September 2019 - Best of Atlanta
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array(97) { ["title"]=> string(48) "ATL Untrapped: Deante’ Hitchcock gets 'Better'" ["modification_date"]=> string(25) "2020-09-27T23:30:38+00:00" ["creation_date"]=> string(25) "2019-09-03T15:07:32+00:00" ["contributors"]=> array(2) { [0]=> string(13) "narahlandress" [1]=> string(9) "ben.eason" } ["date"]=> string(25) "2019-09-03T15:03:31+00:00" ["tracker_status"]=> string(1) "o" ["tracker_id"]=> string(2) "11" ["view_permission"]=> string(13) "view_trackers" ["parent_object_id"]=> string(2) "11" ["parent_object_type"]=> string(7) "tracker" ["field_permissions"]=> string(2) "[]" ["tracker_field_contentTitle"]=> string(48) "ATL Untrapped: Deante’ Hitchcock gets 'Better'" ["tracker_field_contentCreator"]=> string(13) "narahlandress" ["tracker_field_contentCreator_text"]=> string(13) "narahlandress" ["tracker_field_contentCreator_unstemmed"]=> string(13) "narahlandress" ["tracker_field_contentByline"]=> string(16) "Joshua Robinson " ["tracker_field_contentByline_exact"]=> string(16) "Joshua Robinson " ["tracker_field_contentBylinePerson"]=> string(6) "476090" ["tracker_field_contentBylinePerson_text"]=> string(33) "joshfrob17 (Joshua Robinson)" ["tracker_field_description"]=> string(65) "The Riverdale rapper puts an exclamation point on a breakout year" ["tracker_field_description_raw"]=> string(65) "The Riverdale rapper puts an exclamation point on a breakout year" ["tracker_field_contentDate"]=> string(25) "2019-09-03T15:03:31+00:00" ["tracker_field_contentWikiPage"]=> string(58) "Content:_:ATL Untrapped: Deante’ Hitchcock gets 'Better'" ["tracker_field_contentWikiPage_text"]=> string(5332) "Overnight success is not a reality for most people. The nonstop grind is a universal experience that connects entertainers, college graduates, and everyone in between. At times jubilant, the path to reaching one’s goals and aspirations also has its rough patches. Many stress the beauty of the come-up, but its countless hurdles are a daunting reality worthy of their own conversation. The monetary droughts, crushing disappointments, and other such potholes make for inspirational stories for some, but they can be dream killers for others. The inescapable truth is that trusting the process is hard as fuck. On the dawn of his latest album, titled Better, Deante' Hitchcock still relates to that struggle. The 26-year-old rapper behind gems such as "Changed for You" and "No Secret" signed a record deal with RCA in 2017 after his trademark car freestyles connected him to hip-hop legend Mark Pitts. However, his work dates back to 2012 with the release of his first mixtape, 19 Summers. As he continued to grow, Hitchcock went on to drop quality mixtape projects such as Wishful Thinking in 2015 and Good the following year. Unfortunately, Good wasn’t the game-changer he had hoped it would be, but like he says as the beat of the project’s opening track creeps in, “Good things take time.” Three years later, taking into account Hitchcock’s accomplishments, that line seems eerily prophetic. This year alone, the Riverdale artist has been everywhere. Although he wasn’t initially sent an invitation, Hitchcock secured his golden ticket and participated in the famed Dreamville sessions in January, and fresh off of that collaborative experience, he released the punchy Just a Sample 2 in March. The star-studded EP features the likes of Childish Major, Kilo Ali, and H.E.R. and houses the runaway single “Side Nigga Anthem” along with “Feelings,” a revamped version of the song that originally appeared on Good. In support of the record, Hitchcock toured heavily throughout the spring and summer as an opener for stretches of Leikeli47’s “Acrylic Tour” and J.I.D.’s “Catch Me If You Can Tour.” Mere weeks after returning home from his most recent pilgrimage, his year came full circle. July’s arrival brought with it Revenge of the Dreamers III, the compilation album formed from the 10-night studio stint that Dreamville hosted at the top of the year, and Hitchcock made the cut, landing an acclaimed verse on “PTSD.” With a coveted album placement, a strong solo record, and major touring experience under his belt, 2019 has been nothing short of a breakout year for Hitchcock, and now he prepares for the release of his major label debut, Better. Already recorded and turned into RCA, Better is the long-awaited sequel to Good and the penultimate installment in his career-spanning Good-Better-Best trilogy. No release date has been revealed, but listeners can anticipate features from 6lack, Young Nudy, and Miguel, as well as a 45-minute runtime. The album is a balanced rap effort that warrants watery eyes and shameless laughs, from odes to the women in his family to jovial chants about extremely aqueous fellatio. Overflowing with transparent lyricism and infectious charisma, Better is an exclamation point on a fantastic year — a defining moment for Hitchcock and proof that there is stock in trusting the process. “There’s been a lot of change, growth, heartache, shit-talking — basically all the emotions I’ve been through up to this point,” Hitchcock says. “I’ve felt every emotion in the book, but I’ve never been desperate.” Three years removed from the setbacks of Good, Deante’ Hitchcock’s career has never looked brighter. His decision to realign and refocus rather than surrender provided him with the experiences necessary to achieve the heights that he has this year. So don’t let the ugliness of the come-up detract you from its beauty. It gets better. Summer is coming to a screeching halt, but here are some hip-hop shows to relish in its last days. Sat., Sept. 7 — Channel Tres, Aisle 5. — ONE Musicfest, Gucci Mane, Rae Sremmurd, Tory Lanez, Centennial Olympic Park. — Trent in the Trees, Ahjee Parker, Drunken Unicorn. Sun., Sept. 8 — ONE Musicfest, Rick Ross, DMX, Yung Baby Tate, Centennial Olympic Park. Tues., Sept. 10 — Burna Boy, Buckhead Theatre. Sat., Sept. 14 and Sun., Sept. 15 — Benny Butcher, The Loft. Mon., Sept. 16 — Quando Rondo, The Loft. Wed., Sept. 18 — Snow Tha Product, Masquerade (Hell). Thurs., Sept. 19 — Gunna, Buckhead Theatre. — Scarlxrd, Masquerade (Hell). Sat., Sept. 21 — ILoveMakonnen, Vinyl. Sun., Sept. 22 — Injury Reserve, Masquerade (Purgatory). — Meek Mill, Future, YG, Mustard, Megan Thee Stallion, Cellairis Amphitheatre at Lakewood. Mon. Sept. 23 — Cupcakke, Masquerade (Hell). Tues., Sept. 24 — Hoodie Allen, Jake Miller, Center Stage. Wed., Sept. 25 — Ugly God, Masquerade (Heaven). Thurs., Sept. 26 — R.A.P. Ferreira (fka Milo), 529. Sun., Sept. 29 — Skinnyfromthe9, $teve Cannon, Traedakidd, Masquerade (Purgatory). Mon., Sept. 30 — Father, 529. Tues., Oct. 1 — Fatboy SSE, Vinyl. Wed., Oct. 2 — Chris Brown, Joyner Lucas, Yella Beezy, State Farm Arena." ["tracker_field_contentWikiPage_raw"]=> string(5456) "Overnight success is not a reality for most people. The nonstop grind is a universal experience that connects entertainers, college graduates, and everyone in between. At times jubilant, the path to reaching one’s goals and aspirations also has its rough patches. Many stress the beauty of the come-up, but its countless hurdles are a daunting reality worthy of their own conversation. The monetary droughts, crushing disappointments, and other such potholes make for inspirational stories for some, but they can be dream killers for others. The inescapable truth is that trusting the process is hard as fuck. On the dawn of his latest album, titled ''Better'', Deante' Hitchcock still relates to that struggle. The 26-year-old rapper behind gems such as "Changed for You" and "No Secret" signed a record deal with RCA in 2017 after his trademark car freestyles connected him to hip-hop legend Mark Pitts. However, his work dates back to 2012 with the release of his first mixtape, ''19 Summers''. As he continued to grow, Hitchcock went on to drop quality mixtape projects such as ''Wishful Thinking'' in 2015 and ''Good'' the following year. Unfortunately, ''Good'' wasn’t the game-changer he had hoped it would be, but like he says as the beat of the project’s opening track creeps in, “Good things take time.” Three years later, taking into account Hitchcock’s accomplishments, that line seems eerily prophetic. This year alone, the Riverdale artist has been everywhere. Although he wasn’t initially sent an invitation, Hitchcock secured his golden ticket and participated in the famed Dreamville sessions in January, and fresh off of that collaborative experience, he released the punchy ''Just a Sample 2'' in March. The star-studded EP features the likes of Childish Major, Kilo Ali, and H.E.R. and houses the runaway single “Side Nigga Anthem” along with “Feelings,” a revamped version of the song that originally appeared on ''Good''. In support of the record, Hitchcock toured heavily throughout the spring and summer as an opener for stretches of Leikeli47’s “Acrylic Tour” and J.I.D.’s “Catch Me If You Can Tour.” Mere weeks after returning home from his most recent pilgrimage, his year came full circle. July’s arrival brought with it ''Revenge of the Dreamers III'', the compilation album formed from the 10-night studio stint that Dreamville hosted at the top of the year, and Hitchcock made the cut, landing an acclaimed verse on “PTSD.” With a coveted album placement, a strong solo record, and major touring experience under his belt, 2019 has been nothing short of a breakout year for Hitchcock, and now he prepares for the release of his major label debut, ''Better''. Already recorded and turned into RCA, ''Better'' is the long-awaited sequel to ''Good'' and the penultimate installment in his career-spanning ''Good-Better-Best trilogy''. No release date has been revealed, but listeners can anticipate features from 6lack, Young Nudy, and Miguel, as well as a 45-minute runtime. The album is a balanced rap effort that warrants watery eyes and shameless laughs, from odes to the women in his family to jovial chants about extremely aqueous fellatio. Overflowing with transparent lyricism and infectious charisma, ''Better'' is an exclamation point on a fantastic year — a defining moment for Hitchcock and proof that there is stock in trusting the process. “There’s been a lot of change, growth, heartache, shit-talking — basically all the emotions I’ve been through up to this point,” Hitchcock says. “I’ve felt every emotion in the book, but I’ve never been desperate.” Three years removed from the setbacks of ''Good'', Deante’ Hitchcock’s career has never looked brighter. His decision to realign and refocus rather than surrender provided him with the experiences necessary to achieve the heights that he has this year. So don’t let the ugliness of the come-up detract you from its beauty. It gets better. Summer is coming to a screeching halt, but here are some hip-hop shows to relish in its last days. __Sat., Sept. 7__ — Channel Tres, Aisle 5. — ONE Musicfest, Gucci Mane, Rae Sremmurd, Tory Lanez, Centennial Olympic Park. — Trent in the Trees, Ahjee Parker, Drunken Unicorn. __Sun., Sept. 8__ — ONE Musicfest, Rick Ross, DMX, Yung Baby Tate, Centennial Olympic Park. __Tues., Sept. 10__ — Burna Boy, Buckhead Theatre. __Sat., Sept. 14 and Sun., Sept. 15__ — Benny Butcher, The Loft. __Mon., Sept. 16__ — Quando Rondo, The Loft. __Wed., Sept. 18__ — Snow Tha Product, Masquerade (Hell). __Thurs., Sept. 19__ — Gunna, Buckhead Theatre. — Scarlxrd, Masquerade (Hell). __Sat., Sept. 21__ — ILoveMakonnen, Vinyl. __Sun., Sept. 22__ — Injury Reserve, Masquerade (Purgatory). — Meek Mill, Future, YG, Mustard, Megan Thee Stallion, Cellairis Amphitheatre at Lakewood. __Mon. Sept. 23__ — Cupcakke, Masquerade (Hell). __Tues., Sept. 24__ — Hoodie Allen, Jake Miller, Center Stage. __Wed., Sept. 25__ — Ugly God, Masquerade (Heaven). __Thurs., Sept. 26__ — R.A.P. Ferreira (fka Milo), 529. __Sun., Sept. 29__ — Skinnyfromthe9, $teve Cannon, Traedakidd, Masquerade (Purgatory). __Mon., Sept. 30__ — Father, 529. __Tues., Oct. 1__ — Fatboy SSE, Vinyl. __Wed., Oct. 2__ — Chris Brown, Joyner Lucas, Yella Beezy, State Farm Arena." 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The nonstop grind is a universal experience that connects entertainers, college graduates, and everyone in between. At times jubilant, the path to reaching one’s goals and aspirations also has its rough patches. Many stress the beauty of the come-up, but its countless hurdles are a daunting reality worthy of their own conversation. The monetary droughts, crushing disappointments, and other such potholes make for inspirational stories for some, but they can be dream killers for others. The inescapable truth is that trusting the process is hard as fuck. On the dawn of his latest album, titled Better, Deante' Hitchcock still relates to that struggle. The 26-year-old rapper behind gems such as "Changed for You" and "No Secret" signed a record deal with RCA in 2017 after his trademark car freestyles connected him to hip-hop legend Mark Pitts. However, his work dates back to 2012 with the release of his first mixtape, 19 Summers. As he continued to grow, Hitchcock went on to drop quality mixtape projects such as Wishful Thinking in 2015 and Good the following year. Unfortunately, Good wasn’t the game-changer he had hoped it would be, but like he says as the beat of the project’s opening track creeps in, “Good things take time.” Three years later, taking into account Hitchcock’s accomplishments, that line seems eerily prophetic. This year alone, the Riverdale artist has been everywhere. Although he wasn’t initially sent an invitation, Hitchcock secured his golden ticket and participated in the famed Dreamville sessions in January, and fresh off of that collaborative experience, he released the punchy Just a Sample 2 in March. The star-studded EP features the likes of Childish Major, Kilo Ali, and H.E.R. and houses the runaway single “Side Nigga Anthem” along with “Feelings,” a revamped version of the song that originally appeared on Good. In support of the record, Hitchcock toured heavily throughout the spring and summer as an opener for stretches of Leikeli47’s “Acrylic Tour” and J.I.D.’s “Catch Me If You Can Tour.” Mere weeks after returning home from his most recent pilgrimage, his year came full circle. July’s arrival brought with it Revenge of the Dreamers III, the compilation album formed from the 10-night studio stint that Dreamville hosted at the top of the year, and Hitchcock made the cut, landing an acclaimed verse on “PTSD.” With a coveted album placement, a strong solo record, and major touring experience under his belt, 2019 has been nothing short of a breakout year for Hitchcock, and now he prepares for the release of his major label debut, Better. Already recorded and turned into RCA, Better is the long-awaited sequel to Good and the penultimate installment in his career-spanning Good-Better-Best trilogy. No release date has been revealed, but listeners can anticipate features from 6lack, Young Nudy, and Miguel, as well as a 45-minute runtime. The album is a balanced rap effort that warrants watery eyes and shameless laughs, from odes to the women in his family to jovial chants about extremely aqueous fellatio. Overflowing with transparent lyricism and infectious charisma, Better is an exclamation point on a fantastic year — a defining moment for Hitchcock and proof that there is stock in trusting the process. “There’s been a lot of change, growth, heartache, shit-talking — basically all the emotions I’ve been through up to this point,” Hitchcock says. “I’ve felt every emotion in the book, but I’ve never been desperate.” Three years removed from the setbacks of Good, Deante’ Hitchcock’s career has never looked brighter. His decision to realign and refocus rather than surrender provided him with the experiences necessary to achieve the heights that he has this year. So don’t let the ugliness of the come-up detract you from its beauty. It gets better. Summer is coming to a screeching halt, but here are some hip-hop shows to relish in its last days. Sat., Sept. 7 — Channel Tres, Aisle 5. — ONE Musicfest, Gucci Mane, Rae Sremmurd, Tory Lanez, Centennial Olympic Park. — Trent in the Trees, Ahjee Parker, Drunken Unicorn. Sun., Sept. 8 — ONE Musicfest, Rick Ross, DMX, Yung Baby Tate, Centennial Olympic Park. Tues., Sept. 10 — Burna Boy, Buckhead Theatre. Sat., Sept. 14 and Sun., Sept. 15 — Benny Butcher, The Loft. Mon., Sept. 16 — Quando Rondo, The Loft. Wed., Sept. 18 — Snow Tha Product, Masquerade (Hell). Thurs., Sept. 19 — Gunna, Buckhead Theatre. — Scarlxrd, Masquerade (Hell). Sat., Sept. 21 — ILoveMakonnen, Vinyl. Sun., Sept. 22 — Injury Reserve, Masquerade (Purgatory). — Meek Mill, Future, YG, Mustard, Megan Thee Stallion, Cellairis Amphitheatre at Lakewood. Mon. Sept. 23 — Cupcakke, Masquerade (Hell). Tues., Sept. 24 — Hoodie Allen, Jake Miller, Center Stage. Wed., Sept. 25 — Ugly God, Masquerade (Heaven). Thurs., Sept. 26 — R.A.P. Ferreira (fka Milo), 529. Sun., Sept. 29 — Skinnyfromthe9, $teve Cannon, Traedakidd, Masquerade (Purgatory). Mon., Sept. 30 — Father, 529. Tues., Oct. 1 — Fatboy SSE, Vinyl. Wed., Oct. 2 — Chris Brown, Joyner Lucas, Yella Beezy, State Farm Arena. Miguel Padilla REVENGE OF A DREAMER: Deante’ Hitchcock in the spotlight. 0,0,1 rap hip-hop Atlanta RCA Deante' Hitchcock Good Better "Debut Album" Miguel 6lack "young nudy" music dreamville "revenge of the dreamers III" PTSD ATL Untrapped: Deante’ Hitchcock gets 'Better' " ["score"]=> float(0) ["_index"]=> string(35) "atlantawiki_tiki_main_62887fe234a1d" ["objectlink"]=> string(36) "No value for 'contentTitle'" ["photos"]=> string(139) "" ["desc"]=> string(74) "The Riverdale rapper puts an exclamation point on a breakout year" ["category"]=> string(0) "" }
ATL Untrapped: Deante’ Hitchcock gets 'Better' Article
Tuesday September 3, 2019 11:03 AM EDT
The Riverdale rapper puts an exclamation point on a breakout year
