Better Be Beethoven” concert series, which runs on three Sundays (October 6, January 12, and March 15). The concerts at the intimate Garden Hills Recreation Center will feature one Beethoven string quartet each from the composer’s early, middle, and late periods: opus 18, opus 74 and the glorious opus 132.
The concerts will also include works by Joseph Haydn, Edvard Grieg, Luigi Boccherini, and Arvo Part. In addition to the Garden Hills series, PSQ will perform around the metro area and Georgia.
!!__RIVERSIDE CHAMBER PLAYERS__
Based in Roswell, Riverside Chamber Players (RCP) – www.riversidechamberplayers.org – brings high-quality classical music to the suburban North Fulton region with accessible quality programming. The RCP’s season opens Sunday, November 3, at their home venue, the Unitarian Universalist Metro Atlanta North congregation (UUMAN), with a concert featuring Anton Arensky’s ''String Quartet No. 2'', which is scored for an unusual combination of violin, viola, and two cellos.
On Sunday, March 8, 2020, the RCP will host a concert featuring works by finalists in the RCP String Quartet Commission Award competition, which challenges Georgia college students to compose music for standard string quartet. Judges for the award are ASO Music Director Robert Spano, ASO bassist and RCP Composer-in-Residence Michael Kurth, and RCP Artistic Director and cellist Joel Dallow.
!!__SCHWARTZ CENTER FOR PERFORMING ARTS__
The Schwartz Center for Performing Arts, including its 800-seat Emerson Concert Hall is the flagship complex of Emory University’s “Arts Village.” – www.arts.emory.edu. The 2019-2020 edition of the Flora Glenn Candler Series promises to “celebrate cultural connections” with top-tier programming and guest artists.
“Music is one of the beautiful things we share around the world — my hope is this coming season provides our audience the opportunity for new and meaningful shared experiences celebrating this commonality,” says Rachael Brightwell, managing director of the Schwartz Center for Performing Arts. “The 2019-2020 Candler concert series celebrates the ways in which music brings people together.”
The famed Kronos Quartet opens the Candler series on Saturday, September 14, bringing their “Music for Change” project to the Schwartz Center. “It’s going to leave our audience asking new questions of themselves about our similarities and our differences,” remarks Brightwell.
On Friday, October 18, a Candler series concert features acclaimed jazz pianist Brad Mehldau and classical tenor Ian Bostridge performing together in a recital that acknowledges their different musical backgrounds and shared musical affinities. On Sunday, November 3, mezzo-soprano Joyce Didonato brings her “In War & Peace: Harmony through Music” program to the Schwartz. The program examines the chaotic world in which we live in today, raising the question, “How do you find your joy, how do you find your peace?”
Although the concert isn’t until spring 2020, it’s well worth noting that, on Friday, April 10, ASO music director and pianist Robert Spano and internationally acclaimed, Macon-born violinist Robert McDuffie will perform a special recital of Brahms and Beethoven to close the Candler series season.
Beyond the Candler series, Emory has more to offer. The Emory Chamber Music Society of Atlanta is the largest and most active organization of its kind in the Southeast, building new audiences through a wide variety of performances and teaching activities. The 2019-2020 season will include the first half of the “Beethoven 2020” project, a celebration of the composer’s 250th birth year, which includes all 32 of his piano sonatas performed consecutively; the complete works for piano and violin and piano and cello; and the complete cycle of Beethoven’s string quartets performed by Emory’s award-winning string quartet in residence, the Vega String Quartet, in six concerts over the course of 2020.
!!__SPELMAN & MOREHOUSE COLLEGE GLEE CLUBS__
The Morehouse College Glee Club – www.morehouse.edu/academics/music/concert.html – directed by Dr. David Morrow (see sidebar), is the official choral group of Morehouse College. Founded in 1911, the Glee Club has a long tradition of significant public appearances, having performed at Martin Luther King Jr.’s funeral, President Jimmy Carter’s inauguration, Super Bowl XXVIII, and the 1996 Summer Olympics in Atlanta. The Glee Club participates annually in the Atlanta Symphony Orchestra’s “Christmas with the ASO” concerts.
The Spelman College Glee Club – www.spelman.edu/academics/majors-and-programs/music/ensembles/glee-club/schedule – directed by Dr. Kevin Johnson, has maintained a reputation for choral excellence since 1925. The Glee Club’s repertoire draws from sacred and secular choral literature for women’s voices with a particular focus on traditional spirituals, African American composers, and music from many cultures, plus commissioned works. The Glee Club has performed with the Atlanta Symphony Orchestra, renowned opera singer Jessye Norman, and in 2016 at the White House for President Barack Obama.
!!__SPIVEY HALL__
The crown jewel of metro-Atlanta’s classical music venues, Spivey Hall – www.spiveyhall.org – is unmatched in its combination of pristine acoustics, consistently excellent programming, and roster of outstanding guest artists. Located on the campus of Clayton State University in the city of Morrow on Atlanta’s suburban south side, the 400-seat hall sports a pair of complementary Hamburg Steinway concert grand pianos, plus the esteemed Albert Schweitzer Memorial Organ. Ample free parking in front of the Hall adds convenience to the wonderful experience inside the facility.
While Spivey Hall regularly presents leading classical, jazz, and popular music stars, the venue is also known for introducing promising emerging talents to Atlanta audiences. For the city’s classical music cognoscenti, Spivey Hall is the luxury vehicle of choice.
The Dover and Escher string quartets kick off Spivey Hall’s 29th concert season with music by Joseph Haydn and Paul Hindemith, then join forces for one of chamber music’s most exhilarating masterworks, the Octet for Strings composed by the 16-year-old wunderkind Felix Mendelssohn. Returning favorites include Canadian pianist Angela Hewitt in an all-Bach program, celebrated young British “wizard of the piano” Benjamin Grosvenor, and the Takács Quartet, entering its 45th season as one of the world’s leading string quartets.
The glorious voice of Georgia-born Metropolitan Opera star mezzo-soprano Jamie Barton returns for her second Spivey Hall recital in December. In February, Grammy Award-winning Juilliard School faculty organist Paul Jacobs performs on the magnificent Albert Schweitzer Memorial Organ.
The Spivey Hall jazz calendar includes a quintet led by pianist Kenny Barron, the Christian Sands High Wire Trio, and vocalist Cécile McLorin Salvant. For lighter fare, Spivey Hall offers the tongue-in-cheek high spirits of the Ukulele Orchestra of Great Britain; the Swingles vocal ensemble (with a Christmas program, ''Winter Tales''); and guitarist Miloš Karadaglić, known for popular interpretations of classical Spanish repertoire and original arrangements of Beatles tunes.
Making their Atlanta premieres are the dynamic husband-and-wife piano duo Alessio Bax and Lucille Chung; the golden-voiced British soprano Mary Bevan; and the captivating Ukrainian piano virtuoso, Alexander Romanovsky performing music by Frederic Chopin.
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!!::~~#000000:Choral Singing and Community~~::
!!!::~~#000000:Celebrating hope and a sense of triumph~~::
::{img fileId="21483" desc="desc" max="600"}::
{DIV(class="byline clearfix")}__~~#000000:DAVID MORROW__~~{DIV}
~~#000000:Choral music has many reasons for being. It is the music where people just bring themselves and the voice included in their body to rehearsals and performances. The resulting music is for enjoyment, for function, for healing, for unification, and more. Regardless of the quality, most of us can sing, and we sing more confidently together.~~
~~#000000:Chorus America’s 2019 Chorus Impact Study highlights the impact exerted on your life by singing, which includes personal and community benefits. The study shows that more than 54 million Americans sing in choruses. In addition, the study found that singers in choral organizations tend to be more civically involved and culturally accepting. These days, choral concerts are more often centered on a theme, which varies in terms of musical characteristics, text, or underlying subject. There is a growing trend toward creating more socially conscious themes, which foster performances that are not only enjoyable, but also contain cultural, social, or political relevance that leads to awareness, support, and empathy toward a specific idea or culture.~~
~~#000000:As director of the Morehouse College Glee Club at a historically African American College for men, the music I have chosen for us to sing has ranged from works by classical composers from all eras to music created or influenced by African and African-American composers. Sometimes, the music has a dual effect. For example, the textual and cultural relevance of arrangements of African American spirituals adds enjoyment or appreciation of musical ingredients, such as melody, rhythm, and harmony.~~
~~#000000:Recently, we have been singing a very special work called ''Seven Last Words of the Unarmed'' by Atlanta composer Joel Thompson. A young African American who holds bachelor’s and master’s degrees in music from Emory University, Thompson is currently studying composition at Yale University. Written in 2015, ''Seven Last Words of the Unarmed'' is a seven-movement work for male chorus and orchestra set to the last words of six unarmed African American men and one unarmed youngster who were killed by individuals in law enforcement. The following are the texts used:~~
~~#000000:• Kenneth Chamberlain: “Officers, why do you have your guns out?”
• Trayvon Martin: “What are you following me for?”
• Amadou Diallo: “Mom, I’m going to college.”
• Michael Brown: “I don’t have a gun! STOP!”
• Oscar Grant: “You shot me!”
• John Crawford: “It’s not real.”
• Eric Garner: “I can’t breathe.”~~
~~#000000:The piece uses contemporary musical devices, such as cluster chords and intentional dissonances, but also draws on older resources including fugue and references to the medieval tune ''L’homme armé'' ''doibt on doubter'' (“The armed man must be feared”). Thompson calls his work a “sonic diary entry,” which chronicles the circumstances surrounding these deaths and their aftermath. Where others have expressed fear, anger, and dismay, the composer poured his emotions into creating this music as a means to get beyond his feeling that the color of his skin was a “capital offense.”~~
~~#000000:''Seven Last Words of the Unarmed'' was premiered and championed by Dr. Eugene Rogers, who directed the University of Michigan Men’s Glee Club in both the chamber and full orchestra versions of the work. This past March, the Morehouse College Glee Club was invited by Dr. Amanda Springer, CEO of the Tallahassee Symphony Orchestra, to join with the men of the Florida A&M University Choir in a performance of this piece. In preparation, we performed Thompson’s piece with a chamber orchestra in February and toured with the work.~~
~~#000000:Thompson’s piece is musically and emotionally challenging. The rhythmic and vocal demands are at an advanced level, which requires care and commitment. For the Morehouse College Glee Club, ''Seven Last Words of the Unarmed'' became very emotional for the students (and for me). As African American men, we are so close to the subject matter, while singing, we sometimes cannot help but think, “That could have been me.” That perspective made for genuine, heartfelt performances.~~
~~#000000:While on tour we were fortunate to have with us Mr. John Russell, our bus driver, who ''never'' misses a concert. In many ways he was our “proud parent” in the audience who paid attention to the way audiences reacted to this piece. While many found Thompson’s work poignant and powerful, others found it divisive and were angered by it.~~
~~#000000:After one concert, Mr. Russell told me that a few audience members walked out, stating, “I didn’t come here to hear any protest music.” I was sorry to hear about that reaction, yet I was satisfied they were at least talking about it. The Tallahassee Symphony concert was followed by a panel discussion, which included the chief of police, the composer, and two board members. During the discussion, the audience came to understand that the music affected them in a way that brought us together to listen to each other’s perspectives.~~
~~#000000:Thompson’s work is musically and socially relevant, as well as sharply insightful. In an address at the 1964 Berlin Jazz Festival, Dr. Martin Luther King Jr. stated, speaking of jazz and blues, “. . .if you think for a moment, you will realize that they take the hardest realities of life and put them into music, only to come out with some new hope or sense of triumph. This is triumphant music.”~~
{img fileId="21482" stylebox="float:right; margin-left:25px;" desc="desc" max="300"}~~#000000:Joel Thompson’s ''Seven Last Words of the Unarmed'' embodies King’s statement. It imbues the words of these seven men with humanity. We begin to see them as real people and not just news reports, which make us numb to each other. Only then can we move toward the triumphant and decide to make the “hard realities” better. We look forward to singing ''Seven Last Words of the Unarmed''. I am proud to be part of the choral arts, a medium by which we can entertain, enrich, engage, and create community consciousness.~~
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((fall arts preview 2019|Return to Fall Arts Preview 2019))"
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string(30234) " Cello 2019-08-02T18:46:02+00:00 Cello_sm.jpg fall arts preview 2019 Symphonic, Choral, Chamber Music (Classical & Contemporary), Opera Cello 2019-08-02T21:33:27+00:00 It isn’t just the music of dead white guys wearing wigs anymore. Far from it: “Classical music” in the 21st century is enjoying widespread popularity as well as growth in terms of diversity, inclusiveness, and eclecticism. While broad acknowledgment exists among those at the forefront of this transformative shift that more progress is needed before aspirational goals align with reality, classical music has never ceased evolving in accordance with the times. Fall Arts Preview 2019: Classical Music jim.harris Jim Harris Mark Gresham 2019-08-02T21:33:27+00:00 SIDEBAR: Choral Singing and Community
It isn’t just the music of dead white guys wearing wigs anymore. Far from it: “Classical music” in the 21st century is enjoying widespread popularity as well as growth in terms of diversity, inclusiveness, and eclecticism. While broad acknowledgment exists among those at the forefront of this transformative shift that more progress is needed before aspirational goals align with reality, classical music has never ceased evolving in accordance with the times.
The reality is that classical music is becoming more, not less, relevant in the 21st century. Part of that reality concerns the definition of “classical music.” It’s certainly not limited to the Classical period of music and its antecedent Romantic era. Classical music history spans more than a millennium of artistic expression and remains very much a living tradition of thought and practice by composers and performers. Its stylistic nature has changed over time, especially during the last half century, but that change attests in part to the persistent influence of the genre on our rapidly evolving culture: “Classical music” has always been a highly adaptable species.
In spite of the overwhelming prevalence and commercial economic power of pop music in Western culture, classical music is thriving. In 2018, classical music “was the fastest-growing genre” in sales volume in the United Kingdom, according to figures released by the British Phonographic Industry (BPI). Last year, sales and streams of classical recordings increased by a little over 10 percent in the UK compared to the previous year — not bad considering a rise of just under 6 percent across all genres. Significantly, sales of classical CDs alone increased by almost 7 percent versus the negative trend in pop and rock. Perhaps because classical music listeners still prefer a physical product, only a quarter of classical music sales in 2018 was handled by streaming services, versus nearly 64 percent streaming for the non-classical market.
These numbers account for various directions taken by “contemporary” classical music makers from concert stage music and film scores to opera and video games. They also reflect the resilient popularity of familiar traditional repertoire by composers such as Haydn, Mozart, Bach, Beethoven, Brahms, and Rachmaninoff.
Yet, a cynical observer might ask: Why do we even need classical music in the Hip-Hop Capital of the Universe? Common wisdom says that interest in classical music comes only from a relatively small base. But, says the attentive observer, let’s look at one telling current statistic from our internet-age world:
According to Facebook’s advertising algorithms, one out of every six users between the ages of 21 and 39 located within 50 miles of downtown Atlanta is interested in classical music. That percentage is slightly higher, by about one point, for the 21-to-65 age category, contradicting the notion that “only old people” care about or listen to classical music. Although a minority, that’s still a sizable chunk of the metro area population.
The thousands of attendees who show up in June at Piedmont Park for the Atlanta Symphony Orchestra (ASO) free classical concerts offer further testimony to the local appeal of classical music. Beyond metro Atlanta, the ASO reigns as one of America’s most popular orchestras with 28 Grammy Awards representing some serious street cred.
The cultural milieu of classical and post-classical music in Atlanta encompasses a combination of leading organizations, such as the ASO and the Atlanta Opera, top-level presenters such as Spivey Hall, plus a panoply of interdependent classical and contemporary chamber ensembles, university venues, and adventurous alternative performance spaces. Concurrently, educational programs like the ASO’s Talent Development Program and the Atlanta Symphony Youth Orchestra, and the independent “El Sistema”-inspired Atlanta Music Project, are shaping the diverse landscape of classical music’s future.
The following compendium is a non-exhaustive list of organizations and venues offering readers a few waypoints by which to explore the rich community of classical music in and around Atlanta.
!!ATLANTA BAROQUE ORCHESTRA
The first and longest-running professional Baroque chamber orchestra in the Southeastern United States, the Atlanta Baroque Orchestra (ABO) has been performing continuously since 1998. Today, under the direction of violinist Julie Andrijeski, the ABO – www.atlantabaroque.org – calls Roswell, Georgia, home and also performs as “ensemble-in-residence” at the Cathedral of St. Philip in Buckhead as part of a collaborative arrangement with the Friends of Cathedral Music.
This fall, the Cathedral Schola, directed by Dale Adelmann, will join forces with the ABO on Friday, October 11, at the Cathedral of St. Philip, and on Saturday, October 12, at St. David’s Episcopal Church in Roswell, to perform J.S. Bach’s Magnificat paired with the famed German composer’s Orchestral Suite No. 3 in D Major. Both concerts will feature the ABO wielding period instruments in pursuit of a historically-informed rendering of Bach’s music as the maestro himself might have heard it.
!!ATLANTA CHAMBER PLAYERS
Founded in 1976 by pianist Paula Peace, the Atlanta Chamber Players (ACP) – www.atlantachamberplayers.com – has earned a national reputation as a pioneering chamber group. A mixed ensemble of strings, winds, and piano, the ACP’s broad repertoire includes traditional masterpieces and contemporary classics. The current artistic director of the ensemble is pianist Elizabeth Pridgen.
In 2009, the ACP’s long-standing commitment to performing the music of living American composers led to the formation of Rapido!, a national composition competition supported by the Antinori Foundation.
The ACP’s 2019-2020 season opens on Sunday, October 13, at Peachtree Road United Methodist Church, performing works by Clara Schumann for the 200th anniversary of her birth, plus a clarinet trio by Atlanta composer Tommy Joe Anderson featuring clarinetist Laura Ardan.
On Tuesday, November 19, the ACP performs at the Shakespeare Tavern Playhouse, premiering a new work by last year’s Rapido! winner Brian Nabors.
!!ATLANTA CONTEMPORARY ENSEMBLE
The Atlanta Contemporary Ensemble (ACE) – www.atlce.org – is a mixed chamber orchestra specializing in avant-garde works by living composers in performances that combine live music with choreography by Sukha Artists, a contemporary dance company headquartered in Avondale. The ACE holds an annual open call for scores. September 1 is the deadline for submissions to be considered for the ACE’s “Electric Eve” concert in April as part of the 2020 SoundNOW music festival. ACE is seeking three pieces between 5-7 minutes, scored for modern dancers and small mixed chamber ensemble. The music must reflect and draw inspiration from paintings by Atlanta artist Krista M. Jones.
ACE executive director Tracy Woodard is also artistic director and violinist of the string quartet Cantos y Cuentos, which will soon announce its fall concert schedule. Amy Wilson, who conducts the ACE, also serves as music director of the Atlanta Philharmonic Orchestra.
!!ATLANTA GAY MEN’S CHORUS
Inspired by the formation of the San Francisco Gay Men’s Chorus four years earlier, the Atlanta Gay Men’s Chorus (AGMC) – www.voicesofnote.org/agmc – was founded in 1981 by Jeffrey McIntyre, becoming the first such chorus in the South. Today, under the direction of Donald Milton III, the AGMC remains committed to “changing hearts and minds through music.”
In 2012, the AGMC formed Voices of Note, Inc. under which the chorus and any future programs would operate. With the launching in 2013 of the Atlanta Women’s Project (now the Atlanta Women’s Chorus) – www.voicesofnote.org/awc – Voices of Note expanded its community leadership as an organization devoted to diversity and excellence in vocal performance.
This season’s AGMC holiday concerts take place on Friday and Saturday, December 6 and 7, at the Cathedral of St. Philip. The AWC, under the artistic direction of Melissa Arasi, will present a concert (program TBA) on Saturday, December 14, at Grace United Methodist Church.
!!THE ATLANTA OPERA
A growing presence and influence in the national and international operatic world, the Atlanta Opera – www.atlantaopera.org – celebrates its 40th anniversary in the 2019-2020 season. Under General and Artistic Director Tomer Zvulun, the Atlanta Opera has grown from a very good regional company into a dynamic, creative force, widely acclaimed for bringing operas large and small, popular and obscure, to 21st-century audiences. By reimagining the classics and introducing new works to metro audiences, the Atlanta Opera has expanded the audience for the grandest of the performing arts to an unprecedented degree.
“In our 40th anniversary season, we’re producing our largest Discoveries season yet; these operas are smaller in scope but big on impact, especially Frida,” says Zvulun.
Frida is the story of the Mexican icon Frida Kahlo, which will be performed at Sandy Springs Performing Arts Center at City Springs in October. A fantastical multifaceted theatrical production, Frida includes pantomime, puppetry, movement, and vocal performers. The music is a bright and spicy blend of mariachi, tango, zarzuela, ragtime, 1930s jazz, and vaudeville. Reflective of the Atlanta Opera’s commitment to broadening its repertoire and attracting a wider audience, scheduled in March is the Gershwin brothers’ (George and Ira) larger-than-life operatic musical, Porgy and Bess.
In May 2020, Giacomo Puccini’s masterwork Madame Butterfly returns to the stage with all the drama and spectacle of classic Italian operas. In addition, the main stage season includes Gioachino Rossini’s La Cenerentola and a new production of Richard Strauss’ Salome. The 2020 Discoveries series closes with Tom Cipullo’s Glory Denied, which recounts the story of the longest-held prisoner of war in American history.
With four main stage productions at the Cobb Energy Centre and two innovative Discoveries series productions at other venues, plus community and educational outreach programs, the Atlanta Opera fosters a welcome combination of forward-thinking artistic vision and smart business acumen. By providing an environment in which emerging artists work alongside internationally acclaimed professionals, the Atlanta Opera Studio provides a launching pad for talented singers and creatives who represent the next generation of opera stars.
In partnership with The Home Depot Foundation, the Atlanta Opera offers an award-winning Veterans Program, which makes it possible for veterans and current military servicemen and women to attend all main stage productions for free.
!!ATLANTA SYMPHONY ORCHESTRA
The 2019-2020 season marks the 75th anniversary of the Atlanta Symphony Orchestra (ASO) – www.atlantasymphony.org – which has unquestionably earned a place among the city’s “major league teams,” regardless of category.
“This season is both a celebration of our rich history and a time to look to the future and our next 75 years,” says ASO Executive Director Jennifer Barlament.
Superstar violinist Joshua Bell opens the Delta classical subscription series with concerts on Friday and Saturday, September 20-21. Music Director Robert Spano will conduct the program, which will include Henryk Wieniawski’s “Violin Concerto No. 2” and the “Concerto for Orchestra” by Jennifer Higdon, an Atlanta-raised, Pulitzer Prize-winning composer long-championed by Spano.
Throughout the season, top guest artists and long-time friends of the ASO will join in the celebration, including violinist Midori, pianist Emanuel Ax, and pianist André Watts. For a special one-night-only performance on March 11, former music director Yoel Levi returns to Symphony Hall to conduct the ASO with the incomparable violinist Itzhak Perlman as featured soloist.
The subscription season also includes world premieres of works by Atlanta composer Richard Prior and up-and-coming Rapido! composition contest winner Brian Nabors on Thursday, November 21, and Friday, November 23.
On Thursday, November 14, and Saturday, November 16, the ASO with Chorus and guest artists will perform and record live Gustav Mahler’s monumental Symphony No. 8 (the “Symphony of a Thousand”) with Spano conducting. Also on the program is Carl Orff’s compelling Carmina Burana under the baton of principal guest conductor Donald Runnicles. The season wraps up with an Atlanta first: a three-day festival featuring Richard Wagner’s opera Tristan und Isolde performed one act per evening over three successive evenings, Thursday–Saturday, June 11–14.
The 75th anniversary season marks a pivotal point in the ASO’s history. It’s a time to reflect on past successes, including a score of Grammy awards, but also to envision the orchestra’s values, mission, and audience. The ASO just hired a new chief artistic officer, Elena Dubinets, whose job description includes creating new streams of programming aimed at increasing the breadth and diversity of the ASO’s repertoire, artists and audience, and broadening the orchestra’s footprint in the metro Atlanta community. The ASO is also actively searching for a new music director to replace Robert Spano, who will step down from his post at the end of the 2020-2021 season.
!!ATLANTA YOUNG SINGERS
In 1975, Stephen J. Ortlip founded the Young Singers of Callanwolde in an era when the idea of boys and girls singing together in a community choir was rare. Today, the Atlanta Young Singers – www.aysc.org – directed by Paige Mathis, remains a leader in the national children’s choir movement.
On November 23, in partnership with the Morehouse College Glee Club, the AYS will present a “Young Men’s Power Sing” workshop for boys, culminating in a concert at the Ray Charles Performing Arts Center. On successive Fridays, December 14 and 21, the AYS will present the 44th annual “Music of the Holidays” concert at the Immaculate Heart of Mary Catholic Church.
The AYS is just part of Atlanta’s broad, diverse community of young persons’ choirs, which includes the Gwinnett Young Singers – gwinnettyoungsingers.com – Spivey Hall Children’s Choir – www.clayton.edu/spiveyhall/shccprogram – Atlanta Boy Choir – www.atlantaboychoir.org – Georgia Boy Choir – georgiaboychoir.org – and choirs of the Atlanta Music Project – www.atlantamusicproject.org.
!!BENT FREQUENCY
Atlanta’s premiere contemporary music ensemble, Bent Frequency – www.bentfrequency.com – brings the avant-garde to life through adventurous and socially conscious programming, cross-disciplinary collaborations, and community engagement. As champions of work by historically underrepresented composers — women, composers of color, and LGBTQIA+ — Bent Frequency plays a vital role in expanding the breadth and scope of contemporary music while challenging audiences with fresh new voices and sounds.
In recent years Bent Frequency co-founders Jan Berry Baker and Stuart Gerber have overseen highly adventurous programs including traditionally staged concerts and solo recitals, operatic works, performances on the Atlanta Streetcar, and a concert at Historic Fourth Ward Park involving 111 bicycle-mounted community performers.
Confirmed dates and locations for Bent Frequency’s 2019-2020 season, which opens in October, were not available at press time. In December, the ensemble will reprise its participatory street-crowd performance of Phil Kline’s “Unsilent Night,” this year in Hapeville.
!! CORO VOCATI
John H. Dickson is the founding artistic director and conductor of Coro Vocati – www.corovocati.org – recognized as “one of Atlanta’s most accomplished professional chamber choirs.” Most recently, the group attracted public and critical attention at the end of June with a presentation of “Considering Matthew Shepard” at the Sandy Springs Performing Arts Center.
Coro Vocati kicks off its 2019-20 season with “Can You Hear Me?” which focuses on giving voice to the voiceless and disenfranchised through musical selections from around the world. Performances will take place at First United Methodist Church of Marietta on Saturday, September 28, and Morningside Presbyterian Church on Sunday, September 29.
The “global” theme continues through the holidays with a program titled “Christmas with Coro: Carols Around the World” on Friday and Saturday, December 14-15. Venue TBA.
!!GEORGIA TECH SCHOOL OF MUSIC
The Georgia Tech School of Music – www.music.gatech.edu – cultivates a rich legacy of musical traditions and develops cutting-edge technologies to help define the music landscape of the future.
The annual Margaret Guthman New Instrument Competition showcases next-generation musical instruments, concluding with a concert performed on the submitted instruments. Research at Georgia Tech has produced a pair of robotic musicians, Shimi and Shimon, and spawned the development of prosthetic hands and arms, which allow amputees to play musical instruments.
On Friday, November 15, and Sunday, November 17, at the Ferst Center for the Arts, the Georgia Tech School of Music and Law Institute of Arts and Technology at the University of Denver join forces to present the world premiere of Four Seasons Double Concerto. Inspired by Antonio Vivaldi’s Four Seasons, Zhou Jiaojiao’s composition will be performed by an operatic soprano, guest instrumentalists, and the Georgia Tech Symphony Orchestra under the direction of Chaowen Ting.
!!GEORGIAN CHAMBER PLAYERS
With a roster based around principal string players of the Atlanta Symphony Orchestra, Georgian Chamber Players (GCP) – www.georgianchamberplayers.org – defines classical chamber music in Atlanta. The ensemble’s season opens Sunday, November 3, at the acoustically fine Kellett Chapel of Peachtree Presbyterian Church in Buckhead. On the GCP roster for the concert are violinists David Coucheron and Julianne Lee, violist Reid Harris, cellist Christopher Rex, and pianists Julie Coucheron and Elizabeth Pridgen, plus a pair of “mystery guest performers.” Insiders report the as-yet-unknown guest performers will soon be playing important roles at the top level of Atlanta’s classical music scene.
!!GSU SCHOOL OF MUSIC
The Georgia State University School of Music – www.music.gsu.edu – includes among its downtown complex of buildings two important music venues: the Rialto Center for the Arts and the Florence Kopleff Recital Hall. The Rialto Center – www.rialto.gsu.edu – is a 900-seat performance facility well suited to touring performing artists and the School’s larger ensembles and performance projects. Kopleff Recital Hall, which sits adjacent to Hurt Park, is a more intimate 400-seat hall ideally configured for chamber and solo performances. The Rialto has its own eclectic, multidisciplinary series, which ventures into genres far afield from the classical programming that predominates at the Kopleff facility.
This fall’s “Rialto Series” includes musical performers as diverse as Red Baraat, a “Bollywood funky party band,” which plays North Indian bhangra, a popular style that mixes elements of hip-hop, jazz, and punk (October 12); and the legendary empress of soul Gladys Knight (November 10). Also scheduled are the Ailey II dance troupe on Saturday, October 26, comedy acts, visual art shows, and even video gaming events. The Rialto will also serve as the venue for Atlanta’s annual “Celtic Christmas” show, which combines Celtic music, dance, and poetry (Saturday-Sunday, December 21-22).
On the classical side, the GSU School of Music’s “Signature Series” features self-produced concerts divided between Kopleff Recital Hall and the Rialto Center for the Arts. In addition to the GSU orchestra, symphonic bands, jazz bands, and choruses, more specialized groups, such as a saxophone ensemble and percussion ensemble, offer opportunities to hear newer and more adventurous repertoire.
Ensemble-in-residence Bent Frequency has become one of the most active and visible contemporary ensembles in the Southeast. In the same vein, the neoPhonia New Music Ensemble, with its flexible instrumentation and mixed roster comprised of GSU faculty, students, and local professional musicians, champions the music of established contemporary composers, performs important chamber works from the late 20th and early 21st century, and premiers new works by emerging young composers.
The annual SoundNOW Festival, held in April, which showcases Atlanta-based composers and performers of contemporary music, largely centers around Kopleff Recital Hall and other parts the GSU campus, as well as edgy, alternative venues across Atlanta.
!! PEACHTREE STRING QUARTET
Formed in 2012 by violinist/artistic director Christopher Pulgram, the Peachtree String Quartet (PSQ) – www.peachtreestringquartet.org – enters its eighth season with a lineup that includes Pulgram, violinist Sissi Yuqing Zhang, violist Yang-Yoon Kim, and cellist Thomas Carpenter — all four members of the Atlanta Symphony Orchestra.
During the 2019-2020 season, the PSQ will celebrate Beethoven’s 250th birthday with the “Better Be Beethoven” concert series, which runs on three Sundays (October 6, January 12, and March 15). The concerts at the intimate Garden Hills Recreation Center will feature one Beethoven string quartet each from the composer’s early, middle, and late periods: opus 18, opus 74 and the glorious opus 132.
The concerts will also include works by Joseph Haydn, Edvard Grieg, Luigi Boccherini, and Arvo Part. In addition to the Garden Hills series, PSQ will perform around the metro area and Georgia.
!!RIVERSIDE CHAMBER PLAYERS
Based in Roswell, Riverside Chamber Players (RCP) – www.riversidechamberplayers.org – brings high-quality classical music to the suburban North Fulton region with accessible quality programming. The RCP’s season opens Sunday, November 3, at their home venue, the Unitarian Universalist Metro Atlanta North congregation (UUMAN), with a concert featuring Anton Arensky’s String Quartet No. 2, which is scored for an unusual combination of violin, viola, and two cellos.
On Sunday, March 8, 2020, the RCP will host a concert featuring works by finalists in the RCP String Quartet Commission Award competition, which challenges Georgia college students to compose music for standard string quartet. Judges for the award are ASO Music Director Robert Spano, ASO bassist and RCP Composer-in-Residence Michael Kurth, and RCP Artistic Director and cellist Joel Dallow.
!!SCHWARTZ CENTER FOR PERFORMING ARTS
The Schwartz Center for Performing Arts, including its 800-seat Emerson Concert Hall is the flagship complex of Emory University’s “Arts Village.” – www.arts.emory.edu. The 2019-2020 edition of the Flora Glenn Candler Series promises to “celebrate cultural connections” with top-tier programming and guest artists.
“Music is one of the beautiful things we share around the world — my hope is this coming season provides our audience the opportunity for new and meaningful shared experiences celebrating this commonality,” says Rachael Brightwell, managing director of the Schwartz Center for Performing Arts. “The 2019-2020 Candler concert series celebrates the ways in which music brings people together.”
The famed Kronos Quartet opens the Candler series on Saturday, September 14, bringing their “Music for Change” project to the Schwartz Center. “It’s going to leave our audience asking new questions of themselves about our similarities and our differences,” remarks Brightwell.
On Friday, October 18, a Candler series concert features acclaimed jazz pianist Brad Mehldau and classical tenor Ian Bostridge performing together in a recital that acknowledges their different musical backgrounds and shared musical affinities. On Sunday, November 3, mezzo-soprano Joyce Didonato brings her “In War & Peace: Harmony through Music” program to the Schwartz. The program examines the chaotic world in which we live in today, raising the question, “How do you find your joy, how do you find your peace?”
Although the concert isn’t until spring 2020, it’s well worth noting that, on Friday, April 10, ASO music director and pianist Robert Spano and internationally acclaimed, Macon-born violinist Robert McDuffie will perform a special recital of Brahms and Beethoven to close the Candler series season.
Beyond the Candler series, Emory has more to offer. The Emory Chamber Music Society of Atlanta is the largest and most active organization of its kind in the Southeast, building new audiences through a wide variety of performances and teaching activities. The 2019-2020 season will include the first half of the “Beethoven 2020” project, a celebration of the composer’s 250th birth year, which includes all 32 of his piano sonatas performed consecutively; the complete works for piano and violin and piano and cello; and the complete cycle of Beethoven’s string quartets performed by Emory’s award-winning string quartet in residence, the Vega String Quartet, in six concerts over the course of 2020.
!!SPELMAN & MOREHOUSE COLLEGE GLEE CLUBS
The Morehouse College Glee Club – www.morehouse.edu/academics/music/concert.html – directed by Dr. David Morrow (see sidebar), is the official choral group of Morehouse College. Founded in 1911, the Glee Club has a long tradition of significant public appearances, having performed at Martin Luther King Jr.’s funeral, President Jimmy Carter’s inauguration, Super Bowl XXVIII, and the 1996 Summer Olympics in Atlanta. The Glee Club participates annually in the Atlanta Symphony Orchestra’s “Christmas with the ASO” concerts.
The Spelman College Glee Club – www.spelman.edu/academics/majors-and-programs/music/ensembles/glee-club/schedule – directed by Dr. Kevin Johnson, has maintained a reputation for choral excellence since 1925. The Glee Club’s repertoire draws from sacred and secular choral literature for women’s voices with a particular focus on traditional spirituals, African American composers, and music from many cultures, plus commissioned works. The Glee Club has performed with the Atlanta Symphony Orchestra, renowned opera singer Jessye Norman, and in 2016 at the White House for President Barack Obama.
!!SPIVEY HALL
The crown jewel of metro-Atlanta’s classical music venues, Spivey Hall – www.spiveyhall.org – is unmatched in its combination of pristine acoustics, consistently excellent programming, and roster of outstanding guest artists. Located on the campus of Clayton State University in the city of Morrow on Atlanta’s suburban south side, the 400-seat hall sports a pair of complementary Hamburg Steinway concert grand pianos, plus the esteemed Albert Schweitzer Memorial Organ. Ample free parking in front of the Hall adds convenience to the wonderful experience inside the facility.
While Spivey Hall regularly presents leading classical, jazz, and popular music stars, the venue is also known for introducing promising emerging talents to Atlanta audiences. For the city’s classical music cognoscenti, Spivey Hall is the luxury vehicle of choice.
The Dover and Escher string quartets kick off Spivey Hall’s 29th concert season with music by Joseph Haydn and Paul Hindemith, then join forces for one of chamber music’s most exhilarating masterworks, the Octet for Strings composed by the 16-year-old wunderkind Felix Mendelssohn. Returning favorites include Canadian pianist Angela Hewitt in an all-Bach program, celebrated young British “wizard of the piano” Benjamin Grosvenor, and the Takács Quartet, entering its 45th season as one of the world’s leading string quartets.
The glorious voice of Georgia-born Metropolitan Opera star mezzo-soprano Jamie Barton returns for her second Spivey Hall recital in December. In February, Grammy Award-winning Juilliard School faculty organist Paul Jacobs performs on the magnificent Albert Schweitzer Memorial Organ.
The Spivey Hall jazz calendar includes a quintet led by pianist Kenny Barron, the Christian Sands High Wire Trio, and vocalist Cécile McLorin Salvant. For lighter fare, Spivey Hall offers the tongue-in-cheek high spirits of the Ukulele Orchestra of Great Britain; the Swingles vocal ensemble (with a Christmas program, Winter Tales); and guitarist Miloš Karadaglić, known for popular interpretations of classical Spanish repertoire and original arrangements of Beatles tunes.
Making their Atlanta premieres are the dynamic husband-and-wife piano duo Alessio Bax and Lucille Chung; the golden-voiced British soprano Mary Bevan; and the captivating Ukrainian piano virtuoso, Alexander Romanovsky performing music by Frederic Chopin.
Return to Fall Arts Preview 2019 0,0,10 "Fall Arts Preview 2019" Fall Arts Preview 2019: Classical Music "
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Fall Arts Preview 2019: Classical Music Article
Friday August 2, 2019 05:33 PM EDT
Symphonic, Choral, Chamber Music (Classical & Contemporary), Opera
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Since its founding more than 40 years ago, 7 Stages Theatre — www.7stages.org —has been devoted to producing provocative material and confronting difficult subjects..."
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string(23751) "!!7 Stages
Since its founding more than 40 years ago, 7 Stages Theatre — www.7stages.org —has been devoted to producing provocative material and confronting difficult subjects. At press time, 7 Stages was not ready to announce the production company’s 2019-2020 season schedule. However, three productions by other companies will take place in the 7 Stages Theater in Little Five Points during the next two months. Each play poses tough questions, and focuses on characters facing severe physical, emotional, and moral challenges.
::::
With "Grounded" (August 3-17), Atlanta Theater Club (ATC) – www.atlantatheatreclub.com – is back with another intensely emotional work produced and directed by company founder Rebeca Robles. "Grounded" takes audiences into the mind and soul of a former ace fighter pilot operating military drones from a windowless trailer outside Las Vegas. The Pilot (actress Courtney Moors) watches screens to hunt and kill terrorists all day long and returns to her family each night. As the pressure to track a high-profile target mounts, the boundaries begin to blur between the desert in which she lives and the one she patrols half a world away. Robles, Moors, and seven of ATL’s most accomplished female theater artists are in control of every aspect of this Atlanta premiere including video and projection design, sound and lighting, scenic design, and wardrobe.
For the past seven seasons, Aris — “Atlanta’s stage for Celtic culture” — has brought the Celtic theatrical and literary traditions, mythology, and storytelling from the British Isles to Atlanta. Next month, Aris – Aristheatre.org – presents the Atlanta premiere of "Woman and Scarecrow" by celebrated Irish playwright Marina Carr. Emory University professor Jon Ammerman directs this very intimate play set in a dying woman’s bedroom. In the face of her death, the woman threshes out her life’s truths, sparring with a ridiculous aunt, a cheating husband, and a slippery alter ego.
On Friday, September 27, The Object Group and 7 Stages Theatre present a sneak peek presentation of Michael Haverty’s adaptation of Albert Camus’ "L’Etranger" (The Outsider). Puppetry and noir/new wave-inspired projected cinema are integrated in an absurd investigation of Camus’ cautionary tale. The original 1942 novel is riddled with messy conflicts between existential philosophy and privileged oppression, sometimes to the apparent blindness of the author. This multimedia experience explodes the story onto stage and screen, allowing insight while tickling the mind and senses.
!!Actor’s Express
“We seek to jumpstart individual transformations through the shared adventure of our live performances, which range from daringly provocative to audaciously hilarious.” That sentence from the mission statement for Actor’s Express Theatre — www.actors-express.com — says a lot about them — and not just what they want to accomplish as a theatre, but how. The theatre has been pushing emotional envelopes since Chris Coleman founded Actor’s Express in the basement of a church on Clairmont Road 31 years ago. Freddie Ashley has been artistic director since 2007, and few Atlanta theaters are as successful at reflecting the passion, intelligence, and geniality and flair of their leadership.
Ashley also directs most AE dramas, comedies, and musicals that attract sold-out houses night after night. Here are just some of AE’s bravest and most entertaining work of the past dozen seasons: "Stupid Fucking Bird," "Bad Jews," "Murder Ballad," "The Rocky Horror Show," "Six Degrees of Separation," "Bloody Bloody Andrew Jackson," "Kiss of the Spider Woman," "The Motherfucker with the Hat," "Edith Can Shoot Things and Hit Them," "Spring Awakening," "Slasher," "Grey Gardens," and "Hedwig and the Angry Inch."
Next month, Ashley and another smart AE cast will unveil their 31st season with "Skintight." The Atlanta premiere of "Bad Jews," playwright Joshua Harmon’s latest comedy, pokes fun at America’s obsession with youth, sex, and physical beauty. When Jodi Isaac flies across the country to visit her famous fashion mogul father for his 70th birthday, she finds that her dad’s new boyfriend is a 20-year-old porn star. OK! "Skintight" sounds like a perfect fit for Actor’s Express.
!!Alliance Theatre
Elton John’s "Aida." "Bring It On: The Musical." "The Color Purple." "The Last Night of Ballyhoo." "The Prom." "Sister Act: The Musical." Twyla Tharp’s "Come Fly Away."
Can you guess what all these (and many more) hit plays and musicals have in common? They were all first performed at the Alliance Theatre — www.alliancetheatre.org — right here in ATL. Over the past 51 years, the Alliance has premiered more than 100 original productions, launching important American musicals with a strong track record of Broadway, touring, and subsequent productions, including several Tony Award winners. In fact, in 2007, the Alliance won a special Tony Award as Best Regional Theater in America.
2019-2020 will be their first full season in their lavishly renovated main stage space, which opened late last year. In "Becoming Nancy," the next big musical to premiere at the Alliance, David, a talented high school senior tries out for the school play and is cast as the female lead. It’s 1979, and everyone in his small English suburb is shocked, including David. Should he play the part? Just wait and see. Another sign that "Becoming Nancy" is set to be the Alliance’s next big hit is its director, Tony winner Jerry Mitchell, whose past musical hits include "Pretty Woman," "Kinky Boots," "Legally Blonde," "La Cage Aux Folles," and "Hairspray."
Alliance Artistic Director Susan Booth directs the Off-Broadway hit comedy "Small Mouth Sounds," to be performed downstairs at the Woodruff Arts Center on the intimate Hertz Stage. The play, running from October 4–27, follows six strangers at a five-day silent wellness retreat in the woods. Guided by an unseen guru, each one wrestles with their personal demons as their vows of silence clash with the irresistible human need to connect.
!!Center for Puppetry Arts
It’s hard to think of another Atlanta-based theatrical organization with a greater reputation for excellence and creativity than the Center for Puppetry Arts — www.puppet.org. Just a few years after puppeteer Vincent Anthony stood with Muppet master Jim Henson as they cut the opening-day ribbon in September 1978, the Puppetry Center became one of the most respected and revered creative hives for puppetry in the world. CPA has hosted dozens of the best puppeteers and puppet theater companies from across Europe, Asia, Africa, South America and the Caribbean. The Center’s Museum is now the home of the Henson Collection and its iconic puppets from "Sesame Street," "Labyrinth," "The Dark Crystal," "Fraggle Rock," and Emmet Otter’s "Jug-Band Christmas."
The fantastic puppet productions conceived and created at CPA have played to sold-out audiences across North America, and Artistic Director Jon Ludwig is widely considered one of the geniuses of the ancient and timeless art form. The shows range from super sweet and cute to deadly serious, even tragic. Some are strange and weird. But no matter what the show or the exhibit or the workshop, kids and grownups of all ages have a blast every time they set foot inside.
This fall, CPA lifts off with "SPACE!," Ludwig’s 2016 song-filled puppet adventure about the cosmos. "SPACE!" employs shadow puppets, hand and rod puppets, black lights, computer animation, and crystal-clear images from NASA and a rap and rock score to explain the entire universe, more or less. From red dwarf stars to the planet Neptune, from comets to black holes, and beyond, Ludwig’s latest rock opera is the perfect way for anyone of any age to celebrate the autumnal equinox.
!!Essential Theatre Play Festival
Since 1999, the annual Essential Theatre Play Festival – www.essentialtheatre.com – which was founded by Atlanta playwright-director Peter Hardy, has premiered 34 new works by 25 different Georgia writers, with many works being restaged by other Atlanta theaters and across the country. The 2019 Festival (July 25–August 24) features three full productions plus four new scripts being heard for the first time in the Bare Essentials Play Reading Series. All performances and readings take place at the West End Performing Arts Center.
July 25-August 24: Peter Hardy directs "Slaying Holofernes" by Emily McClain. The play upsets notions of past/present, fact/fiction, and personal/political as it explores the quest for justice by two women.
August 1-25: Written by Ben Thorpe and directed by Shannon Eubanks, "Babyshower for the Antichrist" takes place on the night of ‘Hell Feast’ as a small, isolated cult prepares for the birth of the Antichrist. Viewer beware: This world premiere contains moments of blood and violence, plus a talking goat.
Thursday, August 15 and Friday, August 16: In "The Attic, creator/performer Aaron Gotlieb explores the things we hold onto and those we leave behind. "
The Bare Essentials Play Reading Series includes "Day of Saturn" by Leviticus Jelks III, directed by Najah Ali (August 3); "Darger Takes a Walk" by Rosalind Sullivan-Lovett, directed by Natalie Fox (August 6); "Waiting for Big Stuff" by Allan Dodson, directed by Kati Grace Brown (August 12); and "The Odds Against Death" by Ted Westby and John D. Babcock III, directed by Bill Murphey (August 21).
!!Horizon Theatre
Eternally young Horizon Theatre — www.horizontheatre.com — founders Lisa and Jeff Adler founded their small (172 cozy seats), independent theater in 1983 and have stayed busy ever since. Year in, year out, they offer a mainstage season of six to eight contemporary plays (almost always local or regional premieres) for diverse Atlanta audiences, a family series for younger audiences, a free outdoor musical in Piedmont Park, and free outdoor performances with Little Five Arts Alive from April through October. They also create new plays from, for, and about Atlanta through their New South Play Festival program, and reach out to new audiences through their New South Young Playwrights Contest and Festival, the Horizon In-School Playwriting Workshops, the Horizon Apprentice Company (early career professionals), the Intern Program (for college students) and the high school theatre program at The New School.
From September 20 through October 27, Horizon will stage one of the most honored plays of the past decade, "The Curious Incident of the Dog in the Night-Time." Four years ago, the Broadway production won the Drama Desk Award, the Outer Critics Circle Award, the Drama League Award, and five Tony Awards, including Best Play. Lisa Adler and Justin Anderson will co-direct the story of an autistic teenager who’s better at solving equations than navigating a world that’s out of sync with how his mind works. After being wrongly accused of murdering his neighbor’s dog, he resolves to find the real culprit. When his investigation uncovers painful truths about his family, he strikes out on his own, embarking on a daring train ride to London to confront his parent’s past.
!!Kenny Leon’s True Colors
This season will mark a major turning point in the story of another beloved Atlanta theater company. Tony Award-winning director Kenny Leon is departing the role of artistic director of the company that he co-founded and that now bears his name. Associate Artistic Director Jamil Jude will take over the position at Kenny Leon’s True Colors Theatre Company — www.truecolorstheatre.org. Since Leon established True Colors with Jane Bishop in 2002, the theatre has produced over three dozen productions with a focus on black storytelling. They’ve presented several of the best plays by, or adapted from works by, Langston Hughes, James Baldwin, August Wilson, Ntozake Shange, Pearl Cleage, and Dominique Morisseau, among many others.
True Colors’ dedication to black voices in the theater continues September 24 through October 20, when they present the Atlanta premiere of "Paradise Blue," the third play the company has mounted in Dominique Morisseau’s Detroit Trilogy, which includes "Detroit ’67," and "Skeleton Crew." In "Paradise Blue," set in 1949, when Detroit’s white mayor pushed to move African Americans out of Detroit’s Black Bottom neighborhood, a musician named Blue considers selling his family’s once-thriving jazz club. Against a backdrop of gentrification and displacement, Paradise Blue encompasses the pain and suffering that accompany the erasure of black history.
!!Orange Box Theater
In Tucker, a 1,600-square-foot converted warehouse space that seats about 80 people is the staging venue for Orange Box Theater at Mark SQared Studios – www.orangeboxtheater.marksquaredstudiosatlanta.com – which presents innovative takes on classic and new theatrical works by African American artists using nontraditional casting and multimedia effects. In recent years, creative director Karlotta Washington has overseen productions of George C. Wolf’s "The Colored Museum," Michael Frayn’s "Noises Off," and "Purlie," the Tony Award-winning musical comedy based on a play by Ossie Davis.
