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  string(14069) "“A real record man” is how the rocking blues guitarist Tinsley Ellis affectionately describes Landslide label founder and head honcho, Michael Rothschild.

Even if Rothschild had not been the first to nationally distribute music from and garner worldwide exposure to such now high profile acts like Widespread Panic, The Derek Trucks Band, Sean Costello, Webb Wilder, and Tinsley Ellis, he would still be a major figure — an icon even — in Atlanta’s music history.

Rothschild’s scrappy indie imprint has played a crucial role in not just recording, but publicizing and generally spreading the gospel of much of Atlanta and the South’s homegrown, roots-oriented music scenes.

Now celebrating Landslide Records’ 40th year of business with a sprawling, wildly eclectic, two-disc album of highlights from the past four decades, the entrepreneur takes a well-deserved victory lap to recap what he has spent more than half his life on — keeping Landslide afloat and (for the most part) profitable. Anyone who knows the hazardous economics of locally based, small, independent businesses — especially in the music industry — understands how difficult and rare an accomplishment this is.

Just as impressive, however, is that the 78-year-old impresario isn’t slowing down, not anytime soon, at least. Rothschild already has plans for new releases in 2022. But for now, it’s time — actually well past time — for him to take a breath and reflect on the sheer quantity and quality of the music he has recorded and promoted since his first release in 1981.

Rothschild got his first taste of the music industry immediately after leaving the army in 1969. He worked for Transcontinental, a conglomerate that distributed about 25 percent of the music throughout the country.  Afterward, he was employed in the distribution end of the movie business. It was that job that led him to Atlanta in 1973.

The Landslide story starts, as many in the early 80s roots scene do, with Bruce Hampton. Not yet a Colonel, let alone a retired one as he often appended to his name, Hampton and Rothschild met in the mid-70s. Rothschild explains, “We had a close mutual friend. I met Hampton at a party at his house. We started going to baseball games together and talking about music. I wasn’t around for the Hampton Grease Band. This was after that. I ended up seeing some of Bruce’s performances … and it just built as a friendship. I enjoyed their shows and it got to the point where Bruce said, ‘You should start a label. We’ll all be riding around in limousines.’”

It sounds so simple and innocent now. Perhaps it was just the tenor of the era. But Rothschild took Hampton up on the suggestion with the debut of Landslide Records. The imprint’s name emerged, oddly enough, from conservative politics. “At the time, Reagan was elected in a landslide, and Bruce said, ‘Music is going to go totally crazy now. It’s going to be real atonal and rebellious.’ So I said maybe we should call it Landslide Records, and he thought that was a good idea. It wasn’t because of any political feelings,” he laughs.

Financially, Rothschild says, “For the startup, I used my money. We did have some investors early on that helped fund certain projects, but it was mostly what I invested.” Outside Looking In by The Late Bronze Age, Hampton’s band at that time, was, not surprisingly, the label’s first release. Unfortunately, things got off to a rough start as the album stiffed commercially despite generally positive reviews, including a major one from respected music journalist Robert Palmer in the Sunday edition of The New York Times. Perhaps that was inevitable with songs that featured an odd jazz-rock, somewhat Zappa-like approach with Hampton’s typically cryptic, stream-of-consciousness lyrics and inscrutable titles like “Rehearsals for Fainting,” “Seven Men in a Bazooka,” and the impenetrable “Fat Brooms Push the Number Bush.”

But Rothschild never thought about quitting. He had already committed to jazz records, one from keyboardist Dan Wall, a Hampton friend, and another with percussionist David Earle Johnson, another musician in Hampton’s universe, backed by noted ECM guitarist John Abercrombie. “At that point, we had our distribution set up, so we had to keep feeding it.” Landslide’s next album came from avant-garde, jazz-funk outfit Curlew with noted bassist and producer Bill Laswell on the band’s roster. Rothschild kept his focus on jazz with a solo project from reed player Paul McCandless of the well-regarded band Oregon.

Around 1982, Rothschild met legendary English producer Eddy Offord, best known for his work with Emerson, Lake & Palmer, Yes, Rory Gallagher, and Ginger Baker, who had opened a recording studio, the East Point Theatre, just south of Atlanta. “He loved Bruce and offered us a deal far better than Hampton could have gotten elsewhere. So we recorded another record with The Late Bronze Age (Isles of Langerhan), which didn’t really do much better,” he laughs, “but it was a fun record.” Both are represented by a track each on the new Landslide compilation.

Did anything released on Landslide turn a profit?


“We made money off of the McCandless record … After that, the first Bluesbusters album (1986), a band that had Paul Barrere (Little Feat), T Lavitz (Dixie Dregs) and Catfish Hodge, sold well due to some good airplay.” Over the long haul, albums from Tinsley Ellis & The Heartfixers, including Cool On It, and Webb Wilder’s It Came from Nashville (which continues to sell) sold well enough. “Eventually we recouped on the Hampton records … It took a long time,” he deadpans.


The record that sold the fastest, not the most, was by The Lost Continentals in 1997. “They were from Atlanta but playing all over the place, and we couldn’t keep it in stock. And then they broke up. The same thing happened with The Brains.”

Those familiar with Atlanta blues outfit Delta Moon also likely know that Tom Gray, its cofounder, was a member of Atlanta new wavers The Brains. The band’s two albums for Mercury (1980 and ’81) are long out of print and not even digitally available. A third record, the EP Dancing Under Steetlights, was issued by Landslide and is also currently unavailable. But even though they disbanded shortly after it was released, Rothschild and Gray have remained friends. Landslide now distributes Delta Moon’s own Jumping Jack Records, and the title track of 2017’s Cabbagetown is represented on the 40th anniversary collection. “When I’ve called him (Rothschild) with a project, he’s been right there,” says Gray. At the time of our conversation, Gray acknowledged that he’s been in discussions with Rothschild about the possibility of a Landslide re-release of Streetlights that might also include other Brains recordings from that era.

Few musicians are as grateful for what Rothschild means to them as veteran Atlanta-based, blues-rock guitarist Tinsley Ellis. “It would be hard for me to imagine my modest career in music without Michael involved in it,” he says. “He has been with me every step of the way. We’ve been in business together coming up on 40 years.” Ellis appears three times on the anniversary set — it opens with The Heartfixers’ “Drivin’ Woman.” Ellis and The Heartfixers are joined by Chicago Bob Nelson adding vocals on a live version of Muddy Waters’s “Walkin’ Thru the Park,” and Ellis and The Heartfixers back up Nappy Brown on “Hard Luck Blues.” Rothschild first heard Ellis and The Heartfixers when they opened for John Lee Hooker on a club date in 1982.

After three records on Landslide, Rothschild took Ellis to Alligator Records in 1988, the label for which Ellis still records. Landslide also distributes Ellis’s Heartfixer Music releases, so the two very much continue both business and, perhaps more importantly, their personal relationship. “I am very proud to have brought some acts to Michael’s attention,” says Ellis. And what acts they are. “Widespread Panic, Derek Trucks, Sean Costello and Webb Wilder … all are big fans of Michael,” Ellis reveals — and with good reason. Rothschild helped place Ellis’s song, “A Quitter Never Wins,” on Jonny Lang’s second album, Lie to Me, ultimately exposing Ellis’s songwriting to a wider audience when the release earned both guitarists platinum record awards — selling in excess of one million copies — to add to their walls.

::::
One of Landslide’s most consistent selling artists is the late Sean Costello. Rothschild got involved with the young guitar slinger early in Costello’s career, releasing his second and third efforts, 2000’s Cuttin’ In and 2001’s Moanin’ for Molasses. With Costello’s posthumous albums Landslide released a total of six titles by the artist, including 2019’s wonderful various artist tribute Don’t Pass Me By. Two of Costello’s selections made the cut onto the 40th set.

Costello’s ex-roommate, Electromatics founder and frontman Jon Liebman, remembers how much Costello respected Rothschild’s veteran status and that Rothschild was so supportive of Sean, whether showing up at Costello gigs at the Northside Tavern and Fatt Matt’s, or even when Costello would just sit in with Electromatics at various places.

“Michael was very endearing in his relationship with Sean. Sean really looked up to Michael. He liked recording and having Michael be the executive producer on those records,” explains Liebman. But the relationship went both ways. “I learned a lot from him (Costello). I always learn a lot from these artists because I’m really just a fan,” admits Rothschild. “I learned a lot about blues that Sean knew but I wasn’t familiar with.”


The act that looms largest for many in Landslide’s extensive catalogue of releases, however, is Widespread Panic. Rothschild remembers back in 1988 when Tinsley Ellis first suggested he check out the Athens-based band live. “It was a scene I hadn’t (experienced) in a long time — everyone wearing tie-dye and twirling around dancing. The place was packed.” When it came to the music, it was easy. “They already had stuff recorded with John Keane in Athens, so we just took the tapes and put the record out. Initially that was not a big seller.” Ultimately, the band bought the album back, which helped Rothschild at the time with a much-needed infusion of cash. “I’d like to have that in my catalog now. But, they were nice enough to let me use (a song) for this compilation.”

Although the concept of a 35th anniversary collection was floated, it never materialized. Instead Rothschild started thinking about the 40th only a few months ago. “We don’t have a new release until after the first of the year, so this is really good timing.” In respect to what made the final list, he says, “There are things we did that are not represented. But I did not miss anything based on my personal taste.”


The 33 tracks, arranged nonchronologically, reflect the wide range of the label owner’s personal tastes. It’s such diversity that has made Landslide a distinctive imprint. The first disc is blues-based with music from the aforementioned acts, along with an Oliver Woods-fronted King Johnson title, classic New Orleans sounds from 1999 with Dave Bartholomew, and Rothschild’s most recent signing, guitarist Damon Fowler. The second offers the more eclectic sounds of a young Derek Trucks, Rothschild first saw Trucks when he was 11; The Brains; Tedeschi Trucks singer Mike Mattison, solo and with Scrapomatic; and, of course, the outsized, unpredictable and enormously influential wild card, Bruce Hampton.

With the exception of artists from outside the region, Rothschild generally signed acts from the South. “I thought that (Atlanta) was a fertile area to pursue. One thing I was told early on was a quote from (blues legend) Willie Dixon. ‘If you have a record label, there are always going to be artists to sign.’ And I found that to be the case. There were people that I wanted to sign, like Drivin N Cryin, that we weren’t able to.” He also tells the story of an artist outside his musical comfort zone he later regretted not signing. “One time I got a demo rap cassette in from a guy named Calvin Broadus. It was wrapped in notebook paper, nothing much to it. I listened to it and thought it wasn’t my thing. A couple of years later Calvin Broadus surfaced as Snoop Dogg.”


As you might expect for such a small operation, Landslide’s output is modest. “Over the last few years, we’ve been doing maybe two to three releases a year. That’s pretty much all we can handle. But you have to keep releases coming or distributors will lose faith.” But there have been lean periods too. He remembers a time when Landslide was almost inactive. “In the early 1990s, things weren’t gelling. The overhead of the office on 14th street was getting to be too much.” A friend offered him a job back in the movie business with an office and said he could run his label out of it. After the transitional phase, Rothschild notes, “We gradually got back into regular releases,” which, 40 years and 62 recordings later, is where he stays.


Not only does Rothschild have a career with highlights any record exec would covet, he is also seemingly universally respected and, more importantly, loved by everyone in a notoriously cutthroat industry.

“I fully believe Michael will discover another Widespread Panic, another Derek Trucks, or another Sean Costello,” Ellis predicts. “He’s an old school ‘record man,’ like Leonard Chess, (Capricorn’s) Phil Walden or (Alligator’s) Bruce Iglauer. He’s someone who gets involved with the artist personally, musically, nurtures their songwriting … and talks them off the ledge … He has his ear to the track as any record man would.” —CL—"
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  string(14818) "“A real record man” is how the rocking blues guitarist Tinsley Ellis affectionately describes Landslide label founder and head honcho, Michael Rothschild.

Even if Rothschild had not been the first to nationally distribute music from and garner worldwide exposure to such now high profile acts like Widespread Panic, The Derek Trucks Band, Sean Costello, Webb Wilder, and Tinsley Ellis, he would still be a major figure — an icon even — in Atlanta’s music history.

Rothschild’s scrappy indie imprint has played a crucial role in not just recording, but publicizing and generally spreading the gospel of much of Atlanta and the South’s homegrown, roots-oriented music scenes.

Now celebrating Landslide Records’ 40th year of business with a sprawling, wildly eclectic, two-disc album of highlights from the past four decades, the entrepreneur takes a well-deserved victory lap to recap what he has spent more than half his life on — keeping Landslide afloat and (for the most part) profitable. Anyone who knows the hazardous economics of locally based, small, independent businesses — especially in the music industry — understands how difficult and rare an accomplishment this is.

Just as impressive, however, is that the 78-year-old impresario isn’t slowing down, not anytime soon, at least. Rothschild already has plans for new releases in 2022. But for now, it’s time — actually well past time — for him to take a breath and reflect on the sheer quantity and quality of the music he has recorded and promoted since his first release in 1981.

Rothschild got his first taste of the music industry immediately after leaving the army in 1969. He worked for Transcontinental, a conglomerate that distributed about 25 percent of the music throughout the country.  Afterward, he was employed in the distribution end of the movie business. It was that job that led him to Atlanta in 1973.

The Landslide story starts, as many in the early 80s roots scene do, with Bruce Hampton. Not yet a Colonel, let alone a retired one as he often appended to his name, Hampton and Rothschild met in the mid-70s. Rothschild explains, “We had a close mutual friend. I met Hampton at a party at his house. We started going to baseball games together and talking about music. I wasn’t around for the Hampton Grease Band. This was after that. I ended up seeing some of Bruce’s performances … and it just built as a friendship. I enjoyed their shows and it got to the point where Bruce said, ‘You should start a label. We’ll all be riding around in limousines.’”

It sounds so simple and innocent now. Perhaps it was just the tenor of the era. But Rothschild took Hampton up on the suggestion with the debut of Landslide Records. The imprint’s name emerged, oddly enough, from ''conservative'' politics. “At the time, Reagan was elected in a landslide, and Bruce said, ‘Music is going to go totally crazy now. It’s going to be real atonal and rebellious.’ So I said maybe we should call it Landslide Records, and he thought that was a good idea. It wasn’t because of any political feelings,” he laughs.

Financially, Rothschild says, “For the startup, I used my money. We did have some investors early on that helped fund certain projects, but it was mostly what I invested.” ''Outside Looking In'' by The Late Bronze Age, Hampton’s band at that time, was, not surprisingly, the label’s first release. Unfortunately, things got off to a rough start as the album stiffed commercially despite generally positive reviews, including a major one from respected music journalist Robert Palmer in the Sunday edition of ''The New York Times''. Perhaps that was inevitable with songs that featured an odd jazz-rock, somewhat Zappa-like approach with Hampton’s typically cryptic, stream-of-consciousness lyrics and inscrutable titles like “Rehearsals for Fainting,” “Seven Men in a Bazooka,” and the impenetrable “Fat Brooms Push the Number Bush.”

But Rothschild never thought about quitting. He had already committed to jazz records, one from keyboardist Dan Wall, a Hampton friend, and another with percussionist David Earle Johnson, another musician in Hampton’s universe, backed by noted ECM guitarist John Abercrombie. “At that point, we had our distribution set up, so we had to keep feeding it.” Landslide’s next album came from avant-garde, jazz-funk outfit Curlew with noted bassist and producer Bill Laswell on the band’s roster. Rothschild kept his focus on jazz with a solo project from reed player Paul McCandless of the well-regarded band Oregon.

Around 1982, Rothschild met legendary English producer Eddy Offord, best known for his work with Emerson, Lake & Palmer, Yes, Rory Gallagher, and Ginger Baker, who had opened a recording studio, the East Point Theatre, just south of Atlanta. “He loved Bruce and offered us a deal far better than Hampton could have gotten elsewhere. So we recorded another record with The Late Bronze Age (''Isles of Langerhan''), which didn’t really do much better,” he laughs, “but it was a fun record.” Both are represented by a track each on the new Landslide compilation.

Did anything released on Landslide turn a profit?

{DIV()}{img fileId="44444" stylebox="float: right; margin-left:25px;" desc="desc" width="400px" responsive="y"}{DIV}
“We made money off of the McCandless record … After that, the first Bluesbusters album (1986), a band that had Paul Barrere (Little Feat), T Lavitz (Dixie Dregs) and Catfish Hodge, sold well due to some good airplay.” Over the long haul, albums from Tinsley Ellis & The Heartfixers, including ''Cool On It'', and Webb Wilder’s ''It Came from Nashville'' (which continues to sell) sold well enough. “Eventually we recouped on the Hampton records … It took a long time,” he deadpans.


The record that sold the fastest, not the most, was by The Lost Continentals in 1997. “They were from Atlanta but playing all over the place, and we couldn’t keep it in stock. And then they broke up. The same thing happened with The Brains.”

Those familiar with Atlanta blues outfit Delta Moon also likely know that Tom Gray, its cofounder, was a member of Atlanta new wavers The Brains. The band’s two albums for Mercury (1980 and ’81) are long out of print and not even digitally available. A third record, the EP ''Dancing Under Steetlights'', was issued by Landslide and is also currently unavailable. But even though they disbanded shortly after it was released, Rothschild and Gray have remained friends. Landslide now distributes Delta Moon’s own Jumping Jack Records, and the title track of 2017’s ''Cabbagetown'' is represented on the 40th anniversary collection. “When I’ve called him (Rothschild) with a project, he’s been right there,” says Gray. At the time of our conversation, Gray acknowledged that he’s been in discussions with Rothschild about the possibility of a Landslide re-release of ''Streetlights'' that might also include other Brains recordings from that era.

Few musicians are as grateful for what Rothschild means to them as veteran Atlanta-based, blues-rock guitarist Tinsley Ellis. “It would be hard for me to imagine my modest career in music without Michael involved in it,” he says. “He has been with me every step of the way. We’ve been in business together coming up on 40 years.” Ellis appears three times on the anniversary set — it opens with The Heartfixers’ “Drivin’ Woman.” Ellis and The Heartfixers are joined by Chicago Bob Nelson adding vocals on a live version of Muddy Waters’s “Walkin’ Thru the Park,” and Ellis and The Heartfixers back up Nappy Brown on “Hard Luck Blues.” Rothschild first heard Ellis and The Heartfixers when they opened for John Lee Hooker on a club date in 1982.

After three records on Landslide, Rothschild took Ellis to Alligator Records in 1988, the label for which Ellis still records. Landslide also distributes Ellis’s Heartfixer Music releases, so the two very much continue both business and, perhaps more importantly, their personal relationship. “I am very proud to have brought some acts to Michael’s attention,” says Ellis. And what acts they are. “Widespread Panic, Derek Trucks, Sean Costello and Webb Wilder … all are big fans of Michael,” Ellis reveals — and with good reason. Rothschild helped place Ellis’s song, “A Quitter Never Wins,” on Jonny Lang’s second album, ''Lie to Me'', ultimately exposing Ellis’s songwriting to a wider audience when the release earned both guitarists platinum record awards — selling in excess of one million copies — to add to their walls.

::{img fileId="44456" desc="desc" styledesc="text-align: left;" responsive="y" stylebox="margin-bottom: 25px;"}::
One of Landslide’s most consistent selling artists is the late Sean Costello. Rothschild got involved with the young guitar slinger early in Costello’s career, releasing his second and third efforts, 2000’s ''Cuttin’ In'' and 2001’s ''Moanin’ for Molasses''. With Costello’s posthumous albums Landslide released a total of six titles by the artist, including 2019’s wonderful various artist tribute ''Don’t Pass Me By''. Two of Costello’s selections made the cut onto the 40th set.

Costello’s ex-roommate, Electromatics founder and frontman Jon Liebman, remembers how much Costello respected Rothschild’s veteran status and that Rothschild was so supportive of Sean, whether showing up at Costello gigs at the Northside Tavern and Fatt Matt’s, or even when Costello would just sit in with Electromatics at various places.

“Michael was very endearing in his relationship with Sean. Sean really looked up to Michael. He liked recording and having Michael be the executive producer on those records,” explains Liebman. But the relationship went both ways. “I learned a lot from him (Costello). I always learn a lot from these artists because I’m really just a fan,” admits Rothschild. “I learned a lot about blues that Sean knew but I wasn’t familiar with.”

{DIV()}{img fileId="44452" stylebox="float: left; margin-right:25px;" desc="desc" width="400px" responsive="y"}{DIV}
The act that looms largest for many in Landslide’s extensive catalogue of releases, however, is Widespread Panic. Rothschild remembers back in 1988 when Tinsley Ellis first suggested he check out the Athens-based band live. “It was a scene I hadn’t (experienced) in a long time — everyone wearing tie-dye and twirling around dancing. The place was packed.” When it came to the music, it was easy. “They already had stuff recorded with John Keane in Athens, so we just took the tapes and put the record out. Initially that was not a big seller.” Ultimately, the band bought the album back, which helped Rothschild at the time with a much-needed infusion of cash. “I’d like to have that in my catalog now. But, they were nice enough to let me use (a song) for this compilation.”

Although the concept of a 35th anniversary collection was floated, it never materialized. Instead Rothschild started thinking about the 40th only a few months ago. “We don’t have a new release until after the first of the year, so this is really good timing.” In respect to what made the final list, he says, “There are things we did that are not represented. But I did not miss anything based on my personal taste.”

{DIV()}{img fileId="44450" stylebox="float: left; margin-right:25px;" desc="desc" width="400px" responsive="y"}{DIV}
The 33 tracks, arranged nonchronologically, reflect the wide range of the label owner’s personal tastes. It’s such diversity that has made Landslide a distinctive imprint. The first disc is blues-based with music from the aforementioned acts, along with an Oliver Woods-fronted King Johnson title, classic New Orleans sounds from 1999 with Dave Bartholomew, and Rothschild’s most recent signing, guitarist Damon Fowler. The second offers the more eclectic sounds of a young Derek Trucks, Rothschild first saw Trucks when he was 11; The Brains; Tedeschi Trucks singer Mike Mattison, solo ''and'' with Scrapomatic; and, of course, the outsized, unpredictable and enormously influential wild card, Bruce Hampton.

With the exception of artists from outside the region, Rothschild generally signed acts from the South. “I thought that (Atlanta) was a fertile area to pursue. One thing I was told early on was a quote from (blues legend) Willie Dixon. ‘If you have a record label, there are always going to be artists to sign.’ And I found that to be the case. There were people that I wanted to sign, like Drivin N Cryin, that we weren’t able to.” He also tells the story of an artist outside his musical comfort zone he later regretted not signing. “One time I got a demo rap cassette in from a guy named Calvin Broadus. It was wrapped in notebook paper, nothing much to it. I listened to it and thought it wasn’t my thing. A couple of years later Calvin Broadus surfaced as Snoop Dogg.”

{DIV()}{img fileId="44451" stylebox="float: left; margin-right:25px;" desc="desc" width="400px" responsive="y"}{DIV}
As you might expect for such a small operation, Landslide’s output is modest. “Over the last few years, we’ve been doing maybe two to three releases a year. That’s pretty much all we can handle. But you have to keep releases coming or distributors will lose faith.” But there have been lean periods too. He remembers a time when Landslide was almost inactive. “In the early 1990s, things weren’t gelling. The overhead of the office on 14th street was getting to be too much.” A friend offered him a job back in the movie business with an office and said he could run his label out of it. After the transitional phase, Rothschild notes, “We gradually got back into regular releases,” which, 40 years and 62 recordings later, is where he stays.

{DIV()}{img fileId="44453" stylebox="float: right; margin-left:25px;" desc="desc" width="500px" responsive="y"}{DIV}
Not only does Rothschild have a career with highlights any record exec would covet, he is also seemingly universally respected and, more importantly, loved by everyone in a notoriously cutthroat industry.

“I fully believe Michael will discover another Widespread Panic, another Derek Trucks, or another Sean Costello,” Ellis predicts. “He’s an old school ‘record man,’ like Leonard Chess, (Capricorn’s) Phil Walden or (Alligator’s) Bruce Iglauer. He’s someone who gets involved with the artist personally, musically, nurtures their songwriting … and talks them off the ledge … He has his ear to the track as any record man would.” __—CL—__"
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  string(14598) " #1 Web  2021-11-03T16:29:17+00:00 #1_web.jpg    Great article by a solid writer. He should do this more!!!  Landslide Records turns 40, owner Michael Rothschild, guitarist Tinsley Ellis, and others looks back — and ahead #1 Web   2021-11-01T04:00:00+00:00  Forty years and 14,600 nights jim.harris Jim Harris HAL HOROWITZ hal2222 (Hal Horowitz) 2021-11-01T04:00:00+00:00 “A real record man” is how the rocking blues guitarist Tinsley Ellis affectionately describes Landslide label founder and head honcho, Michael Rothschild.

Even if Rothschild had not been the first to nationally distribute music from and garner worldwide exposure to such now high profile acts like Widespread Panic, The Derek Trucks Band, Sean Costello, Webb Wilder, and Tinsley Ellis, he would still be a major figure — an icon even — in Atlanta’s music history.

Rothschild’s scrappy indie imprint has played a crucial role in not just recording, but publicizing and generally spreading the gospel of much of Atlanta and the South’s homegrown, roots-oriented music scenes.

Now celebrating Landslide Records’ 40th year of business with a sprawling, wildly eclectic, two-disc album of highlights from the past four decades, the entrepreneur takes a well-deserved victory lap to recap what he has spent more than half his life on — keeping Landslide afloat and (for the most part) profitable. Anyone who knows the hazardous economics of locally based, small, independent businesses — especially in the music industry — understands how difficult and rare an accomplishment this is.

Just as impressive, however, is that the 78-year-old impresario isn’t slowing down, not anytime soon, at least. Rothschild already has plans for new releases in 2022. But for now, it’s time — actually well past time — for him to take a breath and reflect on the sheer quantity and quality of the music he has recorded and promoted since his first release in 1981.

Rothschild got his first taste of the music industry immediately after leaving the army in 1969. He worked for Transcontinental, a conglomerate that distributed about 25 percent of the music throughout the country.  Afterward, he was employed in the distribution end of the movie business. It was that job that led him to Atlanta in 1973.

The Landslide story starts, as many in the early 80s roots scene do, with Bruce Hampton. Not yet a Colonel, let alone a retired one as he often appended to his name, Hampton and Rothschild met in the mid-70s. Rothschild explains, “We had a close mutual friend. I met Hampton at a party at his house. We started going to baseball games together and talking about music. I wasn’t around for the Hampton Grease Band. This was after that. I ended up seeing some of Bruce’s performances … and it just built as a friendship. I enjoyed their shows and it got to the point where Bruce said, ‘You should start a label. We’ll all be riding around in limousines.’”

It sounds so simple and innocent now. Perhaps it was just the tenor of the era. But Rothschild took Hampton up on the suggestion with the debut of Landslide Records. The imprint’s name emerged, oddly enough, from conservative politics. “At the time, Reagan was elected in a landslide, and Bruce said, ‘Music is going to go totally crazy now. It’s going to be real atonal and rebellious.’ So I said maybe we should call it Landslide Records, and he thought that was a good idea. It wasn’t because of any political feelings,” he laughs.

Financially, Rothschild says, “For the startup, I used my money. We did have some investors early on that helped fund certain projects, but it was mostly what I invested.” Outside Looking In by The Late Bronze Age, Hampton’s band at that time, was, not surprisingly, the label’s first release. Unfortunately, things got off to a rough start as the album stiffed commercially despite generally positive reviews, including a major one from respected music journalist Robert Palmer in the Sunday edition of The New York Times. Perhaps that was inevitable with songs that featured an odd jazz-rock, somewhat Zappa-like approach with Hampton’s typically cryptic, stream-of-consciousness lyrics and inscrutable titles like “Rehearsals for Fainting,” “Seven Men in a Bazooka,” and the impenetrable “Fat Brooms Push the Number Bush.”

But Rothschild never thought about quitting. He had already committed to jazz records, one from keyboardist Dan Wall, a Hampton friend, and another with percussionist David Earle Johnson, another musician in Hampton’s universe, backed by noted ECM guitarist John Abercrombie. “At that point, we had our distribution set up, so we had to keep feeding it.” Landslide’s next album came from avant-garde, jazz-funk outfit Curlew with noted bassist and producer Bill Laswell on the band’s roster. Rothschild kept his focus on jazz with a solo project from reed player Paul McCandless of the well-regarded band Oregon.

Around 1982, Rothschild met legendary English producer Eddy Offord, best known for his work with Emerson, Lake & Palmer, Yes, Rory Gallagher, and Ginger Baker, who had opened a recording studio, the East Point Theatre, just south of Atlanta. “He loved Bruce and offered us a deal far better than Hampton could have gotten elsewhere. So we recorded another record with The Late Bronze Age (Isles of Langerhan), which didn’t really do much better,” he laughs, “but it was a fun record.” Both are represented by a track each on the new Landslide compilation.

Did anything released on Landslide turn a profit?


“We made money off of the McCandless record … After that, the first Bluesbusters album (1986), a band that had Paul Barrere (Little Feat), T Lavitz (Dixie Dregs) and Catfish Hodge, sold well due to some good airplay.” Over the long haul, albums from Tinsley Ellis & The Heartfixers, including Cool On It, and Webb Wilder’s It Came from Nashville (which continues to sell) sold well enough. “Eventually we recouped on the Hampton records … It took a long time,” he deadpans.


The record that sold the fastest, not the most, was by The Lost Continentals in 1997. “They were from Atlanta but playing all over the place, and we couldn’t keep it in stock. And then they broke up. The same thing happened with The Brains.”

Those familiar with Atlanta blues outfit Delta Moon also likely know that Tom Gray, its cofounder, was a member of Atlanta new wavers The Brains. The band’s two albums for Mercury (1980 and ’81) are long out of print and not even digitally available. A third record, the EP Dancing Under Steetlights, was issued by Landslide and is also currently unavailable. But even though they disbanded shortly after it was released, Rothschild and Gray have remained friends. Landslide now distributes Delta Moon’s own Jumping Jack Records, and the title track of 2017’s Cabbagetown is represented on the 40th anniversary collection. “When I’ve called him (Rothschild) with a project, he’s been right there,” says Gray. At the time of our conversation, Gray acknowledged that he’s been in discussions with Rothschild about the possibility of a Landslide re-release of Streetlights that might also include other Brains recordings from that era.

Few musicians are as grateful for what Rothschild means to them as veteran Atlanta-based, blues-rock guitarist Tinsley Ellis. “It would be hard for me to imagine my modest career in music without Michael involved in it,” he says. “He has been with me every step of the way. We’ve been in business together coming up on 40 years.” Ellis appears three times on the anniversary set — it opens with The Heartfixers’ “Drivin’ Woman.” Ellis and The Heartfixers are joined by Chicago Bob Nelson adding vocals on a live version of Muddy Waters’s “Walkin’ Thru the Park,” and Ellis and The Heartfixers back up Nappy Brown on “Hard Luck Blues.” Rothschild first heard Ellis and The Heartfixers when they opened for John Lee Hooker on a club date in 1982.

After three records on Landslide, Rothschild took Ellis to Alligator Records in 1988, the label for which Ellis still records. Landslide also distributes Ellis’s Heartfixer Music releases, so the two very much continue both business and, perhaps more importantly, their personal relationship. “I am very proud to have brought some acts to Michael’s attention,” says Ellis. And what acts they are. “Widespread Panic, Derek Trucks, Sean Costello and Webb Wilder … all are big fans of Michael,” Ellis reveals — and with good reason. Rothschild helped place Ellis’s song, “A Quitter Never Wins,” on Jonny Lang’s second album, Lie to Me, ultimately exposing Ellis’s songwriting to a wider audience when the release earned both guitarists platinum record awards — selling in excess of one million copies — to add to their walls.

::::
One of Landslide’s most consistent selling artists is the late Sean Costello. Rothschild got involved with the young guitar slinger early in Costello’s career, releasing his second and third efforts, 2000’s Cuttin’ In and 2001’s Moanin’ for Molasses. With Costello’s posthumous albums Landslide released a total of six titles by the artist, including 2019’s wonderful various artist tribute Don’t Pass Me By. Two of Costello’s selections made the cut onto the 40th set.