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array(103) { ["title"]=> string(31) "BLUES & BEYOND: Still laid back" ["modification_date"]=> string(25) "2022-02-01T14:25:36+00:00" ["creation_date"]=> string(25) "2019-09-03T15:24:25+00:00" ["contributors"]=> array(2) { [0]=> string(13) "narahlandress" [1]=> string(9) "ben.eason" } ["date"]=> string(25) "2019-09-03T15:22:28+00:00" ["tracker_status"]=> string(1) "o" ["tracker_id"]=> string(2) "11" ["view_permission"]=> string(13) "view_trackers" ["parent_object_id"]=> string(2) "11" ["parent_object_type"]=> string(7) "tracker" ["field_permissions"]=> string(2) "[]" ["tracker_field_contentTitle"]=> string(31) "BLUES & BEYOND: Still laid back" ["tracker_field_contentCreator"]=> string(13) "narahlandress" ["tracker_field_contentCreator_text"]=> string(13) "narahlandress" ["tracker_field_contentCreator_unstemmed"]=> string(13) "narahlandress" ["tracker_field_contentByline"]=> string(12) "Hal Horowitz" ["tracker_field_contentByline_exact"]=> string(12) "Hal Horowitz" ["tracker_field_contentBylinePerson"]=> string(6) "476085" ["tracker_field_contentBylinePerson_text"]=> string(27) "hal2222 (Hal Horowitz)" ["tracker_field_description"]=> string(64) "Tommy Talton reflects on Gregg Allman’s classic album and tour" ["tracker_field_description_raw"]=> string(64) "Tommy Talton reflects on Gregg Allman’s classic album and tour" ["tracker_field_contentDate"]=> string(25) "2019-09-03T15:22:28+00:00" ["tracker_field_contentWikiPage"]=> string(39) "Content:_:BLUES BEYOND: Still laid back" ["tracker_field_contentWikiPage_text"]=> string(11296) "Capricorn Records of the early mid-’70s was a hub of activity. Despite, or perhaps because of, the untimely 1971 death of Duane Allman, the Macon-based label was signing a plethora of acts. Many fell into the somewhat vague confines of the Southern rock vein (the Marshall Tucker Band, Hydra, the Elvin Bishop Group, Wet Willie). Other artists were supported by a talented backline of studio musicians whose names populated the small print in liner notes for both Capricorn’s biggest and more obscure releases. Out of this hotbed emerged musicians like Randall Bramblett and Chuck Leavell who remain active today. Perhaps one of the most gifted and least celebrated from this group is Tommy Talton. Singer/songwriter/guitarist Talton was, along with his friend Scott Boyer, co-founder of the band Cowboy. The group was signed sight unseen when Talton’s good friend Duane Allman suggested to label boss Phil Waldon that he give them a contract. While Cowboy’s four albums were well received by critics, they never caught on with the public, even after sharing bills with the Allman Brothers Band and other Capricorn headliners. But Talton joined the label’s stable of house musicians, backing acts such as Bonnie Bramlett, Alex Taylor, Martin Mull, Billy Joe Shaver, Dickie Betts, and even the Allman Brothers Band on a tune (“Pony Boy,” off Brothers and Sisters. When Gregg Allman decided to record Laid Back, his first and arguably finest solo album in 1973, Talton was a key member of the studio group who not only contributed to the studio disc but was a major contributor to the following year’s sprawling tour. Both the Laid Back and The Gregg Allman Tour albums have recently been remastered and reissued. The deluxe Laid Back is expanded to a double set augmented with a clutch of demos, outtakes, alternate/early mixes, rehearsals rescued from the vaults, and a voluminous, detailed essay. The Gregg Allman Tour is available for the first time in 30 years on double vinyl lacking any extras. Talton, who now lives in Marietta after spending time in Europe, has remained musically active since those mid-’70s glory days, having recorded three excellent discs since 2012 and playing sporadic shows. Talton’s friendship with Duane Allman was, not surprisingly, a significant influence on his playing style, especially on slide guitar. The fact that the younger Allman chose Talton as the only lead electric guitarist on his first solo tour when he had the pick of the best players speaks volumes about Talton’s abilities. “[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[Duane and I] were pretty close and were hanging out and playing together so it kind of naturally happened,” Talton says. The electrifying live version of “Dreams” from the concert, with Talton taking Duane’s slide parts, leaves no doubt as to how powerful and classy a guitarist the Cowboy frontman was. Talton’s input to some noteworthy selections from Laid Back was essential. For “Multicolored Lady,” he says, “We had the track and the arrangement ready to go, but we didn’t have a beginning. So the producer, Johnny Sandlin, said to me, ‘Tommy, start us off.’ That’s me playing the acoustic guitar intro that pulls everyone into the song. Johnny had the idea to fade it in.” Talton was responsible for the dark, swampy slide on Allman’s emotional remake of “Midnight Rider” that opened the disc and defined its easy going tone. He remembers the subsequent tour as divided into two parts, one was “doing 35 cities in 50 days. We went from Rhode Island to Seattle and everywhere in between.” The entourage was a full 24-piece “orchestra” with five horns, three backing vocalists, strings, and two drummers enhancing the Cowboy lineup powered by Talton, Boyer, and drummer Bill Stewart. How this bulky ensemble made money is anyone’s guess, but it’s not something that could probably be done today without charging outrageous ticket prices. What you hear on the album is how the show transpired with Cowboy’s performance opening the second half of the show. But Talton is frustrated that the current reissue does not include his band’s full set, which was about 45 minutes long. “The record company didn’t want to spend the money it would take to add more Cowboy songs. Quite frankly, a lot of people who saw the show say the Cowboy stuff was the high moments of the concert.” Talton, who has recently been slowed by health issues, has kept the tour and album’s spirit alive as a participant in a handful of Laid Back Legacy Band gigs. These include original members Bramblett and drummer Stewart. “When they asked me, I didn’t feel like it was right at first,” Talton says. “I didn’t want to be involved in anything called a tribute band. I talked to Gregg’s right-hand man Chank Middleton, who said ‘You’re the best to keep Gregg’s legacy alive.’ Plus we took some of the money from the gigs and gave it to the Gregg Allman Music Fund at the University of Georgia,” he says. Talton wants to keep those legacy recreations limited and special, but there are no future scheduled dates at this time. The initial concert’s musical arrangements were carefully structured, in contrast to the jamming qualities of a typical Allman Brothers Band gig. “When you’ve got all those people reading their parts, there is no room for improvisation. You have to stick to the program,” Talton says. “It was a show, like an old James Brown or R&B revue. But each night had its own moments.” Musically, both albums have stayed resilient, sounding as fresh and inspired on these reissues as when they were first released over 45 years ago. It’s a testament to not only Allman’s vision but the inspired playing of Tommy Talton and Cowboy, among others, who helped craft and refine these songs and performances which stand the test of time. The summer may be winding down, but there are still plenty of hot show highlights in September. Fri., Sept. 6 — Nick Moss, Dennis Gruenling, Blind Willie’s. Guitarist Moss has evolved (slightly) from his once-strict Chicago blues to incorporate a more contemporary, i.e., rocking approach, but still keeps things close to the bone. Harpist Gruenling is one of the finest in the business, and the combination guarantees a sweat-soaked evening of pure rollicking blues. Sun., Sept. 8 — Shemekia Copeland, Chattahoochee Nature Center-Roswell. The daughter of famed blues guitarist Johnny Copeland began her solo career as a blues belter in the Koko Taylor style. She has since expanded her vision to become a soulful singer/songwriter informed by blues and gospel and unafraid to tackle contemporary issues, especially on 2018’s powerfully political America’s Child. — Amy LaVere/Will Sexton, Eddie’s Attic. Memphis stand-up bassist/singer-songwriter LaVere and guitar-slinging husband Sexton have been a formidable duo for a while, both with and without their Motel Mirrors band. The couple’s music is stripped down but uplifting, and LaVere’s scratchy vocals bring honesty and integrity to everything she sings. Wed., Sept. 11 — Buddy Guy, Symphony Hall. Guitarist Guy picked up the veteran mantle after B.B. King’s death. Even though his style hits harder, he remains the oldest and most well-respected old-school bluesman still out on the road and recording new albums. Long may he run. Thurs., Sept. 12 — Daddy Long Legs, EARL. This punk blues trio gets down and dirty with raw swamp music played with a dangerous edge. Tough and unapologetically grimy, they hit hard with more than a little Cramps to their attack. Thurs., Sept. 19 — Seratones, EARL. Dynamic frontwoman AJ Haynes leads this gutsy group through their garage rocking soul moves with power, class, and intensity. Music from the band’s just-released Power sophomore album will dominate this high-energy show. Fri., Sept. 20 — Rhiannon Giddens, City Winery. The ex-Carolina Chocolate Drops frontwoman strips down her sound even more as she and fellow multi-instrumentalist Francesco Turrisi return to their folk/blues/gospel roots on a tour supporting their recently released there is no Other. Like the album, this music is emotional and riveting, especially when Giddens lets loose with her operatic vocals. — Chris O’Leary, Blind Willie’s. O’Leary first gained attention for his seven-year stint backing The Band’s Levon Helm. Since Helm’s death, he has released three tough albums of gutsy, swampy blues rock led by his gritty vocals, grinding harp playing, and some seriously greasy songs. — Grayson Capps, Eddie’s Attic. It’s unclear why Capps’ distinctive, husky voice and rugged, literate, predominantly electric folk blues haven’t caught fire with either singer/songwriter or blues fans. But the member of the occasional roots supergroup of sorts, Willie Sugarcapps, has been cranking them out with tough backing bands for decades and always delivers live. Fri. through Sun., Sept. 20-22 — GABBAfest 2019, various locations, Macon, GA. The Georgia Allman Brothers Band Association, who has helped preserve Georgia's ABB history since the early 1990s, honors 50 years of the Allman Brothers Band. Lots of live music plus trips to the Big House and other Macon landmarks fill in the blanks for Brothers’ fans who will obviously be out in force. Find details at www.gabbafest.org. Sat., Sept. 21 — Reverend Horton Heat, Madlife Stage & Studios, Woodstock. The rockem-sockem Rev. takes a break from his high-octane punkabilly to unplug and go solo as headliner for this Alzheimer’s benefit. Bluesy locals Donna Hopkins, Lefty Williams, Ralph Roddenberry, and Gurufish share the bill. — Blue Ridge Blues & BBQ Festival, Blue Ridge, GA. The Chris O’Leary Band takes I-575 north to Blue Ridge after their Blind Willie’s date the night before to headline this outdoor blues festival. Locals Men in Blues and Frankie’s Blues Mission also appear. It’s a child-friendly event (free under 12), so get your kids away from those videogames and introduce them to the blues in this fun, sociable environment. Wed., Sept. 25 — Justin Peter Kinkel-Shuster, 529. The Arkansas singer-songwriter’s name may be a mouthful, but his tough, strummy Americana songs go down easy. His best songs take flight à la Tom Petty, with a perfect storm of thoughtful lyrics, soaring melodies, and catchy choruses. Wed., Oct. 2 — Jonah Tolchin, Eddie’s Attic. New Jersey singer/songwriter Tolchin started as a bluesman, then widened his vision to write touching rootsy music with darker Delta strains. He’ll be playing tracks from a new album, Fires for the Cold, that includes a moving, raw version of Lowell George’s “Roll Um Easy.” — John Medeski’s Mad Skillet, Terminal West. Jazz keyboardist Medeski goes New Orleans in a big way, employing the rhythm section of the Dirty Dozen Brass Band to power his quartet through their heavy funk. The groove is deep and heavy with jazz, blues, and experimental jabs punching through the Crescent City vibe. Send upcoming blues events to CL’s Blues & Beyond concert calendar at hal.horowitz@creativeloafing.com." ["tracker_field_contentWikiPage_raw"]=> string(11459) "Capricorn Records of the early mid-’70s was a hub of activity. Despite, or perhaps because of, the untimely 1971 death of Duane Allman, the Macon-based label was signing a plethora of acts. Many fell into the somewhat vague confines of the Southern rock vein (the Marshall Tucker Band, Hydra, the Elvin Bishop Group, Wet Willie). Other artists were supported by a talented backline of studio musicians whose names populated the small print in liner notes for both Capricorn’s biggest and more obscure releases. Out of this hotbed emerged musicians like Randall Bramblett and Chuck Leavell who remain active today. Perhaps one of the most gifted and least celebrated from this group is Tommy Talton. Singer/songwriter/guitarist Talton was, along with his friend Scott Boyer, co-founder of the band Cowboy. The group was signed sight unseen when Talton’s good friend Duane Allman suggested to label boss Phil Waldon that he give them a contract. While Cowboy’s four albums were well received by critics, they never caught on with the public, even after sharing bills with the Allman Brothers Band and other Capricorn headliners. But Talton joined the label’s stable of house musicians, backing acts such as Bonnie Bramlett, Alex Taylor, Martin Mull, Billy Joe Shaver, Dickie Betts, and even the Allman Brothers Band on a tune (“Pony Boy,” off ''Brothers and Sisters''. When Gregg Allman decided to record ''Laid Back'', his first and arguably finest solo album in 1973, Talton was a key member of the studio group who not only contributed to the studio disc but was a major contributor to the following year’s sprawling tour. Both the ''Laid Back'' and ''The Gregg Allman Tour'' albums have recently been remastered and reissued. The deluxe ''Laid Back'' is expanded to a double set augmented with a clutch of demos, outtakes, alternate/early mixes, rehearsals rescued from the vaults, and a voluminous, detailed essay. ''The Gregg Allman Tour'' is available for the first time in 30 years on double vinyl lacking any extras. Talton, who now lives in Marietta after spending time in Europe, has remained musically active since those mid-’70s glory days, having recorded three excellent discs since 2012 and playing sporadic shows. Talton’s friendship with Duane Allman was, not surprisingly, a significant influence on his playing style, especially on slide guitar. The fact that the younger Allman chose Talton as the only lead electric guitarist on his first solo tour when he had the pick of the best players speaks volumes about Talton’s abilities. “[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[Duane and I] were pretty close and were hanging out and playing together so it kind of naturally happened,” Talton says. The electrifying live version of “Dreams” from the concert, with Talton taking Duane’s slide parts, leaves no doubt as to how powerful and classy a guitarist the Cowboy frontman was. Talton’s input to some noteworthy selections from ''Laid Back'' was essential. For “Multicolored Lady,” he says, “We had the track and the arrangement ready to go, but we didn’t have a beginning. So the producer, Johnny Sandlin, said to me, ‘Tommy, start us off.’ That’s me playing the acoustic guitar intro that pulls everyone into the song. Johnny had the idea to fade it in.” Talton was responsible for the dark, swampy slide on Allman’s emotional remake of “Midnight Rider” that opened the disc and defined its easy going tone. He remembers the subsequent tour as divided into two parts, one was “doing 35 cities in 50 days. We went from Rhode Island to Seattle and everywhere in between.” The entourage was a full 24-piece “orchestra” with five horns, three backing vocalists, strings, and two drummers enhancing the Cowboy lineup powered by Talton, Boyer, and drummer Bill Stewart. How this bulky ensemble made money is anyone’s guess, but it’s not something that could probably be done today without charging outrageous ticket prices. What you hear on the album is how the show transpired with Cowboy’s performance opening the second half of the show. But Talton is frustrated that the current reissue does not include his band’s full set, which was about 45 minutes long. “The record company didn’t want to spend the money it would take to add more Cowboy songs. Quite frankly, a lot of people who saw the show say the Cowboy stuff was the high moments of the concert.” Talton, who has recently been slowed by health issues, has kept the tour and album’s spirit alive as a participant in a handful of ''Laid Back'' Legacy Band gigs. These include original members Bramblett and drummer Stewart. “When they asked me, I didn’t feel like it was right at first,” Talton says. “I didn’t want to be involved in anything called a tribute band. I talked to Gregg’s right-hand man Chank Middleton, who said ‘You’re the best to keep Gregg’s legacy alive.’ Plus we took some of the money from the gigs and gave it to the Gregg Allman Music Fund at the University of Georgia,” he says. Talton wants to keep those legacy recreations limited and special, but there are no future scheduled dates at this time. The initial concert’s musical arrangements were carefully structured, in contrast to the jamming qualities of a typical Allman Brothers Band gig. “When you’ve got all those people reading their parts, there is no room for improvisation. You have to stick to the program,” Talton says. “It was a show, like an old James Brown or R&B revue. But each night had its own moments.” Musically, both albums have stayed resilient, sounding as fresh and inspired on these reissues as when they were first released over 45 years ago. It’s a testament to not only Allman’s vision but the inspired playing of Tommy Talton and Cowboy, among others, who helped craft and refine these songs and performances which stand the test of time. The summer may be winding down, but there are still plenty of hot show highlights in September. __Fri., Sept. 6__ — Nick Moss, Dennis Gruenling, Blind Willie’s. Guitarist Moss has evolved (slightly) from his once-strict Chicago blues to incorporate a more contemporary, i.e., rocking approach, but still keeps things close to the bone. Harpist Gruenling is one of the finest in the business, and the combination guarantees a sweat-soaked evening of pure rollicking blues. __Sun., Sept. 8__ — Shemekia Copeland, Chattahoochee Nature Center-Roswell. The daughter of famed blues guitarist Johnny Copeland began her solo career as a blues belter in the Koko Taylor style. She has since expanded her vision to become a soulful singer/songwriter informed by blues and gospel and unafraid to tackle contemporary issues, especially on 2018’s powerfully political ''America’s Child''. — Amy LaVere/Will Sexton, Eddie’s Attic. Memphis stand-up bassist/singer-songwriter LaVere and guitar-slinging husband Sexton have been a formidable duo for a while, both with and without their Motel Mirrors band. The couple’s music is stripped down but uplifting, and LaVere’s scratchy vocals bring honesty and integrity to everything she sings. __Wed., Sept. 11__ — Buddy Guy, Symphony Hall. Guitarist Guy picked up the veteran mantle after B.B. King’s death. Even though his style hits harder, he remains the oldest and most well-respected old-school bluesman still out on the road and recording new albums. Long may he run. __Thurs., Sept. 12__ — Daddy Long Legs, EARL. This punk blues trio gets down and dirty with raw swamp music played with a dangerous edge. Tough and unapologetically grimy, they hit hard with more than a little Cramps to their attack. __Thurs., Sept. 19__ — Seratones, EARL. Dynamic frontwoman AJ Haynes leads this gutsy group through their garage rocking soul moves with power, class, and intensity. Music from the band’s just-released ''Power'' sophomore album will dominate this high-energy show. __Fri., Sept. 20__ — Rhiannon Giddens, City Winery. The ex-Carolina Chocolate Drops frontwoman strips down her sound even more as she and fellow multi-instrumentalist Francesco Turrisi return to their folk/blues/gospel roots on a tour supporting their recently released ''there is no Other''. Like the album, this music is emotional and riveting, especially when Giddens lets loose with her operatic vocals. — Chris O’Leary, Blind Willie’s. O’Leary first gained attention for his seven-year stint backing The Band’s Levon Helm. Since Helm’s death, he has released three tough albums of gutsy, swampy blues rock led by his gritty vocals, grinding harp playing, and some seriously greasy songs. — Grayson Capps, Eddie’s Attic. It’s unclear why Capps’ distinctive, husky voice and rugged, literate, predominantly electric folk blues haven’t caught fire with either singer/songwriter or blues fans. But the member of the occasional roots supergroup of sorts, Willie Sugarcapps, has been cranking them out with tough backing bands for decades and always delivers live. __Fri. through Sun., Sept. 20-22__ — GABBAfest 2019, various locations, Macon, GA. The Georgia Allman Brothers Band Association, who has helped preserve Georgia's ABB history since the early 1990s, honors 50 years of the Allman Brothers Band. Lots of live music plus trips to the Big House and other Macon landmarks fill in the blanks for Brothers’ fans who will obviously be out in force. Find details at [http://www.gabbafest.org/|www.gabbafest.org]. __Sat., Sept. 21__ — Reverend Horton Heat, Madlife Stage & Studios, Woodstock. The rockem-sockem Rev. takes a break from his high-octane punkabilly to unplug and go solo as headliner for this Alzheimer’s benefit. Bluesy locals Donna Hopkins, Lefty Williams, Ralph Roddenberry, and Gurufish share the bill. — Blue Ridge Blues & BBQ Festival, Blue Ridge, GA. The Chris O’Leary Band takes I-575 north to Blue Ridge after their Blind Willie’s date the night before to headline this outdoor blues festival. Locals Men in Blues and Frankie’s Blues Mission also appear. It’s a child-friendly event (free under 12), so get your kids away from those videogames and introduce them to the blues in this fun, sociable environment. __Wed., Sept. 25__ — Justin Peter Kinkel-Shuster, 529. The Arkansas singer-songwriter’s name may be a mouthful, but his tough, strummy Americana songs go down easy. His best songs take flight à la Tom Petty, with a perfect storm of thoughtful lyrics, soaring melodies, and catchy choruses. __Wed., Oct. 2__ — Jonah Tolchin, Eddie’s Attic. New Jersey singer/songwriter Tolchin started as a bluesman, then widened his vision to write touching rootsy music with darker Delta strains. He’ll be playing tracks from a new album, ''Fires for the Cold'', that includes a moving, raw version of Lowell George’s “Roll Um Easy.” — John Medeski’s Mad Skillet, Terminal West. Jazz keyboardist Medeski goes New Orleans in a big way, employing the rhythm section of the Dirty Dozen Brass Band to power his quartet through their heavy funk. The groove is deep and heavy with jazz, blues, and experimental jabs punching through the Crescent City vibe. ''Send upcoming blues events to'' CL''’s Blues & Beyond concert calendar at [mailto:hal.horowitz@creativeloafing.com|hal.horowitz@creativeloafing.com].''" 