On multiple days between October 11 and 27, Orange Box Theater will present "Sunset Baby" by Dominique Morisseau. A MacArthur Foundation “Genius Grant” recipient and Obie-award winning playwright, Morisseau recently became the first African-American woman nominated for a Tony Award in a musical category in 20 years for the Broadway hit "Ain’t Too Proud: The Life and Times of the Temptations."
Described in a 2013 New York Times review as a “smart and bracing new play about two generations of urban outlaws,” "Sunset Baby" explores the relationship between Nina, a tough, uncompromising street hustler, and her estranged father, a former black revolutionary who shows up one day seeking reconciliation and a series of letters left with Nina by her mother.
!!Out of Box Theatre
In 2012, Carolyn Choe started Out of Box Theatre – www.outofboxtheatre.com – with the goal of producing superior quality shows without exceeding a smart, practical budget. Taking advantage of the talent and resources at hand in Marietta and the greater metro community, during the past few seasons, Out of Box Theater has established a reputation for challenging, offbeat, and daring theater productions, as well as for developing programs, such as the unBOXed Comedy Class and an internship for college graduates.
This fall, Out of Box Theatre presents "Entertaining Lesbians" (August 2-17), written and directed by the always amusing and topical Topher Payne. The play follows the exploits of Rowena Tuttle, described by Payne as “a cisgender heterosexual white woman who no one finds interesting anymore” as she tries to gain admission to an elite school for her daughter by buddying up with Atlanta’s most powerful lesbian couple.
Running October 4-20, "Evil Dead: The Musical" offers a lyrical take on the notoriously absurd, cult classic horror film by Sam Raimi (Spider-Man Trilogy). For readers unfamiliar with the source material, "Evil Dead" recounts the tribulations of a group of college students who, while spending the weekend in an abandoned cabin in the woods, unwittingly unleash an evil terror, which tries and largely succeeds in killing everyone in unspeakably gruesome ways. Perfect fodder for a musical.
From November 8–17, Topher Payne returns to direct Jordan Harrison’s "The Grown Up," a play about a boy who is given a magical crystal doorknob, which enables him to travel through space and time to see his future life.
!!PULP
Owner Will Eiseman opened the original PULP – www.pulpatlanta.com – a bookstore and gallery specializing in pop culture books and zines, original artwork, cinema art and ephemera, and photography, in Charleston, South Carolina. Since relocating to Midtown Atlanta in the summer of 2018, PULP has hosted exhibitions of cryptozoological art and large-scale street art and murals. In collaboration with Videodrome, rare films are screened on Sundays, while original theatrical performances and live comedy are staged in the store’s Black Box Theatre.
Highlights from the Black Box fall performance season include:
August 23-September 1: "The One Act Spectacular" features four of Atlanta’s top casting agents each directing a one-act play with local film and TV actors.
September 26-28: ATL Sketchfest comprises three separate comedy sketches per night staged over three consecutive nights with a cash prize awarded to “Best in Show” chosen by five anonymous judges. Organizers are also accepting comedy video shorts, which will be shown between live performances.
October 2-17: World premiere of a new stage adaptation of Roger Corman’s ’50s schlock sci-fi classic film, "Attack of the Giant Leeches," written and directed by John Babcock.
October 25-26: The Phantom Film Festival features a horror-themed short film night of works by local filmmakers on Friday followed on Saturday by a one-night only live stage adaptation of Brian DePalma’s horror musical classic "Phantom of the Paradise."
!!Synchronicity
Synchronicity — www.synchrotheatre.com — produces theatre to spark community connections and uplift the voices of women and girls. Founded in 1997 by four women, Synchronicity presents plays for adults (Bold Voices) and families (Family Series) and offers a wide range of educational programming, including Playmaking for Kids (PFK) summer camps and after-school programs, and their award-winning Playmaking for Girls (PFG) program. Now in its fourth year, the organization’s Stripped Bare: Arts Incubator Project gives artists a space to create and present new work. The series focuses on projects that emphasize words and ideas, with minimal technical elements, and encourages young artists to think about the essentials of theatre (mostly) stripped of intricate sets, lights, props, sound design, and costumes.
From August 1–11, Synchronicity will host a revival of "2 the Left: A Tribute to the Life of Lisa ‘Left Eye’ Lopes." Written and performed by Kerisse Hutchinson, and originally performed as part of the Stripped Bare Arts Incubator Project, this multimedia experience chronicles the life of the most controversial member of the ’90s pop music phenomenon TLC. Thomas W. Jones II directs. Sunday, August 4, there will be a talkback after "2 the Left" with the cast, crew, and members of Lopes’ family. Later this month, Synchronicity will announce two more Stripped Bare projects that will be performed September 10–12 and Nov 12–14. Tickets are free to all Stripped Bare performances, but reservations are required.
Synchronicity’s first full production of the new season is "MacBeth," Erica Schmidt’s bold adaptation of the Bard’s Scottish play running October 4–28. On an autumn afternoon, in an empty lot outside the city, seven girls meet up to perform "Macbeth," using Shakespeare’s original text. It’s not long before the blood fantasy of the play starts to seep into their real lives.
!!Theater Emory
Theater Emory – www.theater.emory.edu – is the Emory University theater department’s resident professional company and the producing organization for Theater Studies. Typically, Theater Emory presents four productions per year.
This fall’s production of "The Nether" (November 1–17), directed by Ibi Ovolabi, promises to be one of most provocative projects ever staged by Theater Emory. Jennifer Haley’s psychological crime thriller draws the audience into a detective’s investigation of a virtual world where pedophiles indulge their fantasies. The investigation sparks questions about ethical behavior as experienced in the imagination and practiced in the “real” world.
“‘The Nether’ questions the way we define something as ‘real,’ which is an idea that has fascinated philosophers for millennia,” says Brent Glenn, artistic director of Theater Emory. “As we approach a time when virtual reality may be as real as our daily lives, discomforting ethical conundrums rise to the surface. "The Nether" forces us to face that discomfort.”
!!Theatrical Outfit
::::
Founded in a converted Virginia Highlands laundromat 43 years ago, Theatrical Outfit — www.theatricaloutfit.org — is Atlanta’s second oldest professional theatre company. The Outfit produced some of its boldest, most provocative work in the ’80s out of the (now long gone) Kress Five & Dime building in Midtown, before it moved downtown in 1999 to the site of the former Herren’s Restaurant, now the Balzer Theatre. 2019-2020 marks another milestone as Atlanta theater legend Tom Key will be stepping down from the position of artistic director after 25 years. Since 1995, Key and The Outfit have had critical and popular success presenting dozens of regional and world premieres, classics, and musicals that explore diversity, equality, ethnicity, race, and faith. Key has taken great pride in programming plays by many of the best writers of the American South, including Ernest Gaines, Horton Foote, Harper Lee, Flannery O’Connor, and Tennessee Williams.
Theatrical Outfit begins “Tom’s Farewell Season” with "Our Town" and "The Laramie Project" in repertory from August 27 to September 29. Considered by many to be the greatest American play, Thornton Wilder’s "Our Town" depicts the town of Grover’s Corners in three acts: “Daily Life,” “Love and Marriage,” and “Death and Eternity.” Narrated by a stage manager character and performed with minimal props and sets, Wilder’s classic chronicles the Webb and Gibbs families as their children fall in love, marry, and eventually die. David Crowe will direct.
In 1998, a university student named Matthew Shepard was kidnapped, beaten, and tied to a prairie fence outside Laramie, Wyoming. When he died days later, the world learned Shepard was targeted because he was gay. In its review of the original production, the New York Times observed, “‘The Laramie Project’ is ‘Our Town’ with a question mark, as in, ‘Could this be our town? It can’t happen here,’ followed immediately by ‘And yet it has.’” Clifton Guterman will direct "The Laramie Project," a play that strives to find the light in a tragedy and to reveal examples of profound compassion in its wake.
!!The Windmill Arts Center
Opened in late 2017, the Windmill Arts Center – www.thewindmillatl.com – in East Point contains an 80-seat “black box” theater plus a 40-seat “white box” space for rent as a gallery, rehearsal space, yoga studio, classroom, or for special events. Converted from a gas station/garage, the arts center now serves as the East Coast headquarters for Vanguard Repertory Company (VanguardRep), which was formed in Los Angeles in 2008 by husband and wife Sam and Elizabeth Ross (who previously lived in Atlanta), Matthew Burgos, and Elisa Blandford.
From August 2–18, VanguardRep presents the Atlanta premiere of "Br'er Cotton," a contemporary fable about systemic racism by playwright Tearrance Arvelle Chisholm and directed by Burgos. Later in the month (August 29–September 1), The Tiny Theater Company will premiere a one-act adaptation of William Shakespeare’s "Hamlet" featuring live music and dance by an all-black cast with Tiny Theater founder Cydnei Prather directing.
Return to Fall Arts Preview 2019"
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string(23972) "!!__7 Stages__
Since its founding more than 40 years ago, 7 Stages Theatre — www.7stages.org —has been devoted to producing provocative material and confronting difficult subjects. At press time, 7 Stages was not ready to announce the production company’s 2019-2020 season schedule. However, three productions by other companies will take place in the 7 Stages Theater in Little Five Points during the next two months. Each play poses tough questions, and focuses on characters facing severe physical, emotional, and moral challenges.
::{img fileId="21487" imalign="center" desc="desc" max="800"}::
With "Grounded" (August 3-17), Atlanta Theater Club (ATC) – www.atlantatheatreclub.com – is back with another intensely emotional work produced and directed by company founder Rebeca Robles. "Grounded" takes audiences into the mind and soul of a former ace fighter pilot operating military drones from a windowless trailer outside Las Vegas. The Pilot (actress Courtney Moors) watches screens to hunt and kill terrorists all day long and returns to her family each night. As the pressure to track a high-profile target mounts, the boundaries begin to blur between the desert in which she lives and the one she patrols half a world away. Robles, Moors, and seven of ATL’s most accomplished female theater artists are in control of every aspect of this Atlanta premiere including video and projection design, sound and lighting, scenic design, and wardrobe.
For the past seven seasons, Aris — “Atlanta’s stage for Celtic culture” — has brought the Celtic theatrical and literary traditions, mythology, and storytelling from the British Isles to Atlanta. Next month, Aris – Aristheatre.org – presents the Atlanta premiere of "Woman and Scarecrow" by celebrated Irish playwright Marina Carr. Emory University professor Jon Ammerman directs this very intimate play set in a dying woman’s bedroom. In the face of her death, the woman threshes out her life’s truths, sparring with a ridiculous aunt, a cheating husband, and a slippery alter ego.
On Friday, September 27, The Object Group and 7 Stages Theatre present a sneak peek presentation of Michael Haverty’s adaptation of Albert Camus’ "L’Etranger" (The Outsider). Puppetry and noir/new wave-inspired projected cinema are integrated in an absurd investigation of Camus’ cautionary tale. The original 1942 novel is riddled with messy conflicts between existential philosophy and privileged oppression, sometimes to the apparent blindness of the author. This multimedia experience explodes the story onto stage and screen, allowing insight while tickling the mind and senses.
!!__Actor’s Express__
“We seek to jumpstart individual transformations through the shared adventure of our live performances, which range from daringly provocative to audaciously hilarious.” That sentence from the mission statement for Actor’s Express Theatre — www.actors-express.com — says a lot about them — and not just what they want to accomplish as a theatre, but how. The theatre has been pushing emotional envelopes since Chris Coleman founded Actor’s Express in the basement of a church on Clairmont Road 31 years ago. Freddie Ashley has been artistic director since 2007, and few Atlanta theaters are as successful at reflecting the passion, intelligence, and geniality and flair of their leadership.
Ashley also directs most AE dramas, comedies, and musicals that attract sold-out houses night after night. Here are just some of AE’s bravest and most entertaining work of the past dozen seasons: "Stupid Fucking Bird," "Bad Jews," "Murder Ballad," "The Rocky Horror Show," "Six Degrees of Separation," "Bloody Bloody Andrew Jackson," "Kiss of the Spider Woman," "The Motherfucker with the Hat," "Edith Can Shoot Things and Hit Them," "Spring Awakening," "Slasher," "Grey Gardens," and "Hedwig and the Angry Inch."
Next month, Ashley and another smart AE cast will unveil their 31st season with "Skintight." The Atlanta premiere of "Bad Jews," playwright Joshua Harmon’s latest comedy, pokes fun at America’s obsession with youth, sex, and physical beauty. When Jodi Isaac flies across the country to visit her famous fashion mogul father for his 70th birthday, she finds that her dad’s new boyfriend is a 20-year-old porn star. OK! "Skintight" sounds like a perfect fit for Actor’s Express.
!!__Alliance Theatre__
Elton John’s "Aida." "Bring It On: The Musical." "The Color Purple." "The Last Night of Ballyhoo." "The Prom." "Sister Act: The Musical." Twyla Tharp’s "Come Fly Away."
Can you guess what all these (and many more) hit plays and musicals have in common? They were all first performed at the Alliance Theatre — www.alliancetheatre.org — right here in ATL. Over the past 51 years, the Alliance has premiered more than 100 original productions, launching important American musicals with a strong track record of Broadway, touring, and subsequent productions, including several Tony Award winners. In fact, in 2007, the Alliance won a special Tony Award as Best Regional Theater in America.
2019-2020 will be their first full season in their lavishly renovated main stage space, which opened late last year. In "Becoming Nancy," the next big musical to premiere at the Alliance, David, a talented high school senior tries out for the school play and is cast as the ''female'' lead. It’s 1979, and everyone in his small English suburb is shocked, including David. Should he play the part? Just wait and see. Another sign that "Becoming Nancy" is set to be the Alliance’s next big hit is its director, Tony winner Jerry Mitchell, whose past musical hits include "Pretty Woman," "Kinky Boots," "Legally Blonde," "La Cage Aux Folles," and "Hairspray."
Alliance Artistic Director Susan Booth directs the Off-Broadway hit comedy "Small Mouth Sounds," to be performed downstairs at the Woodruff Arts Center on the intimate Hertz Stage. The play, running from October 4–27, follows six strangers at a five-day silent wellness retreat in the woods. Guided by an unseen guru, each one wrestles with their personal demons as their vows of silence clash with the irresistible human need to connect.
!!__Center for Puppetry Arts__
It’s hard to think of another Atlanta-based theatrical organization with a greater reputation for excellence and creativity than the Center for Puppetry Arts — www.puppet.org. Just a few years after puppeteer Vincent Anthony stood with Muppet master Jim Henson as they cut the opening-day ribbon in September 1978, the Puppetry Center became one of the most respected and revered creative hives for puppetry in the world. CPA has hosted dozens of the best puppeteers and puppet theater companies from across Europe, Asia, Africa, South America and the Caribbean. The Center’s Museum is now the home of the Henson Collection and its iconic puppets from "Sesame Street," "Labyrinth," "The Dark Crystal," "Fraggle Rock," and Emmet Otter’s "Jug-Band Christmas."
The fantastic puppet productions conceived and created at CPA have played to sold-out audiences across North America, and Artistic Director Jon Ludwig is widely considered one of the geniuses of the ancient and timeless art form. The shows range from super sweet and cute to deadly serious, even tragic. Some are strange and weird. But no matter what the show or the exhibit or the workshop, kids and grownups of all ages have a blast every time they set foot inside.
This fall, CPA lifts off with "SPACE!," Ludwig’s 2016 song-filled puppet adventure about the cosmos. "SPACE!" employs shadow puppets, hand and rod puppets, black lights, computer animation, and crystal-clear images from NASA and a rap and rock score to explain the entire universe, more or less. From red dwarf stars to the planet Neptune, from comets to black holes, and beyond, Ludwig’s latest rock opera is the perfect way for anyone of any age to celebrate the autumnal equinox.
!!__Essential Theatre Play Festival__
Since 1999, the annual Essential Theatre Play Festival – www.essentialtheatre.com – which was founded by Atlanta playwright-director Peter Hardy, has premiered 34 new works by 25 different Georgia writers, with many works being restaged by other Atlanta theaters and across the country. The 2019 Festival (July 25–August 24) features three full productions plus four new scripts being heard for the first time in the Bare Essentials Play Reading Series. All performances and readings take place at the West End Performing Arts Center.
July 25-August 24: Peter Hardy directs "Slaying Holofernes" by Emily McClain. The play upsets notions of past/present, fact/fiction, and personal/political as it explores the quest for justice by two women.
August 1-25: Written by Ben Thorpe and directed by Shannon Eubanks, "Babyshower for the Antichrist" takes place on the night of ‘Hell Feast’ as a small, isolated cult prepares for the birth of the Antichrist. Viewer beware: This world premiere contains moments of blood and violence, plus a talking goat.
Thursday, August 15 and Friday, August 16: In "The Attic, creator/performer Aaron Gotlieb explores the things we hold onto and those we leave behind. "
The Bare Essentials Play Reading Series includes "Day of Saturn" by Leviticus Jelks III, directed by Najah Ali (August 3); "Darger Takes a Walk" by Rosalind Sullivan-Lovett, directed by Natalie Fox (August 6); "Waiting for Big Stuff" by Allan Dodson, directed by Kati Grace Brown (August 12); and "The Odds Against Death" by Ted Westby and John D. Babcock III, directed by Bill Murphey (August 21).
!!__Horizon Theatre__
Eternally young Horizon Theatre — www.horizontheatre.com — founders Lisa and Jeff Adler founded their small (172 cozy seats), independent theater in 1983 and have stayed busy ever since. Year in, year out, they offer a mainstage season of six to eight contemporary plays (almost always local or regional premieres) for diverse Atlanta audiences, a family series for younger audiences, a free outdoor musical in Piedmont Park, and free outdoor performances with Little Five Arts Alive from April through October. They also create new plays from, for, and about Atlanta through their New South Play Festival program, and reach out to new audiences through their New South Young Playwrights Contest and Festival, the Horizon In-School Playwriting Workshops, the Horizon Apprentice Company (early career professionals), the Intern Program (for college students) and the high school theatre program at The New School.
From September 20 through October 27, Horizon will stage one of the most honored plays of the past decade, "The Curious Incident of the Dog in the Night-Time." Four years ago, the Broadway production won the Drama Desk Award, the Outer Critics Circle Award, the Drama League Award, and five Tony Awards, including Best Play. Lisa Adler and Justin Anderson will co-direct the story of an autistic teenager who’s better at solving equations than navigating a world that’s out of sync with how his mind works. After being wrongly accused of murdering his neighbor’s dog, he resolves to find the real culprit. When his investigation uncovers painful truths about his family, he strikes out on his own, embarking on a daring train ride to London to confront his parent’s past.
!!__Kenny Leon’s True Colors__
This season will mark a major turning point in the story of another beloved Atlanta theater company. Tony Award-winning director Kenny Leon is departing the role of artistic director of the company that he co-founded and that now bears his name. Associate Artistic Director Jamil Jude will take over the position at Kenny Leon’s True Colors Theatre Company — www.truecolorstheatre.org. Since Leon established True Colors with Jane Bishop in 2002, the theatre has produced over three dozen productions with a focus on black storytelling. They’ve presented several of the best plays by, or adapted from works by, Langston Hughes, James Baldwin, August Wilson, Ntozake Shange, Pearl Cleage, and Dominique Morisseau, among many others.
True Colors’ dedication to black voices in the theater continues September 24 through October 20, when they present the Atlanta premiere of "Paradise Blue," the third play the company has mounted in Dominique Morisseau’s Detroit Trilogy, which includes "Detroit ’67," and "Skeleton Crew." In "Paradise Blue," set in 1949, when Detroit’s white mayor pushed to move African Americans out of Detroit’s Black Bottom neighborhood, a musician named Blue considers selling his family’s once-thriving jazz club. Against a backdrop of gentrification and displacement, Paradise Blue encompasses the pain and suffering that accompany the erasure of black history.
!!__Orange Box Theater__
In Tucker, a 1,600-square-foot converted warehouse space that seats about 80 people is the staging venue for Orange Box Theater at Mark SQared Studios – www.orangeboxtheater.marksquaredstudiosatlanta.com – which presents innovative takes on classic and new theatrical works by African American artists using nontraditional casting and multimedia effects. In recent years, creative director Karlotta Washington has overseen productions of George C. Wolf’s "The Colored Museum," Michael Frayn’s "Noises Off," and "Purlie," the Tony Award-winning musical comedy based on a play by Ossie Davis.
On multiple days between October 11 and 27, Orange Box Theater will present "Sunset Baby" by Dominique Morisseau. A MacArthur Foundation “Genius Grant” recipient and Obie-award winning playwright, Morisseau recently became the first African-American woman nominated for a Tony Award in a musical category in 20 years for the Broadway hit "Ain’t Too Proud: The Life and Times of the Temptations."
Described in a 2013 ''New York Times'' review as a “smart and bracing new play about two generations of urban outlaws,” "Sunset Baby" explores the relationship between Nina, a tough, uncompromising street hustler, and her estranged father, a former black revolutionary who shows up one day seeking reconciliation and a series of letters left with Nina by her mother.
!!__Out of Box Theatre__
In 2012, Carolyn Choe started Out of Box Theatre – www.outofboxtheatre.com – with the goal of producing superior quality shows without exceeding a smart, practical budget. Taking advantage of the talent and resources at hand in Marietta and the greater metro community, during the past few seasons, Out of Box Theater has established a reputation for challenging, offbeat, and daring theater productions, as well as for developing programs, such as the unBOXed Comedy Class and an internship for college graduates.
This fall, Out of Box Theatre presents "Entertaining Lesbians" (August 2-17), written and directed by the always amusing and topical Topher Payne. The play follows the exploits of Rowena Tuttle, described by Payne as “a cisgender heterosexual white woman who no one finds interesting anymore” as she tries to gain admission to an elite school for her daughter by buddying up with Atlanta’s most powerful lesbian couple.
Running October 4-20, "Evil Dead: The Musical" offers a lyrical take on the notoriously absurd, cult classic horror film by Sam Raimi (Spider-Man Trilogy). For readers unfamiliar with the source material, "Evil Dead" recounts the tribulations of a group of college students who, while spending the weekend in an abandoned cabin in the woods, unwittingly unleash an evil terror, which tries and largely succeeds in killing everyone in unspeakably gruesome ways. Perfect fodder for a musical.
From November 8–17, Topher Payne returns to direct Jordan Harrison’s "The Grown Up," a play about a boy who is given a magical crystal doorknob, which enables him to travel through space and time to see his future life.
!!__PULP__
Owner Will Eiseman opened the original PULP – www.pulpatlanta.com – a bookstore and gallery specializing in pop culture books and zines, original artwork, cinema art and ephemera, and photography, in Charleston, South Carolina. Since relocating to Midtown Atlanta in the summer of 2018, PULP has hosted exhibitions of cryptozoological art and large-scale street art and murals. In collaboration with Videodrome, rare films are screened on Sundays, while original theatrical performances and live comedy are staged in the store’s Black Box Theatre.
Highlights from the Black Box fall performance season include:
August 23-September 1: "The One Act Spectacular" features four of Atlanta’s top casting agents each directing a one-act play with local film and TV actors.
September 26-28: __ATL Sketchfest__ comprises three separate comedy sketches per night staged over three consecutive nights with a cash prize awarded to “Best in Show” chosen by five anonymous judges. Organizers are also accepting comedy video shorts, which will be shown between live performances.
October 2-17: World premiere of a new stage adaptation of Roger Corman’s ’50s schlock sci-fi classic film, "Attack of the Giant Leeches," written and directed by John Babcock.
October 25-26: The Phantom Film Festival features a horror-themed short film night of works by local filmmakers on Friday followed on Saturday by a one-night only live stage adaptation of Brian DePalma’s horror musical classic "Phantom of the Paradise."
!!__Synchronicity__
Synchronicity — www.synchrotheatre.com — produces theatre to spark community connections and uplift the voices of women and girls. Founded in 1997 by four women, Synchronicity presents plays for adults (Bold Voices) and families (Family Series) and offers a wide range of educational programming, including Playmaking for Kids (PFK) summer camps and after-school programs, and their award-winning Playmaking for Girls (PFG) program. Now in its fourth year, the organization’s Stripped Bare: Arts Incubator Project gives artists a space to create and present new work. The series focuses on projects that emphasize words and ideas, with minimal technical elements, and encourages young artists to think about the essentials of theatre (mostly) stripped of intricate sets, lights, props, sound design, and costumes.
From August 1–11, Synchronicity will host a revival of "2 the Left: A Tribute to the Life of Lisa ‘Left Eye’ Lopes." Written and performed by Kerisse Hutchinson, and originally performed as part of the Stripped Bare Arts Incubator Project, this multimedia experience chronicles the life of the most controversial member of the ’90s pop music phenomenon TLC. Thomas W. Jones II directs. Sunday, August 4, there will be a talkback after "2 the Left"'' ''with the cast, crew, and members of Lopes’ family. Later this month, Synchronicity will announce two more Stripped Bare projects that will be performed September 10–12 and Nov 12–14. Tickets are free to all Stripped Bare performances, but reservations are required.
Synchronicity’s first full production of the new season is "MacBeth," Erica Schmidt’s bold adaptation of the Bard’s Scottish play running October 4–28. On an autumn afternoon, in an empty lot outside the city, seven girls meet up to perform "Macbeth," using Shakespeare’s original text. It’s not long before the blood fantasy of the play starts to seep into their real lives.
!!__Theater Emory__
Theater Emory – www.theater.emory.edu – is the Emory University theater department’s resident professional company and the producing organization for Theater Studies. Typically, Theater Emory presents four productions per year.
This fall’s production of "The Nether" (November 1–17), directed by Ibi Ovolabi, promises to be one of most provocative projects ever staged by Theater Emory. Jennifer Haley’s psychological crime thriller draws the audience into a detective’s investigation of a virtual world where pedophiles indulge their fantasies. The investigation sparks questions about ethical behavior as experienced in the imagination and practiced in the “real” world.
“‘The Nether’ questions the way we define something as ‘real,’ which is an idea that has fascinated philosophers for millennia,” says Brent Glenn, artistic director of Theater Emory. “As we approach a time when virtual reality may be as real as our daily lives, discomforting ethical conundrums rise to the surface. "The Nether" forces us to face that discomfort.”
!!__Theatrical Outfit__
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Founded in a converted Virginia Highlands laundromat 43 years ago, Theatrical Outfit — www.theatricaloutfit.org — is Atlanta’s second oldest professional theatre company. The Outfit produced some of its boldest, most provocative work in the ’80s out of the (now long gone) Kress Five & Dime building in Midtown, before it moved downtown in 1999 to the site of the former Herren’s Restaurant, now the Balzer Theatre. 2019-2020 marks another milestone as Atlanta theater legend Tom Key will be stepping down from the position of artistic director after 25 years. Since 1995, Key and The Outfit have had critical and popular success presenting dozens of regional and world premieres, classics, and musicals that explore diversity, equality, ethnicity, race, and faith. Key has taken great pride in programming plays by many of the best writers of the American South, including Ernest Gaines, Horton Foote, Harper Lee, Flannery O’Connor, and Tennessee Williams.
Theatrical Outfit begins “Tom’s Farewell Season” with "Our Town" and "The Laramie Project" in repertory from August 27 to September 29. Considered by many to be the greatest American play, Thornton Wilder’s "Our Town" depicts the town of Grover’s Corners in three acts: “Daily Life,” “Love and Marriage,” and “Death and Eternity.” Narrated by a stage manager character and performed with minimal props and sets, Wilder’s classic chronicles the Webb and Gibbs families as their children fall in love, marry, and eventually die. David Crowe will direct.
In 1998, a university student named Matthew Shepard was kidnapped, beaten, and tied to a prairie fence outside Laramie, Wyoming. When he died days later, the world learned Shepard was targeted because he was gay. In its review of the original production, the ''New York Times'' observed, “‘The Laramie Project’ is ‘Our Town’ with a question mark, as in, ‘Could this be our town? It can’t happen here,’ followed immediately by ‘And yet it has.’” Clifton Guterman will direct "The Laramie Project," a play that strives to find the light in a tragedy and to reveal examples of profound compassion in its wake.
!!__The Windmill Arts Center__
Opened in late 2017, the Windmill Arts Center – www.thewindmillatl.com – in East Point contains an 80-seat “black box” theater plus a 40-seat “white box” space for rent as a gallery, rehearsal space, yoga studio, classroom, or for special events. Converted from a gas station/garage, the arts center now serves as the East Coast headquarters for Vanguard Repertory Company (VanguardRep), which was formed in Los Angeles in 2008 by husband and wife Sam and Elizabeth Ross (who previously lived in Atlanta), Matthew Burgos, and Elisa Blandford.
From August 2–18, VanguardRep presents the Atlanta premiere of "Br'er Cotton," a contemporary fable about systemic racism by playwright Tearrance Arvelle Chisholm and directed by Burgos. Later in the month (August 29–September 1), The Tiny Theater Company will premiere a one-act adaptation of William Shakespeare’s "Hamlet" featuring live music and dance by an all-black cast with Tiny Theater founder Cydnei Prather directing.
((fall arts preview 2019|Return to Fall Arts Preview 2019))"
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string(24350) " Spotlight&Masks 2019-08-03T01:57:29+00:00 Spotlight&Masks.jpg fall arts preview 2019 theatre Onstage and off, with actors and puppets, dealing in reality and escape Spotlight&Masks 2019-08-03T01:36:16+00:00 7 Stages
Since its founding more than 40 years ago, 7 Stages Theatre — www.7stages.org —has been devoted to producing provocative material and confronting difficult subjects... Fall Arts Preview 2019: Theater jim.harris Jim Harris Edward McNally 2019-08-03T01:36:16+00:00 !!7 Stages
Since its founding more than 40 years ago, 7 Stages Theatre — www.7stages.org —has been devoted to producing provocative material and confronting difficult subjects. At press time, 7 Stages was not ready to announce the production company’s 2019-2020 season schedule. However, three productions by other companies will take place in the 7 Stages Theater in Little Five Points during the next two months. Each play poses tough questions, and focuses on characters facing severe physical, emotional, and moral challenges.
::::
With "Grounded" (August 3-17), Atlanta Theater Club (ATC) – www.atlantatheatreclub.com – is back with another intensely emotional work produced and directed by company founder Rebeca Robles. "Grounded" takes audiences into the mind and soul of a former ace fighter pilot operating military drones from a windowless trailer outside Las Vegas. The Pilot (actress Courtney Moors) watches screens to hunt and kill terrorists all day long and returns to her family each night. As the pressure to track a high-profile target mounts, the boundaries begin to blur between the desert in which she lives and the one she patrols half a world away. Robles, Moors, and seven of ATL’s most accomplished female theater artists are in control of every aspect of this Atlanta premiere including video and projection design, sound and lighting, scenic design, and wardrobe.
For the past seven seasons, Aris — “Atlanta’s stage for Celtic culture” — has brought the Celtic theatrical and literary traditions, mythology, and storytelling from the British Isles to Atlanta. Next month, Aris – Aristheatre.org – presents the Atlanta premiere of "Woman and Scarecrow" by celebrated Irish playwright Marina Carr. Emory University professor Jon Ammerman directs this very intimate play set in a dying woman’s bedroom. In the face of her death, the woman threshes out her life’s truths, sparring with a ridiculous aunt, a cheating husband, and a slippery alter ego.
On Friday, September 27, The Object Group and 7 Stages Theatre present a sneak peek presentation of Michael Haverty’s adaptation of Albert Camus’ "L’Etranger" (The Outsider). Puppetry and noir/new wave-inspired projected cinema are integrated in an absurd investigation of Camus’ cautionary tale. The original 1942 novel is riddled with messy conflicts between existential philosophy and privileged oppression, sometimes to the apparent blindness of the author. This multimedia experience explodes the story onto stage and screen, allowing insight while tickling the mind and senses.
!!Actor’s Express
“We seek to jumpstart individual transformations through the shared adventure of our live performances, which range from daringly provocative to audaciously hilarious.” That sentence from the mission statement for Actor’s Express Theatre — www.actors-express.com — says a lot about them — and not just what they want to accomplish as a theatre, but how. The theatre has been pushing emotional envelopes since Chris Coleman founded Actor’s Express in the basement of a church on Clairmont Road 31 years ago. Freddie Ashley has been artistic director since 2007, and few Atlanta theaters are as successful at reflecting the passion, intelligence, and geniality and flair of their leadership.
Ashley also directs most AE dramas, comedies, and musicals that attract sold-out houses night after night. Here are just some of AE’s bravest and most entertaining work of the past dozen seasons: "Stupid Fucking Bird," "Bad Jews," "Murder Ballad," "The Rocky Horror Show," "Six Degrees of Separation," "Bloody Bloody Andrew Jackson," "Kiss of the Spider Woman," "The Motherfucker with the Hat," "Edith Can Shoot Things and Hit Them," "Spring Awakening," "Slasher," "Grey Gardens," and "Hedwig and the Angry Inch."
Next month, Ashley and another smart AE cast will unveil their 31st season with "Skintight." The Atlanta premiere of "Bad Jews," playwright Joshua Harmon’s latest comedy, pokes fun at America’s obsession with youth, sex, and physical beauty. When Jodi Isaac flies across the country to visit her famous fashion mogul father for his 70th birthday, she finds that her dad’s new boyfriend is a 20-year-old porn star. OK! "Skintight" sounds like a perfect fit for Actor’s Express.
!!Alliance Theatre
Elton John’s "Aida." "Bring It On: The Musical." "The Color Purple." "The Last Night of Ballyhoo." "The Prom." "Sister Act: The Musical." Twyla Tharp’s "Come Fly Away."
Can you guess what all these (and many more) hit plays and musicals have in common? They were all first performed at the Alliance Theatre — www.alliancetheatre.org — right here in ATL. Over the past 51 years, the Alliance has premiered more than 100 original productions, launching important American musicals with a strong track record of Broadway, touring, and subsequent productions, including several Tony Award winners. In fact, in 2007, the Alliance won a special Tony Award as Best Regional Theater in America.
2019-2020 will be their first full season in their lavishly renovated main stage space, which opened late last year. In "Becoming Nancy," the next big musical to premiere at the Alliance, David, a talented high school senior tries out for the school play and is cast as the female lead. It’s 1979, and everyone in his small English suburb is shocked, including David. Should he play the part? Just wait and see. Another sign that "Becoming Nancy" is set to be the Alliance’s next big hit is its director, Tony winner Jerry Mitchell, whose past musical hits include "Pretty Woman," "Kinky Boots," "Legally Blonde," "La Cage Aux Folles," and "Hairspray."
Alliance Artistic Director Susan Booth directs the Off-Broadway hit comedy "Small Mouth Sounds," to be performed downstairs at the Woodruff Arts Center on the intimate Hertz Stage. The play, running from October 4–27, follows six strangers at a five-day silent wellness retreat in the woods. Guided by an unseen guru, each one wrestles with their personal demons as their vows of silence clash with the irresistible human need to connect.
!!Center for Puppetry Arts
It’s hard to think of another Atlanta-based theatrical organization with a greater reputation for excellence and creativity than the Center for Puppetry Arts — www.puppet.org. Just a few years after puppeteer Vincent Anthony stood with Muppet master Jim Henson as they cut the opening-day ribbon in September 1978, the Puppetry Center became one of the most respected and revered creative hives for puppetry in the world. CPA has hosted dozens of the best puppeteers and puppet theater companies from across Europe, Asia, Africa, South America and the Caribbean. The Center’s Museum is now the home of the Henson Collection and its iconic puppets from "Sesame Street," "Labyrinth," "The Dark Crystal," "Fraggle Rock," and Emmet Otter’s "Jug-Band Christmas."
The fantastic puppet productions conceived and created at CPA have played to sold-out audiences across North America, and Artistic Director Jon Ludwig is widely considered one of the geniuses of the ancient and timeless art form. The shows range from super sweet and cute to deadly serious, even tragic. Some are strange and weird. But no matter what the show or the exhibit or the workshop, kids and grownups of all ages have a blast every time they set foot inside.
This fall, CPA lifts off with "SPACE!," Ludwig’s 2016 song-filled puppet adventure about the cosmos. "SPACE!" employs shadow puppets, hand and rod puppets, black lights, computer animation, and crystal-clear images from NASA and a rap and rock score to explain the entire universe, more or less. From red dwarf stars to the planet Neptune, from comets to black holes, and beyond, Ludwig’s latest rock opera is the perfect way for anyone of any age to celebrate the autumnal equinox.
!!Essential Theatre Play Festival
Since 1999, the annual Essential Theatre Play Festival – www.essentialtheatre.com – which was founded by Atlanta playwright-director Peter Hardy, has premiered 34 new works by 25 different Georgia writers, with many works being restaged by other Atlanta theaters and across the country. The 2019 Festival (July 25–August 24) features three full productions plus four new scripts being heard for the first time in the Bare Essentials Play Reading Series. All performances and readings take place at the West End Performing Arts Center.
July 25-August 24: Peter Hardy directs "Slaying Holofernes" by Emily McClain. The play upsets notions of past/present, fact/fiction, and personal/political as it explores the quest for justice by two women.
August 1-25: Written by Ben Thorpe and directed by Shannon Eubanks, "Babyshower for the Antichrist" takes place on the night of ‘Hell Feast’ as a small, isolated cult prepares for the birth of the Antichrist. Viewer beware: This world premiere contains moments of blood and violence, plus a talking goat.
Thursday, August 15 and Friday, August 16: In "The Attic, creator/performer Aaron Gotlieb explores the things we hold onto and those we leave behind. "
The Bare Essentials Play Reading Series includes "Day of Saturn" by Leviticus Jelks III, directed by Najah Ali (August 3); "Darger Takes a Walk" by Rosalind Sullivan-Lovett, directed by Natalie Fox (August 6); "Waiting for Big Stuff" by Allan Dodson, directed by Kati Grace Brown (August 12); and "The Odds Against Death" by Ted Westby and John D. Babcock III, directed by Bill Murphey (August 21).
!!Horizon Theatre
Eternally young Horizon Theatre — www.horizontheatre.com — founders Lisa and Jeff Adler founded their small (172 cozy seats), independent theater in 1983 and have stayed busy ever since. Year in, year out, they offer a mainstage season of six to eight contemporary plays (almost always local or regional premieres) for diverse Atlanta audiences, a family series for younger audiences, a free outdoor musical in Piedmont Park, and free outdoor performances with Little Five Arts Alive from April through October. They also create new plays from, for, and about Atlanta through their New South Play Festival program, and reach out to new audiences through their New South Young Playwrights Contest and Festival, the Horizon In-School Playwriting Workshops, the Horizon Apprentice Company (early career professionals), the Intern Program (for college students) and the high school theatre program at The New School.
From September 20 through October 27, Horizon will stage one of the most honored plays of the past decade, "The Curious Incident of the Dog in the Night-Time." Four years ago, the Broadway production won the Drama Desk Award, the Outer Critics Circle Award, the Drama League Award, and five Tony Awards, including Best Play. Lisa Adler and Justin Anderson will co-direct the story of an autistic teenager who’s better at solving equations than navigating a world that’s out of sync with how his mind works. After being wrongly accused of murdering his neighbor’s dog, he resolves to find the real culprit. When his investigation uncovers painful truths about his family, he strikes out on his own, embarking on a daring train ride to London to confront his parent’s past.
!!Kenny Leon’s True Colors
This season will mark a major turning point in the story of another beloved Atlanta theater company. Tony Award-winning director Kenny Leon is departing the role of artistic director of the company that he co-founded and that now bears his name. Associate Artistic Director Jamil Jude will take over the position at Kenny Leon’s True Colors Theatre Company — www.truecolorstheatre.org. Since Leon established True Colors with Jane Bishop in 2002, the theatre has produced over three dozen productions with a focus on black storytelling. They’ve presented several of the best plays by, or adapted from works by, Langston Hughes, James Baldwin, August Wilson, Ntozake Shange, Pearl Cleage, and Dominique Morisseau, among many others.
True Colors’ dedication to black voices in the theater continues September 24 through October 20, when they present the Atlanta premiere of "Paradise Blue," the third play the company has mounted in Dominique Morisseau’s Detroit Trilogy, which includes "Detroit ’67," and "Skeleton Crew." In "Paradise Blue," set in 1949, when Detroit’s white mayor pushed to move African Americans out of Detroit’s Black Bottom neighborhood, a musician named Blue considers selling his family’s once-thriving jazz club. Against a backdrop of gentrification and displacement, Paradise Blue encompasses the pain and suffering that accompany the erasure of black history.
!!Orange Box Theater
In Tucker, a 1,600-square-foot converted warehouse space that seats about 80 people is the staging venue for Orange Box Theater at Mark SQared Studios – www.orangeboxtheater.marksquaredstudiosatlanta.com – which presents innovative takes on classic and new theatrical works by African American artists using nontraditional casting and multimedia effects. In recent years, creative director Karlotta Washington has overseen productions of George C. Wolf’s "The Colored Museum," Michael Frayn’s "Noises Off," and "Purlie," the Tony Award-winning musical comedy based on a play by Ossie Davis.
On multiple days between October 11 and 27, Orange Box Theater will present "Sunset Baby" by Dominique Morisseau. A MacArthur Foundation “Genius Grant” recipient and Obie-award winning playwright, Morisseau recently became the first African-American woman nominated for a Tony Award in a musical category in 20 years for the Broadway hit "Ain’t Too Proud: The Life and Times of the Temptations."
Described in a 2013 New York Times review as a “smart and bracing new play about two generations of urban outlaws,” "Sunset Baby" explores the relationship between Nina, a tough, uncompromising street hustler, and her estranged father, a former black revolutionary who shows up one day seeking reconciliation and a series of letters left with Nina by her mother.
!!Out of Box Theatre
In 2012, Carolyn Choe started Out of Box Theatre – www.outofboxtheatre.com – with the goal of producing superior quality shows without exceeding a smart, practical budget. Taking advantage of the talent and resources at hand in Marietta and the greater metro community, during the past few seasons, Out of Box Theater has established a reputation for challenging, offbeat, and daring theater productions, as well as for developing programs, such as the unBOXed Comedy Class and an internship for college graduates.
This fall, Out of Box Theatre presents "Entertaining Lesbians" (August 2-17), written and directed by the always amusing and topical Topher Payne. The play follows the exploits of Rowena Tuttle, described by Payne as “a cisgender heterosexual white woman who no one finds interesting anymore” as she tries to gain admission to an elite school for her daughter by buddying up with Atlanta’s most powerful lesbian couple.
Running October 4-20, "Evil Dead: The Musical" offers a lyrical take on the notoriously absurd, cult classic horror film by Sam Raimi (Spider-Man Trilogy). For readers unfamiliar with the source material, "Evil Dead" recounts the tribulations of a group of college students who, while spending the weekend in an abandoned cabin in the woods, unwittingly unleash an evil terror, which tries and largely succeeds in killing everyone in unspeakably gruesome ways. Perfect fodder for a musical.
From November 8–17, Topher Payne returns to direct Jordan Harrison’s "The Grown Up," a play about a boy who is given a magical crystal doorknob, which enables him to travel through space and time to see his future life.
!!PULP
Owner Will Eiseman opened the original PULP – www.pulpatlanta.com – a bookstore and gallery specializing in pop culture books and zines, original artwork, cinema art and ephemera, and photography, in Charleston, South Carolina. Since relocating to Midtown Atlanta in the summer of 2018, PULP has hosted exhibitions of cryptozoological art and large-scale street art and murals. In collaboration with Videodrome, rare films are screened on Sundays, while original theatrical performances and live comedy are staged in the store’s Black Box Theatre.
Highlights from the Black Box fall performance season include:
August 23-September 1: "The One Act Spectacular" features four of Atlanta’s top casting agents each directing a one-act play with local film and TV actors.
September 26-28: ATL Sketchfest comprises three separate comedy sketches per night staged over three consecutive nights with a cash prize awarded to “Best in Show” chosen by five anonymous judges. Organizers are also accepting comedy video shorts, which will be shown between live performances.
October 2-17: World premiere of a new stage adaptation of Roger Corman’s ’50s schlock sci-fi classic film, "Attack of the Giant Leeches," written and directed by John Babcock.
October 25-26: The Phantom Film Festival features a horror-themed short film night of works by local filmmakers on Friday followed on Saturday by a one-night only live stage adaptation of Brian DePalma’s horror musical classic "Phantom of the Paradise."
!!Synchronicity
Synchronicity — www.synchrotheatre.com — produces theatre to spark community connections and uplift the voices of women and girls. Founded in 1997 by four women, Synchronicity presents plays for adults (Bold Voices) and families (Family Series) and offers a wide range of educational programming, including Playmaking for Kids (PFK) summer camps and after-school programs, and their award-winning Playmaking for Girls (PFG) program. Now in its fourth year, the organization’s Stripped Bare: Arts Incubator Project gives artists a space to create and present new work. The series focuses on projects that emphasize words and ideas, with minimal technical elements, and encourages young artists to think about the essentials of theatre (mostly) stripped of intricate sets, lights, props, sound design, and costumes.
From August 1–11, Synchronicity will host a revival of "2 the Left: A Tribute to the Life of Lisa ‘Left Eye’ Lopes." Written and performed by Kerisse Hutchinson, and originally performed as part of the Stripped Bare Arts Incubator Project, this multimedia experience chronicles the life of the most controversial member of the ’90s pop music phenomenon TLC. Thomas W. Jones II directs. Sunday, August 4, there will be a talkback after "2 the Left" with the cast, crew, and members of Lopes’ family. Later this month, Synchronicity will announce two more Stripped Bare projects that will be performed September 10–12 and Nov 12–14. Tickets are free to all Stripped Bare performances, but reservations are required.
Synchronicity’s first full production of the new season is "MacBeth," Erica Schmidt’s bold adaptation of the Bard’s Scottish play running October 4–28. On an autumn afternoon, in an empty lot outside the city, seven girls meet up to perform "Macbeth," using Shakespeare’s original text. It’s not long before the blood fantasy of the play starts to seep into their real lives.
!!Theater Emory
Theater Emory – www.theater.emory.edu – is the Emory University theater department’s resident professional company and the producing organization for Theater Studies. Typically, Theater Emory presents four productions per year.
This fall’s production of "The Nether" (November 1–17), directed by Ibi Ovolabi, promises to be one of most provocative projects ever staged by Theater Emory. Jennifer Haley’s psychological crime thriller draws the audience into a detective’s investigation of a virtual world where pedophiles indulge their fantasies. The investigation sparks questions about ethical behavior as experienced in the imagination and practiced in the “real” world.
“‘The Nether’ questions the way we define something as ‘real,’ which is an idea that has fascinated philosophers for millennia,” says Brent Glenn, artistic director of Theater Emory. “As we approach a time when virtual reality may be as real as our daily lives, discomforting ethical conundrums rise to the surface. "The Nether" forces us to face that discomfort.”
!!Theatrical Outfit
::::
Founded in a converted Virginia Highlands laundromat 43 years ago, Theatrical Outfit — www.theatricaloutfit.org — is Atlanta’s second oldest professional theatre company. The Outfit produced some of its boldest, most provocative work in the ’80s out of the (now long gone) Kress Five & Dime building in Midtown, before it moved downtown in 1999 to the site of the former Herren’s Restaurant, now the Balzer Theatre. 2019-2020 marks another milestone as Atlanta theater legend Tom Key will be stepping down from the position of artistic director after 25 years. Since 1995, Key and The Outfit have had critical and popular success presenting dozens of regional and world premieres, classics, and musicals that explore diversity, equality, ethnicity, race, and faith. Key has taken great pride in programming plays by many of the best writers of the American South, including Ernest Gaines, Horton Foote, Harper Lee, Flannery O’Connor, and Tennessee Williams.
Theatrical Outfit begins “Tom’s Farewell Season” with "Our Town" and "The Laramie Project" in repertory from August 27 to September 29. Considered by many to be the greatest American play, Thornton Wilder’s "Our Town" depicts the town of Grover’s Corners in three acts: “Daily Life,” “Love and Marriage,” and “Death and Eternity.” Narrated by a stage manager character and performed with minimal props and sets, Wilder’s classic chronicles the Webb and Gibbs families as their children fall in love, marry, and eventually die. David Crowe will direct.
In 1998, a university student named Matthew Shepard was kidnapped, beaten, and tied to a prairie fence outside Laramie, Wyoming. When he died days later, the world learned Shepard was targeted because he was gay. In its review of the original production, the New York Times observed, “‘The Laramie Project’ is ‘Our Town’ with a question mark, as in, ‘Could this be our town? It can’t happen here,’ followed immediately by ‘And yet it has.’” Clifton Guterman will direct "The Laramie Project," a play that strives to find the light in a tragedy and to reveal examples of profound compassion in its wake.
!!The Windmill Arts Center
Opened in late 2017, the Windmill Arts Center – www.thewindmillatl.com – in East Point contains an 80-seat “black box” theater plus a 40-seat “white box” space for rent as a gallery, rehearsal space, yoga studio, classroom, or for special events. Converted from a gas station/garage, the arts center now serves as the East Coast headquarters for Vanguard Repertory Company (VanguardRep), which was formed in Los Angeles in 2008 by husband and wife Sam and Elizabeth Ross (who previously lived in Atlanta), Matthew Burgos, and Elisa Blandford.
From August 2–18, VanguardRep presents the Atlanta premiere of "Br'er Cotton," a contemporary fable about systemic racism by playwright Tearrance Arvelle Chisholm and directed by Burgos. Later in the month (August 29–September 1), The Tiny Theater Company will premiere a one-act adaptation of William Shakespeare’s "Hamlet" featuring live music and dance by an all-black cast with Tiny Theater founder Cydnei Prather directing.