Costello’s ex-roommate, Electromatics founder and frontman Jon Liebman, remembers how much Costello respected Rothschild’s veteran status and that Rothschild was so supportive of Sean, whether showing up at Costello gigs at the Northside Tavern and Fatt Matt’s, or even when Costello would just sit in with Electromatics at various places.

“Michael was very endearing in his relationship with Sean. Sean really looked up to Michael. He liked recording and having Michael be the executive producer on those records,” explains Liebman. But the relationship went both ways. “I learned a lot from him (Costello). I always learn a lot from these artists because I’m really just a fan,” admits Rothschild. “I learned a lot about blues that Sean knew but I wasn’t familiar with.”


The act that looms largest for many in Landslide’s extensive catalogue of releases, however, is Widespread Panic. Rothschild remembers back in 1988 when Tinsley Ellis first suggested he check out the Athens-based band live. “It was a scene I hadn’t (experienced) in a long time — everyone wearing tie-dye and twirling around dancing. The place was packed.” When it came to the music, it was easy. “They already had stuff recorded with John Keane in Athens, so we just took the tapes and put the record out. Initially that was not a big seller.” Ultimately, the band bought the album back, which helped Rothschild at the time with a much-needed infusion of cash. “I’d like to have that in my catalog now. But, they were nice enough to let me use (a song) for this compilation.”

Although the concept of a 35th anniversary collection was floated, it never materialized. Instead Rothschild started thinking about the 40th only a few months ago. “We don’t have a new release until after the first of the year, so this is really good timing.” In respect to what made the final list, he says, “There are things we did that are not represented. But I did not miss anything based on my personal taste.”


The 33 tracks, arranged nonchronologically, reflect the wide range of the label owner’s personal tastes. It’s such diversity that has made Landslide a distinctive imprint. The first disc is blues-based with music from the aforementioned acts, along with an Oliver Woods-fronted King Johnson title, classic New Orleans sounds from 1999 with Dave Bartholomew, and Rothschild’s most recent signing, guitarist Damon Fowler. The second offers the more eclectic sounds of a young Derek Trucks, Rothschild first saw Trucks when he was 11; The Brains; Tedeschi Trucks singer Mike Mattison, solo and with Scrapomatic; and, of course, the outsized, unpredictable and enormously influential wild card, Bruce Hampton.

With the exception of artists from outside the region, Rothschild generally signed acts from the South. “I thought that (Atlanta) was a fertile area to pursue. One thing I was told early on was a quote from (blues legend) Willie Dixon. ‘If you have a record label, there are always going to be artists to sign.’ And I found that to be the case. There were people that I wanted to sign, like Drivin N Cryin, that we weren’t able to.” He also tells the story of an artist outside his musical comfort zone he later regretted not signing. “One time I got a demo rap cassette in from a guy named Calvin Broadus. It was wrapped in notebook paper, nothing much to it. I listened to it and thought it wasn’t my thing. A couple of years later Calvin Broadus surfaced as Snoop Dogg.”


As you might expect for such a small operation, Landslide’s output is modest. “Over the last few years, we’ve been doing maybe two to three releases a year. That’s pretty much all we can handle. But you have to keep releases coming or distributors will lose faith.” But there have been lean periods too. He remembers a time when Landslide was almost inactive. “In the early 1990s, things weren’t gelling. The overhead of the office on 14th street was getting to be too much.” A friend offered him a job back in the movie business with an office and said he could run his label out of it. After the transitional phase, Rothschild notes, “We gradually got back into regular releases,” which, 40 years and 62 recordings later, is where he stays.


Not only does Rothschild have a career with highlights any record exec would covet, he is also seemingly universally respected and, more importantly, loved by everyone in a notoriously cutthroat industry.

“I fully believe Michael will discover another Widespread Panic, another Derek Trucks, or another Sean Costello,” Ellis predicts. “He’s an old school ‘record man,’ like Leonard Chess, (Capricorn’s) Phil Walden or (Alligator’s) Bruce Iglauer. He’s someone who gets involved with the artist personally, musically, nurtures their songwriting … and talks them off the ledge … He has his ear to the track as any record man would.” —CL—    Flournoy Holmes IN THE STUDIO, 2000: Sean Costello, left, and Michael Rothschild.  0,0,10                           Forty years and 14,600 nights "
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  string(7225) "Atlanta police need to get off their butts and do something about a notorious Peeping Tom striking again and again in Midtown Atlanta.

Yes, it sounds like the same dude over and over. No, he hasn’t been caught. Yes, people in Midtown are understandably upset — and frustrated as hell. Yes, they’ve filed police reports. Yes, they’ve turned in surveillance video of the Peeping Tom from their Ring cameras. So what’s the holdup, APD?

The Midtown Peeping Tom struck several times on Myrtle Street this fall.

“He has done this before on this street and its terrifying,” Midtown resident Sarah Buchanan told CBS46.com. Buchanan moved to an apartment complex on Myrtle Street just four months ago, and she’s already been a victim of the Peeping Tom on two separate occasions. “He comes over this way, and right when he gets to the window, he ducks,” Buchanan said. “You can kind of see where he comes to this corner. And he watches me from the corner.”

Also, Buchanan alerted her neighbors on social media. “You post one thing and there are 10 people or so who have had it happen to them.”

One Midtown neighbor told CBS46 that this Peeping Tom has been peering into Midtown homes for about four years. And neighbors say, to their knowledge, the man has never faced repercussions.

Buchanan said the Peeping Tom makes her feel unsafe. “Do you get a weapon? Stay inside? I think that’s the worst part — feeling like I’m trapped in my own house at this point.”

!!Scattered, covered, and smothered
A Waffle House waitress pulled a gun on a customer during a dispute over a food order. The shenanigan went down around 1 a.m. at the Waffle House on Marietta Street near Centennial Olympic Park in downtown Atlanta. No one was hurt in the scuffle.

The Waffle House waitress “said she felt like she was being smothered by a customer and that pulling out a gun was a way to quiet him down,” reported WSB-TV.

Yup, the waitress felt smothered. How Waffle House-esque!

Except there’s no sign that the customer actually touched the waitress at all. In fact, the male customer left the Waffle House and reported the standoff to the police himself. He told investigators that he and the Waffle House waitress were arguing over his food order — and when the waitress got mad, she pulled out a handgun and pointed it at him.

The irate waitress later agreed with the customer that the argument had been about his food and began “the minute he made his order,” even though, she claims, his food was being made correctly. The customer’s complaints went on for several minutes, according to the waitress, and eventually she had to change his order several times because he was unhappy about it.

The officer said he was met by the victim, Candy Franklin, who said that the Waffle House employee, Angelic Patterson, pointed a gun at him.

The Waffle House waitress is charged with aggravated assault.

!!Riot fest
Rapper Boosie Badazz is facing charges after an epic brawl broke out at his recent concert, Legendz of the Streetz, at State Farm Arena in downtown Atlanta. The concert also featured Gucci Mane, Lil’ Kim and Jeezy.

According to TMZ, Boosie performed for all of two minutes when a massive fight erupted on stage, beginning when a man descended from the DJ booth and started punching another guy.

Atlanta police responded around 12:41 a.m.

Initially, Boosie and members of his entourage allegedly destroyed his own stuff — i.e. property belonging to Boosie’s own production company!  Then, Boosie and his pals allegedly destroyed stuff belonging to State Farm Arena.

No one was injured in the brawl, and Atlanta Police investigators are working to determine what led up to the clash. Boosie was released from Fulton County Jail on bond. He’s facing four charges: one, felony criminal damage to property; two, disorderly conduct; three, trespassing; and four, inciting a riot.

Boosie Badazz’s real name is Torrence Hatch Jr. He hails from Louisiana.

!!Points for creativity
A French man is singing a different tune after getting busted at Atlanta’s airport for allegedly attempting to smuggle 11 guns inside karaoke machines.

Police say the man had a Delta airplane ticket to fly to Sint Maarten. The man went into the international terminal at Hartsfield Jackson and checked two pieces of luggage. “As the bags passed through the X-ray machine, the operator noticed what appeared to be several firearms inside,” reported CBS46.com.

TSA security workers opened the man’s luggage , looked inside and found two karaoke machines. When they opened the karaoke machines, they found nine handguns, and two automatic rifles. All of the weapons were individually wrapped in aluminum foil.

The man told authorities that he bought the guns from a Jamaican guy selling weapons out of the trunk of a car in Newnan, Georgia. The man said he paid $2,500 for the entire stash and was hoping to take the guns to Sint Maarten to sell for a profit.

The man’s scheme isn’t as weird as it sounds. “The way that guns are usually trafficked to Caribbean countries is through these compartments — you know — in laundry machines, even in vehicle parts,” Eugenio Weigend Vargas, director of Gun Violence Prevention at American Progress, told CBS46.com.

In January 2021, the TSA said Atlanta topped the nation for the most firearms found at US airport security checkpoints during the previous year.

!!Grave situation
Unmarked graves were found near a Walmart parking lot in Decatur.

Some residents have long suspected that the remains of former slaves might be buried just outside the Crowley Mausoleum located near the big box store. Turns out, they might be onto something.

11 Alive News reported, “The mausoleum, a Civil War-era burial site, is enclosed by 15-feet-tall granite walls. It’s seen better days. Graffiti stains the outside of the shrine while inside, overgrown trees and grass cover the tombs.” This mausoleum sits about 300 feet from Memorial Drive.

Decatur resident Jessica Derise recalled to 11Alive, “I remembered in the back of my head, I had a Crowley far, far back in my line. Seven, eight generations back. And I realized, ‘Oh my gosh, my ancestors are buried there.”

That’s not all, though. Derise hit the internet. “I was told again and again online that there are 40 to 50 slaves buried underneath here.”

Derise reached out to 11Alive News investigators to find out for sure.

11Alive brought in an expert, Len Strozier, who’s been mapping cemeteries for 14 years with ground-penetrating radar. He found several stunning air pockets, including one that “looks like a wooden casket, and it looks like the wooden casket is intact.”

The owners of Crowley Mausoleum released a statement: “We are sympathetic to this issue and will look and see what can be done so this area is treated with respect. We are trying to figure out exactly what’s there and what our options are moving forward.” —CL—

The Blotter Diva compiles reports from the Atlanta Police Department and local news reports — and puts them into her own words."
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  string(7253) "Atlanta police need to get off their butts and do something about a notorious Peeping Tom striking again and again in Midtown Atlanta.

Yes, it sounds like the same dude over and over. No, he hasn’t been caught. Yes, people in Midtown are understandably upset — and frustrated as hell. Yes, they’ve filed police reports. Yes, they’ve turned in surveillance video of the Peeping Tom from their Ring cameras. So what’s the holdup, APD?

The Midtown Peeping Tom struck several times on Myrtle Street this fall.

“He has done this before on this street and its terrifying,” Midtown resident Sarah Buchanan told CBS46.com. Buchanan moved to an apartment complex on Myrtle Street just four months ago, and she’s already been a victim of the Peeping Tom on two separate occasions. “He comes over this way, and right when he gets to the window, he ducks,” Buchanan said. “You can kind of see where he comes to this corner. And he watches me from the corner.”

Also, Buchanan alerted her neighbors on social media. “You post one thing and there are 10 people or so who have had it happen to them.”

One Midtown neighbor told CBS46 that this Peeping Tom has been peering into Midtown homes for about four years. And neighbors say, to their knowledge, the man has never faced repercussions.

Buchanan said the Peeping Tom makes her feel unsafe. “Do you get a weapon? Stay inside? I think that’s the worst part — feeling like I’m trapped in my own house at this point.”

!!__Scattered, covered, and smothered__
A Waffle House waitress pulled a gun on a customer during a dispute over a food order. The shenanigan went down around 1 a.m. at the Waffle House on Marietta Street near Centennial Olympic Park in downtown Atlanta. No one was hurt in the scuffle.

The Waffle House waitress “said she felt like she was being smothered by a customer and that pulling out a gun was a way to quiet him down,” reported WSB-TV.

Yup, the waitress felt ''smothered''. How Waffle House-esque!

Except there’s no sign that the customer actually touched the waitress at all. In fact, the male customer left the Waffle House and reported the standoff to the police himself. He told investigators that he and the Waffle House waitress were arguing over his food order — and when the waitress got mad, she pulled out a handgun and pointed it at him.

The irate waitress later agreed with the customer that the argument had been about his food and began “the minute he made his order,” even though, she claims, his food was being made correctly. The customer’s complaints went on for several minutes, according to the waitress, and eventually she had to change his order several times because he was unhappy about it.

The officer said he was met by the victim, Candy Franklin, who said that the Waffle House employee, Angelic Patterson, pointed a gun at him.

The Waffle House waitress is charged with aggravated assault.

!!__Riot fest__
Rapper Boosie Badazz is facing charges after an epic brawl broke out at his recent concert, Legendz of the Streetz, at State Farm Arena in downtown Atlanta. The concert also featured Gucci Mane, Lil’ Kim and Jeezy.

According to TMZ, Boosie performed for all of two minutes when a massive fight erupted on stage, beginning when a man descended from the DJ booth and started punching another guy.

Atlanta police responded around 12:41 a.m.

Initially, Boosie and members of his entourage allegedly destroyed his own stuff — i.e. property belonging to Boosie’s own production company!  Then, Boosie and his pals allegedly destroyed stuff belonging to State Farm Arena.

No one was injured in the brawl, and Atlanta Police investigators are working to determine what led up to the clash. Boosie was released from Fulton County Jail on bond. He’s facing four charges: one, felony criminal damage to property; two, disorderly conduct; three, trespassing; and four, inciting a riot.

Boosie Badazz’s real name is Torrence Hatch Jr. He hails from Louisiana.

!!__Points for creativity__
A French man is singing a different tune after getting busted at Atlanta’s airport for allegedly attempting to smuggle 11 guns inside karaoke machines.

Police say the man had a Delta airplane ticket to fly to Sint Maarten. The man went into the international terminal at Hartsfield Jackson and checked two pieces of luggage. “As the bags passed through the X-ray machine, the operator noticed what appeared to be several firearms inside,” reported CBS46.com.

TSA security workers opened the man’s luggage , looked inside and found two karaoke machines. When they opened the karaoke machines, they found nine handguns, and two automatic rifles. All of the weapons were individually wrapped in aluminum foil.

The man told authorities that he bought the guns from a Jamaican guy selling weapons out of the trunk of a car in Newnan, Georgia. The man said he paid $2,500 for the entire stash and was hoping to take the guns to Sint Maarten to sell for a profit.

The man’s scheme isn’t as weird as it sounds. “The way that guns are usually trafficked to Caribbean countries is through these compartments — you know — in laundry machines, even in vehicle parts,” Eugenio Weigend Vargas, director of Gun Violence Prevention at American Progress, told CBS46.com.

In January 2021, the TSA said Atlanta topped the nation for the most firearms found at US airport security checkpoints during the previous year.

!!__Grave situation__
Unmarked graves were found near a Walmart parking lot in Decatur.

Some residents have long suspected that the remains of former slaves might be buried just outside the Crowley Mausoleum located near the big box store. Turns out, they might be onto something.

11 Alive News reported, “The mausoleum, a Civil War-era burial site, is enclosed by 15-feet-tall granite walls. It’s seen better days. Graffiti stains the outside of the shrine while inside, overgrown trees and grass cover the tombs.” This mausoleum sits about 300 feet from Memorial Drive.

Decatur resident Jessica Derise recalled to 11Alive, “I remembered in the back of my head, I had a Crowley far, far back in my line. Seven, eight generations back. And I realized, ‘Oh my gosh, my ancestors are buried there.”

That’s not all, though. Derise hit the internet. “I was told again and again online that there are 40 to 50 slaves buried underneath here.”

Derise reached out to 11Alive News investigators to find out for sure.

11Alive brought in an expert, Len Strozier, who’s been mapping cemeteries for 14 years with ground-penetrating radar. He found several stunning air pockets, including one that “looks like a wooden casket, and it looks like the wooden casket is intact.”

The owners of Crowley Mausoleum released a statement: “We are sympathetic to this issue and will look and see what can be done so this area is treated with respect. We are trying to figure out exactly what’s there and what our options are moving forward.” __—CL—__

''The Blotter Diva compiles reports from the Atlanta Police Department and local news reports — and puts them into her own words.''"
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  string(7636) " 1121 Blot Peeping Tom Final 01  2021-11-03T20:31:32+00:00 1121_blot_peeping_tom-final-01.jpg      And other tales of life in the ATL 1121 Blot Peeping Tom Final 01   2021-11-01T04:20:00+00:00  THE BLOTTER: Creepy eyes jim.harris Jim Harris LAUREN KEATING lauren.keating (Lauren Keating) 2021-11-01T04:20:00+00:00 Atlanta police need to get off their butts and do something about a notorious Peeping Tom striking again and again in Midtown Atlanta.

Yes, it sounds like the same dude over and over. No, he hasn’t been caught. Yes, people in Midtown are understandably upset — and frustrated as hell. Yes, they’ve filed police reports. Yes, they’ve turned in surveillance video of the Peeping Tom from their Ring cameras. So what’s the holdup, APD?

The Midtown Peeping Tom struck several times on Myrtle Street this fall.

“He has done this before on this street and its terrifying,” Midtown resident Sarah Buchanan told CBS46.com. Buchanan moved to an apartment complex on Myrtle Street just four months ago, and she’s already been a victim of the Peeping Tom on two separate occasions. “He comes over this way, and right when he gets to the window, he ducks,” Buchanan said. “You can kind of see where he comes to this corner. And he watches me from the corner.”

Also, Buchanan alerted her neighbors on social media. “You post one thing and there are 10 people or so who have had it happen to them.”

One Midtown neighbor told CBS46 that this Peeping Tom has been peering into Midtown homes for about four years. And neighbors say, to their knowledge, the man has never faced repercussions.

Buchanan said the Peeping Tom makes her feel unsafe. “Do you get a weapon? Stay inside? I think that’s the worst part — feeling like I’m trapped in my own house at this point.”

!!Scattered, covered, and smothered
A Waffle House waitress pulled a gun on a customer during a dispute over a food order. The shenanigan went down around 1 a.m. at the Waffle House on Marietta Street near Centennial Olympic Park in downtown Atlanta. No one was hurt in the scuffle.

The Waffle House waitress “said she felt like she was being smothered by a customer and that pulling out a gun was a way to quiet him down,” reported WSB-TV.

Yup, the waitress felt smothered. How Waffle House-esque!

Except there’s no sign that the customer actually touched the waitress at all. In fact, the male customer left the Waffle House and reported the standoff to the police himself. He told investigators that he and the Waffle House waitress were arguing over his food order — and when the waitress got mad, she pulled out a handgun and pointed it at him.

The irate waitress later agreed with the customer that the argument had been about his food and began “the minute he made his order,” even though, she claims, his food was being made correctly. The customer’s complaints went on for several minutes, according to the waitress, and eventually she had to change his order several times because he was unhappy about it.

The officer said he was met by the victim, Candy Franklin, who said that the Waffle House employee, Angelic Patterson, pointed a gun at him.

The Waffle House waitress is charged with aggravated assault.

!!Riot fest
Rapper Boosie Badazz is facing charges after an epic brawl broke out at his recent concert, Legendz of the Streetz, at State Farm Arena in downtown Atlanta. The concert also featured Gucci Mane, Lil’ Kim and Jeezy.

According to TMZ, Boosie performed for all of two minutes when a massive fight erupted on stage, beginning when a man descended from the DJ booth and started punching another guy.

Atlanta police responded around 12:41 a.m.

Initially, Boosie and members of his entourage allegedly destroyed his own stuff — i.e. property belonging to Boosie’s own production company!  Then, Boosie and his pals allegedly destroyed stuff belonging to State Farm Arena.

No one was injured in the brawl, and Atlanta Police investigators are working to determine what led up to the clash. Boosie was released from Fulton County Jail on bond. He’s facing four charges: one, felony criminal damage to property; two, disorderly conduct; three, trespassing; and four, inciting a riot.

Boosie Badazz’s real name is Torrence Hatch Jr. He hails from Louisiana.

!!Points for creativity
A French man is singing a different tune after getting busted at Atlanta’s airport for allegedly attempting to smuggle 11 guns inside karaoke machines.

Police say the man had a Delta airplane ticket to fly to Sint Maarten. The man went into the international terminal at Hartsfield Jackson and checked two pieces of luggage. “As the bags passed through the X-ray machine, the operator noticed what appeared to be several firearms inside,” reported CBS46.com.

TSA security workers opened the man’s luggage , looked inside and found two karaoke machines. When they opened the karaoke machines, they found nine handguns, and two automatic rifles. All of the weapons were individually wrapped in aluminum foil.

The man told authorities that he bought the guns from a Jamaican guy selling weapons out of the trunk of a car in Newnan, Georgia. The man said he paid $2,500 for the entire stash and was hoping to take the guns to Sint Maarten to sell for a profit.

The man’s scheme isn’t as weird as it sounds. “The way that guns are usually trafficked to Caribbean countries is through these compartments — you know — in laundry machines, even in vehicle parts,” Eugenio Weigend Vargas, director of Gun Violence Prevention at American Progress, told CBS46.com.

In January 2021, the TSA said Atlanta topped the nation for the most firearms found at US airport security checkpoints during the previous year.

!!Grave situation
Unmarked graves were found near a Walmart parking lot in Decatur.

Some residents have long suspected that the remains of former slaves might be buried just outside the Crowley Mausoleum located near the big box store. Turns out, they might be onto something.

11 Alive News reported, “The mausoleum, a Civil War-era burial site, is enclosed by 15-feet-tall granite walls. It’s seen better days. Graffiti stains the outside of the shrine while inside, overgrown trees and grass cover the tombs.” This mausoleum sits about 300 feet from Memorial Drive.

Decatur resident Jessica Derise recalled to 11Alive, “I remembered in the back of my head, I had a Crowley far, far back in my line. Seven, eight generations back. And I realized, ‘Oh my gosh, my ancestors are buried there.”

That’s not all, though. Derise hit the internet. “I was told again and again online that there are 40 to 50 slaves buried underneath here.”

Derise reached out to 11Alive News investigators to find out for sure.

11Alive brought in an expert, Len Strozier, who’s been mapping cemeteries for 14 years with ground-penetrating radar. He found several stunning air pockets, including one that “looks like a wooden casket, and it looks like the wooden casket is intact.”

The owners of Crowley Mausoleum released a statement: “We are sympathetic to this issue and will look and see what can be done so this area is treated with respect. We are trying to figure out exactly what’s there and what our options are moving forward.” —CL—

The Blotter Diva compiles reports from the Atlanta Police Department and local news reports — and puts them into her own words.    ILLUSTRATION BY TRAY BUTLER   0,0,10                           THE BLOTTER: Creepy eyes "
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  string(6455) "Did you hear? Vaccines are all the rage — and possibly required. The Move is returning to a new normal of IRL gatherings, indoors and out. Check deets on event websites before attending, and remember, information changes when we’re still riding out a pandemic.

Cute pandemic trends to keep: sanitizer everywhere, six-foot minimum personal space, masks, everything cashless and delivered, WFH, and VACCINES! Plagues are scary, needles are not. Now, go out and show some love to our Atlanta creators!

Disclaimer: The Move does not recommend Twitter in life or in this column. Any @handles mentioned below are for Instagram.

!!Sat., Nov. 6-Sun., Nov. 14
Lucy Juggles: A Performance of Circus, Self and Other, Little 5 Points Center for Arts and Community — Lucy Edens expresses her one-woman, autobiographical busking show to Little 5 Points this month. Her personal narrative interweaves circus, humor, and poetry to explore identity, gender, and the human capacity for transformation.

Lucy Juggles: A Performance of Circus, Self and Other is an origin story, chronicling a journey of gradual self-discovery through fear, repression, acceptance, and celebration of the authentic self. This love letter to the liberating power of performance includes juggling, knives, unicycles, and fire.

A veteran Atlanta performance artist, unicyclist, juggler and transgender visibility advocate, Eden comes with a background in street performance, and a life-long passion for bringing circus arts to pedestrian spaces.

Fine print: This is an outdoor event. Masks and vax or negative PCR test are required. Limited seating will be provided, feel free to bring your own chairs and blankets.

$21-26. Sat. 2:00 p.m. and 7:00 p.m, Sun. 5:00 p.m. Little 5 Points Center for Arts and Community,1083 Austin Ave. N.E. 7stage.org @lucyjuggles @7stagesatl

!!Sun., Nov. 7
Summerhill Sundays: A Vintage and Handmade Pop-Up, Georgia Vintage Goods — Vintage is a great excuse to visit Summerhill on a Sunday afternoon, especially if it’s to buy some ’96 Olympic gear, which is, yes, considered vintage now. Georgia Vintage Goods has been killing it with pop-up markets around Atlanta, with a focus on showcasing local artists, vintage curators, and handmade artisans from around the Southeast. They are teaming up with Carter Corporation to make this Summerhill pop-up a quarterly shindig.

Summerhill, a longtime former neighbor of Turner Field and the Olympic village, has seen a resurgence of restaurants trendy enough for the ’gram. Personal fav for a cute, fancy meal without the price tag to match — Little Bear. Big Softie is big delicious when it comes to soft serve. Just pack a chair, bc the line is long, sometimes extending out into the street, which has seemingly never stopped them from closing up shop.

Free.12:00 p.m. 17 Georgia Ave. S.E. @georgiavintagegoods

!!Sun., Nov. 7
WUSSY Mag present Bottom’s Up! A Drag Brunch, City Winery — WUSSY is back with another Bottom’s Up! Drag Brunch. This month, guest Queen Laganja Estranja, RuPaul’s Drag Race star, recording artist, choreographer, and, of course, cannabis activist, is here. Along with being a full-time performer, Laganja is, you guessed it, into the ganja. She’s been featured twice in High Times Magazine and on the cover of Dope Magazine, making her the first LGBTQ+ advocate to be on any cannabis-related covers.

The good Lord’s work doesn’t stop there. Laganja launched a collection of marijuana-themed merchandise, including lines of jewelry, prerolled joints, and cannabis-infused, vegan edibles, making her one of the few queer voices in the commercial cannabis landscape.

Laganja Estranja, aka Jay Jackson, is the drag daughter of icon Alyssa Edwards, of the drag family Haus of Edwards. Accompanying Estranja are some at ATL’s most fine, hilarious, and flexible performers, including Nicole Paige Brooks from RuPaul’s Drag Race, Brigitte Bidet, Evangeline Laveau, Kristi Darling, and Molly Rimswell — all longtime favs of The Move. Warning, these events are not good for those laugh lines and may cause Botox to weaken over an afternoon of laughter.

Fine print: Masks and vax, or negative PCR test, required.

$25-30. Meet and greet with Laganja 11:30 a.m. Showtime 1:00 p.m. City Winery Atlanta, 650 North Ave. N.E. citywinery.com/atlanta wussymag.com @citywineryatl @wussymag @laganjaestranja

!!Ongoing from Mon., Nov. 22
IllumiNights at the Zoo: A Chinese Lantern Festival, Zoo Atlanta  IllumiNights at the Zoo is a new addition to Atlanta’s festive traditions.

Zoo Atlanta awakens at dark to a nighttime lantern wonderland celebrating the beauty of the natural world. More than 80 animal lanterns — some up to 20 feet tall — depicting some of Earth’s most charismatic creatures, are all made and hand-painted by Chinese artisans, representing thousands of hours of work. In keeping with Zoo Atlanta’s commitment to sustainability, each lantern also features environmentally friendly LED lights.

Hanart Culture, the creative team behind the lanterns, specializes in legendary Chinese Lantern festivals. The name is derived from “Han,” the largest nationality of China, and “art,” representing the variety of artistic styles influencing Hanart’s productions including Kung Fu and acrobatics.

Attendees should know that most animals go indoors before dark and will not be visible during IllumiNights. So, plan to visit the lanterns’ real-life counterparts during the day. The Endangered Species Carousel will be open during the festival, along with eats, drinks, and shopping. This is a rain or shine event.

Fine print: This is an indoor-outdoor event. Masks are required for all indoor areas.

$15-25. 5:30 p.m. Zoo Atlanta, 800 Cherokee Ave. S.E. zooatlanta.org @zooAtlanta

!!Fri., Nov. 26-Sun., Nov. 28
Home Alone in Concert, Atlanta Symphony Orchestra — This film needs no description. Who can forget classic Macaulay Culkin trying to survive while his parents manage to leave him behind for the holidays? Chances are you’ve never heard the story quite this way, with the film playing in tandem with Atlanta Symphony performing John Williams’ charming and nostalgic score.

Fine print: Masks and proof of vaccine are required.

$40-90. Fri.-Sat. 7:30 p.m. Sun. 3:00 p.m. Atlanta Symphony Hall,1280 Peachtree St. N.E. www.aso.org @atlantasymphony —CL—"
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  string(6595) "Did you hear? Vaccines are all the rage — and possibly required. ''The Move'' is returning to a new normal of IRL gatherings, indoors and out. Check deets on event websites before attending, and remember, information changes when we’re still riding out a pandemic.

Cute pandemic trends to keep: sanitizer everywhere, six-foot minimum personal space, masks, everything cashless and delivered, WFH, and VACCINES! Plagues are scary, needles are not. Now, go out and show some love to our Atlanta creators!

''Disclaimer: The Move does not recommend Twitter in life or in this column. Any @handles mentioned below are for Instagram.''

!!__Sat., Nov. 6-Sun., Nov. 14__
__''Lucy Juggles: A Performance of Circus, Self and Other''____, Little 5 Points Center for Arts and Community —__ Lucy Edens expresses her one-woman, autobiographical busking show to Little 5 Points this month. Her personal narrative interweaves circus, humor, and poetry to explore identity, gender, and the human capacity for transformation.

''Lucy Juggles: A Performance of Circus, Self and Other'' is an origin story, chronicling a journey of gradual self-discovery through fear, repression, acceptance, and celebration of the authentic self. This love letter to the liberating power of performance includes juggling, knives, unicycles, and fire.

A veteran Atlanta performance artist, unicyclist, juggler and transgender visibility advocate, Eden comes with a background in street performance, and a life-long passion for bringing circus arts to pedestrian spaces.

__Fine print:__ This is an outdoor event. Masks and vax or negative PCR test are required. Limited seating will be provided, feel free to bring your own chairs and blankets.

''$21-26. Sat. 2:00 p.m. and 7:00 p.m, Sun. 5:00 p.m. Little 5 Points Center for Arts and Community,1083 Austin Ave. N.E. 7stage.org @lucyjuggles @7stagesatl''

!!__Sun., Nov. 7__
__Summerhill Sundays: A Vintage and Handmade Pop-Up, Georgia Vintage Goods —__ Vintage is a great excuse to visit Summerhill on a Sunday afternoon, especially if it’s to buy some ’96 Olympic gear, which is, yes, considered vintage now. Georgia Vintage Goods has been killing it with pop-up markets around Atlanta, with a focus on showcasing local artists, vintage curators, and handmade artisans from around the Southeast. They are teaming up with Carter Corporation to make this Summerhill pop-up a quarterly shindig.

Summerhill, a longtime former neighbor of Turner Field and the Olympic village, has seen a resurgence of restaurants trendy enough for the ’gram. Personal fav for a cute, fancy meal without the price tag to match — Little Bear. Big Softie is ''big'' delicious when it comes to soft serve. Just pack a chair, bc the line is long, sometimes extending out into the street, which has seemingly never stopped them from closing up shop.

''Free.12:00 p.m. 17 Georgia Ave. S.E. @georgiavintagegoods''

!!__Sun., Nov. 7__
__''WUSSY Mag''____ present Bottom’s Up! A Drag Brunch, City Winery —__ ''WUSSY'' is back with another Bottom’s Up! Drag Brunch. This month, guest Queen Laganja Estranja, ''RuPaul’s Drag Race'' star, recording artist, choreographer, and, of course, cannabis activist, is here. Along with being a full-time performer, Laganja is, you guessed it, into the ganja. She’s been featured twice in ''High Times Magazine'' and on the cover of ''Dope Magazine'', making her the first LGBTQ+ advocate to be on any cannabis-related covers.