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I was lucky to meet him in July. He was visiting the Vancouver Island Music Fest along with the Mussel Shoals Allstars. We got to chat over the weekend. I feel like I made a new friend but Tommy has been an inspiration for almost 50 years now. atlanta music blues capricorn records tommy talton cowboy gregg allman september Tommy Talton reflects on Gregg Allman’s classic album and tour Music Blues1 1 02 2019-09-03T15:22:28+00:00 BLUES & BEYOND: Still laid back narahlandress narahlandress Hal Horowitz hal2222 (Hal Horowitz) 2019-09-03T15:22:28+00:00 Capricorn Records of the early mid-’70s was a hub of activity. Despite, or perhaps because of, the untimely 1971 death of Duane Allman, the Macon-based label was signing a plethora of acts. Many fell into the somewhat vague confines of the Southern rock vein (the Marshall Tucker Band, Hydra, the Elvin Bishop Group, Wet Willie). Other artists were supported by a talented backline of studio musicians whose names populated the small print in liner notes for both Capricorn’s biggest and more obscure releases. Out of this hotbed emerged musicians like Randall Bramblett and Chuck Leavell who remain active today. Perhaps one of the most gifted and least celebrated from this group is Tommy Talton. Singer/songwriter/guitarist Talton was, along with his friend Scott Boyer, co-founder of the band Cowboy. The group was signed sight unseen when Talton’s good friend Duane Allman suggested to label boss Phil Waldon that he give them a contract. While Cowboy’s four albums were well received by critics, they never caught on with the public, even after sharing bills with the Allman Brothers Band and other Capricorn headliners. But Talton joined the label’s stable of house musicians, backing acts such as Bonnie Bramlett, Alex Taylor, Martin Mull, Billy Joe Shaver, Dickie Betts, and even the Allman Brothers Band on a tune (“Pony Boy,” off Brothers and Sisters. When Gregg Allman decided to record Laid Back, his first and arguably finest solo album in 1973, Talton was a key member of the studio group who not only contributed to the studio disc but was a major contributor to the following year’s sprawling tour. Both the Laid Back and The Gregg Allman Tour albums have recently been remastered and reissued. The deluxe Laid Back is expanded to a double set augmented with a clutch of demos, outtakes, alternate/early mixes, rehearsals rescued from the vaults, and a voluminous, detailed essay. The Gregg Allman Tour is available for the first time in 30 years on double vinyl lacking any extras. Talton, who now lives in Marietta after spending time in Europe, has remained musically active since those mid-’70s glory days, having recorded three excellent discs since 2012 and playing sporadic shows. Talton’s friendship with Duane Allman was, not surprisingly, a significant influence on his playing style, especially on slide guitar. The fact that the younger Allman chose Talton as the only lead electric guitarist on his first solo tour when he had the pick of the best players speaks volumes about Talton’s abilities. “[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[Duane and I] were pretty close and were hanging out and playing together so it kind of naturally happened,” Talton says. The electrifying live version of “Dreams” from the concert, with Talton taking Duane’s slide parts, leaves no doubt as to how powerful and classy a guitarist the Cowboy frontman was. Talton’s input to some noteworthy selections from Laid Back was essential. For “Multicolored Lady,” he says, “We had the track and the arrangement ready to go, but we didn’t have a beginning. So the producer, Johnny Sandlin, said to me, ‘Tommy, start us off.’ That’s me playing the acoustic guitar intro that pulls everyone into the song. Johnny had the idea to fade it in.” Talton was responsible for the dark, swampy slide on Allman’s emotional remake of “Midnight Rider” that opened the disc and defined its easy going tone. He remembers the subsequent tour as divided into two parts, one was “doing 35 cities in 50 days. We went from Rhode Island to Seattle and everywhere in between.” The entourage was a full 24-piece “orchestra” with five horns, three backing vocalists, strings, and two drummers enhancing the Cowboy lineup powered by Talton, Boyer, and drummer Bill Stewart. How this bulky ensemble made money is anyone’s guess, but it’s not something that could probably be done today without charging outrageous ticket prices. What you hear on the album is how the show transpired with Cowboy’s performance opening the second half of the show. But Talton is frustrated that the current reissue does not include his band’s full set, which was about 45 minutes long. “The record company didn’t want to spend the money it would take to add more Cowboy songs. Quite frankly, a lot of people who saw the show say the Cowboy stuff was the high moments of the concert.” Talton, who has recently been slowed by health issues, has kept the tour and album’s spirit alive as a participant in a handful of Laid Back Legacy Band gigs. These include original members Bramblett and drummer Stewart. “When they asked me, I didn’t feel like it was right at first,” Talton says. “I didn’t want to be involved in anything called a tribute band. I talked to Gregg’s right-hand man Chank Middleton, who said ‘You’re the best to keep Gregg’s legacy alive.’ Plus we took some of the money from the gigs and gave it to the Gregg Allman Music Fund at the University of Georgia,” he says. Talton wants to keep those legacy recreations limited and special, but there are no future scheduled dates at this time. The initial concert’s musical arrangements were carefully structured, in contrast to the jamming qualities of a typical Allman Brothers Band gig. “When you’ve got all those people reading their parts, there is no room for improvisation. You have to stick to the program,” Talton says. “It was a show, like an old James Brown or R&B revue. But each night had its own moments.” Musically, both albums have stayed resilient, sounding as fresh and inspired on these reissues as when they were first released over 45 years ago. It’s a testament to not only Allman’s vision but the inspired playing of Tommy Talton and Cowboy, among others, who helped craft and refine these songs and performances which stand the test of time. The summer may be winding down, but there are still plenty of hot show highlights in September. Fri., Sept. 6 — Nick Moss, Dennis Gruenling, Blind Willie’s. Guitarist Moss has evolved (slightly) from his once-strict Chicago blues to incorporate a more contemporary, i.e., rocking approach, but still keeps things close to the bone. Harpist Gruenling is one of the finest in the business, and the combination guarantees a sweat-soaked evening of pure rollicking blues. Sun., Sept. 8 — Shemekia Copeland, Chattahoochee Nature Center-Roswell. The daughter of famed blues guitarist Johnny Copeland began her solo career as a blues belter in the Koko Taylor style. She has since expanded her vision to become a soulful singer/songwriter informed by blues and gospel and unafraid to tackle contemporary issues, especially on 2018’s powerfully political America’s Child. — Amy LaVere/Will Sexton, Eddie’s Attic. Memphis stand-up bassist/singer-songwriter LaVere and guitar-slinging husband Sexton have been a formidable duo for a while, both with and without their Motel Mirrors band. The couple’s music is stripped down but uplifting, and LaVere’s scratchy vocals bring honesty and integrity to everything she sings. Wed., Sept. 11 — Buddy Guy, Symphony Hall. Guitarist Guy picked up the veteran mantle after B.B. King’s death. Even though his style hits harder, he remains the oldest and most well-respected old-school bluesman still out on the road and recording new albums. Long may he run. Thurs., Sept. 12 — Daddy Long Legs, EARL. This punk blues trio gets down and dirty with raw swamp music played with a dangerous edge. Tough and unapologetically grimy, they hit hard with more than a little Cramps to their attack. Thurs., Sept. 19 — Seratones, EARL. Dynamic frontwoman AJ Haynes leads this gutsy group through their garage rocking soul moves with power, class, and intensity. Music from the band’s just-released Power sophomore album will dominate this high-energy show. Fri., Sept. 20 — Rhiannon Giddens, City Winery. The ex-Carolina Chocolate Drops frontwoman strips down her sound even more as she and fellow multi-instrumentalist Francesco Turrisi return to their folk/blues/gospel roots on a tour supporting their recently released there is no Other. Like the album, this music is emotional and riveting, especially when Giddens lets loose with her operatic vocals. — Chris O’Leary, Blind Willie’s. O’Leary first gained attention for his seven-year stint backing The Band’s Levon Helm. Since Helm’s death, he has released three tough albums of gutsy, swampy blues rock led by his gritty vocals, grinding harp playing, and some seriously greasy songs. — Grayson Capps, Eddie’s Attic. It’s unclear why Capps’ distinctive, husky voice and rugged, literate, predominantly electric folk blues haven’t caught fire with either singer/songwriter or blues fans. But the member of the occasional roots supergroup of sorts, Willie Sugarcapps, has been cranking them out with tough backing bands for decades and always delivers live. Fri. through Sun., Sept. 20-22 — GABBAfest 2019, various locations, Macon, GA. The Georgia Allman Brothers Band Association, who has helped preserve Georgia's ABB history since the early 1990s, honors 50 years of the Allman Brothers Band. Lots of live music plus trips to the Big House and other Macon landmarks fill in the blanks for Brothers’ fans who will obviously be out in force. Find details at www.gabbafest.org. Sat., Sept. 21 — Reverend Horton Heat, Madlife Stage & Studios, Woodstock. The rockem-sockem Rev. takes a break from his high-octane punkabilly to unplug and go solo as headliner for this Alzheimer’s benefit. Bluesy locals Donna Hopkins, Lefty Williams, Ralph Roddenberry, and Gurufish share the bill. — Blue Ridge Blues & BBQ Festival, Blue Ridge, GA. The Chris O’Leary Band takes I-575 north to Blue Ridge after their Blind Willie’s date the night before to headline this outdoor blues festival. Locals Men in Blues and Frankie’s Blues Mission also appear. It’s a child-friendly event (free under 12), so get your kids away from those videogames and introduce them to the blues in this fun, sociable environment. Wed., Sept. 25 — Justin Peter Kinkel-Shuster, 529. The Arkansas singer-songwriter’s name may be a mouthful, but his tough, strummy Americana songs go down easy. His best songs take flight à la Tom Petty, with a perfect storm of thoughtful lyrics, soaring melodies, and catchy choruses. Wed., Oct. 2 — Jonah Tolchin, Eddie’s Attic. New Jersey singer/songwriter Tolchin started as a bluesman, then widened his vision to write touching rootsy music with darker Delta strains. He’ll be playing tracks from a new album, Fires for the Cold, that includes a moving, raw version of Lowell George’s “Roll Um Easy.” — John Medeski’s Mad Skillet, Terminal West. Jazz keyboardist Medeski goes New Orleans in a big way, employing the rhythm section of the Dirty Dozen Brass Band to power his quartet through their heavy funk. The groove is deep and heavy with jazz, blues, and experimental jabs punching through the Crescent City vibe. Send upcoming blues events to CL’s Blues & Beyond concert calendar at hal.horowitz@creativeloafing.com. Al Clayton O BROTHER, WHERE ART THOU?: The Gregg Allman Band circa 1974 turns on its lovelight. 0,0,10 blues Atlanta "Capricorn Records" "Tommy Talton" Cowboy "Gregg Allman" music september BLUES & BEYOND: Still laid back " ["score"]=> float(0) ["_index"]=> string(35) "atlantawiki_tiki_main_62887fe234a1d" ["objectlink"]=> string(36) "No value for 'contentTitle'" ["photos"]=> string(135) "" ["desc"]=> string(73) "Tommy Talton reflects on Gregg Allman’s classic album and tour" ["category"]=> string(16) "Blues and Beyond" }
BLUES & BEYOND: Still laid back Blues and Beyond
Tuesday September 3, 2019 11:22 AM EDT
Tommy Talton reflects on Gregg Allman’s classic album and tour
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array(100) { ["title"]=> string(34) "SCREEN TIME: Atlanta’s dark past" ["modification_date"]=> string(25) "2019-09-03T16:46:14+00:00" ["creation_date"]=> string(25) "2019-09-03T15:55:37+00:00" ["contributors"]=> array(2) { [0]=> string(13) "narahlandress" [1]=> string(12) "chad.radford" } ["date"]=> string(25) "2019-09-03T15:46:53+00:00" ["tracker_status"]=> string(1) "o" ["tracker_id"]=> string(2) "11" ["view_permission"]=> string(13) "view_trackers" ["parent_object_id"]=> string(2) "11" ["parent_object_type"]=> string(7) "tracker" ["field_permissions"]=> string(2) "[]" ["tracker_field_contentTitle"]=> string(34) "SCREEN TIME: Atlanta’s dark past" ["tracker_field_contentCreator"]=> string(13) "narahlandress" ["tracker_field_contentCreator_text"]=> string(13) "narahlandress" ["tracker_field_contentCreator_unstemmed"]=> string(13) "narahlandress" ["tracker_field_contentByline"]=> string(12) "Curt Holman " ["tracker_field_contentByline_exact"]=> string(12) "Curt Holman " ["tracker_field_contentBylinePerson"]=> string(6) "419573" ["tracker_field_contentBylinePerson_text"]=> string(27) "holmanx3 (Curt Holman)" ["tracker_field_description"]=> string(36) "Revisiting The Atlanta Child Murders" ["tracker_field_description_raw"]=> string(36) "Revisiting The Atlanta Child Murders" ["tracker_field_contentDate"]=> string(25) "2019-09-03T15:46:53+00:00" ["tracker_field_contentWikiPage"]=> string(44) "Content:_:SCREEN TIME: Atlanta’s dark past" ["tracker_field_contentWikiPage_text"]=> string(4820) "The dense, gripping docudrama “Mindhunter” exemplifies some of the pluses and minuses of Netflix as an entertainment platform. One of the show’s driving forces is filmmaker David Fincher, who made expensive, challenging films for adults like Fight Club and Gone Girl until such movies began falling from Hollywood’s favor. At its best, “Mindhunter” plays like a spinoff of Zodiac, Fincher’s masterpiece about the Zodiac murders. But if Netflix doesn’t actively support a show, it can disappear among all the other content on its feed. “Mindhunter” is one of Netflix’s best shows, and subscribers may not even know it exists. Debuting in 2017, the series tracks the origins of the FBI’s Behavioral Science Unit in developing methodology for profiling serial killers, primarily through the eyes of two fictionalized special agents: idealistic, intuitive boat-rocker Holden Ford (Jonathan Groff) and gruff, by-the-book family man Bill Tench (Holt McCallany). Most episodes hinge on long interviews with captive serial killers: The new season’s fifth episode includes a showcase scene with Charles Manson (Damon Herriman, who has a brief appearance as Manson in Quentin Tarantino’s Once Upon a Time… in Hollywood). “Mindhunter’s” nine-episode second season dropped August 16 and rectifies some flaws of the first, expanding its scope and emotional palette. A subplot early in the season, the Atlanta missing and murdered children case from the late 1970s and early 1980s, becomes the primary focus for its second half. Giving the agents a high-stakes active case provides the show with more dramatic urgency, adds a more diverse cast, and allows “Mindhunter” to address issues of race, politics, poverty, and law enforcement that remain (depressingly) relevant to America almost 40 years later. While filmed in Pennsylvania, “Mindhunter” adequately captures Atlanta of the era: Ford stays at the Omni Hotel, sees kids hanging out at the Gold Mine video arcade, and first meets the victims’ mothers at Paschal’s Restaurant. The only detail that struck me as inauthentic were the bridges that law enforcement stakes out, which looked more like structures you’d find in the Rust Belt than over the Chattahoochee. Never a program likely to indulge in cop show clichés, “Mindhunter” proves fairly respectful of the Atlanta case, which encompassed the loss of at least 30 people, mostly black male adolescents. Like 2018’s true-crime podcast “Atlanta Monster,” the show wades into the investigation’s controversies. From the beginning, Agent Ford advocates for searching for a black male in his 20s or 30s and discounts leads, some involving white racists, as not fitting his profile for a serial killer. In the season finale, Wayne Williams (an effectively cryptic Christopher Livingston) becomes the prime suspect, although sharp-eyed viewers will catch glimpses of him in earlier episodes. Ford is, in effect, accused of “profiling” in its more recent, negative context, presuming someone of guilt for superficial reasons with only circumstantial evidence to support his theory. The show hints at avenues unexplored and mentions the local and national political pressures that complicate the investigation. The Atlanta missing and murdered children case can feel like a wound that never really heals, and “Mindhunter” embraces its ambiguities. If you’ve never seen “Mindhunter” and want to jump in with its second year, considering skipping the season premiere, which is mostly table-setting and tying off loose ends. As a cerebral but compelling procedural drama, “Mindhunter” feels like a worthy heir to HBO’s “True Detective,” if only more people knew about it. How excellent shows can get so overlooked in our modern media landscape remains an enduring mystery. Cameo Role: Speaking of Netflix, Season 3 of “Stranger Things” gave a winning walk-on role to Atlanta actor Dan Triandiflou. A former regular at local playhouses such as Dad’s Garage, Triandiflou played the jerk who sputters with outrage when Hopper and Joyce (David Harbour and Winona Ryder) commandeer his car in the fifth episode. Fun fact: the Internet Movie Database credits the role as “Rich Douchebag Todd.” Coming Attractions: Emory University’s Emory Cinematheque film series presents a must-see program this fall with a retrospective on writer/director Billy Wilder. Sharp and cynical, Wilder’s work has aged well and includes such classic film noir as Double Indemnity and Sunset Boulevard and comedies like Some Like It Hot, The Apartment, and One, Two, Three, a lesser-known satire that combines the Cold War and Coca-Cola. All screenings are free at 7:30 p.m. Wednesdays at Room 208, White Hall, through Dec. 4." ["tracker_field_contentWikiPage_raw"]=> string(4921) "The dense, gripping docudrama “Mindhunter” exemplifies some of the pluses and minuses of Netflix as an entertainment platform. One of the show’s driving forces is filmmaker David Fincher, who made expensive, challenging films for adults like ''Fight Club'' and ''Gone Girl'' until such movies began falling from Hollywood’s favor. At its best, “Mindhunter” plays like a spinoff of ''Zodiac'', Fincher’s masterpiece about the Zodiac murders. But if Netflix doesn’t actively support a show, it can disappear among all the other content on its feed. “Mindhunter” is one of Netflix’s best shows, and subscribers may not even know it exists. Debuting in 2017, the series tracks the origins of the FBI’s Behavioral Science