Return to Fall Arts Preview 2019 0,0,10 "Fall Arts Preview 2019" theatre Fall Arts Preview 2019: Theater "
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Fall Arts Preview 2019: Theater Theater, Explore Arts & Culture
Friday August 2, 2019 09:36 PM EDT
Onstage and off, with actors and puppets, dealing in reality and escape
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string(24367) "Had the Sex Pistols never played the Great Southeast Music Hall, the music venue would still hold a significant place in Atlanta’s music history. Originally a bar, restaurant and concert hall tucked into the elbow of what was then Broadview Plaza, the setting was laid back, the beer served in buckets and the living seemed easy. The hippie counter-culture that had walked the Strip — Peachtree Street between 10th and 14th Streets — had disseminated into the mainstream, and the Great Southeast Music Hall was the perfect venue for those with longhair, tank tops, wide-belled Landlubber blue jeans and a yearning for peace and harmony to gather and groove together, listen to music and share in the joys and travails of becoming adults.
The Great Southeast Music Hall was not a rock club, not in the sense of Richards and the Electric Ballroom, two other Atlanta venues of the time, both located closer to the Strip, and therefore, downtown, an area considered unsafe by some suburbanites.
This was the ‘70s remember, and downtown Atlanta was becoming a ghost town, thanks to “white flight” — the move of businesses and people to areas north of the city — past Buckhead, past Chastain Park and Sandy Springs, to areas not even defined as OTP (outside the perimeter), because, for a time, no one knew they were ITP (inside the perimeter).
Located off Piedmont Road, with Morosgo Drive to the south and Marian Road to the north, the Broadview Plaza Shopping Center was the perfect place for a music venue, especially one catering to a wider, more varied audience by focusing on folk, country, bluegrass, and blues artists and singer-songwriters. The L-shaped strip mall had plenty of free parking, thanks to the grocery stores and small department stores that were its anchor tenants, allowing the Music Hall to schedule two shows a night without audiences having to worry about where to park before the first show’s turnover.
The Great Southeast Music Hall was also close to Brookhaven where, at the time, many Atlanta musicians lived, thanks to the cheap rent and small bungalows that made up the neighborhood before urbanization and gentrification spread up Peachtree Street. It was many of those local musicians, having played smaller clubs like the Bistro and the Twelfth Gate, who performed at the Music Hall, opening for national touring acts, and, in doing so, built large enough followings to headline the Great Southeast Music Hall on their own.
Darryl Rhoades and the Hahavishnu Orchestra, Thermos Greenwood and the Colored People, the Hampton Geese Band, the Glenn Phillips Band, Bill Sheffield, The Fans, the Para Band, and the Dynamic Atlanta Cruis-O-Matic were just some of the Atlanta performers to have headlined at the Great Southeast Music Hall.
When the original Broadview Plaza location was forced to close, it was natural for the Music Hall to move to Brookhaven to the theater located in Cherokee Plaza. Though many of the people remained and the Music Hall did well at the new location, it wasn’t the same. Sitting on cushions on the floor was replaced with tiered movie theater seats, and the Great Southeast Music Hall’s unique experience — not unlike like lounging in your own living room while your favorite musician performed — became one of more traditional theaters and music venues. The Dekalb County police didn’t help matters, either. The Music Hall was still selling cheap beer by the buckets, so once shows started, Dekalb’s finest would set up roadblocks at the exits of the shopping center to snare any inebriated music fans who tried to make it past the lines of police cars with rotating blue lights, officers, and dogs waiting for them on Peachtree Road.
This Sunday, August 4, a reunion of Great Southeast Music Hall employees, family and friends will take place at Smith’s Olde Bar. The get together starts at 5 p.m. with everyone gathering in the downstairs bar, then moving upstairs at 7 p.m. for the music. Bill Tush will emcee the evening, welcoming both Darryl Rhoades and Thermos Greenwood to the stage for their own sets. While neither will have their respective full bands with them, surviving members of both groups will appear, aided and abetted by many familiar Atlanta musicians as guests. Farrell Roberts, who has been busy planning the event along with Sharon Powell, says the reason for hosting this one is simple. Those who were regulars are getting older, and we should celebrate the past one more time. It’s hard to argue with that.
Farrell Roberts: It was named The Great Southeast Music Hall, Emporium, and Performing Arts Exchange. It was the ’70s. It held 525 people, who all sat on cushioned benches on the floor. They drank draft beer from a 32oz. metal bucket cost $2.75. You could get your bucket refilled and take it home as a souvenir.
Katherine Gasque: I was working for ABC Records in the mid 70’s. Jimmy Buffet was on our label and I went to the Great Southeast Music Hall for the first time to see him perform. It wasn’t a packed house but I was hooked on the place. Besides cheap buckets of beer and cheap food, the Hall was iconic, with an amazing wall signed by every artist who played there, it was magic. Tickets ran $3-4 dollars and everyone could see great music, rub elbows with like minded people, play some pinball, and drink cheap beer.
Kay Citron: It started at a point somewhere between the naivety of youth and hard core psychedelics and never ended! While listening to WRAS one night back in 1976, Aubrey the late night DJ offered free tickets to the first caller. I happened to be the lucky caller. I won tickets for Thermos Greenwood and the Colored People to see their show “Orgy on the Lawn.” I was young. I had to look up “orgy” in the Websters’ Dictionary. So off I go to this strange but intriguing event that included green, blue and purple performers on stage.
T’ Wesley Dean: My brother was part of a group that was going to stage a party at the Egyptian Ballroom in the Fox Theater, which was scheduled to be demolished. I talked my brother into letting me assemble a band for the party. I approached Bruce Baxter and Steve Wofford who were performing as Fletcher and the Piedmonts. The Piedmonts specialized in roots rock ’n' roll – Jerrry Lee Lewis, Carl Perkins, Elvis, and early Rolling Stones. They enlisted Steve Marsh to sing and play guitar and Richy Height came along on drums. I sang and played bass. At the time Glitter Rock was threatening to be the “latest thing” and, in response, I told the Piedmonts I was going to paint myself green and call myself Thermos Greenwood. They said “OK. We’ll paint ourselves too and be colored people.” Honest to God we didn’t know any better. Our biggest influences were Saturday morning TV kiddy fare – Ramar of the Jungle, Tarzan movies, Warner Brothers cartoons, and the Coasters. After playing a couple of successful parties we were invited by the Great Southeast Music Hall to come perform.
Sharon Powell: My first experience was when I won two tickets and an LP from WRAS for a band playing the Hall. I was NOT near the 18 year-old drinking age at the time, but, still, my friend and I, donned in our grooviest 10th street duds, picked up our tickets and LP at the door, and sauntered in like we owned the place. I met Farrell that night, and we became fast friends. I was working at Jumpin' Jack Flash Leather at the time, I think. Like a lot of us who went on to become forever attached to the Hall, I just sorta showed up and started working at whatever was needed. My first real paid gig there was when Bob Dulong asked if I would break down a bunch of boxes, and paid me for it. Next thing I knew, I was working in the box office, and getting money for it! Over the years, many of our jobs morphed to include much more than we started out doing. I ended my Hall career as a manager, box office, ticket sales, paying the bands, making sure contract rider stuff was attended, NOT being stoned, lol.
Citron: Too young to drink there (legally) but old enough to hang out and work the box office with Sharon and Chip, I returned as often as possible and basically “volunteered” to work. When there was nothing for me to do I would color in the black and white promo photos from the band bios in the office or play pinball in the lobby. The favored games, 6 Million Dollar Man and the Eight Ball machines, tried robbing Dan Baird and I of quarters, but we somehow ended up winning more free games than we had time to play. Good friendships for life. And THAT’S what I remember. Priscilla in the Emporium clothing me, Bean and Fly in the kitchen feeding me.
Powell: The Hall was and still is a huge part of my life. The political/cultural climate in the US was turbulent then as it is now.
Dean: In 1975 the war in Vietnam was over, flying on an airplane was fun, local police hadn’t been militarized, and the corporate lawyers and bean-counters had not yet ruined everything. I can remember Rex Patton and Ross Brittain played “19th Nervous Breakdown” nineteen times in a row on WIIN. It was a magic time to be in Atlanta.
Rex Patton: My initial contact with the Music Hall came from working at WIIN radio. We did remote interviews with recording acts in the Emporium for a feature called “Out to Lunch.” I basically worked on air for free. No salary. I worked another job from 6 am to 2 pm and then was on WIIN with Ross Brittain from 3 to sign-off. The only money I got was $50.00 a week for doing Taco Pronto promos (“Extra hot – all the time”). The Music Hall advertised with us by way of trade-outs. They paid us in meal tickets that we could use to eat at the Emporium. So, I was there, literally, 5 or more nights a week, just to feed myself. And, after a tasty dinner – I was partial to the Martin Mullett – I could wander into the hall itself and watch whomever was onstage that night.
Citron: My life changed as I met the music lovers, the musicians, the beer drinkers and the bartenders, the lighting and sound crew...I felt so at home on the padded floor seats!
Powell: A lot of stuff happened those first couple of years. I had my "day gigs,” which included working at Garma's Custom Leather and the Old Atlanta Satchel Co. There was a sort of crossover thing that happened. Management changed, staff came and went, but we didn't go too far … lots of us came to the Hall from other local Atlanta businesses: Comes the Sun, Garma's, the Electric Ballroom, Richards. The cool thing is the community we created. It wasn't just the Hall. If Alex (Cooley, who owned the Electric Ballroom) needed us at one of his gigs, we worked it out to help, and he did the same for us. Schedules were made in the community as a whole to make sure that everyone was covered. There wasn't the cutthroat competition that seems to exist now with the businesses in town. We all worked together.
Darryl Rhoades: It’s weird to think that my last performance at the GSEMH was over 41 years ago. It was unlike any venue I had played before or since. I have so many great memories of the Music Hall.
Dean: Performing at the Music Hall was always great fun. That was where we covered the stage with kudzu, and hired the little people who worked at Sid and Marty Kroft’s to harass us on stage. The audiences there were the best – they would whoop and howl when we took the stage – we did look ridiculous. I can remember traipsing along the front edge of the stage thinking, “It doesn’t matter what I do. They are going to eat it up!” And they did. We were able to be completely free in the moment.
Rhoades: There were no limits to what we could do there including the grand entrance in our holiday shows where several friends hoisted me up on a cross while I was dressed in a Santa Claus suit and screaming in a mic “You Got the wrong guy, you got the wrong guy” as I interrupted the band doing their Holiday Inn lounge show.
Patton: The Hall was also my entry into the Atlanta music scene as a participant. We played The Hahavishnu Orchestra on WIIN and through meeting the band members, I encountered the guys who would later end up forming Cruis-O-Matic, which I would eventually join. That led to interacting with and getting to know all of the players around town.
Rhoades: During the week billed as the Steve Martin Mull show, Steve had a college date on a Thursday night so they brought in Tom Waits for that show and Martin asked if I wanted to set in so I played drums with Jonny Hibbert on sax and Keith Christopher on bass with Martin on guitar and Tom on piano. That was one of my more pleasant memories at the Music Hall.
Roberts: And the shows that people would come see were those of artists that were "on their way up,” who would soon become household names. Billy Joel, Tom Petty, Jimmy Buffett, Willie Nelson, Jim Croce, Linda Ronstadt, Dolly Parton, Steve Martin, Joe Walsh, Robert Palmer, Emmylou Harris, Tom Waits, the Nitty Gritty Dirt Band, Pure Prarie League The Sex Pistols, Lindsey Buckingham & Stevie Nicks, Lynyrd Skynyrd, Jerry Garcia & the Legion of Mary. Huey Lewis, and so many others. The legends of the Blues: B.B. King, Albert King, Freddie King, Lightnin’ Hopkins, Jimmy Reed, Muddy Waters, Howlin’ Wolf, Willie Dixon . The Jazz artists John McLaughlin, Weather Report, Chick Corea & Return to Forever.
Rhoades: I saw so many incredible acts including Buffalo Bob from Howdy Doody on a Saturday afternoon matinee while I was surrounded by a bunch of kids and their moms. I was there the night Lily Tomlin stopped the show to have a redneck removed when yelled for her to take her clothes off. The music hall was all over the map in the kinds of entertainment they brought us…Ace Trucking Company, Proctor and Bergman, Bill Monroe, Roland Kirk, Steve Goodman and it didn’t seem to break the bank back then. They even brought in a production of Hair.
Dean: I remember seeing Steve Martin, Dolly Parton, the Staple Singers, Split Enz, Doc and Merle Watson, Bill Monroe, John Prine, JJ Cale, Doug Kershaw, Sonny Terry and Brownie McGhee, Sea Level. It was endless. The Great Southeast Music Hall booked great acts!
Gasque: The Hall also allowed me to see performances of those who would become legends before they were well known: the Nitty Gritty Dirt Band, Mahavishnu Orchestra, David Allen Coe, Dixie Dregs, Willie Nelson, Emmylou Harris, Tom Waits, the Steve Martin Mull show, John Hartford, I could go on and on, and on.
Roberts: It was a time when all the groups would be booked for three, four, five nights in a row. So we would get to hang out and get to know them. I remember taking Tom Waits to Underground Atlanta. He loved it! Tom played maybe 10 times at the Hall. I remember going bowling at the Express Lanes on Monroe Circle with Steve Martin and Martin Mull, I remember going to breakfast at the long-gone Steak & Egg with Captain Beefheart & Phillip (Fly) Stone ….
Patton: The Hall hosted the most eclectic shows in town. I’m sure everyone will mention the Martin/Mull show. But the acts ran the gamut from Gino Vanelli, Buffalo Bob and Howdy Doody, The B-52’s and Fairport Convention to Billy Crystal, Jimmy Buffett, Weather Report, Keith Jarrett and Doctor Hook.
Roberts: I remember all of the great jams, most of all, the night B.B. King was playing, and Eric Clapton & Diana Ross came to the show, got onstage and proceeded to tear the roof off the place for about an hour.
Patton: The absolute best show I ever saw there was the night B. B. King headlined with The Nighthawks opening. They were contracted for two shows and both sold out. But there were so many people outside after the second show, that a third was negotiated and performed. And, during King’s set, B.B.called harp player, Mark Wenner and guitarist, Jimmy Thackery from the Nighthawks up on stage to jam. After Thackery finished his solo, B.B. turned to him and bowed. To this day, I think that was the proudest moment in Jimmy’s life.
Roberts: I remember another magical night, the bill was B.B. King, and the Nighthawks. And Gregg Allman joined them for a couple of nights. The most soulful and sweaty shows in my 46-year career!
Patton: The most memorable shows? The Knobz, a band from North Carolina who played the “Punk Festival” at the Hall. The climax of their act came during their final number, “Disco Chainsaw,” when the lead singer sawed off his artificial leg with, yes, a gas-powered chainsaw. Game over. Follow that, bitches!
Rhoades: I have to mention the appearance by the Sex Pistols, when I sat in with the opening act, Cruise-O-Matic. It was an intentionally strange billing with Cruise-O-Matic, known as a 60’s party band, that would guarantee to get a reaction from the crowd — and it did. I was brought up to sing a song written by myself and Rex Patton, “Boot In Your Face,” which was a spoof on the Ramones. The song was captured on film and eventually made it’s way into the Sex Pistol’s documentary, D.O.A., which is almost unwatchable for me but still, it’s history. I still have the magazine, National Examiner, which has a picture of me wearing a shirt I had spray painted with the words, “Kill Me.” In the article they superimposed a picture of Linda Ronstadt and the caption “America’s Sweetheart next to Punk bearing message on shirt that most true music fans would love to fulfill.” I’m damn proud of that one.
Patton: The Sex Pistols, as much for the hoopla as anything else. With Cruis-O-Matic being their opening act, I was privy to all the backstage intrigue as well as the Us vs. Them dynamic that pervaded the Hall while we played our overlong (not our fault — nobody could find Sid) set. Most importantly, I met my future wife then, as she was going through the crucible of the Sex Pistols being the act she had to promote on her first week on the job as “Claudia Sickeler – PR Director for the Great Southeast Music Hall.”
Citron: We could all reminisce about our favorite shows, John Prine, David Grisman, Doc and Merle, Jimmy Buffet, Leo Kotke, Ravi Shankar, John Hartford, Mac McAnally, Dolly Parton, Emmy Lou Harris, Janis Ian, Phoebe Snow, Johnathan Edwards, Crystal Gayle, Darryl Rhoades and the Hahavishnu Orchestra, B.B. King, Sun Ra, Muddy Waters,Tom Waits, Jerry Jeff Walker, NRBQ, David Bromberg, Nitty Gritty Dirt Band, the Sex Pistols, Steve Martin and Martin Mull, Jean Luc-Ponty, Asleep at the Wheel … but the real memories are of the hearts of the folks who ran the Hall. Gail (Bast), Robin (Conant), Ursula (Alexander), Claudia (Sickeler), Glenn (Allison), Chip (Abernathy), Doreen (Cochran), Farrell, Ron (Matthews), David (Manion), Sharon, Alun (Vontillus), Jack (Tarver), Brad (Moss) — insert a myriad of names here — the relationships that formed and have lasted the test of time. And, that night with Tommy Dean on stage singing away about “Chocolate City” and wondering ”who gave the monkey a gun,” I met my first husband on the back row — and we brought three wonderful children into the world (not that night, that happened quite a few years later). So, yes, the Music Hall changed my life.
Patton: Being there so often, I came to know everyone who worked there. Names popping into my head right now are Glenn, Gail, Doreen, Chip, Alun, Farrell, Mary, Phyllis, Brad, Ron, David, Carolyn, Betsy, Wiz. I know there are more and I’m sure other people will come up with them. Above and beyond the great musical experiences, the Hall was like a clubhouse, where we all ate together, drank together, got high together, saw shows together, hooked up and broke up. It was, basically, a funky shrine, where a bunch of like-minded people were busy being in their 20’s.
Powell: The staff at the Hall wasn't just staff … we were and many still are like family. We did (and often still do) help each other...helping each other move, painting parties, rides, checking on each other when we didn't show, lending/giving money, going to court when someone got busted, lol..now go fund me pages and helping hands when someone needs dentures, or help with the rent.
Gasque: It was small, it was friendly, and over time I met people who worked there that I am friends with today, Doreen Cochran, Sharon Powell, and Kay Vontillius. I distinctly remember the night I met Brad Moss, a part of management who was also involved in bringing the first U.S. performance of the Sex Pistols (a horrible performance however), because he and I became fast friends and years later would be married for 22 years until his death. The Music Hall gave me one of the greatest loves of my life.
Powell: I loved our Brookhaven community, and our connection to each other and the Hall. I loved our mutual commitment to making sure the show went on...even through the times of no/late paychecks, we would show up. We always showed up! When we had to move the Hall, we worked together to load it out, and worked just as hard to load back in at Cherokee Plaza.
Patton: I saw sets of some of the best music I had ever or would ever hear. And, when I walked out the front door of the Hall to go home – it was daylight. Magic.
Citron: What a great home away from home the GSEMH became for me.
Roberts: You had to be there.
Powell: I found the "I Have Been to the Great Southeast Music Hall" facebook page by total accident. I was living in the mountains, and was just surfing the net. I came upon the page, and noticed a couple of errors. Of course I contacted the page owner and talked to her about it. She and I became friends, and she made me an administrator. She was only 4 years-old when she used to go to the Hall because her mom loved it so much. Shannon Williamson created the page for her mom. Her mom is still with us, but. Shannon died last year. Shannon's dad was a Vietnam vet affected by Agent Orange. It’s thought that Shannon's lifelong illness was a result ... and it took her young life. This, to me, is sort of an example of the intrinsic interweaving of the culture of the day, the Hall, and our continued community
Powell: People often ask which was my favorite show. The truth is, I didn't actually see many of them. Just like all the other staff (unless you were actually in the room) we were working the door, the record store, the jewelry store, the emporium, the office....I always made time to check out Arlo Guthrie and John Hartford. I loved those guys' music, and as human beings. Fitting that the last show we ever did was Arlo at Cherokee Plaza. He knew our dire straits, and did all he could to help us stay open. He even penned a singalong tune for the occasion about "saving the old Music Hall"...We didn’t, but, I like to think that Shannon did, though, because...here we are.
Dean: For the reunion I’ll be with Steve Wofford. We will miss Charles Wolff and Bruce Baxter who have both split the orb. Steve Marsh is unable to make it from Denver. Bob Elsey and Jody Worrell will play guitars and Anne Boston will help with vocals. We will be focused less on visuals and more on recreating the music, like “Who Gave The Monkey A Gun,” “Nina of the Nile,” “Living In The Heart Of Chocolate City,” “I’ve Got Rubber Brain Cells In My Head,” and other thoughtful fare.
Rhoades: My appearance will be musical ,but I will also be performing some pieces from my standup show. I’m appearing at the Music Hall celebration with friends that I have recorded with and played live with for years, plus I will bring out special guests to sit in on a few songs. The material will give a nod to the Hahavishnu Orchestra, The Men from Glad, songs from several of my other CDs plus two unreleased songs, including one I wrote for this event.
Dean: Darryl Rhoades and the Hahavishnu Orchestra and Thermos Greenwood and the Colored People played many of the same venues but we have never performed back to back sets on the same stage. This is a first — and it promises to be fun!
Rhoades: I never had the opportunity to share the bill with Thermos Greenwood when we were both playing the Hall. This will be a special night, and likely, will never be repeated."
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string(24694) "Had the Sex Pistols never played the Great Southeast Music Hall, the music venue would still hold a significant place in Atlanta’s music history. Originally a bar, restaurant and concert hall tucked into the elbow of what was then Broadview Plaza, the setting was laid back, the beer served in buckets and the living seemed easy. The hippie counter-culture that had walked the Strip — Peachtree Street between 10th and 14th Streets — had disseminated into the mainstream, and the Great Southeast Music Hall was the perfect venue for those with longhair, tank tops, wide-belled Landlubber blue jeans and a yearning for peace and harmony to gather and groove together, listen to music and share in the joys and travails of becoming adults.
The Great Southeast Music Hall was not a rock club, not in the sense of Richards and the Electric Ballroom, two other Atlanta venues of the time, both located closer to the Strip, and therefore, downtown, an area considered unsafe by some suburbanites.
This was the ‘70s remember, and downtown Atlanta was becoming a ghost town, thanks to “white flight” — the move of businesses and people to areas north of the city — past Buckhead, past Chastain Park and Sandy Springs, to areas not even defined as OTP (outside the perimeter), because, for a time, no one knew they were ITP (inside the perimeter).
Located off Piedmont Road, with Morosgo Drive to the south and Marian Road to the north, the Broadview Plaza Shopping Center was the perfect place for a music venue, especially one catering to a wider, more varied audience by focusing on folk, country, bluegrass, and blues artists and singer-songwriters. The L-shaped strip mall had plenty of free parking, thanks to the grocery stores and small department stores that were its anchor tenants, allowing the Music Hall to schedule two shows a night without audiences having to worry about where to park before the first show’s turnover.
The Great Southeast Music Hall was also close to Brookhaven where, at the time, many Atlanta musicians lived, thanks to the cheap rent and small bungalows that made up the neighborhood before urbanization and gentrification spread up Peachtree Street. It was many of those local musicians, having played smaller clubs like the Bistro and the Twelfth Gate, who performed at the Music Hall, opening for national touring acts, and, in doing so, built large enough followings to headline the Great Southeast Music Hall on their own.
Darryl Rhoades and the Hahavishnu Orchestra, Thermos Greenwood and the Colored People, the Hampton Geese Band, the Glenn Phillips Band, Bill Sheffield, The Fans, the Para Band, and the Dynamic Atlanta Cruis-O-Matic were just some of the Atlanta performers to have headlined at the Great Southeast Music Hall.
When the original Broadview Plaza location was forced to close, it was natural for the Music Hall to move to Brookhaven to the theater located in Cherokee Plaza. Though many of the people remained and the Music Hall did well at the new location, it wasn’t the same. Sitting on cushions on the floor was replaced with tiered movie theater seats, and the Great Southeast Music Hall’s unique experience — not unlike like lounging in your own living room while your favorite musician performed — became one of more traditional theaters and music venues. The Dekalb County police didn’t help matters, either. The Music Hall was still selling cheap beer by the buckets, so once shows started, Dekalb’s finest would set up roadblocks at the exits of the shopping center to snare any inebriated music fans who tried to make it past the lines of police cars with rotating blue lights, officers, and dogs waiting for them on Peachtree Road.
This Sunday, August 4, a reunion of Great Southeast Music Hall employees, family and friends will take place at [https://www.eventbrite.com/e/the-great-southeast-music-hall-revisited-reunion-tickets-60717045317|Smith’s Olde Bar]. The get together starts at 5 p.m. with everyone gathering in the downstairs bar, then moving upstairs at 7 p.m. for the music. Bill Tush will emcee the evening, welcoming both Darryl Rhoades and Thermos Greenwood to the stage for their own sets. While neither will have their respective full bands with them, surviving members of both groups will appear, aided and abetted by many familiar Atlanta musicians as guests. Farrell Roberts, who has been busy planning the event along with Sharon Powell, says the reason for hosting this one is simple. Those who were regulars are getting older, and we should celebrate the past one more time. It’s hard to argue with that.
__Farrell Roberts:__ It was named The Great Southeast Music Hall, Emporium, and Performing Arts Exchange. It was the ’70s. It held 525 people, who all sat on cushioned benches on the floor. They drank draft beer from a 32oz. metal bucket cost $2.75. You could get your bucket refilled and take it home as a souvenir.
__Katherine Gasque:__ I was working for ABC Records in the mid 70’s. Jimmy Buffet was on our label and I went to the Great Southeast Music Hall for the first time to see him perform. It wasn’t a packed house but I was hooked on the place. Besides cheap buckets of beer and cheap food, the Hall was iconic, with an amazing wall signed by every artist who played there, it was magic. Tickets ran $3-4 dollars and everyone could see great music, rub elbows with like minded people, play some pinball, and drink cheap beer.
__Kay Citron:__ It started at a point somewhere between the naivety of youth and hard core psychedelics and never ended! While listening to WRAS one night back in 1976, Aubrey the late night DJ offered free tickets to the first caller. I happened to be the lucky caller. I won tickets for Thermos Greenwood and the Colored People to see their show “Orgy on the Lawn.” I was young. I had to look up “orgy” in the Websters’ Dictionary. So off I go to this strange but intriguing event that included green, blue and purple performers on stage.
__T’ Wesley Dean: __My brother was part of a group that was going to stage a party at the Egyptian Ballroom in the Fox Theater, which was scheduled to be demolished. I talked my brother into letting me assemble a band for the party. I approached Bruce Baxter and Steve Wofford who were performing as Fletcher and the Piedmonts. The Piedmonts specialized in roots rock ’n' roll – Jerrry Lee Lewis, Carl Perkins, Elvis, and early Rolling Stones. They enlisted Steve Marsh to sing and play guitar and Richy Height came along on drums. I sang and played bass. At the time Glitter Rock was threatening to be the “latest thing” and, in response, I told the Piedmonts I was going to paint myself green and call myself Thermos Greenwood. They said “OK. We’ll paint ourselves too and be colored people.” Honest to God we didn’t know any better. Our biggest influences were Saturday morning TV kiddy fare – Ramar of the Jungle, Tarzan movies, Warner Brothers cartoons, and the Coasters. After playing a couple of successful parties we were invited by the Great Southeast Music Hall to come perform.
__Sharon Powell:__ My first experience was when I won two tickets and an LP from WRAS for a band playing the Hall. I was NOT near the 18 year-old drinking age at the time, but, still, my friend and I, donned in our grooviest 10th street duds, picked up our tickets and LP at the door, and sauntered in like we owned the place. I met Farrell that night, and we became fast friends. I was working at Jumpin' Jack Flash Leather at the time, I think. Like a lot of us who went on to become forever attached to the Hall, I just sorta showed up and started working at whatever was needed. My first real paid gig there was when Bob Dulong asked if I would break down a bunch of boxes, and paid me for it. Next thing I knew, I was working in the box office, and getting money for it! Over the years, many of our jobs morphed to include much more than we started out doing. I ended my Hall career as a manager, box office, ticket sales, paying the bands, making sure contract rider stuff was attended, NOT being stoned, lol.
__Citron:__ Too young to drink there (legally) but old enough to hang out and work the box office with Sharon and Chip, I returned as often as possible and basically “volunteered” to work. When there was nothing for me to do I would color in the black and white promo photos from the band bios in the office or play pinball in the lobby. The favored games, 6 Million Dollar Man and the Eight Ball machines, tried robbing Dan Baird and I of quarters, but we somehow ended up winning more free games than we had time to play. Good friendships for life. And THAT’S what I remember. Priscilla in the Emporium clothing me, Bean and Fly in the kitchen feeding me.
__Powell: __The Hall was and still is a huge part of my life. The political/cultural climate in the US was turbulent then as it is now.
__Dean:__ In 1975 the war in Vietnam was over, flying on an airplane was fun, local police hadn’t been militarized, and the corporate lawyers and bean-counters had not yet ruined everything. I can remember Rex Patton and Ross Brittain played “19th Nervous Breakdown” nineteen times in a row on WIIN. It was a magic time to be in Atlanta.
__Rex Patton:__ My initial contact with the Music Hall came from working at WIIN radio. We did remote interviews with recording acts in the Emporium for a feature called “Out to Lunch.” I basically worked on air for free. No salary. I worked another job from 6 am to 2 pm and then was on WIIN with Ross Brittain from 3 to sign-off. The only money I got was $50.00 a week for doing Taco Pronto promos (“Extra hot – all the time”). The Music Hall advertised with us by way of trade-outs. They paid us in meal tickets that we could use to eat at the Emporium. So, I was there, literally, 5 or more nights a week, just to feed myself. And, after a tasty dinner – I was partial to the Martin Mullett – I could wander into the hall itself and watch whomever was onstage that night.
__Citron:__ My life changed as I met the music lovers, the musicians, the beer drinkers and the bartenders, the lighting and sound crew...I felt so at home on the padded floor seats!
__Powell:__ A lot of stuff happened those first couple of years. I had my "day gigs,” which included working at Garma's Custom Leather and the Old Atlanta Satchel Co. There was a sort of crossover thing that happened. Management changed, staff came and went, but we didn't go too far … lots of us came to the Hall from other local Atlanta businesses: Comes the Sun, Garma's, the Electric Ballroom, Richards. The cool thing is the community we created. It wasn't just the Hall. If Alex (Cooley, who owned the Electric Ballroom) needed us at one of his gigs, we worked it out to help, and he did the same for us. Schedules were made in the community as a whole to make sure that everyone was covered. There wasn't the cutthroat competition that seems to exist now with the businesses in town. We all worked together.
__Darryl Rhoades:__ It’s weird to think that my last performance at the GSEMH was over 41 years ago. It was unlike any venue I had played before or since. I have so many great memories of the Music Hall.
__Dean: __Performing at the Music Hall was always great fun. That was where we covered the stage with kudzu, and hired the little people who worked at Sid and Marty Kroft’s to harass us on stage. The audiences there were the best – they would whoop and howl when we took the stage – we did look ridiculous. I can remember traipsing along the front edge of the stage thinking, “It doesn’t matter what I do. They are going to eat it up!” And they did. We were able to be completely free in the moment.
__Rhoades:__ There were no limits to what we could do there including the grand entrance in our holiday shows where several friends hoisted me up on a cross while I was dressed in a Santa Claus suit and screaming in a mic “You Got the wrong guy, you got the wrong guy” as I interrupted the band doing their Holiday Inn lounge show.
__Patton:__ The Hall was also my entry into the Atlanta music scene as a participant. We played The Hahavishnu Orchestra on WIIN and through meeting the band members, I encountered the guys who would later end up forming Cruis-O-Matic, which I would eventually join. That led to interacting with and getting to know all of the players around town.
__Rhoades:__ During the week billed as the Steve Martin Mull show, Steve had a college date on a Thursday night so they brought in Tom Waits for that show and Martin asked if I wanted to set in so I played drums with Jonny Hibbert on sax and Keith Christopher on bass with Martin on guitar and Tom on piano. That was one of my more pleasant memories at the Music Hall.
__Roberts:__ And the shows that people would come see were those of artists that were "on their way up,” who would soon become household names. Billy Joel, Tom Petty, Jimmy Buffett, Willie Nelson, Jim Croce, Linda Ronstadt, Dolly Parton, Steve Martin, Joe Walsh, Robert Palmer, Emmylou Harris, Tom Waits, the Nitty Gritty Dirt Band, Pure Prarie League The Sex Pistols, Lindsey Buckingham & Stevie Nicks, Lynyrd Skynyrd, Jerry Garcia & the Legion of Mary. Huey Lewis, and so many others. The legends of the Blues: B.B. King, Albert King, Freddie King, Lightnin’ Hopkins, Jimmy Reed, Muddy Waters, Howlin’ Wolf, Willie Dixon . The Jazz artists John McLaughlin, Weather Report, Chick Corea & Return to Forever.
__Rhoades__: I saw so many incredible acts including Buffalo Bob from Howdy Doody on a Saturday afternoon matinee while I was surrounded by a bunch of kids and their moms. I was there the night Lily Tomlin stopped the show to have a redneck removed when yelled for her to take her clothes off. The music hall was all over the map in the kinds of entertainment they brought us…Ace Trucking Company, Proctor and Bergman, Bill Monroe, Roland Kirk, Steve Goodman and it didn’t seem to break the bank back then. They even brought in a production of Hair.
__Dean: __I remember seeing Steve Martin, Dolly Parton, the Staple Singers, Split Enz, Doc and Merle Watson, Bill Monroe, John Prine, JJ Cale, Doug Kershaw, Sonny Terry and Brownie McGhee, Sea Level. It was endless. The Great Southeast Music Hall booked great acts!
__Gasque:__ The Hall also allowed me to see performances of those who would become legends before they were well known: the Nitty Gritty Dirt Band, Mahavishnu Orchestra, David Allen Coe, Dixie Dregs, Willie Nelson, Emmylou Harris, Tom Waits, the Steve Martin Mull show, John Hartford, I could go on and on, and on.
__Roberts:__ It was a time when all the groups would be booked for three, four, five nights in a row. So we would get to hang out and get to know them. I remember taking Tom Waits to Underground Atlanta. He loved it! Tom played maybe 10 times at the Hall. I remember going bowling at the Express Lanes on Monroe Circle with Steve Martin and Martin Mull, I remember going to breakfast at the long-gone Steak & Egg with Captain Beefheart & Phillip (Fly) Stone ….
__Patton: __The Hall hosted the most eclectic shows in town. I’m sure everyone will mention the Martin/Mull show. But the acts ran the gamut from Gino Vanelli, Buffalo Bob and Howdy Doody, The B-52’s and Fairport Convention to Billy Crystal, Jimmy Buffett, Weather Report, Keith Jarrett and Doctor Hook.
__Roberts:__ I remember all of the great jams, most of all, the night B.B. King was playing, and Eric Clapton & Diana Ross came to the show, got onstage and proceeded to tear the roof off the place for about an hour.
__Patton:__ The absolute best show I ever saw there was the night B. B. King headlined with The Nighthawks opening. They were contracted for two shows and both sold out. But there were so many people outside after the second show, that a third was negotiated and performed. And, during King’s set, B.B.called harp player, Mark Wenner and guitarist, Jimmy Thackery from the Nighthawks up on stage to jam. After Thackery finished his solo, B.B. turned to him and bowed. To this day, I think that was the proudest moment in Jimmy’s life.
__Roberts:__ I remember another magical night, the bill was B.B. King, and the Nighthawks. And Gregg Allman joined them for a couple of nights. The most soulful and sweaty shows in my 46-year career!
__Patton:__ The most memorable shows? The Knobz, a band from North Carolina who played the “Punk Festival” at the Hall. The climax of their act came during their final number, “Disco Chainsaw,” when the lead singer sawed off his artificial leg with, yes, a gas-powered chainsaw. Game over. Follow that, bitches!
__Rhoades:__ I have to mention the appearance by the Sex Pistols, when I sat in with the opening act, Cruise-O-Matic. It was an intentionally strange billing with Cruise-O-Matic, known as a 60’s party band, that would guarantee to get a reaction from the crowd — and it did. I was brought up to sing a song written by myself and Rex Patton, “Boot In Your Face,” which was a spoof on the Ramones. The song was captured on film and eventually made it’s way into the Sex Pistol’s documentary, ''D.O.A.,'' which is almost unwatchable for me but still, it’s history. I still have the magazine, ''National Examiner'', which has a picture of me wearing a shirt I had spray painted with the words, “Kill Me.” In the article they superimposed a picture of Linda Ronstadt and the caption “America’s Sweetheart next to Punk bearing message on shirt that most true music fans would love to fulfill.” I’m damn proud of that one.
__Patton:__ The Sex Pistols, as much for the hoopla as anything else. With Cruis-O-Matic being their opening act, I was privy to all the backstage intrigue as well as the Us vs. Them dynamic that pervaded the Hall while we played our overlong (not our fault — nobody could find Sid) set. Most importantly, I met my future wife then, as she was going through the crucible of the Sex Pistols being the act she had to promote on her first week on the job as “Claudia Sickeler – PR Director for the Great Southeast Music Hall.”
__Citron:__ We could all reminisce about our favorite shows, John Prine, David Grisman, Doc and Merle, Jimmy Buffet, Leo Kotke, Ravi Shankar, John Hartford, Mac McAnally, Dolly Parton, Emmy Lou Harris, Janis Ian, Phoebe Snow, Johnathan Edwards, Crystal Gayle, Darryl Rhoades and the Hahavishnu Orchestra, B.B. King, Sun Ra, Muddy Waters,Tom Waits, Jerry Jeff Walker, NRBQ, David Bromberg, Nitty Gritty Dirt Band, the Sex Pistols, Steve Martin and Martin Mull, Jean Luc-Ponty, Asleep at the Wheel … but the real memories are of the hearts of the folks who ran the Hall. Gail (Bast), Robin (Conant), Ursula (Alexander), Claudia (Sickeler), Glenn (Allison), Chip (Abernathy), Doreen (Cochran), Farrell, Ron (Matthews), David (Manion), Sharon, Alun (Vontillus), Jack (Tarver), Brad (Moss) — insert a myriad of names here — the relationships that formed and have lasted the test of time. And, that night with Tommy Dean on stage singing away about “Chocolate City” and wondering ”who gave the monkey a gun,” I met my first husband on the back row — and we brought three wonderful children into the world (not that night, that happened quite a few years later). So, yes, the Music Hall changed my life.
__Patton: __Being there so often, I came to know everyone who worked there. Names popping into my head right now are Glenn, Gail, Doreen, Chip, Alun, Farrell, Mary, Phyllis, Brad, Ron, David, Carolyn, Betsy, Wiz. I know there are more and I’m sure other people will come up with them. Above and beyond the great musical experiences, the Hall was like a clubhouse, where we all ate together, drank together, got high together, saw shows together, hooked up and broke up. It was, basically, a funky shrine, where a bunch of like-minded people were busy being in their 20’s.
__Powell:__ The staff at the Hall wasn't just staff … we were and many still are like family. We did (and often still do) help each other...helping each other move, painting parties, rides, checking on each other when we didn't show, lending/giving money, going to court when someone got busted, lol..now go fund me pages and helping hands when someone needs dentures, or help with the rent.
__Gasque:__ It was small, it was friendly, and over time I met people who worked there that I am friends with today, Doreen Cochran, Sharon Powell, and Kay Vontillius. I distinctly remember the night I met Brad Moss, a part of management who was also involved in bringing the first U.S. performance of the Sex Pistols (a horrible performance however), because he and I became fast friends and years later would be married for 22 years until his death. The Music Hall gave me one of the greatest loves of my life.
__Powell:__ I loved our Brookhaven community, and our connection to each other and the Hall. I loved our mutual commitment to making sure the show went on...even through the times of no/late paychecks, we would show up. We always showed up! When we had to move the Hall, we worked together to load it out, and worked just as hard to load back in at Cherokee Plaza.
__Patton:__ I saw sets of some of the best music I had ever or would ever hear. And, when I walked out the front door of the Hall to go home – it was daylight. Magic.
__Citron:__ What a great home away from home the GSEMH became for me.
__Roberts:__ You had to be there.
__Powell:__ I found the "[https://www.facebook.com/groups/37003198317/|I Have Been to the Great Southeast Music Hall]" facebook page by total accident. I was living in the mountains, and was just surfing the net. I came upon the page, and noticed a couple of errors. ''Of course'' I contacted the page owner and talked to her about it. She and I became friends, and she made me an administrator. She was only 4 years-old when she used to go to the Hall because her mom loved it so much. Shannon Williamson created the page for her mom. Her mom is still with us, but. Shannon died last year. Shannon's dad was a Vietnam vet affected by Agent Orange. It’s thought that Shannon's lifelong illness was a result ... and it took her young life. This, to me, is sort of an example of the intrinsic interweaving of the culture of the day, the Hall, and our continued community
__Powell:__ People often ask which was my favorite show. The truth is, I didn't actually see many of them. Just like all the other staff (unless you were actually in the room) we were working the door, the record store, the jewelry store, the emporium, the office....I always made time to check out Arlo Guthrie and John Hartford. I loved those guys' music, and as human beings. Fitting that the last show we ever did was Arlo at Cherokee Plaza. He knew our dire straits, and did all he could to help us stay open. He even penned a singalong tune for the occasion about "saving the old Music Hall"...We didn’t, but, I like to think that Shannon did, though, because...here we are.
__Dean: __For the reunion I’ll be with Steve Wofford. We will miss Charles Wolff and Bruce Baxter who have both split the orb. Steve Marsh is unable to make it from Denver. Bob Elsey and Jody Worrell will play guitars and Anne Boston will help with vocals. We will be focused less on visuals and more on recreating the music, like “Who Gave The Monkey A Gun,” “Nina of the Nile,” “Living In The Heart Of Chocolate City,” “I’ve Got Rubber Brain Cells In My Head,” and other thoughtful fare.
__Rhoades:__ My appearance will be musical ,but I will also be performing some pieces from my standup show. I’m appearing at the Music Hall celebration with friends that I have recorded with and played live with for years, plus I will bring out special guests to sit in on a few songs. The material will give a nod to the Hahavishnu Orchestra, The Men from Glad, songs from several of my other CDs plus two unreleased songs, including one I wrote for this event.
__Dean: __Darryl Rhoades and the Hahavishnu Orchestra and Thermos Greenwood and the Colored People played many of the same venues but we have never performed back to back sets on the same stage. This is a first — and it promises to be fun!
__Rhoades:__ I never had the opportunity to share the bill with Thermos Greenwood when we were both playing the Hall. This will be a special night, and likely, will never be repeated."
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string(25493) " IMG 8228 2019-08-03T23:31:57+00:00 IMG_8228.jpg Remember seeing Roy Buchanan there! Must of been mid to late 70’s! Loved the Music Hall at Broadview & was there a lot because one of my best friends, Nanci Williams, did a lot of art work for them. I still have my bucket ! Loved the nostalgia. Came of age at the clubs of ATL in those days. Saw many great shows there. New Riders guitarist playing slide with a Heineken bottle,Muddy Watters,
Lightning Hopkins, Hot Tuna, Those crazy nights with Dave Bromberg and many more. I live in Asheville now but wish I could get in the wayback machine and go there.
And I still got one of those buckets! Getting the gang back together one last time IMG 8228 2019-08-03T23:36:57+00:00 HIGH FREQUENCIES: The Great Southeast Music Hall Reunion tony.paris Tony Paris TONY PARIS tony.paris (Tony Paris) 2019-08-03T23:36:57+00:00 Had the Sex Pistols never played the Great Southeast Music Hall, the music venue would still hold a significant place in Atlanta’s music history. Originally a bar, restaurant and concert hall tucked into the elbow of what was then Broadview Plaza, the setting was laid back, the beer served in buckets and the living seemed easy. The hippie counter-culture that had walked the Strip — Peachtree Street between 10th and 14th Streets — had disseminated into the mainstream, and the Great Southeast Music Hall was the perfect venue for those with longhair, tank tops, wide-belled Landlubber blue jeans and a yearning for peace and harmony to gather and groove together, listen to music and share in the joys and travails of becoming adults.
The Great Southeast Music Hall was not a rock club, not in the sense of Richards and the Electric Ballroom, two other Atlanta venues of the time, both located closer to the Strip, and therefore, downtown, an area considered unsafe by some suburbanites.
This was the ‘70s remember, and downtown Atlanta was becoming a ghost town, thanks to “white flight” — the move of businesses and people to areas north of the city — past Buckhead, past Chastain Park and Sandy Springs, to areas not even defined as OTP (outside the perimeter), because, for a time, no one knew they were ITP (inside the perimeter).
Located off Piedmont Road, with Morosgo Drive to the south and Marian Road to the north, the Broadview Plaza Shopping Center was the perfect place for a music venue, especially one catering to a wider, more varied audience by focusing on folk, country, bluegrass, and blues artists and singer-songwriters. The L-shaped strip mall had plenty of free parking, thanks to the grocery stores and small department stores that were its anchor tenants, allowing the Music Hall to schedule two shows a night without audiences having to worry about where to park before the first show’s turnover.
The Great Southeast Music Hall was also close to Brookhaven where, at the time, many Atlanta musicians lived, thanks to the cheap rent and small bungalows that made up the neighborhood before urbanization and gentrification spread up Peachtree Street. It was many of those local musicians, having played smaller clubs like the Bistro and the Twelfth Gate, who performed at the Music Hall, opening for national touring acts, and, in doing so, built large enough followings to headline the Great Southeast Music Hall on their own.
Darryl Rhoades and the Hahavishnu Orchestra, Thermos Greenwood and the Colored People, the Hampton Geese Band, the Glenn Phillips Band, Bill Sheffield, The Fans, the Para Band, and the Dynamic Atlanta Cruis-O-Matic were just some of the Atlanta performers to have headlined at the Great Southeast Music Hall.
When the original Broadview Plaza location was forced to close, it was natural for the Music Hall to move to Brookhaven to the theater located in Cherokee Plaza. Though many of the people remained and the Music Hall did well at the new location, it wasn’t the same. Sitting on cushions on the floor was replaced with tiered movie theater seats, and the Great Southeast Music Hall’s unique experience — not unlike like lounging in your own living room while your favorite musician performed — became one of more traditional theaters and music venues. The Dekalb County police didn’t help matters, either. The Music Hall was still selling cheap beer by the buckets, so once shows started, Dekalb’s finest would set up roadblocks at the exits of the shopping center to snare any inebriated music fans who tried to make it past the lines of police cars with rotating blue lights, officers, and dogs waiting for them on Peachtree Road.
This Sunday, August 4, a reunion of Great Southeast Music Hall employees, family and friends will take place at Smith’s Olde Bar. The get together starts at 5 p.m. with everyone gathering in the downstairs bar, then moving upstairs at 7 p.m. for the music. Bill Tush will emcee the evening, welcoming both Darryl Rhoades and Thermos Greenwood to the stage for their own sets. While neither will have their respective full bands with them, surviving members of both groups will appear, aided and abetted by many familiar Atlanta musicians as guests. Farrell Roberts, who has been busy planning the event along with Sharon Powell, says the reason for hosting this one is simple. Those who were regulars are getting older, and we should celebrate the past one more time. It’s hard to argue with that.
Farrell Roberts: It was named The Great Southeast Music Hall, Emporium, and Performing Arts Exchange. It was the ’70s. It held 525 people, who all sat on cushioned benches on the floor. They drank draft beer from a 32oz. metal bucket cost $2.75. You could get your bucket refilled and take it home as a souvenir.
Katherine Gasque: I was working for ABC Records in the mid 70’s. Jimmy Buffet was on our label and I went to the Great Southeast Music Hall for the first time to see him perform. It wasn’t a packed house but I was hooked on the place. Besides cheap buckets of beer and cheap food, the Hall was iconic, with an amazing wall signed by every artist who played there, it was magic. Tickets ran $3-4 dollars and everyone could see great music, rub elbows with like minded people, play some pinball, and drink cheap beer.
Kay Citron: It started at a point somewhere between the naivety of youth and hard core psychedelics and never ended! While listening to WRAS one night back in 1976, Aubrey the late night DJ offered free tickets to the first caller. I happened to be the lucky caller. I won tickets for Thermos Greenwood and the Colored People to see their show “Orgy on the Lawn.” I was young. I had to look up “orgy” in the Websters’ Dictionary. So off I go to this strange but intriguing event that included green, blue and purple performers on stage.
T’ Wesley Dean: My brother was part of a group that was going to stage a party at the Egyptian Ballroom in the Fox Theater, which was scheduled to be demolished. I talked my brother into letting me assemble a band for the party. I approached Bruce Baxter and Steve Wofford who were performing as Fletcher and the Piedmonts. The Piedmonts specialized in roots rock ’n' roll – Jerrry Lee Lewis, Carl Perkins, Elvis, and early Rolling Stones. They enlisted Steve Marsh to sing and play guitar and Richy Height came along on drums. I sang and played bass. At the time Glitter Rock was threatening to be the “latest thing” and, in response, I told the Piedmonts I was going to paint myself green and call myself Thermos Greenwood. They said “OK. We’ll paint ourselves too and be colored people.” Honest to God we didn’t know any better. Our biggest influences were Saturday morning TV kiddy fare – Ramar of the Jungle, Tarzan movies, Warner Brothers cartoons, and the Coasters. After playing a couple of successful parties we were invited by the Great Southeast Music Hall to come perform.