The good Lord’s work doesn’t stop there. Laganja launched a collection of marijuana-themed merchandise, including lines of jewelry, prerolled joints, and cannabis-infused, vegan edibles, making her one of the few queer voices in the commercial cannabis landscape.

Laganja Estranja, aka Jay Jackson, is the drag daughter of icon Alyssa Edwards, of the drag family Haus of Edwards. Accompanying Estranja are some at ATL’s most fine, hilarious, and flexible performers, including Nicole Paige Brooks from ''RuPaul’s Drag Race'', Brigitte Bidet, Evangeline Laveau, Kristi Darling, and Molly Rimswell — all longtime favs of The Move. Warning, these events are not good for those laugh lines and may cause Botox to weaken over an afternoon of laughter.

__Fine print:__ Masks and vax, or negative PCR test, required.

''$25-30. Meet and greet with Laganja 11:30 a.m. Showtime 1:00 p.m. City Winery Atlanta, 650 North Ave. N.E. citywinery.com/atlanta wussymag.com @citywineryatl @wussymag @laganjaestranja''

!!__Ongoing from Mon., Nov. 22__
__IllumiNights at the Zoo: A Chinese Lantern Festival, Zoo Atlanta __ IllumiNights at the Zoo is a new addition to Atlanta’s festive traditions.

Zoo Atlanta awakens at dark to a nighttime lantern wonderland celebrating the beauty of the natural world. More than 80 animal lanterns — some up to 20 feet tall — depicting some of Earth’s most charismatic creatures, are all made and hand-painted by Chinese artisans, representing thousands of hours of work. In keeping with Zoo Atlanta’s commitment to sustainability, each lantern also features environmentally friendly LED lights.

Hanart Culture, the creative team behind the lanterns, specializes in legendary Chinese Lantern festivals. The name is derived from “Han,” the largest nationality of China, and “art,” representing the variety of artistic styles influencing Hanart’s productions including Kung Fu and acrobatics.

Attendees should know that most animals go indoors before dark and will not be visible during IllumiNights. So, plan to visit the lanterns’ real-life counterparts during the day. The Endangered Species Carousel will be open during the festival, along with eats, drinks, and shopping. This is a rain or shine event.

__Fine print:__ This is an indoor-outdoor event. Masks are required for all indoor areas.

''$15-25. 5:30 p.m. Zoo Atlanta, 800 Cherokee Ave. S.E. zooatlanta.org @zooAtlanta''

!!__Fri., Nov. 26-Sun., Nov. 28__
__''Home Alone''____ in Concert, Atlanta Symphony Orchestra —__ This film needs no description. Who can forget classic Macaulay Culkin trying to survive while his parents manage to leave him behind for the holidays? Chances are you’ve never heard the story quite this way, with the film playing in tandem with Atlanta Symphony performing John Williams’ charming and nostalgic score.

__Fine print:__ Masks and proof of vaccine are required.

''$40-90. Fri.-Sat. 7:30 p.m. Sun. 3:00 p.m. Atlanta Symphony Hall,1280 Peachtree St. N.E. www.aso.org @atlantasymphony'' __—CL—__"
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  string(6750) "   themove Hey, y’all! What’s the move?    2021-11-01T05:06:00+00:00  THE MOVE: Plan accordingly - November 2021 jim.harris Jim Harris MS. CONCEPTION ema.carr (Ema Carr) 2021-11-01T05:06:00+00:00 Did you hear? Vaccines are all the rage — and possibly required. The Move is returning to a new normal of IRL gatherings, indoors and out. Check deets on event websites before attending, and remember, information changes when we’re still riding out a pandemic.

Cute pandemic trends to keep: sanitizer everywhere, six-foot minimum personal space, masks, everything cashless and delivered, WFH, and VACCINES! Plagues are scary, needles are not. Now, go out and show some love to our Atlanta creators!

Disclaimer: The Move does not recommend Twitter in life or in this column. Any @handles mentioned below are for Instagram.

!!Sat., Nov. 6-Sun., Nov. 14
Lucy Juggles: A Performance of Circus, Self and Other, Little 5 Points Center for Arts and Community — Lucy Edens expresses her one-woman, autobiographical busking show to Little 5 Points this month. Her personal narrative interweaves circus, humor, and poetry to explore identity, gender, and the human capacity for transformation.

Lucy Juggles: A Performance of Circus, Self and Other is an origin story, chronicling a journey of gradual self-discovery through fear, repression, acceptance, and celebration of the authentic self. This love letter to the liberating power of performance includes juggling, knives, unicycles, and fire.

A veteran Atlanta performance artist, unicyclist, juggler and transgender visibility advocate, Eden comes with a background in street performance, and a life-long passion for bringing circus arts to pedestrian spaces.

Fine print: This is an outdoor event. Masks and vax or negative PCR test are required. Limited seating will be provided, feel free to bring your own chairs and blankets.

$21-26. Sat. 2:00 p.m. and 7:00 p.m, Sun. 5:00 p.m. Little 5 Points Center for Arts and Community,1083 Austin Ave. N.E. 7stage.org @lucyjuggles @7stagesatl

!!Sun., Nov. 7
Summerhill Sundays: A Vintage and Handmade Pop-Up, Georgia Vintage Goods — Vintage is a great excuse to visit Summerhill on a Sunday afternoon, especially if it’s to buy some ’96 Olympic gear, which is, yes, considered vintage now. Georgia Vintage Goods has been killing it with pop-up markets around Atlanta, with a focus on showcasing local artists, vintage curators, and handmade artisans from around the Southeast. They are teaming up with Carter Corporation to make this Summerhill pop-up a quarterly shindig.

Summerhill, a longtime former neighbor of Turner Field and the Olympic village, has seen a resurgence of restaurants trendy enough for the ’gram. Personal fav for a cute, fancy meal without the price tag to match — Little Bear. Big Softie is big delicious when it comes to soft serve. Just pack a chair, bc the line is long, sometimes extending out into the street, which has seemingly never stopped them from closing up shop.

Free.12:00 p.m. 17 Georgia Ave. S.E. @georgiavintagegoods

!!Sun., Nov. 7
WUSSY Mag present Bottom’s Up! A Drag Brunch, City Winery — WUSSY is back with another Bottom’s Up! Drag Brunch. This month, guest Queen Laganja Estranja, RuPaul’s Drag Race star, recording artist, choreographer, and, of course, cannabis activist, is here. Along with being a full-time performer, Laganja is, you guessed it, into the ganja. She’s been featured twice in High Times Magazine and on the cover of Dope Magazine, making her the first LGBTQ+ advocate to be on any cannabis-related covers.

The good Lord’s work doesn’t stop there. Laganja launched a collection of marijuana-themed merchandise, including lines of jewelry, prerolled joints, and cannabis-infused, vegan edibles, making her one of the few queer voices in the commercial cannabis landscape.

Laganja Estranja, aka Jay Jackson, is the drag daughter of icon Alyssa Edwards, of the drag family Haus of Edwards. Accompanying Estranja are some at ATL’s most fine, hilarious, and flexible performers, including Nicole Paige Brooks from RuPaul’s Drag Race, Brigitte Bidet, Evangeline Laveau, Kristi Darling, and Molly Rimswell — all longtime favs of The Move. Warning, these events are not good for those laugh lines and may cause Botox to weaken over an afternoon of laughter.

Fine print: Masks and vax, or negative PCR test, required.

$25-30. Meet and greet with Laganja 11:30 a.m. Showtime 1:00 p.m. City Winery Atlanta, 650 North Ave. N.E. citywinery.com/atlanta wussymag.com @citywineryatl @wussymag @laganjaestranja

!!Ongoing from Mon., Nov. 22
IllumiNights at the Zoo: A Chinese Lantern Festival, Zoo Atlanta  IllumiNights at the Zoo is a new addition to Atlanta’s festive traditions.

Zoo Atlanta awakens at dark to a nighttime lantern wonderland celebrating the beauty of the natural world. More than 80 animal lanterns — some up to 20 feet tall — depicting some of Earth’s most charismatic creatures, are all made and hand-painted by Chinese artisans, representing thousands of hours of work. In keeping with Zoo Atlanta’s commitment to sustainability, each lantern also features environmentally friendly LED lights.

Hanart Culture, the creative team behind the lanterns, specializes in legendary Chinese Lantern festivals. The name is derived from “Han,” the largest nationality of China, and “art,” representing the variety of artistic styles influencing Hanart’s productions including Kung Fu and acrobatics.

Attendees should know that most animals go indoors before dark and will not be visible during IllumiNights. So, plan to visit the lanterns’ real-life counterparts during the day. The Endangered Species Carousel will be open during the festival, along with eats, drinks, and shopping. This is a rain or shine event.

Fine print: This is an indoor-outdoor event. Masks are required for all indoor areas.

$15-25. 5:30 p.m. Zoo Atlanta, 800 Cherokee Ave. S.E. zooatlanta.org @zooAtlanta

!!Fri., Nov. 26-Sun., Nov. 28
Home Alone in Concert, Atlanta Symphony Orchestra — This film needs no description. Who can forget classic Macaulay Culkin trying to survive while his parents manage to leave him behind for the holidays? Chances are you’ve never heard the story quite this way, with the film playing in tandem with Atlanta Symphony performing John Williams’ charming and nostalgic score.

Fine print: Masks and proof of vaccine are required.

$40-90. Fri.-Sat. 7:30 p.m. Sun. 3:00 p.m. Atlanta Symphony Hall,1280 Peachtree St. N.E. www.aso.org @atlantasymphony —CL—       0,0,10    themove                       THE MOVE: Plan accordingly - November 2021 "
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  string(7290) "Eyedrum lives! The nonprofit organization, known for championing the avant side of the artistic spectrum and hosting some of the city’s most imaginative and challenging exhibitions, concerts, and performances, has found a new home.

In a nearly literal sense, the re-emergence of Eyedrum reprises the Greek myth of the phoenix rising from the ashes. In 2018, the organization was summarily ousted from its storefront shop location on Forsyth Street due to a fire in a nearby building owned by the same developer. The new space is situated in a Westside warehouse compound, which also contains Stephen Evans’ Pegleg Studio, at 515 Ralph David Abernathy Blvd. S.W. The nearly 3,000 square-feet of mostly open expanse includes a beautifully cross-hatched wood floor and a 20-foot ceiling supported by square, wooden columns. The interior of the former auto parts storehouse has been totally refurbished and outfitted with central heating and air and a bathroom with hot running water. Veteran Eyedrum denizens will feel right at home in the industrial milieu while warmly welcoming the amenity upgrades, which will make converting people into regular patrons a much easier task.

On the exterior of the building, an ADA-compliant ramp and stairs lead to a loading dock, which serves as an outdoor stage and hangout place. A glass front door and separate roll-up door allow for easy ingress and egress for humans and bulky stuff. A front office, sound booth, and hospitality area occupy the space between the doors. Track lighting and power outlets in the ceiling run the length of the interior. In the rear are spaces for equipment storage and a greenroom. Future plans include installing moveable walls, which can be configured to accommodate different sizes of exhibits and events.

“It’s like a combination of our first and second homes on Trinity Avenue and MLK Jr. Boulevard,” said Will Lawless, Eyedrum founder and board chair. “A big thank-you goes out to the property owners (the aforementioned Evans and partner David Decker) who built the space to suit our needs.”

Parking comprises 30 spaces split between a courtyard and exterior lot augmented by Humphries Street on the property’s east side. The building is about a 15-minute walk from the West End MARTA station.

A “soft opening” on Saturday, October 16, provided a first look at the new environs as well as Ego Te Absolvo, a collaborative video installation curated by Kirsten Mitchell. An Atlanta-based, multi-disciplinary artist with a history of performances and exhibits at Eyedrum, Mitchell is a recent Museum of Contemporary Art of Georgia (MOCA GA) Working Artist Project Fellow. Her solo exhibitions can be viewed at MOCA GA, Atlanta Contemporary Art Center, and Hathaway Gallery.


Ego Te Absolvo, which translates from Latin as “I absolve you,” is the first in a series of exhibitions exemplifying a new strategic initiative by Eyedrum. The goal is to foster work made in a collaborative, conversational environment by providing financial, marketing, studio, and production support to local artists and musicians serving as curators of group projects and events. Mitchell’s exhibition features six video works, each by a different artist, plus a room installation created by a seventh participant.

“I want the viewer to come in and have a healing moment, to find respite from the crazy, glitched-out shit we’ve been going through — the isolation and fear, the self-quarantining — as a consequence of COVID,” Mitchell said. “As I was going through this experience, these artists came to my attention as allies on a similar journey.”

The first work encountered by the Eyedrum visitor is displayed on a small tablet mounted in a metal frame with steel legs, which holds the tablet a few inches above the top of a grand piano. The video, by French-Basque-American painter, singer, performance artist, and multi-instrumentalist Maïa Evarista Charlotte Ibar, is a tribute to the artist’s deceased partner who is depicted being nudged, licked, and generally adored by cows in a field. Mounted on the back wall of the gallery, Meredith Kooi’s tablet video of the artist immersed in a beautiful, rugged, mountainous desert landscape evokes a contemplative engagement with nature.

On a much larger scale, a wall projection by Swedish visual artist, musician, and runway model Linda Beecroft features multi-colored whirlwinds and swirling spacescapes  accompanied by an ambient soundtrack similar to works by Brian Eno, Laraaji, and Roedelius with whom the artist has collaborated. Projected on the opposite sidewall, a videoclip by Brazilian-based artist Thiago Rocha Pitta conjures up a mesmerizing jungle campfire from which ghostly spirits are emerging amid translucent flames and vaporous smoke.

A tablet video by Norwegian Bjorn Veno depicts the view forward from the seat of a small, yellow, wooden boat with a square prow. Floating in incandescent blue water, the boat points toward the sloping shoreline of an evergreen-wooded island. The boat’s gently bobbing motion in a pastoral setting conveys a feeling of sublime, meditative calm. In contrast, a small tablet video by Tommy Nease imparts a sense of frantic action in a potentially deadly environment as the viewer watches a man scrambling to ascend a steep hill of loose dirt in the midst of a raging forest fire. A wildland firefighter employed by the U.S. Forest Service in Washington, Nease is primarily known for his photography, which frequently depicts landscapes in conflagration. His work has been rightfully described as a metaphor for battling with natural elements on the frontlines of climate change.

The non-video entry in Ego Te Absolvo is an installation by Shana Robbins. In the rear of the gallery, Robbins transforms a utility room into a shrine through the use of mood lighting, pillow seating, sundry statuary, and precious adornments in the style of a Hindu temple. The work was inspired by a retreat made by Mitchell, during which she was required to sit in an austere meditation cell several times a day.

“I asked the artist to make one that was more deliberately and elaborately staged, so that the audience would get a feeling for what could happen on the inside, since not everyone is inclined to sit and meditate,” Mitchell said.

Ego Te Absolvo is a wonderfully evocative and thoroughly engaging exhibition, which allows the visitor to reap the benefit of the curator’s intentions while appreciating the space in which the work is displayed. Ego Te Absolvo runs through December 11. Currently, Eyedrum gallery viewing is by appointment only.

Upcoming events at Eyedrum include two curated programs, the first of which kicks off with a party on New Year’s Eve hosted by Mike Stasney and George Long of I Fucking L*** You fame, followed in April by a celebration of black women artists curated by William Downs. Also on tap is the return of the Kirkwood Ballers Club (KBC), a regular gathering of musical improvisers and experimentalists with an open-to-all, “play-whatcha-brung” policy. The KBC usually meets monthly on Thursdays with the inaugural jam session scheduled for October 21. —CL—

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In a nearly literal sense, the re-emergence of Eyedrum reprises the Greek myth of the phoenix rising from the ashes. In 2018, the organization was summarily ousted from its storefront shop location on Forsyth Street due to a fire in a nearby building owned by the same developer. The new space is situated in a Westside warehouse compound, which also contains Stephen Evans’ Pegleg Studio, at 515 Ralph David Abernathy Blvd. S.W. The nearly 3,000 square-feet of mostly open expanse includes a beautifully cross-hatched wood floor and a 20-foot ceiling supported by square, wooden columns. The interior of the former auto parts storehouse has been totally refurbished and outfitted with central heating and air and a bathroom with hot running water. Veteran Eyedrum denizens will feel right at home in the industrial milieu while warmly welcoming the amenity upgrades, which will make converting people into regular patrons a much easier task.

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“It’s like a combination of our first and second homes on Trinity Avenue and MLK Jr. Boulevard,” said Will Lawless, Eyedrum founder and board chair. “A big thank-you goes out to the property owners (the aforementioned Evans and partner David Decker) who built the space to suit our needs.”

Parking comprises 30 spaces split between a courtyard and exterior lot augmented by Humphries Street on the property’s east side. The building is about a 15-minute walk from the West End MARTA station.

A “soft opening” on Saturday, October 16, provided a first look at the new environs as well as ''Ego Te Absolvo'', a collaborative video installation curated by Kirsten Mitchell. An Atlanta-based, multi-disciplinary artist with a history of performances and exhibits at Eyedrum, Mitchell is a recent Museum of Contemporary Art of Georgia (MOCA GA) Working Artist Project Fellow. Her solo exhibitions can be viewed at MOCA GA, Atlanta Contemporary Art Center, and Hathaway Gallery.

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“I want the viewer to come in and have a healing moment, to find respite from the crazy, glitched-out shit we’ve been going through — the isolation and fear, the self-quarantining — as a consequence of COVID,” Mitchell said. “As I was going through this experience, these artists came to my attention as allies on a similar journey.”

The first work encountered by the Eyedrum visitor is displayed on a small tablet mounted in a metal frame with steel legs, which holds the tablet a few inches above the top of a grand piano. The video, by French-Basque-American painter, singer, performance artist, and multi-instrumentalist Maïa Evarista Charlotte Ibar, is a tribute to the artist’s deceased partner who is depicted being nudged, licked, and generally adored by cows in a field. Mounted on the back wall of the gallery, Meredith Kooi’s tablet video of the artist immersed in a beautiful, rugged, mountainous desert landscape evokes a contemplative engagement with nature.

On a much larger scale, a wall projection by Swedish visual artist, musician, and runway model Linda Beecroft features multi-colored whirlwinds and swirling spacescapes  accompanied by an ambient soundtrack similar to works by Brian Eno, Laraaji, and Roedelius with whom the artist has collaborated. Projected on the opposite sidewall, a videoclip by Brazilian-based artist Thiago Rocha Pitta conjures up a mesmerizing jungle campfire from which ghostly spirits are emerging amid translucent flames and vaporous smoke.

A tablet video by Norwegian Bjorn Veno depicts the view forward from the seat of a small, yellow, wooden boat with a square prow. Floating in incandescent blue water, the boat points toward the sloping shoreline of an evergreen-wooded island. The boat’s gently bobbing motion in a pastoral setting conveys a feeling of sublime, meditative calm. In contrast, a small tablet video by Tommy Nease imparts a sense of frantic action in a potentially deadly environment as the viewer watches a man scrambling to ascend a steep hill of loose dirt in the midst of a raging forest fire. A wildland firefighter employed by the U.S. Forest Service in Washington, Nease is primarily known for his photography, which frequently depicts landscapes in conflagration. His work has been rightfully described as a metaphor for battling with natural elements on the frontlines of climate change.

The non-video entry in ''Ego Te Absolvo'' is an installation by Shana Robbins. In the rear of the gallery, Robbins transforms a utility room into a shrine through the use of mood lighting, pillow seating, sundry statuary, and precious adornments in the style of a Hindu temple. The work was inspired by a retreat made by Mitchell, during which she was required to sit in an austere meditation cell several times a day.

“I asked the artist to make one that was more deliberately and elaborately staged, so that the audience would get a feeling for what could happen on the inside, since not everyone is inclined to sit and meditate,” Mitchell said.

''Ego Te Absolvo'' is a wonderfully evocative and thoroughly engaging exhibition, which allows the visitor to reap the benefit of the curator’s intentions while appreciating the space in which the work is displayed. ''Ego Te Absolvo'' runs through December 11. Currently, Eyedrum gallery viewing is by appointment only.

Upcoming events at Eyedrum include two curated programs, the first of which kicks off with a party on New Year’s Eve hosted by Mike Stasney and George Long of ''I Fucking L*** You'' fame, followed in April by a celebration of black women artists curated by William Downs. Also on tap is the return of the Kirkwood Ballers Club (KBC), a regular gathering of musical improvisers and experimentalists with an open-to-all, “play-whatcha-brung” policy. The KBC usually meets monthly on Thursdays with the inaugural jam session scheduled for October 21. __—CL—__

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  string(7837) " Eyedrum 1  2021-11-04T20:03:19+00:00 Eyedrum_1.jpeg      Avant arts organization has found a new home-sweet-warehouse on the Westside. Eyedrum 1   2021-11-01T06:00:00+00:00  LISTENING POST: Eyedrum re-emergent! jim.harris Jim Harris DOUG DELOACH douglassdeloach (Doug DeLoach) 2021-11-01T06:00:00+00:00 Eyedrum lives! The nonprofit organization, known for championing the avant side of the artistic spectrum and hosting some of the city’s most imaginative and challenging exhibitions, concerts, and performances, has found a new home.

In a nearly literal sense, the re-emergence of Eyedrum reprises the Greek myth of the phoenix rising from the ashes. In 2018, the organization was summarily ousted from its storefront shop location on Forsyth Street due to a fire in a nearby building owned by the same developer. The new space is situated in a Westside warehouse compound, which also contains Stephen Evans’ Pegleg Studio, at 515 Ralph David Abernathy Blvd. S.W. The nearly 3,000 square-feet of mostly open expanse includes a beautifully cross-hatched wood floor and a 20-foot ceiling supported by square, wooden columns. The interior of the former auto parts storehouse has been totally refurbished and outfitted with central heating and air and a bathroom with hot running water. Veteran Eyedrum denizens will feel right at home in the industrial milieu while warmly welcoming the amenity upgrades, which will make converting people into regular patrons a much easier task.

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“It’s like a combination of our first and second homes on Trinity Avenue and MLK Jr. Boulevard,” said Will Lawless, Eyedrum founder and board chair. “A big thank-you goes out to the property owners (the aforementioned Evans and partner David Decker) who built the space to suit our needs.”

Parking comprises 30 spaces split between a courtyard and exterior lot augmented by Humphries Street on the property’s east side. The building is about a 15-minute walk from the West End MARTA station.

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Ego Te Absolvo, which translates from Latin as “I absolve you,” is the first in a series of exhibitions exemplifying a new strategic initiative by Eyedrum. The goal is to foster work made in a collaborative, conversational environment by providing financial, marketing, studio, and production support to local artists and musicians serving as curators of group projects and events. Mitchell’s exhibition features six video works, each by a different artist, plus a room installation created by a seventh participant.

“I want the viewer to come in and have a healing moment, to find respite from the crazy, glitched-out shit we’ve been going through — the isolation and fear, the self-quarantining — as a consequence of COVID,” Mitchell said. “As I was going through this experience, these artists came to my attention as allies on a similar journey.”

The first work encountered by the Eyedrum visitor is displayed on a small tablet mounted in a metal frame with steel legs, which holds the tablet a few inches above the top of a grand piano. The video, by French-Basque-American painter, singer, performance artist, and multi-instrumentalist Maïa Evarista Charlotte Ibar, is a tribute to the artist’s deceased partner who is depicted being nudged, licked, and generally adored by cows in a field. Mounted on the back wall of the gallery, Meredith Kooi’s tablet video of the artist immersed in a beautiful, rugged, mountainous desert landscape evokes a contemplative engagement with nature.

On a much larger scale, a wall projection by Swedish visual artist, musician, and runway model Linda Beecroft features multi-colored whirlwinds and swirling spacescapes  accompanied by an ambient soundtrack similar to works by Brian Eno, Laraaji, and Roedelius with whom the artist has collaborated. Projected on the opposite sidewall, a videoclip by Brazilian-based artist Thiago Rocha Pitta conjures up a mesmerizing jungle campfire from which ghostly spirits are emerging amid translucent flames and vaporous smoke.

A tablet video by Norwegian Bjorn Veno depicts the view forward from the seat of a small, yellow, wooden boat with a square prow. Floating in incandescent blue water, the boat points toward the sloping shoreline of an evergreen-wooded island. The boat’s gently bobbing motion in a pastoral setting conveys a feeling of sublime, meditative calm. In contrast, a small tablet video by Tommy Nease imparts a sense of frantic action in a potentially deadly environment as the viewer watches a man scrambling to ascend a steep hill of loose dirt in the midst of a raging forest fire. A wildland firefighter employed by the U.S. Forest Service in Washington, Nease is primarily known for his photography, which frequently depicts landscapes in conflagration. His work has been rightfully described as a metaphor for battling with natural elements on the frontlines of climate change.

The non-video entry in Ego Te Absolvo is an installation by Shana Robbins. In the rear of the gallery, Robbins transforms a utility room into a shrine through the use of mood lighting, pillow seating, sundry statuary, and precious adornments in the style of a Hindu temple. The work was inspired by a retreat made by Mitchell, during which she was required to sit in an austere meditation cell several times a day.

“I asked the artist to make one that was more deliberately and elaborately staged, so that the audience would get a feeling for what could happen on the inside, since not everyone is inclined to sit and meditate,” Mitchell said.

Ego Te Absolvo is a wonderfully evocative and thoroughly engaging exhibition, which allows the visitor to reap the benefit of the curator’s intentions while appreciating the space in which the work is displayed. Ego Te Absolvo runs through December 11. Currently, Eyedrum gallery viewing is by appointment only.

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  string(493) " #3 Dominic Fike Day 18982  2021-11-04T20:39:21+00:00 #3_Dominic_Fike_day_18982.jpeg      Three days and nights of fun and music #3 Dominic Fike Day 18982   2021-11-01T06:30:00+00:00  Shaky Knees 2021 jim.harris Jim Harris PHOTOGRAPHS BY ADDISON EUGENE  2021-11-01T06:30:00+00:00 Atlanta’s Central Park hosted the return of the homegrown music festival Oct. 22-24

!!DAY 1
 

!!DAY 2


!!DAY 3

     ADDISON EUGENE DOMINIC FIKE  0,0,10                           Shaky Knees 2021 "
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  string(9886) "“It’s a miracle!” I shouted, looking into the pan atop my antique stove. There, simmering in their own fat and turning crispy, were chunks of pork — the authentic Mexican carnitas I have complained about being unable to find in Atlanta restaurants for 30 years. Lightly aromatic with chiles, garlic, and citrus, the carnitas begged to be folded into tortillas with salsa verde and pico de gallo. Unfortunately, I had not bothered to prepare those because, quite honestly, I did not expect the carnitas to be more than the usual soft roasted pork and planned to just throw them on a plate with some black beans and rice. Pathetically, I did heat some pita bread. It has no talent for impersonating tortillas.

These perfect carnitas were in a small container from Poco Loco, a fairly new burrito joint in Kirkwood. I bought them while ordering a burrito but began blithering about how I could never find actual, real, crispy carnitas in Atlanta. Owner-chef-cashier Nick Melvin tried to interrupt my rant, but I kept going. Finally he said, “If you will listen, I promise you that these will become crispy. The pork has been cured and cooked. All you have to do is put them in a pan and let them cook in the remaining fat” — I interrupted again, “Fine, OK, I’ll try them …” They were $15 for a pound, which seemed a bit pricey, but not really. They fed two of us that night.

My reason for visiting Poco Loco, which means “a little crazy” was to try out the breakfast burritos, a Tex-Mex specialty that I used to pick up on the way to work every weekday when I lived in Houston. Like the carnitas, the burrito I sampled was perfect. Each week, Melvin prepares one with meat, one ovo-lacto vegetarian, and one for kids with eggs and cheese only. There are also different frozen varieties available. The adult ones are dubbed with names that are indeed un poco loco. The week I visited, you could choose to eat fitness freaks Jess Sims or Cody Rigsby. Robin Arzon was available frozen.


The Jess Sims I chose was described as “green chile beef shoulder, Moore’s Farm eggs, home fries, roasted peppers and onions, pickled jalapenos, and American cheese in a house made flour tortilla, with salsa verde.” The burrito — medium-size compared to many — was rolled tight, wrapped in tinfoil, and easy to eat without spilling a drop. I know the ingredients sound like a kitchen-sink concoction. I balked at the home fries, for example, but they were a perfect complement to the creamy scrambled eggs. The sour green sauce was a nice way to wake up my body that morning.

There is no indoor seating here, although there are picnic tables out front on a patio that, in honor of Halloween, was more than poco loco itself. There was a steady flow of people picking up orders. During my meal, only two other people chose table seating. I noticed that the guy at the table across from mine was devouring two burritos. I, not being shy since my brain began its descent into Alzheimer’s, said,  “Wow man, you actually eat two of those? Is that the Cody Rigsby?” The man looked at me blankly, said “yes,” looked down, and took another bite. That burrito mixed the eggs with “cauliflower adobo.” I have to be honest. I used to love cauliflower. But I’m sick of it now, people. You finally pulled back a little from the kale. How about not turning cauliflower into meat?

The burrito I sampled has me wanting to go back, but the “provisions” case of the store that holds the carnitas and other weekly specials insures my return. Among those when I visited were a buffalo-chorizo dip, pineapple-citrus agua fresca, salsa verde, black bean and corn salad, smoked pork charros, sweet pickled jalapeños, fermented sweet chile sauce, house-made tortillas, and “frozen sicker-doozie dough.” The following week included carne asada marinated in salsa macha, chile-lime hummus, jerked black beans, and fermented poblano hot sauce.

Chef-owner Melvin was most recently in the kitchen at Fox Bros. Bar-B-Q. He like, so many others, found himself derailed by the pandemic. The derailment turned out, as it also did for many others, to be a gift of sorts. He started Poco Loco as a pop-up operating out of his home with so much success that he was motivated to rent the space vacated by Dish Dive, located next to Molasses Barber and Beauty. “It’s a dream come true,” he told me.


Pop-ups are erratic and hard to keep track of, but they are producing some of the most interesting cuisine in the city now. Without the high overhead, chefs are freer to experiment and create unique niches for themselves. If successful, they may go on, like Melvin, to tie themselves to their own brick-and-mortar locations. One example I can’t wait to try is maybe a little more loco than Poco Loco, at least in its name: Pho Cue. If you know that “pho” is correctly pronounced “fuh,” you know you can’t wait to buy their merch.

The restaurant, not open at this writing, is scheduled to start serving by the first week of November. Located in Glenwood Village, it will be serving a menu of Vietnamese and barbecue dishes. Some, like the pho and a rack of ribs, adhere fairly strictly to their separate origins in Vietnam and Texas. Others, like smoked brisket eggrolls, are hybrids. The owners are Brian Holloway, a food truck manager, and Julian Wissman, a pitmaster from — guess where — Fox Bros. Bar-B-Q, where Nick Melvin also worked. Thanks, Fox Bros., for the talent!

Another pop-up that’s gained significant attention is Humble Mumble. Owner-chef Justin Dixon has an impressive resume, starting in 2007 when he worked at Pano’s and Paul’s. Most recently, he’s run the kitchens at the Shed at Glenwood, Bully Boy, and Wonderkid. Yes, his pop-up’s name is borrowed from the Outkast song, and his website includes a virtual manifesto that weaves together themes of social activism, humility, fairness, music, and food.

Humble Mumble pops up now and then for lunch at the Pig and the Pearl in Atlantic Station, but mainly for dinner at places like Parlor, Dead End Drinks, and Full Commission, which I visited on a Friday night. I liked Dixon’s somewhat kinky cooking at Wonderkid but, to be honest, my meal at Full Commission fell short. I had the feeling I was eating food that had been prepared and plated well in advance. A funny take on Campbell’s canned SpaghettiOs ($1.50 or less at a Publix near you) included the pasta rings, a tomato sauce, and a ton of manchego cheese — all perfect for my inner kid. But my less inner adult was tempted by the fat lamb meatballs, not good for a ridiculous reason. As I told my inquiring server, “Uh-oh, my SpaghettiOs’ meatballs are unheated.” The meat was also too finely ground for my taste.