Unit in developing methodology for profiling serial killers, primarily through the eyes of two fictionalized special agents: idealistic, intuitive boat-rocker Holden Ford (Jonathan Groff) and gruff, by-the-book family man Bill Tench (Holt McCallany). Most episodes hinge on long interviews with captive serial killers: The new season’s fifth episode includes a showcase scene with Charles Manson (Damon Herriman, who has a brief appearance as Manson in Quentin Tarantino’s ''Once Upon a Time… in Hollywood''). {img fileId="22707" imalign="center" width="800" desc="desc"} “Mindhunter’s” nine-episode second season dropped August 16 and rectifies some flaws of the first, expanding its scope and emotional palette. A subplot early in the season, the Atlanta missing and murdered children case from the late 1970s and early 1980s, becomes the primary focus for its second half. Giving the agents a high-stakes active case provides the show with more dramatic urgency, adds a more diverse cast, and allows “Mindhunter” to address issues of race, politics, poverty, and law enforcement that remain (depressingly) relevant to America almost 40 years later. While filmed in Pennsylvania, “Mindhunter” adequately captures Atlanta of the era: Ford stays at the Omni Hotel, sees kids hanging out at the Gold Mine video arcade, and first meets the victims’ mothers at Paschal’s Restaurant. The only detail that struck me as inauthentic were the bridges that law enforcement stakes out, which looked more like structures you’d find in the Rust Belt than over the Chattahoochee. Never a program likely to indulge in cop show clichés, “Mindhunter” proves fairly respectful of the Atlanta case, which encompassed the loss of at least 30 people, mostly black male adolescents. Like 2018’s true-crime podcast “Atlanta Monster,” the show wades into the investigation’s controversies. From the beginning, Agent Ford advocates for searching for a black male in his 20s or 30s and discounts leads, some involving white racists, as not fitting his profile for a serial killer. In the season finale, Wayne Williams (an effectively cryptic Christopher Livingston) becomes the prime suspect, although sharp-eyed viewers will catch glimpses of him in earlier episodes. Ford is, in effect, accused of “profiling” in its more recent, negative context, presuming someone of guilt for superficial reasons with only circumstantial evidence to support his theory. The show hints at avenues unexplored and mentions the local and national political pressures that complicate the investigation. The Atlanta missing and murdered children case can feel like a wound that never really heals, and “Mindhunter” embraces its ambiguities. If you’ve never seen “Mindhunter” and want to jump in with its second year, considering skipping the season premiere, which is mostly table-setting and tying off loose ends. As a cerebral but compelling procedural drama, “Mindhunter” feels like a worthy heir to HBO’s “True Detective,” if only more people knew about it. How excellent shows can get so overlooked in our modern media landscape remains an enduring mystery. __Cameo Role__: Speaking of Netflix, Season 3 of “Stranger Things” gave a winning walk-on role to Atlanta actor Dan Triandiflou. A former regular at local playhouses such as Dad’s Garage, Triandiflou played the jerk who sputters with outrage when Hopper and Joyce (David Harbour and Winona Ryder) commandeer his car in the fifth episode. Fun fact: the Internet Movie Database credits the role as “Rich Douchebag Todd.” __Coming Attractions__: Emory University’s Emory Cinematheque film series presents a must-see program this fall with a retrospective on writer/director Billy Wilder. Sharp and cynical, Wilder’s work has aged well and includes such classic film noir as ''Double Indemnity'' and ''Sunset Boulevard'' and comedies like ''Some Like It Hot, The Apartment'', and ''One, Two, Three'', a lesser-known satire that combines the Cold War and Coca-Cola. All screenings are free at 7:30 p.m. Wednesdays at Room 208, White Hall, through Dec. 4." 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One of the show’s driving forces is filmmaker David Fincher, who made expensive, challenging films for adults like Fight Club and Gone Girl until such movies began falling from Hollywood’s favor. At its best, “Mindhunter” plays like a spinoff of Zodiac, Fincher’s masterpiece about the Zodiac murders. But if Netflix doesn’t actively support a show, it can disappear among all the other content on its feed. “Mindhunter” is one of Netflix’s best shows, and subscribers may not even know it exists. Debuting in 2017, the series tracks the origins of the FBI’s Behavioral Science Unit in developing methodology for profiling serial killers, primarily through the eyes of two fictionalized special agents: idealistic, intuitive boat-rocker Holden Ford (Jonathan Groff) and gruff, by-the-book family man Bill Tench (Holt McCallany). Most episodes hinge on long interviews with captive serial killers: The new season’s fifth episode includes a showcase scene with Charles Manson (Damon Herriman, who has a brief appearance as Manson in Quentin Tarantino’s Once Upon a Time… in Hollywood). “Mindhunter’s” nine-episode second season dropped August 16 and rectifies some flaws of the first, expanding its scope and emotional palette. A subplot early in the season, the Atlanta missing and murdered children case from the late 1970s and early 1980s, becomes the primary focus for its second half. Giving the agents a high-stakes active case provides the show with more dramatic urgency, adds a more diverse cast, and allows “Mindhunter” to address issues of race, politics, poverty, and law enforcement that remain (depressingly) relevant to America almost 40 years later. While filmed in Pennsylvania, “Mindhunter” adequately captures Atlanta of the era: Ford stays at the Omni Hotel, sees kids hanging out at the Gold Mine video arcade, and first meets the victims’ mothers at Paschal’s Restaurant. The only detail that struck me as inauthentic were the bridges that law enforcement stakes out, which looked more like structures you’d find in the Rust Belt than over the Chattahoochee. Never a program likely to indulge in cop show clichés, “Mindhunter” proves fairly respectful of the Atlanta case, which encompassed the loss of at least 30 people, mostly black male adolescents. Like 2018’s true-crime podcast “Atlanta Monster,” the show wades into the investigation’s controversies. From the beginning, Agent Ford advocates for searching for a black male in his 20s or 30s and discounts leads, some involving white racists, as not fitting his profile for a serial killer. In the season finale, Wayne Williams (an effectively cryptic Christopher Livingston) becomes the prime suspect, although sharp-eyed viewers will catch glimpses of him in earlier episodes. Ford is, in effect, accused of “profiling” in its more recent, negative context, presuming someone of guilt for superficial reasons with only circumstantial evidence to support his theory. The show hints at avenues unexplored and mentions the local and national political pressures that complicate the investigation. The Atlanta missing and murdered children case can feel like a wound that never really heals, and “Mindhunter” embraces its ambiguities. If you’ve never seen “Mindhunter” and want to jump in with its second year, considering skipping the season premiere, which is mostly table-setting and tying off loose ends. As a cerebral but compelling procedural drama, “Mindhunter” feels like a worthy heir to HBO’s “True Detective,” if only more people knew about it. How excellent shows can get so overlooked in our modern media landscape remains an enduring mystery. Cameo Role: Speaking of Netflix, Season 3 of “Stranger Things” gave a winning walk-on role to Atlanta actor Dan Triandiflou. A former regular at local playhouses such as Dad’s Garage, Triandiflou played the jerk who sputters with outrage when Hopper and Joyce (David Harbour and Winona Ryder) commandeer his car in the fifth episode. Fun fact: the Internet Movie Database credits the role as “Rich Douchebag Todd.” Coming Attractions: Emory University’s Emory Cinematheque film series presents a must-see program this fall with a retrospective on writer/director Billy Wilder. Sharp and cynical, Wilder’s work has aged well and includes such classic film noir as Double Indemnity and Sunset Boulevard and comedies like Some Like It Hot, The Apartment, and One, Two, Three, a lesser-known satire that combines the Cold War and Coca-Cola. All screenings are free at 7:30 p.m. Wednesdays at Room 208, White Hall, through Dec. 4. Netflix MARCH FOR THE CHILDREN: June Carryl (center, in green) leads a protest march during the Atlanta missing and murdered children case in “Mindhunter”’s second season. 0,0,11 Mindhunter "season two" Atlanta "child murders" "Creative Loafing" Netflix SCREEN TIME: Atlanta’s dark past " ["score"]=> float(0) ["_index"]=> string(35) "atlantawiki_tiki_main_62887fe234a1d" ["objectlink"]=> string(36) "No value for 'contentTitle'" ["photos"]=> string(143) "" ["desc"]=> string(45) "Revisiting The Atlanta Child Murders" ["category"]=> string(73) "Movies and TV
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SCREEN TIME: Atlanta’s dark past Movies and TV, Movie Review, Movies & TV Features, Television
Tuesday September 3, 2019 11:46 AM EDT
Revisiting The Atlanta Child Murders
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more...
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["tracker_field_contentWikiPage_text"]=> string(517) " For this installment of the CL podcast, David Matysiak (of Flamingo Shadow) stopped by Short Notice Studio to talk about TrashMan-Go! The new online spin off of Adult Swim’s Williams Street Swap Shop finds Matysiak putting a personal twist on the Pokémon GO augmented reality game. Rather than tracking down creatures Matysiak collects trash. In one fell swoop, he gamifies reality while drawing attention to the environment and picking up trash. Press play to hear the conversation and to learn more. 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The new online spin off of Adult Swim’s Williams Street Swap Shop finds Matysiak putting a personal twist on the Pokémon GO augmented reality game. Rather than tracking down creatures Matysiak collects trash. In one fell swoop, he gamifies reality while drawing attention to the environment and picking up trash. Press play to hear the conversation and to learn more. Courtesy Adult Swim TRASHED: David Matysiak racks up points while cleaning up Midtown. 0,0,1 "Adult Swim" "TrashMan-Go!" "Williams Street Swap Shop" Atlanta "Creative Loafing" "Flamingo Shadow" "David Matysiak" PODCAST: TrashMan-Go! " ["score"]=> float(0) ["_index"]=> string(35) "atlantawiki_tiki_main_62887fe234a1d" ["objectlink"]=> string(36) "No value for 'contentTitle'" ["photos"]=> string(129) "" ["desc"]=> string(89) "David Matysiak on cleaning up the environment and the stories that garbage tells" ["category"]=> string(49) "Culture
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PODCAST: TrashMan-Go! Culture, Movies & TV Features, Television
Tuesday September 3, 2019 12:32 PM EDT
David Matysiak on cleaning up the environment and the stories that garbage tells
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more...
array(105) { ["title"]=> string(45) "Three chords and the truth? And then some ..." ["modification_date"]=> string(25) "2020-09-27T21:32:31+00:00" ["creation_date"]=> string(25) "2019-09-03T17:35:46+00:00" ["contributors"]=> array(2) { [0]=> string(12) "chad.radford" [1]=> string(9) "ben.eason" } ["date"]=> string(25) "2019-09-03T17:28:20+00:00" ["tracker_status"]=> string(1) "o" ["tracker_id"]=> string(2) "11" ["view_permission"]=> string(13) "view_trackers" ["parent_object_id"]=> string(2) "11" ["parent_object_type"]=> string(7) "tracker" ["field_permissions"]=> string(2) "[]" ["tracker_field_contentTitle"]=> string(45) "Three chords and the truth? And then some ..." ["tracker_field_contentCreator"]=> string(12) "chad.radford" ["tracker_field_contentCreator_text"]=> string(12) "Chad Radford" ["tracker_field_contentCreator_unstemmed"]=> string(12) "chad radford" ["tracker_field_contentByline"]=> string(11) "James Kelly" ["tracker_field_contentByline_exact"]=> string(11) "James Kelly" ["tracker_field_contentBylinePerson"]=> string(6) "476086" ["tracker_field_contentBylinePerson_text"]=> string(28) "jkellysc1 (James Kelly)" ["tracker_field_description"]=> string(58) "As Ken Burns explains country music, it started in Atlanta" ["tracker_field_description_raw"]=> string(58) "As Ken Burns explains country music, it started in Atlanta" ["tracker_field_contentDate"]=> string(25) "2019-09-03T17:28:20+00:00" ["tracker_field_contentWikiPage"]=> string(54) "Content:_:Three chords and the truth And then some ..." ["tracker_field_contentWikiPage_text"]=> string(7746) "The late songwriter Harlan Howard described country music in five words, “three chords and the truth.” In his upcoming opus “Country Music,” airing this month on PBS, it takes documentary master Ken Burns and his team over 16 hours to say pretty much the same thing. Interestingly enough, the great paradox is that they are both on to something — Howard’s succinct remark sums it up, and Burns’ lengthy exploration barely covers all the bases. How so? According to the eight-part series’ script writer, Dayton Duncan, country music is everything in America, though it boils down to two essential concepts — “the song” and “the people.” The leap from these simple constructs to the grand presentation of a comprehensive history of country music was arduous, Duncan admits, frustrating at times, and incredibly enlightening regarding the nature of Americans. “We are storytellers, and it is not meant to be an encyclopedia,” says Duncan, also the author of the accompanying book for the series. “Our story is not intended to be the final word, but rather an introduction. During the development we were all cognizant of the scope of our subject, and our goal is to prompt people to read books, visit places, and, in this case, listen to the music.” He recalls the time invested. “It has been a long process, starting with research in 2011, beginning interviews in 2012, and then gradually blocking each of the eight episodes into naturally occurring and consecutive segments. While we knew that each episode had to stand on its own, there had to be connections between each one.” Atlanta figures prominently in the first episode. The city is identified as where the “beginning” of country music took place, due to a recording session in a building downtown at 152 Nassau Street. Duncan tells the story. “In 1923 Ralph Peer came to Atlanta to record what was then called ‘race music,’ performed by African Americans for the African American market. He was also scheduled to record a fiddle player who couldn’t make it to the studio, so Fiddlin’ John Carson, one of the most popular performers of the era on radio station WSB, was suggested.” Carson’s recording, “The Little Old Log Cabin in the Lane,” soon became one of the biggest-selling 78s in the nation, and according to Duncan, “the first commercially successful country record.” Peer’s serendipitous discovery of Carson is established as the defining moment by the filmmakers. “This set everything in motion,” Duncan declares. “Peer found something new that people would buy, and set out looking for more. Four years later in 1927, he went to Bristol Tennessee/Virginia, and recorded both Jimmie Rodgers and the Carter Family.” If Carson had not been there to fill the spot, if Rodgers and the Carters had not known about Peer’s interests in old time music, they may not have shown up to Bristol, and country music may not have existed as we know it today. “That’s why we start in Atlanta. It is the critical place, and Fiddlin’ John was the reason. Not only that, but his presentation as a mountain man, a moonshiner, was contrived, since he was actually a millworker,” says Duncan. This foretold the development of the “hillbilly image,” as Carson actually worked in the Fulton Bag Mill and lived in Cabbagetown. With Atlanta as the launching pad, “Country Music” becomes a cultural and geographical journey throughout the U.S. and beyond. Looking at the European and African roots of both musical styles and instruments, the filmmakers approached the subject with a blank slate, and let the story tell itself. Duncan notes, “We were very agnostic regarding the story, and worked hard to make sure the direction it took was not a personal preference. I look at it biologically — the evolution of country music was not a sudden thing, and not all areas changed at the same time.” Understanding and recognizing this evolution guided them, and as he points out, “We told one story at a time, recognizing that country music began as a mixture of things that grew multiple branches. There is a banquet of music. Some will like all of it, some will like some of it.” The stories drive the documentary. The challenge in telling them was to develop a structure that would create a cohesive learning experience. Exploring personalities linked to places was a common technique. For example, the impoverished and difficult early lives of superstars such as Brenda Lee, Hank Williams, and George Jones — all of them Southerners — showed how their experiences shaped their music. Lee, an Atlanta native, features prominently throughout the series, offering insight into her childhood role, after the death of her father, as a breadwinner for the family, singing on radio and local television shows in the 1950s, which developed her confidence and persona as “Little Miss Dynamite.” Alabama native Williams suffered from the chronic pain of spina bifida, was an alcohol abuser as a teenager, and, ultimately, met his premature demise with a mix of pain pills and liquor. But Williams left a legacy of both sad and upbeat songs that are held in the highest poetic regard. Jones was the victim of an abusive, manipulative father who forced him to play in the Texas streets for money, then spent it on drink. The bitterness of his youth carried over into his own battle with alcohol, but he is still considered the greatest vocalist in country music history. As Brenda Lee says in the documentary, “George WAS a country song!” Duncan notes the multiplicity of diverse cultural influences in the melting pot of country music as an obvious but frequently unacknowledged phenomenon. “It’s right there, in plain sight!” he exclaims. The film explores these diverse convergences with segments about the banjo, an African instrument brought over by slaves, and the fiddle and mountain music of Appalachia that came from Scotland and Ireland. “One of the original and most popular members of the Grand Old Opry was harmonica player DeFord Bailey, an African American,” Duncan points out. “Bill Monroe learned about the blues from Arnold Shultz. Lesley Riddle traveled with A.P. Carter and memorized song melodies for him. Ray Charles’ Modern Sounds in Country and Western Music was a massive hit. And the women — Maybelle and Sara Carter were two of the biggest and first stars of country music. Kitty Wells had the first number one country hit by a woman in the mid ’50s, and many more. Dolly Parton is one of the most successful women in the entire world.” Prime themes throughout the documentary are the power of the song, and the relationship the fans have with both the songs and the artists. Comments by fans and historians describe how closely people relate to the words and stories of songs, and how fans see in them the realities of their own lives. The most common theme, put into words, is “They know exactly how it is for us.” This close, symbiotic relationship between artists and fans was a factor in the success of the documentary. Duncan recalls, “The country music family of performers was very welcoming, giving us two to three hours at a time to talk through some of our concepts, and offer suggestions. But what really stands out is how they treat and are treated by the fans. There is no other genre with such a powerful positive and directly shared relationship, and so much accessibility.” It takes Ken Burns, Julie Dunfey, and Dayton