Sharon Powell: My first experience was when I won two tickets and an LP from WRAS for a band playing the Hall. I was NOT near the 18 year-old drinking age at the time, but, still, my friend and I, donned in our grooviest 10th street duds, picked up our tickets and LP at the door, and sauntered in like we owned the place. I met Farrell that night, and we became fast friends. I was working at Jumpin' Jack Flash Leather at the time, I think. Like a lot of us who went on to become forever attached to the Hall, I just sorta showed up and started working at whatever was needed. My first real paid gig there was when Bob Dulong asked if I would break down a bunch of boxes, and paid me for it. Next thing I knew, I was working in the box office, and getting money for it! Over the years, many of our jobs morphed to include much more than we started out doing. I ended my Hall career as a manager, box office, ticket sales, paying the bands, making sure contract rider stuff was attended, NOT being stoned, lol.
Citron: Too young to drink there (legally) but old enough to hang out and work the box office with Sharon and Chip, I returned as often as possible and basically “volunteered” to work. When there was nothing for me to do I would color in the black and white promo photos from the band bios in the office or play pinball in the lobby. The favored games, 6 Million Dollar Man and the Eight Ball machines, tried robbing Dan Baird and I of quarters, but we somehow ended up winning more free games than we had time to play. Good friendships for life. And THAT’S what I remember. Priscilla in the Emporium clothing me, Bean and Fly in the kitchen feeding me.
Powell: The Hall was and still is a huge part of my life. The political/cultural climate in the US was turbulent then as it is now.
Dean: In 1975 the war in Vietnam was over, flying on an airplane was fun, local police hadn’t been militarized, and the corporate lawyers and bean-counters had not yet ruined everything. I can remember Rex Patton and Ross Brittain played “19th Nervous Breakdown” nineteen times in a row on WIIN. It was a magic time to be in Atlanta.
Rex Patton: My initial contact with the Music Hall came from working at WIIN radio. We did remote interviews with recording acts in the Emporium for a feature called “Out to Lunch.” I basically worked on air for free. No salary. I worked another job from 6 am to 2 pm and then was on WIIN with Ross Brittain from 3 to sign-off. The only money I got was $50.00 a week for doing Taco Pronto promos (“Extra hot – all the time”). The Music Hall advertised with us by way of trade-outs. They paid us in meal tickets that we could use to eat at the Emporium. So, I was there, literally, 5 or more nights a week, just to feed myself. And, after a tasty dinner – I was partial to the Martin Mullett – I could wander into the hall itself and watch whomever was onstage that night.
Citron: My life changed as I met the music lovers, the musicians, the beer drinkers and the bartenders, the lighting and sound crew...I felt so at home on the padded floor seats!
Powell: A lot of stuff happened those first couple of years. I had my "day gigs,” which included working at Garma's Custom Leather and the Old Atlanta Satchel Co. There was a sort of crossover thing that happened. Management changed, staff came and went, but we didn't go too far … lots of us came to the Hall from other local Atlanta businesses: Comes the Sun, Garma's, the Electric Ballroom, Richards. The cool thing is the community we created. It wasn't just the Hall. If Alex (Cooley, who owned the Electric Ballroom) needed us at one of his gigs, we worked it out to help, and he did the same for us. Schedules were made in the community as a whole to make sure that everyone was covered. There wasn't the cutthroat competition that seems to exist now with the businesses in town. We all worked together.
Darryl Rhoades: It’s weird to think that my last performance at the GSEMH was over 41 years ago. It was unlike any venue I had played before or since. I have so many great memories of the Music Hall.
Dean: Performing at the Music Hall was always great fun. That was where we covered the stage with kudzu, and hired the little people who worked at Sid and Marty Kroft’s to harass us on stage. The audiences there were the best – they would whoop and howl when we took the stage – we did look ridiculous. I can remember traipsing along the front edge of the stage thinking, “It doesn’t matter what I do. They are going to eat it up!” And they did. We were able to be completely free in the moment.
Rhoades: There were no limits to what we could do there including the grand entrance in our holiday shows where several friends hoisted me up on a cross while I was dressed in a Santa Claus suit and screaming in a mic “You Got the wrong guy, you got the wrong guy” as I interrupted the band doing their Holiday Inn lounge show.
Patton: The Hall was also my entry into the Atlanta music scene as a participant. We played The Hahavishnu Orchestra on WIIN and through meeting the band members, I encountered the guys who would later end up forming Cruis-O-Matic, which I would eventually join. That led to interacting with and getting to know all of the players around town.
Rhoades: During the week billed as the Steve Martin Mull show, Steve had a college date on a Thursday night so they brought in Tom Waits for that show and Martin asked if I wanted to set in so I played drums with Jonny Hibbert on sax and Keith Christopher on bass with Martin on guitar and Tom on piano. That was one of my more pleasant memories at the Music Hall.
Roberts: And the shows that people would come see were those of artists that were "on their way up,” who would soon become household names. Billy Joel, Tom Petty, Jimmy Buffett, Willie Nelson, Jim Croce, Linda Ronstadt, Dolly Parton, Steve Martin, Joe Walsh, Robert Palmer, Emmylou Harris, Tom Waits, the Nitty Gritty Dirt Band, Pure Prarie League The Sex Pistols, Lindsey Buckingham & Stevie Nicks, Lynyrd Skynyrd, Jerry Garcia & the Legion of Mary. Huey Lewis, and so many others. The legends of the Blues: B.B. King, Albert King, Freddie King, Lightnin’ Hopkins, Jimmy Reed, Muddy Waters, Howlin’ Wolf, Willie Dixon . The Jazz artists John McLaughlin, Weather Report, Chick Corea & Return to Forever.
Rhoades: I saw so many incredible acts including Buffalo Bob from Howdy Doody on a Saturday afternoon matinee while I was surrounded by a bunch of kids and their moms. I was there the night Lily Tomlin stopped the show to have a redneck removed when yelled for her to take her clothes off. The music hall was all over the map in the kinds of entertainment they brought us…Ace Trucking Company, Proctor and Bergman, Bill Monroe, Roland Kirk, Steve Goodman and it didn’t seem to break the bank back then. They even brought in a production of Hair.
Dean: I remember seeing Steve Martin, Dolly Parton, the Staple Singers, Split Enz, Doc and Merle Watson, Bill Monroe, John Prine, JJ Cale, Doug Kershaw, Sonny Terry and Brownie McGhee, Sea Level. It was endless. The Great Southeast Music Hall booked great acts!
Gasque: The Hall also allowed me to see performances of those who would become legends before they were well known: the Nitty Gritty Dirt Band, Mahavishnu Orchestra, David Allen Coe, Dixie Dregs, Willie Nelson, Emmylou Harris, Tom Waits, the Steve Martin Mull show, John Hartford, I could go on and on, and on.
Roberts: It was a time when all the groups would be booked for three, four, five nights in a row. So we would get to hang out and get to know them. I remember taking Tom Waits to Underground Atlanta. He loved it! Tom played maybe 10 times at the Hall. I remember going bowling at the Express Lanes on Monroe Circle with Steve Martin and Martin Mull, I remember going to breakfast at the long-gone Steak & Egg with Captain Beefheart & Phillip (Fly) Stone ….
Patton: The Hall hosted the most eclectic shows in town. I’m sure everyone will mention the Martin/Mull show. But the acts ran the gamut from Gino Vanelli, Buffalo Bob and Howdy Doody, The B-52’s and Fairport Convention to Billy Crystal, Jimmy Buffett, Weather Report, Keith Jarrett and Doctor Hook.
Roberts: I remember all of the great jams, most of all, the night B.B. King was playing, and Eric Clapton & Diana Ross came to the show, got onstage and proceeded to tear the roof off the place for about an hour.
Patton: The absolute best show I ever saw there was the night B. B. King headlined with The Nighthawks opening. They were contracted for two shows and both sold out. But there were so many people outside after the second show, that a third was negotiated and performed. And, during King’s set, B.B.called harp player, Mark Wenner and guitarist, Jimmy Thackery from the Nighthawks up on stage to jam. After Thackery finished his solo, B.B. turned to him and bowed. To this day, I think that was the proudest moment in Jimmy’s life.
Roberts: I remember another magical night, the bill was B.B. King, and the Nighthawks. And Gregg Allman joined them for a couple of nights. The most soulful and sweaty shows in my 46-year career!
Patton: The most memorable shows? The Knobz, a band from North Carolina who played the “Punk Festival” at the Hall. The climax of their act came during their final number, “Disco Chainsaw,” when the lead singer sawed off his artificial leg with, yes, a gas-powered chainsaw. Game over. Follow that, bitches!
Rhoades: I have to mention the appearance by the Sex Pistols, when I sat in with the opening act, Cruise-O-Matic. It was an intentionally strange billing with Cruise-O-Matic, known as a 60’s party band, that would guarantee to get a reaction from the crowd — and it did. I was brought up to sing a song written by myself and Rex Patton, “Boot In Your Face,” which was a spoof on the Ramones. The song was captured on film and eventually made it’s way into the Sex Pistol’s documentary, D.O.A., which is almost unwatchable for me but still, it’s history. I still have the magazine, National Examiner, which has a picture of me wearing a shirt I had spray painted with the words, “Kill Me.” In the article they superimposed a picture of Linda Ronstadt and the caption “America’s Sweetheart next to Punk bearing message on shirt that most true music fans would love to fulfill.” I’m damn proud of that one.
Patton: The Sex Pistols, as much for the hoopla as anything else. With Cruis-O-Matic being their opening act, I was privy to all the backstage intrigue as well as the Us vs. Them dynamic that pervaded the Hall while we played our overlong (not our fault — nobody could find Sid) set. Most importantly, I met my future wife then, as she was going through the crucible of the Sex Pistols being the act she had to promote on her first week on the job as “Claudia Sickeler – PR Director for the Great Southeast Music Hall.”
Citron: We could all reminisce about our favorite shows, John Prine, David Grisman, Doc and Merle, Jimmy Buffet, Leo Kotke, Ravi Shankar, John Hartford, Mac McAnally, Dolly Parton, Emmy Lou Harris, Janis Ian, Phoebe Snow, Johnathan Edwards, Crystal Gayle, Darryl Rhoades and the Hahavishnu Orchestra, B.B. King, Sun Ra, Muddy Waters,Tom Waits, Jerry Jeff Walker, NRBQ, David Bromberg, Nitty Gritty Dirt Band, the Sex Pistols, Steve Martin and Martin Mull, Jean Luc-Ponty, Asleep at the Wheel … but the real memories are of the hearts of the folks who ran the Hall. Gail (Bast), Robin (Conant), Ursula (Alexander), Claudia (Sickeler), Glenn (Allison), Chip (Abernathy), Doreen (Cochran), Farrell, Ron (Matthews), David (Manion), Sharon, Alun (Vontillus), Jack (Tarver), Brad (Moss) — insert a myriad of names here — the relationships that formed and have lasted the test of time. And, that night with Tommy Dean on stage singing away about “Chocolate City” and wondering ”who gave the monkey a gun,” I met my first husband on the back row — and we brought three wonderful children into the world (not that night, that happened quite a few years later). So, yes, the Music Hall changed my life.
Patton: Being there so often, I came to know everyone who worked there. Names popping into my head right now are Glenn, Gail, Doreen, Chip, Alun, Farrell, Mary, Phyllis, Brad, Ron, David, Carolyn, Betsy, Wiz. I know there are more and I’m sure other people will come up with them. Above and beyond the great musical experiences, the Hall was like a clubhouse, where we all ate together, drank together, got high together, saw shows together, hooked up and broke up. It was, basically, a funky shrine, where a bunch of like-minded people were busy being in their 20’s.
Powell: The staff at the Hall wasn't just staff … we were and many still are like family. We did (and often still do) help each other...helping each other move, painting parties, rides, checking on each other when we didn't show, lending/giving money, going to court when someone got busted, lol..now go fund me pages and helping hands when someone needs dentures, or help with the rent.
Gasque: It was small, it was friendly, and over time I met people who worked there that I am friends with today, Doreen Cochran, Sharon Powell, and Kay Vontillius. I distinctly remember the night I met Brad Moss, a part of management who was also involved in bringing the first U.S. performance of the Sex Pistols (a horrible performance however), because he and I became fast friends and years later would be married for 22 years until his death. The Music Hall gave me one of the greatest loves of my life.
Powell: I loved our Brookhaven community, and our connection to each other and the Hall. I loved our mutual commitment to making sure the show went on...even through the times of no/late paychecks, we would show up. We always showed up! When we had to move the Hall, we worked together to load it out, and worked just as hard to load back in at Cherokee Plaza.
Patton: I saw sets of some of the best music I had ever or would ever hear. And, when I walked out the front door of the Hall to go home – it was daylight. Magic.
Citron: What a great home away from home the GSEMH became for me.
Roberts: You had to be there.
Powell: I found the "I Have Been to the Great Southeast Music Hall" facebook page by total accident. I was living in the mountains, and was just surfing the net. I came upon the page, and noticed a couple of errors. Of course I contacted the page owner and talked to her about it. She and I became friends, and she made me an administrator. She was only 4 years-old when she used to go to the Hall because her mom loved it so much. Shannon Williamson created the page for her mom. Her mom is still with us, but. Shannon died last year. Shannon's dad was a Vietnam vet affected by Agent Orange. It’s thought that Shannon's lifelong illness was a result ... and it took her young life. This, to me, is sort of an example of the intrinsic interweaving of the culture of the day, the Hall, and our continued community
Powell: People often ask which was my favorite show. The truth is, I didn't actually see many of them. Just like all the other staff (unless you were actually in the room) we were working the door, the record store, the jewelry store, the emporium, the office....I always made time to check out Arlo Guthrie and John Hartford. I loved those guys' music, and as human beings. Fitting that the last show we ever did was Arlo at Cherokee Plaza. He knew our dire straits, and did all he could to help us stay open. He even penned a singalong tune for the occasion about "saving the old Music Hall"...We didn’t, but, I like to think that Shannon did, though, because...here we are.
Dean: For the reunion I’ll be with Steve Wofford. We will miss Charles Wolff and Bruce Baxter who have both split the orb. Steve Marsh is unable to make it from Denver. Bob Elsey and Jody Worrell will play guitars and Anne Boston will help with vocals. We will be focused less on visuals and more on recreating the music, like “Who Gave The Monkey A Gun,” “Nina of the Nile,” “Living In The Heart Of Chocolate City,” “I’ve Got Rubber Brain Cells In My Head,” and other thoughtful fare.
Rhoades: My appearance will be musical ,but I will also be performing some pieces from my standup show. I’m appearing at the Music Hall celebration with friends that I have recorded with and played live with for years, plus I will bring out special guests to sit in on a few songs. The material will give a nod to the Hahavishnu Orchestra, The Men from Glad, songs from several of my other CDs plus two unreleased songs, including one I wrote for this event.
Dean: Darryl Rhoades and the Hahavishnu Orchestra and Thermos Greenwood and the Colored People played many of the same venues but we have never performed back to back sets on the same stage. This is a first — and it promises to be fun!
Rhoades: I never had the opportunity to share the bill with Thermos Greenwood when we were both playing the Hall. This will be a special night, and likely, will never be repeated. Tony Paris Archives BUCKETS OF MOONBEAMS, REALLY: The beer doesn't taste as good, drinking it from this old tin now; but the memories are so sweet. 0,0,1 HIGH FREQUENCIES: The Great Southeast Music Hall Reunion "
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HIGH FREQUENCIES: The Great Southeast Music Hall Reunion Music and Nightlife, High Frequencies, Music Briefs, Music Features
Saturday August 3, 2019 07:36 PM EDT
Getting the gang back together one last time
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string(263) "Same as it ever was, the visual arts scene in Atlanta is in a state of flux, particularly at the street level where the West and Southwest flanks of downtown mark the next major front for the newest of the new to appear. With the Goat Farm closing and morphing..."
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string(35234) "SIDEBAR: Reject the Box
SIDEBAR: Atlanta’s airport art gallery
Same as it ever was, the visual arts scene in Atlanta is in a state of flux, particularly at the street level where the West and Southwest flanks of downtown mark the next major front for the newest of the new to appear. With the Goat Farm closing and morphing into who-knows-what; the construction of The MET continuing apace and attracting entities like MINT and Mammal Gallery; and The Bakery executing its inspiring, if sometimes bewilderingly eclectic, strategy with characteristic DIY aplomb (while facing a move in the next year, as the lease on the arts center’s Warner Street building will not be renewed), the west side is the best side for seeking out the edges of Atlanta’s art/art music/art performance scene.
“Atlanta’s strong suit for the 40-something years I’ve been here is how incredibly active the grassroots community is,” says Louise Shaw, curator of the Senser Museum at the Centers for Disease Control and cofounder of Idea Capital, an arts funding group. “People, particularly young people, are continually trying to reinvent the art scene.”
Otherwise, the more things change, the more stalwart venues, such as the High Museum, Atlanta Contemporary, Museum of Contemporary Art of Georgia, the major arts institutions and fine art galleries, keep moving forward with their respective missions. At the same time, public art, street art, mural painting, and graffiti are exerting a particular influence on the Atlanta art scene for which the city is becoming increasingly recognized nationally and internationally.
“The street art trend is really exciting,” says Shaw. “The work along Edgewood and in Cabbagetown, the Krog Tunnel, these works that stay up for a few months and are then replaced by new work — this kind of activity creates a vibrancy and excitement lacking in many cities.”
From gleaming white halls and walls to sandblasted slabs of brick and concrete to just about any flat accessible surface with a sightline, Atlanta’s visual artists, curators and gallery owners use whatever means are available to satisfy the muse. That’s how it works.
!!Atlanta Celebrates Photography
Entering its third decade, Atlanta Celebrates Photography (ACP) — www.acpinfo.org — is both an annual festival and the name of the organization responsible for staging the event. Billed as the largest community photography event in America, the 2019 edition of the ACP festival, which begins in mid-September and runs through the end of October, features more than 100 happenings including five lectures, three professional development workshops, a photobook fair, a film series, and numerous exhibits. This panoply of activity takes place at site-specific outdoor installations including the BeltLine, arts facilities, museums, galleries, retail businesses, and special venues spread across metro Atlanta.
“The ACP festival provides a comprehensive platform not only for people to experience our events, but to participate as creators,” says ACP Executive Director Amy Miller. “This allows for a true celebration of all that photography can be — a multifaceted art form with the power to change lives and connect people.”
The ACP has no event facility to call its own. All exhibits, lectures, screenings, and sundry programs are arranged through partnerships with other organizations and institutions. “The beauty of this business model is that the entire city becomes our venue,” Miller says. “The ACP festival raises awareness of arts venues and cultural organizations throughout the city, which creates a rising tide that, hopefully, lifts all boats.”
!!!Highlights of the 2019 Atlanta Celebrates Photography Festival include:
The FENCE (Atlanta BeltLine’s Westside Trail): This truly mega-outdoor photo exhibition returns to Atlanta with more than 40 photographers from around the world, selected by a jury of 40 experts from a global call for entries, spreading the joy of their craft along a 700+-foot-long fence.
ACP Auction Gala (Saturday, September 14): Cocktail reception, open bar, dinner, plus a silent auction at The Landmark honoring Dr. Sarah Kennel, newly installed curator of photography at the High Museum of Art. The auction serves as the primary fundraising event for ACP and the 2019 ACP Festival.
ACP Special Exhibition: Teen Spirit at Mason Fine Art – www.masonfineartandevents.com – (Artists Reception, Thursday, September 19, 6-9 p.m., Exhibition September 19-October 11, free and open to the public). Volunteer photographers, led by ACP co-founder Corinne Adams, guide teens at Scottish Rite and Egleston hospitals in an exploration of identity, including (or in spite of) their diagnosis, through writing and photographic self-portraiture. This exhibition showcases the creative work produced by the teens during the past 12 months.
Photobook Fair (October 4-5): The photo book event of the Southeast at the Museum of Contemporary Art of Georgia. For the complete list of exhibitors, artist talks, and book-signings, please visit ACPinfo.org
Chris Verene’s “Home Movies” (Thursday, October 10): The Landmark Midtown Art Cinema hosts a one-night-only screening of “home movies” (video clips) shot by renowned photographer Chris Verene during the course of documenting his family’s life in rural Illinois, which has been the former Atlantan’s primary subject for the past three decades. A post-screening panel discussion will feature photographer Ashley Reid and Mona Bennett, ambassador of the Atlanta Harm Reduction Coalition, moderated by Felicia Feaster.
In conjunction with the Landmark screening of “Home Movies,” Marcia Wood Gallery – www.marciawoodgallery.com – which represents Verene, will be exhibiting a large selection of the artist’s photographs during the ACP Festival. Verene will be in attendance at the gallery opening in the Castleberry Hill neighborhood on September 18 and closing reception on October 12.
!!Atlanta Contemporary Arts Center
In 2015, the Atlanta Contemporary dropped the “Arts Center” from its name and fully embraced the institutionalized practice of “free admission, every day.” Today, Atlanta Contemporary – www.atlantacontemporary.org – occupies a special position in the arts community not only because of the price of admission to the facility, but also by virtue of its varied offerings, which include showcasing and commissioning new work by emerging artists; diverse educational programs, such as Contemporary Kids, Contemporary Cocktails, and Contemporary Talks; and on-site subsidized studio space for working artists through the Studio Artist Program. Atlanta Contemporary, incidentally, also throws great art parties and openings.
“Any city that is a beacon for tourism and advancement in technology, any city that wants to be recognized as a destination, needs a contemporary art center that advocates for what’s happening today,” says Executive Director Veronica Kessenich.
With the departure of curator Daniel Fuller at the end of June, Kessenich is moving forward with a full slate of previously scheduled fall exhibitions and looking with anticipation toward a new chapter in the evolution of the Westside arts center.
“Daniel was such an integral part of Atlanta Contemporary over the last four and a half years,” says Kessenich. “We will surely miss him and thank him for his leadership and service to Atlanta Contemporary.”
On tap between Saturday, August 24, and Sunday, December 22, are solo exhibitions by Bryan Graf and Emma McMillan, plus Contemporary On-Site projects featuring Coco Hunday, an artist-run exhibition space in Tampa, Florida; Atlanta-based artist Wihro Kim; and Bailey Scieszka who lives and works in Detroit.
In “Landlines,” Bryan Graf explores a range of photographic approaches and subjects, seeking balance or an equivalence between conceptual, visceral, and narrative elements. “The photographs in this show are notes, recordings, observations, and questions from specific places and times,” notes the Atlanta Contemporary press release. “This is an optical research into the debris of the days; a self-portrait of the dust that sculpts us.”
Emma McMillan’s “Project X” is inspired by the work of Atlanta architect John Portman, whose influence on the contours of the Atlanta skyline can scarcely be understated. Appropriating the name of an unrealized 1969 utopian residential building, Project X conjures up the architect’s design theory and manifest legacy in a series of large oil and aquarelle paintings, which are displayed across aluminum scaffolding, creating an immersive environment reminiscent of Portman’s iconic downtown Atlanta structures.
!!EBD4
Coinciding with the Atlanta Celebrates Photography Festival, EBD4 – www.EBD4.com – an industrial space for creatives in Chamblee, is staging a special “ACP at EBD4” exhibition. “1980’s ATL Portraits of Drag Queens & Club Kids (think RuPaul)” by Al Clayton showcases Clayton’s chronicling of the intersectional-before-it-was-cool club scene in Atlanta back when the local celebrity head count included RuPaul, Larry Tee, LaHoma, Sable Chanel, Charlie Brown, and Spike, among others.
The exhibition will also display images from Clayton’s landmark 1969 book, Still Hungry in America, along with select images of Johnny Cash, Kris Kristofferson, Townes van Zandt, Tammy Wynette and other luminaries from Ken Burns’ documentary Country Music. The Clayton family will have prints from the photographer’s personal collection available, as well as limited edition prints.
Opening: Saturday, October 19, 2019, 6:30. Dance party starts at 8:30, admission $10.
Open House: Wednesday, October 23–Saturday, October 26, 1–5 p.m. or by appointment.
!!Gallery 72
It may come as a surprise to some that the City of Atlanta Mayor’s Office of Cultural Affairs has its own art gallery. Opened in 2014, Gallery 72 — www.ocaatlanta.com — is located downtown on the first floor of the 72 Marietta Street building. During the past five years, Gallery 72 has hosted a variety of exhibitions addressing relevant topics ranging from human trafficking, civil and human rights, memory and ritual, to the growth of local arts organizations (e.g., Wonderroot, The Creatives Project) and the rise of hip-hop.
“Gallery 72 is a space where artists can push the experimental aesthetics of their work, which they may not choose to pursue in more commercial venues,” says gallery director Kevin Sipp. “It is also important that the gallery represents Atlanta as it is now, which is a melting pot of vibrant cultures, political views, and ideas.”
Gallery 72 will host two exhibitions in the fall: In “Reclaim/Proclaim Blandtown” (October 10-November 22), Gregor Turk takes up the subject of a long-neglected Westside Atlanta neighborhood. In the 1950s, the African-American community of Blandtown, which once boasted more than 200 houses, was rezoned to heavy industrial without proper public review. Today, much of the area, which is bisected by the BeltLine, is being rezoned back to residential for rapid redevelopment. Of the four original remaining houses, one was converted by Turk in 2003 into his studio. Comprising wall-mounted sculpture and photography, “Reclaim/Proclaim Blandtown” is part history lesson, part manifesto, and part civic rousing. In 2017, Turk received an Idea Capital grant for developing this project followed by an Artist Project Grant the next year from the Mayor’s Office of Cultural Affairs.
"Contrapunto: A Latin American Art Collective in Atlanta" (November 28-February 7) celebrates the work of a Latin art collective founded in 2008 by Carlos Solis. In addition to Solis, Contrapunto members, all of whom are based in Atlanta, included in the exhibition are Jorge Arcos, Pedro Fuertes, Catalina Gomez Beuth, Dora López, and Graciela Núñez Bedoya, Their work ranges from surrealist, cubist, and abstract to realist and naturalistic. In Spanish, “contrapunto” usually refers to the musical practice of joining two or more melodies to create harmony while maintaining the individual quality of each player’s contribution.
Says Sipp, “The narratives that fuel Atlanta and its present growth have expanded beyond past narratives to include transcendent global perspectives from all corners of the world.”
!!Hathaway Gallery
::::
Established in 2015 in what is now a thriving Westside neighborhood jam-packed with live-work spaces, restaurants, and entertainment venues, Hathaway Gallery – www.hathawaygallery.com – strives to “foster and expand the contemporary art collector base in the Southeast through inclusivity and education.” Hathaway’s fall exhibition schedule includes:
“No Place Like Home” (July 20–September 7): A three-person exhibition of works by Jaime Bull, In Kyoung Chun, and Maryam Palizgir. Each of the artists brings a distinctly expressive technique and vision to bear on the idea of “home.”
“Changing Tides” (September 14–November 9): A solo exhibition featuring the highly kinetic, vividly colorful abstract paintings of Fran O’Neill.
!!High Museum
In the realm of mainstream visual arts, every major metropolitan city has its leader of the pack. The museum with the largest and deepest collection, the curatorial punch, and the financial wherewithal to make things happen that other institutions can’t and, truth be told, don’t need to match.
In Atlanta, the High Museum of Art – www.high.org – has filled that role since the founding of the Atlanta Art Association (the museum’s organizational precursor) in 1905. In 2019, the sensually curvaceous, gleaming white structure, situated on a gently rising grassy slope at the corner of Peachtree and 16th streets, stands alongside the Alliance Theater and Atlanta Symphony Orchestra as one of three pillars girding the Woodruff Arts Center.
In 2018, the High undertook a total reconfiguration of its almost 94,000 square feet of gallery space. The massive makeover allowed for the rearrangement of artwork from the museum’s 16,000-piece permanent collection and the inclusion of a trove of never-before-exhibited artistic treasure. Among those treasures were selections from a 2017 acquisition of visionary folk art from the Souls Grown Deep Foundation, which shone new light on the art of Thornton Dial, Sr., Lonnie Holley, Henry Church, Mary T. Smith, and the fabulous quilts created by the women of Gee’s Bend, Alabama.
At the end of last year, the High Museum presented Yayoi Kusama’s “Infinity Mirrors,” a wildly popular exhibition seen by 136,000 people before closing in February. For a minute at least, it seemed like Kusama-mania had imbued the museum with a rejuvenating hipness, tagging the joint as being worthy of regular visitation by a new generation or two of art-curious fans.
“We’re always committed to presenting the finest examples of artistic achievement we can get our hands on,” says High Museum director Rand Suffolk.
!!!Three exhibitions distinguish the High Museum’s fall calendar:
“Something Over Something Else,” Romare Bearden’s Profile Series (Sept. 14, 2019– Feb. 2, 2020):
Organized by the High, this touring exhibition brings together dozens of works from Romare Bearden’s “Profile” series for the first time since its debut nearly 40 years ago. A series of collages conjures up the original presentations from 1978 and 1981, which featured accompanying wall texts written by Bearden (who died in 1988) in collaboration with essayist, jazz critic, and novelist Albert Murray.
“A Thousand Crossings,” Sally Mann (Oct. 19, 2019–Feb. 2, 2020):
One of the preeminent art photographers of the last half-century, Sally Mann (American, born 1951) is a Virginia native whose work is often deeply, sometimes defiantly, rooted in her journey as a Southerner. Notes the High’s press preview: “The exhibition is both a sweeping overview of Mann’s artistic achievement over the past four decades and a focused exploration of how the South emerges in her work as a powerful and provocative force…”
“Figures of Speech,” Virgil Abloh (Nov. 9, 2019–March 8, 2020):
Organized by the Museum of Contemporary Art, Chicago, where it debuted in June, “Figures of Speech” showcases the work of Virgil Abloh, the 39-year-old creative operator at the console of a thoroughly modern matrix enveloping art, music, fashion, and celebrity. The exhibition includes clothing designs for Louis Vuitton (Abloh is the first person of African descent to lead the Parisian fashion house’s ready-to-wear line for men); videos of fashion shows, which have garnered no small amount of viral online attention; and Abloh’s distinctive furniture designs (some for IKEA) and graphic art.
“Each exhibition also complements our permanent collection, adding context and insight across multiple collecting areas,” says Suffolk. “Presenting one of these shows would be exceptional. Having all three here this fall is extraordinary.”
!!Jackson Fine Art
Widely recognized as one of the most important supporters of contemporary fine art photography in Atlanta and beyond, Jackson Fine Art – www.jacksonfineart.com – caters to artists, collectors, museums and corporate clients with services ranging from curating and managing collections to framing and installing.
For the fall season, Jackson Fine Art is showcasing a large selection of photographs by Sally Mann to supplement her retrospective at the High Museum (see above). Specifically, the exhibit (October 18–December 21) draws heavily from “Remembered Light,” a series that produced a book of photographs documenting painter-sculptor Cy Twombly’s studio in Lexington, Virginia, where both artists grew up.
!!Michael C. Carlos Museum
2019 marks the centennial celebration of the formal establishment of a museum to house Emory University’s collection of art and antiquities, which was relocated in 1919 from the original campus in Oxford, Georgia, to the main campus in Atlanta. In 1985, with the support of local philanthropist Michael C. Carlos, the museum moved into the old law school building following a complete renovation by architect Michael Graves. In 1993, an expanded museum and new conservation laboratory, which also benefited from Carlos’s largesse and Graves’ architectural acumen, opened as the Michael C. Carlos Museum – www.carlos.emory.edu.
Today, the Carlos Museum serves as a repository for more than 16,000 works, including what is arguably the largest ancient art collection in the Southeast. In addition to ancient artifacts from Rome, Egypt, Greece, the Near East, and the Americas; works of Asian art and sub-Saharan African art from the 19th and 20th centuries; and works on paper from the Middle Ages to the present, the museum also presents special exhibitions and educational events open to students of all ages and the general public. “The Carlos Museum’s collection of ancient art is unique in Atlanta and the Southeast, but we’re so much more than mummies,” says Allison Hutton, director of communications and marketing. “The oldest piece in our collection was created around 6,500-6,000 BC and the ‘youngest,’ a print by Tom Hück, was created in 2018, so we have quite a range.”
The museum recently launched SmARTy Packs, which lets families learn about art together in the galleries through hands-on projects. This fall, in conjunction with the exhibition “Through a Glass, Darkly” (see below), the museum will host an engraving workshop with artist Andrew Raftery.
“Through a Glass, Darkly: Allegory and Faith in Netherlandish Prints from Lucas van Leyden to Rembrandt” (August 31-December 1) considers the form, function, and meaning of allegorical prints produced in the Low Countries (Belgium, the Netherlands, and Luxembourg) between the 16th and 18th centuries.
“Minor White Unburdened: Photographs from the Collection of Lindsay W. Marshall” (October 12-December 15) features works by Minor White alongside photographs by friends and colleagues including Ansel Adams, Edward Weston, and Rose Mandel. Accompanying the photographs will be a selection of White’s writings in which he reflects upon his career and lifelong personal struggles with religion, sexuality, and the constitution of the spirit.
!!MODA
In 2011, the Museum of Design Atlanta (MODA) – www.museumofdesign.org – celebrated its grand relocation to the sleek, stylish, ground-floor confines of Perkins + Will, a renowned architecture firm on Peachtree Street across from the High Museum, with an exhibit titled “Passione Italiana: Design of the Italian Motorcycle.” Since then, MODA has pursued its mission “to advance the understanding and appreciation of design as the convergence of creativity and functionality.”
“MODA is the only design museum in the Southeastern United States, which makes us different from institutions in Atlanta and far beyond,” says Executive Director Laura Flusche. “Our exhibitions and our programs demonstrate that design can inspire change, transform lives, and make the world a better place.”
MODA has mounted exhibitions that celebrate beautiful products (espresso machines, motorcycles), graphic designers and architects (Paul Rand, Eero Saarinen, Louise Fili), wearable technology (biofeedback devices), activist art and craft, urban design, landscape architecture, and food production techniques and distribution methodology. The museum organizes public lectures and educational programs that tackle serious topics and engage the imagination.
“Attendance at MODA has skyrocketed in the past 18 months,” says Flusche. “We’re attracting a young, diverse group of design-lovers who are passionate about social justice and human rights issues and the ways that design can address those things.”
On display at the gallery through Sunday, September 29, is “Wire & Wood: Designing Iconic Guitars”, which explores the basics of guitar design and construction alongside the ways in which musicians use the instrument to shape their public image. Included in the exhibition, curated and designed by W. Todd Vaught, are a number of instruments which have acquired legendary status by virtue of the musicians who wielded them on concert stages around the world.
Among the famed axes on display in “Wire & Wood” are Bo Diddley’s Gretsch 6138, Buck Owens’ Harmony Acoustic, Derek Trucks’ Gibson SG, Jack White’s Diddley Bow (from It Might Get Loud), Junior Brown’s Custom Guit-Steel, Kurt Cobain’s Fender Stratocaster, Steve Vai’s Ibanez EVO, and St. Vincent’s Signature Ernie Ball Music Man.
“Wire & Wood” confronts the age-old conundrum of whether form follows function or vice-versa by first presenting the guitar in its simplest form along with information about the ways in which traditional design elements and materials affect sound. The exhibit then discusses advancements in the luthier’s art, including mass manufacturing and alternative materials, accompanied by stories explaining how and why certain modern guitars are endowed with a status beyond their mere existence.
!!Museum of Contemporary Art of Georgia
It’s right there in the name: The Museum of Contemporary Art of Georgia (MOCA GA) — www.mocaga.org — collects and archives significant, contemporary works by artists who hail from or reside in the state of Georgia. That said, to provide context and accommodate relational concepts, the museum’s exhibitions include Georgia artists and artists from around the world.
Co-founded in 2000 by David S. Golden, then president of CGR Advisors, and Annette Cone-Skelton, an accomplished Georgia artist and now President/CEO/Director of MOCA GA, the museum’s collection includes more than 1,000 works by 330 Georgia artists in a variety of mediums including painting, sculpture, photography, and installation.
“Before MOCA GA, much of the work being exhibited locally was by artists imported from other urban centers, which did not necessarily acknowledge the narratives that were important to this area,” says Cone-Skelton. “This left a tremendous void in the landscape of arts institutions in Atlanta.”
Consequently, the Atlanta arts community experienced an exodus of talent to cities like New York, Los Angeles, and Chicago. MOCA GA stepped into the void with a mission based on programs that create a forum for interchange between artists and the community, and a platform from which to launch local artists and their works into the orbit of the global arts community.
Recently, Atlanta Contemporary announced Cone-Skelton and Atlanta mixed-media artist Kevin Cole as recipients of the 2019 Nexus Award. The award recognizes “individuals, groups, or organizations that have made significant contributions to the contemporary arts landscape and celebrates local leaders who are instrumental in making Atlanta an exceptionally vibrant arts community.”
!!!MOCA GA fall schedule:
Tuesday, August 13: Working Artist Project (WAP) Fellow Krista Clark artist talk for “Base Line of Appraisal” exhibition, 6:30-8:30 pm
Thursday, September 5: “Dorothy O’Connor: Scenes” opening reception, 6:30-8:30 pm
Friday, September 6: Public panel and reception for the Latin American Association exhibition (unnamed at press time), 6-9 pm
Friday, September 13: WAP Fellow Myra Greene’s opening reception (unnamed at press time), 6:30-8:30 pm
Tuesday, October 1: WAP Fellow Myra Greene artist talk, 6:30-8:30 pm
Friday & Saturday, October 4-5: MOCA GA hosts the Atlanta Celebrates Photography Photobook Fair
Friday, October 18: MOCA GA hosts the Atlanta Photography Group panel
Friday, November 15: WAP Fellow Cosmo Whyte’s opening reception (unnamed at press time), 6:30-8:30 pm
::::
!!
Opened in 2010 and curated by writer and filmmaker, Robin Bernat, Poem88 – www.poem88.net – declared a reorganization of its roster of artists. Consequently, 70 percent of the artists on the Poem 88 roster are women while approximately 28 percent represent ethnic or cultural minorities and 42 percent are 50 years of age or older. As a woman-owned business, Poem 88 is committed to supporting and nurturing “a community that is frequently sidelined in today’s contemporary art world.”
“Raymond Goins: Infallible Beauty” (Saturday, September 7–Saturday, October 19): This exhibition will provide an unadorned and decontextualized view of the work of Raymond Goins, a self-taught artist who moves fluidly between the realms of interior design, decorative art, and fine art.
!!Sandler Hudson Gallery
Established in 1989 by Georgia-born owners Debbie Hudson and Robin Sandler, Sandler Hudson www.sandlerhudson.com — Gallery specializes in innovative and provocative contemporary art that spans a multitude of disciplines including painting, drawing, sculpture, photography, video, and new media. For the fall season, Sandler Hudson is presenting three exhibitions:
“Recent Drawings” (June 28–September 14): A group exhibition featuring works by Krista Clark, William Downs, Yanique Norman, and Rocío Rodríguez, “Recent Drawings” explores a variety of mark-making using various instruments, techniques, and mediums.
“JET” (September 20–October 19): Los Angeles-based artist Erin D. Garcia brings his vibrant and colorful paintings to the south for the first time. “JET” will present Garcia’s distinctly rendered varicolored gradient shapes on his largest canvases to date, along with multiple works on paper.
“Blue Distant” (October 25–November 30): A solo exhibition of new paintings, sculpture, and works on paper by Savannah artist Namwon Choi. Choi’s elegantly offbeat works fuse conceptual notions of Eastern and Western art into a wondrously personal vision.
!!SCAD FASH Museum of Fashion + Film
The Savannah College of Art & Design (SCAD) opened its Midtown Atlanta campus in 2005. Among its prominent facilities is the SCAD FASH Museum of Fashion + Film – www.scadfash.org. With nearly 10,000 square feet of exhibition space, SCAD FASH serves as a teaching museum for students and a platform for public presentations of fashion-focused designs, films, gallery talks, and lectures.
“SCAD FASH’s exhibitions and programs are curated in collaboration with world-renowned designers and artists, and are developed to inspire and engage visitors with varied backgrounds, not only fashionistas!” says SCAD’s public relations director Jeanette McWilliams.
Past exhibitions have featured fashion luminaries, such as Oscar de la Renta, Guo Pei, Mary Katrantzou and Carolina Herrera, and fashionable work including costumes from The Handmaid’s Tale television series (SCAD exhibit ends August 12).
“The public’s interest in fashion has never been more ardent and continues to grow,” says McWilliams. “Last May, our first-ever student runway show sold out almost as quickly as the tickets went online.”
!!!During the fall season, SCAD FASH is hosting three exhibitions:
“Aura and Invention: Alternative Processes in Photography” (September 26–November 14) showcases works by SCAD students and recent alumni from the Atlanta and Savannah campuses. According to a SCAD press release, “Works in this exhibition were chosen for their inventiveness in process and design, by young artists who are pushing the limits and potential for photography in an image-saturated society. Through alternative perspectives in the composition of photography, these artists challenge modes of reproduction, and offer alternatives to a culture of instant production and dissemination of images.”
“Form & Function: Shoe Art by Chris Francis” (August 13–December 8) puts the spotlight on the Los Angeles-based street artist-turned-shoe-designer who learned his trade by consulting with and acquiring vintage machines and tools from immigrant cobblers. Francis credits the punk movement for inspiring the independent design house where he crafts small batches of wildly stylized shoes, many of which have been worn by rock stars including Mötley Crüe’s Mick Mars, Steve Jones of the Sex Pistols, and former Runaways guitarist Lita Ford.
Isabelle de Borchgrave exhibition: “w” (October 22–January 12) explores five centuries of fashion through the trompe l’oeil masterpieces of Belgian artist Isabelle de Borchgrave. Using paper and paint, de Borchgrave creates sculptural replicas of garments found in early European paintings and collections. The exhibition includes de Borchgrave’s series “Les Ballet Russes,” which interprets costumes designed by Léon Bakst, Giorgio de Chirico, and Pablo Picasso, as well as her “Kaftans” series, which was inspired by the Silk Road textiles of central Asia. The exhibition also includes work by eccentric early 20th-century artist Mariano Fortuny, whose famous Delphos gown debuted in 1907.
!!Whitespace
In a converted 1893 carriage house on Edgewood Avenue behind her Inman Park Victorian residence, Whitespace – ww.whitespace814.com – owner Susan Bridges stages exhibitions of contemporary art along with the occasional chamber ensemble performance. Opened in 2007, Whitespace was the Creative Loafing Reader’s Choice for Best Gallery in 2013.
“On Singing the Body Formless and Electric” (Friday, August 2–Saturday, August 31): In the spirit of poet Walt Whitman’s “I sing the body electric,” Whitespace hosts a tripartite exhibition curated by Atlanta native Lisa Alembik, assistant professor at Perimeter College of Georgia State University on the Clarkston campus. The main gallery will feature eight artist or artist groups, which include Carrie Hawks, Catherine Lucky Chang, Eleanor Aldrich, Hannah Adair, Hannah Ehrlich, Larkin Ford & Joe Hadden, Michelle Laxalt, and Parker Thornton. In the Whitespec space, the two-artist collaborative of Pinky/MM Bass and Carolyn DeMeritt will display their work, while Amanda Britton commandeers Shedspace.
“7th Annual Short Shorts 2019, Jiffy Louvre: Leave Worry Behind” (Thursday, August 29, 7:30-9 p.m.): An evening of one- to five-minute films selected by guest juror, painter, sculptor, and animator Joseph Peragine, director of the Ernest G. Welch School of Art & Design at Georgia State University.
!!ZUCKERMAN MUSEUM OF ART
Opened in 2014, the Bernard A. Zuckerman Museum of Art (ZMA) — www.arts.kennesaw.edu/zuckerman — on the Kennesaw State University campus encompasses three exhibition galleries, a collection research center, and a two-story-high glass atrium, which is the most striking feature of the 9,200-square-foot facility designed by Stanley Beaman & Sears. The museum regularly presents works from the university’s 6,000-piece permanent collection along with exhibitions of contemporary works by local, national, and international artists. The ZMA's Fine Arts Satellite Gallery in the Wilson Building features faculty, student, and alumni projects.
“The ZMA team, which has significantly altered in the past year, is proud of what we accomplished in the institution's first five years,” says Teresa Bramlette Reeves, director of curatorial affairs, who will have resigned from her position by the time this article is published. “We routinely presented exhibitions of depth and variety, supported local artists, shared the work of nationally and internationally recognized artists, and produced associated brochures and catalogues.”
The ZMA’s two main fall exhibitions open on Saturday, August 24, with a free reception and special programming from 3-5 p.m.
"Painting Who?" (through December 15) presents a series of paintings by multiple artists, which serve multiple roles and stretch the definition and traditional boundaries of painting. “I see them as alive,” wrote Moira Dryer (1957-1992) about her work, which is featured in the show. “I see them as walking away from the wall. It’s a feeling I have that the work is active, active in our own world, not separate.” The other artists showcased in “Painting Who?” are Jeff Conefry, Gracie Devito, Chris Hood and Wihro Kim.
"Fruitful Labors" (through November 10) focuses on strategies and tactics for coping, according to a ZMA press release. Ranging from the absurd to the essential, the tactics include conversation, repetitive labor, intergenerational storytelling, and healing practices. The artwork “reflects our innate fear of uncertainty and the unknown while simultaneously valuing the power of belief in the face of struggle.” Featured artists include Lenka Clayton, Harry Dodge/Stanya Kahn, Shanequa Gay, Stanya Kahn, Michelle Laxalt, Shana Moulton, and Kaitlynn Redell.
Return to Fall Arts Preview 2019"
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Same as it ever was, the visual arts scene in Atlanta is in a state of flux, particularly at the street level where the West and Southwest flanks of downtown mark the next major front for the newest of the new to appear. With the Goat Farm closing and morphing into who-knows-what; the construction of The MET continuing apace and attracting entities like MINT and Mammal Gallery; and The Bakery executing its inspiring, if sometimes bewilderingly eclectic, strategy with characteristic DIY aplomb (while facing a move in the next year, as the lease on the arts center’s Warner Street building will not be renewed), the west side is the best side for seeking out the edges of Atlanta’s art/art music/art performance scene.
“Atlanta’s strong suit for the 40-something years I’ve been here is how incredibly active the grassroots community is,” says Louise Shaw, curator of the Senser Museum at the Centers for Disease Control and cofounder of Idea Capital, an arts funding group. “People, particularly young people, are continually trying to reinvent the art scene.”
Otherwise, the more things change, the more stalwart venues, such as the High Museum, Atlanta Contemporary, Museum of Contemporary Art of Georgia, the major arts institutions and fine art galleries, keep moving forward with their respective missions. At the same time, public art, street art, mural painting, and graffiti are exerting a particular influence on the Atlanta art scene for which the city is becoming increasingly recognized nationally and internationally.
“The street art trend is really exciting,” says Shaw. “The work along Edgewood and in Cabbagetown, the Krog Tunnel, these works that stay up for a few months and are then replaced by new work — this kind of activity creates a vibrancy and excitement lacking in many cities.”
From gleaming white halls and walls to sandblasted slabs of brick and concrete to just about any flat accessible surface with a sightline, Atlanta’s visual artists, curators and gallery owners use whatever means are available to satisfy the muse. That’s how it works.
!!__Atlanta Celebrates Photography__
Entering its third decade, Atlanta Celebrates Photography (ACP) — www.acpinfo.org — is both an annual festival and the name of the organization responsible for staging the event. Billed as the largest community photography event in America, the 2019 edition of the ACP festival, which begins in mid-September and runs through the end of October, features more than 100 happenings including five lectures, three professional development workshops, a photobook fair, a film series, and numerous exhibits. This panoply of activity takes place at site-specific outdoor installations including the BeltLine, arts facilities, museums, galleries, retail businesses, and special venues spread across metro Atlanta.
“The ACP festival provides a comprehensive platform not only for people to experience our events, but to participate as creators,” says ACP Executive Director Amy Miller. “This allows for a true celebration of all that photography can be — a multifaceted art form with the power to change lives and connect people.”
The ACP has no event facility to call its own. All exhibits, lectures, screenings, and sundry programs are arranged through partnerships with other organizations and institutions. “The beauty of this business model is that the entire city becomes our venue,” Miller says. “The ACP festival raises awareness of arts venues and cultural organizations throughout the city, which creates a rising tide that, hopefully, lifts all boats.”
!!!Highlights of the 2019 Atlanta Celebrates Photography Festival include:
__The FENCE (Atlanta BeltLine’s Westside Trail):__ This truly mega-outdoor photo exhibition returns to Atlanta with more than 40 photographers from around the world, selected by a jury of 40 experts from a global call for entries, spreading the joy of their craft along a 700+-foot-long fence.
__ACP Auction Gala__ (Saturday, September 14): Cocktail reception, open bar, dinner, plus a silent auction at The Landmark honoring Dr. Sarah Kennel, newly installed curator of photography at the High Museum of Art. The auction serves as the primary fundraising event for ACP and the 2019 ACP Festival.
__ACP Special Exhibition: Teen Spirit at Mason Fine Art__ – www.masonfineartandevents.com – (Artists Reception, Thursday, September 19, 6-9 p.m., Exhibition September 19-October 11, free and open to the public). Volunteer photographers, led by ACP co-founder Corinne Adams, guide teens at Scottish Rite and Egleston hospitals in an exploration of identity, including (or in spite of) their diagnosis, through writing and photographic self-portraiture. This exhibition showcases the creative work produced by the teens during the past 12 months.