My other dish was similarly a throwback to the fairly old South — an appetizer of glutinous pimento cheese served with tasteless slices of flimsy radishes, spears of carrots and lifeless squash, sliced dill pickles, a stalk of weirdly pickled okra, and some crackers. Images of my mother’s kitchen counter kept bouncing in my head, so the humble allusions were spot-on, but the mumbling ingredients bumbled the dish.

I have enjoyed Chef Dixon’s food at his earlier gigs, so I have no explanation for this disappointment.


Speaking of pimento cheese, I’m sure you often hallucinate a perfect buttermilk biscuit layered with it and a slice of fried green tomato. That is one of the breakfast sandwiches Erika Council of Bomb Biscuits creates. Council became well known for her prepandemic pop-ups around town and is now operating out of Irwin Street Market, whose mission is to help aspiring chefs build their business. Council is part of a Southern family of renowned biscuit bakers and restaurateurs. She’s also a skilled food writer.


I visited recently to try out the bacon-cheddar and the country ham biscuits and to fetch six not-so-plain buttermilk beauties for later consumption. I’ve not stopped thinking about them since and ended up hunting down biscuits at other venues. I admit that I yanked the bacon-cheddar one out of the box and ate it so fast in the market’s patio that I forgot to photograph it. I also admit that the country ham biscuit just wasn’t my thing. That biscuit was made with cornmeal. I know it’s not actually a sacrilege, but it defies my family’s tradition. My uncle cured country hams, and every Christmas morning we ate the ham, still my ultimate comfort food, with red-eye gravy and biscuits my mother made. So, the cornmeal just slapped me in the face even as I ate every crumb. The ham, by the way, was the real thing. The other biscuits, which you will want to press against your cheeks after warming, got eaten later with fig butter and honey. They are available for home delivery, shipping, and takeout. The market counter is only open a few hours on Friday and Saturday.

Alright, I have one other thing to admit. I picked up the biscuits after my visit to Poco Loco. Yes, that’s right. I ate a burrito, three biscuits, and a pile of carnitas on the same day with plenty of other stuff. Timing is everything when you’re visiting these postpandemic, post-pop-up venues with limited hours. I encourage you to check their websites and Instagram pages for hours before setting out. But do go. —CL—

Poco Loco, 2233 College Ave. Open 7:30 a.m.-1 p.m. Thurs.-Fri. and 8 a.m.-1 p.m. Satur. Find the week’s menu and place advance orders on the website, pocolocoatl.com @pocolocoatl

Pho Cue, 925 Garrett St. 404-549-7595. eatphocue.com @eatphocue 

Humble Mumble. humblemumbleatl.com @humblemumbleatl, @issablackchef 

Bomb Biscuits, 660 Irwin St. Open 10 a.m.-2 p.m. Fri. and 9 a.m. until sold out Sat. Order online only at bombiscuital.com @bombbiscuitatl.com, #bombbiscuits "
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  string(10592) "“It’s a miracle!” I shouted, looking into the pan atop my antique stove. There, simmering in their own fat and turning crispy, were chunks of pork — the authentic Mexican carnitas I have complained about being unable to find in Atlanta restaurants for 30 years. Lightly aromatic with chiles, garlic, and citrus, the carnitas begged to be folded into tortillas with salsa verde and pico de gallo. Unfortunately, I had not bothered to prepare those because, quite honestly, I did not expect the carnitas to be more than the usual soft roasted pork and planned to just throw them on a plate with some black beans and rice. Pathetically, I did heat some pita bread. It has no talent for impersonating tortillas.

These perfect carnitas were in a small container from Poco Loco, a fairly new burrito joint in Kirkwood. I bought them while ordering a burrito but began blithering about how I could never find actual, real, crispy carnitas in Atlanta. Owner-chef-cashier Nick Melvin tried to interrupt my rant, but I kept going. Finally he said, “''If you will listen'', I promise you that these will become crispy. The pork has been cured and cooked. All you have to do is put them in a pan and let them cook in the remaining fat” — I interrupted again, “Fine, OK, I’ll try them …” They were $15 for a pound, which seemed a bit pricey, but not really. They fed two of us that night.

My reason for visiting Poco Loco, which means “a little crazy” was to try out the breakfast burritos, a Tex-Mex specialty that I used to pick up on the way to work every weekday when I lived in Houston. Like the carnitas, the burrito I sampled was perfect. Each week, Melvin prepares one with meat, one ovo-lacto vegetarian, and one for kids with eggs and cheese only. There are also different frozen varieties available. The adult ones are dubbed with names that are indeed ''un poco loco''. The week I visited, you could choose to eat fitness freaks Jess Sims or Cody Rigsby. Robin Arzon was available frozen.

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The Jess Sims I chose was described as “green chile beef shoulder, Moore’s Farm eggs, home fries, roasted peppers and onions, pickled jalapenos, and American cheese in a house made flour tortilla, with salsa verde.” The burrito — medium-size compared to many — was rolled tight, wrapped in tinfoil, and easy to eat without spilling a drop. I know the ingredients sound like a kitchen-sink concoction. I balked at the home fries, for example, but they were a perfect complement to the creamy scrambled eggs. The sour green sauce was a nice way to wake up my body that morning.

There is no indoor seating here, although there are picnic tables out front on a patio that, in honor of Halloween, was more than poco loco itself. There was a steady flow of people picking up orders. During my meal, only two other people chose table seating. I noticed that the guy at the table across from mine was devouring two burritos. I, not being shy since my brain began its descent into Alzheimer’s, said,  “Wow man, you actually eat two of those? Is that the Cody Rigsby?” The man looked at me blankly, said “yes,” looked down, and took another bite. That burrito mixed the eggs with “cauliflower adobo.” I have to be honest. I used to love cauliflower. But I’m sick of it now, people. You finally pulled back a little from the kale. How about not turning cauliflower into meat?

The burrito I sampled has me wanting to go back, but the “provisions” case of the store that holds the carnitas and other weekly specials insures my return. Among those when I visited were a buffalo-chorizo dip, pineapple-citrus agua fresca, salsa verde, black bean and corn salad, smoked pork charros, sweet pickled jalapeños, fermented sweet chile sauce, house-made tortillas, and “frozen sicker-doozie dough.” The following week included carne asada marinated in salsa macha, chile-lime hummus, jerked black beans, and fermented poblano hot sauce.

Chef-owner Melvin was most recently in the kitchen at Fox Bros. Bar-B-Q. He like, so many others, found himself derailed by the pandemic. The derailment turned out, as it also did for many others, to be a gift of sorts. He started Poco Loco as a pop-up operating out of his home with so much success that he was motivated to rent the space vacated by Dish Dive, located next to Molasses Barber and Beauty. “It’s a dream come true,” he told me.

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Pop-ups are erratic and hard to keep track of, but they are producing some of the most interesting cuisine in the city now. Without the high overhead, chefs are freer to experiment and create unique niches for themselves. If successful, they may go on, like Melvin, to tie themselves to their own brick-and-mortar locations. One example I can’t wait to try is maybe a little more loco than Poco Loco, at least in its name: Pho Cue. If you know that “pho” is correctly pronounced “fuh,” you know you can’t wait to buy their merch.

The restaurant, not open at this writing, is scheduled to start serving by the first week of November. Located in Glenwood Village, it will be serving a menu of Vietnamese and barbecue dishes. Some, like the pho and a rack of ribs, adhere fairly strictly to their separate origins in Vietnam and Texas. Others, like smoked brisket eggrolls, are hybrids. The owners are Brian Holloway, a food truck manager, and Julian Wissman, a pitmaster from — guess where — Fox Bros. Bar-B-Q, where Nick Melvin also worked. Thanks, Fox Bros., for the talent!

Another pop-up that’s gained significant attention is Humble Mumble. Owner-chef Justin Dixon has an impressive resume, starting in 2007 when he worked at Pano’s and Paul’s. Most recently, he’s run the kitchens at the Shed at Glenwood, Bully Boy, and Wonderkid. Yes, his pop-up’s name is borrowed from the Outkast song, and his website includes a virtual manifesto that weaves together themes of social activism, humility, fairness, music, and food.

Humble Mumble pops up now and then for lunch at the Pig and the Pearl in Atlantic Station, but mainly for dinner at places like Parlor, Dead End Drinks, and Full Commission, which I visited on a Friday night. I liked Dixon’s somewhat kinky cooking at Wonderkid but, to be honest, my meal at Full Commission fell short. I had the feeling I was eating food that had been prepared and plated well in advance. A funny take on Campbell’s canned SpaghettiOs ($1.50 or less at a Publix near you) included the pasta rings, a tomato sauce, and a ton of manchego cheese — all perfect for my inner kid. But my less inner adult was tempted by the fat lamb meatballs, not good for a ridiculous reason. As I told my inquiring server, “Uh-oh, my SpaghettiOs’ meatballs are unheated.” The meat was also too finely ground for my taste.

My other dish was similarly a throwback to the fairly old South — an appetizer of glutinous pimento cheese served with tasteless slices of flimsy radishes, spears of carrots and lifeless squash, sliced dill pickles, a stalk of weirdly pickled okra, and some crackers. Images of my mother’s kitchen counter kept bouncing in my head, so the humble allusions were spot-on, but the mumbling ingredients bumbled the dish.

I have enjoyed Chef Dixon’s food at his earlier gigs, so I have no explanation for this disappointment.

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Speaking of pimento cheese, I’m sure you often hallucinate a perfect buttermilk biscuit layered with it and a slice of fried green tomato. That is one of the breakfast sandwiches Erika Council of Bomb Biscuits creates. Council became well known for her prepandemic pop-ups around town and is now operating out of Irwin Street Market, whose mission is to help aspiring chefs build their business. Council is part of a Southern family of renowned biscuit bakers and restaurateurs. She’s also a skilled food writer.

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I visited recently to try out the bacon-cheddar and the country ham biscuits and to fetch six not-so-plain buttermilk beauties for later consumption. I’ve not stopped thinking about them since and ended up hunting down biscuits at other venues. I admit that I yanked the bacon-cheddar one out of the box and ate it so fast in the market’s patio that I forgot to photograph it. I also admit that the country ham biscuit just wasn’t my thing. That biscuit was made with cornmeal. I know it’s not actually a sacrilege, but it defies my family’s tradition. My uncle cured country hams, and every Christmas morning we ate the ham, still my ultimate comfort food, with red-eye gravy and biscuits my mother made. So, the cornmeal just slapped me in the face even as I ate every crumb. The ham, by the way, was the real thing. The other biscuits, which you will want to press against your cheeks after warming, got eaten later with fig butter and honey. They are available for home delivery, shipping, and takeout. The market counter is only open a few hours on Friday and Saturday.

Alright, I have one other thing to admit. I picked up the biscuits after my visit to Poco Loco. Yes, that’s right. I ate a burrito, three biscuits, and a pile of carnitas on the same day with plenty of other stuff. Timing is everything when you’re visiting these postpandemic, post-pop-up venues with limited hours. I encourage you to check their websites and Instagram pages for hours before setting out. But ''do'' go. __—CL—__

''Poco Loco, 2233 College Ave. Open 7:30 a.m.-1 p.m. Thurs.-Fri. and 8 a.m.-1 p.m. Satur. Find the week’s menu and place advance orders on the website, pocolocoatl.com @pocolocoatl''

''Pho Cue, 925 Garrett St. 404-549-7595. eatphocue.com @eatphocue ''

''Humble Mumble. humblemumbleatl.com @humblemumbleatl, @issablackchef ''

''Bomb Biscuits, 660 Irwin St. Open 10 a.m.-2 p.m. Fri. and 9 a.m. until sold out Sat. Order online only at bombiscuital.com @bombbiscuitatl.com, #bombbiscuits ''"
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  string(10646) " #1 MORE HEAT  2021-11-05T03:28:44+00:00 #1_MORE_HEAT_.jpg       #1 MORE HEAT   2021-11-01T08:00:00+00:00  GRAZING: Atlanta is a post-pandemic, post-pop-up dining paradise jim.harris Jim Harris CLIFF BOSTOCK cliffbostock (Cliff Bostock) 2021-11-01T08:00:00+00:00 “It’s a miracle!” I shouted, looking into the pan atop my antique stove. There, simmering in their own fat and turning crispy, were chunks of pork — the authentic Mexican carnitas I have complained about being unable to find in Atlanta restaurants for 30 years. Lightly aromatic with chiles, garlic, and citrus, the carnitas begged to be folded into tortillas with salsa verde and pico de gallo. Unfortunately, I had not bothered to prepare those because, quite honestly, I did not expect the carnitas to be more than the usual soft roasted pork and planned to just throw them on a plate with some black beans and rice. Pathetically, I did heat some pita bread. It has no talent for impersonating tortillas.

These perfect carnitas were in a small container from Poco Loco, a fairly new burrito joint in Kirkwood. I bought them while ordering a burrito but began blithering about how I could never find actual, real, crispy carnitas in Atlanta. Owner-chef-cashier Nick Melvin tried to interrupt my rant, but I kept going. Finally he said, “If you will listen, I promise you that these will become crispy. The pork has been cured and cooked. All you have to do is put them in a pan and let them cook in the remaining fat” — I interrupted again, “Fine, OK, I’ll try them …” They were $15 for a pound, which seemed a bit pricey, but not really. They fed two of us that night.

My reason for visiting Poco Loco, which means “a little crazy” was to try out the breakfast burritos, a Tex-Mex specialty that I used to pick up on the way to work every weekday when I lived in Houston. Like the carnitas, the burrito I sampled was perfect. Each week, Melvin prepares one with meat, one ovo-lacto vegetarian, and one for kids with eggs and cheese only. There are also different frozen varieties available. The adult ones are dubbed with names that are indeed un poco loco. The week I visited, you could choose to eat fitness freaks Jess Sims or Cody Rigsby. Robin Arzon was available frozen.


The Jess Sims I chose was described as “green chile beef shoulder, Moore’s Farm eggs, home fries, roasted peppers and onions, pickled jalapenos, and American cheese in a house made flour tortilla, with salsa verde.” The burrito — medium-size compared to many — was rolled tight, wrapped in tinfoil, and easy to eat without spilling a drop. I know the ingredients sound like a kitchen-sink concoction. I balked at the home fries, for example, but they were a perfect complement to the creamy scrambled eggs. The sour green sauce was a nice way to wake up my body that morning.

There is no indoor seating here, although there are picnic tables out front on a patio that, in honor of Halloween, was more than poco loco itself. There was a steady flow of people picking up orders. During my meal, only two other people chose table seating. I noticed that the guy at the table across from mine was devouring two burritos. I, not being shy since my brain began its descent into Alzheimer’s, said,  “Wow man, you actually eat two of those? Is that the Cody Rigsby?” The man looked at me blankly, said “yes,” looked down, and took another bite. That burrito mixed the eggs with “cauliflower adobo.” I have to be honest. I used to love cauliflower. But I’m sick of it now, people. You finally pulled back a little from the kale. How about not turning cauliflower into meat?

The burrito I sampled has me wanting to go back, but the “provisions” case of the store that holds the carnitas and other weekly specials insures my return. Among those when I visited were a buffalo-chorizo dip, pineapple-citrus agua fresca, salsa verde, black bean and corn salad, smoked pork charros, sweet pickled jalapeños, fermented sweet chile sauce, house-made tortillas, and “frozen sicker-doozie dough.” The following week included carne asada marinated in salsa macha, chile-lime hummus, jerked black beans, and fermented poblano hot sauce.

Chef-owner Melvin was most recently in the kitchen at Fox Bros. Bar-B-Q. He like, so many others, found himself derailed by the pandemic. The derailment turned out, as it also did for many others, to be a gift of sorts. He started Poco Loco as a pop-up operating out of his home with so much success that he was motivated to rent the space vacated by Dish Dive, located next to Molasses Barber and Beauty. “It’s a dream come true,” he told me.


Pop-ups are erratic and hard to keep track of, but they are producing some of the most interesting cuisine in the city now. Without the high overhead, chefs are freer to experiment and create unique niches for themselves. If successful, they may go on, like Melvin, to tie themselves to their own brick-and-mortar locations. One example I can’t wait to try is maybe a little more loco than Poco Loco, at least in its name: Pho Cue. If you know that “pho” is correctly pronounced “fuh,” you know you can’t wait to buy their merch.

The restaurant, not open at this writing, is scheduled to start serving by the first week of November. Located in Glenwood Village, it will be serving a menu of Vietnamese and barbecue dishes. Some, like the pho and a rack of ribs, adhere fairly strictly to their separate origins in Vietnam and Texas. Others, like smoked brisket eggrolls, are hybrids. The owners are Brian Holloway, a food truck manager, and Julian Wissman, a pitmaster from — guess where — Fox Bros. Bar-B-Q, where Nick Melvin also worked. Thanks, Fox Bros., for the talent!

Another pop-up that’s gained significant attention is Humble Mumble. Owner-chef Justin Dixon has an impressive resume, starting in 2007 when he worked at Pano’s and Paul’s. Most recently, he’s run the kitchens at the Shed at Glenwood, Bully Boy, and Wonderkid. Yes, his pop-up’s name is borrowed from the Outkast song, and his website includes a virtual manifesto that weaves together themes of social activism, humility, fairness, music, and food.

Humble Mumble pops up now and then for lunch at the Pig and the Pearl in Atlantic Station, but mainly for dinner at places like Parlor, Dead End Drinks, and Full Commission, which I visited on a Friday night. I liked Dixon’s somewhat kinky cooking at Wonderkid but, to be honest, my meal at Full Commission fell short. I had the feeling I was eating food that had been prepared and plated well in advance. A funny take on Campbell’s canned SpaghettiOs ($1.50 or less at a Publix near you) included the pasta rings, a tomato sauce, and a ton of manchego cheese — all perfect for my inner kid. But my less inner adult was tempted by the fat lamb meatballs, not good for a ridiculous reason. As I told my inquiring server, “Uh-oh, my SpaghettiOs’ meatballs are unheated.” The meat was also too finely ground for my taste.

My other dish was similarly a throwback to the fairly old South — an appetizer of glutinous pimento cheese served with tasteless slices of flimsy radishes, spears of carrots and lifeless squash, sliced dill pickles, a stalk of weirdly pickled okra, and some crackers. Images of my mother’s kitchen counter kept bouncing in my head, so the humble allusions were spot-on, but the mumbling ingredients bumbled the dish.

I have enjoyed Chef Dixon’s food at his earlier gigs, so I have no explanation for this disappointment.


Speaking of pimento cheese, I’m sure you often hallucinate a perfect buttermilk biscuit layered with it and a slice of fried green tomato. That is one of the breakfast sandwiches Erika Council of Bomb Biscuits creates. Council became well known for her prepandemic pop-ups around town and is now operating out of Irwin Street Market, whose mission is to help aspiring chefs build their business. Council is part of a Southern family of renowned biscuit bakers and restaurateurs. She’s also a skilled food writer.


I visited recently to try out the bacon-cheddar and the country ham biscuits and to fetch six not-so-plain buttermilk beauties for later consumption. I’ve not stopped thinking about them since and ended up hunting down biscuits at other venues. I admit that I yanked the bacon-cheddar one out of the box and ate it so fast in the market’s patio that I forgot to photograph it. I also admit that the country ham biscuit just wasn’t my thing. That biscuit was made with cornmeal. I know it’s not actually a sacrilege, but it defies my family’s tradition. My uncle cured country hams, and every Christmas morning we ate the ham, still my ultimate comfort food, with red-eye gravy and biscuits my mother made. So, the cornmeal just slapped me in the face even as I ate every crumb. The ham, by the way, was the real thing. The other biscuits, which you will want to press against your cheeks after warming, got eaten later with fig butter and honey. They are available for home delivery, shipping, and takeout. The market counter is only open a few hours on Friday and Saturday.

Alright, I have one other thing to admit. I picked up the biscuits after my visit to Poco Loco. Yes, that’s right. I ate a burrito, three biscuits, and a pile of carnitas on the same day with plenty of other stuff. Timing is everything when you’re visiting these postpandemic, post-pop-up venues with limited hours. I encourage you to check their websites and Instagram pages for hours before setting out. But do go. —CL—

Poco Loco, 2233 College Ave. Open 7:30 a.m.-1 p.m. Thurs.-Fri. and 8 a.m.-1 p.m. Satur. Find the week’s menu and place advance orders on the website, pocolocoatl.com @pocolocoatl

Pho Cue, 925 Garrett St. 404-549-7595. eatphocue.com @eatphocue 

Humble Mumble. humblemumbleatl.com @humblemumbleatl, @issablackchef 

Bomb Biscuits, 660 Irwin St. Open 10 a.m.-2 p.m. Fri. and 9 a.m. until sold out Sat. Order online only at bombiscuital.com @bombbiscuitatl.com, #bombbiscuits     CLIFF BOSTOCK MORE HEAT, PLEASE: This is pop-up Humble Mumble’s take on SpagettiOs at the Full Commission recently. Everything was copacetic —  the pasta rings, the manchego cheese, the tomato sauce — until the encounter with tepid (at best) and excessively ground lamb meatballs. Considering chef Justin Dixon’s talent, it was a shock, unfortunately not redeemed by another dish.  0,0,10                           GRAZING: Atlanta is a post-pandemic, post-pop-up dining paradise "
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  string(6465) "“The spice must flow” is one of many alien catchphrases coined by Dune and its adaptations, most recently Denis Villeneuve’s all-star film. In Frank Herbert’s bestselling book series, “spice” is essential to space travel but found only on the desert planet Arrakis. Nicknamed “Dune,” the planet becomes a prize for the powerful, resource-hungry “houses” of a galactic empire.

When published in the 1960s, Dune could be read as a metaphor for colonialism and the oil industry, with Arrakis’s indigenous Fremen resembling the nomadic Bedouin culture. The new Dune doubles down on the capitalist critique while also echoing the media environment that spawned the film.

In today’s streaming entertainment system, content is the substance that must constantly be flowing. Instead of the noble House Atreides competing with the rapacious House Harkonnen, we have prestige-oriented House Warner versus the acquisitive House Disney. The stakes riding on Dune’s success seem nearly as high as those within the sci-fi story.

As one of science fiction’s most beloved epic stories, Dune has long been viewed as raw material for another Star Wars-style success. George Lucas openly drew inspiration from Dune for the desolate planet Tatooine. The 1984 film version of Dune was a notorious disappointment, with David Lynch’s sensibilities inevitably clashing with the producer’s desire for a commercial space opera.

In some ways, Villeneuve’s version is even more austere than Lynch’s. The French-Canadian filmmaker seems highly conscious that Dune presents a white savior narrative with protagonist Paul Atreides (Timothée Chalamet), heir to House Atreides, being possibly the most privileged white kid in the universe. We see much of the story through his eyes as his father (Oscar Isaac) becomes steward of Arrakis, taking control from House Harkonnen. Like a college student radicalized by a trip abroad, Paul becomes increasingly invested in the Fremen’s well-being while the Harkonnens plot against his family.

Baron Harkonnen (Stellan Skarsgård) proves almost comically evil and sadistic. His sadism is only matched by his corpulence, looking as much like Jabba the Hutt as possible without being an actual puppet. The Atreides are more compassionate, but from the audience’s point of view (and implicitly the Fremen’s), the two houses don’t look that different. Both use mountainous spaceships to deliver armies in shock-and-awe displays, the main distinction being the Harkonnens have black armor and the Atreides have a grayer color scheme. The film carefully avoids glorifying either set of colonizers.

At two and a half hours, Villeneuve’s Dune presents roughly half the original book: “Part One” is even in the title. This leaves the ending unresolved by design but throws this individual film out of balance. The film seems to be setting up a contrast between the galactic houses, which dominate planets and their populaces, and the low-tech Fremen, who live harmoniously on Arrakis’s seemingly inhospitable landscape. But apart from Javier Bardem as a Fremen chieftan and Zendaya as a women in Paul’s dreams, we see very little of them until the last 15 minutes.

For his previous two films Villeneuve crafted two sci-fi masterpieces, Arrival and Blade Runner 2049. Neither of them can be calle “warm,” but Dune’s severe tone makes them look like the Paddington movies. If Warner Bros. was hoping for high-octane escapism, Dune offers a film that’s usually impressive but seldom much fun. It’s capable of exciting sequences, like a suspenseful rescue from a giant sandworm, but it feels less like an heir to Star Wars and more like a season of HBO’s Game of Thrones compressed into a single sitting.

Amid the monolithic, brutalist designs, dimly-lit sets, and booming soundtrack, the actors tend to get lost, although Chalamet makes Paul reasonably likable and Jason Momoa provides some swagger as Duncan Idaho, Dune’s closest equivalent to a Han Solo. Rebecca Ferguson gives the standout performance as Lady Jessica, Paul’s mother and a member of a powerful sisterhood in the Dune-iverse. Ferguson conveys the complexity of Jessica’s divided emotions while also emerging as a unique cinematic badass.

Dune was released simultaneously in cinemas and on HBO Max for a month, putting it squarely in a debate over whether studios and streamers should offer at-home viewing options while the pandemic continues unabated. Filmmakers like Villeneuve argue for the superior aesthetic of cinemas, and certainly viewers will better appreciate Dune’s massive spectacle on the big screen. And without a doubt, the dense plot will be more accessible without the distractions of home-viewing.

Audiences concerned about the delta variant shouldn’t feel guilty preferring to avoid the multiplex. But movies make more money from ticket sales, so seeing Dune in theaters can be considered a vote of support for not just a sequel but for better franchises in the future as well. Over the past decades, the corporate owners of Hollywood studios have embraced superheroes and sci-fi epics as a business model, targeting billion-dollar movies with international appeal over smaller films that might tell more mature stories.

No one would call Dune a “small” movie, but it’s an honest, thought flawed, attempt to imbue archetypal conflicts and lavish special effects with relevant themes and a distinct visual sensibility. Whenever idiosyncratic, challenging movies are ignored in theaters, it becomes more likely that theatrical fare will become more homogenous and less thoughtful going forward.

Of course, the Hollywood Houses could adjust their business model so it’s more diverse and less dependent on astronomically expensive franchises. But until then, the content must flow.

World Cinema: Fans of global cinema, take note. Two festivals devoted to the films of other countries screen in Atlanta in November. From Nov. 4-7, the 14th installment of Cinema Italy (cinemaitaly.com), postponed from 2020, brings a selection of six Italian feature films to the Plaza Theatre.

Then, Nov. 19-21, African Film Festival Atlanta (africanfilmfestatl.com) showcases the cinema of the African diaspora with a combination of in-person and virtual screenings. —CL—

Screen Time is a monthly column about film and video from the big screen to streaming services."
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When published in the 1960s, ''Dune'' could be read as a metaphor for colonialism and the oil industry, with Arrakis’s indigenous Fremen resembling the nomadic Bedouin culture. The new ''Dune'' doubles down on the capitalist critique while also echoing the media environment that spawned the film.

In today’s streaming entertainment system, ''content'' is the substance that must constantly be flowing. Instead of the noble House Atreides competing with the rapacious House Harkonnen, we have prestige-oriented House Warner versus the acquisitive House Disney. The stakes riding on ''Dune''’s success seem nearly as high as those within the sci-fi story.

As one of science fiction’s most beloved epic stories, ''Dune'' has long been viewed as raw material for another ''Star Wars''-style success. George Lucas openly drew inspiration from ''Dune'' for the desolate planet Tatooine. The 1984 film version of ''Dune'' was a notorious disappointment, with David Lynch’s sensibilities inevitably clashing with the producer’s desire for a commercial space opera.

In some ways, Villeneuve’s version is even more austere than Lynch’s. The French-Canadian filmmaker seems highly conscious that ''Dune'' presents a white savior narrative with protagonist Paul Atreides (Timothée Chalamet), heir to House Atreides, being possibly the most privileged white kid in the universe. We see much of the story through his eyes as his father (Oscar Isaac) becomes steward of Arrakis, taking control from House Harkonnen. Like a college student radicalized by a trip abroad, Paul becomes increasingly invested in the Fremen’s well-being while the Harkonnens plot against his family.

Baron Harkonnen (Stellan Skarsgård) proves almost comically evil and sadistic. His sadism is only matched by his corpulence, looking as much like Jabba the Hutt as possible without being an actual puppet. The Atreides are more compassionate, but from the audience’s point of view (and implicitly the Fremen’s), the two houses don’t look that different. Both use mountainous spaceships to deliver armies in shock-and-awe displays, the main distinction being the Harkonnens have black armor and the Atreides have a grayer color scheme. The film carefully avoids glorifying either set of colonizers.

At two and a half hours, Villeneuve’s ''Dune'' presents roughly half the original book: “Part One” is even in the title. This leaves the ending unresolved by design but throws this individual film out of balance. The film seems to be setting up a contrast between the galactic houses, which dominate planets and their populaces, and the low-tech Fremen, who live harmoniously on Arrakis’s seemingly inhospitable landscape. But apart from Javier Bardem as a Fremen chieftan and Zendaya as a women in Paul’s dreams, we see very little of them until the last 15 minutes.

For his previous two films Villeneuve crafted two sci-fi masterpieces, ''Arrival'' and ''Blade Runner 2049''. Neither of them can be calle “warm,” but ''Dune''’s severe tone makes them look like the ''Paddington'' movies. If Warner Bros. was hoping for high-octane escapism, ''Dune'' offers a film that’s usually impressive but seldom much fun. It’s capable of exciting sequences, like a suspenseful rescue from a giant sandworm, but it feels less like an heir to ''Star Wars'' and more like a season of HBO’s ''Game of Thrones'' compressed into a single sitting.

Amid the monolithic, brutalist designs, dimly-lit sets, and booming soundtrack, the actors tend to get lost, although Chalamet makes Paul reasonably likable and Jason Momoa provides some swagger as Duncan Idaho, ''Dune''’s closest equivalent to a Han Solo. Rebecca Ferguson gives the standout performance as Lady Jessica, Paul’s mother and a member of a powerful sisterhood in the ''Dune''-iverse. Ferguson conveys the complexity of Jessica’s divided emotions while also emerging as a unique cinematic badass.

''Dune'' was released simultaneously in cinemas and on HBO Max for a month, putting it squarely in a debate over whether studios and streamers should offer at-home viewing options while the pandemic continues unabated. Filmmakers like Villeneuve argue for the superior aesthetic of cinemas, and certainly viewers will better appreciate ''Dune''’s massive spectacle on the big screen. And without a doubt, the dense plot will be more accessible without the distractions of home-viewing.

Audiences concerned about the delta variant shouldn’t feel guilty preferring to avoid the multiplex. But movies make more money from ticket sales, so seeing ''Dune'' in theaters can be considered a vote of support for not just a sequel but for better franchises in the future as well. Over the past decades, the corporate owners of Hollywood studios have embraced superheroes and sci-fi epics as a business model, targeting billion-dollar movies with international appeal over smaller films that might tell more mature stories.

No one would call ''Dune'' a “small” movie, but it’s an honest, thought flawed, attempt to imbue archetypal conflicts and lavish special effects with relevant themes and a distinct visual sensibility. Whenever idiosyncratic, challenging movies are ignored in theaters, it becomes more likely that theatrical fare will become more homogenous and less thoughtful going forward.

Of course, the Hollywood Houses could adjust their business model so it’s more diverse and less dependent on astronomically expensive franchises. But until then, the content must flow.

__World Cinema__: Fans of global cinema, take note. Two festivals devoted to the films of other countries screen in Atlanta in November. From Nov. 4-7, the 14th installment of Cinema Italy (cinemaitaly.com), postponed from 2020, brings a selection of six Italian feature films to the Plaza Theatre.