Duncan 16-plus hours to tell the story of America’s music. But, it can be summed up in a few words: The song. The people. Three chords. And the truth. That’s country music." ["tracker_field_contentWikiPage_raw"]=> string(7811) "The late songwriter Harlan Howard described country music in five words, “three chords and the truth.” In his upcoming opus “Country Music,” airing this month on PBS, it takes documentary master Ken Burns and his team over 16 hours to say pretty much the same thing. Interestingly enough, the great paradox is that they are both on to something — Howard’s succinct remark sums it up, and Burns’ lengthy exploration barely covers all the bases. How so? According to the eight-part series’ script writer, Dayton Duncan, country music is everything in America, though it boils down to two essential concepts — “the song” and “the people.” The leap from these simple constructs to the grand presentation of a comprehensive history of country music was arduous, Duncan admits, frustrating at times, and incredibly enlightening regarding the nature of Americans. “We are storytellers, and it is not meant to be an encyclopedia,” says Duncan, also the author of the accompanying book for the series. “Our story is not intended to be the final word, but rather an introduction. During the development we were all cognizant of the scope of our subject, and our goal is to prompt people to read books, visit places, and, in this case, listen to the music.” He recalls the time invested. “It has been a long process, starting with research in 2011, beginning interviews in 2012, and then gradually blocking each of the eight episodes into naturally occurring and consecutive segments. While we knew that each episode had to stand on its own, there had to be connections between each one.” Atlanta figures prominently in the first episode. The city is identified as where the “beginning” of country music took place, due to a recording session in a building downtown at 152 Nassau Street. Duncan tells the story. “In 1923 Ralph Peer came to Atlanta to record what was then called ‘race music,’ performed by African Americans for the African American market. He was also scheduled to record a fiddle player who couldn’t make it to the studio, so Fiddlin’ John Carson, one of the most popular performers of the era on radio station WSB, was suggested.” Carson’s recording, “The Little Old Log Cabin in the Lane,” soon became one of the biggest-selling 78s in the nation, and according to Duncan, “the first commercially successful country record.” Peer’s serendipitous discovery of Carson is established as the defining moment by the filmmakers. “This set everything in motion,” Duncan declares. “Peer found something new that people would buy, and set out looking for more. Four years later in 1927, he went to Bristol Tennessee/Virginia, and recorded both Jimmie Rodgers and the Carter Family.” If Carson had not been there to fill the spot, if Rodgers and the Carters had not known about Peer’s interests in old time music, they may not have shown up to Bristol, and country music may not have existed as we know it today. “That’s why we start in Atlanta. It is the critical place, and Fiddlin’ John was the reason. Not only that, but his presentation as a mountain man, a moonshiner, was contrived, since he was actually a millworker,” says Duncan. This foretold the development of the “hillbilly image,” as Carson actually worked in the Fulton Bag Mill and lived in Cabbagetown. With Atlanta as the launching pad, “Country Music” becomes a cultural and geographical journey throughout the U.S. and beyond. Looking at the European and African roots of both musical styles and instruments, the filmmakers approached the subject with a blank slate, and let the story tell itself. Duncan notes, “We were very agnostic regarding the story, and worked hard to make sure the direction it took was not a personal preference. I look at it biologically — the evolution of country music was not a sudden thing, and not all areas changed at the same time.” Understanding and recognizing this evolution guided them, and as he points out, “We told one story at a time, recognizing that country music began as a mixture of things that grew multiple branches. There is a banquet of music. Some will like all of it, some will like some of it.” The stories drive the documentary. The challenge in telling them was to develop a structure that would create a cohesive learning experience. Exploring personalities linked to places was a common technique. For example, the impoverished and difficult early lives of superstars such as Brenda Lee, Hank Williams, and George Jones — all of them Southerners — showed how their experiences shaped their music. Lee, an Atlanta native, features prominently throughout the series, offering insight into her childhood role, after the death of her father, as a breadwinner for the family, singing on radio and local television shows in the 1950s, which developed her confidence and persona as “Little Miss Dynamite.” Alabama native Williams suffered from the chronic pain of spina bifida, was an alcohol abuser as a teenager, and, ultimately, met his premature demise with a mix of pain pills and liquor. But Williams left a legacy of both sad and upbeat songs that are held in the highest poetic regard. Jones was the victim of an abusive, manipulative father who forced him to play in the Texas streets for money, then spent it on drink. The bitterness of his youth carried over into his own battle with alcohol, but he is still considered the greatest vocalist in country music history. As Brenda Lee says in the documentary, “George WAS a country song!” Duncan notes the multiplicity of diverse cultural influences in the melting pot of country music as an obvious but frequently unacknowledged phenomenon. “It’s right there, in plain sight!” he exclaims. The film explores these diverse convergences with segments about the banjo, an African instrument brought over by slaves, and the fiddle and mountain music of Appalachia that came from Scotland and Ireland. “One of the original and most popular members of the Grand Old Opry was harmonica player DeFord Bailey, an African American,” Duncan points out. “Bill Monroe learned about the blues from Arnold Shultz. Lesley Riddle traveled with A.P. Carter and memorized song melodies for him. Ray Charles’ ''Modern Sounds in Country and Western Music'' was a massive hit. And the women — Maybelle and Sara Carter were two of the biggest and first stars of country music. Kitty Wells had the first number one country hit by a woman in the mid ’50s, and many more. Dolly Parton is one of the most successful women in the entire world.” Prime themes throughout the documentary are the power of the song, and the relationship the fans have with both the songs and the artists. Comments by fans and historians describe how closely people relate to the words and stories of songs, and how fans see in them the realities of their own lives. The most common theme, put into words, is “They know exactly how it is for us.” This close, symbiotic relationship between artists and fans was a factor in the success of the documentary. Duncan recalls, “The country music family of performers was very welcoming, giving us two to three hours at a time to talk through some of our concepts, and offer suggestions. But what really stands out is how they treat and are treated by the fans. 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string(5) "Three" ["searchable"]=> string(1) "y" ["url"]=> string(10) "item440326" ["object_type"]=> string(11) "trackeritem" ["object_id"]=> string(6) "440326" ["contents"]=> string(8433) " 152NassauStNW 2019-09-03T17:48:21+00:00 152NassauStNW.jpg atlanta country music 152 nassau street jimmy buffett margaritaville ken burns As Ken Burns explains country music, it started in Atlanta 152NassauStNW 2019-09-03T17:28:20+00:00 Three chords and the truth? And then some ... chad.radford Chad Radford James Kelly jkellysc1 (James Kelly) 2019-09-03T17:28:20+00:00 The late songwriter Harlan Howard described country music in five words, “three chords and the truth.” In his upcoming opus “Country Music,” airing this month on PBS, it takes documentary master Ken Burns and his team over 16 hours to say pretty much the same thing. Interestingly enough, the great paradox is that they are both on to something — Howard’s succinct remark sums it up, and Burns’ lengthy exploration barely covers all the bases. How so? According to the eight-part series’ script writer, Dayton Duncan, country music is everything in America, though it boils down to two essential concepts — “the song” and “the people.” The leap from these simple constructs to the grand presentation of a comprehensive history of country music was arduous, Duncan admits, frustrating at times, and incredibly enlightening regarding the nature of Americans. “We are storytellers, and it is not meant to be an encyclopedia,” says Duncan, also the author of the accompanying book for the series. “Our story is not intended to be the final word, but rather an introduction. During the development we were all cognizant of the scope of our subject, and our goal is to prompt people to read books, visit places, and, in this case, listen to the music.” He recalls the time invested. “It has been a long process, starting with research in 2011, beginning interviews in 2012, and then gradually blocking each of the eight episodes into naturally occurring and consecutive segments. While we knew that each episode had to stand on its own, there had to be connections between each one.” Atlanta figures prominently in the first episode. The city is identified as where the “beginning” of country music took place, due to a recording session in a building downtown at 152 Nassau Street. Duncan tells the story. “In 1923 Ralph Peer came to Atlanta to record what was then called ‘race music,’ performed by African Americans for the African American market. He was also scheduled to record a fiddle player who couldn’t make it to the studio, so Fiddlin’ John Carson, one of the most popular performers of the era on radio station WSB, was suggested.” Carson’s recording, “The Little Old Log Cabin in the Lane,” soon became one of the biggest-selling 78s in the nation, and according to Duncan, “the first commercially successful country record.” Peer’s serendipitous discovery of Carson is established as the defining moment by the filmmakers. “This set everything in motion,” Duncan declares. “Peer found something new that people would buy, and set out looking for more. Four years later in 1927, he went to Bristol Tennessee/Virginia, and recorded both Jimmie Rodgers and the Carter Family.” If Carson had not been there to fill the spot, if Rodgers and the Carters had not known about Peer’s interests in old time music, they may not have shown up to Bristol, and country music may not have existed as we know it today. “That’s why we start in Atlanta. It is the critical place, and Fiddlin’ John was the reason. Not only that, but his presentation as a mountain man, a moonshiner, was contrived, since he was actually a millworker,” says Duncan. This foretold the development of the “hillbilly image,” as Carson actually worked in the Fulton Bag Mill and lived in Cabbagetown. With Atlanta as the launching pad, “Country Music” becomes a cultural and geographical journey throughout the U.S. and beyond. Looking at the European and African roots of both musical styles and instruments, the filmmakers approached the subject with a blank slate, and let the story tell itself. Duncan notes, “We were very agnostic regarding the story, and worked hard to make sure the direction it took was not a personal preference. I look at it biologically — the evolution of country music was not a sudden thing, and not all areas changed at the same time.” Understanding and recognizing this evolution guided them, and as he points out, “We told one story at a time, recognizing that country music began as a mixture of things that grew multiple branches. There is a banquet of music. Some will like all of it, some will like some of it.” The stories drive the documentary. The challenge in telling them was to develop a structure that would create a cohesive learning experience. Exploring personalities linked to places was a common technique. For example, the impoverished and difficult early lives of superstars such as Brenda Lee, Hank Williams, and George Jones — all of them Southerners — showed how their experiences shaped their music. Lee, an Atlanta native, features prominently throughout the series, offering insight into her childhood role, after the death of her father, as a breadwinner for the family, singing on radio and local television shows in the 1950s, which developed her confidence and persona as “Little Miss Dynamite.” Alabama native Williams suffered from the chronic pain of spina bifida, was an alcohol abuser as a teenager, and, ultimately, met his premature demise with a mix of pain pills and liquor. But Williams left a legacy of both sad and upbeat songs that are held in the highest poetic regard. Jones was the victim of an abusive, manipulative father who forced him to play in the Texas streets for money, then spent it on drink. The bitterness of his youth carried over into his own battle with alcohol, but he is still considered the greatest vocalist in country music history. As Brenda Lee says in the documentary, “George WAS a country song!” Duncan notes the multiplicity of diverse cultural influences in the melting pot of country music as an obvious but frequently unacknowledged phenomenon. “It’s right there, in plain sight!” he exclaims. The film explores these diverse convergences with segments about the banjo, an African instrument brought over by slaves, and the fiddle and mountain music of Appalachia that came from Scotland and Ireland. “One of the original and most popular members of the Grand Old Opry was harmonica player DeFord Bailey, an African American,” Duncan points out. “Bill Monroe learned about the blues from Arnold Shultz. Lesley Riddle traveled with A.P. Carter and memorized song melodies for him. Ray Charles’ Modern Sounds in Country and Western Music was a massive hit. And the women — Maybelle and Sara Carter were two of the biggest and first stars of country music. Kitty Wells had the first number one country hit by a woman in the mid ’50s, and many more. Dolly Parton is one of the most successful women in the entire world.” Prime themes throughout the documentary are the power of the song, and the relationship the fans have with both the songs and the artists. Comments by fans and historians describe how closely people relate to the words and stories of songs, and how fans see in them the realities of their own lives. The most common theme, put into words, is “They know exactly how it is for us.” This close, symbiotic relationship between artists and fans was a factor in the success of the documentary. Duncan recalls, “The country music family of performers was very welcoming, giving us two to three hours at a time to talk through some of our concepts, and offer suggestions. But what really stands out is how they treat and are treated by the fans. There is no other genre with such a powerful positive and directly shared relationship, and so much accessibility.” It takes Ken Burns, Julie Dunfey, and Dayton Duncan 16-plus hours to tell the story of America’s music. But, it can be summed up in a few words: The song. The people. Three chords. And the truth. That’s country music. Kyle Kessler THE BIRTHPLACE OF COUNTRY MUSIC: 152 Nassau Street, where OKeh Records set up the first recording studio in the south. 0,0,13 "Country Music" "152 Nassau Street" Atlanta "Ken Burns" "Jimmy Buffett" Margaritaville Three chords and the truth? And then some ... " ["score"]=> float(0) ["_index"]=> string(35) "atlantawiki_tiki_main_62887fe234a1d" ["objectlink"]=> string(36) "No value for 'contentTitle'" ["photos"]=> string(131) "" ["desc"]=> string(67) "As Ken Burns explains country music, it started in Atlanta" ["category"]=> string(35) "Music and Nightlife
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Three chords and the truth? And then some ... Music and Nightlife, Crib Notes
Tuesday September 3, 2019 01:28 PM EDT
As Ken Burns explains country music, it started in Atlanta
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array(99) { ["title"]=> string(15) "70 and Counting" ["modification_date"]=> string(25) "2019-09-05T15:49:36+00:00" ["creation_date"]=> string(25) "2019-09-03T19:40:39+00:00" ["contributors"]=> array(1) { [0]=> string(12) "chad.radford" } ["date"]=> string(25) "2019-09-03T19:17:28+00:00" ["tracker_status"]=> string(1) "o" ["tracker_id"]=> string(2) "11" ["view_permission"]=> string(13) "view_trackers" ["parent_object_id"]=> string(2) "11" ["parent_object_type"]=> string(7) "tracker" ["field_permissions"]=> string(2) "[]" ["tracker_field_contentTitle"]=> string(15) "70 and Counting" ["tracker_field_contentCreator"]=> string(12) "chad.radford" ["tracker_field_contentCreator_text"]=> string(12) "Chad Radford" ["tracker_field_contentCreator_unstemmed"]=> string(12) "chad radford" ["tracker_field_contentByline"]=> string(12) "Doug DeLoach" ["tracker_field_contentByline_exact"]=> string(12) "Doug DeLoach" ["tracker_field_contentBylinePerson"]=> string(1) "0" ["tracker_field_description"]=> string(77) "Zesto Atlanta’s family affair marks a milestone of sweet and savory service" ["tracker_field_description_raw"]=> string(77) "Zesto Atlanta’s family affair marks a milestone of sweet and savory service" ["tracker_field_contentDate"]=> string(25) "2019-09-03T19:17:28+00:00" ["tracker_field_contentWikiPage"]=> string(25) "Content:_:70 and Counting" ["tracker_field_contentWikiPage_text"]=> string(17211) "Back in the early 1970s, Jimbo Livaditis played youth baseball at Bagley Park (since renamed Frankie Allen Park) in the Garden Hills neighborhood in Buckhead. With some frequency, on the way home after a game or practice, the parents of Livaditis and his preteen teammates would take their Little Leaguers to the nearby Zesto for an ice cream treat or milkshake. Cooling down in the summer, sipping chocolaty goodness through a straw or licking melted vanilla cream from the runnels of a crunchy sugar cone, a boy could easily slip into a daydream about hitting a grand slam to win the World Series or building a skyscraper in downtown Atlanta next to that new hotel with the blue-domed flying saucer on top. In Jimbo’s case, the idle musing took a different tack. “I remember thinking to myself, ‘One day, I hope this is mine,’” Livaditis says in a phone interview with CL. The young baseballer wearing the syrup-stained jersey had good reason to consider such an unusual prospect. His father, John Livaditis, owned the joint. As a matter of fact, at the time, “Big John” Livaditis, a hard-working, entrepreneurial, first-generation son of Greek immigrants, owned multiple Zestos in Atlanta, including the city’s first — a walk-up, ice-cream-only stand — which opened in 1949. Later that same year, just a few years out of the Army, where he competed as a Golden Gloves boxer, Livaditis accepted a proposal from a tree grower and started selling Christmas trees in the parking lot on Peachtree Street at Brookwood Station. Thus was established Big John’s Christmas Trees, which helped fill the revenue gap during the holiday season when the demand for cold desserts tapered off. “Dad always put in an incredible amount of hours,” Livaditis recalls. “A lot of times, we went to visit him after the game because he wasn’t able to attend, since he was working.” By the mid-1980s, Big John was lording over a fiefdom of 10 metro Atlanta Zestos. In 1988, he retired, bequeathing the restaurant and Christmas tree businesses to sons Lee and (younger by eight years) Jimbo. Seven years later, Big John passed away. For the next three decades, the Livaditis brothers carried on, riding demographic tides and dallying with commercial developments by closing some Zestos, opening new stores and refurbishing others while tweaking the menu to accommodate the public’s trending palate. In 2019, Zesto Atlanta President and CEO Jimbo Livaditis is presiding over a year-long