__Photobook Fair__ (October 4-5): ''The'' photo book event of the Southeast at the Museum of Contemporary Art of Georgia. For the complete list of exhibitors, artist talks, and book-signings, please visit ACPinfo.org
__Chris Verene’s “Home Movies”__ (Thursday, October 10): The Landmark Midtown Art Cinema hosts a one-night-only screening of “home movies” (video clips) shot by renowned photographer Chris Verene during the course of documenting his family’s life in rural Illinois, which has been the former Atlantan’s primary subject for the past three decades. A post-screening panel discussion will feature photographer Ashley Reid and Mona Bennett, ambassador of the Atlanta Harm Reduction Coalition, moderated by Felicia Feaster.
In conjunction with the Landmark screening of “Home Movies,” Marcia Wood Gallery – www.marciawoodgallery.com – which represents Verene, will be exhibiting a large selection of the artist’s photographs during the ACP Festival. Verene will be in attendance at the gallery opening in the Castleberry Hill neighborhood on September 18 and closing reception on October 12.
!!Atlanta Contemporary Arts Center
In 2015, the Atlanta Contemporary dropped the “Arts Center” from its name and fully embraced the institutionalized practice of “free admission, every day.” Today, Atlanta Contemporary – www.atlantacontemporary.org – occupies a special position in the arts community not only because of the price of admission to the facility, but also by virtue of its varied offerings, which include showcasing and commissioning new work by emerging artists; diverse educational programs, such as Contemporary Kids, Contemporary Cocktails, and Contemporary Talks; and on-site subsidized studio space for working artists through the Studio Artist Program. Atlanta Contemporary, incidentally, also throws great art parties and openings.
“Any city that is a beacon for tourism and advancement in technology, any city that wants to be recognized as a destination, needs a contemporary art center that advocates for what’s happening today,” says Executive Director Veronica Kessenich.
With the departure of curator Daniel Fuller at the end of June, Kessenich is moving forward with a full slate of previously scheduled fall exhibitions and looking with anticipation toward a new chapter in the evolution of the Westside arts center.
“Daniel was such an integral part of Atlanta Contemporary over the last four and a half years,” says Kessenich. “We will surely miss him and thank him for his leadership and service to Atlanta Contemporary.”
On tap between Saturday, August 24, and Sunday, December 22, are solo exhibitions by Bryan Graf and Emma McMillan, plus Contemporary On-Site projects featuring Coco Hunday, an artist-run exhibition space in Tampa, Florida; Atlanta-based artist Wihro Kim; and Bailey Scieszka who lives and works in Detroit.
In “__Landlines__,” Bryan Graf explores a range of photographic approaches and subjects, seeking balance or an equivalence between conceptual, visceral, and narrative elements. “The photographs in this show are notes, recordings, observations, and questions from specific places and times,” notes the Atlanta Contemporary press release. “This is an optical research into the debris of the days; a self-portrait of the dust that sculpts us.”
Emma McMillan’s “__Project X__” is inspired by the work of Atlanta architect John Portman, whose influence on the contours of the Atlanta skyline can scarcely be understated. Appropriating the name of an unrealized 1969 utopian residential building, Project X conjures up the architect’s design theory and manifest legacy in a series of large oil and aquarelle paintings, which are displayed across aluminum scaffolding, creating an immersive environment reminiscent of Portman’s iconic downtown Atlanta structures.
!!EBD4
Coinciding with the Atlanta Celebrates Photography Festival, EBD4 – www.EBD4.com – an industrial space for creatives in Chamblee, is staging a special “ACP at EBD4” exhibition. “__1980’s ATL Portraits of Drag Queens & Club Kids (think RuPaul)__” by Al Clayton showcases Clayton’s chronicling of the intersectional-before-it-was-cool club scene in Atlanta back when the local celebrity head count included RuPaul, Larry Tee, LaHoma, Sable Chanel, Charlie Brown, and Spike, among others.
The exhibition will also display images from Clayton’s landmark 1969 book, ''Still Hungry in America'', along with select images of Johnny Cash, Kris Kristofferson, Townes van Zandt, Tammy Wynette and other luminaries from Ken Burns’ documentary ''Country Music''. The Clayton family will have prints from the photographer’s personal collection available, as well as limited edition prints.
Opening: Saturday, October 19, 2019, 6:30. Dance party starts at 8:30, admission $10.
Open House: Wednesday, October 23–Saturday, October 26, 1–5 p.m. or by appointment.
!!Gallery 72
It may come as a surprise to some that the City of Atlanta Mayor’s Office of Cultural Affairs has its own art gallery. Opened in 2014, Gallery 72 — www.ocaatlanta.com — is located downtown on the first floor of the 72 Marietta Street building. During the past five years, Gallery 72 has hosted a variety of exhibitions addressing relevant topics ranging from human trafficking, civil and human rights, memory and ritual, to the growth of local arts organizations (e.g., Wonderroot, The Creatives Project) and the rise of hip-hop.
“Gallery 72 is a space where artists can push the experimental aesthetics of their work, which they may not choose to pursue in more commercial venues,” says gallery director Kevin Sipp. “It is also important that the gallery represents Atlanta as it is now, which is a melting pot of vibrant cultures, political views, and ideas.”
Gallery 72 will host two exhibitions in the fall: In “__Reclaim/Proclaim Blandtown__” (October 10-November 22), Gregor Turk takes up the subject of a long-neglected Westside Atlanta neighborhood. In the 1950s, the African-American community of Blandtown, which once boasted more than 200 houses, was rezoned to heavy industrial without proper public review. Today, much of the area, which is bisected by the BeltLine, is being rezoned back to residential for rapid redevelopment. Of the four original remaining houses, one was converted by Turk in 2003 into his studio. Comprising wall-mounted sculpture and photography, “Reclaim/Proclaim Blandtown” is part history lesson, part manifesto, and part civic rousing. In 2017, Turk received an Idea Capital grant for developing this project followed by an Artist Project Grant the next year from the Mayor’s Office of Cultural Affairs.
"__Contrapunto: A Latin American Art Collective in Atlanta__" (November 28-February 7) celebrates the work of a Latin art collective founded in 2008 by Carlos Solis. In addition to Solis, Contrapunto members, all of whom are based in Atlanta, included in the exhibition are Jorge Arcos, Pedro Fuertes, Catalina Gomez Beuth, Dora López, and Graciela Núñez Bedoya, Their work ranges from surrealist, cubist, and abstract to realist and naturalistic. In Spanish, “contrapunto” usually refers to the musical practice of joining two or more melodies to create harmony while maintaining the individual quality of each player’s contribution.
Says Sipp, “The narratives that fuel Atlanta and its present growth have expanded beyond past narratives to include transcendent global perspectives from all corners of the world.”
!!Hathaway Gallery
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Established in 2015 in what is now a thriving Westside neighborhood jam-packed with live-work spaces, restaurants, and entertainment venues, Hathaway Gallery – www.hathawaygallery.com – strives to “foster and expand the contemporary art collector base in the Southeast through inclusivity and education.” Hathaway’s fall exhibition schedule includes:
“__No Place Like Home__” (July 20–September 7): A three-person exhibition of works by Jaime Bull, In Kyoung Chun, and Maryam Palizgir. Each of the artists brings a distinctly expressive technique and vision to bear on the idea of “home.”
“__Changing Tides__” (September 14–November 9): A solo exhibition featuring the highly kinetic, vividly colorful abstract paintings of Fran O’Neill.
!!High Museum
In the realm of mainstream visual arts, every major metropolitan city has its leader of the pack. The museum with the largest and deepest collection, the curatorial punch, and the financial wherewithal to make things happen that other institutions can’t and, truth be told, don’t need to match.
In Atlanta, the High Museum of Art – www.high.org – has filled that role since the founding of the Atlanta Art Association (the museum’s organizational precursor) in 1905. In 2019, the sensually curvaceous, gleaming white structure, situated on a gently rising grassy slope at the corner of Peachtree and 16th streets, stands alongside the Alliance Theater and Atlanta Symphony Orchestra as one of three pillars girding the Woodruff Arts Center.
In 2018, the High undertook a total reconfiguration of its almost 94,000 square feet of gallery space. The massive makeover allowed for the rearrangement of artwork from the museum’s 16,000-piece permanent collection and the inclusion of a trove of never-before-exhibited artistic treasure. Among those treasures were selections from a 2017 acquisition of visionary folk art from the Souls Grown Deep Foundation, which shone new light on the art of Thornton Dial, Sr., Lonnie Holley, Henry Church, Mary T. Smith, and the fabulous quilts created by the women of Gee’s Bend, Alabama.
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At the end of last year, the High Museum presented Yayoi Kusama’s “Infinity Mirrors,” a wildly popular exhibition seen by 136,000 people before closing in February. For a minute at least, it seemed like Kusama-mania had imbued the museum with a rejuvenating hipness, tagging the joint as being worthy of regular visitation by a new generation or two of art-curious fans.
“We’re always committed to presenting the finest examples of artistic achievement we can get our hands on,” says High Museum director Rand Suffolk.
!!!Three exhibitions distinguish the High Museum’s fall calendar:
“__Something Over Something Else,__” Romare Bearden’s Profile Series (Sept. 14, 2019– Feb. 2, 2020):
Organized by the High, this touring exhibition brings together dozens of works from Romare Bearden’s “Profile” series for the first time since its debut nearly 40 years ago. A series of collages conjures up the original presentations from 1978 and 1981, which featured accompanying wall texts written by Bearden (who died in 1988) in collaboration with essayist, jazz critic, and novelist Albert Murray.
“__A Thousand Crossings__,” Sally Mann (Oct. 19, 2019–Feb. 2, 2020):
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One of the preeminent art photographers of the last half-century, Sally Mann (American, born 1951) is a Virginia native whose work is often deeply, sometimes defiantly, rooted in her journey as a Southerner. Notes the High’s press preview: “The exhibition is both a sweeping overview of Mann’s artistic achievement over the past four decades and a focused exploration of how the South emerges in her work as a powerful and provocative force…”
“__Figures of Speech__,” Virgil Abloh (Nov. 9, 2019–March 8, 2020):
Organized by the Museum of Contemporary Art, Chicago, where it debuted in June, “Figures of Speech” showcases the work of Virgil Abloh, the 39-year-old creative operator at the console of a thoroughly modern matrix enveloping art, music, fashion, and celebrity. The exhibition includes clothing designs for Louis Vuitton (Abloh is the first person of African descent to lead the Parisian fashion house’s ready-to-wear line for men); videos of fashion shows, which have garnered no small amount of viral online attention; and Abloh’s distinctive furniture designs (some for IKEA) and graphic art.
“Each exhibition also complements our permanent collection, adding context and insight across multiple collecting areas,” says Suffolk. “Presenting one of these shows would be exceptional. Having all three here this fall is extraordinary.”
!!Jackson Fine Art
Widely recognized as one of the most important supporters of contemporary fine art photography in Atlanta and beyond, Jackson Fine Art – www.jacksonfineart.com – caters to artists, collectors, museums and corporate clients with services ranging from curating and managing collections to framing and installing.
For the fall season, Jackson Fine Art is showcasing a large selection of photographs by Sally Mann to supplement her retrospective at the High Museum (see above). Specifically, the exhibit (October 18–December 21) draws heavily from “Remembered Light,” a series that produced a book of photographs documenting painter-sculptor Cy Twombly’s studio in Lexington, Virginia, where both artists grew up.
!!Michael C. Carlos Museum
2019 marks the centennial celebration of the formal establishment of a museum to house Emory University’s collection of art and antiquities, which was relocated in 1919 from the original campus in Oxford, Georgia, to the main campus in Atlanta. In 1985, with the support of local philanthropist Michael C. Carlos, the museum moved into the old law school building following a complete renovation by architect Michael Graves. In 1993, an expanded museum and new conservation laboratory, which also benefited from Carlos’s largesse and Graves’ architectural acumen, opened as the Michael C. Carlos Museum – www.carlos.emory.edu.
Today, the Carlos Museum serves as a repository for more than 16,000 works, including what is arguably the largest ancient art collection in the Southeast. In addition to ancient artifacts from Rome, Egypt, Greece, the Near East, and the Americas; works of Asian art and sub-Saharan African art from the 19th and 20th centuries; and works on paper from the Middle Ages to the present, the museum also presents special exhibitions and educational events open to students of all ages and the general public. “The Carlos Museum’s collection of ancient art is unique in Atlanta and the Southeast, but we’re so much more than mummies,” says Allison Hutton, director of communications and marketing. “The oldest piece in our collection was created around 6,500-6,000 BC and the ‘youngest,’ a print by Tom Hück, was created in 2018, so we have quite a range.”
The museum recently launched SmARTy Packs, which lets families learn about art together in the galleries through hands-on projects. This fall, in conjunction with the exhibition “Through a Glass, Darkly” (see below), the museum will host an engraving workshop with artist Andrew Raftery.
“__Through a Glass, Darkly: Allegory and Faith in Netherlandish Prints from Lucas van Leyden to Rembrandt__” (August 31-December 1) considers the form, function, and meaning of allegorical prints produced in the Low Countries (Belgium, the Netherlands, and Luxembourg) between the 16th and 18th centuries.
“__Minor White Unburdened: Photographs from the Collection of Lindsay W. Marshall__” (October 12-December 15) features works by Minor White alongside photographs by friends and colleagues including Ansel Adams, Edward Weston, and Rose Mandel. Accompanying the photographs will be a selection of White’s writings in which he reflects upon his career and lifelong personal struggles with religion, sexuality, and the constitution of the spirit.
!!MODA
In 2011, the Museum of Design Atlanta (MODA) – www.museumofdesign.org – celebrated its grand relocation to the sleek, stylish, ground-floor confines of Perkins + Will, a renowned architecture firm on Peachtree Street across from the High Museum, with an exhibit titled “Passione Italiana: Design of the Italian Motorcycle.” Since then, MODA has pursued its mission “to advance the understanding and appreciation of design as the convergence of creativity and functionality.”
“MODA is the only design museum in the Southeastern United States, which makes us different from institutions in Atlanta and far beyond,” says Executive Director Laura Flusche. “Our exhibitions and our programs demonstrate that design can inspire change, transform lives, and make the world a better place.”
MODA has mounted exhibitions that celebrate beautiful products (espresso machines, motorcycles), graphic designers and architects (Paul Rand, Eero Saarinen, Louise Fili), wearable technology (biofeedback devices), activist art and craft, urban design, landscape architecture, and food production techniques and distribution methodology. The museum organizes public lectures and educational programs that tackle serious topics and engage the imagination.
“Attendance at MODA has skyrocketed in the past 18 months,” says Flusche. “We’re attracting a young, diverse group of design-lovers who are passionate about social justice and human rights issues and the ways that design can address those things.”
On display at the gallery through Sunday, September 29, is “Wire & Wood: Designing Iconic Guitars”, which explores the basics of guitar design and construction alongside the ways in which musicians use the instrument to shape their public image. Included in the exhibition, curated and designed by W. Todd Vaught, are a number of instruments which have acquired legendary status by virtue of the musicians who wielded them on concert stages around the world.
Among the famed axes on display in “__Wire & Wood__” are Bo Diddley’s Gretsch 6138, Buck Owens’ Harmony Acoustic, Derek Trucks’ Gibson SG, Jack White’s Diddley Bow (from ''It'' ''Might Get Loud''), Junior Brown’s Custom Guit-Steel, Kurt Cobain’s Fender Stratocaster, Steve Vai’s Ibanez EVO, and St. Vincent’s Signature Ernie Ball Music Man.
“Wire & Wood” confronts the age-old conundrum of whether form follows function or vice-versa by first presenting the guitar in its simplest form along with information about the ways in which traditional design elements and materials affect sound. The exhibit then discusses advancements in the luthier’s art, including mass manufacturing and alternative materials, accompanied by stories explaining how and why certain modern guitars are endowed with a status beyond their mere existence.
!!Museum of Contemporary Art of Georgia
It’s right there in the name: The Museum of Contemporary Art of Georgia (MOCA GA) — www.mocaga.org — collects and archives significant, contemporary works by artists who hail from or reside in the state of Georgia. That said, to provide context and accommodate relational concepts, the museum’s exhibitions include Georgia artists and artists from around the world.
Co-founded in 2000 by David S. Golden, then president of CGR Advisors, and Annette Cone-Skelton, an accomplished Georgia artist and now President/CEO/Director of MOCA GA, the museum’s collection includes more than 1,000 works by 330 Georgia artists in a variety of mediums including painting, sculpture, photography, and installation.
“Before MOCA GA, much of the work being exhibited locally was by artists imported from other urban centers, which did not necessarily acknowledge the narratives that were important to this area,” says Cone-Skelton. “This left a tremendous void in the landscape of arts institutions in Atlanta.”
Consequently, the Atlanta arts community experienced an exodus of talent to cities like New York, Los Angeles, and Chicago. MOCA GA stepped into the void with a mission based on programs that create a forum for interchange between artists and the community, and a platform from which to launch local artists and their works into the orbit of the global arts community.
Recently, Atlanta Contemporary announced Cone-Skelton and Atlanta mixed-media artist Kevin Cole as recipients of the 2019 Nexus Award. The award recognizes “individuals, groups, or organizations that have made significant contributions to the contemporary arts landscape and celebrates local leaders who are instrumental in making Atlanta an exceptionally vibrant arts community.”
!!!MOCA GA fall schedule:
__Tuesday, August 13:__ Working Artist Project (WAP) Fellow Krista Clark artist talk for “__Base Line of Appraisal__” exhibition, 6:30-8:30 pm
__Thursday, September 5:__ “__Dorothy O’Connor: Scenes__” opening reception, 6:30-8:30 pm
__Friday, September 6:__ Public panel and reception for the Latin American Association exhibition (unnamed at press time), 6-9 pm
__Friday, September 13:__ WAP Fellow Myra Greene’s opening reception (unnamed at press time), 6:30-8:30 pm
__Tuesday, October 1:__ WAP Fellow Myra Greene artist talk, 6:30-8:30 pm
__Friday & Saturday, October 4-5:__ MOCA GA hosts the Atlanta Celebrates Photography Photobook Fair
__Friday, October 18:__ MOCA GA hosts the Atlanta Photography Group panel
__Friday, November 15:__ WAP Fellow Cosmo Whyte’s opening reception (unnamed at press time), 6:30-8:30 pm
::{img fileId="21491" desc="desc" max="1000"}::
!!{Poem 88}
Opened in 2010 and curated by writer and filmmaker, Robin Bernat, Poem88 – www.poem88.net – declared a reorganization of its roster of artists. Consequently, 70 percent of the artists on the Poem 88 roster are women while approximately 28 percent represent ethnic or cultural minorities and 42 percent are 50 years of age or older. As a woman-owned business, Poem 88 is committed to supporting and nurturing “a community that is frequently sidelined in today’s contemporary art world.”
“__Raymond Goins: Infallible Beauty__” (Saturday, September 7–Saturday, October 19): This exhibition will provide an unadorned and decontextualized view of the work of Raymond Goins, a self-taught artist who moves fluidly between the realms of interior design, decorative art, and fine art.
!!Sandler Hudson Gallery
Established in 1989 by Georgia-born owners Debbie Hudson and Robin Sandler, Sandler Hudson www.sandlerhudson.com — Gallery specializes in innovative and provocative contemporary art that spans a multitude of disciplines including painting, drawing, sculpture, photography, video, and new media. For the fall season, Sandler Hudson is presenting three exhibitions:
“__Recent Drawings__” (June 28–September 14): A group exhibition featuring works by Krista Clark, William Downs, Yanique Norman, and Rocío Rodríguez, “Recent Drawings” explores a variety of mark-making using various instruments, techniques, and mediums.
“__JET__” (September 20–October 19): Los Angeles-based artist Erin D. Garcia brings his vibrant and colorful paintings to the south for the first time. “JET” will present Garcia’s distinctly rendered varicolored gradient shapes on his largest canvases to date, along with multiple works on paper.
“__Blue Distant__” (October 25–November 30): A solo exhibition of new paintings, sculpture, and works on paper by Savannah artist Namwon Choi. Choi’s elegantly offbeat works fuse conceptual notions of Eastern and Western art into a wondrously personal vision.
!!SCAD FASH Museum of Fashion + Film
The Savannah College of Art & Design (SCAD) opened its Midtown Atlanta campus in 2005. Among its prominent facilities is the SCAD FASH Museum of Fashion + Film – www.scadfash.org. With nearly 10,000 square feet of exhibition space, SCAD FASH serves as a teaching museum for students and a platform for public presentations of fashion-focused designs, films, gallery talks, and lectures.
“SCAD FASH’s exhibitions and programs are curated in collaboration with world-renowned designers and artists, and are developed to inspire and engage visitors with varied backgrounds, not only fashionistas!” says SCAD’s public relations director Jeanette McWilliams.
Past exhibitions have featured fashion luminaries, such as Oscar de la Renta, Guo Pei, Mary Katrantzou and Carolina Herrera, and fashionable work including costumes from ''The'' ''Handmaid’s Tale'' television series (SCAD exhibit ends August 12).
“The public’s interest in fashion has never been more ardent and continues to grow,” says McWilliams. “Last May, our first-ever student runway show sold out almost as quickly as the tickets went online.”
!!!During the fall season, SCAD FASH is hosting three exhibitions:
“__Aura and Invention: Alternative Processes in Photography__” (September 26–November 14) showcases works by SCAD students and recent alumni from the Atlanta and Savannah campuses. According to a SCAD press release, “Works in this exhibition were chosen for their inventiveness in process and design, by young artists who are pushing the limits and potential for photography in an image-saturated society. Through alternative perspectives in the composition of photography, these artists challenge modes of reproduction, and offer alternatives to a culture of instant production and dissemination of images.”
“__Form & Function: Shoe Art by Chris Francis__” (August 13–December 8) puts the spotlight on the Los Angeles-based street artist-turned-shoe-designer who learned his trade by consulting with and acquiring vintage machines and tools from immigrant cobblers. Francis credits the punk movement for inspiring the independent design house where he crafts small batches of wildly stylized shoes, many of which have been worn by rock stars including Mötley Crüe’s Mick Mars, Steve Jones of the Sex Pistols, and former Runaways guitarist Lita Ford.
__Isabelle de Borchgrave exhibition:__ “__w__” (October 22–January 12) explores five centuries of fashion through the trompe l’oeil masterpieces of Belgian artist Isabelle de Borchgrave. Using paper and paint, de Borchgrave creates sculptural replicas of garments found in early European paintings and collections. The exhibition includes de Borchgrave’s series “Les Ballet Russes,” which interprets costumes designed by Léon Bakst, Giorgio de Chirico, and Pablo Picasso, as well as her “Kaftans” series, which was inspired by the Silk Road textiles of central Asia. The exhibition also includes work by eccentric early 20th-century artist Mariano Fortuny, whose famous Delphos gown debuted in 1907.
!!Whitespace
In a converted 1893 carriage house on Edgewood Avenue behind her Inman Park Victorian residence, Whitespace – ww.whitespace814.com – owner Susan Bridges stages exhibitions of contemporary art along with the occasional chamber ensemble performance. Opened in 2007, Whitespace was the ''Creative Loafing'' Reader’s Choice for Best Gallery in 2013.
“__On Singing the Body Formless and Electric__” (Friday, August 2–Saturday, August 31): In the spirit of poet Walt Whitman’s “I sing the body electric,” Whitespace hosts a tripartite exhibition curated by Atlanta native Lisa Alembik, assistant professor at Perimeter College of Georgia State University on the Clarkston campus. The main gallery will feature eight artist or artist groups, which include Carrie Hawks, Catherine Lucky Chang, Eleanor Aldrich, Hannah Adair, Hannah Ehrlich, Larkin Ford & Joe Hadden, Michelle Laxalt, and Parker Thornton. In the Whitespec space, the two-artist collaborative of Pinky/MM Bass and Carolyn DeMeritt will display their work, while Amanda Britton commandeers Shedspace.
“__7th Annual Short Shorts 2019, Jiffy Louvre: Leave Worry Behind__” (Thursday, August 29, 7:30-9 p.m.): An evening of one- to five-minute films selected by guest juror, painter, sculptor, and animator Joseph Peragine, director of the Ernest G. Welch School of Art & Design at Georgia State University.
!!ZUCKERMAN MUSEUM OF ART
Opened in 2014, the Bernard A. Zuckerman Museum of Art (ZMA) — www.arts.kennesaw.edu/zuckerman — on the Kennesaw State University campus encompasses three exhibition galleries, a collection research center, and a two-story-high glass atrium, which is the most striking feature of the 9,200-square-foot facility designed by Stanley Beaman & Sears. The museum regularly presents works from the university’s 6,000-piece permanent collection along with exhibitions of contemporary works by local, national, and international artists. The ZMA's Fine Arts Satellite Gallery in the Wilson Building features faculty, student, and alumni projects.
“The ZMA team, which has significantly altered in the past year, is proud of what we accomplished in the institution's first five years,” says Teresa Bramlette Reeves, director of curatorial affairs, who will have resigned from her position by the time this article is published. “We routinely presented exhibitions of depth and variety, supported local artists, shared the work of nationally and internationally recognized artists, and produced associated brochures and catalogues.”
The ZMA’s two main fall exhibitions open on Saturday, August 24, with a free reception and special programming from 3-5 p.m.
"__Painting Who?__" (through December 15) presents a series of paintings by multiple artists, which serve multiple roles and stretch the definition and traditional boundaries of painting. “I see them as alive,” wrote Moira Dryer (1957-1992) about her work, which is featured in the show. “I see them as walking away from the wall. It’s a feeling I have that the work is active, active in our own world, not separate.” The other artists showcased in ''“''Painting Who?” are Jeff Conefry, Gracie Devito, Chris Hood and Wihro Kim.
__"Fruitful Labors__" (through November 10) focuses on strategies and tactics for coping, according to a ZMA press release. Ranging from the absurd to the essential, the tactics include conversation, repetitive labor, intergenerational storytelling, and healing practices. The artwork “reflects our innate fear of uncertainty and the unknown while simultaneously valuing the power of belief in the face of struggle.” Featured artists include Lenka Clayton, Harry Dodge/Stanya Kahn, Shanequa Gay, Stanya Kahn, Michelle Laxalt, Shana Moulton, and Kaitlynn Redell.
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!!::~~#000000:Reject the Box~~::
!!!::~~#000000:Atlanta-based artist-musician Lonnie Holley ruminates on the journey from obscurity to notoriety in the art world.~~::
::{img fileId="21495" desc="desc" max="800"}::
{DIV(class="byline clearfix")}~~#000000:LONNIE HOLLEY~~{DIV}
~~#000000:We struggle too long and some give up.~~
~~#000000:Ridiculed.~~
~~#000000:Criticized.~~
~~#000000:Rejected.~~
~~#000000:Not appreciated in the world.~~
~~#000000:Not appreciated in the art world.~~
~~#000000:We weren’t invited into it.~~
~~#000000:We’ve never really been invited into it.~~
~~#000000:So we had to create our own way of making and seeing the world.~~
~~#000000:I just kept pushing the boundaries of what I thought I was capable of. I kept going.~~
~~#000000:I saw so much material out there that I couldn’t stop.~~
~~#000000:I had so many other issues I had to face in my life that I couldn’t focus on the rejection. Or the criticism. In some ways I had to keep ahead of the criticism.~~
~~#000000:I kept doing my art. And kept reminding myself that my art was the purpose. It was more important than me and my feelings. I had studied and learned so many things just by looking. And listening. And doing. And looking at what ''National Geographic'' and encyclopedias contained.~~
~~#000000:Which came first, the artist or the art?~~
~~#000000:I always say, “Which will you drop first, the baby or the bomb?”~~
~~#000000:Sometimes we are on a journey and we think we are alone. And it’s scary to be alone.~~
~~#000000:But then you find out you are not alone and it gives you power. It makes you work harder.~~
~~#000000:I was not alone. I was not even alone in Alabama. People like Thornton Dial did the same thing. They had to. Mose Tolliver. Arlonzia Pettway and Nettie Young and Mary Lee Bendolph and Rita Mae Pettway and so many others, in Gee’s Bend, did the same thing. They even taught their children, so you have Louisiana Bendolph and she was paying attention. Thornton Dial’s children looked and listened. I hope my children watched, too.~~
~~#000000:Jimmie Lee Sudduth used mud and his fingers to be heard.~~
~~#000000:Ronald Lockett cut tin.~~
~~#000000:Joe Minter, right in Birmingham, had to build an entire African Village in America, to call attention to the fact that he was there. His people were there. Like me, the city tried to condemn his land and make his call go away. He didn’t.~~
~~#000000:Purvis Young in Florida painted and painted and put his paintings on a big wall. Crying out to be heard. “I have a voice,” is all he was trying to say.~~
~~#000000:Ms. Mary T. Smith painted on whatever she could find, even after losing her real voice, and surrounded her house with her work. “HEY, I AM HERE. CAN YOU SEE ME?”~~
~~#000000:Joe Light in Memphis covered his house with paintings and signs. He had something to say.~~
~~#000000:Across town from him, Hawkins Bolden, who couldn’t even see but still wanted to be seen. Even if it was just the birds that would see him.~~
~~#000000:I cried out, too.~~
~~#000000:Sometimes it only takes a few people to listen and look and understand. Bill Arnett heard our calls. And he answered them. Our story exists because he, too, wanted us to be heard. And seen. And appreciated. I thank him all the time for seeing and understanding.~~
~~#000000:I want to be looked at as an American Artist. I didn’t want to be put in categories that made feel lesser than an artist.~~
~~#000000:I was called an outsider. Folk artist. Self-taught. An orphan in a storm. A passionate visionary. All these titles they were giving me, I didn’t want to be called those names. We were always called names.~~
~~#000000:All those names clung to me like an ill-fitting suit.~~
~~#000000:The trail that I took as an artist was pretty well like my whole life. Going up and down the ditches and the creeks. Playing and messing with the debris. Stacking the stones and broken glass. Moving things out of the creek so the water could continue to run. I was like the caretaker of something much bigger than me, when I was a child, and now that I’m an older man, I see the same ditches and walk the same railroad tracks, and I’m in the same alleys, but I see waste material so much different now. I can’t help but be drawn towards making a difference with the material. And hopefully teaching others about our wasteful ways.~~
~~#000000:At one time or another, we were all dismissed. Hopefully those days are over.~~
~~#000000:The artists I mentioned can now be seen all over the country and the world. Most of them are not alive anymore, but their lives and their art lives.~~
~~#000000:In the Metropolitan Museum. The Philadelphia Museum. The Whitney Museum (Joe Minter is in the Whitney Biennial right now). The de Young Museum. The LA County Museum. The Museum of Fine Arts, Boston. And maybe most importantly, in the High Museum, the Birmingham Museum, the New Orleans Museum, and the other museums in the region that once rejected us.~~
~~#000000:My message to young people trying to make art. Or music. Or write. Or dance. Or whatever. Is this: Believe in yourself. Be true to who you are. Be like a duck and let the water run right off your back. It may take time, but if you are doing something that makes you happy, don’t stop. It takes people time to change. If they want to put you in a box that you don’t fit in, reject the box.~~
~~#000000:And Thumbs Up for Mother Universe.~~
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!!::~~#000000:Atlanta’s airport art gallery~~::
!!!::~~#000000:A good place to be if your flight is delayed~~::
{DIV(class="byline clearfix")}~~#000000:KEVIN C. MADIGAN~~{DIV}
~~#000000:An exhibit to honor Georgia civil rights leader and Congressman John Lewis is one of the first art installations you see when walking into the vast atrium at Hartsfield-Jackson International Airport.
Dedicated in April 2019, the “John Lewis — Good Trouble” wall display is a tribute to his life that includes artifacts, photographs, videos, and music. Above the display is a three-dimensional painting by Atlanta-based Cuban artist Alexi Torres titled “The Hero’s Journey” that employs an intricate “basket-weaving” style to portray famous faces and images from the Civil Rights Movement.
That’s just for starters: Atlanta’s entire airport has become a rich environment for all kinds of art and artists, with multiple installations, displays, galleries, and sculptures throughout the facility, and plenty more are in the works.~~
{img fileId="21493" stylebox="float: left; margin-right:25px;" desc="desc" max="600"}~~#000000:Close to 270,000 passengers use Hartsfield every day. Benjamin Austin, co-manager of the Airport Art Program, told ''CL'' there are advantages to showing art in an airport. “It’s a massive audience that we have. We don’t have to worry if people are going to show up.” He added, “There are a lot of things that are stressful about traveling, and what we’re doing is providing some kind of alleviation from that.”
An enormous, permanent installation called “Flight Paths” has proved popular with weary travelers. Conceived by the late artist Steven Waldeck and costing more than $4 million, it’s a multisensory walk through a Georgia forest, according to David Vogt, Austin’s colleague. “The sculptural canopy is mostly made of tin,” he said. “Trays of LED lights create the lights of the forest canopy. The sounds of the birds, insects, reptiles, and amphibians are all indigenous to Georgia.” Effects include sun shafts, rain showers, and ceiling videos showing bird species, and the installation evolves as you continue through it, becoming “more reflective of Georgia mountains and deciduous forests,” Vogt said. “You’ll see red-tailed hawks, turkey vultures, swallows, and then it transitions to Georgia’s wetlands with species such as ospreys, cranes, and black ducks.”
He continued, “Part of what the artist was envisioning is the power of memory to connect people to experiences in nature that can soothe and lower blood pressure. The idea is to bring in a bit of nature and hopefully conjure a bit of awe. I think it’s been very successful at that.”
The Transportation Mall where “Flight Paths” is located hosts two other major projects: “Zimbabwe Culture: a Tradition in Stone” was installed in 2001 and features 20 different pieces by 12 prominent Zimbabwean sculptors, and Vogt calls it one of the most significant publicly held collections in the world for this type of art, second only to the country’s National Gallery in Harare. Traditional music accompanies the sculptures as well as images of local wildlife by South African photographer Denny Allen. Two of the works in this permanent exhibit are by Gedion Nyanhongo, a master of the traditional techniques and style of what Zimbabweans call Shona Sculpture.
The third installation in this part of the airport is “A Walk Through Atlanta History,” a multimedia collaboration with the Atlanta History Center that depicts milestone events in the city’s past. Filmmaker Gary Moss created short historical-reenactment films that are part of the mix. “We were responding to the need to create a sense of place without resorting to cliches like images of the skyline. We wanted much more substance, ” said Vogt. “The History Center helped define the narrative of the chapters in Atlanta’s history.” The “walking museum” features wall murals and displays that showcase eight significant time periods in the life of Atlanta.
{img fileId="21492" stylebox="float: right; margin-left:25px;" desc="desc" max="400"}Then there is “Youth Art,” one of two projects at the airport featuring art by Georgia students. Vogt said, “We get a lot of positive feedback about this. The work is playful, spontaneous, and over the years quite a few pieces have been purchased by passengers. It’s nice for the students to make a bit of money and get recognition at the world’s busiest airport.”
“Pushing Portraiture” has been getting a lot of attention too. The rotating exhibits, displayed in four different corridors, combine work from four photographers — Manuel Archain, Rob MacInnis, Ulric Collette, and Laena Wilder — known for extending the limits of contemporary portraiture by using digital manipulation to create surreal or hyperreal effects in their work. Austin said they “wanted to focus on different photographers who all had a quirkier take on portraiture.” He conceded that some of the photos are “a little unsettling” but insisted any art at the airport “has to be visually arresting, otherwise people won’t notice it.”
Special climate-controlled display cases are used to protect much of the art. “We have UV-laminated glass and filtration systems that create a positive airflow and don’t allow a lot of dust to enter the case. Our newer cases all have that system,” Austin said.
The process of acquiring commission pieces for Hartsfield begins with identifying sites and then shortlisting artists, Austin said. “Then we’ll either ask those artists to submit proposals for that particular site or we’ll select artists based on past work and qualification. Then we convene a selection panel, and we interview the artists and select one based on their recommendation. For the rotating exhibit program, it’s a mix between getting proposals from entities and us reaching out to people and soliciting proposals from them.”
Vogt and Austin are busily planning more exhibits for the coming months and years: “In October we’re going to be putting in an impressive exhibit of contemporary art from Haiti. That will run for one year in our display cases on Concourse E,” Vogt said. There will also be works from the late folk artist Eddie Owens Martin, who created a seven-acre art compound called Pasaquan in rural Georgia.
“Next year we will have an artist named Nancy Judd who makes clothing out of recycled materials,” Vogt said. “It’s a more environmentally-themed exhibit. The garments she makes are exquisite, but they are intended to focus on our wasteful consumerism.”
Ned Kahn, a MacArthur “genius grant” recipient, does environmentally-based work too and has been commissioned to do a large kinetic wind-activated piece on the facade of a new parking deck in College Park. A recurring employee art show is scheduled for later this year, as is a photo exhibit in the atrium in conjunction with the annual Atlanta Celebrates Photography festival.
Photographer Joel Sartore of National Geographic fame has embarked on a project to document every living species on the planet, and Vogt is hoping to land an exhibition of his work as well.
As if all that wasn’t enough, Vogt added, “We just passed legislation to contract with artists to create a six-part sculptural installation for a tiered granite step that follows the up escalators to Concourse D.”~~
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string(35893) " Visual Arts 2019-08-02T18:46:56+00:00 Visual Arts_sm.jpg fall arts preview 2019 Galleries and gatherings, plastic and static, memories and narratives Visual Arts 2019-08-04T03:49:21+00:00 Same as it ever was, the visual arts scene in Atlanta is in a state of flux, particularly at the street level where the West and Southwest flanks of downtown mark the next major front for the newest of the new to appear. With the Goat Farm closing and morphing... Fall Arts Preview 2019: Visual Arts jim.harris Jim Harris DOUG DELOACH 2019-08-04T03:49:21+00:00 SIDEBAR: Reject the Box
SIDEBAR: Atlanta’s airport art gallery
Same as it ever was, the visual arts scene in Atlanta is in a state of flux, particularly at the street level where the West and Southwest flanks of downtown mark the next major front for the newest of the new to appear. With the Goat Farm closing and morphing into who-knows-what; the construction of The MET continuing apace and attracting entities like MINT and Mammal Gallery; and The Bakery executing its inspiring, if sometimes bewilderingly eclectic, strategy with characteristic DIY aplomb (while facing a move in the next year, as the lease on the arts center’s Warner Street building will not be renewed), the west side is the best side for seeking out the edges of Atlanta’s art/art music/art performance scene.
“Atlanta’s strong suit for the 40-something years I’ve been here is how incredibly active the grassroots community is,” says Louise Shaw, curator of the Senser Museum at the Centers for Disease Control and cofounder of Idea Capital, an arts funding group. “People, particularly young people, are continually trying to reinvent the art scene.”
Otherwise, the more things change, the more stalwart venues, such as the High Museum, Atlanta Contemporary, Museum of Contemporary Art of Georgia, the major arts institutions and fine art galleries, keep moving forward with their respective missions. At the same time, public art, street art, mural painting, and graffiti are exerting a particular influence on the Atlanta art scene for which the city is becoming increasingly recognized nationally and internationally.
“The street art trend is really exciting,” says Shaw. “The work along Edgewood and in Cabbagetown, the Krog Tunnel, these works that stay up for a few months and are then replaced by new work — this kind of activity creates a vibrancy and excitement lacking in many cities.”
From gleaming white halls and walls to sandblasted slabs of brick and concrete to just about any flat accessible surface with a sightline, Atlanta’s visual artists, curators and gallery owners use whatever means are available to satisfy the muse. That’s how it works.
!!Atlanta Celebrates Photography
Entering its third decade, Atlanta Celebrates Photography (ACP) — www.acpinfo.org — is both an annual festival and the name of the organization responsible for staging the event. Billed as the largest community photography event in America, the 2019 edition of the ACP festival, which begins in mid-September and runs through the end of October, features more than 100 happenings including five lectures, three professional development workshops, a photobook fair, a film series, and numerous exhibits. This panoply of activity takes place at site-specific outdoor installations including the BeltLine, arts facilities, museums, galleries, retail businesses, and special venues spread across metro Atlanta.
“The ACP festival provides a comprehensive platform not only for people to experience our events, but to participate as creators,” says ACP Executive Director Amy Miller. “This allows for a true celebration of all that photography can be — a multifaceted art form with the power to change lives and connect people.”
The ACP has no event facility to call its own. All exhibits, lectures, screenings, and sundry programs are arranged through partnerships with other organizations and institutions. “The beauty of this business model is that the entire city becomes our venue,” Miller says. “The ACP festival raises awareness of arts venues and cultural organizations throughout the city, which creates a rising tide that, hopefully, lifts all boats.”
!!!Highlights of the 2019 Atlanta Celebrates Photography Festival include:
The FENCE (Atlanta BeltLine’s Westside Trail): This truly mega-outdoor photo exhibition returns to Atlanta with more than 40 photographers from around the world, selected by a jury of 40 experts from a global call for entries, spreading the joy of their craft along a 700+-foot-long fence.
ACP Auction Gala (Saturday, September 14): Cocktail reception, open bar, dinner, plus a silent auction at The Landmark honoring Dr. Sarah Kennel, newly installed curator of photography at the High Museum of Art. The auction serves as the primary fundraising event for ACP and the 2019 ACP Festival.
ACP Special Exhibition: Teen Spirit at Mason Fine Art – www.masonfineartandevents.com – (Artists Reception, Thursday, September 19, 6-9 p.m., Exhibition September 19-October 11, free and open to the public). Volunteer photographers, led by ACP co-founder Corinne Adams, guide teens at Scottish Rite and Egleston hospitals in an exploration of identity, including (or in spite of) their diagnosis, through writing and photographic self-portraiture. This exhibition showcases the creative work produced by the teens during the past 12 months.
Photobook Fair (October 4-5): The photo book event of the Southeast at the Museum of Contemporary Art of Georgia. For the complete list of exhibitors, artist talks, and book-signings, please visit ACPinfo.org
Chris Verene’s “Home Movies” (Thursday, October 10): The Landmark Midtown Art Cinema hosts a one-night-only screening of “home movies” (video clips) shot by renowned photographer Chris Verene during the course of documenting his family’s life in rural Illinois, which has been the former Atlantan’s primary subject for the past three decades. A post-screening panel discussion will feature photographer Ashley Reid and Mona Bennett, ambassador of the Atlanta Harm Reduction Coalition, moderated by Felicia Feaster.
In conjunction with the Landmark screening of “Home Movies,” Marcia Wood Gallery – www.marciawoodgallery.com – which represents Verene, will be exhibiting a large selection of the artist’s photographs during the ACP Festival. Verene will be in attendance at the gallery opening in the Castleberry Hill neighborhood on September 18 and closing reception on October 12.
!!Atlanta Contemporary Arts Center
In 2015, the Atlanta Contemporary dropped the “Arts Center” from its name and fully embraced the institutionalized practice of “free admission, every day.” Today, Atlanta Contemporary – www.atlantacontemporary.org – occupies a special position in the arts community not only because of the price of admission to the facility, but also by virtue of its varied offerings, which include showcasing and commissioning new work by emerging artists; diverse educational programs, such as Contemporary Kids, Contemporary Cocktails, and Contemporary Talks; and on-site subsidized studio space for working artists through the Studio Artist Program. Atlanta Contemporary, incidentally, also throws great art parties and openings.
“Any city that is a beacon for tourism and advancement in technology, any city that wants to be recognized as a destination, needs a contemporary art center that advocates for what’s happening today,” says Executive Director Veronica Kessenich.
With the departure of curator Daniel Fuller at the end of June, Kessenich is moving forward with a full slate of previously scheduled fall exhibitions and looking with anticipation toward a new chapter in the evolution of the Westside arts center.
“Daniel was such an integral part of Atlanta Contemporary over the last four and a half years,” says Kessenich. “We will surely miss him and thank him for his leadership and service to Atlanta Contemporary.”
On tap between Saturday, August 24, and Sunday, December 22, are solo exhibitions by Bryan Graf and Emma McMillan, plus Contemporary On-Site projects featuring Coco Hunday, an artist-run exhibition space in Tampa, Florida; Atlanta-based artist Wihro Kim; and Bailey Scieszka who lives and works in Detroit.
In “Landlines,” Bryan Graf explores a range of photographic approaches and subjects, seeking balance or an equivalence between conceptual, visceral, and narrative elements. “The photographs in this show are notes, recordings, observations, and questions from specific places and times,” notes the Atlanta Contemporary press release. “This is an optical research into the debris of the days; a self-portrait of the dust that sculpts us.”
Emma McMillan’s “Project X” is inspired by the work of Atlanta architect John Portman, whose influence on the contours of the Atlanta skyline can scarcely be understated. Appropriating the name of an unrealized 1969 utopian residential building, Project X conjures up the architect’s design theory and manifest legacy in a series of large oil and aquarelle paintings, which are displayed across aluminum scaffolding, creating an immersive environment reminiscent of Portman’s iconic downtown Atlanta structures.
!!EBD4
Coinciding with the Atlanta Celebrates Photography Festival, EBD4 – www.EBD4.com – an industrial space for creatives in Chamblee, is staging a special “ACP at EBD4” exhibition. “1980’s ATL Portraits of Drag Queens & Club Kids (think RuPaul)” by Al Clayton showcases Clayton’s chronicling of the intersectional-before-it-was-cool club scene in Atlanta back when the local celebrity head count included RuPaul, Larry Tee, LaHoma, Sable Chanel, Charlie Brown, and Spike, among others.
The exhibition will also display images from Clayton’s landmark 1969 book, Still Hungry in America, along with select images of Johnny Cash, Kris Kristofferson, Townes van Zandt, Tammy Wynette and other luminaries from Ken Burns’ documentary Country Music. The Clayton family will have prints from the photographer’s personal collection available, as well as limited edition prints.
Opening: Saturday, October 19, 2019, 6:30. Dance party starts at 8:30, admission $10.
Open House: Wednesday, October 23–Saturday, October 26, 1–5 p.m. or by appointment.
!!Gallery 72
It may come as a surprise to some that the City of Atlanta Mayor’s Office of Cultural Affairs has its own art gallery. Opened in 2014, Gallery 72 — www.ocaatlanta.com — is located downtown on the first floor of the 72 Marietta Street building. During the past five years, Gallery 72 has hosted a variety of exhibitions addressing relevant topics ranging from human trafficking, civil and human rights, memory and ritual, to the growth of local arts organizations (e.g., Wonderroot, The Creatives Project) and the rise of hip-hop.
“Gallery 72 is a space where artists can push the experimental aesthetics of their work, which they may not choose to pursue in more commercial venues,” says gallery director Kevin Sipp. “It is also important that the gallery represents Atlanta as it is now, which is a melting pot of vibrant cultures, political views, and ideas.”
Gallery 72 will host two exhibitions in the fall: In “Reclaim/Proclaim Blandtown” (October 10-November 22), Gregor Turk takes up the subject of a long-neglected Westside Atlanta neighborhood. In the 1950s, the African-American community of Blandtown, which once boasted more than 200 houses, was rezoned to heavy industrial without proper public review. Today, much of the area, which is bisected by the BeltLine, is being rezoned back to residential for rapid redevelopment. Of the four original remaining houses, one was converted by Turk in 2003 into his studio. Comprising wall-mounted sculpture and photography, “Reclaim/Proclaim Blandtown” is part history lesson, part manifesto, and part civic rousing. In 2017, Turk received an Idea Capital grant for developing this project followed by an Artist Project Grant the next year from the Mayor’s Office of Cultural Affairs.
"Contrapunto: A Latin American Art Collective in Atlanta" (November 28-February 7) celebrates the work of a Latin art collective founded in 2008 by Carlos Solis. In addition to Solis, Contrapunto members, all of whom are based in Atlanta, included in the exhibition are Jorge Arcos, Pedro Fuertes, Catalina Gomez Beuth, Dora López, and Graciela Núñez Bedoya, Their work ranges from surrealist, cubist, and abstract to realist and naturalistic. In Spanish, “contrapunto” usually refers to the musical practice of joining two or more melodies to create harmony while maintaining the individual quality of each player’s contribution.
Says Sipp, “The narratives that fuel Atlanta and its present growth have expanded beyond past narratives to include transcendent global perspectives from all corners of the world.”
!!Hathaway Gallery
::::
Established in 2015 in what is now a thriving Westside neighborhood jam-packed with live-work spaces, restaurants, and entertainment venues, Hathaway Gallery – www.hathawaygallery.com – strives to “foster and expand the contemporary art collector base in the Southeast through inclusivity and education.” Hathaway’s fall exhibition schedule includes:
“No Place Like Home” (July 20–September 7): A three-person exhibition of works by Jaime Bull, In Kyoung Chun, and Maryam Palizgir. Each of the artists brings a distinctly expressive technique and vision to bear on the idea of “home.”
“Changing Tides” (September 14–November 9): A solo exhibition featuring the highly kinetic, vividly colorful abstract paintings of Fran O’Neill.
!!High Museum
In the realm of mainstream visual arts, every major metropolitan city has its leader of the pack. The museum with the largest and deepest collection, the curatorial punch, and the financial wherewithal to make things happen that other institutions can’t and, truth be told, don’t need to match.
In Atlanta, the High Museum of Art – www.high.org – has filled that role since the founding of the Atlanta Art Association (the museum’s organizational precursor) in 1905. In 2019, the sensually curvaceous, gleaming white structure, situated on a gently rising grassy slope at the corner of Peachtree and 16th streets, stands alongside the Alliance Theater and Atlanta Symphony Orchestra as one of three pillars girding the Woodruff Arts Center.