Then, Nov. 19-21, African Film Festival Atlanta (africanfilmfestatl.com) showcases the cinema of the African diaspora with a combination of in-person and virtual screenings. __—CL—__

''Screen Time is a monthly column about film and video from the big screen to streaming services.''"
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  string(6964) " Dune Duo  2021-11-05T04:14:04+00:00 Dune-Duo.jpeg     screen time Is it morally wrong to watch Dune on TV? Dune Duo   2021-11-01T08:10:00+00:00  SCREEN TIME: The spice channel jim.harris Jim Harris CURT HOLMAN holmanx3 (Curt Holman) 2021-11-01T08:10:00+00:00 “The spice must flow” is one of many alien catchphrases coined by Dune and its adaptations, most recently Denis Villeneuve’s all-star film. In Frank Herbert’s bestselling book series, “spice” is essential to space travel but found only on the desert planet Arrakis. Nicknamed “Dune,” the planet becomes a prize for the powerful, resource-hungry “houses” of a galactic empire.

When published in the 1960s, Dune could be read as a metaphor for colonialism and the oil industry, with Arrakis’s indigenous Fremen resembling the nomadic Bedouin culture. The new Dune doubles down on the capitalist critique while also echoing the media environment that spawned the film.

In today’s streaming entertainment system, content is the substance that must constantly be flowing. Instead of the noble House Atreides competing with the rapacious House Harkonnen, we have prestige-oriented House Warner versus the acquisitive House Disney. The stakes riding on Dune’s success seem nearly as high as those within the sci-fi story.

As one of science fiction’s most beloved epic stories, Dune has long been viewed as raw material for another Star Wars-style success. George Lucas openly drew inspiration from Dune for the desolate planet Tatooine. The 1984 film version of Dune was a notorious disappointment, with David Lynch’s sensibilities inevitably clashing with the producer’s desire for a commercial space opera.

In some ways, Villeneuve’s version is even more austere than Lynch’s. The French-Canadian filmmaker seems highly conscious that Dune presents a white savior narrative with protagonist Paul Atreides (Timothée Chalamet), heir to House Atreides, being possibly the most privileged white kid in the universe. We see much of the story through his eyes as his father (Oscar Isaac) becomes steward of Arrakis, taking control from House Harkonnen. Like a college student radicalized by a trip abroad, Paul becomes increasingly invested in the Fremen’s well-being while the Harkonnens plot against his family.

Baron Harkonnen (Stellan Skarsgård) proves almost comically evil and sadistic. His sadism is only matched by his corpulence, looking as much like Jabba the Hutt as possible without being an actual puppet. The Atreides are more compassionate, but from the audience’s point of view (and implicitly the Fremen’s), the two houses don’t look that different. Both use mountainous spaceships to deliver armies in shock-and-awe displays, the main distinction being the Harkonnens have black armor and the Atreides have a grayer color scheme. The film carefully avoids glorifying either set of colonizers.

At two and a half hours, Villeneuve’s Dune presents roughly half the original book: “Part One” is even in the title. This leaves the ending unresolved by design but throws this individual film out of balance. The film seems to be setting up a contrast between the galactic houses, which dominate planets and their populaces, and the low-tech Fremen, who live harmoniously on Arrakis’s seemingly inhospitable landscape. But apart from Javier Bardem as a Fremen chieftan and Zendaya as a women in Paul’s dreams, we see very little of them until the last 15 minutes.

For his previous two films Villeneuve crafted two sci-fi masterpieces, Arrival and Blade Runner 2049. Neither of them can be calle “warm,” but Dune’s severe tone makes them look like the Paddington movies. If Warner Bros. was hoping for high-octane escapism, Dune offers a film that’s usually impressive but seldom much fun. It’s capable of exciting sequences, like a suspenseful rescue from a giant sandworm, but it feels less like an heir to Star Wars and more like a season of HBO’s Game of Thrones compressed into a single sitting.

Amid the monolithic, brutalist designs, dimly-lit sets, and booming soundtrack, the actors tend to get lost, although Chalamet makes Paul reasonably likable and Jason Momoa provides some swagger as Duncan Idaho, Dune’s closest equivalent to a Han Solo. Rebecca Ferguson gives the standout performance as Lady Jessica, Paul’s mother and a member of a powerful sisterhood in the Dune-iverse. Ferguson conveys the complexity of Jessica’s divided emotions while also emerging as a unique cinematic badass.

Dune was released simultaneously in cinemas and on HBO Max for a month, putting it squarely in a debate over whether studios and streamers should offer at-home viewing options while the pandemic continues unabated. Filmmakers like Villeneuve argue for the superior aesthetic of cinemas, and certainly viewers will better appreciate Dune’s massive spectacle on the big screen. And without a doubt, the dense plot will be more accessible without the distractions of home-viewing.

Audiences concerned about the delta variant shouldn’t feel guilty preferring to avoid the multiplex. But movies make more money from ticket sales, so seeing Dune in theaters can be considered a vote of support for not just a sequel but for better franchises in the future as well. Over the past decades, the corporate owners of Hollywood studios have embraced superheroes and sci-fi epics as a business model, targeting billion-dollar movies with international appeal over smaller films that might tell more mature stories.

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Of course, the Hollywood Houses could adjust their business model so it’s more diverse and less dependent on astronomically expensive franchises. But until then, the content must flow.

World Cinema: Fans of global cinema, take note. Two festivals devoted to the films of other countries screen in Atlanta in November. From Nov. 4-7, the 14th installment of Cinema Italy (cinemaitaly.com), postponed from 2020, brings a selection of six Italian feature films to the Plaza Theatre.

Then, Nov. 19-21, African Film Festival Atlanta (africanfilmfestatl.com) showcases the cinema of the African diaspora with a combination of in-person and virtual screenings. —CL—

Screen Time is a monthly column about film and video from the big screen to streaming services.    Courtesy of Warner Bros. MAMA’S BOY: Paul Atreides (Timothée Chalamet) and Lady Jessica (Rebecca Ferguson) venture into the wilderness of in 'Dune'.  0,0,10    "screen time"                       SCREEN TIME: The spice channel "
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  string(5979) "The “somewhat frantic” Suliman “Suli” Chillis, as Rodney Carmichael described him in CL’s 2014 “20 People to Watch” roundup, can still passionately rattle off a litany of ideas in a matter of minutes. But seven years after he was described as such by the renowned Atlanta journalist, and two years after I first became acquainted with Suli, Chillis appears to be far more composed.

While speaking with him at Community Grounds Cafe near Carver High School, the CRUxMKTG and UNITE. Initiative founder details his 501(c)3’s paramount focus as the year closes: UNITE. The Album. He explains with conviction the premise of his first-ever musical endeavor, which has been strategically devised to fund mental health services for underserved communities.

If the people working on their laptops a few tables over were eavesdropping, they would likely think that Suli was walking me through his grand purpose in life, and I think they would probably be onto something. As altruistic as the ultimate goal of UNITE. The Album is, the inspiration behind the therapeutic project is inextricably linked with Suli’s personal story.

Throughout the first 15 minutes of our conversation, he walks me through his humble beginnings as an Atlanta transplant by way of New York and a Morehouse College student. At Morehouse, he teamed up with like-minded friends to start a platform for showcasing emerging talent and uniting a community of Gen Y and Gen Z creatives. He then brings me up to speed on the projects that helped prepare him for his latest initiative. Those previous endeavors range from collecting canned goods with a free ScHoolboy Q concert in 2012 to partnering with other local organizers to raise money for the Atlanta Community Food Bank through the two-day Everybody Eats Festival in 2019.

However, Suli told me how the journey to UNITE. The Album truly began within the first 30 seconds of our sit-down — with the passing of his mother in 2011. A decade later, the 32-year-old creative has found his way through early adulthood, and his relationship with his late mother continues to guide him as he sets out to build his forthcoming charity album.

“My mom was a big music fan,” Suli says. “You know how moms may wake up early, go workout, and come back before school like, ‘Why you ain’t dressed yet!’ Well, one morning she came back with some FYE bags, and she had 10 copies of (Kanye West’s) The College Dropout and said, ‘This is real music.’ She gave me a copy because I would carry my CDs. Now, I realize music has been my peace my entire life, and I think it was my mom’s peace too.”

Suli and his mother’s shared love for music has also informed the concept behind UNITE. The Album. The project is designed to feel like a spiritual pilgrimage, and when listeners press play, they will assume the role of a child who has been sent off by their mother to find a better life.

“The mother sends her child on a journey with a CD and some letters from their father,” Suli says, “and she tells them, ‘If you get lost along the way, one of these two things is going to help you — these letters or these songs.’”

In addition to paying homage to his mother’s practice of gifting him CDs and taking him to see artists like Kris Kross and Patti Labelle in concert, Suli wants the music to narratively reflect the real-life struggles that many of today’s young adults face while trying to build a life for themselves. Thus, each song will represent a distinct stage in the listener’s ongoing quest for inner peace.

“As with any journey in life, you start off and everything’s cool. You don’t even know that you’re in a shit show,” Suli says, explaining the progression of UNITE. The Album. “Then you gradually start to realize it might not be as cozy as you thought. Along the way, you might fall in a hole, and then it starts raining. Now you’re in some fucking mud, but you’re so oblivious to it that you start playing in the mud. You’re building mud figures and having a good time.”

“Then the rain keeps coming in, and you don’t even know until the rain washes away all your mud figures. Ain’t no more playing in the mud now,” Suli continues. “It’s getting cold, you’re getting a little sick, and you accept that you can’t stay in this space. You dig your way out of the hole and get back on your journey, and now you know that you have a strength within you to keep you going. Things start to get a little easier because you’re getting a little better. You soon get to a peaceful place and you’re like, ‘Alright, I’m cool here. Now it’s time to shine and share this with everyone else.’”

Suli’s vivid metaphor of being trapped in a muddy hole is telling of his overall perspective on taking care of oneself mentally and spiritually. Understanding that mental health can be messy, ugly, and downright disheartening, he has stepped up to provide music fans with two types of therapy — all-expense-paid sessions with licensed therapists and genuine, soul-affirming music.

With UNITE. Initiative’s UNITE. The Album, Suli aims to start funding approximately 1.3 million mental health screenings and nearly 4 million therapy sessions for people in six impact communities across the United States, including Atlanta’s West End, Los Angeles’s Compton, Chicago’s Southside, New Orldeans’s 9th Ward, New York City’s South Bronx, and Detroit’s Brightmoor.

Chillis has a lofty task ahead of him, and while we agree that movie studios and billion-dollar corporations could easily accomplish what he’s been detailing over the past hour, he’s tired of waiting.

“I can’t be the only person that ever thought about this. We’ve been making money off of fashion and all this shit, and everybody’s popping. But we still struggling,” Suli says. “Who’s gonna fix this shit? I guess it’s up to us.” —CL—"
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While speaking with him at Community Grounds Cafe near Carver High School, the CRUxMKTG and UNITE. Initiative founder details his 501(c)3’s paramount focus as the year closes: ''UNITE. The Album''. He explains with conviction the premise of his first-ever musical endeavor, which has been strategically devised to fund mental health services for underserved communities.

If the people working on their laptops a few tables over were eavesdropping, they would likely think that Suli was walking me through his grand purpose in life, and I think they would probably be onto something. As altruistic as the ultimate goal of ''UNITE. The Album'' is, the inspiration behind the therapeutic project is inextricably linked with Suli’s personal story.

Throughout the first 15 minutes of our conversation, he walks me through his humble beginnings as an Atlanta transplant by way of New York and a Morehouse College student. At Morehouse, he teamed up with like-minded friends to start a platform for showcasing emerging talent and uniting a community of Gen Y and Gen Z creatives. He then brings me up to speed on the projects that helped prepare him for his latest initiative. Those previous endeavors range from collecting canned goods with a free ScHoolboy Q concert in 2012 to partnering with other local organizers to raise money for the Atlanta Community Food Bank through the two-day Everybody Eats Festival in 2019.

However, Suli told me how the journey to ''UNITE. The Album'' truly began within the first 30 seconds of our sit-down — with the passing of his mother in 2011. A decade later, the 32-year-old creative has found his way through early adulthood, and his relationship with his late mother continues to guide him as he sets out to build his forthcoming charity album.

“My mom was a big music fan,” Suli says. “You know how moms may wake up early, go workout, and come back before school like, ‘Why you ain’t dressed yet!’ Well, one morning she came back with some FYE bags, and she had 10 copies of (Kanye West’s) ''The College Dropout'' and said, ‘This is real music.’ She gave me a copy because I would carry my CDs. Now, I realize music has been my peace my entire life, and I think it was my mom’s peace too.”

Suli and his mother’s shared love for music has also informed the concept behind ''UNITE. The Album''. The project is designed to feel like a spiritual pilgrimage, and when listeners press play, they will assume the role of a child who has been sent off by their mother to find a better life.

“The mother sends her child on a journey with a CD and some letters from their father,” Suli says, “and she tells them, ‘If you get lost along the way, one of these two things is going to help you — these letters or these songs.’”

In addition to paying homage to his mother’s practice of gifting him CDs and taking him to see artists like Kris Kross and Patti Labelle in concert, Suli wants the music to narratively reflect the real-life struggles that many of today’s young adults face while trying to build a life for themselves. Thus, each song will represent a distinct stage in the listener’s ongoing quest for inner peace.

“As with any journey in life, you start off and everything’s cool. You don’t even know that you’re in a shit show,” Suli says, explaining the progression of ''UNITE. The Album''. “Then you gradually start to realize it might not be as cozy as you thought. Along the way, you might fall in a hole, and then it starts raining. Now you’re in some fucking mud, but you’re so oblivious to it that you start playing in the mud. You’re building mud figures and having a good time.”

“Then the rain keeps coming in, and you don’t even know until the rain washes away all your mud figures. Ain’t no more playing in the mud now,” Suli continues. “It’s getting cold, you’re getting a little sick, and you accept that you can’t stay in this space. You dig your way out of the hole and get back on your journey, and now you know that you have a strength within you to keep you going. Things start to get a little easier because you’re getting a little better. You soon get to a peaceful place and you’re like, ‘Alright, I’m cool here. Now it’s time to shine and share this with everyone else.’”

Suli’s vivid metaphor of being trapped in a muddy hole is telling of his overall perspective on taking care of oneself mentally and spiritually. Understanding that mental health can be messy, ugly, and downright disheartening, he has stepped up to provide music fans with two types of therapy — all-expense-paid sessions with licensed therapists and genuine, soul-affirming music.

With UNITE. Initiative’s ''UNITE. The Album'', Suli aims to start funding approximately 1.3 million mental health screenings and nearly 4 million therapy sessions for people in six impact communities across the United States, including Atlanta’s West End, Los Angeles’s Compton, Chicago’s Southside, New Orldeans’s 9th Ward, New York City’s South Bronx, and Detroit’s Brightmoor.

Chillis has a lofty task ahead of him, and while we agree that movie studios and billion-dollar corporations could easily accomplish what he’s been detailing over the past hour, he’s tired of waiting.

“I can’t be the only person that ever thought about this. We’ve been making money off of fashion and all this shit, and everybody’s popping. But we still struggling,” Suli says. “Who’s gonna fix this shit? I guess it’s up to us.” __—CL—__"
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  string(6547) " IMG 2539 Copy  2021-11-05T04:39:26+00:00 IMG_2539_copy.jpg      Suliman ‘Suli’ Chillis explains the conceptual approach to UNITE. The Album. IMG 2539 Copy   2021-11-01T08:20:00+00:00  ATL UNTRAPPED: UNITE. Initiative’s ultimate give-back jim.harris Jim Harris JOSHUA ROBINSON joshfrob17 (Joshua Robinson) 2021-11-01T08:20:00+00:00 The “somewhat frantic” Suliman “Suli” Chillis, as Rodney Carmichael described him in CL’s 2014 “20 People to Watch” roundup, can still passionately rattle off a litany of ideas in a matter of minutes. But seven years after he was described as such by the renowned Atlanta journalist, and two years after I first became acquainted with Suli, Chillis appears to be far more composed.

While speaking with him at Community Grounds Cafe near Carver High School, the CRUxMKTG and UNITE. Initiative founder details his 501(c)3’s paramount focus as the year closes: UNITE. The Album. He explains with conviction the premise of his first-ever musical endeavor, which has been strategically devised to fund mental health services for underserved communities.

If the people working on their laptops a few tables over were eavesdropping, they would likely think that Suli was walking me through his grand purpose in life, and I think they would probably be onto something. As altruistic as the ultimate goal of UNITE. The Album is, the inspiration behind the therapeutic project is inextricably linked with Suli’s personal story.

Throughout the first 15 minutes of our conversation, he walks me through his humble beginnings as an Atlanta transplant by way of New York and a Morehouse College student. At Morehouse, he teamed up with like-minded friends to start a platform for showcasing emerging talent and uniting a community of Gen Y and Gen Z creatives. He then brings me up to speed on the projects that helped prepare him for his latest initiative. Those previous endeavors range from collecting canned goods with a free ScHoolboy Q concert in 2012 to partnering with other local organizers to raise money for the Atlanta Community Food Bank through the two-day Everybody Eats Festival in 2019.

However, Suli told me how the journey to UNITE. The Album truly began within the first 30 seconds of our sit-down — with the passing of his mother in 2011. A decade later, the 32-year-old creative has found his way through early adulthood, and his relationship with his late mother continues to guide him as he sets out to build his forthcoming charity album.

“My mom was a big music fan,” Suli says. “You know how moms may wake up early, go workout, and come back before school like, ‘Why you ain’t dressed yet!’ Well, one morning she came back with some FYE bags, and she had 10 copies of (Kanye West’s) The College Dropout and said, ‘This is real music.’ She gave me a copy because I would carry my CDs. Now, I realize music has been my peace my entire life, and I think it was my mom’s peace too.”

Suli and his mother’s shared love for music has also informed the concept behind UNITE. The Album. The project is designed to feel like a spiritual pilgrimage, and when listeners press play, they will assume the role of a child who has been sent off by their mother to find a better life.

“The mother sends her child on a journey with a CD and some letters from their father,” Suli says, “and she tells them, ‘If you get lost along the way, one of these two things is going to help you — these letters or these songs.’”

In addition to paying homage to his mother’s practice of gifting him CDs and taking him to see artists like Kris Kross and Patti Labelle in concert, Suli wants the music to narratively reflect the real-life struggles that many of today’s young adults face while trying to build a life for themselves. Thus, each song will represent a distinct stage in the listener’s ongoing quest for inner peace.

“As with any journey in life, you start off and everything’s cool. You don’t even know that you’re in a shit show,” Suli says, explaining the progression of UNITE. The Album. “Then you gradually start to realize it might not be as cozy as you thought. Along the way, you might fall in a hole, and then it starts raining. Now you’re in some fucking mud, but you’re so oblivious to it that you start playing in the mud. You’re building mud figures and having a good time.”

“Then the rain keeps coming in, and you don’t even know until the rain washes away all your mud figures. Ain’t no more playing in the mud now,” Suli continues. “It’s getting cold, you’re getting a little sick, and you accept that you can’t stay in this space. You dig your way out of the hole and get back on your journey, and now you know that you have a strength within you to keep you going. Things start to get a little easier because you’re getting a little better. You soon get to a peaceful place and you’re like, ‘Alright, I’m cool here. Now it’s time to shine and share this with everyone else.’”

Suli’s vivid metaphor of being trapped in a muddy hole is telling of his overall perspective on taking care of oneself mentally and spiritually. Understanding that mental health can be messy, ugly, and downright disheartening, he has stepped up to provide music fans with two types of therapy — all-expense-paid sessions with licensed therapists and genuine, soul-affirming music.

With UNITE. Initiative’s UNITE. The Album, Suli aims to start funding approximately 1.3 million mental health screenings and nearly 4 million therapy sessions for people in six impact communities across the United States, including Atlanta’s West End, Los Angeles’s Compton, Chicago’s Southside, New Orldeans’s 9th Ward, New York City’s South Bronx, and Detroit’s Brightmoor.

Chillis has a lofty task ahead of him, and while we agree that movie studios and billion-dollar corporations could easily accomplish what he’s been detailing over the past hour, he’s tired of waiting.

“I can’t be the only person that ever thought about this. We’ve been making money off of fashion and all this shit, and everybody’s popping. But we still struggling,” Suli says. “Who’s gonna fix this shit? I guess it’s up to us.” —CL—    CRUxMKTG, LLC PEACE: Suliman “Suli” Chillis’s nonprofit organization aims to fund free mental health services through music.  0,0,10                           ATL UNTRAPPED: UNITE. Initiative’s ultimate give-back "
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  string(6558) "Springtime in New York is a curious title for this, the 16th volume, in the never-ending bootleg series chronicling and redefining Bob Dylan’s recorded — released and unreleased — output. The phrase suggests a sense of hope, perhaps clarity of mind, that the songwriter may have experienced with the release of Shot of Love, Infidels, and Empire Burlesque as he emerged from the religiosity of his two previous albums, Slow Train Coming and Saved.

Yet any such clarity, even with a shift from overtly Christian songs to more subtle biblical references and tenets in his compositions — and a seeming return to secular music — was lost on many who purchased Shot of Love. The title track has Dylan calling out for a “shot of love,” one that perhaps only a savior can provide. Other songs continue the double-entendre of ideas and phrases, leaving Dylan fans to wonder, is he or isn’t he still a Christian? Not that they were concerned for the salvation of his soul. They just wanted the old raconteur back, one who would weave intriguing stories of love and deceit. One who would provide a compass to help guide them through societal ills and political turmoil, as Dylan has offered so many times before. One who was done with proselytizing, eternal damnation be damned, and ready to rock — or folk — or anything other than preach.

Perhaps that question was also in Dylan’s mind at the time of these recordings, for Shot of Love is a musical battleground of emotions and musical ideas. Raw and stripped down, the record is a masterful look at Dylan dealing with inner demons and fighting for his own survival.

The full, five-CD deluxe version of Springtime in New York captures the turmoil in Dylan’s heart, the aggressiveness in his musical attack, and the inquisitiveness and uncertainty/certainty in his songwriting from this period. It is an incredible collection of 57 tracks that allows the listener not only another side to the music of this era, but a picture window into the dichotomy that has pervaded all of Dylan’s works.

Criticized and abused for Slow Train Coming and Saved, and misunderstood for Shot of Love, Dylan rebounds, forging a strong set of songs for Infidels, recorded with a band that includes guitarists Mark Knopfler and Mick Taylor, keyboardist Allan Clark, and the solid rhythm section of Sly Dunbar, drums, and Robbie Shakespeare, bass. Fervent and unrelenting, the album “sounds” powerful, produced by himself and Knopfler. Dylan seems to have the world by the balls, yet for all of Infidels’ steadfastness, there’s also a hint of skepticism running through the compositions. Is Dylan questioning his own conversion? Was it nothing more than a lovers’ tryst? A chance escape?

By the release of Empire Burlesque, whatever uncertainty Dylan may have been experiencing seems to have fallen by the wayside. The songs are confident, though sometimes plaintive. Lyrically, he’s undaunted, but from the photograph on the album’s cover, he’s as much a fashion victim to the ’80s as the rest of us. And, unfortunately, so are the recordings on Empire Burlesque. Given the atmosphere of the early to mid ’80s, when popular music was drawing from so many different wells with punk, pop, metal, rap and dance music all colliding on the record charts, the bombastic mix and production on Empire Burlesque offers nothing other than a deep, echoing thud.

Which is why Springtime in New York is such an important addition to the Dylan canon. The set presents three seemingly disparate albums, strips back the layers of studio effects and overdubs of Infidels and Empire Burlesque, and reveals the material of the latter two albums in all its ragged, wondrous glory. The raucousness that makes Shot of Love such an incredible record is alive and well in the alternate takes and different mixes of songs from Infidels and Empire Burlesque. Springtime presents the three albums as a cohesive trilogy of their own. It’s no wonder that Dylan took songs from the recording sessions for these three albums, and worked and reworked them during the five-year period Springtime in New York represents. Without the audio histrionics, it’s evident all of the songs are mined from the same vein. Rebellious and rugged, these songs from 1980 to 1985 are the soundtrack to a Saturday night barroom brawl, one in which Dylan finds himself in the midst. Hell, he may have even thrown the first punch, while maybe, just maybe, contemplating redemption in the morning.

It is not only Dylan’s own compositions that find him in good trouble on The Bootleg Series: Vol. 16, but the covers he leads the musicians through, as well. They are cantankerous, almost blood-thirsty, whether the original versions were meant to be or not. “Mary of the Wild Moor,” “Mystery Train,” “Baby What You Want Me To Do,” even “Jesus Met the Woman at the Well” and “This Night Won’t Last Forever,” you might expect from Dylan. But “We Just Disagree,” “Sweet Caroline,” “Fever,” “Abraham, Martin and John,” “I Wish it Would Rain,” and “Let It Be Me”? Down and dirty, this is roots, rock, and roll with a gospel back and a blues infusion.


Of course, as The Bootleg Series proves, time and time again, Dylan is best when he covers himself, giving the listener different versions of his own songs. Nowhere is this more evident than on the opening track, “Señor (Tales of Yankee Power),” in which Dylan revisits the savage indictment from Street Legal with a more soulful, plaintive rendering. Nothing short of incredible and awe-inspiring.

Read the included “hardcover book with … extensive liner notes and track-by-track commentary,” as the hype sticker on the cover of the package describes it, to get the full details of the songs included on the deluxe version of volume 16 of The Bootleg Series, but listen to the songs to realize you may have heard many of them before, but never as inspired and engrossing as they are here.

Fifty-seven tracks, 54 of them previously-unreleased, including versions of “Blind Willie McTell,” “Lenny Bruce,” “Julius and Ethel,” “Foot of Pride,” “Lord Protect My Child,” “Angelina,” and “Straight A’s In Love” — which may have taken its name from a Sun Records single, but lyrically recalls the novelty of the best Dan Baird compositions.

Springtime in New York? More like Dylan takes a trip through the land of salvation and sin, and we get to go along for the ride. —CL—"
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Yet any such clarity, even with a shift from overtly Christian songs to more subtle biblical references and tenets in his compositions — and a seeming return to secular music — was lost on many who purchased ''Shot of Love''. The title track has Dylan calling out for a “shot of love,” one that perhaps only a savior can provide. Other songs continue the double-entendre of ideas and phrases, leaving Dylan fans to wonder, is he or isn’t he still a Christian? Not that they were concerned for the salvation of his soul. They just wanted the old raconteur back, one who would weave intriguing stories of love and deceit. One who would provide a compass to help guide them through societal ills and political turmoil, as Dylan has offered so many times before. One who was done with proselytizing, eternal damnation be damned, and ready to rock — or folk — or anything other than preach.

Perhaps that question was also in Dylan’s mind at the time of these recordings, for ''Shot of Love'' is a musical battleground of emotions and musical ideas. Raw and stripped down, the record is a masterful look at Dylan dealing with inner demons and fighting for his own survival.

The full, five-CD deluxe version of ''Springtime in New York'' captures the turmoil in Dylan’s heart, the aggressiveness in his musical attack, and the inquisitiveness and uncertainty/certainty in his songwriting from this period. It is an incredible collection of 57 tracks that allows the listener not only another side to the music of this era, but a picture window into the dichotomy that has pervaded all of Dylan’s works.

Criticized and abused for ''Slow Train Coming'' and ''Saved'', and misunderstood for ''Shot of Love'', Dylan rebounds, forging a strong set of songs for ''Infidels'', recorded with a band that includes guitarists Mark Knopfler and Mick Taylor, keyboardist Allan Clark, and the solid rhythm section of Sly Dunbar, drums, and Robbie Shakespeare, bass. Fervent and unrelenting, the album “sounds” powerful, produced by himself and Knopfler. Dylan seems to have the world by the balls, yet for all of ''Infidels''’ steadfastness, there’s also a hint of skepticism running through the compositions. Is Dylan questioning his own conversion? Was it nothing more than a lovers’ tryst? A chance escape?

By the release of ''Empire Burlesque'', whatever uncertainty Dylan may have been experiencing seems to have fallen by the wayside. The songs are confident, though sometimes plaintive. Lyrically, he’s undaunted, but from the photograph on the album’s cover, he’s as much a fashion victim to the ’80s as the rest of us. And, unfortunately, so are the recordings on ''Empire Burlesque''. Given the atmosphere of the early to mid ’80s, when popular music was drawing from so many different wells with punk, pop, metal, rap and dance music all colliding on the record charts, the bombastic mix and production on ''Empire Burlesque'' offers nothing other than a deep, echoing thud.

Which is why ''Springtime in New York'' is such an important addition to the Dylan canon. The set presents three seemingly disparate albums, strips back the layers of studio effects and overdubs of ''Infidels'' and ''Empire Burlesque'', and reveals the material of the latter two albums in all its ragged, wondrous glory. The raucousness that makes ''Shot of Love'' such an incredible record is alive and well in the alternate takes and different mixes of songs from ''Infidels'' and ''Empire Burlesque''. ''Springtime'' presents the three albums as a cohesive trilogy of their own. It’s no wonder that Dylan took songs from the recording sessions for these three albums, and worked and reworked them during the five-year period ''Springtime in New York'' represents. Without the audio histrionics, it’s evident all of the songs are mined from the same vein. Rebellious and rugged, these songs from 1980 to 1985 are the soundtrack to a Saturday night barroom brawl, one in which Dylan finds himself in the midst. Hell, he may have even thrown the first punch, while maybe, just maybe, contemplating redemption in the morning.

It is not only Dylan’s own compositions that find him in good trouble on ''The Bootleg Series: Vol. 16,'' but the covers he leads the musicians through, as well. They are cantankerous, almost blood-thirsty, whether the original versions were meant to be or not. “Mary of the Wild Moor,” “Mystery Train,” “Baby What You Want Me To Do,” even “Jesus Met the Woman at the Well” and “This Night Won’t Last Forever,” you might expect from Dylan. But “We Just Disagree,” “Sweet Caroline,” “Fever,” “Abraham, Martin and John,” “I Wish it Would Rain,” and “Let It Be Me”? Down and dirty, this is roots, rock, and roll with a gospel back and a blues infusion.

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Of course, as ''The Bootleg Series'' proves, time and time again, Dylan is best when he covers himself, giving the listener different versions of his own songs. Nowhere is this more evident than on the opening track, “Señor (Tales of Yankee Power),” in which Dylan revisits the savage indictment from ''Street Legal'' with a more soulful, plaintive rendering. Nothing short of incredible and awe-inspiring.

Read the included “hardcover book with … extensive liner notes and track-by-track commentary,” as the hype sticker on the cover of the package describes it, to get the full details of the songs included on the deluxe version of volume 16 of ''The Bootleg Series'', but listen to the songs to realize you may have heard many of them before, but never as inspired and engrossing as they are here.

Fifty-seven tracks, 54 of them previously-unreleased, including versions of “Blind Willie McTell,” “Lenny Bruce,” “Julius and Ethel,” “Foot of Pride,” “Lord Protect My Child,” “Angelina,” and “Straight A’s In Love” — which may have taken its name from a Sun Records single, but lyrically recalls the novelty of the best Dan Baird compositions.

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  string(7289) " Bob Dylan 02 1985 Photo Credit Courtesy Of Sony Music Entertainment Photographer Deborah Feingold  2021-11-05T04:53:50+00:00 Bob_Dylan_02_1985_Photo_Credit_Courtes...ment_Photographer_Deborah_Feingold.jpg      ‘Springtime in New York” shakes off the past Bob Dylan 02 1985 Photo Credit Courtesy Of Sony Music Entertainment Photographer Deborah Feingold   2021-11-01T08:30:00+00:00  HIGH FREQUENCIES: Seeing the real Bob Dylan at last jim.harris Jim Harris TONY PARIS tony.paris (Tony Paris) 2021-11-01T08:30:00+00:00 Springtime in New York is a curious title for this, the 16th volume, in the never-ending bootleg series chronicling and redefining Bob Dylan’s recorded — released and unreleased — output. The phrase suggests a sense of hope, perhaps clarity of mind, that the songwriter may have experienced with the release of Shot of Love, Infidels, and Empire Burlesque as he emerged from the religiosity of his two previous albums, Slow Train Coming and Saved.

Yet any such clarity, even with a shift from overtly Christian songs to more subtle biblical references and tenets in his compositions — and a seeming return to secular music — was lost on many who purchased Shot of Love. The title track has Dylan calling out for a “shot of love,” one that perhaps only a savior can provide. Other songs continue the double-entendre of ideas and phrases, leaving Dylan fans to wonder, is he or isn’t he still a Christian? Not that they were concerned for the salvation of his soul. They just wanted the old raconteur back, one who would weave intriguing stories of love and deceit. One who would provide a compass to help guide them through societal ills and political turmoil, as Dylan has offered so many times before. One who was done with proselytizing, eternal damnation be damned, and ready to rock — or folk — or anything other than preach.

Perhaps that question was also in Dylan’s mind at the time of these recordings, for Shot of Love is a musical battleground of emotions and musical ideas. Raw and stripped down, the record is a masterful look at Dylan dealing with inner demons and fighting for his own survival.

The full, five-CD deluxe version of Springtime in New York captures the turmoil in Dylan’s heart, the aggressiveness in his musical attack, and the inquisitiveness and uncertainty/certainty in his songwriting from this period. It is an incredible collection of 57 tracks that allows the listener not only another side to the music of this era, but a picture window into the dichotomy that has pervaded all of Dylan’s works.

Criticized and abused for Slow Train Coming and Saved, and misunderstood for Shot of Love, Dylan rebounds, forging a strong set of songs for Infidels, recorded with a band that includes guitarists Mark Knopfler and Mick Taylor, keyboardist Allan Clark, and the solid rhythm section of Sly Dunbar, drums, and Robbie Shakespeare, bass. Fervent and unrelenting, the album “sounds” powerful, produced by himself and Knopfler. Dylan seems to have the world by the balls, yet for all of Infidels’ steadfastness, there’s also a hint of skepticism running through the compositions. Is Dylan questioning his own conversion? Was it nothing more than a lovers’ tryst? A chance escape?

By the release of Empire Burlesque, whatever uncertainty Dylan may have been experiencing seems to have fallen by the wayside. The songs are confident, though sometimes plaintive. Lyrically, he’s undaunted, but from the photograph on the album’s cover, he’s as much a fashion victim to the ’80s as the rest of us. And, unfortunately, so are the recordings on Empire Burlesque. Given the atmosphere of the early to mid ’80s, when popular music was drawing from so many different wells with punk, pop, metal, rap and dance music all colliding on the record charts, the bombastic mix and production on Empire Burlesque offers nothing other than a deep, echoing thud.

Which is why Springtime in New York is such an important addition to the Dylan canon. The set presents three seemingly disparate albums, strips back the layers of studio effects and overdubs of Infidels and Empire Burlesque, and reveals the material of the latter two albums in all its ragged, wondrous glory. The raucousness that makes Shot of Love such an incredible record is alive and well in the alternate takes and different mixes of songs from Infidels and Empire Burlesque. Springtime presents the three albums as a cohesive trilogy of their own. It’s no wonder that Dylan took songs from the recording sessions for these three albums, and worked and reworked them during the five-year period Springtime in New York represents. Without the audio histrionics, it’s evident all of the songs are mined from the same vein. Rebellious and rugged, these songs from 1980 to 1985 are the soundtrack to a Saturday night barroom brawl, one in which Dylan finds himself in the midst. Hell, he may have even thrown the first punch, while maybe, just maybe, contemplating redemption in the morning.

It is not only Dylan’s own compositions that find him in good trouble on The Bootleg Series: Vol. 16, but the covers he leads the musicians through, as well. They are cantankerous, almost blood-thirsty, whether the original versions were meant to be or not. “Mary of the Wild Moor,” “Mystery Train,” “Baby What You Want Me To Do,” even “Jesus Met the Woman at the Well” and “This Night Won’t Last Forever,” you might expect from Dylan. But “We Just Disagree,” “Sweet Caroline,” “Fever,” “Abraham, Martin and John,” “I Wish it Would Rain,” and “Let It Be Me”? Down and dirty, this is roots, rock, and roll with a gospel back and a blues infusion.


Of course, as The Bootleg Series proves, time and time again, Dylan is best when he covers himself, giving the listener different versions of his own songs. Nowhere is this more evident than on the opening track, “Señor (Tales of Yankee Power),” in which Dylan revisits the savage indictment from Street Legal with a more soulful, plaintive rendering. Nothing short of incredible and awe-inspiring.

Read the included “hardcover book with … extensive liner notes and track-by-track commentary,” as the hype sticker on the cover of the package describes it, to get the full details of the songs included on the deluxe version of volume 16 of The Bootleg Series, but listen to the songs to realize you may have heard many of them before, but never as inspired and engrossing as they are here.

Fifty-seven tracks, 54 of them previously-unreleased, including versions of “Blind Willie McTell,” “Lenny Bruce,” “Julius and Ethel,” “Foot of Pride,” “Lord Protect My Child,” “Angelina,” and “Straight A’s In Love” — which may have taken its name from a Sun Records single, but lyrically recalls the novelty of the best Dan Baird compositions.

Springtime in New York? More like Dylan takes a trip through the land of salvation and sin, and we get to go along for the ride. —CL—    Courtesy of Sony Music Entertainment. Photographer: Deborah Feingold EMOTIONALLY YOURS: Bob Dylan, ca. 1980-1985.  0,0,10                           HIGH FREQUENCIES: Seeing the real Bob Dylan at last "
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  string(11035) "!!Fri., Nov. 5
Shakey Graves, The Eastern — Known to his mom as Alejandro Rose-Garcia, Texas musician Graves has somewhat amazingly carved out a successful career with a stripped down, emotionally laced, indie folk-blues hybrid. He has since moved closer to the mainstream with a fuller band sound, albeit one that maintains his dark, rootsy core.

$30-79. 8:30 p.m. The Eastern, 777 Memorial Dr. S.E., Building C. easternatl.com @easternatl

The Mavericks, Variety Playhouse — The subtitle of this Maverick show is “En Espanol,” which is also the title of their most recent album, and as you’d expect, the songs are all sung in Spanish. That’s not a huge departure for the multi-hyphenated genres the band has explored since its 1991 debut, except that they stick to a Latin style here instead of their usual mélange of Americana. Regardless, their live show is always a blast because music is the universal language.

$34. 8:00 p.m. Variety Playhouse, 1099 Euclid Ave. N.E. variety-playhouse.com @varietyplayhouse

!!Sun., Nov. 7
Chris Smither, Eddie’s Attic — Veteran folk-bluesmen don’t get any more authentic than this Bonnie Raitt approved singer-songwriter. The dusky voiced Smither celebrated his 50th year in music back in 2014 and shows no sign of slowing down anytime soon. His 2018 Call Me Lucky release featured bittersweet versions of songs originally done by The Beatles and Chuck Berry with a fine batch of new originals.

$32-128. 6:00 p.m. Eddie’s Attic, 515 N. McDonough St., Decatur, GA 30030. eddiesattic.com @eddiesattic

!!Tues., Nov. 9
Crystal Bowersox, City Winery — This husky- and whiskey-voiced, 2009 American Idol runner-up has outlasted many of those whose careers fizzled after they made it to the show’s top spot. That’s because there is nothing artificial about her leather-tough attitude and ability to tap into the Southern soul-grit that made Joplin and Delaney & Bonnie roots-rock icons.

$22-28. 8:00 p.m. City Winery Atlanta, 650 North Ave. N.E. citywinery.com/atlanta @citywineryatl

!!Thur., Nov. 11-Fri., Nov. 12
Lera Lynn, Eddie’s Attic — Nashville-based singer-songwriter Lynn lives in a more noir-oriented space than many of her peers from that city. She first came to national attention through her brief but noteworthy appearances on the second season of True Detective. But her recent introspective release, On My Own, displays her talents as a solo artist, recording it without the assistance of others and showing musical abilities that expand farther than many others in her genre.

$20. 7:00 p.m. Eddie’s Attic, 515 N. McDonough St., Decatur, GA 30030. eddiesattic.com @eddiesattic

!!Thurs., Nov. 11
The Rolling Stones, Mercedes-Benz Stadium — They can’t last forever — as Mick’s heart issues and, of course, the recent passing of drummer Charlie Watts make clear. Reports from this tour say they still bring it in concert, even if the set list is somewhat predictable, and they seem to actually live up to the “greatest rock ’n’ roll band in the world” hype. Nonetheless, you never know when it will be last call.

$91-7,757. 7:30 p.m. Mercedes-Benz Stadium, 1 AMB Dr. N.W. mercedesbenzstadium.com @mercedesbenzstadium

!!Fri., Nov. 12
Ashley McBryde, The Eastern — This multiple GRAMMY-nominated roots-singer mixes emotional rock ’n’ roll with country for a high octane, swaggering sound that pays tribute to classic C & W but adds just enough bluster to make it dangerous. Her ballad hit, “Little Dive Bar in Dahlonega,” about that Georgia burg’s Crimson Moon joint will clearly generate the most response, but she’s a road-hardened, tough cookie and has a lot more great stuff where that came from.

$27-77. 8:30 p.m. The Eastern, 777 Memorial Dr. S.E., Building C. easternatl.com @easternatl

!!Fri., Nov. 12-Sat., Nov. 13
Drive-By Truckers with Buffalo Nichols, Variety Playhouse — Kudos to Athens’s hard-working Drive-By Truckers for playing two nights at a smaller venue rather than one night at a larger one. The band’s Atlanta roots are deep and go back to slinging out their country-tinged, politically and socially charged Southern rock at the Star Bar. It should be old home week for them and their longtime local fans. Arrive early for solo bluesman Buffalo Nichols whose debut is starting to get attention from those looking for that real deal deep Delta sound.

$35-54. 8:00 p.m. Variety Playhouse, 1099 Euclid Ave. N.E. variety-playhouse.com @varietyplayhouse

!!Sun., Nov. 14
Atlanta Blues Society monthly meeting, The Green Room, Mableton — This month’s funky blues music is courtesy of the Hughes Taylor Band, veterans of the local scene. Catch up with old blues-loving friends and meet new ones as the Atlanta Blues Society updates you on upcoming events. And players, don’t forget to bring your gear for the jam that famously closes each meeting.

3:00 p.m. The Green Room of Mableton, 1391 Veterans Memorial Highway S.W., Suite 114, Mableton, GA 30126 @thegreenroomofmableton

!!Sun., Nov. 14-Mon., Nov. 15
Keb’ Mo’ with The Brother Brothers, City Winery — Folk bluesman Mo’ got his start in the ’70s backing Jefferson Airplane fiddle player, Papa John Creach. Since then, his 1994 solo debut has garnered a handful of awards and accorded him star status in the blues-Americana genre. His smooth voice and easygoing vibe aren’t exactly raw or rootsy, but he has been responsible for exposing the blues to a well-heeled audience that may never have listened to it otherwise.

$80-100. 6:30 p.m. and 9:30 p.m. City Winery Atlanta, 650 North Ave. N.E. citywinery.com/atlanta @citywineryatl

!!Wed., Nov. 17-Thurs, Nov. 18
Drivin’ N’ Cryin’, City Winery — The Kevn Kinney-led quartet may have gone through more members than Fleetwood Mac over the decades, but the band continues to bring their Southern rocking with the same energy as when they were playing clubs in the early ’80s. They usually play larger venues, so this is a great way to get up close and personal with some Atlanta rock royalty who keep on keeping on and never phone it in. They remain “scarred but smarter,” as their 1986 debut was titled, and all the better for it.

$50-65. 8:00 p.m. City Winery Atlanta, 650 North Ave. N.E. citywinery.com/atlanta @citywineryatl

!!Fri., Nov. 19
The Wallflowers, Variety Playhouse — Jakob Dylan returns with an all-new Wallflowers band, promoting 2020’s lackluster Exit Wounds, the first album under the Wallflowers name in nearly a decade. Of course, they’ll play the old FM radio hits, like “One Headlight,” since few have heard their new songs. But if this Dylan’s past front man performances, which ranged from lifeless to barely engaged, are any indication, this could be a snoozy night.

$45-79. 8:00 p.m. Variety Playhouse, 1099 Euclid Ave. N.E. variety-playhouse.com @varietyplayhouse

!!Fri., Nov. 19- Sat, Nov. 20
Katie Pruitt, Eddie’s Attic and The EARL — This is a homecoming of sorts for introspective and soulful singer-songwriter Pruitt who grew up in the Atlanta suburbs. Her 2020 Rounder label debut was well received critically and commercially, putting her well on her way to a career of bigger and better things. She’s playing two different clubs on successive nights, with wildly different clientele, one of the few to do that. Catch her now before she graduates to larger places.

$12-48. Fri. at 7:30 p.m. and 9:30 p.m. Eddie’s Attic, 515 N. McDonough St., Decatur, GA 30030. eddiesattic.com @eddiesattic

$12-15. Sat. at 8:30 p.m. The EARL, 488 Flat Shoals Ave. S.E. badearl.com @badearl

!!Tues., Nov. 23
John Hiatt, the Jerry Douglas Band, City Winery — Two headlining legends together make for a can’t miss combination. Singer/songwriter Hiatt and eclectic Dobro master Douglas will play the bulk of their recent duo release but of course will include older rearranged music from their extensive careers too.

!!Fri., Nov. 26
Atlanta Mega Blues Festival, Fox Theatre — It’s an old school night of slick soul-blues with a handful of heritage acts led by the iconic Latimore (“Let’s Straighten It Out”) and Sir Charles Jones. As blues goes though, this is more along the sultry, slow groove, quiet storm and funk-lite sound that reached its peak in the mid-to-late ’70s, rather than anything you’d find on Chess Records. With six acts, it should be a fun night of retro music that has a big enough audience to fill the Fox.

$68-98. 8:00 p.m. Fox Theatre, 660 Peachtree St. N.E. foxtheatre.org @thefoxtheatre

!!Sat., Nov. 27
Ruby Velle & the Soulphonics, City Winery — Local retro-Southern, soul diva Velle and her large Soulphonics outfit have graduated to bigger, classier rooms, and rightfully so after years of scuffling. It has been four years since we’ve heard new music so expect some fresh tunes mixed with the righteous, horn-laced R & B that these veterans have been perfecting over the past ten years.

$26-35. 8:00 p.m. City Winery Atlanta, 650 North Ave. N.E. citywinery.com/atlanta @citywineryatl

!!Thurs., Dec. 2
Sierra Ferrell, The EARL — With her mix of Western Swing, folk-country, and backwoods bluegrass, Nashville’s Ferrell has released one of the most charming and idiosyncratic debuts of the year. This might seem an odd venue for this rootsy mélange, but Ferrell approaches her old-timey music with a punk attitude and a free-spirited freshness.

$15-18. 8:00 p.m. The EARL, 488 Flat Shoals Ave. S.E. badearl.com @badearl

!!Mon., Dec. 6
Delta Rae, Terminal West — Delta Rae is not a person’s name, but rather a band featuring brother-sister harmonies. The front three singers dig into the edgier tones of Southern folk with alternatively chilling and uplifting results. The music is sometimes ominous, laced with portentous gospel and strains of blues and pop. They will feature music from the recent The Dark and The Light releases, both appropriately named reflections of their sound.

$22.50-25. 9:00 p.m. Terminal West, 887 W. Marietta St. N.W., Suite C. terminalwestatl.com @terminalwest

!!Wed., Dec. 8
Jeff Parker and Steve Gunn, Terminal West — Guitarist Gunn has been downplaying his electric six-string skills in favor of lovely, slightly off-kilter but sweet melodies played on acoustic and sung with his increasingly confident vocals. This stripped-down gig will showcase that style from his recent Other You album. Parker’s more experimental work — he used to be in the band Tortoise — makes a terrific double bill, and the concept of both sharing the stage for some songs should be enough to entice every serious local guitarist to check this out.

$20-22. 8:00 p.m. Terminal West, 887 W. Marietta St. N.W., Suite C. terminalwestatl.com @terminalwest —CL—

Please send information on upcoming events to be considered for Creative Loafing’s Blues & Beyond concert calendar to hal.horowitz at creativeloafing.com."
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__Shakey Graves, The Eastern —__ Known to his mom as Alejandro Rose-Garcia, Texas musician Graves has somewhat amazingly carved out a successful career with a stripped down, emotionally laced, indie folk-blues hybrid. He has since moved closer to the mainstream with a fuller band sound, albeit one that maintains his dark, rootsy core.

''$30-79. 8:30 p.m. The Eastern, 777 Memorial Dr. S.E., Building C. easternatl.com @easternatl''

__The Mavericks, Variety Playhouse —__ The subtitle of this Maverick show is “En Espanol,” which is also the title of their most recent album, and as you’d expect, the songs are all sung in Spanish. That’s not a huge departure for the multi-hyphenated genres the band has explored since its 1991 debut, except that they stick to a Latin style here instead of their usual mélange of Americana. Regardless, their live show is always a blast because music is the universal language.

''$34. 8:00 p.m. Variety Playhouse, 1099 Euclid Ave. N.E. variety-playhouse.com @varietyplayhouse''

!!__Sun., Nov. 7__
__Chris Smither, Eddie’s Attic —__ Veteran folk-bluesmen don’t get any more authentic than this Bonnie Raitt approved singer-songwriter. The dusky voiced Smither celebrated his 50th year in music back in 2014 and shows no sign of slowing down anytime soon. His 2018 ''Call Me Lucky'' release featured bittersweet versions of songs originally done by The Beatles and Chuck Berry with a fine batch of new originals.

''$32-128. 6:00 p.m. Eddie’s Attic, 515 N. McDonough St., Decatur, GA 30030. eddiesattic.com @eddiesattic''

!!__Tues., Nov. 9__
__Crystal Bowersox, City Winery —__ This husky- and whiskey-voiced, 2009 ''American Idol'' runner-up has outlasted many of those whose careers fizzled after they made it to the show’s top spot. That’s because there is nothing artificial about her leather-tough attitude and ability to tap into the Southern soul-grit that made Joplin and Delaney & Bonnie roots-rock icons.

''$22-28. 8:00 p.m. City Winery Atlanta, 650 North Ave. N.E. citywinery.com/atlanta @citywineryatl''

!!__Thur., Nov. 11-Fri., Nov. 12__
__Lera Lynn, Eddie’s Attic —__ Nashville-based singer-songwriter Lynn lives in a more noir-oriented space than many of her peers from that city. She first came to national attention through her brief but noteworthy appearances on the second season of ''True Detective''. But her recent introspective release, ''On My Own'', displays her talents as a solo artist, recording it without the assistance of others and showing musical abilities that expand farther than many others in her genre.

''$20. 7:00 p.m. Eddie’s Attic, 515 N. McDonough St., Decatur, GA 30030. eddiesattic.com @eddiesattic''

!!__Thurs., Nov. 11__
__The Rolling Stones, Mercedes-Benz Stadium —__ They can’t last forever — as Mick’s heart issues and, of course, the recent passing of drummer Charlie Watts make clear. Reports from this tour say they still bring it in concert, even if the set list is somewhat predictable, and they seem to actually live up to the “greatest rock ’n’ roll band in the world” hype. Nonetheless, you never know when it will be last call.

''$91-7,757. 7:30 p.m. Mercedes-Benz Stadium, 1 AMB Dr. N.W. mercedesbenzstadium.com @mercedesbenzstadium''

!!__Fri., Nov. 12__
__Ashley McBryde, The Eastern —__ This multiple GRAMMY-nominated roots-singer mixes emotional rock ’n’ roll with country for a high octane, swaggering sound that pays tribute to classic C & W but adds just enough bluster to make it dangerous. Her ballad hit, “Little Dive Bar in Dahlonega,” about that Georgia burg’s Crimson Moon joint will clearly generate the most response, but she’s a road-hardened, tough cookie and has a lot more great stuff where that came from.

''$27-77. 8:30 p.m. The Eastern, 777 Memorial Dr. S.E., Building C. easternatl.com @easternatl''

!!__Fri., Nov. 12-Sat., Nov. 13__
__Drive-By Truckers with Buffalo Nichols, Variety Playhouse —__ Kudos to Athens’s hard-working Drive-By Truckers for playing two nights at a smaller venue rather than one night at a larger one. The band’s Atlanta roots are deep and go back to slinging out their country-tinged, politically and socially charged Southern rock at the Star Bar. It should be old home week for them and their longtime local fans. Arrive early for solo bluesman Buffalo Nichols whose debut is starting to get attention from those looking for that real deal deep Delta sound.

''$35-54. 8:00 p.m. Variety Playhouse, 1099 Euclid Ave. N.E. variety-playhouse.com @varietyplayhouse''

!!__Sun., Nov. 14__
__Atlanta Blues Society monthly meeting, The Green Room, Mableton —__ This month’s funky blues music is courtesy of the Hughes Taylor Band, veterans of the local scene. Catch up with old blues-loving friends and meet new ones as the Atlanta Blues Society updates you on upcoming events. And players, don’t forget to bring your gear for the jam that famously closes each meeting.

''3:00 p.m. The Green Room of Mableton, 1391 Veterans Memorial Highway S.W., Suite 114, Mableton, GA 30126 @thegreenroomofmableton''

!!__Sun., Nov. 14-Mon., Nov. 15__
__Keb’ Mo’ with The Brother Brothers, City Winery —__ Folk bluesman Mo’ got his start in the ’70s backing Jefferson Airplane fiddle player, Papa John Creach. Since then, his 1994 solo debut has garnered a handful of awards and accorded him star status in the blues-Americana genre. His smooth voice and easygoing vibe aren’t exactly raw or rootsy, but he has been responsible for exposing the blues to a well-heeled audience that may never have listened to it otherwise.

''$80-100. 6:30 p.m. and 9:30 p.m. City Winery Atlanta, 650 North Ave. N.E. citywinery.com/atlanta @citywineryatl''

!!__Wed., Nov. 17-Thurs, Nov. 18__
__Drivin’ N’ Cryin’, City Winery —__ The Kevn Kinney-led quartet may have gone through more members than Fleetwood Mac over the decades, but the band continues to bring their Southern rocking with the same energy as when they were playing clubs in the early ’80s. They usually play larger venues, so this is a great way to get up close and personal with some Atlanta rock royalty who keep on keeping on and never phone it in. They remain “scarred but smarter,” as their 1986 debut was titled, and all the better for it.

''$50-65. 8:00 p.m. City Winery Atlanta, 650 North Ave. N.E. citywinery.com/atlanta @citywineryatl''

!!__Fri., Nov. 19__
__The Wallflowers, Variety Playhouse —__ Jakob Dylan returns with an all-new Wallflowers band, promoting 2020’s lackluster ''Exit Wounds'', the first album under the Wallflowers name in nearly a decade. Of course, they’ll play the old FM radio hits, like “One Headlight,” since few have heard their new songs. But if ''this'' Dylan’s past front man performances, which ranged from lifeless to barely engaged, are any indication, this could be a snoozy night.

''$45-79. 8:00 p.m. Variety Playhouse, 1099 Euclid Ave. N.E. variety-playhouse.com @varietyplayhouse''

!!__Fri., Nov. 19- Sat, Nov. 20__
__Katie Pruitt, Eddie’s Attic and The EARL —__ This is a homecoming of sorts for introspective and soulful singer-songwriter Pruitt who grew up in the Atlanta suburbs. Her 2020 Rounder label debut was well received critically and commercially, putting her well on her way to a career of bigger and better things. She’s playing two different clubs on successive nights, with wildly different clientele, one of the few to do that. Catch her now before she graduates to larger places.

''$12-48. Fri. at 7:30 p.m. and 9:30 p.m. Eddie’s Attic, 515 N. McDonough St., Decatur, GA 30030. eddiesattic.com @eddiesattic''

''$12-15. Sat. at 8:30 p.m. The EARL, 488 Flat Shoals Ave. S.E. badearl.com @badearl''

!!__Tues., Nov. 23__
John Hiatt, the Jerry Douglas Band, City Winery — Two headlining legends together make for a can’t miss combination. Singer/songwriter Hiatt and eclectic Dobro master Douglas will play the bulk of their recent duo release but of course will include older rearranged music from their extensive careers too.

!!__Fri., Nov. 26__
__Atlanta Mega Blues Festival, Fox Theatre —__ It’s an old school night of slick soul-blues with a handful of heritage acts led by the iconic Latimore (“Let’s Straighten It Out”) and Sir Charles Jones. As blues goes though, this is more along the sultry, slow groove, quiet storm and funk-lite sound that reached its peak in the mid-to-late ’70s, rather than anything you’d find on Chess Records. With six acts, it should be a fun night of retro music that has a big enough audience to fill the Fox.

''$68-98. 8:00 p.m. Fox Theatre, 660 Peachtree St. N.E. foxtheatre.org @thefoxtheatre''

!!__Sat., Nov. 27__
__Ruby Velle & the Soulphonics, City Winery —__ Local retro-Southern, soul diva Velle and her large Soulphonics outfit have graduated to bigger, classier rooms, and rightfully so after years of scuffling. It has been four years since we’ve heard new music so expect some fresh tunes mixed with the righteous, horn-laced R & B that these veterans have been perfecting over the past ten years.

''$26-35. 8:00 p.m. City Winery Atlanta, 650 North Ave. N.E. citywinery.com/atlanta @citywineryatl''

!!__Thurs., Dec. 2__
__Sierra Ferrell, The EARL —__ With her mix of Western Swing, folk-country, and backwoods bluegrass, Nashville’s Ferrell has released one of the most charming and idiosyncratic debuts of the year. This might seem an odd venue for this rootsy mélange, but Ferrell approaches her old-timey music with a punk attitude and a free-spirited freshness.

''$15-18. 8:00 p.m. The EARL, 488 Flat Shoals Ave. S.E. badearl.com @badearl''

!!__Mon., Dec. 6__
__Delta Rae, Terminal West —__ Delta Rae is not a person’s name, but rather a band featuring brother-sister harmonies. The front three singers dig into the edgier tones of Southern folk with alternatively chilling and uplifting results. The music is sometimes ominous, laced with portentous gospel and strains of blues and pop. They will feature music from the recent ''The Dark'' and ''The Light'' releases, both appropriately named reflections of their sound.

''$22.50-25. 9:00 p.m. Terminal West, 887 W. Marietta St. N.W., Suite C. terminalwestatl.com @terminalwest''

!!__Wed., Dec. 8__
__Jeff Parker and Steve Gunn, Terminal West —__ Guitarist Gunn has been downplaying his electric six-string skills in favor of lovely, slightly off-kilter but sweet melodies played on acoustic and sung with his increasingly confident vocals. This stripped-down gig will showcase that style from his recent ''Other You'' album. Parker’s more experimental work — he used to be in the band Tortoise — makes a terrific double bill, and the concept of both sharing the stage for some songs should be enough to entice every serious local guitarist to check this out.

''$20-22. 8:00 p.m. Terminal West, 887 W. Marietta St. N.W., Suite C. terminalwestatl.com @terminalwest'' __—CL—__

''Please send information on upcoming events to be considered for ''Creative Loafing''’s Blues & Beyond concert calendar to hal.horowitz@creativeloafing.com.''"
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  string(11755) " DBT 2019 9467  2021-11-05T15:38:24+00:00 DBT_2019-9467.jpg      Give thanks for making it through another pandemic year DBT 2019 9467 Content::Music and Nightlife::Music Columns::Blues and Beyond - blues  2021-11-01T08:40:00+00:00  BLUES & BEYOND: Live music has (finally) returned jim.harris Jim Harris HAL HOROWITZ hal2222 (Hal Horowitz) 2021-11-01T08:40:00+00:00 !!Fri., Nov. 5
Shakey Graves, The Eastern — Known to his mom as Alejandro Rose-Garcia, Texas musician Graves has somewhat amazingly carved out a successful career with a stripped down, emotionally laced, indie folk-blues hybrid. He has since moved closer to the mainstream with a fuller band sound, albeit one that maintains his dark, rootsy core.

$30-79. 8:30 p.m. The Eastern, 777 Memorial Dr. S.E., Building C. easternatl.com @easternatl

The Mavericks, Variety Playhouse — The subtitle of this Maverick show is “En Espanol,” which is also the title of their most recent album, and as you’d expect, the songs are all sung in Spanish. That’s not a huge departure for the multi-hyphenated genres the band has explored since its 1991 debut, except that they stick to a Latin style here instead of their usual mélange of Americana. Regardless, their live show is always a blast because music is the universal language.

$34. 8:00 p.m. Variety Playhouse, 1099 Euclid Ave. N.E. variety-playhouse.com @varietyplayhouse

!!Sun., Nov. 7
Chris Smither, Eddie’s Attic — Veteran folk-bluesmen don’t get any more authentic than this Bonnie Raitt approved singer-songwriter. The dusky voiced Smither celebrated his 50th year in music back in 2014 and shows no sign of slowing down anytime soon. His 2018 Call Me Lucky release featured bittersweet versions of songs originally done by The Beatles and Chuck Berry with a fine batch of new originals.

$32-128. 6:00 p.m. Eddie’s Attic, 515 N. McDonough St., Decatur, GA 30030. eddiesattic.com @eddiesattic

!!Tues., Nov. 9
Crystal Bowersox, City Winery — This husky- and whiskey-voiced, 2009 American Idol runner-up has outlasted many of those whose careers fizzled after they made it to the show’s top spot. That’s because there is nothing artificial about her leather-tough attitude and ability to tap into the Southern soul-grit that made Joplin and Delaney & Bonnie roots-rock icons.

$22-28. 8:00 p.m. City Winery Atlanta, 650 North Ave. N.E. citywinery.com/atlanta @citywineryatl

!!Thur., Nov. 11-Fri., Nov. 12
Lera Lynn, Eddie’s Attic — Nashville-based singer-songwriter Lynn lives in a more noir-oriented space than many of her peers from that city. She first came to national attention through her brief but noteworthy appearances on the second season of True Detective. But her recent introspective release, On My Own, displays her talents as a solo artist, recording it without the assistance of others and showing musical abilities that expand farther than many others in her genre.

$20. 7:00 p.m. Eddie’s Attic, 515 N. McDonough St., Decatur, GA 30030. eddiesattic.com @eddiesattic

!!Thurs., Nov. 11
The Rolling Stones, Mercedes-Benz Stadium — They can’t last forever — as Mick’s heart issues and, of course, the recent passing of drummer Charlie Watts make clear. Reports from this tour say they still bring it in concert, even if the set list is somewhat predictable, and they seem to actually live up to the “greatest rock ’n’ roll band in the world” hype. Nonetheless, you never know when it will be last call.

$91-7,757. 7:30 p.m. Mercedes-Benz Stadium, 1 AMB Dr. N.W. mercedesbenzstadium.com @mercedesbenzstadium

!!Fri., Nov. 12
Ashley McBryde, The Eastern — This multiple GRAMMY-nominated roots-singer mixes emotional rock ’n’ roll with country for a high octane, swaggering sound that pays tribute to classic C & W but adds just enough bluster to make it dangerous. Her ballad hit, “Little Dive Bar in Dahlonega,” about that Georgia burg’s Crimson Moon joint will clearly generate the most response, but she’s a road-hardened, tough cookie and has a lot more great stuff where that came from.

$27-77. 8:30 p.m. The Eastern, 777 Memorial Dr. S.E., Building C. easternatl.com @easternatl

!!Fri., Nov. 12-Sat., Nov. 13
Drive-By Truckers with Buffalo Nichols, Variety Playhouse — Kudos to Athens’s hard-working Drive-By Truckers for playing two nights at a smaller venue rather than one night at a larger one. The band’s Atlanta roots are deep and go back to slinging out their country-tinged, politically and socially charged Southern rock at the Star Bar. It should be old home week for them and their longtime local fans. Arrive early for solo bluesman Buffalo Nichols whose debut is starting to get attention from those looking for that real deal deep Delta sound.

$35-54. 8:00 p.m. Variety Playhouse, 1099 Euclid Ave. N.E. variety-playhouse.com @varietyplayhouse

!!Sun., Nov. 14
Atlanta Blues Society monthly meeting, The Green Room, Mableton — This month’s funky blues music is courtesy of the Hughes Taylor Band, veterans of the local scene. Catch up with old blues-loving friends and meet new ones as the Atlanta Blues Society updates you on upcoming events. And players, don’t forget to bring your gear for the jam that famously closes each meeting.