In 2018, the High undertook a total reconfiguration of its almost 94,000 square feet of gallery space. The massive makeover allowed for the rearrangement of artwork from the museum’s 16,000-piece permanent collection and the inclusion of a trove of never-before-exhibited artistic treasure. Among those treasures were selections from a 2017 acquisition of visionary folk art from the Souls Grown Deep Foundation, which shone new light on the art of Thornton Dial, Sr., Lonnie Holley, Henry Church, Mary T. Smith, and the fabulous quilts created by the women of Gee’s Bend, Alabama.
At the end of last year, the High Museum presented Yayoi Kusama’s “Infinity Mirrors,” a wildly popular exhibition seen by 136,000 people before closing in February. For a minute at least, it seemed like Kusama-mania had imbued the museum with a rejuvenating hipness, tagging the joint as being worthy of regular visitation by a new generation or two of art-curious fans.
“We’re always committed to presenting the finest examples of artistic achievement we can get our hands on,” says High Museum director Rand Suffolk.
!!!Three exhibitions distinguish the High Museum’s fall calendar:
“Something Over Something Else,” Romare Bearden’s Profile Series (Sept. 14, 2019– Feb. 2, 2020):
Organized by the High, this touring exhibition brings together dozens of works from Romare Bearden’s “Profile” series for the first time since its debut nearly 40 years ago. A series of collages conjures up the original presentations from 1978 and 1981, which featured accompanying wall texts written by Bearden (who died in 1988) in collaboration with essayist, jazz critic, and novelist Albert Murray.
“A Thousand Crossings,” Sally Mann (Oct. 19, 2019–Feb. 2, 2020):
One of the preeminent art photographers of the last half-century, Sally Mann (American, born 1951) is a Virginia native whose work is often deeply, sometimes defiantly, rooted in her journey as a Southerner. Notes the High’s press preview: “The exhibition is both a sweeping overview of Mann’s artistic achievement over the past four decades and a focused exploration of how the South emerges in her work as a powerful and provocative force…”
“Figures of Speech,” Virgil Abloh (Nov. 9, 2019–March 8, 2020):
Organized by the Museum of Contemporary Art, Chicago, where it debuted in June, “Figures of Speech” showcases the work of Virgil Abloh, the 39-year-old creative operator at the console of a thoroughly modern matrix enveloping art, music, fashion, and celebrity. The exhibition includes clothing designs for Louis Vuitton (Abloh is the first person of African descent to lead the Parisian fashion house’s ready-to-wear line for men); videos of fashion shows, which have garnered no small amount of viral online attention; and Abloh’s distinctive furniture designs (some for IKEA) and graphic art.
“Each exhibition also complements our permanent collection, adding context and insight across multiple collecting areas,” says Suffolk. “Presenting one of these shows would be exceptional. Having all three here this fall is extraordinary.”
!!Jackson Fine Art
Widely recognized as one of the most important supporters of contemporary fine art photography in Atlanta and beyond, Jackson Fine Art – www.jacksonfineart.com – caters to artists, collectors, museums and corporate clients with services ranging from curating and managing collections to framing and installing.
For the fall season, Jackson Fine Art is showcasing a large selection of photographs by Sally Mann to supplement her retrospective at the High Museum (see above). Specifically, the exhibit (October 18–December 21) draws heavily from “Remembered Light,” a series that produced a book of photographs documenting painter-sculptor Cy Twombly’s studio in Lexington, Virginia, where both artists grew up.
!!Michael C. Carlos Museum
2019 marks the centennial celebration of the formal establishment of a museum to house Emory University’s collection of art and antiquities, which was relocated in 1919 from the original campus in Oxford, Georgia, to the main campus in Atlanta. In 1985, with the support of local philanthropist Michael C. Carlos, the museum moved into the old law school building following a complete renovation by architect Michael Graves. In 1993, an expanded museum and new conservation laboratory, which also benefited from Carlos’s largesse and Graves’ architectural acumen, opened as the Michael C. Carlos Museum – www.carlos.emory.edu.
Today, the Carlos Museum serves as a repository for more than 16,000 works, including what is arguably the largest ancient art collection in the Southeast. In addition to ancient artifacts from Rome, Egypt, Greece, the Near East, and the Americas; works of Asian art and sub-Saharan African art from the 19th and 20th centuries; and works on paper from the Middle Ages to the present, the museum also presents special exhibitions and educational events open to students of all ages and the general public. “The Carlos Museum’s collection of ancient art is unique in Atlanta and the Southeast, but we’re so much more than mummies,” says Allison Hutton, director of communications and marketing. “The oldest piece in our collection was created around 6,500-6,000 BC and the ‘youngest,’ a print by Tom Hück, was created in 2018, so we have quite a range.”
The museum recently launched SmARTy Packs, which lets families learn about art together in the galleries through hands-on projects. This fall, in conjunction with the exhibition “Through a Glass, Darkly” (see below), the museum will host an engraving workshop with artist Andrew Raftery.
“Through a Glass, Darkly: Allegory and Faith in Netherlandish Prints from Lucas van Leyden to Rembrandt” (August 31-December 1) considers the form, function, and meaning of allegorical prints produced in the Low Countries (Belgium, the Netherlands, and Luxembourg) between the 16th and 18th centuries.
“Minor White Unburdened: Photographs from the Collection of Lindsay W. Marshall” (October 12-December 15) features works by Minor White alongside photographs by friends and colleagues including Ansel Adams, Edward Weston, and Rose Mandel. Accompanying the photographs will be a selection of White’s writings in which he reflects upon his career and lifelong personal struggles with religion, sexuality, and the constitution of the spirit.
!!MODA
In 2011, the Museum of Design Atlanta (MODA) – www.museumofdesign.org – celebrated its grand relocation to the sleek, stylish, ground-floor confines of Perkins + Will, a renowned architecture firm on Peachtree Street across from the High Museum, with an exhibit titled “Passione Italiana: Design of the Italian Motorcycle.” Since then, MODA has pursued its mission “to advance the understanding and appreciation of design as the convergence of creativity and functionality.”
“MODA is the only design museum in the Southeastern United States, which makes us different from institutions in Atlanta and far beyond,” says Executive Director Laura Flusche. “Our exhibitions and our programs demonstrate that design can inspire change, transform lives, and make the world a better place.”
MODA has mounted exhibitions that celebrate beautiful products (espresso machines, motorcycles), graphic designers and architects (Paul Rand, Eero Saarinen, Louise Fili), wearable technology (biofeedback devices), activist art and craft, urban design, landscape architecture, and food production techniques and distribution methodology. The museum organizes public lectures and educational programs that tackle serious topics and engage the imagination.
“Attendance at MODA has skyrocketed in the past 18 months,” says Flusche. “We’re attracting a young, diverse group of design-lovers who are passionate about social justice and human rights issues and the ways that design can address those things.”
On display at the gallery through Sunday, September 29, is “Wire & Wood: Designing Iconic Guitars”, which explores the basics of guitar design and construction alongside the ways in which musicians use the instrument to shape their public image. Included in the exhibition, curated and designed by W. Todd Vaught, are a number of instruments which have acquired legendary status by virtue of the musicians who wielded them on concert stages around the world.
Among the famed axes on display in “Wire & Wood” are Bo Diddley’s Gretsch 6138, Buck Owens’ Harmony Acoustic, Derek Trucks’ Gibson SG, Jack White’s Diddley Bow (from It Might Get Loud), Junior Brown’s Custom Guit-Steel, Kurt Cobain’s Fender Stratocaster, Steve Vai’s Ibanez EVO, and St. Vincent’s Signature Ernie Ball Music Man.
“Wire & Wood” confronts the age-old conundrum of whether form follows function or vice-versa by first presenting the guitar in its simplest form along with information about the ways in which traditional design elements and materials affect sound. The exhibit then discusses advancements in the luthier’s art, including mass manufacturing and alternative materials, accompanied by stories explaining how and why certain modern guitars are endowed with a status beyond their mere existence.
!!Museum of Contemporary Art of Georgia
It’s right there in the name: The Museum of Contemporary Art of Georgia (MOCA GA) — www.mocaga.org — collects and archives significant, contemporary works by artists who hail from or reside in the state of Georgia. That said, to provide context and accommodate relational concepts, the museum’s exhibitions include Georgia artists and artists from around the world.
Co-founded in 2000 by David S. Golden, then president of CGR Advisors, and Annette Cone-Skelton, an accomplished Georgia artist and now President/CEO/Director of MOCA GA, the museum’s collection includes more than 1,000 works by 330 Georgia artists in a variety of mediums including painting, sculpture, photography, and installation.
“Before MOCA GA, much of the work being exhibited locally was by artists imported from other urban centers, which did not necessarily acknowledge the narratives that were important to this area,” says Cone-Skelton. “This left a tremendous void in the landscape of arts institutions in Atlanta.”
Consequently, the Atlanta arts community experienced an exodus of talent to cities like New York, Los Angeles, and Chicago. MOCA GA stepped into the void with a mission based on programs that create a forum for interchange between artists and the community, and a platform from which to launch local artists and their works into the orbit of the global arts community.
Recently, Atlanta Contemporary announced Cone-Skelton and Atlanta mixed-media artist Kevin Cole as recipients of the 2019 Nexus Award. The award recognizes “individuals, groups, or organizations that have made significant contributions to the contemporary arts landscape and celebrates local leaders who are instrumental in making Atlanta an exceptionally vibrant arts community.”
!!!MOCA GA fall schedule:
Tuesday, August 13: Working Artist Project (WAP) Fellow Krista Clark artist talk for “Base Line of Appraisal” exhibition, 6:30-8:30 pm
Thursday, September 5: “Dorothy O’Connor: Scenes” opening reception, 6:30-8:30 pm
Friday, September 6: Public panel and reception for the Latin American Association exhibition (unnamed at press time), 6-9 pm
Friday, September 13: WAP Fellow Myra Greene’s opening reception (unnamed at press time), 6:30-8:30 pm
Tuesday, October 1: WAP Fellow Myra Greene artist talk, 6:30-8:30 pm
Friday & Saturday, October 4-5: MOCA GA hosts the Atlanta Celebrates Photography Photobook Fair
Friday, October 18: MOCA GA hosts the Atlanta Photography Group panel
Friday, November 15: WAP Fellow Cosmo Whyte’s opening reception (unnamed at press time), 6:30-8:30 pm
::::
!!
Opened in 2010 and curated by writer and filmmaker, Robin Bernat, Poem88 – www.poem88.net – declared a reorganization of its roster of artists. Consequently, 70 percent of the artists on the Poem 88 roster are women while approximately 28 percent represent ethnic or cultural minorities and 42 percent are 50 years of age or older. As a woman-owned business, Poem 88 is committed to supporting and nurturing “a community that is frequently sidelined in today’s contemporary art world.”
“Raymond Goins: Infallible Beauty” (Saturday, September 7–Saturday, October 19): This exhibition will provide an unadorned and decontextualized view of the work of Raymond Goins, a self-taught artist who moves fluidly between the realms of interior design, decorative art, and fine art.
!!Sandler Hudson Gallery
Established in 1989 by Georgia-born owners Debbie Hudson and Robin Sandler, Sandler Hudson www.sandlerhudson.com — Gallery specializes in innovative and provocative contemporary art that spans a multitude of disciplines including painting, drawing, sculpture, photography, video, and new media. For the fall season, Sandler Hudson is presenting three exhibitions:
“Recent Drawings” (June 28–September 14): A group exhibition featuring works by Krista Clark, William Downs, Yanique Norman, and Rocío Rodríguez, “Recent Drawings” explores a variety of mark-making using various instruments, techniques, and mediums.
“JET” (September 20–October 19): Los Angeles-based artist Erin D. Garcia brings his vibrant and colorful paintings to the south for the first time. “JET” will present Garcia’s distinctly rendered varicolored gradient shapes on his largest canvases to date, along with multiple works on paper.
“Blue Distant” (October 25–November 30): A solo exhibition of new paintings, sculpture, and works on paper by Savannah artist Namwon Choi. Choi’s elegantly offbeat works fuse conceptual notions of Eastern and Western art into a wondrously personal vision.
!!SCAD FASH Museum of Fashion + Film
The Savannah College of Art & Design (SCAD) opened its Midtown Atlanta campus in 2005. Among its prominent facilities is the SCAD FASH Museum of Fashion + Film – www.scadfash.org. With nearly 10,000 square feet of exhibition space, SCAD FASH serves as a teaching museum for students and a platform for public presentations of fashion-focused designs, films, gallery talks, and lectures.
“SCAD FASH’s exhibitions and programs are curated in collaboration with world-renowned designers and artists, and are developed to inspire and engage visitors with varied backgrounds, not only fashionistas!” says SCAD’s public relations director Jeanette McWilliams.
Past exhibitions have featured fashion luminaries, such as Oscar de la Renta, Guo Pei, Mary Katrantzou and Carolina Herrera, and fashionable work including costumes from The Handmaid’s Tale television series (SCAD exhibit ends August 12).
“The public’s interest in fashion has never been more ardent and continues to grow,” says McWilliams. “Last May, our first-ever student runway show sold out almost as quickly as the tickets went online.”
!!!During the fall season, SCAD FASH is hosting three exhibitions:
“Aura and Invention: Alternative Processes in Photography” (September 26–November 14) showcases works by SCAD students and recent alumni from the Atlanta and Savannah campuses. According to a SCAD press release, “Works in this exhibition were chosen for their inventiveness in process and design, by young artists who are pushing the limits and potential for photography in an image-saturated society. Through alternative perspectives in the composition of photography, these artists challenge modes of reproduction, and offer alternatives to a culture of instant production and dissemination of images.”
“Form & Function: Shoe Art by Chris Francis” (August 13–December 8) puts the spotlight on the Los Angeles-based street artist-turned-shoe-designer who learned his trade by consulting with and acquiring vintage machines and tools from immigrant cobblers. Francis credits the punk movement for inspiring the independent design house where he crafts small batches of wildly stylized shoes, many of which have been worn by rock stars including Mötley Crüe’s Mick Mars, Steve Jones of the Sex Pistols, and former Runaways guitarist Lita Ford.
Isabelle de Borchgrave exhibition: “w” (October 22–January 12) explores five centuries of fashion through the trompe l’oeil masterpieces of Belgian artist Isabelle de Borchgrave. Using paper and paint, de Borchgrave creates sculptural replicas of garments found in early European paintings and collections. The exhibition includes de Borchgrave’s series “Les Ballet Russes,” which interprets costumes designed by Léon Bakst, Giorgio de Chirico, and Pablo Picasso, as well as her “Kaftans” series, which was inspired by the Silk Road textiles of central Asia. The exhibition also includes work by eccentric early 20th-century artist Mariano Fortuny, whose famous Delphos gown debuted in 1907.
!!Whitespace
In a converted 1893 carriage house on Edgewood Avenue behind her Inman Park Victorian residence, Whitespace – ww.whitespace814.com – owner Susan Bridges stages exhibitions of contemporary art along with the occasional chamber ensemble performance. Opened in 2007, Whitespace was the Creative Loafing Reader’s Choice for Best Gallery in 2013.
“On Singing the Body Formless and Electric” (Friday, August 2–Saturday, August 31): In the spirit of poet Walt Whitman’s “I sing the body electric,” Whitespace hosts a tripartite exhibition curated by Atlanta native Lisa Alembik, assistant professor at Perimeter College of Georgia State University on the Clarkston campus. The main gallery will feature eight artist or artist groups, which include Carrie Hawks, Catherine Lucky Chang, Eleanor Aldrich, Hannah Adair, Hannah Ehrlich, Larkin Ford & Joe Hadden, Michelle Laxalt, and Parker Thornton. In the Whitespec space, the two-artist collaborative of Pinky/MM Bass and Carolyn DeMeritt will display their work, while Amanda Britton commandeers Shedspace.
“7th Annual Short Shorts 2019, Jiffy Louvre: Leave Worry Behind” (Thursday, August 29, 7:30-9 p.m.): An evening of one- to five-minute films selected by guest juror, painter, sculptor, and animator Joseph Peragine, director of the Ernest G. Welch School of Art & Design at Georgia State University.
!!ZUCKERMAN MUSEUM OF ART
Opened in 2014, the Bernard A. Zuckerman Museum of Art (ZMA) — www.arts.kennesaw.edu/zuckerman — on the Kennesaw State University campus encompasses three exhibition galleries, a collection research center, and a two-story-high glass atrium, which is the most striking feature of the 9,200-square-foot facility designed by Stanley Beaman & Sears. The museum regularly presents works from the university’s 6,000-piece permanent collection along with exhibitions of contemporary works by local, national, and international artists. The ZMA's Fine Arts Satellite Gallery in the Wilson Building features faculty, student, and alumni projects.
“The ZMA team, which has significantly altered in the past year, is proud of what we accomplished in the institution's first five years,” says Teresa Bramlette Reeves, director of curatorial affairs, who will have resigned from her position by the time this article is published. “We routinely presented exhibitions of depth and variety, supported local artists, shared the work of nationally and internationally recognized artists, and produced associated brochures and catalogues.”
The ZMA’s two main fall exhibitions open on Saturday, August 24, with a free reception and special programming from 3-5 p.m.
"Painting Who?" (through December 15) presents a series of paintings by multiple artists, which serve multiple roles and stretch the definition and traditional boundaries of painting. “I see them as alive,” wrote Moira Dryer (1957-1992) about her work, which is featured in the show. “I see them as walking away from the wall. It’s a feeling I have that the work is active, active in our own world, not separate.” The other artists showcased in “Painting Who?” are Jeff Conefry, Gracie Devito, Chris Hood and Wihro Kim.
"Fruitful Labors" (through November 10) focuses on strategies and tactics for coping, according to a ZMA press release. Ranging from the absurd to the essential, the tactics include conversation, repetitive labor, intergenerational storytelling, and healing practices. The artwork “reflects our innate fear of uncertainty and the unknown while simultaneously valuing the power of belief in the face of struggle.” Featured artists include Lenka Clayton, Harry Dodge/Stanya Kahn, Shanequa Gay, Stanya Kahn, Michelle Laxalt, Shana Moulton, and Kaitlynn Redell.
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Fall Arts Preview 2019: Visual Arts Visual Arts , Explore Arts & Culture
Saturday August 3, 2019 11:49 PM EDT
Galleries and gatherings, plastic and static, memories and narratives
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string(262) "Atlanta Ballet
Founded in 1929, Atlanta Ballet — www.atlantaballet.com — is considered one of the premier dance companies in the country. Atlanta Ballet’s eclectic repertoire spans ballet history, highlighted by beloved classics and inventive originals..."
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Founded in 1929, Atlanta Ballet — www.atlantaballet.com — is considered one of the premier dance companies in the country. Atlanta Ballet’s eclectic repertoire spans ballet history, highlighted by beloved classics and inventive originals..."
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!!Atlanta Ballet
Founded in 1929, Atlanta Ballet — www.atlantaballet.com — is considered one of the premier dance companies in the country. Atlanta Ballet’s eclectic repertoire spans ballet history, highlighted by beloved classics and inventive originals. In 1996, Atlanta Ballet opened the Centre for Dance Education (CDE), which is dedicated to nurturing young dancers while providing an outlet for adults to express their creativity. The CDE serves over 23,000 people in metro Atlanta each year. Atlanta Ballet’s roots remain firmly grounded in the Atlanta community and continue to play a vital role in the city’s cultural growth.
“Love Fear Loss,” by Brazilian choreographer Ricardo Amarante, is the centerpiece work of the opening program of the company’s 90th season, It follows the love story of French singer Édith Piaf from the high of new love, through the fear of intimacy slipping away, to the tragedy of losing her lifelong partner. Amarante has described his work as a celebration of the human condition and the beauty that arises from even the darkest moments in life. The program will also include a remounting of “Vespertine,” the hypnotic 2017 work by British choreographer Liam Scarlett, a world premiere commissioned work by New York-based Claudia Schreier and a guest performance by New York-based Complexions Contemporary Ballet.
!!Caló Gitano Dance Academy
Marianela “Malita” Belloso was born in Caracas, Venezuela, and has been dancing flamenco for practically her entire life. She started when she was only six years old. By the time she was nine, she was already performing on television and in major flamenco stage productions with Siudy Quintero Dance Academy, the largest flamenco dance academy in Venezuela. Malita arrived in Atlanta in 2000 and formed the flamenco performance company Caló Gitano – www.calogitano.com – now the largest flamenco academy in Georgia. After opening Caló Dance Studio in Kirkwood nine years ago, Malita trained a group of advanced flamenco dancers and formed partnerships with other artists and musicians to create large-scale theater works and original flamenco musical productions as Caló Theatre Company
!!Core Dance
Core Dance – www.coredance.org – was co-founded in 1980 in Houston, Texas, by dancer and choreographer Sue Schroeder and her sister, Kathy Russell. Five years later, the organization added Atlanta, Georgia, as a second home base. Over four decades, Core has performed 125 pieces of original choreography across the globe, collaborating with the renowned and the obscure. The company actively encourages participation and conversation with the community, sharing what they know about bodies and movement with those dealing with abuse, homelessness, language barriers, refugee status, substance abuse, aging, and HIV/AIDS.
“If… a memoir” is a love song written for humanity. Sue Schroeder in collaboration with the Dance Artists of Core Dance, Christian Meyer (composer), and Simon Gentry (cinematographer) will create an evening-length, physical theater choreo-poem. According to Schroeder, “this new work will draw from early 1950s Beat Generation culture and influences including jazz-inspired rhythm, improvisational spirit, rejection of standard narrative values and seeming disorganization with a deliberate effect.”
!!Department of Dance at Kennesaw State University
Kennesaw State University is home to Georgia’s largest collegiate dance program and Atlanta’s first theater designed specifically for dance. Through the program’s academic and practical experiences, students develop a holistic understanding of dance as an art form while also investigating dance as a method of analysis, a mode of enquiry, and an aesthetic experience. The Department’s collaborative partnerships provide students with uniquely valuable opportunities. This year, KSU Dance launched a new partnership with Terminus Modern Ballet Theater, directly connecting students to the professional practice of dance.
September 27, KSU Dance – www.arts.kennesaw.edu/dance – presents The Charlotte Ballet performing Johan Inger’s “Walking Mad,” a piece inspired by a quote from Socrates: “Our greatest gifts come to us in a state of madness.” KSU’s student dance company will premiere “Slang,” a new work in November.
!!Emory Dance
Emory Dance – www.dance.emory.edu – presents a wide range of public programming each year, including Emory Dance Company concerts, the Friends of Dance Lecture Series, guest artists, dance on film presentations, and informal and site-specific performances and events. Through the Candler Concert Series, Emory Dance presents some of the finest modern dance choreographers and companies, including The Bill T. Jones/Arnie Zane Dance Company, Monica Bill Barnes & Company, David Dorfoman Dance, Doug Varone and Dancers, Urban Bush Women, the José Limón Dance Company, and Cedar Lake Contemporary Ballet.
September 19, the Emory Dance Program presents a Creativity Conversation with visiting artist Dafi Altebeb, a young Israeli musician, dancer, and choreographer who has performed throughout the world. Her original dance works have premiered in major international festivals, including Internationale Tanzmesse (Dusseldorf), Les Brigittines Centre d’Art Contemporain (Brussels), Chang Mu International Dance Festival (Seoul), Ballet Preljocaj – Pavillion Noir (France), and Napoli Theater Festival (Italy).
As a child in his native Iran 40 years ago, Emory Dance faculty member George Staib witnessed up close the frightening reality of religious revolution. In October, he and his brilliant company Staibdance present “Fence,” their most political and socially driven dance work to date. “Fence” examines how “otherness” can take your power or fuel it. Staib blends intensely physical movement vocabulary with traditional Iranian dance, and uses original music, lighting, and digital effects to weave the audience directly into the work.
!!Ferst Center for the Arts
The Georgia Tech Office of the Arts operates the Ferst Center for the Arts – www.arts.gatech.edu/artstech-performance-series – which presents the Arts@Tech season of professional music, dance, theater, and multimedia performances from September to April. The Georgia Tech School of Music performs multiple concerts at the Center, and DramaTech, the student theater group, performs in the James E. Dull Theatre in the back of the building. Arts@Tech has brought some of the most innovative and exciting multimedia works to be seen in the city, showcasing the highest in music and dance talents along with cutting-edge digital technologies. The works explore and explode themes of disability/mobility design, interconnectivity, LGBTQ living, and cultural celebration.
The Ferst will be the site of two of the most exciting “Don’t Miss!” productions of 2019: “Dökk by fuse*” (October 4) and “Kinetic Light: DESCENT” (November 23).
“Dökk” blends light, sound, and movement into a mind-blowing, multidimensional universe created by fuse*, an Italian digital art studio and production company. Aerial dancer Elena Annovi moves through a sequence of 10 other-worldly environments created by software that synthesizes data from social media, the sound score, the dancer’s heartbeat, and her movements.
“DESCENT” by Kinetic Light is an evening-length dance work, choreographed by Alice Sheppard in collaboration with disabled dancer Laurel Lawson and disabled lighting and video artist Michael Maag. Featuring a unique, architectural stage that acts as a partner in the choreography and storytelling, and performed on an architectural ramp with hills, curves and peaks, “DESCENT” celebrates the pleasure of reckless abandon. The ramp is a landscape that generates its own site-specific movement as dancers Laurel and Alice discover new experiences of acceleration, resistance, and momentum. Andromeda and Venus, reimagined as interracial lovers, claim their desire as their wheelchairs fly within inches of the ramp’s edges. The thrilling work challenges our assumptions about social justice, movement and embodiment, and art and architecture.
!!Fly On A Wall
Since their inception in 2014, Fly on a Wall – www.flyonawall.buzz – has created a body of work which includes multimedia performance, installation, and dance for film. They have been presented by Dashboard, the Alliance Theatre, Atlanta Contemporary, Art on the Atlanta BeltLine, Synchronicity Theatre, Eyedrum Art and Music Gallery, the City of Duluth, and the Marietta Performing Arts Center.
Fly on a Wall’s work best reveals itself through inventive theatrical elements that often manifest as performative structures. These elements are integral to the work and allow the audience new dimensions with which to view it. Performance structures that Fly on a Wall has created include: large plexiglass prisms for Art on the Atlanta Beltline, a tandem bicycle generating power for a light bulb in Dashboard’s “Shifting Scapes,” an abstract home made of 20-foot-high. floor-to-ceiling paper panels inside an abandoned castor factory. Once completed, each of these structures house Fly on a Wall’s unique blend of movement and theater.
This month, Fly on a Wall is bringing Anna Long from Chicago to teach three Gaga/dancers classes and one Gaga/people class throughout the weekend. Anyone interested may drop in to a single class or purchase class passes. Space is limited, it is recommended to register early.
On Sunday, August 25, stop by The Windmill Arts Center in East Point to celebrate Fly's one-year anniversary at the Windmill as artists-in-residence with Vanguard Repertory Company. Meet team members, hang out for free refreshments, and find out what Fly on a Wall has in store for the coming year.
!!glo
In 2009, dance/choreographer Lauri Stallings and her partner, production specialist Richard Carvlin, founded the Atlanta-based company glo – www.gloatl.org. Today, glo’s “moving artists” include Kristina Brown, Noëlle Davé, Christina Kelly, Raina Mitchell, Cailan Orn, Mary Jane Pennington, and Mechelle Tunstall. Stallings and her dancers seem to be constantly performing all over metro Atlanta and Georgia and beyond, often in public spaces, including NYC’s Central Park. Over the past decade, glo has presented civic actions, world premiere performance experiments, an international curated live art series, and public art tours across the state. The company regularly collaborates with orchestral conductors, filmmakers, rappers, and fashion and visual artists to, in Stalling’s words, “help revitalize identity in the American South.”
Stallings is uniquely obsessed with the ways choreography can identify and amplify the fluid nature of a city. The choreographer believes that movement with a social conscience is a critical component in creating group empathy and goodwill. That’s why she and glo’s movement artists love to construct “People Parades” for folks to come together in a public place to sit, skip, stand, kneel, walk-in 2’s, prance, waltz, spin, shuffle, be still, and twist.”
Now, as Artist in Residence of the High Museum of Art, Lauri Stallings has constructed MAPPING: Public Choreographies to loop around the entire High Museum Campus. From 12:30–1:15 p.m., every Thursday and Saturday in August, Stallings and glo invite the Atlanta community to join them on the grass of the High Museum for MAPPING: Public Choreographies. For 45 minutes, anyone can come, watch ,or join however they want..
!!Rialto Center for the Arts
The Rialto Center for the Arts at Georgia State University – www.rialto.gsu.edu – is located in one of the oldest parts of the city, downtown’s historic Fairlie-Poplar District. It opened a century ago as one of Atlanta’s first large movie houses, a decade before the Fabulous Fox. After major renovations for the 1996 Olympics, the Rialto became part of GSU’s ever-expanding campus. The annual Rialto (subscription) Series has presented an eclectic mix of world music, jazz, contemporary dance, and international programs. “Ailey II: The Next Generation of Dance” returns to the Rialto October 26. Artistic Director Troy Powell guides Ailey II’s signature pristine performances built on dynamic movement and brilliant technique.
!!Terminus Modern Ballet Theatre
The city we know as Atlanta was founded in the 1820s as Terminus. The five founding members of Terminus Modern Ballet Theatre – www.terminus-serenbe.com – came together to celebrate their shared home as a place where cultures intersect. Now in their second season, these experienced dance artists combine ballet and modern influences to create new theatrical dance works.
On August 3, TMBT jump starts the school year and the return of their “pop up” open class series. Attend an open house at Westside Cultural Arts Center for free dance class offerings, light bites, door prizes, and a special presentation by Atlanta Optimal Performance Symposium.
Terminus opens its second season performing at Serenbe with “Lore,” the story of two siblings who share the collected heritage of their community. The work touches on the oral histories passed down through generations. TMBT invites audiences to gather around a fire as night falls in The Hollow at Serenbe to experience “Lore” October 11–20.
!!Zoetic Dance
::::
Since its first public performance in 2001, Zoetic Dance Ensemble – www.zoeticdance.org – has been a team of strong women, led by strong women. Zoetic’s dynamically athletic work embodies the feminine spirit and celebrates the power of the female body. Since 2001, their passion for female expression has attracted a range of creative women to share their visions, voices and stories of female empowerment. Zoetic, under the creative leadership of Mallory Baxley, enjoys a special partnership with Whitespace Gallery in Inman Park, which is where they’ll kick off their 2019-2020 season with a party and a preview of their upcoming work, “Saint.” The site for that December premiere will be Ambient+Studios, which began as a 109-year-old factory space near West End. “Saint” will feature original music by Xavier “Xay Zoleil” Lewis, costume design by Hannah James, and unique graphic design by Morgan Tanksley.
Return to Fall Arts Preview 2019 "
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!!Atlanta Ballet
Founded in 1929, Atlanta Ballet — www.atlantaballet.com — is considered one of the premier dance companies in the country. Atlanta Ballet’s eclectic repertoire spans ballet history, highlighted by beloved classics and inventive originals. In 1996, Atlanta Ballet opened the Centre for Dance Education (CDE), which is dedicated to nurturing young dancers while providing an outlet for adults to express their creativity. The CDE serves over 23,000 people in metro Atlanta each year. Atlanta Ballet’s roots remain firmly grounded in the Atlanta community and continue to play a vital role in the city’s cultural growth.
{img fileId="21508" stylebox="float: left; margin-right:25px;" desc="desc" max="600"}
“Love Fear Loss,” by Brazilian choreographer Ricardo Amarante, is the centerpiece work of the opening program of the company’s 90th season, It follows the love story of French singer Édith Piaf from the high of new love, through the fear of intimacy slipping away, to the tragedy of losing her lifelong partner. Amarante has described his work as a celebration of the human condition and the beauty that arises from even the darkest moments in life. The program will also include a remounting of “Vespertine,” the hypnotic 2017 work by British choreographer Liam Scarlett, a world premiere commissioned work by New York-based Claudia Schreier and a guest performance by New York-based Complexions Contemporary Ballet.
!!Caló Gitano Dance Academy
Marianela “Malita” Belloso was born in Caracas, Venezuela, and has been dancing flamenco for practically her entire life. She started when she was only six years old. By the time she was nine, she was already performing on television and in major flamenco stage productions with Siudy Quintero Dance Academy, the largest flamenco dance academy in Venezuela. Malita arrived in Atlanta in 2000 and formed the flamenco performance company Caló Gitano – www.calogitano.com – now the largest flamenco academy in Georgia. After opening Caló Dance Studio in Kirkwood nine years ago, Malita trained a group of advanced flamenco dancers and formed partnerships with other artists and musicians to create large-scale theater works and original flamenco musical productions as Caló Theatre Company
!!Core Dance
Core Dance – www.coredance.org – was co-founded in 1980 in Houston, Texas, by dancer and choreographer Sue Schroeder and her sister, Kathy Russell. Five years later, the organization added Atlanta, Georgia, as a second home base. Over four decades, Core has performed 125 pieces of original choreography across the globe, collaborating with the renowned and the obscure. The company actively encourages participation and conversation with the community, sharing what they know about bodies and movement with those dealing with abuse, homelessness, language barriers, refugee status, substance abuse, aging, and HIV/AIDS.
“If… a memoir” is a love song written for humanity. Sue Schroeder in collaboration with the Dance Artists of Core Dance, Christian Meyer (composer), and Simon Gentry (cinematographer) will create an evening-length, physical theater choreo-poem. According to Schroeder, “this new work will draw from early 1950s Beat Generation culture and influences including jazz-inspired rhythm, improvisational spirit, rejection of standard narrative values and seeming disorganization with a deliberate effect.”
!!Department of Dance at Kennesaw State University
Kennesaw State University is home to Georgia’s largest collegiate dance program and Atlanta’s first theater designed specifically for dance. Through the program’s academic and practical experiences, students develop a holistic understanding of dance as an art form while also investigating dance as a method of analysis, a mode of enquiry, and an aesthetic experience. The Department’s collaborative partnerships provide students with uniquely valuable opportunities. This year, KSU Dance launched a new partnership with Terminus Modern Ballet Theater, directly connecting students to the professional practice of dance.
September 27, KSU Dance – www.arts.kennesaw.edu/dance – presents The Charlotte Ballet performing Johan Inger’s “Walking Mad,” a piece inspired by a quote from Socrates: “Our greatest gifts come to us in a state of madness.” KSU’s student dance company will premiere “Slang,” a new work in November.
!!Emory Dance
Emory Dance – www.dance.emory.edu – presents a wide range of public programming each year, including Emory Dance Company concerts, the Friends of Dance Lecture Series, guest artists, dance on film presentations, and informal and site-specific performances and events. Through the Candler Concert Series, Emory Dance presents some of the finest modern dance choreographers and companies, including The Bill T. Jones/Arnie Zane Dance Company, Monica Bill Barnes & Company, David Dorfoman Dance, Doug Varone and Dancers, Urban Bush Women, the José Limón Dance Company, and Cedar Lake Contemporary Ballet.
September 19, the Emory Dance Program presents a Creativity Conversation with visiting artist Dafi Altebeb, a young Israeli musician, dancer, and choreographer who has performed throughout the world. Her original dance works have premiered in major international festivals, including Internationale Tanzmesse (Dusseldorf), Les Brigittines Centre d’Art Contemporain (Brussels), Chang Mu International Dance Festival (Seoul), Ballet Preljocaj – Pavillion Noir (France), and Napoli Theater Festival (Italy).
As a child in his native Iran 40 years ago, Emory Dance faculty member George Staib witnessed up close the frightening reality of religious revolution. In October, he and his brilliant company Staibdance present “Fence,” their most political and socially driven dance work to date. “Fence” examines how “otherness” can take your power or fuel it. Staib blends intensely physical movement vocabulary with traditional Iranian dance, and uses original music, lighting, and digital effects to weave the audience directly into the work.
!!Ferst Center for the Arts
The Georgia Tech Office of the Arts operates the Ferst Center for the Arts – www.arts.gatech.edu/artstech-performance-series – which presents the Arts@Tech season of professional music, dance, theater, and multimedia performances from September to April. The Georgia Tech School of Music performs multiple concerts at the Center, and DramaTech, the student theater group, performs in the James E. Dull Theatre in the back of the building. Arts@Tech has brought some of the most innovative and exciting multimedia works to be seen in the city, showcasing the highest in music and dance talents along with cutting-edge digital technologies. The works explore and explode themes of disability/mobility design, interconnectivity, LGBTQ living, and cultural celebration.
{img fileId="21485" stylebox="float: right; margin-left:25px;" desc="desc" max="600"}
The Ferst will be the site of two of the most exciting “Don’t Miss!” productions of 2019: “Dökk by fuse*” (October 4) and “Kinetic Light: DESCENT” (November 23).
“Dökk” blends light, sound, and movement into a mind-blowing, multidimensional universe created by fuse*, an Italian digital art studio and production company. Aerial dancer Elena Annovi moves through a sequence of 10 other-worldly environments created by software that synthesizes data from social media, the sound score, the dancer’s heartbeat, and her movements.
“DESCENT” by Kinetic Light is an evening-length dance work, choreographed by Alice Sheppard in collaboration with disabled dancer Laurel Lawson and disabled lighting and video artist Michael Maag. Featuring a unique, architectural stage that acts as a partner in the choreography and storytelling, and performed on an architectural ramp with hills, curves and peaks, “DESCENT” celebrates the pleasure of reckless abandon. The ramp is a landscape that generates its own site-specific movement as dancers Laurel and Alice discover new experiences of acceleration, resistance, and momentum. Andromeda and Venus, reimagined as interracial lovers, claim their desire as their wheelchairs fly within inches of the ramp’s edges. The thrilling work challenges our assumptions about social justice, movement and embodiment, and art and architecture.
!!Fly On A Wall
Since their inception in 2014, Fly on a Wall – www.flyonawall.buzz – has created a body of work which includes multimedia performance, installation, and dance for film. They have been presented by Dashboard, the Alliance Theatre, Atlanta Contemporary, Art on the Atlanta BeltLine, Synchronicity Theatre, Eyedrum Art and Music Gallery, the City of Duluth, and the Marietta Performing Arts Center.
Fly on a Wall’s work best reveals itself through inventive theatrical elements that often manifest as performative structures. These elements are integral to the work and allow the audience new dimensions with which to view it. Performance structures that Fly on a Wall has created include: large plexiglass prisms for Art on the Atlanta Beltline, a tandem bicycle generating power for a light bulb in Dashboard’s “Shifting Scapes,” an abstract home made of 20-foot-high. floor-to-ceiling paper panels inside an abandoned castor factory. Once completed, each of these structures house Fly on a Wall’s unique blend of movement and theater.
This month, Fly on a Wall is bringing Anna Long from Chicago to teach three Gaga/dancers classes and one Gaga/people class throughout the weekend. Anyone interested may drop in to a single class or purchase class passes. Space is limited, it is recommended to register early.
On Sunday, August 25, stop by The Windmill Arts Center in East Point to celebrate Fly's one-year anniversary at the Windmill as artists-in-residence with Vanguard Repertory Company. Meet team members, hang out for free refreshments, and find out what Fly on a Wall has in store for the coming year.
!!glo
In 2009, dance/choreographer Lauri Stallings and her partner, production specialist Richard Carvlin, founded the Atlanta-based company glo – www.gloatl.org. Today, glo’s “moving artists” include Kristina Brown, Noëlle Davé, Christina Kelly, Raina Mitchell, Cailan Orn, Mary Jane Pennington, and Mechelle Tunstall. Stallings and her dancers seem to be constantly performing all over metro Atlanta and Georgia and beyond, often in public spaces, including NYC’s Central Park. Over the past decade, glo has presented civic actions, world premiere performance experiments, an international curated live art series, and public art tours across the state. The company regularly collaborates with orchestral conductors, filmmakers, rappers, and fashion and visual artists to, in Stalling’s words, “help revitalize identity in the American South.”
Stallings is uniquely obsessed with the ways choreography can identify and amplify the fluid nature of a city. The choreographer believes that movement with a social conscience is a critical component in creating group empathy and goodwill. That’s why she and glo’s movement artists love to construct “People Parades” for folks to come together in a public place to sit, skip, stand, kneel, walk-in 2’s, prance, waltz, spin, shuffle, be still, and twist.”
Now, as Artist in Residence of the High Museum of Art, Lauri Stallings has constructed MAPPING: Public Choreographies to loop around the entire High Museum Campus. From 12:30–1:15 p.m., every Thursday and Saturday in August, Stallings and glo invite the Atlanta community to join them on the grass of the High Museum for MAPPING: Public Choreographies. For 45 minutes, anyone can come, watch ,or join however they want..
!!Rialto Center for the Arts
The Rialto Center for the Arts at Georgia State University – www.rialto.gsu.edu – is located in one of the oldest parts of the city, downtown’s historic Fairlie-Poplar District. It opened a century ago as one of Atlanta’s first large movie houses, a decade before the Fabulous Fox. After major renovations for the 1996 Olympics, the Rialto became part of GSU’s ever-expanding campus. The annual Rialto (subscription) Series has presented an eclectic mix of world music, jazz, contemporary dance, and international programs. “Ailey II: The Next Generation of Dance” returns to the Rialto October 26. Artistic Director Troy Powell guides Ailey II’s signature pristine performances built on dynamic movement and brilliant technique.
!!Terminus Modern Ballet Theatre
The city we know as Atlanta was founded in the 1820s as Terminus. The five founding members of Terminus Modern Ballet Theatre – www.terminus-serenbe.com – came together to celebrate their shared home as a place where cultures intersect. Now in their second season, these experienced dance artists combine ballet and modern influences to create new theatrical dance works.
On August 3, TMBT jump starts the school year and the return of their “pop up” open class series. Attend an open house at Westside Cultural Arts Center for free dance class offerings, light bites, door prizes, and a special presentation by Atlanta Optimal Performance Symposium.
Terminus opens its second season performing at Serenbe with “Lore,” the story of two siblings who share the collected heritage of their community. The work touches on the oral histories passed down through generations. TMBT invites audiences to gather around a fire as night falls in The Hollow at Serenbe to experience “Lore” October 11–20.
!!Zoetic Dance
::{img fileId="21484" desc="desc" max="1000"}::
Since its first public performance in 2001, Zoetic Dance Ensemble – www.zoeticdance.org – has been a team of strong women, led by strong women. Zoetic’s dynamically athletic work embodies the feminine spirit and celebrates the power of the female body. Since 2001, their passion for female expression has attracted a range of creative women to share their visions, voices and stories of female empowerment. Zoetic, under the creative leadership of Mallory Baxley, enjoys a special partnership with Whitespace Gallery in Inman Park, which is where they’ll kick off their 2019-2020 season with a party and a preview of their upcoming work, “Saint.” The site for that December premiere will be Ambient+Studios, which began as a 109-year-old factory space near West End. “Saint” will feature original music by Xavier “Xay Zoleil” Lewis, costume design by Hannah James, and unique graphic design by Morgan Tanksley.
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!!::~~#000000:POISED FOR GREAT PERFORMANCES~~::
!!!::~~#000000:Emerging dance collectives on the rise~~::
{DIV(class="byline clearfix")}__~~#000000:ANGELA HARRIS~~__{DIV}
{img fileId="21486" stylebox="float: right; margin-left:25px;" desc="desc" max="600"}~~#000000:Atlanta continues to emerge and evolve as a vibrant dance city that supports the visions and dreams of professional artists. Although longstanding companies, such as the Atlanta Ballet, Ballethnic, Georgia Ballet, Full Radius, and CORE, will always have a strong presence deserving of audiences’ time and support, recently, there is a new and expanded focus on developing a fresh crop of professional dance artists in the city.~~
~~#000000:Poised to make its mark on the national dance landscape, Atlanta has caught the eye of national companies interested in moving, touring, or relocating. Ivan Pulinkala, the new dean of the College of the Arts at Kennesaw State University, envisioned the __KSU Dance Theater__ as an attractive presence for companies seeking to make a new footprint in the metro area. Last season, KSU welcomed BalletX and LA-based Body Traffic; this fall, Charlotte Ballet graces the KSU Dance Theatre stage.
As Atlanta receives more notoriety as a film hub, the ripple of national attention spreads out to the greater arts community. Atlanta native __Juel D. Lane__ — a dancer, choreographer, filmmaker, and artist — marked the spring season with stellar new works performed nationally by the Ailey II dance company. The fresh images of Lane’s dance films, ''The Maestro'' and ''PRISM'', received national acclaim. Atlanta audiences will have a chance to enjoy his films at the 2019 BronzeLens Film Festival in August.
Atlanta still has a way to go to support full-time salaries for professional dance artists. But what the city lacks in employment opportunities, it makes it up through the many companies providing outlets for professional artists to hone their skills.
For 12 seasons running, Dance Canvas has been a leader in providing resources for emerging professional dance artists, enabling choreographers to premiere work and audiences to witness newly emerging voices in dance. The company serves as a launching platform for artists and their work, from the aforementioned films of Juel D. Lane and the work of Atlanta Dance Collective’s artistic director Sarah Stokes, to Atlanta’s newest professional dance company, The Tap Rebels.
__Dance Canvas__ currently has a call-out for artists with a deadline of August 15 for choreographers seeking an opportunity to develop new work; premieres of the selected works will take place in March 2020 at the Ferst Center for the Arts.
Recent years have witnessed the emergence of artist collectives within the dance community. Audiences should be on the lookout for exciting new work from __Terminus Modern Ballet Theater__, founded by five former Atlanta Ballet principal dancers. __Atlanta Dance Collective__ features the work of resident choreographers and boasts a strong company of a dozen contemporary dancers. __Kit Modus__, based out of Callanwolde Fine Arts Center, and __ImmerseATL__, under the direction of Sarah Hillmer, formerly of Atlanta Ballet, offer opportunities for artists to develop work and train in a collaborative space with local and nationally based guest artists. T-Lang has developed __‘The Movement Lab’__, a new studio and dance hub “intended to nurture growth and innovation.”
With the many dance artists and dance productions being dreamed up, workshopped, and presented in Atlanta this fall — from ballet and contemporary to tap and dance on film — there is something for every dance lover’s taste. I encourage readers to try something new, see all the dance that is blossoming in Atlanta, and rediscover Atlanta’s dance legacies. We are rich in tradition and brimming with new ideas.
''Angela Harris is the executive artistic director of Dance Canvas, Inc.''~~
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string(15251) " Dancer 2019-08-02T18:46:02+00:00 Dancer_sm.jpg dance fall arts preview 2019 Interpretative and ritual, modern and folk, ballet and bharatanatyam Dancer 2019-08-05T16:51:25+00:00 Atlanta Ballet
Founded in 1929, Atlanta Ballet — www.atlantaballet.com — is considered one of the premier dance companies in the country. Atlanta Ballet’s eclectic repertoire spans ballet history, highlighted by beloved classics and inventive originals... Fall Arts Preview 2019: Dance jim.harris Jim Harris Edward McNally 2019-08-05T16:51:25+00:00 SIDEBAR: POISED FOR GREAT PERFORMANCES
!!Atlanta Ballet
Founded in 1929, Atlanta Ballet — www.atlantaballet.com — is considered one of the premier dance companies in the country. Atlanta Ballet’s eclectic repertoire spans ballet history, highlighted by beloved classics and inventive originals. In 1996, Atlanta Ballet opened the Centre for Dance Education (CDE), which is dedicated to nurturing young dancers while providing an outlet for adults to express their creativity. The CDE serves over 23,000 people in metro Atlanta each year. Atlanta Ballet’s roots remain firmly grounded in the Atlanta community and continue to play a vital role in the city’s cultural growth.
“Love Fear Loss,” by Brazilian choreographer Ricardo Amarante, is the centerpiece work of the opening program of the company’s 90th season, It follows the love story of French singer Édith Piaf from the high of new love, through the fear of intimacy slipping away, to the tragedy of losing her lifelong partner. Amarante has described his work as a celebration of the human condition and the beauty that arises from even the darkest moments in life. The program will also include a remounting of “Vespertine,” the hypnotic 2017 work by British choreographer Liam Scarlett, a world premiere commissioned work by New York-based Claudia Schreier and a guest performance by New York-based Complexions Contemporary Ballet.
!!Caló Gitano Dance Academy
Marianela “Malita” Belloso was born in Caracas, Venezuela, and has been dancing flamenco for practically her entire life. She started when she was only six years old. By the time she was nine, she was already performing on television and in major flamenco stage productions with Siudy Quintero Dance Academy, the largest flamenco dance academy in Venezuela. Malita arrived in Atlanta in 2000 and formed the flamenco performance company Caló Gitano – www.calogitano.com – now the largest flamenco academy in Georgia. After opening Caló Dance Studio in Kirkwood nine years ago, Malita trained a group of advanced flamenco dancers and formed partnerships with other artists and musicians to create large-scale theater works and original flamenco musical productions as Caló Theatre Company
!!Core Dance
Core Dance – www.coredance.org – was co-founded in 1980 in Houston, Texas, by dancer and choreographer Sue Schroeder and her sister, Kathy Russell. Five years later, the organization added Atlanta, Georgia, as a second home base. Over four decades, Core has performed 125 pieces of original choreography across the globe, collaborating with the renowned and the obscure. The company actively encourages participation and conversation with the community, sharing what they know about bodies and movement with those dealing with abuse, homelessness, language barriers, refugee status, substance abuse, aging, and HIV/AIDS.
“If… a memoir” is a love song written for humanity. Sue Schroeder in collaboration with the Dance Artists of Core Dance, Christian Meyer (composer), and Simon Gentry (cinematographer) will create an evening-length, physical theater choreo-poem. According to Schroeder, “this new work will draw from early 1950s Beat Generation culture and influences including jazz-inspired rhythm, improvisational spirit, rejection of standard narrative values and seeming disorganization with a deliberate effect.”