3:00 p.m. The Green Room of Mableton, 1391 Veterans Memorial Highway S.W., Suite 114, Mableton, GA 30126 @thegreenroomofmableton

!!Sun., Nov. 14-Mon., Nov. 15
Keb’ Mo’ with The Brother Brothers, City Winery — Folk bluesman Mo’ got his start in the ’70s backing Jefferson Airplane fiddle player, Papa John Creach. Since then, his 1994 solo debut has garnered a handful of awards and accorded him star status in the blues-Americana genre. His smooth voice and easygoing vibe aren’t exactly raw or rootsy, but he has been responsible for exposing the blues to a well-heeled audience that may never have listened to it otherwise.

$80-100. 6:30 p.m. and 9:30 p.m. City Winery Atlanta, 650 North Ave. N.E. citywinery.com/atlanta @citywineryatl

!!Wed., Nov. 17-Thurs, Nov. 18
Drivin’ N’ Cryin’, City Winery — The Kevn Kinney-led quartet may have gone through more members than Fleetwood Mac over the decades, but the band continues to bring their Southern rocking with the same energy as when they were playing clubs in the early ’80s. They usually play larger venues, so this is a great way to get up close and personal with some Atlanta rock royalty who keep on keeping on and never phone it in. They remain “scarred but smarter,” as their 1986 debut was titled, and all the better for it.

$50-65. 8:00 p.m. City Winery Atlanta, 650 North Ave. N.E. citywinery.com/atlanta @citywineryatl

!!Fri., Nov. 19
The Wallflowers, Variety Playhouse — Jakob Dylan returns with an all-new Wallflowers band, promoting 2020’s lackluster Exit Wounds, the first album under the Wallflowers name in nearly a decade. Of course, they’ll play the old FM radio hits, like “One Headlight,” since few have heard their new songs. But if this Dylan’s past front man performances, which ranged from lifeless to barely engaged, are any indication, this could be a snoozy night.

$45-79. 8:00 p.m. Variety Playhouse, 1099 Euclid Ave. N.E. variety-playhouse.com @varietyplayhouse

!!Fri., Nov. 19- Sat, Nov. 20
Katie Pruitt, Eddie’s Attic and The EARL — This is a homecoming of sorts for introspective and soulful singer-songwriter Pruitt who grew up in the Atlanta suburbs. Her 2020 Rounder label debut was well received critically and commercially, putting her well on her way to a career of bigger and better things. She’s playing two different clubs on successive nights, with wildly different clientele, one of the few to do that. Catch her now before she graduates to larger places.

$12-48. Fri. at 7:30 p.m. and 9:30 p.m. Eddie’s Attic, 515 N. McDonough St., Decatur, GA 30030. eddiesattic.com @eddiesattic

$12-15. Sat. at 8:30 p.m. The EARL, 488 Flat Shoals Ave. S.E. badearl.com @badearl

!!Tues., Nov. 23
John Hiatt, the Jerry Douglas Band, City Winery — Two headlining legends together make for a can’t miss combination. Singer/songwriter Hiatt and eclectic Dobro master Douglas will play the bulk of their recent duo release but of course will include older rearranged music from their extensive careers too.

!!Fri., Nov. 26
Atlanta Mega Blues Festival, Fox Theatre — It’s an old school night of slick soul-blues with a handful of heritage acts led by the iconic Latimore (“Let’s Straighten It Out”) and Sir Charles Jones. As blues goes though, this is more along the sultry, slow groove, quiet storm and funk-lite sound that reached its peak in the mid-to-late ’70s, rather than anything you’d find on Chess Records. With six acts, it should be a fun night of retro music that has a big enough audience to fill the Fox.

$68-98. 8:00 p.m. Fox Theatre, 660 Peachtree St. N.E. foxtheatre.org @thefoxtheatre

!!Sat., Nov. 27
Ruby Velle & the Soulphonics, City Winery — Local retro-Southern, soul diva Velle and her large Soulphonics outfit have graduated to bigger, classier rooms, and rightfully so after years of scuffling. It has been four years since we’ve heard new music so expect some fresh tunes mixed with the righteous, horn-laced R & B that these veterans have been perfecting over the past ten years.

$26-35. 8:00 p.m. City Winery Atlanta, 650 North Ave. N.E. citywinery.com/atlanta @citywineryatl

!!Thurs., Dec. 2
Sierra Ferrell, The EARL — With her mix of Western Swing, folk-country, and backwoods bluegrass, Nashville’s Ferrell has released one of the most charming and idiosyncratic debuts of the year. This might seem an odd venue for this rootsy mélange, but Ferrell approaches her old-timey music with a punk attitude and a free-spirited freshness.

$15-18. 8:00 p.m. The EARL, 488 Flat Shoals Ave. S.E. badearl.com @badearl

!!Mon., Dec. 6
Delta Rae, Terminal West — Delta Rae is not a person’s name, but rather a band featuring brother-sister harmonies. The front three singers dig into the edgier tones of Southern folk with alternatively chilling and uplifting results. The music is sometimes ominous, laced with portentous gospel and strains of blues and pop. They will feature music from the recent The Dark and The Light releases, both appropriately named reflections of their sound.

$22.50-25. 9:00 p.m. Terminal West, 887 W. Marietta St. N.W., Suite C. terminalwestatl.com @terminalwest

!!Wed., Dec. 8
Jeff Parker and Steve Gunn, Terminal West — Guitarist Gunn has been downplaying his electric six-string skills in favor of lovely, slightly off-kilter but sweet melodies played on acoustic and sung with his increasingly confident vocals. This stripped-down gig will showcase that style from his recent Other You album. Parker’s more experimental work — he used to be in the band Tortoise — makes a terrific double bill, and the concept of both sharing the stage for some songs should be enough to entice every serious local guitarist to check this out.

$20-22. 8:00 p.m. Terminal West, 887 W. Marietta St. N.W., Suite C. terminalwestatl.com @terminalwest —CL—

Please send information on upcoming events to be considered for Creative Loafing’s Blues & Beyond concert calendar to hal.horowitz at creativeloafing.com.    Andy Tennille STANDING TALL: Drive-By Truckers are back on the road after the year and a half pandemic lockdown, just in time to celebrate the band’s 25th anniversary. Welcome them back at the Variety Playhouse Friday and Saturday, Nov. 11 and 12.  0,0,10                           BLUES & BEYOND: Live music has (finally) returned "
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While the rule change — like recent changes to Georgia’s election laws, addresses ill-defined and largely non-existent problems — it creates a loophole for evading the most important protection in the tenure process: the requirement  that professors must 1) commit a serious, defined delict and then 2) receive a public hearing before their tenure can be revoked.

Skirting the charging and hearing requirements by allowing tenure to be revoked after two negative evaluations makes the entire process vulnerable to subjectivity and improper motivations. Most importantly, the new policy allows tenure to be revoked without being tested in the truth-finding process of a public hearing.

It has not gone completely unnoticed that this lack of due process poses great danger in a system known for political interference and infringement on freedom of conscience throughout its history — from the Cocking affair in which a dean’s removal was engineered for his opposition to segregation, to the ongoing attempt to bring in Sonny Perdue as Chancellor for the express, stated purpose of imposing Perdue’s Trump administration values on the university system. Perdue, meanwhile, is known for his own ethical challenges, including self-dealing land swaps and tax breaks he signed into law for himself as Georgia Governor.

Meanwhile, the regents are caving in real time to political pressure against COVID restrictions, ignoring the outcry among faculty and staff.

We do not have to imagine the dangers of injecting such partisanship and corruption into the USG bloodstream while taking away the due process protections that shield professors from political vendettas and interference.

The state of Georgia has already endured thirteen years of litigation, with criminal investigations brewing, from the attempt to revoke the tenure of UGA Professor Dezso Benedek. Benedek was an outspoken critic of then-UGA President Michael Adams, who was accused of self-dealing in a Deloitte & Touche audit. Benedek complained to the Board of Regents that the Adams administration was retaliating against him for exercising his first amendment right to speak out. In response to Benedek’s complaint, the board acted to revoke his tenure.

That attempted tenure revocation failed miserably when a three-day evidentiary hearing showed that the Georgia attorney general had hidden evidence in the case and UGA witnesses called to testify against Benedek had manufactured evidence and committed perjury — with the knowledge of the attorney general. This is all documented in state records of the tenure proceedings.

All this evidence of criminal conduct was taken to the Board of Regents, which “upheld the actions of the University of Georgia” in a one-sentence response with no explanation.

That stance launched a series of lawsuits against the regents, sparking a 10-year legal battle over the assertions of Attorneys General Sam Olens and Chris Carr that state officials enjoy sovereign immunity protection for their criminal conduct.

Georgia state courts, with almost all the judges appointed by Governors Perdue, Deal, and Kemp, have taken the divine right doctrine of sovereign immunity to an even more disturbing conclusion — that the regents cannot be held accountable for violation of the very Board of Regents’ policies they were are arguing about.

What could possibly go wrong? What does the Regents immunity from enforcement of its own policies mean, not only for professors but for hundreds of thousands of USG staff and students who rely on those policies?

More specifically, what does it mean that the Regents have changed the rules to take accountability out of the process?

Cutting through all the legal and political wrangling, the most important point is this: Professor Benedek was rescued from all these political machinations and is an outstanding professor at UGA today only because he was protected by a hearing at which the truth could come out.

History from time immemorial tells us that checks are needed against personal conflicts of interest, political motives, and corrupt practices. The Cocking and Benedek affairs tell us the Board of Regents is not immune and must be held accountable to the truth in a due process hearing before a professor can be removed. —CL—"
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Skirting the charging and hearing requirements by allowing tenure to be revoked after two negative evaluations makes the entire process vulnerable to subjectivity and improper motivations. Most importantly, the new policy allows tenure to be revoked without being tested in the truth-finding process of a public hearing.

It has not gone completely unnoticed that this lack of due process poses great danger in a system known for political interference and infringement on freedom of conscience throughout its history — from the Cocking affair in which a dean’s removal was engineered for his opposition to segregation, to the ongoing attempt to bring in Sonny Perdue as Chancellor for the express, stated purpose of imposing Perdue’s Trump administration values on the university system. Perdue, meanwhile, is known for his own ethical challenges, including self-dealing land swaps and tax breaks he signed into law for himself as Georgia Governor.

Meanwhile, the regents are caving in real time to political pressure against COVID restrictions, ignoring the outcry among faculty and staff.

We do not have to imagine the dangers of injecting such partisanship and corruption into the USG bloodstream while taking away the due process protections that shield professors from political vendettas and interference.

The state of Georgia has already endured thirteen years of litigation, with criminal investigations brewing, from the attempt to revoke the tenure of UGA Professor Dezso Benedek. Benedek was an outspoken critic of then-UGA President Michael Adams, who was accused of self-dealing in a Deloitte & Touche audit. Benedek complained to the Board of Regents that the Adams administration was retaliating against him for exercising his first amendment right to speak out. In response to Benedek’s complaint, the board acted to revoke his tenure.

That attempted tenure revocation failed miserably when a three-day evidentiary hearing showed that the Georgia attorney general had hidden evidence in the case and UGA witnesses called to testify against Benedek had manufactured evidence and committed perjury — with the knowledge of the attorney general. This is all documented in state records of the tenure proceedings.

All this evidence of criminal conduct was taken to the Board of Regents, which “upheld the actions of the University of Georgia” in a one-sentence response with no explanation.

That stance launched a series of lawsuits against the regents, sparking a 10-year legal battle over the assertions of Attorneys General Sam Olens and Chris Carr that state officials enjoy sovereign immunity protection for their criminal conduct.

Georgia state courts, with almost all the judges appointed by Governors Perdue, Deal, and Kemp, have taken the divine right doctrine of sovereign immunity to an even more disturbing conclusion — that the regents cannot be held accountable for violation of the very Board of Regents’ policies they were are arguing about.

What could possibly go wrong? What does the Regents immunity from enforcement of its own policies mean, not only for professors but for hundreds of thousands of USG staff and students who rely on those policies?

More specifically, what does it mean that the Regents have changed the rules to take accountability out of the process?

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  string(4878) "    Regents’ rule change takes away due process.    2021-11-05T15:20:23+00:00  Tenure — and Georgia professors — at risk jim.harris Jim Harris STEPHEN HUMPHREYS athenslaw (Stephen Humphreys) 2021-11-05T15:20:23+00:00 The recent controversy over the Georgia regents’ change in tenure policy for creates a grave danger for professors in the University System of Georgia (USG) has failed to distill the greatest danger posed by the revision.

While the rule change — like recent changes to Georgia’s election laws, addresses ill-defined and largely non-existent problems — it creates a loophole for evading the most important protection in the tenure process: the requirement  that professors must 1) commit a serious, defined delict and then 2) receive a public hearing before their tenure can be revoked.

Skirting the charging and hearing requirements by allowing tenure to be revoked after two negative evaluations makes the entire process vulnerable to subjectivity and improper motivations. Most importantly, the new policy allows tenure to be revoked without being tested in the truth-finding process of a public hearing.

It has not gone completely unnoticed that this lack of due process poses great danger in a system known for political interference and infringement on freedom of conscience throughout its history — from the Cocking affair in which a dean’s removal was engineered for his opposition to segregation, to the ongoing attempt to bring in Sonny Perdue as Chancellor for the express, stated purpose of imposing Perdue’s Trump administration values on the university system. Perdue, meanwhile, is known for his own ethical challenges, including self-dealing land swaps and tax breaks he signed into law for himself as Georgia Governor.

Meanwhile, the regents are caving in real time to political pressure against COVID restrictions, ignoring the outcry among faculty and staff.

We do not have to imagine the dangers of injecting such partisanship and corruption into the USG bloodstream while taking away the due process protections that shield professors from political vendettas and interference.

The state of Georgia has already endured thirteen years of litigation, with criminal investigations brewing, from the attempt to revoke the tenure of UGA Professor Dezso Benedek. Benedek was an outspoken critic of then-UGA President Michael Adams, who was accused of self-dealing in a Deloitte & Touche audit. Benedek complained to the Board of Regents that the Adams administration was retaliating against him for exercising his first amendment right to speak out. In response to Benedek’s complaint, the board acted to revoke his tenure.

That attempted tenure revocation failed miserably when a three-day evidentiary hearing showed that the Georgia attorney general had hidden evidence in the case and UGA witnesses called to testify against Benedek had manufactured evidence and committed perjury — with the knowledge of the attorney general. This is all documented in state records of the tenure proceedings.

All this evidence of criminal conduct was taken to the Board of Regents, which “upheld the actions of the University of Georgia” in a one-sentence response with no explanation.

That stance launched a series of lawsuits against the regents, sparking a 10-year legal battle over the assertions of Attorneys General Sam Olens and Chris Carr that state officials enjoy sovereign immunity protection for their criminal conduct.

Georgia state courts, with almost all the judges appointed by Governors Perdue, Deal, and Kemp, have taken the divine right doctrine of sovereign immunity to an even more disturbing conclusion — that the regents cannot be held accountable for violation of the very Board of Regents’ policies they were are arguing about.

What could possibly go wrong? What does the Regents immunity from enforcement of its own policies mean, not only for professors but for hundreds of thousands of USG staff and students who rely on those policies?

More specifically, what does it mean that the Regents have changed the rules to take accountability out of the process?

Cutting through all the legal and political wrangling, the most important point is this: Professor Benedek was rescued from all these political machinations and is an outstanding professor at UGA today only because he was protected by a hearing at which the truth could come out.

History from time immemorial tells us that checks are needed against personal conflicts of interest, political motives, and corrupt practices. The Cocking and Benedek affairs tell us the Board of Regents is not immune and must be held accountable to the truth in a due process hearing before a professor can be removed. —CL—       0,0,10                           Tenure — and Georgia professors — at risk "
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  ["title"]=>
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Escaping is all many of us have been trying to do lately — escaping the worldwide pandemic, escaping elections, escaping collapsing economies. According to research done by the University of Southern California, alcohol sales surged by 34 percent during the height of last year’s lockdowns. Tobacco sales jumped 13 percent. Our time spent gorging content on apps like Netflix, Hulu, and HBO Max increased by almost 75 percent. In possibly one of the worst years in our lifetimes, we were coping.

With no end to the pandemic in sight — and an incompetent Georgia state government refusing to provide aid to the most susceptible or to pass legislation to quell the beast — large-scale events have resumed. After being deprived of concerts, sporting events, and plays for over a year, we are back the fuck outside.

In a recent attempt to numb the pulsing anxiety in my head, I dragged myself to a show from Atlanta punk outfit Upchuck at The Earl in East Atlanta Village. I see punk rock as one of the purest forms of escapism. Nothing makes you feel more primal than throwing yourself into a pit of colliding bodies while incurring tinnitus from screeching guitars and fierce screams. Since its inception, punk has never been an art for the elite or the faint of heart. Upchuck carries the core tenets of hardcore punk into modern times. Their music is a violent protest against all unfair systems. It is angry. It is unapologetic. It is political. So how exactly is this an escape?

Because at an Upchuck show, none of that matters. Lyrical content comes second to energy. People are connecting and attempting to heal through a shared love of aggressive sound. I am certain that no more than two percent of the crowd had any idea what Upchuck vocalist, KT, was singing the entire night. Like most hardcore punk, the live show is a place where artists and attendees purge negative feelings in a storm of sweat and body parts. Upchuck is particularly good at inducing this form of group therapy. For no less than 40 minutes, human bodies are crashing into each other like waves brutalizing a ship’s haul. Bandmates spit cheap beer onto the audience, taunting the dog to bite back. Fists are thrown. Vocal cords are frayed. Blood is shed. Breathe in. Breathe out. Release …

In a September 2020 interview with Renette Van Der Merwe of The Alt Club, KT said, “Upchuck is pent up emotions that need to be purged from oneself. Disappointment, sadness, annoyance, etc., being channeled into a release. A beautiful chaos that is much needed for everyone. So much has been going on for years, decades, etc., so the release is never-ending until the world hits a hard reset.”

A hard reset … yeah … To me, this potential for change was one of the most frustrating elements of the last year. For a second, it felt like things might actually shift. The silver lining of a catastrophic event is often that it gives way to growth. A forest fire destroys everything in its path, but what is left is fertile ground, prime for new life. However, change didn’t come. The old, battered system was propped back up by those wishing to return to normal. Police budgets rose. Wealth inequality rose. All the while, hundreds of thousands of lives were lost. We were gifted a fresh anxiety, another issue to debate with our conservative aunt’s friends on Facebook. Things got worse, not better. Understandably, people are hungry for something to take their minds off the seemingly ever-encroaching doom.

Escapism does not have to be aggressive and dirty though. In another recent outing, I indulged in a distraction commonly associated with the bourgeoisie. I attended a play at the Fox Theatre — although not entirely on my own violation.

A quick escape from this article: There’s an unspoken tradition in my family involving my birthday. Every year, my mom — love her, but she knows it’s true — buys me tickets to an event she wants to go to. A few years ago, she gifted me five tickets to see Ed Sheeran. I don’t listen to Ed Sheeran. In fact, I find him rather annoying. He looks like a Sesame Street character that turned human and stopped singing about the importance of good manners to sing about meeting women at the grocery store and his grandmother. But Tammy (my mom) loves Ed. Long story short, I spent my 22nd birthday with my mom and three friends listening to her belt “Shape of You” off-key.

This year however, Tammy got us tickets to see Lin-Manuel Miranda’s smash musical Hamilton at The Fox Theatre. For those uninitiated, Hamilton tells the story of the founding father Alexander Hamilton from the period just before the start of the American Revolution until his death after a duel with political rival Andrew Burr. The two things that make this musical unique are the non-white cast playing the majority of the roles and the “rap” delivery of nearly all the lines.

I see a couple of elements of escapism happening here. The most obvious being the medium of theater. What makes a play different from a film, the other kind of visual entertainment consumed in a theater, is the relationship between the audience and the actors performing in real time. There’s a deepened investment in what is happening in front of you when the entertainment is not appearing prerecorded on a two-dimensional screen. I feel more drawn into the action when it is being built and altered right in front of me. And I, personally, watch more intently knowing an actor could trip and break their nose.

The other factor is more unique to Hamilton — and more akin to avoidance rather than escapism. Here’s the thing, I think this musical sucks. Yeah, most of the songs are forgettable, and the rapping is beyond cringey. But my real problem with Hamilton is I don’t know why it exists in the first place. Why did we need to retcon American history and avoid the reality that these were men who were slaveholders, misogynists, and rapists? Turning the horrors of our past into a cute musical may be the greatest form of escapism.


In a turn of irony that everyone should have seen coming, the touring production of Hamilton had to cancel a Wednesday night performance after some members of the company tested positive for coronavirus. The thing about going about your business and pretending the house you’re in is not on fire is that you are still going to get burned. Happy escaping! —CL—"
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Escaping is all many of us have been trying to do lately — escaping the worldwide pandemic, escaping elections, escaping collapsing economies. According to research done by the University of Southern California, alcohol sales surged by 34 percent during the height of last year’s lockdowns. Tobacco sales jumped 13 percent. Our time spent gorging content on apps like Netflix, Hulu, and HBO Max increased by almost 75 percent. In possibly one of the worst years in our lifetimes, we were coping.

With no end to the pandemic in sight — and an incompetent Georgia state government refusing to provide aid to the most susceptible or to pass legislation to quell the beast — large-scale events have resumed. After being deprived of concerts, sporting events, and plays for over a year, we are back the fuck outside.

In a recent attempt to numb the pulsing anxiety in my head, I dragged myself to a show from Atlanta punk outfit Upchuck at The Earl in East Atlanta Village. I see punk rock as one of the purest forms of escapism. Nothing makes you feel more primal than throwing yourself into a pit of colliding bodies while incurring tinnitus from screeching guitars and fierce screams. Since its inception, punk has never been an art for the elite or the faint of heart. Upchuck carries the core tenets of hardcore punk into modern times. Their music is a violent protest against all unfair systems. It is angry. It is unapologetic. It is political. So how exactly is this an escape?

Because at an Upchuck show, none of that matters. Lyrical content comes second to energy. People are connecting and attempting to heal through a shared love of aggressive sound. I am certain that no more than two percent of the crowd had any idea what Upchuck vocalist, KT, was singing the entire night. Like most hardcore punk, the live show is a place where artists and attendees purge negative feelings in a storm of sweat and body parts. Upchuck is particularly good at inducing this form of group therapy. For no less than 40 minutes, human bodies are crashing into each other like waves brutalizing a ship’s haul. Bandmates spit cheap beer onto the audience, taunting the dog to bite back. Fists are thrown. Vocal cords are frayed. Blood is shed. Breathe in. Breathe out. Release …

In a September 2020 interview with Renette Van Der Merwe of ''The Alt Club'', KT said, “Upchuck is pent up emotions that need to be purged from oneself. Disappointment, sadness, annoyance, etc., being channeled into a release. A beautiful chaos that is much needed for everyone. So much has been going on for years, decades, etc., so the release is never-ending until the world hits a hard reset.”

A hard reset … yeah … To me, this potential for change was one of the most frustrating elements of the last year. For a second, it felt like things might actually shift. The silver lining of a catastrophic event is often that it gives way to growth. A forest fire destroys everything in its path, but what is left is fertile ground, prime for new life. However, change didn’t come. The old, battered system was propped back up by those wishing to return to normal. Police budgets rose. Wealth inequality rose. All the while, hundreds of thousands of lives were lost. We were gifted a fresh anxiety, another issue to debate with our conservative aunt’s friends on Facebook. Things got worse, not better. Understandably, people are hungry for something to take their minds off the seemingly ever-encroaching doom.

Escapism does not have to be aggressive and dirty though. In another recent outing, I indulged in a distraction commonly associated with the bourgeoisie. I attended a play at the Fox Theatre — although not entirely on my own violation.

A quick escape from this article: There’s an unspoken tradition in my family involving my birthday. Every year, my mom — love her, but she knows it’s true — buys me tickets to an event ''she'' wants to go to. A few years ago, she gifted me five tickets to see Ed Sheeran. I don’t listen to Ed Sheeran. In fact, I find him rather annoying. He looks like a ''Sesame Street'' character that turned human and stopped singing about the importance of good manners to sing about meeting women at the grocery store and his grandmother. But Tammy (my mom) loves Ed. Long story short, I spent my 22nd birthday with my mom and three friends listening to her belt “Shape of You” off-key.

This year however, Tammy got us tickets to see Lin-Manuel Miranda’s smash musical ''Hamilton'' at The Fox Theatre. For those uninitiated, Hamilton tells the story of the founding father Alexander Hamilton from the period just before the start of the American Revolution until his death after a duel with political rival Andrew Burr. The two things that make this musical unique are the non-white cast playing the majority of the roles and the “rap” delivery of nearly all the lines.

I see a couple of elements of escapism happening here. The most obvious being the medium of theater. What makes a play different from a film, the other kind of visual entertainment consumed in a theater, is the relationship between the audience and the actors performing in real time. There’s a deepened investment in what is happening in front of you when the entertainment is not appearing prerecorded on a two-dimensional screen. I feel more drawn into the action when it is being built and altered right in front of me. And I, personally, watch more intently knowing an actor could trip and break their nose.

The other factor is more unique to ''Hamilton'' — and more akin to avoidance rather than escapism. Here’s the thing, I think this musical sucks. Yeah, most of the songs are forgettable, and the rapping is beyond cringey. But my real problem with ''Hamilton'' is I don’t know why it exists in the first place. Why did we need to retcon American history and avoid the reality that these were men who were slaveholders, misogynists, and rapists? Turning the horrors of our past into a cute musical may be the greatest form of escapism.

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In a turn of irony that everyone should have seen coming, the touring production of ''Hamilton'' had to cancel a Wednesday night performance after some members of the company tested positive for coronavirus. The thing about going about your business and pretending the house you’re in is not on fire is that you are still going to get burned. Happy escaping! __—CL—__"
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  string(6833) " #3 UP DSC09651 2  2021-11-05T16:13:06+00:00 #3_UP_DSC09651_2.jpg      Unless ‘Hamilton’ is more your thing #3 UP DSC09651 2   2021-11-05T16:11:36+00:00  UPCHUCK: Escape by any means jim.harris Jim Harris MATTHEW WARHOL  2021-11-05T16:11:36+00:00 
Escaping is all many of us have been trying to do lately — escaping the worldwide pandemic, escaping elections, escaping collapsing economies. According to research done by the University of Southern California, alcohol sales surged by 34 percent during the height of last year’s lockdowns. Tobacco sales jumped 13 percent. Our time spent gorging content on apps like Netflix, Hulu, and HBO Max increased by almost 75 percent. In possibly one of the worst years in our lifetimes, we were coping.

With no end to the pandemic in sight — and an incompetent Georgia state government refusing to provide aid to the most susceptible or to pass legislation to quell the beast — large-scale events have resumed. After being deprived of concerts, sporting events, and plays for over a year, we are back the fuck outside.

In a recent attempt to numb the pulsing anxiety in my head, I dragged myself to a show from Atlanta punk outfit Upchuck at The Earl in East Atlanta Village. I see punk rock as one of the purest forms of escapism. Nothing makes you feel more primal than throwing yourself into a pit of colliding bodies while incurring tinnitus from screeching guitars and fierce screams. Since its inception, punk has never been an art for the elite or the faint of heart. Upchuck carries the core tenets of hardcore punk into modern times. Their music is a violent protest against all unfair systems. It is angry. It is unapologetic. It is political. So how exactly is this an escape?

Because at an Upchuck show, none of that matters. Lyrical content comes second to energy. People are connecting and attempting to heal through a shared love of aggressive sound. I am certain that no more than two percent of the crowd had any idea what Upchuck vocalist, KT, was singing the entire night. Like most hardcore punk, the live show is a place where artists and attendees purge negative feelings in a storm of sweat and body parts. Upchuck is particularly good at inducing this form of group therapy. For no less than 40 minutes, human bodies are crashing into each other like waves brutalizing a ship’s haul. Bandmates spit cheap beer onto the audience, taunting the dog to bite back. Fists are thrown. Vocal cords are frayed. Blood is shed. Breathe in. Breathe out. Release …

In a September 2020 interview with Renette Van Der Merwe of The Alt Club, KT said, “Upchuck is pent up emotions that need to be purged from oneself. Disappointment, sadness, annoyance, etc., being channeled into a release. A beautiful chaos that is much needed for everyone. So much has been going on for years, decades, etc., so the release is never-ending until the world hits a hard reset.”

A hard reset … yeah … To me, this potential for change was one of the most frustrating elements of the last year. For a second, it felt like things might actually shift. The silver lining of a catastrophic event is often that it gives way to growth. A forest fire destroys everything in its path, but what is left is fertile ground, prime for new life. However, change didn’t come. The old, battered system was propped back up by those wishing to return to normal. Police budgets rose. Wealth inequality rose. All the while, hundreds of thousands of lives were lost. We were gifted a fresh anxiety, another issue to debate with our conservative aunt’s friends on Facebook. Things got worse, not better. Understandably, people are hungry for something to take their minds off the seemingly ever-encroaching doom.

Escapism does not have to be aggressive and dirty though. In another recent outing, I indulged in a distraction commonly associated with the bourgeoisie. I attended a play at the Fox Theatre — although not entirely on my own violation.

A quick escape from this article: There’s an unspoken tradition in my family involving my birthday. Every year, my mom — love her, but she knows it’s true — buys me tickets to an event she wants to go to. A few years ago, she gifted me five tickets to see Ed Sheeran. I don’t listen to Ed Sheeran. In fact, I find him rather annoying. He looks like a Sesame Street character that turned human and stopped singing about the importance of good manners to sing about meeting women at the grocery store and his grandmother. But Tammy (my mom) loves Ed. Long story short, I spent my 22nd birthday with my mom and three friends listening to her belt “Shape of You” off-key.

This year however, Tammy got us tickets to see Lin-Manuel Miranda’s smash musical Hamilton at The Fox Theatre. For those uninitiated, Hamilton tells the story of the founding father Alexander Hamilton from the period just before the start of the American Revolution until his death after a duel with political rival Andrew Burr. The two things that make this musical unique are the non-white cast playing the majority of the roles and the “rap” delivery of nearly all the lines.

I see a couple of elements of escapism happening here. The most obvious being the medium of theater. What makes a play different from a film, the other kind of visual entertainment consumed in a theater, is the relationship between the audience and the actors performing in real time. There’s a deepened investment in what is happening in front of you when the entertainment is not appearing prerecorded on a two-dimensional screen. I feel more drawn into the action when it is being built and altered right in front of me. And I, personally, watch more intently knowing an actor could trip and break their nose.

The other factor is more unique to Hamilton — and more akin to avoidance rather than escapism. Here’s the thing, I think this musical sucks. Yeah, most of the songs are forgettable, and the rapping is beyond cringey. But my real problem with Hamilton is I don’t know why it exists in the first place. Why did we need to retcon American history and avoid the reality that these were men who were slaveholders, misogynists, and rapists? Turning the horrors of our past into a cute musical may be the greatest form of escapism.


In a turn of irony that everyone should have seen coming, the touring production of Hamilton had to cancel a Wednesday night performance after some members of the company tested positive for coronavirus. The thing about going about your business and pretending the house you’re in is not on fire is that you are still going to get burned. Happy escaping! —CL—    MATTHEW WARHOL ESCAPE ARTIST: Upchuck vocalist KT at the Earl.  0,0,10                           UPCHUCK: Escape by any means "
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  string(4132) "Wild Heaven Beer just dropped two new beers at their West End location-Sol Flare is an IPA featuring grapefruit, mango pear and peach, and Garden Beer, a spiced porter featuring nutmeg, cardamon, and coffee that is a collab with the Atlanta Botanical Gardens (it is also their first-ever porter release!). Check out our Wild Heaven podcast!

If you love the pretzels at Tucker Brewing Company as much as I do, check out their pretzel making class Nov. 9 with my podcast interviewee and CEO Ashley Hubbard, who also was instrumental in the taproom opening a restaurant last year. You can sign up for tickets here. Check out our Tucker Brewing podcast!

Social Fox Brewing in Norcross is now a proud sponsor of the Atlanta Gladiators and you’ll be able to purchase some of their brews at the Gas South Arena as of November 5.  You can also watch all the Gladiators away games in the taproom starting Friday, Nov. 12. Check our our Social Fox podcast!

Variant Brewing in Roswell also celebrates their fourth anniversary this week from Sunday November 7 through Friday, November 12.  Expect all sorts of surprises! Check out our Variant Brewing podcast!

Marietta’s Red Hare Brewing and Glover Park Brewery are teaming up to support the annual Root House Beer Festival on November 13.  Each year, the festival works with local breweries to create a collection of beers crafted with hops, fruit and herbs harvested from the historic gardens at the William Root House in Marietta.

Head to Marietta’s Ironmonger Brewing on November 13 for their Glow Throw Anniversary Party and get your axe throwing on!  Pre-register here, then email your info to them to reserve a glow lane! Check out our Ironmonger Brewing podcast!

Good Word Brewing in Duluth celebrates their fourth anniversary November 20 starting at 5 p.m.  They’ll celebrate with some new menu items, live music from Black Lion Reggae and DJ Blaq Mozart, and some new cask tappings.

Head up to Lawrenceville’s Ironshield Brewing Saturday, Nov. 20, for their Chili Cook-Off for Charity.  All ticket sales will be donated to Beyond the Ribbon, an organization who advocates for support and resources beyond the diagnosis of cancer. In addition to their beers and the chili, they’ll also have live music and an art show! Check out our Ironshield Brewing podcast!

Head out to Lawrenceville’s Slow Pour Brewing Company on Tuesday, Nov. 23, from 6-7:30 p.m. for a Friendsgiving Calligraphy class.  For the cost of your ticket, you receive a beginner’s calligraphy kit, materials to write on, and 1.5 hours of instruction and demonstration.  Get your tickets here.

Celebrate Turkey Eve on Wednesday, November 24 at 7 p.m. at LaGrange’s Wild Leap Brew Co.  They’ll have Thanksgiving themed beers, cocktails and slushies, delicious food from Blue Nomad Grill, and admission is absolutely free! Check out our Wild Leap Brew Co podcast!

!!Ongoing
Play trivia with the good folks at Sweetwater Brewing in Midtown on Wednesday, Nov. 10, at 7 p.m. and every Wednesday after that!

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

Join Second Self Beer Company in West Midtown for their new Wag-A-Long Wednesdays!  Every Wednesday  from 5-9 p.m, bring your doggy friend with you and get $1 off your first pint, and $10 pitchers for everyone else! If you don’t try their Thai Wheat, you aren’t doing beer right…not sure about this one, but they have a new Berliner Weisse called Lemon Pepper Wet ... let me know what you think! Check out our Second Self podcast!

John’s Creek’s Six Bridges Brewing joins Hard Hitting Trivia every Tuesday from 7:30-9:00 p.m. for fun and prizes, and celebrate their third anniversary Saturday, Nov. 20, with 32 beers on tap, special releases, live music and food trucks.  Check out our Six Bridges Brewing podcast! —CL—"
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If you love the pretzels at __[https://tuckerbrewing.com/|Tucker Brewing Company]__ as much as I do, check out their pretzel making class Nov. 9 with my podcast interviewee and CEO Ashley Hubbard, who also was instrumental in the taproom opening a restaurant last year. You can sign up for tickets [https://tuckerbrewing.square.site/classes|here]. Check out our [https://creativeloafing.com/content-469494|Tucker Brewing podcast]!

__[https://www.socialfoxbrewing.com/|Social Fox Brewing]__ in Norcross is now a proud sponsor of the Atlanta Gladiators and you’ll be able to purchase some of their brews at the Gas South Arena as of November 5.  You can also watch all the Gladiators away games in the taproom starting Friday, Nov. 12. Check our our [https://creativeloafing.com/content-490339    |Social Fox podcast]!

__[https://www.variantbrewing.com/|Variant Brewing]__ in Roswell also celebrates their fourth anniversary this week from Sunday November 7 through Friday, November 12.  Expect all sorts of surprises! Check out our [https://creativeloafing.com/content-478246|Variant Brewing podcast]!

Marietta’s __[https://www.redharebrewing.com/|Red Hare Brewing]__ and __[https://gloverparkbrewery.com/|Glover Park Brewery]__ are teaming up to support the annual Root House Beer Festival on November 13.  Each year, the festival works with local breweries to create a collection of beers crafted with hops, fruit and herbs harvested from the historic gardens at the William Root House in Marietta.

Head to Marietta’s __[https://www.ironmongerbrewing.com/|Ironmonger Brewing]__ on November 13 for their Glow Throw Anniversary Party and get your axe throwing on!  Pre-register [https://fareharbor.com/embeds/book/ironmongerbrewing/items/?fbclid=IwAR3YZNCyXHCgBvNiO6Cm7LWxcS4NErwHU7S7I9_9OQRI--PYam1JiY6FsIU|here], then email your info to them to reserve a glow lane! Check out our [https://creativeloafing.com/content-470339|Ironmonger Brewing podcast]!

__[https://goodwordbrewing.com/|Good Word Brewing]__ in Duluth celebrates their fourth anniversary November 20 starting at 5 p.m.  They’ll celebrate with some new menu items, live music from Black Lion Reggae and DJ Blaq Mozart, and some new cask tappings.

Head up to Lawrenceville’s __[https://www.ironshieldbrewing.com/|Ironshield Brewing]__ Saturday, Nov. 20, for their ''__Chili Cook-Off for Charity__''.  All ticket sales will be donated to Beyond the Ribbon, an organization who advocates for support and resources beyond the diagnosis of cancer. In addition to their beers and the chili, they’ll also have live music and an art show! Check out our [https://creativeloafing.com/content-477448|Ironshield Brewing podcast]!

Head out to Lawrenceville’s __[https://slowpourbrewing.com/|Slow Pour Brewing Company]__ on Tuesday, Nov. 23, from 6-7:30 p.m. for a Friendsgiving Calligraphy class.  For the cost of your ticket, you receive a beginner’s calligraphy kit, materials to write on, and 1.5 hours of instruction and demonstration.  Get your tickets [https://sipandscript.com/event/friendsgiving-calligraphy-class-at-slow-pour/?fbclid=IwAR1WldcDTOZu6oSboJrC7Iz_7DOeWj4A-vb9Mo7hLYRh4Le3MYf7eWu1FqY|here.]

Celebrate Turkey Eve on Wednesday, November 24 at 7 p.m. at LaGrange’s __[https://www.wildleap.com/|Wild Leap Brew Co]__.  They’ll have Thanksgiving themed beers, cocktails and slushies, delicious food from Blue Nomad Grill, and admission is absolutely free! Check out our [https://creativeloafing.com/content-493925|Wild Leap Brew Co podcast]!

!!Ongoing
Play trivia with the good folks at __[https://www.sweetwaterbrew.com/|Sweetwater Brewing]__ in Midtown on Wednesday, Nov. 10, at 7 p.m. and every Wednesday after that!

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

Join __[https://secondselfbeer.com/|Second Self Beer Company]__ in West Midtown for their new Wag-A-Long Wednesdays!  Every Wednesday  from 5-9 p.m, bring your doggy friend with you and get $1 off your first pint, and $10 pitchers for everyone else! If you don’t try their Thai Wheat, you aren’t doing beer right…not sure about this one, but they have a new Berliner Weisse called Lemon Pepper Wet ... let me know what you think! Check out our [https://creativeloafing.com/content-466778|Second Self podcast]!

John’s Creek’s __[https://www.sixbridgesbrewing.com/|Six Bridges Brewing]__ joins Hard Hitting Trivia every Tuesday from 7:30-9:00 p.m. for fun and prizes, and celebrate their third anniversary Saturday, Nov. 20, with 32 beers on tap, special releases, live music and food trucks.  Check out our [https://creativeloafing.com/content-477097|Six Bridges Brewing podcast]! __—CL—__"
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  string(4607) " Screen Shot 2021 11 06 At 09.54.42  2021-11-06T14:53:33+00:00 Screen Shot 2021-11-06 at 09.54.42.jpg     on tap Winter brews are starting to pour Screen Shot 2021 11 06 At 09.54.42   2021-11-06T14:43:12+00:00  ON TAP: Heaven in here tony.paris Tony Paris Jill Melancon jill.melancon (Jill Melancon) 2021-11-06T14:43:12+00:00 Wild Heaven Beer just dropped two new beers at their West End location-Sol Flare is an IPA featuring grapefruit, mango pear and peach, and Garden Beer, a spiced porter featuring nutmeg, cardamon, and coffee that is a collab with the Atlanta Botanical Gardens (it is also their first-ever porter release!). Check out our Wild Heaven podcast!

If you love the pretzels at Tucker Brewing Company as much as I do, check out their pretzel making class Nov. 9 with my podcast interviewee and CEO Ashley Hubbard, who also was instrumental in the taproom opening a restaurant last year. You can sign up for tickets here. Check out our Tucker Brewing podcast!

Social Fox Brewing in Norcross is now a proud sponsor of the Atlanta Gladiators and you’ll be able to purchase some of their brews at the Gas South Arena as of November 5.  You can also watch all the Gladiators away games in the taproom starting Friday, Nov. 12. Check our our Social Fox podcast!

Variant Brewing in Roswell also celebrates their fourth anniversary this week from Sunday November 7 through Friday, November 12.  Expect all sorts of surprises! Check out our Variant Brewing podcast!

Marietta’s Red Hare Brewing and Glover Park Brewery are teaming up to support the annual Root House Beer Festival on November 13.  Each year, the festival works with local breweries to create a collection of beers crafted with hops, fruit and herbs harvested from the historic gardens at the William Root House in Marietta.

Head to Marietta’s Ironmonger Brewing on November 13 for their Glow Throw Anniversary Party and get your axe throwing on!  Pre-register here, then email your info to them to reserve a glow lane! Check out our Ironmonger Brewing podcast!

Good Word Brewing in Duluth celebrates their fourth anniversary November 20 starting at 5 p.m.  They’ll celebrate with some new menu items, live music from Black Lion Reggae and DJ Blaq Mozart, and some new cask tappings.

Head up to Lawrenceville’s Ironshield Brewing Saturday, Nov. 20, for their Chili Cook-Off for Charity.  All ticket sales will be donated to Beyond the Ribbon, an organization who advocates for support and resources beyond the diagnosis of cancer. In addition to their beers and the chili, they’ll also have live music and an art show! Check out our Ironshield Brewing podcast!

Head out to Lawrenceville’s Slow Pour Brewing Company on Tuesday, Nov. 23, from 6-7:30 p.m. for a Friendsgiving Calligraphy class.  For the cost of your ticket, you receive a beginner’s calligraphy kit, materials to write on, and 1.5 hours of instruction and demonstration.  Get your tickets here.

Celebrate Turkey Eve on Wednesday, November 24 at 7 p.m. at LaGrange’s Wild Leap Brew Co.  They’ll have Thanksgiving themed beers, cocktails and slushies, delicious food from Blue Nomad Grill, and admission is absolutely free! Check out our Wild Leap Brew Co podcast!

!!Ongoing
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Join Second Self Beer Company in West Midtown for their new Wag-A-Long Wednesdays!  Every Wednesday  from 5-9 p.m, bring your doggy friend with you and get $1 off your first pint, and $10 pitchers for everyone else! If you don’t try their Thai Wheat, you aren’t doing beer right…not sure about this one, but they have a new Berliner Weisse called Lemon Pepper Wet ... let me know what you think! Check out our Second Self podcast!

John’s Creek’s Six Bridges Brewing joins Hard Hitting Trivia every Tuesday from 7:30-9:00 p.m. for fun and prizes, and celebrate their third anniversary Saturday, Nov. 20, with 32 beers on tap, special releases, live music and food trucks.  Check out our Six Bridges Brewing podcast! —CL—    WILD HEAVEN BEER TWO NEW BREWS: Check out the latest from Wild Heaven Beer.  0,0,1    "On Tap"                       ON TAP: Heaven in here "
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  string(3980) "At the beginning of Get Your Ya-Yas Out, the second live album by The Rolling Stones, the band is introduced through a manic audio collage of stage announcements, one that culminates with “Ladies and gentlemen, the greatest rock and roll band in the world, The Rolling Stones!”

At the time of the intro’s recording, November, 1969, the British band was just laying claim to the title, grabbing hold of it before any other other band might attempt the same. Over fifty years later, they might as well have trademarked the phrase. They are still regarded as the greatest rock ’n’ roll band in the world by fans and critics alike, and their popularity has not faltered, as the band continues to fill stadiums and arenas wherever and whenever they play.

The Rolling Stones are also the oldest rock ’n’ roll band in the world, having outlived not only many of the original rock ’n’ roll bands of the early to mid-‘60s, but many of the band’s original fans as well.

Indeed, with popular music having undergone so many changes since the Stones first appeared, with guitar sales in a slump, and hip-hop becoming the basis for so much of today’s music, The Rolling Stones may very well be the only rock ’n’ roll band left in the world. Certainly, they are the only rock ’n’ roll band of their stature. There will always be musicians thrashing around on guitars in garages and basements the world over, but the days of their ascendency to the heights of The Rolling Stones seems long gone.

Dale Skjerseth, production director for The Rolling Stones No Filter Tour 2021 calls them his “Rolls Royce.” Speaking to a handful of reporters and journalists via Zoom from The Dome at America’s Center, in St. Louis, MO, he considers The Rolling Stones “the pinnacle of rock ’n’ roll … sixty years and still standing in stadium mode,” adding “no one should pass up an opportunity” to see them perform. The Rolling Stones play Atlanta’s Mercedes-Benz Stadium Thursday, Nov. 11.

While Skjerseth acknowledges Rolling Stones tours of the past have been very elaborate affairs, with stories-tall inflatable characters such as during the Voodoo Lounge tour of 1994 — his first tour with the band, when he joined them as stage manager — he says the No Filter tour is “back to basics.” The set-up is relatively simple. With only the backline and four large, 45-foot video screens onstage, the focus of this tour is on “visuals and sound,” hearing the band and seeing the band, with “no cosmetics.”

Skjerseth maintains “the Stones have done their homework” and are aware of of what they’ve played in which cities, tailoring each city’s setlist to include songs they may have never played in that city along with the standards and many of the favorites audiences want to hear. Does that mean we will hear “Heaven” in Mercedes-Benz Stadium Thursday night? I’m not holding my breath.

During rehearsals for this resumed-leg of the No Filter tour, Skjerseth says the touring band — which now includes Mick Jagger, Keith Richards, Ronnie Wood, Chuck Leavell, Darryl Jones, and Steve Jordan, among others — warmed up by digging deep into the extensive Rolling Stones catalogue. As for the absence of the late Charlie Watts, who died in August of this year, Skjerseth reminds everyone that “they were planning to tour without him … so that he could rest” following a heart procedure surgery, with Jordan already picked to temporarily replace him on drums.

The tour, which originally started in 2017, has had to be postponed twice, in 2019 due to Jagger having to take a break for a heart valve replacement, then again in 2020 due to the coronavirus pandemic. After the Atlanta show, the No Filter tour is scheduled to end November 23 in Hollywood, FL. —CL—

$94.50-1750.00, 7:30 p.m.Thursday, Nov. 11, 2021. Mercedes Benz Stadium, 1 AMB Drive N.W., Atlanta, 30313, mercedesbenzstadium.com"
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  string(4012) "At the beginning of ''Get Your Ya-Yas Out, ''the second live album by The Rolling Stones, the band is introduced through a manic audio collage of stage announcements, one that culminates with “Ladies and gentlemen, the greatest rock and roll band in the world, The Rolling Stones!”

At the time of the intro’s recording, November, 1969, the British band was just laying claim to the title, grabbing hold of it before any other other band might attempt the same. Over fifty years later, they might as well have trademarked the phrase. They are still regarded as the greatest rock ’n’ roll band in the world by fans and critics alike, and their popularity has not faltered, as the band continues to fill stadiums and arenas wherever and whenever they play.

The Rolling Stones are also the oldest rock ’n’ roll band in the world, having outlived not only many of the original rock ’n’ roll bands of the early to mid-‘60s, but many of the band’s original fans as well.

Indeed, with popular music having undergone so many changes since the Stones first appeared, with guitar sales in a slump, and hip-hop becoming the basis for so much of today’s music, The Rolling Stones may very well be the only rock ’n’ roll band left in the world. Certainly, they are the only rock ’n’ roll band of their stature. There will always be musicians thrashing around on guitars in garages and basements the world over, but the days of their ascendency to the heights of The Rolling Stones seems long gone.

Dale Skjerseth, production director for The Rolling Stones ''No Filter Tour 2021'' calls them his “Rolls Royce.” Speaking to a handful of reporters and journalists via Zoom from The Dome at America’s Center, in St. Louis, MO, he considers The Rolling Stones “the pinnacle of rock ’n’ roll … sixty years and still standing in stadium mode,” adding “no one should pass up an opportunity” to see them perform. The Rolling Stones play Atlanta’s Mercedes-Benz Stadium Thursday, Nov. 11.

While Skjerseth acknowledges Rolling Stones tours of the past have been very elaborate affairs, with stories-tall inflatable characters such as during the ''Voodoo Lounge'' tour of 1994 — his first tour with the band, when he joined them as stage manager — he says the ''No Filter'' tour is “back to basics.” The set-up is relatively simple. With only the backline and four large, 45-foot video screens onstage, the focus of this tour is on “visuals and sound,” hearing the band and seeing the band, with “no cosmetics.”

Skjerseth maintains “the Stones have done their homework” and are aware of of what they’ve played in which cities, tailoring each city’s setlist to include songs they may have never played in that city along with the standards and many of the favorites audiences want to hear. Does that mean we will hear “Heaven” in Mercedes-Benz Stadium Thursday night? I’m not holding my breath.

During rehearsals for this resumed-leg of the ''No Filter'' tour, Skjerseth says the touring band — which now includes Mick Jagger, Keith Richards, Ronnie Wood, Chuck Leavell, Darryl Jones, and Steve Jordan, among others — warmed up by digging deep into the extensive Rolling Stones catalogue. As for the absence of the late Charlie Watts, who died in August of this year, Skjerseth reminds everyone that “they were planning to tour without him … so that he could rest” following a heart procedure surgery, with Jordan already picked to temporarily replace him on drums.

The tour, which originally started in 2017, has had to be postponed twice, in 2019 due to Jagger having to take a break for a heart valve replacement, then again in 2020 due to the coronavirus pandemic. After the Atlanta show, the ''No Filter'' tour is scheduled to end November 23 in Hollywood, FL. __—CL—__

''$94.50-1750.00, 7:30 p.m.Thursday, Nov. 11, 2021. Mercedes Benz Stadium, 1 AMB Drive N.W., Atlanta, 30313, mercedesbenzstadium.com''"
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At the time of the intro’s recording, November, 1969, the British band was just laying claim to the title, grabbing hold of it before any other other band might attempt the same. Over fifty years later, they might as well have trademarked the phrase. They are still regarded as the greatest rock ’n’ roll band in the world by fans and critics alike, and their popularity has not faltered, as the band continues to fill stadiums and arenas wherever and whenever they play.

The Rolling Stones are also the oldest rock ’n’ roll band in the world, having outlived not only many of the original rock ’n’ roll bands of the early to mid-‘60s, but many of the band’s original fans as well.

Indeed, with popular music having undergone so many changes since the Stones first appeared, with guitar sales in a slump, and hip-hop becoming the basis for so much of today’s music, The Rolling Stones may very well be the only rock ’n’ roll band left in the world. Certainly, they are the only rock ’n’ roll band of their stature. There will always be musicians thrashing around on guitars in garages and basements the world over, but the days of their ascendency to the heights of The Rolling Stones seems long gone.

Dale Skjerseth, production director for The Rolling Stones No Filter Tour 2021 calls them his “Rolls Royce.” Speaking to a handful of reporters and journalists via Zoom from The Dome at America’s Center, in St. Louis, MO, he considers The Rolling Stones “the pinnacle of rock ’n’ roll … sixty years and still standing in stadium mode,” adding “no one should pass up an opportunity” to see them perform. The Rolling Stones play Atlanta’s Mercedes-Benz Stadium Thursday, Nov. 11.

While Skjerseth acknowledges Rolling Stones tours of the past have been very elaborate affairs, with stories-tall inflatable characters such as during the Voodoo Lounge tour of 1994 — his first tour with the band, when he joined them as stage manager — he says the No Filter tour is “back to basics.” The set-up is relatively simple. With only the backline and four large, 45-foot video screens onstage, the focus of this tour is on “visuals and sound,” hearing the band and seeing the band, with “no cosmetics.”

Skjerseth maintains “the Stones have done their homework” and are aware of of what they’ve played in which cities, tailoring each city’s setlist to include songs they may have never played in that city along with the standards and many of the favorites audiences want to hear. Does that mean we will hear “Heaven” in Mercedes-Benz Stadium Thursday night? I’m not holding my breath.

During rehearsals for this resumed-leg of the No Filter tour, Skjerseth says the touring band — which now includes Mick Jagger, Keith Richards, Ronnie Wood, Chuck Leavell, Darryl Jones, and Steve Jordan, among others — warmed up by digging deep into the extensive Rolling Stones catalogue. As for the absence of the late Charlie Watts, who died in August of this year, Skjerseth reminds everyone that “they were planning to tour without him … so that he could rest” following a heart procedure surgery, with Jordan already picked to temporarily replace him on drums.

The tour, which originally started in 2017, has had to be postponed twice, in 2019 due to Jagger having to take a break for a heart valve replacement, then again in 2020 due to the coronavirus pandemic. After the Atlanta show, the No Filter tour is scheduled to end November 23 in Hollywood, FL. —CL—

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We don't have any details on the 2021 event but check back here for details. 

Our 2019 coverage:

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We don't have any details on the 2021 event but check back here for details. 

Our 2019 coverage:

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  string(7443) "Elsewhere Brewing in Grant Park is having a holiday macramé garland workshop Dec. 1 from 7-9 p.m.

Cultivation Brewing in Norcross is having a Friendsgiving Comedy Party December 2 at 7 p.m. featuring award winning comedian Joel Byers — start the month with some much needed comedy!  Also, join them for a chili cook-off Dec. 18 at 4 p.m. Tickets are $10 or a new, unwrapped toy for Toys for Tots.

Check out the Chili Cook-Off at Six Bridges Brewing in Johns Creek, Dec. 5, 1-4 p.m. with Johns Creek Fire going up against Johns Creek Police. Your $20 ticket gets you a pint and one chili sample from each competitor. Check out our Six Bridges podcast!

Horned Owl Brewing in Kennesaw is hosting Santa Claus on Dec. 5 from 2-3:30 p.m. Bring your kids or fur babies for pictures with Santa and candy canes for kids, and an exclusive cask beer on tap for the big kids. Be sure to donate canned food while you are there to benefit MUST Ministry

Fire Maker Brewing on the Westside hosts their Second Annual Winter Market featuring Lifeline Animal Shelter and over 20 other vendors on Sunday, Dec. 5 from 12-5 p.m. Check out our Fire Maker podcast!

Join Santa for lunch at Roswell’s From the Earth Brewing Company on Sunday, Dec. 5, 11:30-2:30 p.m. The price is $15 per table, and each table will get a visit from Santa where you’ll be able to take photos.

Glover Park Brewery, Marietta, is having a Sip and Paint party Dec. 7 from 7-9 p.m. Ticket price includes one free beer. It is also bring your own food night if you want to bring a picnic basket! Check out our Glover Park Brewery podcast!

Wild Heaven’s West End location is having a Crafts & Drafts Holiday Market, Saturday and Sunday, Dec. 11 and 12, from 1-6 p.m. Check out our Wild Heaven podcast!

Tucker’s High Card Brewing will have a Christmas Artists Market on Sunday, Dec. 12, from 1-5 p.m.— with tons of local artist creations to choose from. Check out our High Card Brewing podcast!

More holiday fun happening at Roswell’s Gate City Brewing Company Sunday, Dec. 12, from 3:30-5:30 p.m. — they’ll have gingerbread house decorating and of course, beer!

Take care of some holiday shopping at Steady Hand Beer Co on the Westside’s Winter Wonderland Art Market on Sunday, Dec. 12, starting at noon. Check out our Steady Hand podcast!

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

Closer to Christmas, Alpharetta’s Cherry Street Brew Pub at Halcyon celebrates Brunch and Brews with Santa on Saturday, December 18 from 10:00 a.m. to 2:00 p. m. In addition to brunch and Santa, they’ll have a kid’s ornament decorating class — and no charge for photos with Santa!

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Variant Brewing Company (66 Norcross St, Roswell) celebrates Trivia Tuesday every Tuesday from 7-9 p.m. Prizes for first, second, and third place. Check out our Variant Brewing podcast! —CL—"
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  string(9782) "__[https://elsewherebrewing.com/|Elsewhere Brewing]__ in Grant Park is having a holiday macramé garland workshop Dec. 1 from 7-9 p.m.

__[https://www.cultivationbrew.com/|Cultivation Brewing] in __Norcross is having a Friendsgiving Comedy Party December 2 at 7 p.m. featuring award winning comedian Joel Byers — start the month with some much needed comedy!  Also, join them for a chili cook-off Dec. 18 at 4 p.m. Tickets are $10 or a new, unwrapped toy for Toys for Tots.

Check out the Chili Cook-Off at __[https://www.sixbridgesbrewing.com/|Six Bridges Brewing]__ in Johns Creek, Dec. 5, 1-4 p.m. with Johns Creek Fire going up against Johns Creek Police. Your $20 ticket gets you a pint and one chili sample from each competitor. Check out our [https://creativeloafing.com/content-477097|Six Bridges podcast]!

__[https://www.hornedowlbrewing.com/|Horned Owl Brewing]__ in Kennesaw is hosting Santa Claus on Dec. 5 from 2-3:30 p.m. Bring your kids or fur babies for pictures with Santa and candy canes for kids, and an exclusive cask beer on tap for the big kids. Be sure to donate canned food while you are there to benefit MUST Ministry

__[https://www.firemakerbeer.com/|Fire Maker Brewing]__ on the Westside hosts their Second Annual Winter Market featuring Lifeline Animal Shelter and over 20 other vendors on Sunday, Dec. 5 from 12-5 p.m. Check out our [https://creativeloafing.com/content-476419|Fire Maker podcast]!

Join Santa for lunch at Roswell’s __[https://www.ftebrewing.com/|From the Earth Brewing Company]__ on Sunday, Dec. 5, 11:30-2:30 p.m. The price is $15 per table, and each table will get a visit from Santa where you’ll be able to take photos.

__[https://gloverparkbrewery.com/|Glover Park Brewery], __Marietta, is having a Sip and Paint party Dec. 7 from 7-9 p.m. Ticket price includes one free beer. It is also bring your own food night if you want to bring a picnic basket! Check out our [https://creativeloafing.com/content-470305|Glover Park Brewery podcast]!

__[https://wildheavenbeer.com/#|Wild Heaven]’s__ West End location is having a Crafts & Drafts Holiday Market, Saturday and Sunday, Dec. 11 and 12, from 1-6 p.m. Check out our [https://creativeloafing.com/content-471750|Wild Heaven podcast]!

Tucker’s __[https://www.highcardbrewing.com/|High Card Brewing]__ will have a Christmas Artists Market on Sunday, Dec. 12, from 1-5 p.m.— with tons of local artist creations to choose from. Check out our [https://creativeloafing.com/content-479025|High Card Brewing podcast]!

More holiday fun happening at Roswell’s __[https://www.gatecitybrewingcompany.com/|Gate City Brewing Company]__ Sunday, Dec. 12, from 3:30-5:30 p.m. — they’ll have gingerbread house decorating and of course, beer!

Take care of some holiday shopping at __[http://www.steadyhandbeer.com/|Steady Hand Beer Co]__ on the Westside’s Winter Wonderland Art Market on Sunday, Dec. 12, starting at noon. Check out our [https://creativeloafing.com/content-475025|Steady Hand podcast]!

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

Closer to Christmas, Alpharetta’s __[http://www.cherrystreetbrewing.com/halcyon/|Cherry Street Brew Pub at Halcyon]__ celebrates Brunch and Brews with Santa on Saturday, December 18 from 10:00 a.m. to 2:00 p. m. In addition to brunch and Santa, they’ll have a kid’s ornament decorating class — and no charge for photos with Santa!

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

__[https://www.variantbrewing.com/|Variant Brewing Company]__ (66 Norcross St, Roswell) celebrates Trivia Tuesday every Tuesday from 7-9 p.m. Prizes for first, second, and third place. Check out our [https://creativeloafing.com/content-478246|Variant Brewing podcast]! __—CL—__"
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  string(7877) " Horned Owl  2021-11-28T16:58:01+00:00 Horned Owl.jpg      Celebrations, bingo and trivia for all Horned Owl   2021-11-28T16:50:12+00:00  ON TAP: Santa Claus to stop in at local breweries tony.paris Tony Paris Jill Melancon jill.melancon (Jill Melancon) 2021-11-28T16:50:12+00:00 Elsewhere Brewing in Grant Park is having a holiday macramé garland workshop Dec. 1 from 7-9 p.m.

Cultivation Brewing in Norcross is having a Friendsgiving Comedy Party December 2 at 7 p.m. featuring award winning comedian Joel Byers — start the month with some much needed comedy!  Also, join them for a chili cook-off Dec. 18 at 4 p.m. Tickets are $10 or a new, unwrapped toy for Toys for Tots.

Check out the Chili Cook-Off at Six Bridges Brewing in Johns Creek, Dec. 5, 1-4 p.m. with Johns Creek Fire going up against Johns Creek Police. Your $20 ticket gets you a pint and one chili sample from each competitor. Check out our Six Bridges podcast!

Horned Owl Brewing in Kennesaw is hosting Santa Claus on Dec. 5 from 2-3:30 p.m. Bring your kids or fur babies for pictures with Santa and candy canes for kids, and an exclusive cask beer on tap for the big kids. Be sure to donate canned food while you are there to benefit MUST Ministry

Fire Maker Brewing on the Westside hosts their Second Annual Winter Market featuring Lifeline Animal Shelter and over 20 other vendors on Sunday, Dec. 5 from 12-5 p.m. Check out our Fire Maker podcast!

Join Santa for lunch at Roswell’s From the Earth Brewing Company on Sunday, Dec. 5, 11:30-2:30 p.m. The price is $15 per table, and each table will get a visit from Santa where you’ll be able to take photos.

Glover Park Brewery, Marietta, is having a Sip and Paint party Dec. 7 from 7-9 p.m. Ticket price includes one free beer. It is also bring your own food night if you want to bring a picnic basket! Check out our Glover Park Brewery podcast!

Wild Heaven’s West End location is having a Crafts & Drafts Holiday Market, Saturday and Sunday, Dec. 11 and 12, from 1-6 p.m. Check out our Wild Heaven podcast!

Tucker’s High Card Brewing will have a Christmas Artists Market on Sunday, Dec. 12, from 1-5 p.m.— with tons of local artist creations to choose from. Check out our High Card Brewing podcast!

More holiday fun happening at Roswell’s Gate City Brewing Company Sunday, Dec. 12, from 3:30-5:30 p.m. — they’ll have gingerbread house decorating and of course, beer!

Take care of some holiday shopping at Steady Hand Beer Co on the Westside’s Winter Wonderland Art Market on Sunday, Dec. 12, starting at noon. Check out our Steady Hand podcast!

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

Closer to Christmas, Alpharetta’s Cherry Street Brew Pub at Halcyon celebrates Brunch and Brews with Santa on Saturday, December 18 from 10:00 a.m. to 2:00 p. m. In addition to brunch and Santa, they’ll have a kid’s ornament decorating class — and no charge for photos with Santa!

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Variant Brewing Company (66 Norcross St, Roswell) celebrates Trivia Tuesday every Tuesday from 7-9 p.m. Prizes for first, second, and third place. Check out our Variant Brewing podcast! —CL—    HORNED OWL BREWING IN DOWNTOWN KENNESAW: Horned Owl Brewing.  0,0,10                           ON TAP: Santa Claus to stop in at local breweries "
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