!!Department of Dance at Kennesaw State University
Kennesaw State University is home to Georgia’s largest collegiate dance program and Atlanta’s first theater designed specifically for dance. Through the program’s academic and practical experiences, students develop a holistic understanding of dance as an art form while also investigating dance as a method of analysis, a mode of enquiry, and an aesthetic experience. The Department’s collaborative partnerships provide students with uniquely valuable opportunities. This year, KSU Dance launched a new partnership with Terminus Modern Ballet Theater, directly connecting students to the professional practice of dance.
September 27, KSU Dance – www.arts.kennesaw.edu/dance – presents The Charlotte Ballet performing Johan Inger’s “Walking Mad,” a piece inspired by a quote from Socrates: “Our greatest gifts come to us in a state of madness.” KSU’s student dance company will premiere “Slang,” a new work in November.
!!Emory Dance
Emory Dance – www.dance.emory.edu – presents a wide range of public programming each year, including Emory Dance Company concerts, the Friends of Dance Lecture Series, guest artists, dance on film presentations, and informal and site-specific performances and events. Through the Candler Concert Series, Emory Dance presents some of the finest modern dance choreographers and companies, including The Bill T. Jones/Arnie Zane Dance Company, Monica Bill Barnes & Company, David Dorfoman Dance, Doug Varone and Dancers, Urban Bush Women, the José Limón Dance Company, and Cedar Lake Contemporary Ballet.
September 19, the Emory Dance Program presents a Creativity Conversation with visiting artist Dafi Altebeb, a young Israeli musician, dancer, and choreographer who has performed throughout the world. Her original dance works have premiered in major international festivals, including Internationale Tanzmesse (Dusseldorf), Les Brigittines Centre d’Art Contemporain (Brussels), Chang Mu International Dance Festival (Seoul), Ballet Preljocaj – Pavillion Noir (France), and Napoli Theater Festival (Italy).
As a child in his native Iran 40 years ago, Emory Dance faculty member George Staib witnessed up close the frightening reality of religious revolution. In October, he and his brilliant company Staibdance present “Fence,” their most political and socially driven dance work to date. “Fence” examines how “otherness” can take your power or fuel it. Staib blends intensely physical movement vocabulary with traditional Iranian dance, and uses original music, lighting, and digital effects to weave the audience directly into the work.
!!Ferst Center for the Arts
The Georgia Tech Office of the Arts operates the Ferst Center for the Arts – www.arts.gatech.edu/artstech-performance-series – which presents the Arts@Tech season of professional music, dance, theater, and multimedia performances from September to April. The Georgia Tech School of Music performs multiple concerts at the Center, and DramaTech, the student theater group, performs in the James E. Dull Theatre in the back of the building. Arts@Tech has brought some of the most innovative and exciting multimedia works to be seen in the city, showcasing the highest in music and dance talents along with cutting-edge digital technologies. The works explore and explode themes of disability/mobility design, interconnectivity, LGBTQ living, and cultural celebration.
The Ferst will be the site of two of the most exciting “Don’t Miss!” productions of 2019: “Dökk by fuse*” (October 4) and “Kinetic Light: DESCENT” (November 23).
“Dökk” blends light, sound, and movement into a mind-blowing, multidimensional universe created by fuse*, an Italian digital art studio and production company. Aerial dancer Elena Annovi moves through a sequence of 10 other-worldly environments created by software that synthesizes data from social media, the sound score, the dancer’s heartbeat, and her movements.
“DESCENT” by Kinetic Light is an evening-length dance work, choreographed by Alice Sheppard in collaboration with disabled dancer Laurel Lawson and disabled lighting and video artist Michael Maag. Featuring a unique, architectural stage that acts as a partner in the choreography and storytelling, and performed on an architectural ramp with hills, curves and peaks, “DESCENT” celebrates the pleasure of reckless abandon. The ramp is a landscape that generates its own site-specific movement as dancers Laurel and Alice discover new experiences of acceleration, resistance, and momentum. Andromeda and Venus, reimagined as interracial lovers, claim their desire as their wheelchairs fly within inches of the ramp’s edges. The thrilling work challenges our assumptions about social justice, movement and embodiment, and art and architecture.
!!Fly On A Wall
Since their inception in 2014, Fly on a Wall – www.flyonawall.buzz – has created a body of work which includes multimedia performance, installation, and dance for film. They have been presented by Dashboard, the Alliance Theatre, Atlanta Contemporary, Art on the Atlanta BeltLine, Synchronicity Theatre, Eyedrum Art and Music Gallery, the City of Duluth, and the Marietta Performing Arts Center.
Fly on a Wall’s work best reveals itself through inventive theatrical elements that often manifest as performative structures. These elements are integral to the work and allow the audience new dimensions with which to view it. Performance structures that Fly on a Wall has created include: large plexiglass prisms for Art on the Atlanta Beltline, a tandem bicycle generating power for a light bulb in Dashboard’s “Shifting Scapes,” an abstract home made of 20-foot-high. floor-to-ceiling paper panels inside an abandoned castor factory. Once completed, each of these structures house Fly on a Wall’s unique blend of movement and theater.
This month, Fly on a Wall is bringing Anna Long from Chicago to teach three Gaga/dancers classes and one Gaga/people class throughout the weekend. Anyone interested may drop in to a single class or purchase class passes. Space is limited, it is recommended to register early.
On Sunday, August 25, stop by The Windmill Arts Center in East Point to celebrate Fly's one-year anniversary at the Windmill as artists-in-residence with Vanguard Repertory Company. Meet team members, hang out for free refreshments, and find out what Fly on a Wall has in store for the coming year.
!!glo
In 2009, dance/choreographer Lauri Stallings and her partner, production specialist Richard Carvlin, founded the Atlanta-based company glo – www.gloatl.org. Today, glo’s “moving artists” include Kristina Brown, Noëlle Davé, Christina Kelly, Raina Mitchell, Cailan Orn, Mary Jane Pennington, and Mechelle Tunstall. Stallings and her dancers seem to be constantly performing all over metro Atlanta and Georgia and beyond, often in public spaces, including NYC’s Central Park. Over the past decade, glo has presented civic actions, world premiere performance experiments, an international curated live art series, and public art tours across the state. The company regularly collaborates with orchestral conductors, filmmakers, rappers, and fashion and visual artists to, in Stalling’s words, “help revitalize identity in the American South.”
Stallings is uniquely obsessed with the ways choreography can identify and amplify the fluid nature of a city. The choreographer believes that movement with a social conscience is a critical component in creating group empathy and goodwill. That’s why she and glo’s movement artists love to construct “People Parades” for folks to come together in a public place to sit, skip, stand, kneel, walk-in 2’s, prance, waltz, spin, shuffle, be still, and twist.”
Now, as Artist in Residence of the High Museum of Art, Lauri Stallings has constructed MAPPING: Public Choreographies to loop around the entire High Museum Campus. From 12:30–1:15 p.m., every Thursday and Saturday in August, Stallings and glo invite the Atlanta community to join them on the grass of the High Museum for MAPPING: Public Choreographies. For 45 minutes, anyone can come, watch ,or join however they want..
!!Rialto Center for the Arts
The Rialto Center for the Arts at Georgia State University – www.rialto.gsu.edu – is located in one of the oldest parts of the city, downtown’s historic Fairlie-Poplar District. It opened a century ago as one of Atlanta’s first large movie houses, a decade before the Fabulous Fox. After major renovations for the 1996 Olympics, the Rialto became part of GSU’s ever-expanding campus. The annual Rialto (subscription) Series has presented an eclectic mix of world music, jazz, contemporary dance, and international programs. “Ailey II: The Next Generation of Dance” returns to the Rialto October 26. Artistic Director Troy Powell guides Ailey II’s signature pristine performances built on dynamic movement and brilliant technique.
!!Terminus Modern Ballet Theatre
The city we know as Atlanta was founded in the 1820s as Terminus. The five founding members of Terminus Modern Ballet Theatre – www.terminus-serenbe.com – came together to celebrate their shared home as a place where cultures intersect. Now in their second season, these experienced dance artists combine ballet and modern influences to create new theatrical dance works.
On August 3, TMBT jump starts the school year and the return of their “pop up” open class series. Attend an open house at Westside Cultural Arts Center for free dance class offerings, light bites, door prizes, and a special presentation by Atlanta Optimal Performance Symposium.
Terminus opens its second season performing at Serenbe with “Lore,” the story of two siblings who share the collected heritage of their community. The work touches on the oral histories passed down through generations. TMBT invites audiences to gather around a fire as night falls in The Hollow at Serenbe to experience “Lore” October 11–20.
!!Zoetic Dance
::::
Since its first public performance in 2001, Zoetic Dance Ensemble – www.zoeticdance.org – has been a team of strong women, led by strong women. Zoetic’s dynamically athletic work embodies the feminine spirit and celebrates the power of the female body. Since 2001, their passion for female expression has attracted a range of creative women to share their visions, voices and stories of female empowerment. Zoetic, under the creative leadership of Mallory Baxley, enjoys a special partnership with Whitespace Gallery in Inman Park, which is where they’ll kick off their 2019-2020 season with a party and a preview of their upcoming work, “Saint.” The site for that December premiere will be Ambient+Studios, which began as a 109-year-old factory space near West End. “Saint” will feature original music by Xavier “Xay Zoleil” Lewis, costume design by Hannah James, and unique graphic design by Morgan Tanksley.
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Fall Arts Preview 2019: Dance Dance, Explore Arts & Culture
Monday August 5, 2019 12:51 PM EDT
Interpretative and ritual, modern and folk, ballet and bharatanatyam
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string(9068) "It’s early evening on a weekday and I am parking in front of Mediterranea, a restaurant in Grant Park — my own neighborhood — and I am totally mystified. Nestled in a renovated brick building from the 1920s, it has been open two years, but I’ve never noticed it. I get out of my car. A man on a bicycle races up and down the street behind a frantic chihuahua. A couple comes out of the restaurant. “Is it any good?” I ask. “It’s great, especially if you are gluten-intolerant,” one of them says. I knew this, but I seriously have second thoughts about going in. I don’t want to revive controversy about the formerly trendy disorder of gluten intolerance, but I swallow my gluten-saturated ignorance and proceed inside, pausing briefly by a display case full of — you guessed it — gluten-free pastries.
Gluten or not, Mediterranea is immediately magical. It’s one big dining room and a messy bar with lots of glowing natural wood and long, sleek swaths of blue, un-upholstered banquettes punctuated by slender red columns. Everything whispers “handmade.” Large, extremely effective acoustic panels, a rarity in Atlanta, partially cover painted plaster walls that vaguely remind me of the modernist style of Jackson Pollock and friends. There’s an upstairs patio where I wanted to dine but it had rained on and off all day. The vibe, in short, is just about the opposite of all the mixed-use beehives that are uglifying Memorial Drive.
I later learn that the restaurant belongs to a couple, Gerard Nudo and Gary McElroy, fugitives from New York City who have impressive educational and career backgrounds in the arts. They both were working at Rizzoli, the famous bookstore and publisher, when they moved to Atlanta. McElroy is a bonafide celiac. He manages business while Nudo oversees the kitchen and does all the baking. The restaurant is truly 100 percent gluten-free. It also features many vegan and vegetarian options and, as the name suggests, the menu is inspired by the famously healthy Mediterranean diet that Nudo, born in Italy, grew up eating. Eat here regularly and you will happily outlive the entire Trump family, despite the rumored immortality granted them by Satan.
The dinner menu, prepared by talented chef Ian Anderson, definitely tilts toward the expensive, although lunch and weekend brunch are modestly priced (the restaurant is closed Monday and Tuesday). That is not to say the food isn’t worth the cost. I’ve visited for dinner and brunch and enjoyed just about everything I’ve sampled. But let’s be clear. The Mediterranean diet is all about main ingredients. Flavor doesn’t depend on buttery fats, complicated sauces, and lots of salt. So, while the diet is simple, its preparation is conversely demanding. Vegetables predominate. If they’re not super fresh, the flavor falls flat. If you want to season the food to, say, augment weak flavor, you’re going to depend on herbs and olive oil and that requires really deft skill. All of that said, you and I don’t live on the Mediterranean next to a seaside olive orchard, so variations are inevitable. And hey, the Italians can get messy.
At dinner, my tablemate and I started with a colorful quartet of spreads served with crudites and strips of focaccia. The rectangular plate contained hummus, labneh, olive tapenade, and eggplant. It looked small but turned out to be so filling we decided not to order a second starter. Everything rang true. If you do want another starter, consider the Greek dolmas — grape leaves wrapped around rice and walnuts with a yogurt sauce. This is a dish I have studiously avoided most of my life, since it is usually a gut bomb that has marinated too long in too much olive oil. Mediterranea’s freshly made dolmas actually have an al-dente outer texture that becomes creamy with a few bites. There are other appetizers and salads constructed with greens, fruits, and nuts — all that healthy stuff Mediterraneans allegedly eat.
Entrees are heavy on those same ingredients but may include fish or chicken. I was surprised to see demonized red meat on the menu in the form of steak-frites with a chimichurri sauce. (Those frites are actually roasted fingerling potatoes.) Nudo confirmed that the steak is a concession to those whose happiness depends on ruining their health, but insisted that the plate is dominated by vegetables. I ordered the pan-roasted, juicy chicken breast, which my server said was the menu’s most popular choice. Its harissa glaze was decidedly mild — I like it hotter — but it went deliciously well with the plate’s tart apple salad seasoned with za’atar, the ubiquitous Middle Eastern spice blend. I also got a few forkfuls of what turned out to be my favorite dish — four gigantic shrimp tossed Calabrese-style with ricelike orzo pasta, escarole, golden raisins, pine nuts, and feta cheese.
I hit the restaurant for Sunday brunch too. The menu naturally features lots of eggs — tantalizingly soft-baked in red chili made with pork and smoked sausage, for example. There are sweet choices like “risotto porridge” made with almond milk, a fig-cherry compote, pistachios, and berries, depending on what’s available. Naturally, I was immediately attracted to the menu’s most expensive dish ($16) of salmon croquettes served on a crowded plate of dried fruits, olives, a dolma, labneh, apple relish, and a sliced hard-boiled egg. The salmon croquettes were a disappointment — two tiny, seemingly undercooked patties with practically no crunch or much flavor, for that matter. The other problem for me was the house-made labneh — the super-thick strained Greek yogurt that’s become super popular with healthy peeps. It is seasoned at Mediterranea in a way I find weirdly pungent. I suspect this is a purely personal reaction, and it’s a trivial complaint in the greater scheme of things, anyway. When I return for lunch, I’m going to try the berbere-spiced lamb patties or one of the grain bowls. For dinner, I’ll order a vegetarian meal like involtini or the eggplant stack. I know that the daily fish special is a major hit with many people.
I’ve tried only two of the gluten-free pastries at the restaurant. First was a thick cheddar-chive biscuit that was served mysteriously tepid. Second was a scone that looked more like a square of very dense cake — so delicious I’ve been constantly craving more. There are different varieties but mine was flooded with the flavors of cherries and pecans and topped with a glaze of pure sugar — a perfect reward for going gluten-free and eating my vegetables. Honestly, you won’t miss gluten at Mediterranea, and that’s a plus for just about everyone.
Go ahead and eat a pizza
Speaking of healthy food, you might want to visit the vegan, explicitly named Plant Based Pizzeria in Virginia-Highland. Open since January, it’s take-out only and wait ’til you see the cool, circular boxes embossed with this notice: “Certified compostable plant fiber turns to soil in 90 days when commercially composted.” That’s so neo-Soylent Green!
The pizzas here are made with spelt flour, which is nutritionally superior to white flour, but not gluten-free. For $5 extra, you can lose the gluten. Most of the composed pizzas are $20. So, here, like everywhere, healthy eating’s going to cost you more. I ordered the “Georgia Peach.” The toppings include the vegan Beyond Sausage, vegan mozzarella, roasted basil sauce, and tiny cubes of roasted peaches.
How was it? This is one of those cases where I thought the food was okay, but not convincingly “real” in the way the Impossible Burger is. The sausage had more crumbly texture than taste, so I found it simply annoying. (I rarely want meat on my pizza, anyway, but I felt I should try it for you, my readers.) The vegan mozzarella was likewise meh — there but not there. The peach cubes were okay but way too small and too scarce. And all of this was atop a spelt crust that was thick and without a crisping char. It’s not that I don’t like nutty-tasting spelt, but it really overwhelmed any flavors the toppings might offer.
I don’t like describing the pizza as I have, because the operators of the place, which also sells vegan burgers, are super nice and obviously passionate about their work. The words “vegan lifestyle” are painted on one wall, and I think that’s key. If your life is built around a vegan diet, comparing the food’s flavor to its conventional, less healthy forms is probably meaningless. When I eat plants, I want straight-up vegetables, not impersonators of meat. Were I to attempt converting to an entirely vegan lifestyle, I know I’d crave meat now and then, and maybe staunching that craving is a central function of the impersonators. So take my whining with a large pinch of that killer called salt.
Mediterranea, 332 Ormond St. S.E., 404-748-4219, mediterraneaatl.com.
Plant Based Pizzeria, 730 Barnett St. N.E., 404-835-2739, plantbasedpizzeria.net."
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string(9260) "It’s early evening on a weekday and I am parking in front of Mediterranea, a restaurant in Grant Park — my own neighborhood — and I am totally mystified. Nestled in a renovated brick building from the 1920s, it has been open two years, but I’ve never noticed it. I get out of my car. A man on a bicycle races up and down the street behind a frantic chihuahua. A couple comes out of the restaurant. “Is it any good?” I ask. “It’s great, especially if you are gluten-intolerant,” one of them says. I knew this, but I seriously have second thoughts about going in. I don’t want to revive controversy about the formerly trendy disorder of gluten intolerance, but I swallow my gluten-saturated ignorance and proceed inside, pausing briefly by a display case full of — you guessed it — gluten-free pastries.
Gluten or not, Mediterranea is immediately magical. It’s one big dining room and a messy bar with lots of glowing natural wood and long, sleek swaths of blue, un-upholstered banquettes punctuated by slender red columns. Everything whispers “handmade.” Large, extremely effective acoustic panels, a rarity in Atlanta, partially cover painted plaster walls that vaguely remind me of the modernist style of Jackson Pollock and friends. There’s an upstairs patio where I wanted to dine but it had rained on and off all day. The vibe, in short, is just about the opposite of all the mixed-use beehives that are uglifying Memorial Drive.
I later learn that the restaurant belongs to a couple, Gerard Nudo and Gary McElroy, fugitives from New York City who have impressive educational and career backgrounds in the arts. They both were working at Rizzoli, the famous bookstore and publisher, when they moved to Atlanta. McElroy is a bonafide celiac. He manages business while Nudo oversees the kitchen and does all the baking. The restaurant is truly 100 percent gluten-free. It also features many vegan and vegetarian options and, as the name suggests, the menu is inspired by the famously healthy Mediterranean diet that Nudo, born in Italy, grew up eating. Eat here regularly and you will happily outlive the entire Trump family, despite the rumored immortality granted them by Satan.
The dinner menu, prepared by talented chef Ian Anderson, definitely tilts toward the expensive, although lunch and weekend brunch are modestly priced (the restaurant is closed Monday and Tuesday). That is not to say the food isn’t worth the cost. I’ve visited for dinner and brunch and enjoyed just about everything I’ve sampled. But let’s be clear. The Mediterranean diet is all about main ingredients. Flavor doesn’t depend on buttery fats, complicated sauces, and lots of salt. So, while the diet is simple, its preparation is conversely demanding. Vegetables predominate. If they’re not super fresh, the flavor falls flat. If you want to season the food to, say, augment weak flavor, you’re going to depend on herbs and olive oil and that requires really deft skill. All of that said, you and I don’t live on the Mediterranean next to a seaside olive orchard, so variations are inevitable. And hey, the Italians can get messy.
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At dinner, my tablemate and I started with a colorful quartet of spreads served with crudites and strips of focaccia. The rectangular plate contained hummus, labneh, olive tapenade, and eggplant. It looked small but turned out to be so filling we decided not to order a second starter. Everything rang true. If you do want another starter, consider the Greek dolmas — grape leaves wrapped around rice and walnuts with a yogurt sauce. This is a dish I have studiously avoided most of my life, since it is usually a gut bomb that has marinated too long in too much olive oil. Mediterranea’s freshly made dolmas actually have an al-dente outer texture that becomes creamy with a few bites. There are other appetizers and salads constructed with greens, fruits, and nuts — all that healthy stuff Mediterraneans allegedly eat.
Entrees are heavy on those same ingredients but may include fish or chicken. I was surprised to see demonized red meat on the menu in the form of steak-frites with a chimichurri sauce. (Those frites are actually roasted fingerling potatoes.) Nudo confirmed that the steak is a concession to those whose happiness depends on ruining their health, but insisted that the plate is dominated by vegetables. I ordered the pan-roasted, juicy chicken breast, which my server said was the menu’s most popular choice. Its harissa glaze was decidedly mild — I like it hotter — but it went deliciously well with the plate’s tart apple salad seasoned with za’atar, the ubiquitous Middle Eastern spice blend. I also got a few forkfuls of what turned out to be my favorite dish — four gigantic shrimp tossed Calabrese-style with ricelike orzo pasta, escarole, golden raisins, pine nuts, and feta cheese.
I hit the restaurant for Sunday brunch too. The menu naturally features lots of eggs — tantalizingly soft-baked in red chili made with pork and smoked sausage, for example. There are sweet choices like “risotto porridge” made with almond milk, a fig-cherry compote, pistachios, and berries, depending on what’s available. Naturally, I was immediately attracted to the menu’s most expensive dish ($16) of salmon croquettes served on a crowded plate of dried fruits, olives, a dolma, labneh, apple relish, and a sliced hard-boiled egg. The salmon croquettes were a disappointment — two tiny, seemingly undercooked patties with practically no crunch or much flavor, for that matter. The other problem for me was the house-made labneh — the super-thick strained Greek yogurt that’s become super popular with healthy peeps. It is seasoned at Mediterranea in a way I find weirdly pungent. I suspect this is a purely personal reaction, and it’s a trivial complaint in the greater scheme of things, anyway. When I return for lunch, I’m going to try the berbere-spiced lamb patties or one of the grain bowls. For dinner, I’ll order a vegetarian meal like involtini or the eggplant stack. I know that the daily fish special is a major hit with many people.
I’ve tried only two of the gluten-free pastries at the restaurant. First was a thick cheddar-chive biscuit that was served mysteriously tepid. Second was a scone that looked more like a square of very dense cake — so delicious I’ve been constantly craving more. There are different varieties but mine was flooded with the flavors of cherries and pecans and topped with a glaze of pure sugar — a perfect reward for going gluten-free and eating my vegetables. Honestly, you won’t miss gluten at Mediterranea, and that’s a plus for just about everyone.
__Go ahead and eat a pizza__
Speaking of healthy food, you might want to visit the vegan, explicitly named Plant Based Pizzeria in Virginia-Highland. Open since January, it’s take-out only and wait ’til you see the cool, circular boxes embossed with this notice: “Certified compostable plant fiber turns to soil in 90 days when commercially composted.” That’s so neo-Soylent Green!
The pizzas here are made with spelt flour, which is nutritionally superior to white flour, but not gluten-free. For $5 extra, you can lose the gluten. Most of the composed pizzas are $20. So, here, like everywhere, healthy eating’s going to cost you more. I ordered the “Georgia Peach.” The toppings include the vegan Beyond Sausage, vegan mozzarella, roasted basil sauce, and tiny cubes of roasted peaches.
How was it? This is one of those cases where I thought the food was okay, but not convincingly “real” in the way the Impossible Burger is. The sausage had more crumbly texture than taste, so I found it simply annoying. (I rarely want meat on my pizza, anyway, but I felt I should try it for you, my readers.) The vegan mozzarella was likewise meh — there but not there. The peach cubes were okay but way too small and too scarce. And all of this was atop a spelt crust that was thick and without a crisping char. It’s not that I don’t like nutty-tasting spelt, but it really overwhelmed any flavors the toppings might offer.
I don’t like describing the pizza as I have, because the operators of the place, which also sells vegan burgers, are super nice and obviously passionate about their work. The words “vegan lifestyle” are painted on one wall, and I think that’s key. If your life is built around a vegan diet, comparing the food’s flavor to its conventional, less healthy forms is probably meaningless. When I eat plants, I want straight-up vegetables, not impersonators of meat. Were I to attempt converting to an entirely vegan lifestyle, I know I’d crave meat now and then, and maybe staunching that craving is a central function of the impersonators. So take my whining with a large pinch of that killer called salt.
Mediterranea, 332 Ormond St. S.E., 404-748-4219, mediterraneaatl.com.
Plant Based Pizzeria, 730 Barnett St. N.E., 404-835-2739, plantbasedpizzeria.net."
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string(9753) " MEDIT Salmon Croquette Plate 2271 Web 2019-08-06T19:20:59+00:00 MEDIT_salmon_croquette_plate_2271_web.jpg Started out as what seemed to be a great article and then you brought politics into it. I stopped reading immediately. You just can't help yourself, can you - dumbass grazing Healthy and happy and gluten-free MEDIT Salmon Croquette Plate 2271 Web 2019-08-06T18:54:51+00:00 GRAZING: Craving more at Mediterranea jim.harris Jim Harris Cliff Bostock cliffbostock (Cliff Bostock) 2019-08-06T18:54:51+00:00 It’s early evening on a weekday and I am parking in front of Mediterranea, a restaurant in Grant Park — my own neighborhood — and I am totally mystified. Nestled in a renovated brick building from the 1920s, it has been open two years, but I’ve never noticed it. I get out of my car. A man on a bicycle races up and down the street behind a frantic chihuahua. A couple comes out of the restaurant. “Is it any good?” I ask. “It’s great, especially if you are gluten-intolerant,” one of them says. I knew this, but I seriously have second thoughts about going in. I don’t want to revive controversy about the formerly trendy disorder of gluten intolerance, but I swallow my gluten-saturated ignorance and proceed inside, pausing briefly by a display case full of — you guessed it — gluten-free pastries.
Gluten or not, Mediterranea is immediately magical. It’s one big dining room and a messy bar with lots of glowing natural wood and long, sleek swaths of blue, un-upholstered banquettes punctuated by slender red columns. Everything whispers “handmade.” Large, extremely effective acoustic panels, a rarity in Atlanta, partially cover painted plaster walls that vaguely remind me of the modernist style of Jackson Pollock and friends. There’s an upstairs patio where I wanted to dine but it had rained on and off all day. The vibe, in short, is just about the opposite of all the mixed-use beehives that are uglifying Memorial Drive.
I later learn that the restaurant belongs to a couple, Gerard Nudo and Gary McElroy, fugitives from New York City who have impressive educational and career backgrounds in the arts. They both were working at Rizzoli, the famous bookstore and publisher, when they moved to Atlanta. McElroy is a bonafide celiac. He manages business while Nudo oversees the kitchen and does all the baking. The restaurant is truly 100 percent gluten-free. It also features many vegan and vegetarian options and, as the name suggests, the menu is inspired by the famously healthy Mediterranean diet that Nudo, born in Italy, grew up eating. Eat here regularly and you will happily outlive the entire Trump family, despite the rumored immortality granted them by Satan.
The dinner menu, prepared by talented chef Ian Anderson, definitely tilts toward the expensive, although lunch and weekend brunch are modestly priced (the restaurant is closed Monday and Tuesday). That is not to say the food isn’t worth the cost. I’ve visited for dinner and brunch and enjoyed just about everything I’ve sampled. But let’s be clear. The Mediterranean diet is all about main ingredients. Flavor doesn’t depend on buttery fats, complicated sauces, and lots of salt. So, while the diet is simple, its preparation is conversely demanding. Vegetables predominate. If they’re not super fresh, the flavor falls flat. If you want to season the food to, say, augment weak flavor, you’re going to depend on herbs and olive oil and that requires really deft skill. All of that said, you and I don’t live on the Mediterranean next to a seaside olive orchard, so variations are inevitable. And hey, the Italians can get messy.
At dinner, my tablemate and I started with a colorful quartet of spreads served with crudites and strips of focaccia. The rectangular plate contained hummus, labneh, olive tapenade, and eggplant. It looked small but turned out to be so filling we decided not to order a second starter. Everything rang true. If you do want another starter, consider the Greek dolmas — grape leaves wrapped around rice and walnuts with a yogurt sauce. This is a dish I have studiously avoided most of my life, since it is usually a gut bomb that has marinated too long in too much olive oil. Mediterranea’s freshly made dolmas actually have an al-dente outer texture that becomes creamy with a few bites. There are other appetizers and salads constructed with greens, fruits, and nuts — all that healthy stuff Mediterraneans allegedly eat.
Entrees are heavy on those same ingredients but may include fish or chicken. I was surprised to see demonized red meat on the menu in the form of steak-frites with a chimichurri sauce. (Those frites are actually roasted fingerling potatoes.) Nudo confirmed that the steak is a concession to those whose happiness depends on ruining their health, but insisted that the plate is dominated by vegetables. I ordered the pan-roasted, juicy chicken breast, which my server said was the menu’s most popular choice. Its harissa glaze was decidedly mild — I like it hotter — but it went deliciously well with the plate’s tart apple salad seasoned with za’atar, the ubiquitous Middle Eastern spice blend. I also got a few forkfuls of what turned out to be my favorite dish — four gigantic shrimp tossed Calabrese-style with ricelike orzo pasta, escarole, golden raisins, pine nuts, and feta cheese.
I hit the restaurant for Sunday brunch too. The menu naturally features lots of eggs — tantalizingly soft-baked in red chili made with pork and smoked sausage, for example. There are sweet choices like “risotto porridge” made with almond milk, a fig-cherry compote, pistachios, and berries, depending on what’s available. Naturally, I was immediately attracted to the menu’s most expensive dish ($16) of salmon croquettes served on a crowded plate of dried fruits, olives, a dolma, labneh, apple relish, and a sliced hard-boiled egg. The salmon croquettes were a disappointment — two tiny, seemingly undercooked patties with practically no crunch or much flavor, for that matter. The other problem for me was the house-made labneh — the super-thick strained Greek yogurt that’s become super popular with healthy peeps. It is seasoned at Mediterranea in a way I find weirdly pungent. I suspect this is a purely personal reaction, and it’s a trivial complaint in the greater scheme of things, anyway. When I return for lunch, I’m going to try the berbere-spiced lamb patties or one of the grain bowls. For dinner, I’ll order a vegetarian meal like involtini or the eggplant stack. I know that the daily fish special is a major hit with many people.
I’ve tried only two of the gluten-free pastries at the restaurant. First was a thick cheddar-chive biscuit that was served mysteriously tepid. Second was a scone that looked more like a square of very dense cake — so delicious I’ve been constantly craving more. There are different varieties but mine was flooded with the flavors of cherries and pecans and topped with a glaze of pure sugar — a perfect reward for going gluten-free and eating my vegetables. Honestly, you won’t miss gluten at Mediterranea, and that’s a plus for just about everyone.
Go ahead and eat a pizza
Speaking of healthy food, you might want to visit the vegan, explicitly named Plant Based Pizzeria in Virginia-Highland. Open since January, it’s take-out only and wait ’til you see the cool, circular boxes embossed with this notice: “Certified compostable plant fiber turns to soil in 90 days when commercially composted.” That’s so neo-Soylent Green!
The pizzas here are made with spelt flour, which is nutritionally superior to white flour, but not gluten-free. For $5 extra, you can lose the gluten. Most of the composed pizzas are $20. So, here, like everywhere, healthy eating’s going to cost you more. I ordered the “Georgia Peach.” The toppings include the vegan Beyond Sausage, vegan mozzarella, roasted basil sauce, and tiny cubes of roasted peaches.
How was it? This is one of those cases where I thought the food was okay, but not convincingly “real” in the way the Impossible Burger is. The sausage had more crumbly texture than taste, so I found it simply annoying. (I rarely want meat on my pizza, anyway, but I felt I should try it for you, my readers.) The vegan mozzarella was likewise meh — there but not there. The peach cubes were okay but way too small and too scarce. And all of this was atop a spelt crust that was thick and without a crisping char. It’s not that I don’t like nutty-tasting spelt, but it really overwhelmed any flavors the toppings might offer.
I don’t like describing the pizza as I have, because the operators of the place, which also sells vegan burgers, are super nice and obviously passionate about their work. The words “vegan lifestyle” are painted on one wall, and I think that’s key. If your life is built around a vegan diet, comparing the food’s flavor to its conventional, less healthy forms is probably meaningless. When I eat plants, I want straight-up vegetables, not impersonators of meat. Were I to attempt converting to an entirely vegan lifestyle, I know I’d crave meat now and then, and maybe staunching that craving is a central function of the impersonators. So take my whining with a large pinch of that killer called salt.
Mediterranea, 332 Ormond St. S.E., 404-748-4219, mediterraneaatl.com.
Plant Based Pizzeria, 730 Barnett St. N.E., 404-835-2739, plantbasedpizzeria.net. Cliff Bostock AT MEDITERRANEA: The salmon croquette plate, available at brunch. 0,0,4 Grazing GRAZING: Craving more at Mediterranea "
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GRAZING: Craving more at Mediterranea Food and Drink
Tuesday August 6, 2019 02:54 PM EDT
Healthy and happy and gluten-free
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This month, on The Move, hip-hop for the hearing impaired, a yoga marathon, and more. Can you guess which Australian pop star hits Atlanta in August and is only performing in small venues?? How about Ouiser on the big screen? Read on for the tea, my Fluffy Bithkitz.
Psst… Xtra! Xtra! Weed all about it! Shameless plug for CL’s latest podcast series, “Friends in High Places.” Listen along as I interview the likes of those mapping out the cannabis industry for Georgians, bc it’s not coming, it’s here. Kwanza Hall, The Georgia Hemp Company, Aviva and the Flying Penguins, and Sophia Sabsowitz with Pulp Books ATL, are all available for your listening pleasures on iTunes, Spotify, SoundCloud, and of course, creativeloafing.com/podcasts.
!!THURSDAY AUG. 1
AMEN: Night of 1000 Brigitte Bidets! Best Drag Queen, Best Event Host ... just a few titles our beloved drag queen Brigitte Bidet has earned from CL Best of Atlanta. STUNNING!! But also, this queen is a professionally trained dancer, with a comedic flare that will have you crying tears of laughter after she’s read you from top to bottom. Comb out your best blonde wig and squeeze back into that cheer squad ’fit and pay respects to the legend herself at Sister Louisa’s Church of the Living Room & Ping Pong Emporium. Night of 1000 Brigitte Bidets is part of the monthly drag show, AMEN, a TAYLOR ALXNDR production.
!! THURSDAY AUG. 8
ContrastATL: Dado (Free All Night) ContrastATL is the spot for FREE SOUNDS. This edition brings West Coast dubstep producer, Dado, for an intimate, speshy night of deep curated vibes at the Edgewood Speakeasy. Happens on 8/08, but not in connection with 808Fest. Bass, however, will still be present.
!!FRIDAY-SUNDAY AUG. 9-11
Dirty South Yoga Fest For the sixth consecutive year, Dirty South Yoga Fest brings together all of Atlanta & beyond’s best yogis under one roof. Throughout the weekend, yogis can choose from more than 10 courses of movement, meditation, and camaraderie. Classes vary and include options like RAVI Flow 101 using weighted blankets for additional calming; "Ride the Wave of Breath," a Somatic Exploration; and introductions into acro yoga.
CL’s Best of Atlanta “Best Yogi” 2018, Ziggy Moon will lead the meditation at the Friday-night Kick Off party, which also features vocalist Ruby Velle and yogini performer Charisse. “YES we will meditate, vibrate, and levitate. Buy your tickets for the Fridayyy Kick Off at dirtysouthyogafest.com,” — Ziggy Moon. The Loudermilk Center on Courtland Street is the location for this year’s festivities.
!!SATURDAY AUG. 10
Subtle Presents a Block Party & Warehouse Experience 2 p.m.-4 a.m. House and techno party hosts Subtle popped on the scene earlier in 2019, partnering with the Westside Cultural Arts Center and handpicking a house music selection that proves in demand in Atlanta. A short five months later and they’re bringing us a fest. “Our main focus is techhouse, techno, and house music, but we have included a couple of bass acts on the outdoor stage.” — Brendon, director of operations, Subtle Events.
Need some encouragement to get started early? Shlump tells The Move it is providing an open bar, as in FREE, from 2-3 p.m. Two out of the three stages are AIR CONDITIONED. This is huge. The outdoor stage will collaborate with 808 Fest, a multiday, multivenue celebration of bass happening around Atlanta the same weekend, with Dead Romeo from 4-5 p.m. Times staggered so no headliners are on at the same time. Kill Frenzy and VNSSA of Dirtybird fam are set to perform for the first time in Atlanta. Hoops and poi allowed, but leave that fire at home as they’ve hired professional pyros. Also, I’ll appreciate what else Subtle tells you to leave behind: “No bad attitudes or vibes.”
!!SATURDAY AUG. 17
Brendan Maclean with special guest Chelsea Shag When the Goddess of Nonsense ATL, DJ Kimber, calls to say she’s bringing a queer pop icon stateside, you clear the schedule hunny! “This is a big ol’ deal because his album debuted at #2 on the Australian iTunes charts in March, and he’s been called things like ‘a king of pop in the making’ (by the Guardian UK). He’s a queer icon in Australia but just hasn’t broken over here in a big way yet, so we’re fortunate to have him at such a small venue.”
Maclean’s controversial music video, “House of Air,” was described by the New Yorker as “Should never be viewed in any public setting,” and was eventually removed from Youtube. Why? In the video, homosexual encounters are depicted, casually, but I’m going to guess the interracial analingus is what sent evangelists into a tailspin. Personally, I find the video educational, interesting, and positive in nature. Nothin’ like young gays being gay! Emojis: butterfly, spinny heart, spinny heart, rainbow, boys kissing!!
PS: Preview Maclean live on CL’s Live from the Archives on Wednesday, August 21 on Facebook (@clatl) and Instagram (@creativeloafingatlanta) Live. Simply go to our profiles to view. Show starts around noonish.
!!SUNDAY AUG. 18
Can You Hear Me Now? DEAFinitely Dope is the artist name for Matt Maxey, a deaf performer and “the man bringing music to the deaf community,” landing at The Bakery Atlanta in August. From a young age, Maxey has only heard 25 percent of what’s going on. Add trusted hearing aids, and that volume cranks up to 70 percent. Focusing more on speech therapy, he struggled with sign language, until he challenged himself to sign his favorite rap songs. It worked.
Maxey soon mastered the language and started volunteering his skills. Signing music to the deaf community has led to calls from Chance the Rapper, D.R.A.M. and a spot on the MTV Video Music Awards signing the year’s hip hop category nominees. He currently offers “Visually artistic interpreting for music, motivational speaking, workshops, fundraisers, performances, ASL consulting and minority advancement.” — DEAFinitely Dope.
In classic Bakery fashion, this event comes with more than one attraction. On the menu for the same evening are two short film screenings about deaf artists and an interactive sound exhibit. “We will turn the stall hallways into booths in which you can experience sound in different ways (touch, vibrations, visual).” — Amanda Norris, The Bakery Atlanta
!!THURSDAY–SUNDAY AUG. 29–SEPT. 8
29Rooms: Expand Your Reality Traveling immersive installations making up “29Rooms” will head south August 29 and stay through September 8 at The Works, an 80-acre adaptive mixed-use development in the heart of Atlanta’s Upper Westside.
Super blog Refinery29 selected two Atlanta artists to collaborate on this multicity event. Artist Sarah Emerson, chosen to create the welcoming mural, would not giveaway her master plan, but did hint at fluorescents. Let’s glow! Once inside, you’ll find immersive artwork by artists from around the country, including local GSU grad, NNEKKA. Check out @CreativeLoafingAtlanta on Instagram for video interviews with both Emerson and NNEKKA.
“Through multi-sensory installations, performances, and workshops, we present you with a new way to connect with creativity, culture, and community.” — 29rooms.com. Besides the art, the beauty of these temporary attractions is they literally don’t get old. Similar to Infinity Mirrors, Candytopia, and Slime City. What a time to be alive!
!!Sundays 5-10 p.m. through October.
Chaka Khan Hacienda. Last month’s Talk of the Town highlighted a very regular Move, Chaka Khan Hacienda. This is one decorated day party owning the current title of “Best Day Party 2018” and “Best Recurring Party 2018,” by CL’s Best of Atlanta critics. This party is the reggae, house, and disco fusion sailing over the smell of Japanese street noodles overlooking the heart of Ponce, produced by bombshell Ree de la Vega.
The SCENE: Colorful. Gays, grays, and baes who slay. But seriously, it’s all ages and family-friendly. Most recently, I paid $5 for temporarily glittered teeth, and an extra $5 for more glitter to the face. Cupping’s a thang too. You know, that ancient form of suctioning glass cups to muscles. Great for pain relief, but leaves hella marks. You know it’s a safe space when everyone is happy, dancing, buying vintage, and paying for giant hickies. Plan on getting sweaty, Betty!
!!WEDNESDAY AUG. 14
WUSSY Mag brings Steel Magnolias to the Plaza Theatre “DRINK YOUR JUICE, SHELBY!” This 1989 classic based on a true story was written in just 10 days. “It just poured out into my typewriter in a 24/7 tsunami of Southernness,” writer Robert Harling has been quoted as saying of the play, which was inspired by the passing of his sister, who would become “Shelby” in the iconic film, set and filmed in Natchitoches, Louisiana.
If you’ve never seen Steel Magnolias on the big screen, now is your time, darlin’! And aw hell y’all, if it ain’t a Wussy party. Drag Queens Brigitte Bidet and Molly Rimswell are hosting a costume contest, so dust off those floral-print couch cushions and start crafting that look. “We encourage attendees to get rowdy, quote, and interact with the film.” — Wussy Mag. If you don’t like folks talking during films, stick to Netflix."
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This month, on ''The Move'', hip-hop for the hearing impaired, a yoga marathon, and more. Can you guess which Australian pop star hits Atlanta in August and is only performing in small venues?? How about Ouiser on the big screen? Read on for the tea, my Fluffy Bithkitz.
Psst… Xtra! Xtra! Weed all about it! Shameless plug for CL’s latest podcast series, “Friends in High Places.” Listen along as I interview the likes of those mapping out the cannabis industry for Georgians, bc it’s not coming, it’s here. Kwanza Hall, The Georgia Hemp Company, Aviva and the Flying Penguins, and Sophia Sabsowitz with Pulp Books ATL, are all available for your listening pleasures on iTunes, Spotify, SoundCloud, and of course, creativeloafing.com/podcasts.
!!THURSDAY AUG. 1
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ContrastATL: Dado (Free All Night) ContrastATL is the spot for FREE SOUNDS. This edition brings West Coast dubstep producer, Dado, for an intimate, speshy night of deep curated vibes at the Edgewood Speakeasy. Happens on 8/08, but not in connection with 808Fest. Bass, however, will still be present.
!!FRIDAY-SUNDAY AUG. 9-11
Dirty South Yoga Fest For the sixth consecutive year, Dirty South Yoga Fest brings together all of Atlanta & beyond’s best yogis under one roof. Throughout the weekend, yogis can choose from more than 10 courses of movement, meditation, and camaraderie. Classes vary and include options like RAVI Flow 101 using weighted blankets for additional calming; "Ride the Wave of Breath," a Somatic Exploration; and introductions into acro yoga.
''CL''’s Best of Atlanta “Best Yogi” 2018, Ziggy Moon will lead the meditation at the Friday-night Kick Off party, which also features vocalist Ruby Velle and yogini performer Charisse. “YES we will meditate, vibrate, and levitate. Buy your tickets for the Fridayyy Kick Off at dirtysouthyogafest.com,” — Ziggy Moon. The Loudermilk Center on Courtland Street is the location for this year’s festivities.
!!SATURDAY AUG. 10
Subtle Presents a Block Party & Warehouse Experience 2 p.m.-4 a.m. House and techno party hosts Subtle popped on the scene earlier in 2019, partnering with the Westside Cultural Arts Center and handpicking a house music selection that proves in demand in Atlanta. A short five months later and they’re bringing us a fest. “Our main focus is techhouse, techno, and house music, but we have included a couple of bass acts on the outdoor stage.” — Brendon, director of operations, Subtle Events.
Need some encouragement to get started early? Shlump tells The Move it is providing an open bar, as in FREE, from 2-3 p.m. Two out of the three stages are AIR CONDITIONED. This is huge. The outdoor stage will collaborate with 808 Fest, a multiday, multivenue celebration of bass happening around Atlanta the same weekend, with Dead Romeo from 4-5 p.m. Times staggered so no headliners are on at the same time. Kill Frenzy and VNSSA of Dirtybird fam are set to perform for the first time in Atlanta. Hoops and poi allowed, but leave that fire at home as they’ve hired professional pyros. Also, I’ll appreciate what else Subtle tells you to leave behind: “No bad attitudes or vibes.”
!!SATURDAY AUG. 17
Brendan Maclean with special guest Chelsea Shag When the Goddess of Nonsense ATL, DJ Kimber, calls to say she’s bringing a queer pop icon stateside, you clear the schedule hunny! “This is a big ol’ deal because his album debuted at #2 on the Australian iTunes charts in March, and he’s been called things like ‘a king of pop in the making’ (by the ''Guardian'' UK). He’s a queer icon in Australia but just hasn’t broken over here in a big way yet, so we’re fortunate to have him at such a small venue.”
Maclean’s controversial music video, “House of Air,” was described by the ''New Yorker'' as “Should never be viewed in any public setting,” and was eventually removed from Youtube. Why? In the video, homosexual encounters are depicted, casually, but I’m going to guess the interracial analingus is what sent evangelists into a tailspin. Personally, I find the video educational, interesting, and positive in nature. Nothin’ like young gays being gay! Emojis: butterfly, spinny heart, spinny heart, rainbow, boys kissing!!
PS: Preview Maclean live on ''CL''’s Live from the Archives on Wednesday, August 21 on Facebook (@clatl) and Instagram (@creativeloafingatlanta) Live. Simply go to our profiles to view. Show starts around noonish.
!!SUNDAY AUG. 18
Can You Hear Me Now? DEAFinitely Dope is the artist name for Matt Maxey, a deaf performer and “the man bringing music to the deaf community,” landing at The Bakery Atlanta in August. From a young age, Maxey has only heard 25 percent of what’s going on. Add trusted hearing aids, and that volume cranks up to 70 percent. Focusing more on speech therapy, he struggled with sign language, until he challenged himself to sign his favorite rap songs. It worked.
Maxey soon mastered the language and started volunteering his skills. Signing music to the deaf community has led to calls from Chance the Rapper, D.R.A.M. and a spot on the MTV Video Music Awards signing the year’s hip hop category nominees. He currently offers “Visually artistic interpreting for music, motivational speaking, workshops, fundraisers, performances, ASL consulting and minority advancement.” — DEAFinitely Dope.
In classic Bakery fashion, this event comes with more than one attraction. On the menu for the same evening are two short film screenings about deaf artists and an interactive sound exhibit. “We will turn the stall hallways into booths in which you can experience sound in different ways (touch, vibrations, visual).” — Amanda Norris, The Bakery Atlanta
!!THURSDAY–SUNDAY AUG. 29–SEPT. 8
29Rooms: Expand Your Reality Traveling immersive installations making up “29Rooms” will head south August 29 and stay through September 8 at The Works, an 80-acre adaptive mixed-use development in the heart of Atlanta’s Upper Westside.
Super blog Refinery29 selected two Atlanta artists to collaborate on this multicity event. Artist Sarah Emerson, chosen to create the welcoming mural, would not giveaway her master plan, but did hint at fluorescents. Let’s glow! Once inside, you’ll find immersive artwork by artists from around the country, including local GSU grad, NNEKKA. Check out @CreativeLoafingAtlanta on Instagram for video interviews with both Emerson and NNEKKA.
“Through multi-sensory installations, performances, and workshops, we present you with a new way to connect with creativity, culture, and community.” — 29rooms.com. Besides the art, the beauty of these temporary attractions is they literally don’t get old. Similar to Infinity Mirrors, Candytopia, and Slime City. What a time to be alive!
!!Sundays 5-10 p.m. through October.
Chaka Khan Hacienda. Last month’s Talk of the Town highlighted a very regular Move, Chaka Khan Hacienda. This is one decorated day party owning the current title of “Best Day Party 2018” and “Best Recurring Party 2018,” by ''CL''’s Best of Atlanta critics. This party is the reggae, house, and disco fusion sailing over the smell of Japanese street noodles overlooking the heart of Ponce, produced by bombshell Ree de la Vega.
The SCENE: Colorful. Gays, grays, and baes who slay. But seriously, it’s all ages and family-friendly. Most recently, I paid $5 for temporarily glittered teeth, and an extra $5 for more glitter to the face. Cupping’s a thang too. You know, that ancient form of suctioning glass cups to muscles. Great for pain relief, but leaves hella marks. You know it’s a safe space when everyone is happy, dancing, buying vintage, and paying for giant hickies. Plan on getting sweaty, Betty!
!!WEDNESDAY AUG. 14
WUSSY Mag brings ''Steel Magnolias'' to the Plaza Theatre “DRINK YOUR JUICE, SHELBY!” This 1989 classic based on a true story was written in just 10 days. “It just poured out into my typewriter in a 24/7 tsunami of Southernness,” writer Robert Harling has been quoted as saying of the play, which was inspired by the passing of his sister, who would become “Shelby” in the iconic film, set and filmed in Natchitoches, Louisiana.
If you’ve never seen ''Steel Magnolias'' on the big screen, now is your time, darlin’! And aw hell y’all, if it ain’t a Wussy party. Drag Queens Brigitte Bidet and Molly Rimswell are hosting a costume contest, so dust off those floral-print couch cushions and start crafting that look. “We encourage attendees to get rowdy, quote, and interact with the film.” — Wussy Mag. If you don’t like folks talking during films, stick to Netflix."
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string(10619) " DSC 7680 2019-08-06T20:09:33+00:00 DSC_7680.jpg themove Hey, y’all! What’s the move?
DSC 7680 2019-08-06T20:13:48+00:00 The Move is a column intended to help you beat the fight against basic, one move at a time. Look here for all the best underground, and some above ground, events in ATL. Bc you CAN have a balanced diet of disco and yoga. Warning of side effects: Overdose of culture and queerdom. Bloated bank account from lack of overpriced ticket purchases. Confusion meeting clarity via mind, body and soul. Consume at your own risk. THE MOVE: August 2019 ema.carr Ema Carr Ema Carr 2019-08-06T20:13:48+00:00 The Move is a column intended to help you beat the fight against basic, one move at a time. Look here for all the best underground, and some above ground, events in ATL. Bc you CAN have a balanced diet of disco and yoga. Warning of side effects: Overdose of culture and queerdom. Bloated bank account from lack of overpriced ticket purchases. Confusion meeting clarity via mind, body and soul. Consume at your own risk.
This month, on The Move, hip-hop for the hearing impaired, a yoga marathon, and more. Can you guess which Australian pop star hits Atlanta in August and is only performing in small venues?? How about Ouiser on the big screen? Read on for the tea, my Fluffy Bithkitz.
Psst… Xtra! Xtra! Weed all about it! Shameless plug for CL’s latest podcast series, “Friends in High Places.” Listen along as I interview the likes of those mapping out the cannabis industry for Georgians, bc it’s not coming, it’s here. Kwanza Hall, The Georgia Hemp Company, Aviva and the Flying Penguins, and Sophia Sabsowitz with Pulp Books ATL, are all available for your listening pleasures on iTunes, Spotify, SoundCloud, and of course, creativeloafing.com/podcasts.
!!THURSDAY AUG. 1
AMEN: Night of 1000 Brigitte Bidets! Best Drag Queen, Best Event Host ... just a few titles our beloved drag queen Brigitte Bidet has earned from CL Best of Atlanta. STUNNING!! But also, this queen is a professionally trained dancer, with a comedic flare that will have you crying tears of laughter after she’s read you from top to bottom. Comb out your best blonde wig and squeeze back into that cheer squad ’fit and pay respects to the legend herself at Sister Louisa’s Church of the Living Room & Ping Pong Emporium. Night of 1000 Brigitte Bidets is part of the monthly drag show, AMEN, a TAYLOR ALXNDR production.
!! THURSDAY AUG. 8
ContrastATL: Dado (Free All Night) ContrastATL is the spot for FREE SOUNDS. This edition brings West Coast dubstep producer, Dado, for an intimate, speshy night of deep curated vibes at the Edgewood Speakeasy. Happens on 8/08, but not in connection with 808Fest. Bass, however, will still be present.
!!FRIDAY-SUNDAY AUG. 9-11
Dirty South Yoga Fest For the sixth consecutive year, Dirty South Yoga Fest brings together all of Atlanta & beyond’s best yogis under one roof. Throughout the weekend, yogis can choose from more than 10 courses of movement, meditation, and camaraderie. Classes vary and include options like RAVI Flow 101 using weighted blankets for additional calming; "Ride the Wave of Breath," a Somatic Exploration; and introductions into acro yoga.
CL’s Best of Atlanta “Best Yogi” 2018, Ziggy Moon will lead the meditation at the Friday-night Kick Off party, which also features vocalist Ruby Velle and yogini performer Charisse. “YES we will meditate, vibrate, and levitate. Buy your tickets for the Fridayyy Kick Off at dirtysouthyogafest.com,” — Ziggy Moon. The Loudermilk Center on Courtland Street is the location for this year’s festivities.
!!SATURDAY AUG. 10
Subtle Presents a Block Party & Warehouse Experience 2 p.m.-4 a.m. House and techno party hosts Subtle popped on the scene earlier in 2019, partnering with the Westside Cultural Arts Center and handpicking a house music selection that proves in demand in Atlanta. A short five months later and they’re bringing us a fest. “Our main focus is techhouse, techno, and house music, but we have included a couple of bass acts on the outdoor stage.” — Brendon, director of operations, Subtle Events.
Need some encouragement to get started early? Shlump tells The Move it is providing an open bar, as in FREE, from 2-3 p.m. Two out of the three stages are AIR CONDITIONED. This is huge. The outdoor stage will collaborate with 808 Fest, a multiday, multivenue celebration of bass happening around Atlanta the same weekend, with Dead Romeo from 4-5 p.m. Times staggered so no headliners are on at the same time. Kill Frenzy and VNSSA of Dirtybird fam are set to perform for the first time in Atlanta. Hoops and poi allowed, but leave that fire at home as they’ve hired professional pyros. Also, I’ll appreciate what else Subtle tells you to leave behind: “No bad attitudes or vibes.”
!!SATURDAY AUG. 17
Brendan Maclean with special guest Chelsea Shag When the Goddess of Nonsense ATL, DJ Kimber, calls to say she’s bringing a queer pop icon stateside, you clear the schedule hunny! “This is a big ol’ deal because his album debuted at #2 on the Australian iTunes charts in March, and he’s been called things like ‘a king of pop in the making’ (by the Guardian UK). He’s a queer icon in Australia but just hasn’t broken over here in a big way yet, so we’re fortunate to have him at such a small venue.”
Maclean’s controversial music video, “House of Air,” was described by the New Yorker as “Should never be viewed in any public setting,” and was eventually removed from Youtube. Why? In the video, homosexual encounters are depicted, casually, but I’m going to guess the interracial analingus is what sent evangelists into a tailspin. Personally, I find the video educational, interesting, and positive in nature. Nothin’ like young gays being gay! Emojis: butterfly, spinny heart, spinny heart, rainbow, boys kissing!!
PS: Preview Maclean live on CL’s Live from the Archives on Wednesday, August 21 on Facebook (@clatl) and Instagram (@creativeloafingatlanta) Live. Simply go to our profiles to view. Show starts around noonish.
!!SUNDAY AUG. 18
Can You Hear Me Now? DEAFinitely Dope is the artist name for Matt Maxey, a deaf performer and “the man bringing music to the deaf community,” landing at The Bakery Atlanta in August. From a young age, Maxey has only heard 25 percent of what’s going on. Add trusted hearing aids, and that volume cranks up to 70 percent. Focusing more on speech therapy, he struggled with sign language, until he challenged himself to sign his favorite rap songs. It worked.
Maxey soon mastered the language and started volunteering his skills. Signing music to the deaf community has led to calls from Chance the Rapper, D.R.A.M. and a spot on the MTV Video Music Awards signing the year’s hip hop category nominees. He currently offers “Visually artistic interpreting for music, motivational speaking, workshops, fundraisers, performances, ASL consulting and minority advancement.” — DEAFinitely Dope.
In classic Bakery fashion, this event comes with more than one attraction. On the menu for the same evening are two short film screenings about deaf artists and an interactive sound exhibit. “We will turn the stall hallways into booths in which you can experience sound in different ways (touch, vibrations, visual).” — Amanda Norris, The Bakery Atlanta
!!THURSDAY–SUNDAY AUG. 29–SEPT. 8
29Rooms: Expand Your Reality Traveling immersive installations making up “29Rooms” will head south August 29 and stay through September 8 at The Works, an 80-acre adaptive mixed-use development in the heart of Atlanta’s Upper Westside.
Super blog Refinery29 selected two Atlanta artists to collaborate on this multicity event. Artist Sarah Emerson, chosen to create the welcoming mural, would not giveaway her master plan, but did hint at fluorescents. Let’s glow! Once inside, you’ll find immersive artwork by artists from around the country, including local GSU grad, NNEKKA. Check out @CreativeLoafingAtlanta on Instagram for video interviews with both Emerson and NNEKKA.
“Through multi-sensory installations, performances, and workshops, we present you with a new way to connect with creativity, culture, and community.” — 29rooms.com. Besides the art, the beauty of these temporary attractions is they literally don’t get old. Similar to Infinity Mirrors, Candytopia, and Slime City. What a time to be alive!
!!Sundays 5-10 p.m. through October.
Chaka Khan Hacienda. Last month’s Talk of the Town highlighted a very regular Move, Chaka Khan Hacienda. This is one decorated day party owning the current title of “Best Day Party 2018” and “Best Recurring Party 2018,” by CL’s Best of Atlanta critics. This party is the reggae, house, and disco fusion sailing over the smell of Japanese street noodles overlooking the heart of Ponce, produced by bombshell Ree de la Vega.
The SCENE: Colorful. Gays, grays, and baes who slay. But seriously, it’s all ages and family-friendly. Most recently, I paid $5 for temporarily glittered teeth, and an extra $5 for more glitter to the face. Cupping’s a thang too. You know, that ancient form of suctioning glass cups to muscles. Great for pain relief, but leaves hella marks. You know it’s a safe space when everyone is happy, dancing, buying vintage, and paying for giant hickies. Plan on getting sweaty, Betty!
!!WEDNESDAY AUG. 14
WUSSY Mag brings Steel Magnolias to the Plaza Theatre “DRINK YOUR JUICE, SHELBY!” This 1989 classic based on a true story was written in just 10 days. “It just poured out into my typewriter in a 24/7 tsunami of Southernness,” writer Robert Harling has been quoted as saying of the play, which was inspired by the passing of his sister, who would become “Shelby” in the iconic film, set and filmed in Natchitoches, Louisiana.
If you’ve never seen Steel Magnolias on the big screen, now is your time, darlin’! And aw hell y’all, if it ain’t a Wussy party. Drag Queens Brigitte Bidet and Molly Rimswell are hosting a costume contest, so dust off those floral-print couch cushions and start crafting that look. “We encourage attendees to get rowdy, quote, and interact with the film.” — Wussy Mag. If you don’t like folks talking during films, stick to Netflix. Ema Carr Humidity looks good on it's Very Harry, with Atlanta royalty Brigitte Bidet and Orchid at Chaka Khan Hacienda. 0,0,10 themove THE MOVE: August 2019 "
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Hey, y’all! What’s the move?
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string(7517) "On Friday, August 9, A Rippin’ Production kicks off a weekend of headbanging revelry at 529, celebrating five years of bringing only the finest in hardcore, punk, thrash, and metal mayhem to Atlanta.
The story begins in 2014 when Amos Rifkin first tried his hand at the promotions game: He booked Manchester U.K.’s classic oi-punk and new wave group Slaughter and the Dogs to headline a show in Purgatory at the Masquerade’s original North Avenue location. Call it beginner’s luck, but Slaughter and the Dogs happened to be touring the States performing songs from the group’s undisputed masterpiece, 1978’s Do It Doggystyle LP.
A perfectly calibrated set of openers for a Wednesday night — featuring like-minded local punks and rock ’n’ rollers Maggos Heros, Gunpowder Gray, Antagonizers, and Dinos Boys — filled out the rest of the bill for a riotous night of music.
“For a minute I was innocent enough to think that all of my shows would be that magical,” Rifkin laughs. “For one brief moment, I was batting a thousand. It’s all been downhill ever since!”
Joking aside, hitting the five-year mark as an independent promoter in Atlanta is an impressive feat. Rifkin’s ascent is made all the more remarkable when considering just how much he has accomplished in that time — 500 shows in five years, including performances by legendary underground acts such as British new wave headbangers Satan, Greenville, South Carolina’s death metal and middle eastern music masters Nile, Chicago’s doom outfit the Skull (ex-members of Trouble), and more setting up on stages throughout the city, from Center Stage to the Clermont Lounge.
Recently, Rifkin expanded A Rippin’s operations to include graphic designer and right-hand man Van Bassman of Buzzards of Fuzz, writer and videographer Mark McPheeters, and Cody Martin, the latter of whom is in charge of the colossal Mass Destruction Metal Fest, which returns to Center Stage Nov. 1-2.
As of April 1, Rifkin has also taken on the role of in-house booking agent for 529. Naturally, he’s put together a three-day, five-year anniversary blowout. Friday night’s lineup includes performances by High Spirits, Lazer/Wulf, Gunpowder Gray, Maiden Killers, Vimur, and Abysmal Lord. On Saturday, Morbid Saint, All Hell, and Young Beasts take the stage. On Sunday night, Daikaiju, Shehehe, and Trauma City bring the weekend to a fiery close.
Check out a CL podcast with Amos Rifkin and Van Bassman of A Rippin’ Production.
Ricky Raw, born Ricky Rothstein, the MC, DJ, and bottled water mogul behind ATL Rap Water is back again, curating the eighth annual 808 Fest, taking place Thursday, August 8 through Sunday, August 11, packing in four days of EDM, hip-hop, and full-throttle party music. “The 808 is the most significant sound in modern music,” Rothstein says. “It spans over nearly every single genre of music, and 808 Fest brings together many different kinds of music that appreciates and makes use of that heavy-hitting boom in your chest!”
This year, one of the most innovative producers of classic electro — from the Reagan-era to the here and now — Egyptian Lover, aka Greg Broussard, kicks things off with a bang Thursday night at Aisle 5. Early Egyptian Lover singles such as "Egypt, Egypt," "Computer Love" and "Dance" packed enough rhythm and groove to become part of the defining soundtrack to the breakdance era, and are still go-to party rockers for DJs around the world.
On Friday night, the Brooklyn-based club music producer Baauer (Harry Bauer Rodrigues), who first caught the world’s ear with 2012’s “Harlem Shake,” turns things up a notch at the District warehouse space.
Kill Frenzy, Ralph & Louie, Dateless, and more keep the crowd moving for a block party at the Westside Cultural Arts Center on Saturday.
Sunday sees the long weekend draw to a close with a lineup of drum ‘n’ bass DJs and live performances by Archmage, NinjaKid, Dakota Deshon, Armanni Reign, and more.
Check out a CL podcast with Ricky Raw discussing 808 Fest, ATL Rap Water, having music featured in AMC’s Breaking Bad, and more.
On Sunday, August 21, composer and cellist Okorie “Okcello” Johnson hosts the 20th installment of his Epi.phony series at City Winery.
As the story goes, in 2011, Johnson left his job teaching English at Westminster school to produce a film. He raised a decent amount of money and even pitched Donald Glover, but things weren’t panning out well for the project. As he recalls, people said, “This is a great idea, and you can write, but can you write us something that's gonna make money? Something with zombies or vampires, car crashes, infidelity, murder? This coming-of-age, rom-com thing isn't gonna work.”
Johnson was able to leave his classroom job because he also works as a professional cellist, teaches lessons, and has performed with singer/songwriters such as Doria Roberts, Callahan, and India.Arie. But without money from teaching, the situation looked bleak. “I would come home from these meetings feeling really sad and frustrated,” he says. “I would play my instrument and improvise doing something that was almost like a meditation.”
He emerged from these meditations with a bit of clarity. But the day of his 40th birthday came, and the situation for film was too grim to ignore. “It looked like I was going to have to go back to the classroom, or make a movie about vampires or zombies,” he says. “Both options felt like failure.”
He sat down with his cello, which happened to be hooked up to a looper, and started improvising. A bassline poured out of him, which he says was as eloquent as anything he'd written for the screenplay. “I started crying, and I started improvising over this bassline, and everything started to click,” Johnson says. “By the time I finished improvising, my whole face was wet, my shirt was wet. I had stumbled onto something that was powerful and emotive, and I realized that maybe this is the direction I should follow.”
These improvisations gave birth to more songs, and an album titled Liminal, which is OkCello’s most commercially successful album to date.
The Epi.phony series is his way of paying homage to the realization that he can tell stories and connect with people through his instrument. “In many ways, I had been helping bring other people's visions to fruition,” Johnson says. “Epi.phony was the beginning of having my own vision, my own story, and my own modality for communicating that and understanding that this maybe is my most native and personal language.”
In new releases news, Shantih Shantih returns with a new round of psychedelic rock ‘n’ roll fuzz and melody for a new album, titled Someone, Anyone?, out Sept. 27.
Blackened metal outfit Cloak announced that its second album The Burning Dawn is due out Oct. 25 via Season Of Mist. The album’s first single, “Tempter’s Call” is out now.
And last, but not least, Magnapop also has a new LP out Oct. 25, titled The Circle Is Round, via Happy Happy Birthday To Me. The alternative rock and punk-pop outfit’s early ‘90s lineup featuring vocalist Linda Hopper, guitarist Ruthie Morris, bass player Shannon Mulvaney, and drummer David McNair play a release party at 529 that night, with Nikki and the Phantom Callers, Tiger! Tiger!, and Young Antiques.
Send local music news to chad.radford at creativeloafing.com."
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string(8900) "On Friday, __August 9__, __[http://arippinproduction.com/|A Rippin’ Production]__ kicks off a weekend of headbanging revelry at 529, celebrating five years of bringing only the finest in hardcore, punk, thrash, and metal mayhem to Atlanta.
The story begins in 2014 when Amos Rifkin first tried his hand at the promotions game: He booked Manchester U.K.’s classic oi-punk and new wave group Slaughter and the Dogs to headline a show in Purgatory at the Masquerade’s original North Avenue location. Call it beginner’s luck, but Slaughter and the Dogs happened to be touring the States performing songs from the group’s undisputed masterpiece, 1978’s ''Do It Doggystyle'' LP.
A perfectly calibrated set of openers for a Wednesday night — featuring like-minded local punks and rock ’n’ rollers Maggos Heros, Gunpowder Gray, Antagonizers, and Dinos Boys — filled out the rest of the bill for a riotous night of music.
“For a minute I was innocent enough to think that all of my shows would be that magical,” Rifkin laughs. “For one brief moment, I was batting a thousand. It’s all been downhill ever since!”
Joking aside, hitting the five-year mark as an independent promoter in Atlanta is an impressive feat. Rifkin’s ascent is made all the more remarkable when considering just how much he has accomplished in that time — 500 shows in five years, including performances by legendary underground acts such as British new wave headbangers Satan, Greenville, South Carolina’s death metal and middle eastern music masters Nile, Chicago’s doom outfit the Skull (ex-members of Trouble), and more setting up on stages throughout the city, from Center Stage to the Clermont Lounge.
Recently, Rifkin expanded A Rippin’s operations to include graphic designer and right-hand man Van Bassman of Buzzards of Fuzz, writer and videographer Mark McPheeters, and Cody Martin, the latter of whom is in charge of the colossal Mass Destruction Metal Fest, which returns to Center Stage Nov. 1-2.
As of April 1, Rifkin has also taken on the role of in-house booking agent for 529. Naturally, he’s put together a three-day, five-year anniversary blowout. Friday night’s lineup includes performances by __High Spirits__, __Lazer/Wulf__, __Gunpowder Gray__, __Maiden Killers__, __Vimur__, and __Abysmal Lord__. On Saturday, __Morbid Saint__, __All Hell__, and __Young Beasts__ take the stage. On Sunday night, __Daikaiju__, __Shehehe__, and __Trauma City__ bring the weekend to a fiery close.
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Check out a ''CL'' podcast with Amos Rifkin and Van Bassman of A Rippin’ Production.
Ricky Raw, born Ricky Rothstein, the MC, DJ, and bottled water mogul behind ATL Rap Water is back again, curating the eighth annual [http://808fest.com/|808 Fest], taking place Thursday, __August 8__ through Sunday, __August 11__, packing in four days of EDM, hip-hop, and full-throttle party music. “The 808 is the most significant sound in modern music,” Rothstein says. “It spans over nearly every single genre of music, and 808 Fest brings together many different kinds of music that appreciates and makes use of that heavy-hitting boom in your chest!”
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This year, one of the most innovative producers of classic electro — from the Reagan-era to the here and now — __Egyptian Lover__, aka Greg Broussard, kicks things off with a bang Thursday night at Aisle 5. Early Egyptian Lover singles such as "Egypt, Egypt," "Computer Love" and "Dance" packed enough rhythm and groove to become part of the defining soundtrack to the breakdance era, and are still go-to party rockers for DJs around the world.
On Friday night, the Brooklyn-based club music producer __Baauer__ (Harry Bauer Rodrigues), who first caught the world’s ear with 2012’s “Harlem Shake,” turns things up a notch at the District warehouse space.
__Kill Frenzy__, __Ralph & Louie__, __Dateless__, and more keep the crowd moving for a block party at the Westside Cultural Arts Center on Saturday.
Sunday sees the long weekend draw to a close with a lineup of drum ‘n’ bass DJs and live performances by __Archmage__, __NinjaKid__, __Dakota Deshon__, __Armanni Reign__, and more.
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Check out a ''CL'' podcast with Ricky Raw discussing 808 Fest, ATL Rap Water, having music featured in AMC’s ''Breaking Bad'', and more.
On Sunday, __August 21__, composer and cellist __[https://www.okcello.com/welcome|Okorie “Okcello” Johnson]__ hosts the 20th installment of his [https://www.facebook.com/events/1163006960570469/|Epi.phony] series at City Winery.
As the story goes, in 2011, Johnson left his job teaching English at Westminster school to produce a film. He raised a decent amount of money and even pitched Donald Glover, but things weren’t panning out well for the project. As he recalls, people said, “This is a great idea, and you can write, but can you write us something that's gonna make money? Something with zombies or vampires, car crashes, infidelity, murder? This coming-of-age, rom-com thing isn't gonna work.”
Johnson was able to leave his classroom job because he also works as a professional cellist, teaches lessons, and has performed with singer/songwriters such as Doria Roberts, Callahan, and India.Arie. But without money from teaching, the situation looked bleak. “I would come home from these meetings feeling really sad and frustrated,” he says. “I would play my instrument and improvise doing something that was almost like a meditation.”
He emerged from these meditations with a bit of clarity. But the day of his 40th birthday came, and the situation for film was too grim to ignore. “It looked like I was going to have to go back to the classroom, or make a movie about vampires or zombies,” he says. “Both options felt like failure.”
He sat down with his cello, which happened to be hooked up to a looper, and started improvising. A bassline poured out of him, which he says was as eloquent as anything he'd written for the screenplay. “I started crying, and I started improvising over this bassline, and everything started to click,” Johnson says. “By the time I finished improvising, my whole face was wet, my shirt was wet. I had stumbled onto something that was powerful and emotive, and I realized that maybe this is the direction I should follow.”
These improvisations gave birth to more songs, and an album titled ''[https://www.okcello.com/music|Liminal]'', which is OkCello’s most commercially successful album to date.
The Epi.phony series is his way of paying homage to the realization that he can tell stories and connect with people through his instrument. “In many ways, I had been helping bring other people's visions to fruition,” Johnson says. “Epi.phony was the beginning of having my own vision, my own story, and my own modality for communicating that and understanding that this maybe is my most native and personal language.”
In new releases news, __[https://soundcloud.com/shantih-shantih?fbclid=IwAR01UpIZbtN2-Cw7lwp_PCnE15uETvfXCOIGW6tQ1a1kdGmWHUw1St90aiU|Shantih Shantih]__ returns with a new round of psychedelic rock ‘n’ roll fuzz and melody for a new album, titled ''Someone, Anyone?'', out __Sept. 27__.
{youtube movie="iNjlS41S8yU" width="640" height="395" quality="high" allowFullScreen="y"}
Blackened metal outfit __[https://cloakatlanta.bandcamp.com/?fbclid=IwAR3ZyHteE4yg8Wh58YO1-Ytqm9_QRqdTMBOTbOgYXrldLb3MC6Dc_1WFD0s|Cloak]__ announced that its second album ''The Burning Dawn'' is due out __Oct. 25__ via Season Of Mist. The album’s first single, “Tempter’s Call” is out now.
And last, but not least, __[http://www.magnapop.com/?fbclid=IwAR0Dq_QvZ36ema_8JEOk2ASGthXeAEsYcPzJXe1riCWnb1O7beAvhyfzXCs|Magnapop]__ also has a new LP out Oct. 25, titled ''The Circle Is Round'', via Happy Happy Birthday To Me. The alternative rock and punk-pop outfit’s early ‘90s lineup featuring vocalist Linda Hopper, guitarist Ruthie Morris, bass player Shannon Mulvaney, and drummer David McNair play a release party at 529 that night, with Nikki and the Phantom Callers, Tiger! Tiger!, and Young Antiques.
''[mailto:chad.radford@creativeloafing.com|Send local music news to chad.radford@creativeloafing.com].''"
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string(8320) " Van And Amos 2019-08-07T14:41:56+00:00 Van and Amos.jpg atlanta news music cloak okcello okorie johnson 808 fest egyptian lover baauer atl rap water magnapop shantih shantih a rippin\' production Plus 808 Fest gets the party started with Egyptian Lover, OKCello's 'Epi.phony' series hits 20, and more Van And Amos 2019-08-07T14:07:32+00:00 ATLANTA MUSIC NEWS - A Rippin' turns 5 chad.radford Chad Radford Chad Radford chad.radford (Chad Radford) 2019-08-07T14:07:32+00:00 On Friday, August 9, A Rippin’ Production kicks off a weekend of headbanging revelry at 529, celebrating five years of bringing only the finest in hardcore, punk, thrash, and metal mayhem to Atlanta.
The story begins in 2014 when Amos Rifkin first tried his hand at the promotions game: He booked Manchester U.K.’s classic oi-punk and new wave group Slaughter and the Dogs to headline a show in Purgatory at the Masquerade’s original North Avenue location. Call it beginner’s luck, but Slaughter and the Dogs happened to be touring the States performing songs from the group’s undisputed masterpiece, 1978’s Do It Doggystyle LP.
A perfectly calibrated set of openers for a Wednesday night — featuring like-minded local punks and rock ’n’ rollers Maggos Heros, Gunpowder Gray, Antagonizers, and Dinos Boys — filled out the rest of the bill for a riotous night of music.
“For a minute I was innocent enough to think that all of my shows would be that magical,” Rifkin laughs. “For one brief moment, I was batting a thousand. It’s all been downhill ever since!”
Joking aside, hitting the five-year mark as an independent promoter in Atlanta is an impressive feat. Rifkin’s ascent is made all the more remarkable when considering just how much he has accomplished in that time — 500 shows in five years, including performances by legendary underground acts such as British new wave headbangers Satan, Greenville, South Carolina’s death metal and middle eastern music masters Nile, Chicago’s doom outfit the Skull (ex-members of Trouble), and more setting up on stages throughout the city, from Center Stage to the Clermont Lounge.
Recently, Rifkin expanded A Rippin’s operations to include graphic designer and right-hand man Van Bassman of Buzzards of Fuzz, writer and videographer Mark McPheeters, and Cody Martin, the latter of whom is in charge of the colossal Mass Destruction Metal Fest, which returns to Center Stage Nov. 1-2.
As of April 1, Rifkin has also taken on the role of in-house booking agent for 529. Naturally, he’s put together a three-day, five-year anniversary blowout. Friday night’s lineup includes performances by High Spirits, Lazer/Wulf, Gunpowder Gray, Maiden Killers, Vimur, and Abysmal Lord. On Saturday, Morbid Saint, All Hell, and Young Beasts take the stage. On Sunday night, Daikaiju, Shehehe, and Trauma City bring the weekend to a fiery close.
Check out a CL podcast with Amos Rifkin and Van Bassman of A Rippin’ Production.
Ricky Raw, born Ricky Rothstein, the MC, DJ, and bottled water mogul behind ATL Rap Water is back again, curating the eighth annual 808 Fest, taking place Thursday, August 8 through Sunday, August 11, packing in four days of EDM, hip-hop, and full-throttle party music. “The 808 is the most significant sound in modern music,” Rothstein says. “It spans over nearly every single genre of music, and 808 Fest brings together many different kinds of music that appreciates and makes use of that heavy-hitting boom in your chest!”
This year, one of the most innovative producers of classic electro — from the Reagan-era to the here and now — Egyptian Lover, aka Greg Broussard, kicks things off with a bang Thursday night at Aisle 5. Early Egyptian Lover singles such as "Egypt, Egypt," "Computer Love" and "Dance" packed enough rhythm and groove to become part of the defining soundtrack to the breakdance era, and are still go-to party rockers for DJs around the world.
On Friday night, the Brooklyn-based club music producer Baauer (Harry Bauer Rodrigues), who first caught the world’s ear with 2012’s “Harlem Shake,” turns things up a notch at the District warehouse space.
Kill Frenzy, Ralph & Louie, Dateless, and more keep the crowd moving for a block party at the Westside Cultural Arts Center on Saturday.
Sunday sees the long weekend draw to a close with a lineup of drum ‘n’ bass DJs and live performances by Archmage, NinjaKid, Dakota Deshon, Armanni Reign, and more.
Check out a CL podcast with Ricky Raw discussing 808 Fest, ATL Rap Water, having music featured in AMC’s Breaking Bad, and more.
On Sunday, August 21, composer and cellist Okorie “Okcello” Johnson hosts the 20th installment of his Epi.phony series at City Winery.
As the story goes, in 2011, Johnson left his job teaching English at Westminster school to produce a film. He raised a decent amount of money and even pitched Donald Glover, but things weren’t panning out well for the project. As he recalls, people said, “This is a great idea, and you can write, but can you write us something that's gonna make money? Something with zombies or vampires, car crashes, infidelity, murder? This coming-of-age, rom-com thing isn't gonna work.”
Johnson was able to leave his classroom job because he also works as a professional cellist, teaches lessons, and has performed with singer/songwriters such as Doria Roberts, Callahan, and India.Arie. But without money from teaching, the situation looked bleak. “I would come home from these meetings feeling really sad and frustrated,” he says. “I would play my instrument and improvise doing something that was almost like a meditation.”
He emerged from these meditations with a bit of clarity. But the day of his 40th birthday came, and the situation for film was too grim to ignore. “It looked like I was going to have to go back to the classroom, or make a movie about vampires or zombies,” he says. “Both options felt like failure.”
He sat down with his cello, which happened to be hooked up to a looper, and started improvising. A bassline poured out of him, which he says was as eloquent as anything he'd written for the screenplay. “I started crying, and I started improvising over this bassline, and everything started to click,” Johnson says. “By the time I finished improvising, my whole face was wet, my shirt was wet. I had stumbled onto something that was powerful and emotive, and I realized that maybe this is the direction I should follow.”
These improvisations gave birth to more songs, and an album titled Liminal, which is OkCello’s most commercially successful album to date.
The Epi.phony series is his way of paying homage to the realization that he can tell stories and connect with people through his instrument. “In many ways, I had been helping bring other people's visions to fruition,” Johnson says. “Epi.phony was the beginning of having my own vision, my own story, and my own modality for communicating that and understanding that this maybe is my most native and personal language.”
In new releases news, Shantih Shantih returns with a new round of psychedelic rock ‘n’ roll fuzz and melody for a new album, titled Someone, Anyone?, out Sept. 27.
Blackened metal outfit Cloak announced that its second album The Burning Dawn is due out Oct. 25 via Season Of Mist. The album’s first single, “Tempter’s Call” is out now.
And last, but not least, Magnapop also has a new LP out Oct. 25, titled The Circle Is Round, via Happy Happy Birthday To Me. The alternative rock and punk-pop outfit’s early ‘90s lineup featuring vocalist Linda Hopper, guitarist Ruthie Morris, bass player Shannon Mulvaney, and drummer David McNair play a release party at 529 that night, with Nikki and the Phantom Callers, Tiger! Tiger!, and Young Antiques.
Send local music news to chad.radford at creativeloafing.com. Chad Radford RIPPIN' DUDES: Van Bassman (left) and Amos Rifkin of A Rippin' Production. 0,0,10 Atlanta music news "A Rippin' Production" OKCello "Okorie Johnson" "808 Fest" "Egyptian Lover" "Baauer" "ATL Rap Water" Magnapop "Shantih Shantih" Cloak ATLANTA MUSIC NEWS - A Rippin' turns 5 "
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ATLANTA MUSIC NEWS - A Rippin' turns 5 Music and Nightlife
Wednesday August 7, 2019 10:07 AM EDT
Plus 808 Fest gets the party started with Egyptian Lover, OKCello's 'Epi.phony' series hits 20, and more
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string(6406) "Abortion. A word that is rarely uttered in polite spaces. You can’t talk about it at work. You may even be uncomfortable discussing it with friends. You certainly wouldn’t bring it up in front of your in-laws.
But why is that? It’s nothing new. Abortion is an ancient practice, dating back thousands of years. It was legal in the United States up until the 1880s, and has been legal in our time for more than 45 years. It’s not uncommon. One in four women will have an abortion in her lifetime. It’s not dangerous. In fact, abortion is among the safest medical procedures out there — statistically safer than having your wisdom teeth removed.
The truth is, abortion is a very normal, common, safe, legal, and effective medical procedure. And yet, it remains one of the most taboo topics in this country. I can think of no other issue that affects 25 percent of women directly that is still shrouded in such silence and shame.
The reason is clear: stigma. Abortion has been stigmatized so effectively, especially in the Southeast, that even those of us who consider ourselves progressive on the issue are contributing to it.
Several years ago, a good friend shared with me that she’d had an abortion months prior. Being the enlightened, “pro-choice” person that I was, I was surprised she hadn’t told me sooner. Why would she keep this from me? I’m so clearly supportive. I told her that she could have “come to me for help” and I would have “been there for her.” My friend seemed completely unimpressed with my retrospective offer — and rightfully so. Because she didn’t need my help. She didn’t need me to be there for her. She made an informed decision about what was best for her body and her future, and she went to a doctor’s office to have a safe, legal medical procedure. That was it. She hadn’t consulted me about her other medical decisions. Why would I assume she would need to come to me for this one? Because I fell into the same tired trap that many of us do: the belief that when someone gets an abortion, they must feel some level of guilt, regret, or doubt.
People’s lives are complicated, and decisions about whether to start a family, pursue adoption, or terminate a pregnancy are personal and very complex. But that doesn’t mean they’re difficult. Eighty-seven percent of people who have had an abortion are in their 20s or 30s, and most already have at least one child. Research shows that the most common feeling after having an abortion is relief. People are perfectly capable of making the decision that is best for their lives and their futures without well-meaning (and condescending) sympathy from those around them.
Of course not all people make the decision to have their abortion alone. Some people seek much-needed support from friends and family. And their experience is just as valid and authentic as my friend’s was. There is no one-size-fits-all abortion story. Which is exactly why we must stop projecting our own assumptions about abortion, often colored by shame and stigma, onto other people. We have to start conversations about abortions — not debates. Because ultimately, opinions about abortion are complicated — for some it’s based on faith, for others it’s based on science. But the bottom line is this: You can never know what another person is going through, and you cannot make that decision for someone else. And if there’s one thing I’ve learned in the halls of our state capitol, it’s that politicians definitely aren’t the experts.
Often, we look to people who have had abortions to share their stories. But the responsibility to start these conversations should not fall solely on them. We cannot expect people to subject themselves to the court of public opinion, recounting their most personal, private medical decisions with the world. If we are going to shift this culture of silence, and make real, meaningful change, it will require all of us to start conversations.
The other week, my cousin opened up a conversation with her father about abortion and the recent legislative attacks that we’ve seen sweep the country. My uncle is relatively detached from the subject of abortion because he has the luxury to be. As the conversation progressed, it became clear that he did not know the extent to which abortion access had been legislated this year. He did not know that in his own home state of Alabama, lawmakers voted to outlaw abortion altogether — leaving no exceptions for rape or incest. “Had he been living under a rock?” my cousin thought. Ultimately, yes, he is shielded by his own privilege, and he is not alone. There are a million other conversations just like this one that need to be had if we are going to begin reducing abortion stigma.
And believe me — I know it’s not your responsibility to help educate the willfully ignorant, but it is one of the most meaningful acts of resistance at your disposal. So if you have an abortion story you feel safe and ready to share, share it — even if it’s just with your closest friends. If you have an opportunity to dispel some of the myths and misinformation surrounding abortion, do it — even if it makes you uncomfortable. If you have a platform from which you can proclaim your support for safe, legal abortion, share it — even if it seems unpopular. People’s reactions might just surprise you.
Seventy-seven percent of Americans agree that Roe v. Wade should be upheld. That includes a majority of Republicans and Independents. Even a majority of Trump voters believe abortion should be legal in some circumstances. And millions of people across the country know firsthand just how important that constitutional right is, whether they admit it or not.
Abortion is not as taboo as you think. So be brave and start a conversation, no matter how small. Most of us agree that abortion should remain safe and legal, but that does us no good if we never speak up. A silent majority never gets heard.
Barbara Ann Luttrell serves as the vice president of External Affairs at Planned Parenthood Southeast, where she’s on the frontlines in the fight for reproductive health rights in Alabama, Georgia, and Mississippi. The views in this column are her own, forged from the insight and knowledge she gains everyday, whether in the office or in the streets"
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string(6414) "Abortion. A word that is rarely uttered in polite spaces. You can’t talk about it at work. You may even be uncomfortable discussing it with friends. You certainly wouldn’t bring it up in front of your in-laws.
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The reason is clear: stigma. Abortion has been stigmatized so effectively, especially in the Southeast, that even those of us who consider ourselves progressive on the issue are contributing to it.
Several years ago, a good friend shared with me that she’d had an abortion months prior. Being the enlightened, “pro-choice” person that I was, I was surprised she hadn’t told me sooner. Why would she keep this from me? I’m so clearly supportive. I told her that she could have “come to me for help” and I would have “been there for her.” My friend seemed completely unimpressed with my retrospective offer — and rightfully so. Because she didn’t need my help. She didn’t need me to be there for her. She made an informed decision about what was best for her body and her future, and she went to a doctor’s office to have a safe, legal medical procedure. That was it. She hadn’t consulted me about her other medical decisions. Why would I assume she would need to come to me for this one? Because I fell into the same tired trap that many of us do: the belief that when someone gets an abortion, they must feel some level of guilt, regret, or doubt.
People’s lives are complicated, and decisions about whether to start a family, pursue adoption, or terminate a pregnancy are personal and very complex. But that doesn’t mean they’re difficult. Eighty-seven percent of people who have had an abortion are in their 20s or 30s, and most already have at least one child. Research shows that the most common feeling after having an abortion is relief. People are perfectly capable of making the decision that is best for their lives and their futures without well-meaning (and condescending) sympathy from those around them.
Of course not all people make the decision to have their abortion alone. Some people seek much-needed support from friends and family. And their experience is just as valid and authentic as my friend’s was. There is no one-size-fits-all abortion story. Which is exactly why we must stop projecting our own assumptions about abortion, often colored by shame and stigma, onto other people. We have to start conversations about abortions — not debates. Because ultimately, opinions about abortion are complicated — for some it’s based on faith, for others it’s based on science. But the bottom line is this: You can never know what another person is going through, and you cannot make that decision for someone else. And if there’s one thing I’ve learned in the halls of our state capitol, it’s that politicians definitely aren’t the experts.
Often, we look to people who have had abortions to share their stories. But the responsibility to start these conversations should not fall solely on them. We cannot expect people to subject themselves to the court of public opinion, recounting their most personal, private medical decisions with the world. If we are going to shift this culture of silence, and make real, meaningful change, it will require all of us to start conversations.
The other week, my cousin opened up a conversation with her father about abortion and the recent legislative attacks that we’ve seen sweep the country. My uncle is relatively detached from the subject of abortion because he has the luxury to be. As the conversation progressed, it became clear that he did not know the extent to which abortion access had been legislated this year. He did not know that in his own home state of Alabama, lawmakers voted to outlaw abortion altogether — leaving no exceptions for rape or incest. “Had he been living under a rock?” my cousin thought. Ultimately, yes, he is shielded by his own privilege, and he is not alone. There are a million other conversations just like this one that need to be had if we are going to begin reducing abortion stigma.
And believe me — I know it’s not your responsibility to help educate the willfully ignorant, but it is one of the most meaningful acts of resistance at your disposal. So if you have an abortion story you feel safe and ready to share, share it — even if it’s just with your closest friends. If you have an opportunity to dispel some of the myths and misinformation surrounding abortion, do it — even if it makes you uncomfortable. If you have a platform from which you can proclaim your support for safe, legal abortion, share it — even if it seems unpopular. People’s reactions might just surprise you.
Seventy-seven percent of Americans agree that ''Roe v. Wade'' should be upheld. That includes a majority of Republicans and Independents. Even a majority of Trump voters believe abortion should be legal in some circumstances. And millions of people across the country know firsthand just how important that constitutional right is, whether they admit it or not.
Abortion is not as taboo as you think. So be brave and start a conversation, no matter how small. Most of us agree that abortion should remain safe and legal, but that does us no good if we never speak up. A silent majority never gets heard.
''Barbara Ann Luttrell serves as the vice president of External Affairs at Planned Parenthood Southeast, where she’s on the frontlines in the fight for reproductive health rights in Alabama, Georgia, and Mississippi. The views in this column are her own, forged from the insight and knowledge she gains everyday, whether in the office or in the streets''"
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string(6747) " abortion mybodymyvoice womensrights Not as taboo as you think 2019-08-07T14:43:48+00:00 MY BODY, MY VOICE: Abortion jim.harris Jim Harris BARBARA ANN LUTRELL jim.harris (Jim Harris) 2019-08-07T14:43:48+00:00 Abortion. A word that is rarely uttered in polite spaces. You can’t talk about it at work. You may even be uncomfortable discussing it with friends. You certainly wouldn’t bring it up in front of your in-laws.
But why is that? It’s nothing new. Abortion is an ancient practice, dating back thousands of years. It was legal in the United States up until the 1880s, and has been legal in our time for more than 45 years. It’s not uncommon. One in four women will have an abortion in her lifetime. It’s not dangerous. In fact, abortion is among the safest medical procedures out there — statistically safer than having your wisdom teeth removed.
The truth is, abortion is a very normal, common, safe, legal, and effective medical procedure. And yet, it remains one of the most taboo topics in this country. I can think of no other issue that affects 25 percent of women directly that is still shrouded in such silence and shame.
The reason is clear: stigma. Abortion has been stigmatized so effectively, especially in the Southeast, that even those of us who consider ourselves progressive on the issue are contributing to it.
Several years ago, a good friend shared with me that she’d had an abortion months prior. Being the enlightened, “pro-choice” person that I was, I was surprised she hadn’t told me sooner. Why would she keep this from me? I’m so clearly supportive. I told her that she could have “come to me for help” and I would have “been there for her.” My friend seemed completely unimpressed with my retrospective offer — and rightfully so. Because she didn’t need my help. She didn’t need me to be there for her. She made an informed decision about what was best for her body and her future, and she went to a doctor’s office to have a safe, legal medical procedure. That was it. She hadn’t consulted me about her other medical decisions. Why would I assume she would need to come to me for this one? Because I fell into the same tired trap that many of us do: the belief that when someone gets an abortion, they must feel some level of guilt, regret, or doubt.
People’s lives are complicated, and decisions about whether to start a family, pursue adoption, or terminate a pregnancy are personal and very complex. But that doesn’t mean they’re difficult. Eighty-seven percent of people who have had an abortion are in their 20s or 30s, and most already have at least one child. Research shows that the most common feeling after having an abortion is relief. People are perfectly capable of making the decision that is best for their lives and their futures without well-meaning (and condescending) sympathy from those around them.
Of course not all people make the decision to have their abortion alone. Some people seek much-needed support from friends and family. And their experience is just as valid and authentic as my friend’s was. There is no one-size-fits-all abortion story. Which is exactly why we must stop projecting our own assumptions about abortion, often colored by shame and stigma, onto other people. We have to start conversations about abortions — not debates. Because ultimately, opinions about abortion are complicated — for some it’s based on faith, for others it’s based on science. But the bottom line is this: You can never know what another person is going through, and you cannot make that decision for someone else. And if there’s one thing I’ve learned in the halls of our state capitol, it’s that politicians definitely aren’t the experts.
Often, we look to people who have had abortions to share their stories. But the responsibility to start these conversations should not fall solely on them. We cannot expect people to subject themselves to the court of public opinion, recounting their most personal, private medical decisions with the world. If we are going to shift this culture of silence, and make real, meaningful change, it will require all of us to start conversations.
The other week, my cousin opened up a conversation with her father about abortion and the recent legislative attacks that we’ve seen sweep the country. My uncle is relatively detached from the subject of abortion because he has the luxury to be. As the conversation progressed, it became clear that he did not know the extent to which abortion access had been legislated this year. He did not know that in his own home state of Alabama, lawmakers voted to outlaw abortion altogether — leaving no exceptions for rape or incest. “Had he been living under a rock?” my cousin thought. Ultimately, yes, he is shielded by his own privilege, and he is not alone. There are a million other conversations just like this one that need to be had if we are going to begin reducing abortion stigma.
And believe me — I know it’s not your responsibility to help educate the willfully ignorant, but it is one of the most meaningful acts of resistance at your disposal. So if you have an abortion story you feel safe and ready to share, share it — even if it’s just with your closest friends. If you have an opportunity to dispel some of the myths and misinformation surrounding abortion, do it — even if it makes you uncomfortable. If you have a platform from which you can proclaim your support for safe, legal abortion, share it — even if it seems unpopular. People’s reactions might just surprise you.
Seventy-seven percent of Americans agree that Roe v. Wade should be upheld. That includes a majority of Republicans and Independents. Even a majority of Trump voters believe abortion should be legal in some circumstances. And millions of people across the country know firsthand just how important that constitutional right is, whether they admit it or not.
Abortion is not as taboo as you think. So be brave and start a conversation, no matter how small. Most of us agree that abortion should remain safe and legal, but that does us no good if we never speak up. A silent majority never gets heard.
Barbara Ann Luttrell serves as the vice president of External Affairs at Planned Parenthood Southeast, where she’s on the frontlines in the fight for reproductive health rights in Alabama, Georgia, and Mississippi. The views in this column are her own, forged from the insight and knowledge she gains everyday, whether in the office or in the streets Barbara Ann Lutrell 0,0,2 mybodymyvoice abortion womensrights MY BODY, MY VOICE: Abortion "
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MY BODY, MY VOICE: Abortion News
Wednesday August 7, 2019 10:43 AM EDT
Not as taboo as you think
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Sash the Bash, the high-energy astro-punk outfit led by singer, guitarist, and songwriter Sasha Vallely (Midnight Larks, Spindrift, the Warlocks) plans to record a four-song EP at Rancho de la Luna in Joshua Tree, California, this September. Rancho de la Luna is something of a legendary studio that has hosted artists ranging from Iggy Pop and the Foo Fighters to PJ Harvey, Queens of the Stone Age, and Josh Homme’s Desert Sessions.
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[https://www.sashthebash.com/|Sash the Bash], the high-energy astro-punk outfit led by singer, guitarist, and songwriter Sasha Vallely (Midnight Larks, Spindrift, the Warlocks) plans to record a four-song EP at Rancho de la Luna in Joshua Tree, California, this September. Rancho de la Luna is something of a legendary studio that has hosted artists ranging from Iggy Pop and the Foo Fighters to PJ Harvey, Queens of the Stone Age, and Josh Homme’s Desert Sessions.
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string(1905) " Sash The Bash 2019-08-07T21:35:00+00:00 Sash_the_Bash.jpg creative loafing sash the bash rancho de luna spindrift sasha vallely midnight larks spin drifts Singer and guitarist Sasha Vallely talks about recording at Rancho de Luna, and more Sash The Bash 2019-08-07T21:04:53+00:00 PODCAST: Sash the Bash chad.radford Chad Radford Chad Radford chad.radford (Chad Radford) 2019-08-07T21:04:53+00:00
Sash the Bash, the high-energy astro-punk outfit led by singer, guitarist, and songwriter Sasha Vallely (Midnight Larks, Spindrift, the Warlocks) plans to record a four-song EP at Rancho de la Luna in Joshua Tree, California, this September. Rancho de la Luna is something of a legendary studio that has hosted artists ranging from Iggy Pop and the Foo Fighters to PJ Harvey, Queens of the Stone Age, and Josh Homme’s Desert Sessions.
To cover the cost of traveling to the West Coast, studio time, pressing vinyl, and everything else that comes along with releasing an album, Vallely and Co. have launched an Indiegogo campaign to raise $10,000.
Sash the Bash’s next Atlanta show takes place August 17 at the Star Bar, as part of the Upbeat Festival, with all proceeds donated to the Tigerbeat Foundation for Musicians. The foundation was established in honor of Vallely’s former drummer Tony “2 Skulls” Dinneweth, who died in August of 2017. Other acts on the bill include the Border Dogs, the Wheel Knockers, Elzig, the Casket Creatures, the Cogburns, Rocket 350, and the Pits.
Sash the Bash is also one of the featured acts performing at the upcoming Muddy Roots Music Festival Sept. 30-Aug. 1 at June Bug Boogie Ranch in Cookeville, Tennessee. Chad Radford 0,0,10 Midnight Larks' debut LP shines bright "Sash the Bash" "Rancho de Luna" "Spindrift" "Sasha Vallely" "Creative Loafing" "Midnight Larks" "Spin Drifts" PODCAST: Sash the Bash "
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PODCAST: Sash the Bash Music and Nightlife
Wednesday August 7, 2019 05:04 PM EDT
Singer and guitarist Sasha Vallely talks about recording at Rancho de Luna, and more
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