celebration of a 70-year-old family enterprise. His wife, Leigh Ann, serves as company vice president and director of marketing and communications. The couple’s children work in one capacity or another for Big John’s Christmas Trees. Eldest son John is also involved with Zesto operations while finishing up college at Kennesaw State University. Lucas attends the University of South Carolina, and Anastasia is a senior at North Atlanta High School. Sadly, Lee is not around to raise a celebratory Nut Brown Crown with the family. Three years ago, he succumbed to lung cancer at age 66. “It was a sudden, traumatizing and multilayered loss,” says Livaditis. “I no longer have my older brother’s advice to lean on or daily presence to cherish. I’ve had a crash course in wearing many more hats than I was used to. I’m still getting on my feet in some areas.” Currently, the Livaditises operate four metro area Zestos: Buckhead, East Atlanta, Forest Park and Little Five Points (a fifth location, an independent franchise in Tyrone, is owned by a sister-in-law). Big John’s Christmas Trees, which peaked around the turn of the millennia at 22 locations, now stands at nine lots. The family’s abiding commitment to the cause has been shared by a number of Zesto employees. Delores Slaughter, general manager of the Buckhead Zesto, has been with the company 41 years. East Atlanta GM Jimmy Koulouris has been clocking in for 45 years and counting. Two recently retired store managers, Pete Giannakopoulos and his brother Tommy, were Greek immigrants originally sponsored by Big John in the 1950s; their sister-in-law, Theoni Giannakopoulos, works at the Little Five Points Zesto. “Our long-term employees know their customers and the customers know them, which adds to the authenticity of the Zesto experience,” says Leigh Ann. “You can’t easily create relationships and experiences like that in a branded business model.” The original Zesto venture was spawned in 1945 by Rockford, Illinois-based Taylor Freezer Corporation, which manufactured a soft-serve ice cream machine called the Zest-O-Mat. Conceived as a competitor of Dairy Queen, the first Zesto stores were only equipped to serve ice cream. By the time Big John Livaditis opened his franchise in Atlanta, Zestos could be found in 46 states. From the 1950s through the 1970s, America’s head-over-heels, pedal-to-the-metal love affair with automobiles, drive-ins, and fast food fueled the fortunes of Zesto and its rivals, which competed for customers by expanding their sweet and cool dessert menus with warm, savory fare. In 1959, Zesto introduced a double-patty hamburger originally named “Fat Boy,” which was renamed two years later when Shoney’s objected to the resemblance to the company’s signature “Big Boy” sandwich. Consequently, Big John held a contest, which was won by a Georgia Tech student who submitted Chubby Decker, with a nod to the contemporaneous rock ‘n’ roll star, as the two-tiered burger’s new moniker. Then came the foot-long hot dog, which, based on innumerable unscientific surveys, is an incomplete construction without chili, if not slaw. “In the ’60s, my father had a Greek buddy in Pennsylvania named Gus,” says Livaditis. “He ran a chain called Coney Island, which offered a special chili dog. His success inspired my dad to perfect the chili recipe we still use today.” Hand-cut onion rings, French fries, and fried chicken became staple menu items. Over the years, at various times and locations, Zesto customers could order a pizza burger, roast beef sandwich, grilled and toasted cheese sandwiches, and pork tenderloin. “There’s even a fish dog — two fish sticks on a foot-long bun with coleslaw and tartar sauce — which is on the ‘secret menu,’” Livaditis confides. Recently, the influx of Hispanic and Latino residents across metro Atlanta neighborhoods spurred the addition of burritos, tacos, quesadillas, and nachos to the menu at several Zesto locations. For 2019, a Spicy 70th Steakburger with bacon and Palmetto Cheese was introduced. Currently, the kitchen lab is putting the final tweaks on a mango milkshake. “It’s been a labor of love,” Livaditis says. “We want to get it just right using nothing artificial, just pure ingredients, fresh mangos with the right color, texture, and bite.” Then as now, in acknowledgement of the restaurant’s Southern roots, fried livers and gizzards can be ordered at select Zesto locations. “I’ve been known to stop in and sample the livers and gizzards to make sure they’re up to our standards,” Livaditis says, with a chuckle. Celebrity sightings and associations are features of the Zesto Atlanta legacy. Pro basketball Hall of Famer Walt Frazier, who led the New York Knicks to two National Basketball Association championships (1970 and ’73), played high school sports at Atlanta’s David Tobias Howard High School. In a 2018 biography produced by MSG Networks, Frazier visits the Zesto on Ponce de Leon (now a Cook Out) where he did a stint as a “curb boy” when the restaurant only offered walk-up or dine-in-your-car service. During the segment Frazier reminisces with his former supervisors, the Giannakopoulos brothers. Then there was the time (in 1979) a WSB-TV news reporter corralled Colonel Sanders at the defunct Zesto at Pershing Point after the goateed ambassador of Kentucky Fried Chicken was spotted enjoying one of his guilty pleasures, a Zesto milkshake. More recently, people are still laughing at the “kids meal” scene from the first season (2016) of Donald Glover’s television series “Atlanta,” which was filmed at the East Atlanta Zesto. Cee Lo Green, Lil Yachty, and Shawn Reis (“Flash Gordon,” “Smallville”) have been spotted chilling at Zesto. One day, Livaditis and his three children were eating lunch at the Piedmont Road Zesto when they looked over and discovered they were dining with Carolina Panthers star quarterback Cam Newton (presumably during the off-season). So, what’s the secret to Zesto's enduring allure and success? “It’s hard to pin down, but part of it is a combination of nostalgia and relevance,” says Leigh Ann. “If you can maintain that nostalgic ‘Gee, this place is cool!’ factor, that’s great. But you also have to stay relevant by tapping into social media, updating the menu, and doing promotions that attract younger people.” Livaditis adds: “We were laughing the other night. When Dad started Zesto, he wasn’t thinking, ‘I’m going to create something 1950s-ish because it’s trendy.’ He was just working with what was available. There is something compelling about the design of the drive-in and the feeling it generates, which has been glamorized by movies. But there is also an element of genuine authenticity, which you can’t force; it’s either present or it’s not.” Seventy years down the road, thanks to a family’s work ethic and aspirational spirit, Zesto Atlanta stands as a worthy representative of the all-American drive-in food destination, as well as a cultural touchstone near and dear to the hearts, if not the digestive tracts, of the city’s inhabitants. !!More than a place to eat In researching this story, writer Doug DeLoach solicited memories of Zesto adventures from Atlanta stalwarts and friends. A selection of these recollections, mostly unedited follow. Others may be found on creativeloafing.com. Patricia Doyle O’Connor The day of my divorce, I was on my way home from signing papers and pretty broken. I walked into the Ponce (Zesto) location and had lunch. Looking up from my booth, I noticed a man running toward the front door, which faced the old Sears building, two Atlanta cops on his heels. When he hit the door, he jumped up on the first table to try to avoid the police who were getting their tear-gas canisters out. They chased him as he jumped from table to table in full run. I sorta ducked and covered my fries from the dirt flying. I couldn’t decide who to trip — them or him — so I just sheltered my food. When I did finally look up, nobody was left in the store, not a cook or waiter or customer — just me and a huge cloud of tear gas, which I didn’t feel until much later, in the shower for some reason. I continued eating alone. Faylynn Owen I was a regular at the Little Five Points location for a sweet tea after big nights. I loved their tea. I stumbled down there one morning/afternoon and got my tea. I made it out the door only to realize my magic elixir tasted like bad socks. I returned to the good-natured laughing of the staff, who knew exactly what happened. Someone new had made the tea. They then offered me my second choice, a cherry coke. Kudos to the staff. Dave Chamberlain One hot July day in 1979, my brother Tim and I were tooling along in his red VW bug on North Highland Avenue when we stopped at the red light at Ponce de Leon Avenue. The car in front of us had a sunroof, and we watched the driver make a valiant attempt to lob a bag through it and into a roadside garbage can. The shot, of course, was off by several feet and the bag landed rather close to our car. Feeling some ire at witnessing brazen littering, I leapt from the car to grab it and put it into the garbage receptacle when I noticed the telltale classic red-striped Zesto packaging. My brother hollered for me to just dump the damn bag and get the hell back in the car. I did, bag in hand. Peering inside, I exclaimed, “It’s a Zesto bag with a Chubby Decker! Uneaten!” Now, since Zesto makes the very finest of hangover recovery foods, and since the Chubby Decker is the apex hamburger invention on the planet, I was loathe to toss the bag and its tempting contents. I gazed adoringly at the burger as my brother intoned, “Dave, don’t do it.” Brushing off his plea, I devoured that perfect burger between Virginia Highlands and Midtown without concern for microbial attack. While my brother threatened to race to Grady Hospital as a precautionary measure, I enjoyed every bite. Such is the stuff of daft youth and my high regard for Zesto cuisine. Would I do it again? Never, ever, ever! Katy Graves I ran into Hosea Williams in the Zesto on Ponce way back in the day. He was in his trademark overalls, and he was really nice. Gail Harris I introduced myself to Hosea Williams at the Zesto on Moreland, had gone to high school with his son Andre. Kahle Davis I was walking to the Zesto in Little Five Points to get some soft-serve when I noticed a woman pooping on one of the walls. I turned around and went back to work. Bill Nittler Our new house had a very similar address to the Zesto on Ponce: same number, different Ponce (Ave. vs. Mnr.), and at one point UPS started delivering us all kinds of restaurant stuff. Coffee filters, straws, mop heads, adding-machine tape, etc. UPS eventually came and picked it all up after nagging from us and the restaurant. Sadder, when Cook Out moved in, they proceeded to put our address on their website, so we got a whole bunch more stuff, which they never came to get. Ginger Shyrock There was a certain female group in the ’80s whose initiation was to drink a bottle of Jägermeister and piss in the Little Five Points Zesto parking lot. They called themselves the Hellcats and, while the initiation was mostly a joke, a couple of them actually did it. I was an honorary member, as I didn’t do such things. Spencer L. Kirkpatrick Zesto at Confederate and Moreland avenues (East Atlanta location): I had a heated exchange with (the) cooks regarding long hair — lots of shit talk but no blows — a true standoff. Would have been 1966. Mark Michaelson Back in the mid-’60s, we would meet at the Zesto in Buckhead and get in our hopped-up cars and race down Roswell Road all the way to the river with radios loud. Lucky we’re all still standing. One of the cars was a ’62 Vette with a fuel-injected 327. Another one was one of my folks’ rides after we’d “fixed it up.” Janet Smith and her sister, Priscilla Smith Janet: Buying fried chicken livers back in the day. Priscilla: Back in a month or so ago. Janet: I had no idea they were still on the menu. Priscilla: I always coveted the faded Brown Crown sign behind the counter in Little 5. Been gone a few years. In 1961 (?), all the kids on Clairmont Circle were excited because they were going to open one at North Decatur, across the street from the Colonial Store, and they had FOOT-LONG HOT DOGS! Amy Linton I was at the Little Five Points Zesto with my high school/college boyfriend. He was a musician/songwriter and when people would panhandle, he would see if he could get a song out of them instead of giving them any money. Occasionally, it put me in sketchy situations. One guy approached us in Zesto and started talking him up and then told me to put my hand out. My boyfriend insisted I do it and, not wanting to anger anyone, I put it out, palm up. “Not like you takin’ from me!” he yelled. I turned my hand over, and he tried to get my grandmother’s wedding band, which I always wore, off my hand. Hurt my hand and my boyfriend didn’t even try to defend me. I rarely go there now, but always think of that when I do! Kent Worley (The East Atlanta location) was my Zesto. We would stop there for pregame fulfillment before going to the Starlight Drive-In. I was a big fan of the foot-long chili slaw dog. The trick was getting a Nut Brown Crown home for my wife’s late-night munchies before it melted. Steve Gorman A large Fellini’s Special (Little Five Points) in 1987 was worth about six Zesto milkshakes, if memory serves. Not that we lowly employees would have bartered pizzas for shakes or anything. Guy Goodman Piedmont Road location at Lindbergh Drive, eight years old, throwing my paper route on a bicycle. Would get a Chubby Decker Basket for 50 cents. That came with fries, slaw, and a drink. My mum always wondered why I wasn’t hungry when I got home for dinner. Still friends with Crystal Sloan. Her dad owned all the Zestos in Atlanta: Big John Livaditis. Mark Greenberg Inman/Candler Park/Little Five Points: watching the sunset behind downtown through the picture window with my son Emmett, now 13. He’d get a kids’ cup and I’d get a chocolate-covered cone. Definitely, those were some great, quiet, midweek rituals! Let’s go, kiddo! John Kelly I melted down a ceiling tile with a mighty mole in 1992 and it stayed there all brown and bubbly until they sold out to the burger joint. -CL-" ["tracker_field_contentWikiPage_raw"]=> string(17279) "Back in the early 1970s, Jimbo Livaditis played youth baseball at Bagley Park (since renamed Frankie Allen Park) in the Garden Hills neighborhood in Buckhead. With some frequency, on the way home after a game or practice, the parents of Livaditis and his preteen teammates would take their Little Leaguers to the nearby Zesto for an ice cream treat or milkshake. Cooling down in the summer, sipping chocolaty goodness through a straw or licking melted vanilla cream from the runnels of a crunchy sugar cone, a boy could easily slip into a daydream about hitting a grand slam to win the World Series or building a skyscraper in downtown Atlanta next to that new hotel with the blue-domed flying saucer on top. In Jimbo’s case, the idle musing took a different tack. “I remember thinking to myself, ‘One day, I hope this is mine,’” Livaditis says in a phone interview with CL. The young baseballer wearing the syrup-stained jersey had good reason to consider such an unusual prospect. His father, John Livaditis, owned the joint. As a matter of fact, at the time, “Big John” Livaditis, a hard-working, entrepreneurial, first-generation son of Greek immigrants, owned multiple Zestos in Atlanta, including the city’s first — a walk-up, ice-cream-only stand — which opened in 1949. Later that same year, just a few years out of the Army, where he competed as a Golden Gloves boxer, Livaditis accepted a proposal from a tree grower and started selling Christmas trees in the parking lot on Peachtree Street at Brookwood Station. Thus was established Big John’s Christmas Trees, which helped fill the revenue gap during the holiday season when the demand for cold desserts tapered off. “Dad always put in an incredible amount of hours,” Livaditis recalls. “A lot of times, we went to visit him after the game because he wasn’t able to attend, since he was working.” By the mid-1980s, Big John was lording over a fiefdom of 10 metro Atlanta Zestos. In 1988, he retired, bequeathing the restaurant and Christmas tree businesses to sons Lee and (younger by eight years) Jimbo. Seven years later, Big John passed away. For the next three decades, the Livaditis brothers carried on, riding demographic tides and dallying with commercial developments by closing some Zestos, opening new stores and refurbishing others while tweaking the menu to accommodate the public’s trending palate. In 2019, Zesto Atlanta President and CEO Jimbo Livaditis is presiding over a year-long celebration of a 70-year-old family enterprise. His wife, Leigh Ann, serves as company vice president and director of marketing and communications. The couple’s children work in one capacity or another for Big John’s Christmas Trees. Eldest son John is also involved with Zesto operations while finishing up college at Kennesaw State University. Lucas attends the University of South Carolina, and Anastasia is a senior at North Atlanta High School. Sadly, Lee is not around to raise a celebratory Nut Brown Crown with the family. Three years ago, he succumbed to lung cancer at age 66. “It was a sudden, traumatizing and multilayered loss,” says Livaditis. “I no longer have my older brother’s advice to lean on or daily presence to cherish. I’ve had a crash course in wearing many more hats than I was used to. I’m still getting on my feet in some areas.” Currently, the Livaditises operate four metro area Zestos: Buckhead, East Atlanta, Forest Park and Little Five Points (a fifth location, an independent franchise in Tyrone, is owned by a sister-in-law). Big John’s Christmas Trees, which peaked around the turn of the millennia at 22 locations, now stands at nine lots. The family’s abiding commitment to the cause has been shared by a number of Zesto employees. Delores Slaughter, general manager of the Buckhead Zesto, has been with the company 41 years. East Atlanta GM Jimmy Koulouris has been clocking in for 45 years and counting. Two recently retired store managers, Pete Giannakopoulos and his brother Tommy, were Greek immigrants originally sponsored by Big John in the 1950s; their sister-in-law, Theoni Giannakopoulos, works at the Little Five Points Zesto. “Our long-term employees know their customers and the customers know them, which adds to the authenticity of the Zesto experience,” says Leigh Ann. “You can’t easily create relationships and experiences like that in a branded business model.” The original Zesto venture was spawned in 1945 by Rockford, Illinois-based Taylor Freezer Corporation, which manufactured a soft-serve ice cream machine called the Zest-O-Mat. Conceived as a competitor of Dairy Queen, the first Zesto stores were only equipped to serve ice cream. By the time Big John Livaditis opened his franchise in Atlanta, Zestos could be found in 46 states. From the 1950s through the 1970s, America’s head-over-heels, pedal-to-the-metal love affair with automobiles, drive-ins, and fast food fueled the fortunes of Zesto and its rivals, which competed for customers by expanding their sweet and cool dessert menus with warm, savory fare. In 1959, Zesto introduced a double-patty hamburger originally named “Fat Boy,” which was renamed two years later when Shoney’s objected to the resemblance to the company’s signature “Big Boy” sandwich. Consequently, Big John held a contest, which was won by a Georgia Tech student who submitted Chubby Decker, with a nod to the contemporaneous rock ‘n’ roll star, as the two-tiered burger’s new moniker. Then came the foot-long hot dog, which, based on innumerable unscientific surveys, is an incomplete construction without chili, if not slaw. “In the ’60s, my father had a Greek buddy in Pennsylvania named Gus,” says Livaditis. “He ran a chain called Coney Island, which offered a special chili dog. His success inspired my dad to perfect the chili recipe we still use today.” Hand-cut onion rings, French fries, and fried chicken became staple menu items. Over the years, at various times and locations, Zesto customers could order a pizza burger, roast beef sandwich, grilled and toasted cheese sandwiches, and pork tenderloin. “There’s even a fish dog — two fish sticks on a foot-long bun with coleslaw and tartar sauce — which is on the ‘secret menu,’” Livaditis confides. Recently, the influx of Hispanic and Latino residents across metro Atlanta neighborhoods spurred the addition of burritos, tacos, quesadillas, and nachos to the menu at several Zesto locations. For 2019, a Spicy 70th Steakburger with bacon and Palmetto Cheese was introduced. Currently, the kitchen lab is putting the final tweaks on a mango milkshake. “It’s been a labor of love,” Livaditis says. “We want to get it just right using nothing artificial, just pure ingredients, fresh mangos with the right color, texture, and bite.” Then as now, in acknowledgement of the restaurant’s Southern roots, fried livers and gizzards can be ordered at select Zesto locations. “I’ve been known to stop in and sample the livers and gizzards to make sure they’re up to our standards,” Livaditis says, with a chuckle. Celebrity sightings and associations are features of the Zesto Atlanta legacy. Pro basketball Hall of Famer Walt Frazier, who led the New York Knicks to two National Basketball Association championships (1970 and ’73), played high school sports at Atlanta’s David Tobias Howard High School. In a 2018 biography produced by MSG Networks, Frazier visits the Zesto on Ponce de Leon (now a Cook Out) where he did a stint as a “curb boy” when the restaurant only offered walk-up or dine-in-your-car service. During the segment Frazier reminisces with his former supervisors, the Giannakopoulos brothers. Then there was the time (in 1979) a WSB-TV news reporter corralled Colonel Sanders at the defunct Zesto at Pershing Point after the goateed ambassador of Kentucky Fried Chicken was spotted enjoying one of his guilty pleasures, a Zesto milkshake. More recently, people are still laughing at the “kids meal” scene from the first season (2016) of Donald Glover’s television series “Atlanta,” which was filmed at the East Atlanta Zesto. Cee Lo Green, Lil Yachty, and Shawn Reis (“Flash Gordon,” “Smallville”) have been spotted chilling at Zesto. One day, Livaditis and his three children were eating lunch at the Piedmont Road Zesto when they looked over and discovered they were dining with Carolina Panthers star quarterback Cam Newton (presumably during the off-season). So, what’s the secret to Zesto's enduring allure and success? “It’s hard to pin down, but part of it is a combination of nostalgia and relevance,” says Leigh Ann. “If you can maintain that nostalgic ‘Gee, this place is cool!’ factor, that’s great. But you also have to stay relevant by tapping into social media, updating the menu, and doing promotions that attract younger people.” Livaditis adds: “We were laughing the other night. When Dad started Zesto, he wasn’t thinking, ‘I’m going to create something 1950s-ish because it’s trendy.’ He was just working with what was available. There is something compelling about the design of the drive-in and the feeling it generates, which has been glamorized by movies. But there is also an element of genuine authenticity, which you can’t force; it’s either present or it’s not.” Seventy years down the road, thanks to a family’s work ethic and aspirational spirit, Zesto Atlanta stands as a worthy representative of the all-American drive-in food destination, as well as a cultural touchstone near and dear to the hearts, if not the digestive tracts, of the city’s inhabitants. !!More than a place to eat In researching this story, writer Doug DeLoach solicited memories of Zesto adventures from Atlanta stalwarts and friends. A selection of these recollections, mostly unedited follow. Others may be found on creativeloafing.com. __Patricia Doyle O’Connor__ The day of my divorce, I was on my way home from signing papers and pretty broken. I walked into the Ponce (Zesto) location and had lunch. Looking up from my booth, I noticed a man running toward the front door, which faced the old Sears building, two Atlanta cops on his heels. When he hit the door, he jumped up on the first table to try to avoid the police who were getting their tear-gas canisters out. They chased him as he jumped from table to table in full run. I sorta ducked and covered my fries from the dirt flying. I couldn’t decide who to trip — them or him — so I just sheltered my food. When I did finally look up, nobody was left in the store, not a cook or waiter or customer — just me and a huge cloud of tear gas, which I didn’t feel until much later, in the shower for some reason. I continued eating alone. __Faylynn Owen__ I was a regular at the Little Five Points location for a sweet tea after big nights. I loved their tea. I stumbled down there one morning/afternoon and got my tea. I made it out the door only to realize my magic elixir tasted like bad socks. I returned to the good-natured laughing of the staff, who knew exactly what happened. Someone new had made the tea. They then offered me my second choice, a cherry coke. Kudos to the staff. __Dave Chamberlain__ One hot July day in 1979, my brother Tim and I were tooling along in his red VW bug on North Highland Avenue when we stopped at the red light at Ponce de Leon Avenue. The car in front of us had a sunroof, and we watched the driver make a valiant attempt to lob a bag through it and into a roadside garbage can. The shot, of course, was off by several feet and the bag landed rather close to our car. Feeling some ire at witnessing brazen littering, I leapt from the car to grab it and put it into the garbage receptacle when I noticed the telltale classic red-striped Zesto packaging. My brother hollered for me to just dump the damn bag and get the hell back in the car. I did, bag in hand. Peering inside, I exclaimed, “It’s a Zesto bag with a Chubby Decker! Uneaten!” Now, since Zesto makes the very finest of hangover recovery foods, and since the Chubby Decker is the apex hamburger invention on the planet, I was loathe to toss the bag and its tempting contents. I gazed adoringly at the burger as my brother intoned, “Dave, don’t do it.” Brushing off his plea, I devoured that perfect burger between Virginia Highlands and Midtown without concern for microbial attack. While my brother threatened to race to Grady Hospital as a precautionary measure, I enjoyed every bite. Such is the stuff of daft youth and my high regard for Zesto cuisine. Would I do it again? Never, ever, ever! __Katy Graves__ I ran into Hosea Williams in the Zesto on Ponce way back in the day. He was in his trademark overalls, and he was really nice. __Gail Harris__ I introduced myself to Hosea Williams at the Zesto on Moreland, had gone to high school with his son Andre. __Kahle Davis__ I was walking to the Zesto in Little Five Points to get some soft-serve when I noticed a woman pooping on one of the walls. I turned around and went back to work. __Bill Nittler__ Our new house had a very similar address to the Zesto on Ponce: same number, different Ponce (Ave. vs. Mnr.), and at one point UPS started delivering us all kinds of restaurant stuff. Coffee filters, straws, mop heads, adding-machine tape, etc. UPS eventually came and picked it all up after nagging from us and the restaurant. Sadder, when Cook Out moved in, they proceeded to put our address on their website, so we got a whole bunch more stuff, which they never came to get. __Ginger Shyrock__ There was a certain female group in the ’80s whose initiation was to drink a bottle of Jägermeister and piss in the Little Five Points Zesto parking lot. They called themselves the Hellcats and, while the initiation was mostly a joke, a couple of them actually did it. I was an honorary member, as I didn’t do such things. __Spencer L. Kirkpatrick__ Zesto at Confederate and Moreland avenues (East Atlanta location): I had a heated exchange with (the) cooks regarding long hair — lots of shit talk but no blows — a true standoff. Would have been 1966. __Mark Michaelson__ Back in the mid-’60s, we would meet at the Zesto in Buckhead and get in our hopped-up cars and race down Roswell Road all the way to the river with radios loud. Lucky we’re all still standing. One of the cars was a ’62 Vette with a fuel-injected 327. Another one was one of my folks’ rides after we’d “fixed it up.” __Janet Smith and her sister, Priscilla Smith__ Janet: Buying fried chicken livers back in the day. Priscilla: Back in a month or so ago. Janet: I had no idea they were still on the menu. Priscilla: I always coveted the faded Brown Crown sign behind the counter in Little 5. Been gone a few years. In 1961 (?), all the kids on Clairmont Circle were excited because they were going to open one at North Decatur, across the street from the Colonial Store, and they had FOOT-LONG HOT DOGS! __Amy Linton__ I was at the Little Five Points Zesto with my high school/college boyfriend. He was a musician/songwriter and when people would panhandle, he would see if he could get a song out of them instead of giving them any money. Occasionally, it put me in sketchy situations. One guy approached us in Zesto and started talking him up and then told me to put my hand out. My boyfriend insisted I do it and, not wanting to anger anyone, I put it out, palm up. “Not like you takin’ from me!” he yelled. I turned my hand over, and he tried to get my grandmother’s wedding band, which I always wore, off my hand. Hurt my hand and my boyfriend didn’t even try to defend me. I rarely go there now, but always think of that when I do! __Kent Worley__ (The East Atlanta location) was my Zesto. We would stop there for pregame fulfillment before going to the Starlight Drive-In. I was a big fan of the foot-long chili slaw dog. The trick was getting a Nut Brown Crown home for my wife’s late-night munchies before it melted. __Steve Gorman__ A large Fellini’s Special (Little Five Points) in 1987 was worth about six Zesto milkshakes, if memory serves. Not that we lowly employees would have bartered pizzas for shakes or anything. __Guy Goodman__ Piedmont Road location at Lindbergh Drive, eight years old, throwing my paper route on a bicycle. Would get a Chubby Decker Basket for 50 cents. That came with fries, slaw, and a drink. My mum always wondered why I wasn’t hungry when I got home for dinner. Still friends with Crystal Sloan. Her dad owned all the Zestos in Atlanta: Big John Livaditis. __Mark Greenberg__ Inman/Candler Park/Little Five Points: watching the sunset behind downtown through the picture window with my son Emmett, now 13. He’d get a kids’ cup and I’d get a chocolate-covered cone. Definitely, those were some great, quiet, midweek rituals! 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Fries and banana milkshakes, always, both at the Piedmont Zesto’s and the Ponce Zesto’s! atlanta little 5 points creative loafing zesto\'s Zesto Atlanta’s family affair marks a milestone of sweet and savory service Photo 5 Zesto Piedmont Ca 1962 Credit Zesto Atlanta Copy Vers 3 2019-09-03T19:17:28+00:00 70 and Counting chad.radford Chad Radford Doug DeLoach 2019-09-03T19:17:28+00:00 Back in the early 1970s, Jimbo Livaditis played youth baseball at Bagley Park (since renamed Frankie Allen Park) in the Garden Hills neighborhood in Buckhead. With some frequency, on the way home after a game or practice, the parents of Livaditis and his preteen teammates would take their Little Leaguers to the nearby Zesto for an ice cream treat or milkshake. Cooling down in the summer, sipping chocolaty goodness through a straw or licking melted vanilla cream from the runnels of a crunchy sugar cone, a boy could easily slip into a daydream about hitting a grand slam to win the World Series or building a skyscraper in downtown Atlanta next to that new hotel with the blue-domed flying saucer on top. In Jimbo’s case, the idle musing took a different tack. “I remember thinking to myself, ‘One day, I hope this is mine,’” Livaditis says in a phone interview with CL. The young baseballer wearing the syrup-stained jersey had good reason to consider such an unusual prospect. His father, John Livaditis, owned the joint. As a matter of fact, at the time, “Big John” Livaditis, a hard-working, entrepreneurial, first-generation son of Greek immigrants, owned multiple Zestos in Atlanta, including the city’s first — a walk-up, ice-cream-only stand — which opened in 1949. Later that same year, just a few years out of the Army, where he competed as a Golden Gloves boxer, Livaditis accepted a proposal from a tree grower and started selling Christmas trees in the parking lot on Peachtree Street at Brookwood Station. Thus was established Big John’s Christmas Trees, which helped fill the revenue gap during the holiday season when the demand for cold desserts tapered off. “Dad always put in an incredible amount of hours,” Livaditis recalls. “A lot of times, we went to visit him after the game because he wasn’t able to attend, since he was working.” By the mid-1980s, Big John was lording over a fiefdom of 10 metro Atlanta Zestos. In 1988, he retired, bequeathing the restaurant and Christmas tree businesses to sons Lee and (younger by eight years) Jimbo. Seven years later, Big John passed away. For the next three decades, the Livaditis brothers carried on, riding demographic tides and dallying with commercial developments by closing some Zestos, opening new stores and refurbishing others while tweaking the menu to accommodate the public’s trending palate. In 2019, Zesto Atlanta President and CEO Jimbo Livaditis is presiding over a year-long celebration of a 70-year-old family enterprise. His wife, Leigh Ann, serves as company vice president and director of marketing and communications. The couple’s children work in one capacity or another for Big John’s Christmas Trees. Eldest son John is also involved with Zesto operations while finishing up college at Kennesaw State University. Lucas attends the University of South Carolina, and Anastasia is a senior at North Atlanta High School. Sadly, Lee is not around to raise a celebratory Nut Brown Crown with the family. Three years ago, he succumbed to lung cancer at age 66. “It was a sudden, traumatizing and multilayered loss,” says Livaditis. “I no longer have my older brother’s advice to lean on or daily presence to cherish. I’ve had a crash course in wearing many more hats than I was used to. I’m still getting on my feet in some areas.” Currently, the Livaditises operate four metro area Zestos: Buckhead, East Atlanta, Forest Park and Little Five Points (a fifth location, an independent franchise in Tyrone, is owned by a sister-in-law). Big John’s Christmas Trees, which peaked around the turn of the millennia at 22 locations, now stands at nine lots. The family’s abiding commitment to the cause has been shared by a number of Zesto employees. Delores Slaughter, general manager of the Buckhead Zesto, has been with the company 41 years. East Atlanta GM Jimmy Koulouris has been clocking in for 45 years and counting. Two recently retired store managers, Pete Giannakopoulos and his brother Tommy, were Greek immigrants originally sponsored by Big John in the 1950s; their sister-in-law, Theoni Giannakopoulos, works at the Little Five Points Zesto. “Our long-term employees know their customers and the customers know them, which adds to the authenticity of the Zesto experience,” says Leigh Ann. “You can’t easily create relationships and experiences like that in a branded business model.” The original Zesto venture was spawned in 1945 by Rockford, Illinois-based Taylor Freezer Corporation, which manufactured a soft-serve ice cream machine called the Zest-O-Mat. Conceived as a competitor of Dairy Queen, the first Zesto stores were only equipped to serve ice cream. By the time Big John Livaditis opened his franchise in Atlanta, Zestos could be found in 46 states. From the 1950s through the 1970s, America’s head-over-heels, pedal-to-the-metal love affair with automobiles, drive-ins, and fast food fueled the fortunes of Zesto and its rivals, which competed for customers by expanding their sweet and cool dessert menus with warm, savory fare. In 1959, Zesto introduced a double-patty hamburger originally named “Fat Boy,” which was renamed two years later when Shoney’s objected to the resemblance to the company’s signature “Big Boy” sandwich. Consequently, Big John held a contest, which was won by a Georgia Tech student who submitted Chubby Decker, with a nod to the contemporaneous rock ‘n’ roll star, as the two-tiered burger’s new moniker. Then came the foot-long hot dog, which, based on innumerable unscientific surveys, is an incomplete construction without chili, if not slaw. “In the ’60s, my father had a Greek buddy in Pennsylvania named Gus,” says Livaditis. “He ran a chain called Coney Island, which offered a special chili dog. His success inspired my dad to perfect the chili recipe we still use today.” Hand-cut onion rings, French fries, and fried chicken became staple menu items. Over the years, at various times and locations, Zesto customers could order a pizza burger, roast beef sandwich, grilled and toasted cheese sandwiches, and pork tenderloin. “There’s even a fish dog — two fish sticks on a foot-long bun with coleslaw and tartar sauce — which is on the ‘secret menu,’” Livaditis confides. Recently, the influx of Hispanic and Latino residents across metro Atlanta neighborhoods spurred the addition of burritos, tacos, quesadillas, and nachos to the menu at several Zesto locations. For 2019, a Spicy 70th Steakburger with bacon and Palmetto Cheese was introduced. Currently, the kitchen lab is putting the final tweaks on a mango milkshake. “It’s been a labor of love,” Livaditis says. “We want to get it just right using nothing artificial, just pure ingredients, fresh mangos with the right color, texture, and bite.” Then as now, in acknowledgement of the restaurant’s Southern roots, fried livers and gizzards can be ordered at select Zesto locations. “I’ve been known to stop in and sample the livers and gizzards to make sure they’re up to our standards,” Livaditis says, with a chuckle. Celebrity sightings and associations are features of the Zesto Atlanta legacy. Pro basketball Hall of Famer Walt Frazier, who led the New York Knicks to two National Basketball Association championships (1970 and ’73), played high school sports at Atlanta’s David Tobias Howard High School. In a 2018 biography produced by MSG Networks, Frazier visits the Zesto on Ponce de Leon (now a Cook Out) where he did a stint as a “curb boy” when the restaurant only offered walk-up or dine-in-your-car service. During the segment Frazier reminisces with his former supervisors, the Giannakopoulos brothers. Then there was the time (in 1979) a WSB-TV news reporter corralled Colonel Sanders at the defunct Zesto at Pershing Point after the goateed ambassador of Kentucky Fried Chicken was spotted enjoying one of his guilty pleasures, a Zesto milkshake. More recently, people are still laughing at the “kids meal” scene from the first season (2016) of Donald Glover’s television series “Atlanta,” which was filmed at the East Atlanta Zesto. Cee Lo Green, Lil Yachty, and Shawn Reis (“Flash Gordon,” “Smallville”) have been spotted chilling at Zesto. One day, Livaditis and his three children were eating lunch at the Piedmont Road Zesto when they looked over and discovered they were dining with Carolina Panthers star quarterback Cam Newton (presumably during the off-season). So, what’s the secret to Zesto's enduring allure and success? “It’s hard to pin down, but part of it is a combination of nostalgia and relevance,” says Leigh Ann. “If you can maintain that nostalgic ‘Gee, this place is cool!’ factor, that’s great. But you also have to stay relevant by tapping into social media, updating the menu, and doing promotions that attract younger people.” Livaditis adds: “We were laughing the other night. When Dad started Zesto, he wasn’t thinking, ‘I’m going to create something 1950s-ish because it’s trendy.’ He was just working with what was available. There is something compelling about the design of the drive-in and the feeling it generates, which has been glamorized by movies. But there is also an element of genuine authenticity, which you can’t force; it’s either present or it’s not.” Seventy years down the road, thanks to a family’s work ethic and aspirational spirit, Zesto Atlanta stands as a worthy representative of the all-American drive-in food destination, as well as a cultural touchstone near and dear to the hearts, if not the digestive tracts, of the city’s inhabitants. !!More than a place to eat In researching this story, writer Doug DeLoach solicited memories of Zesto adventures from Atlanta stalwarts and friends. A selection of these recollections, mostly unedited follow. Others may be found on creativeloafing.com. Patricia Doyle O’Connor The day of my divorce, I was on my way home from signing papers and pretty broken. I walked into the Ponce (Zesto) location and had lunch. Looking up from my booth, I noticed a man running toward the front door, which faced the old Sears building, two Atlanta cops on his heels. When he hit the door, he jumped up on the first table to try to avoid the police who were getting their tear-gas canisters out. They chased him as he jumped from table to table in full run. I sorta ducked and covered my fries from the dirt flying. I couldn’t decide who to trip — them or him — so I just sheltered my food. When I did finally look up, nobody was left in the store, not a cook or waiter or customer — just me and a huge cloud of tear gas, which I didn’t feel until much later, in the shower for some reason. I continued eating alone. Faylynn Owen I was a regular at the Little Five Points location for a sweet tea after big nights. I loved their tea. I stumbled down there one morning/afternoon and got my tea. I made it out the door only to realize my magic elixir tasted like bad socks. I returned to the good-natured laughing of the staff, who knew exactly what happened. Someone new had made the tea. They then offered me my second choice, a cherry coke. Kudos to the staff. Dave Chamberlain One hot July day in 1979, my brother Tim and I were tooling along in his red VW bug on North Highland Avenue when we stopped at the red light at Ponce de Leon Avenue. The car in front of us had a sunroof, and we watched the driver make a valiant attempt to lob a bag through it and into a roadside garbage can. The shot, of course, was off by several feet and the bag landed rather close to our car. Feeling some ire at witnessing brazen littering, I leapt from the car to grab it and put it into the garbage receptacle when I noticed the telltale classic red-striped Zesto packaging. My brother hollered for me to just dump the damn bag and get the hell back in the car. I did, bag in hand. Peering inside, I exclaimed, “It’s a Zesto bag with a Chubby Decker! Uneaten!” Now, since Zesto makes the very finest of hangover recovery foods, and since the Chubby Decker is the apex hamburger invention on the planet, I was loathe to toss the bag and its tempting contents. I gazed adoringly at the burger as my brother intoned, “Dave, don’t do it.” Brushing off his plea, I devoured that perfect burger between Virginia Highlands and Midtown without concern for microbial attack. While my brother threatened to race to Grady Hospital as a precautionary measure, I enjoyed every bite. Such is the stuff of daft youth and my high regard for Zesto cuisine. Would I do it again? Never, ever, ever! Katy Graves I ran into Hosea Williams in the Zesto on Ponce way back in the day. He was in his trademark overalls, and he was really nice. Gail Harris I introduced myself to Hosea Williams at the Zesto on Moreland, had gone to high school with his son Andre. Kahle Davis I was walking to the Zesto in Little Five Points to get some soft-serve when I noticed a woman pooping on one of the walls. I turned around and went back to work. Bill Nittler Our new house had a very similar address to the Zesto on Ponce: same number, different Ponce (Ave. vs. Mnr.), and at one point UPS started delivering us all kinds of restaurant stuff. Coffee filters, straws, mop heads, adding-machine tape, etc. UPS eventually came and picked it all up after nagging from us and the restaurant. Sadder, when Cook Out moved in, they proceeded to put our address on their website, so we got a whole bunch more stuff, which they never came to get. Ginger Shyrock There was a certain female group in the ’80s whose initiation was to drink a bottle of Jägermeister and piss in the Little Five Points Zesto parking lot. They called themselves the Hellcats and, while the initiation was mostly a joke, a couple of them actually did it. I was an honorary member, as I didn’t do such things. Spencer L. Kirkpatrick Zesto at Confederate and Moreland avenues (East Atlanta location): I had a heated exchange with (the) cooks regarding long hair — lots of shit talk but no blows — a true standoff. Would have been 1966. Mark Michaelson Back in the mid-’60s, we would meet at the Zesto in Buckhead and get in our hopped-up cars and race down Roswell Road all the way to the river with radios loud. Lucky we’re all still standing. One of the cars was a ’62 Vette with a fuel-injected 327. Another one was one of my folks’ rides after we’d “fixed it up.” Janet Smith and her sister, Priscilla Smith Janet: Buying fried chicken livers back in the day. Priscilla: Back in a month or so ago. Janet: I had no idea they were still on the menu. Priscilla: I always coveted the faded Brown Crown sign behind the counter in Little 5. Been gone a few years. In 1961 (?), all the kids on Clairmont Circle were excited because they were going to open one at North Decatur, across the street from the Colonial Store, and they had FOOT-LONG HOT DOGS! Amy Linton I was at the Little Five Points Zesto with my high school/college boyfriend. He was a musician/songwriter and when people would panhandle, he would see if he could get a song out of them instead of giving them any money. Occasionally, it put me in sketchy situations. One guy approached us in Zesto and started talking him up and then told me to put my hand out. My boyfriend insisted I do it and, not wanting to anger anyone, I put it out, palm up. “Not like you takin’ from me!” he yelled. I turned my hand over, and he tried to get my grandmother’s wedding band, which I always wore, off my hand. Hurt my hand and my boyfriend didn’t even try to defend me. I rarely go there now, but always think of that when I do! Kent Worley (The East Atlanta location) was my Zesto. We would stop there for pregame fulfillment before going to the Starlight Drive-In. I was a big fan of the foot-long chili slaw dog. The trick was getting a Nut Brown Crown home for my wife’s late-night munchies before it melted. Steve Gorman A large Fellini’s Special (Little Five Points) in 1987 was worth about six Zesto milkshakes, if memory serves. Not that we lowly employees would have bartered pizzas for shakes or anything. Guy Goodman Piedmont Road location at Lindbergh Drive, eight years old, throwing my paper route on a bicycle. Would get a Chubby Decker Basket for 50 cents. That came with fries, slaw, and a drink. My mum always wondered why I wasn’t hungry when I got home for dinner. Still friends with Crystal Sloan. Her dad owned all the Zestos in Atlanta: Big John Livaditis. Mark Greenberg Inman/Candler Park/Little Five Points: watching the sunset behind downtown through the picture window with my son Emmett, now 13. He’d get a kids’ cup and I’d get a chocolate-covered cone. Definitely, those were some great, quiet, midweek rituals! Let’s go, kiddo! John Kelly I melted down a ceiling tile with a mighty mole in 1992 and it stayed there all brown and bubbly until they sold out to the burger joint. -CL- Zesto Atlanta Zesto parking lot at 2439 Piedmont Road (ca. 1962) prior to its relocation down the street. 0,0,15 Zesto's Atlanta "Little 5 Points" "Creative Loafing" 70 and Counting " ["score"]=> float(0) ["_index"]=> string(35) "atlantawiki_tiki_main_62887fe234a1d" ["objectlink"]=> string(36) "No value for 'contentTitle'" ["photos"]=> string(181) "" ["desc"]=> string(86) "Zesto Atlanta’s family affair marks a milestone of sweet and savory service" ["category"]=> string(14) "Food and Drink" }
70 and Counting Food and Drink
Tuesday September 3, 2019 03:17 PM EDT
Zesto Atlanta’s family affair marks a milestone of sweet and savory service
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array(102) { ["title"]=> string(28) "ONE Musicfest survival guide" ["modification_date"]=> string(25) "2020-09-27T23:30:38+00:00" ["creation_date"]=> string(25) "2019-09-04T19:27:37+00:00" ["contributors"]=> array(2) { [0]=> string(10) "joshfrob17" [1]=> string(9) "ben.eason" } ["date"]=> string(25) "2019-09-04T19:24:53+00:00" ["tracker_status"]=> string(1) "o" ["tracker_id"]=> string(2) "11" ["view_permission"]=> string(13) "view_trackers" ["parent_object_id"]=> string(2) "11" ["parent_object_type"]=> string(7) "tracker" ["field_permissions"]=> string(2) "[]" ["tracker_field_contentTitle"]=> string(28) "ONE Musicfest survival guide" ["tracker_field_contentCreator"]=> string(10) "joshfrob17" ["tracker_field_contentCreator_text"]=> string(15) "Joshua Robinson" ["tracker_field_contentCreator_unstemmed"]=> string(15) "joshua robinson" ["tracker_field_contentByline"]=> string(15) "Joshua Robinson" ["tracker_field_contentByline_exact"]=> string(15) "Joshua Robinson" ["tracker_field_contentBylinePerson"]=> string(6) "476090" ["tracker_field_contentBylinePerson_text"]=> string(33) "joshfrob17 (Joshua Robinson)" ["tracker_field_description"]=> string(81) "Get prepared to celebrate the 10th anniversary of Atlanta’s cultural homecoming" ["tracker_field_description_raw"]=> string(81) "Get prepared to celebrate the 10th anniversary of Atlanta’s cultural homecoming" ["tracker_field_contentDate"]=> string(25) "2019-09-04T19:24:53+00:00" ["tracker_field_contentWikiPage"]=> string(28) "ONE Musicfest survival guide" ["tracker_field_contentWikiPage_text"]=> string(5095) "ONE Musicfest, Atlanta’s premier blend of hip-hop and R&B, returns this weekend for its 10th anniversary showcase. The festival hits Centennial Olympic Park from Saturday, September 7 to Sunday, September 8. Flexing a star-studded lineup that features local legends such as Gucci Mane and Usher alongside rising stars such as Baby Rose and Yung Baby Tate, ONE is ready to celebrate its landmark year with a bang. In addition to the highly anticipated performances, a wide array of food trucks and merch vendors run the gamut from a cut-and-dry music outing to a bonafide Afrocentric experience. With so much to look forward to, you don’t want to get lost in the sauce and squander the festivities, so here is a survival guide to ONE Musicfest 2019: Tip #1: Get familiar with the lineup. For its 10th year, ONE Musicfest has tapped over 40 artists for its two-day shindig. Headliners include Gucci Mane, Rae Sremmurd, Tory Lanez, and Rick Ross, and up-and-coming talents such as 7AM, Tayla Parx, and ParisAlexa round out the bill. ONE isn’t the only entity celebrating a career-spanning achievement either. DMX and Wu-Tang Clan are both hitting the festival, highlighting the 20th anniversary of It’s Dark and Hell is Hot and the 25th anniversary of Enter the Wu-Tang (36 Chambers), respectively. Following in the footsteps of DJ Nabs’s Crunk set last year, industry legends such as Dungeon Family producer KP the Great and V-103 mainstay Greg Street keep the ball rolling with more supersets, and Three 6 Mafia reunites to play their first show since 2012. With three stages of nonstop music over the course of two days, there are a lot of performances that you do not want to miss. Familiarize yourself with the lineup on ONE Musicfest’s website and download the festival’s official app to keep tabs on when and where your favorite artists are playing. Tip 2: Understand the wristband. Everyone has been a festival novice at some point, and chances are you’ve seen or been someone who finds misfortune with their wristband. Wristbands are your ticket into the festival and a nifty resource for cashless payments at vendors and food trucks, so understanding how to protect it and use it is crucial. First and foremost, you should activate your wristband online. Doing so links your ticket to your name. That way, ONE staff can properly assist you in the case of loss or theft. Activating it online also allows you to set it up for cashless payments. While optional, it beats ATM fees and speeds up long waits at food trucks, so it is an avenue worth your consideration. Once the day of the festival arrives and your wristband is fully activated, carefully proceed to tighten it to your wrist — not too tight and not too loose. A tried and true method is placing two fingers on the inside of your wrist and tighten the band around them. Once you remove your fingers, the wristband is tight enough to not slip off your hand and loose enough to not irritate the hell out of you. As mentioned before, your wristband is the key to being able to enjoy all of ONE Musicfest’s happenings, so don’t cut it, stretch it or mutilate it in any form or fashion. If your wristband is damaged, there is a $20 fee to replace it. Review the entire wristband policy and activation guide on ONE Musicfest’s website. Tip 3: Get your bag right. Nothing is worse than pulling up to a festival and being turned away for something as preventable as bringin the wrong type of bag. Some information is better from the horse’s mouth, so do yourself a favor and peruse ONE Musicfest’s official bag policy on its website. Tip 4: Know what is and isn't allowed inside. Piggybacking off the last point, arrive with confidence by knowing what you can and can’t bring onto festival grounds. ONE Musicfest offers a comprehensive list of allowed and prohibited items under its FAQ section, so don’t simply assume that you’re in the clear to bring what you deem is safe. Metal water bottles, for example, are not allowed inside, but empty plastic water bottles are. Furthermore, beach towels are welcomed, but blankets and anything larger are not. Check out the complete list online because one wants to be forced to throw away their favorite selfie stick at the gate. Tip 5: Be prepared to be on festival grounds all day. Finally, there is no re-entry. Once you arrive be prepared to enjoy the full experience as mouth-watering food, great vendors and music galore await. The weekend forecast predicts 90 degree weather, so dress comfortably and stay hydrated. Jason “J” Carter, the founder of ONE Musicfest, cosigns this final tip and stresses the importance of really having a great time at the annual music outing. “We call ONE Musicfest a cultural homecoming,” Carter says. “It’s like going back on campus and reconnecting with old faces and old friends. Festivals and music have a magnetic way of connecting folks and bringing people together, so be ready to make some new friends. Go with the flow and enjoy the vibe.” " ["tracker_field_contentWikiPage_raw"]=> string(5458) "[https://www.onemusicfest.com/tickets/?gclid=EAIaIQobChMI7ae7k-u55AIVGY_ICh2crA10EAAYAiAAEgJS0PD_BwE|ONE Musicfest], Atlanta’s premier blend of hip-hop and R&B, returns this weekend for its 10th anniversary showcase. The festival hits Centennial Olympic Park from Saturday, __September 7__ to Sunday, __September 8__. Flexing a star-studded lineup that features local legends such as Gucci Mane and Usher alongside rising stars such as Baby Rose and Yung Baby Tate, ONE is ready to celebrate its landmark year with a bang. In addition to the highly anticipated performances, a wide array of food trucks and merch vendors run the gamut from a cut-and-dry music outing to a bonafide Afrocentric experience. With so much to look forward to, you don’t want to get lost in the sauce and squander the festivities, so here is a survival guide to ONE Musicfest 2019: ~~#000000:__Tip #1: Get familiar with the lineup.__~~ For its 10th year, ONE Musicfest has tapped over 40 artists for its two-day shindig. Headliners include Gucci Mane, Rae Sremmurd, Tory Lanez, and Rick Ross, and up-and-coming talents such as 7AM, Tayla Parx, and ParisAlexa round out the bill. ONE isn’t the only entity celebrating a career-spanning achievement either. DMX and Wu-Tang Clan are both hitting the festival, highlighting the 20th anniversary of ''It’s Dark and Hell is Hot'' and the 25th anniversary of ''Enter the Wu-Tang (36 Chambers)'', respectively. Following in the footsteps of DJ Nabs’s Crunk set last year, industry legends such as Dungeon Family producer KP the Great and V-103 mainstay Greg Street keep the ball rolling with more supersets, and Three 6 Mafia reunites to play their first show since 2012. With three stages of nonstop music over the course of two days, there are a lot of performances that you do not want to miss. Familiarize yourself with the lineup on ONE Musicfest’s website and download the festival’s official app to keep tabs on when and where your favorite artists are playing. ~~#000000:__Tip 2: Understand the wristband.__~~ Everyone has been a festival novice at some point, and chances are you’ve seen or been someone who finds misfortune with their wristband. Wristbands are your ticket into the festival and a nifty resource for cashless payments at vendors and food trucks, so understanding how to protect it and use it is crucial. First and foremost, you should activate your wristband online. Doing so links your ticket to your name. That way, ONE staff can properly assist you in the case of loss or theft. Activating it online also allows you to set it up for cashless payments. While optional, it beats ATM fees and speeds up long waits at food trucks, so it is an avenue worth your consideration. Once the day of the festival arrives and your wristband is fully activated, carefully proceed to tighten it to your wrist — not too tight and not too loose. A tried and true method is placing two fingers on the inside of your wrist and tighten the band around them. Once you remove your fingers, the wristband is tight enough to not slip off your hand and loose enough to not irritate the hell out of you. As mentioned before, your wristband is the key to being able to enjoy all of ONE Musicfest’s happenings, so don’t cut it, stretch it or mutilate it in any form or fashion. If your wristband is damaged, there is a $20 fee to replace it. Review the entire wristband policy and activation guide on ONE Musicfest’s [https://www.onemusicfest.com/wristbands/|website]. ~~#000000:__Tip 3: Get your bag right.__~~ Nothing is worse than pulling up to a festival and being turned away for something as preventable as bringin the wrong type of bag. Some information is better from the horse’s mouth, so do yourself a favor and peruse ONE Musicfest’s official bag policy on its [https://www.onemusicfest.com/bag-policy/|website]. ~~#000000:__Tip 4: Know what is and isn't allowed inside.__~~ Piggybacking off the last point, arrive with confidence by knowing what you can and can’t bring onto festival grounds. ONE Musicfest offers a comprehensive list of allowed and prohibited items under its [https://www.onemusicfest.com/info/|FAQ section], so don’t simply assume that you’re in the clear to bring what you deem is safe. Metal water bottles, for example, are not allowed inside, but empty plastic water bottles are. Furthermore, beach towels are welcomed, but blankets and anything larger are not. Check out the complete list online because one wants to be forced to throw away their favorite selfie stick at the gate. ~~#000000:__Tip 5: Be prepared to be on festival grounds all day.__~~ Finally, there is no re-entry. Once you arrive be prepared to enjoy the full experience as mouth-watering food, great vendors and music galore await. The weekend forecast predicts 90 degree weather, so dress comfortably and stay hydrated. Jason “J” Carter, the founder of ONE Musicfest, cosigns this final tip and stresses the importance of really having a great time at the annual music outing. “We call ONE Musicfest a cultural homecoming,” Carter says. “It’s like going back on campus and reconnecting with old faces and old friends. Festivals and music have a magnetic way of connecting folks and bringing people together, so be ready to make some new friends. 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array(2) { [0]=> string(18) "tiki.file.attach:1" [1]=> string(29) "tiki.wiki.linkeditem.invert:1" } ["title_initial"]=> string(1) "O" ["title_firstword"]=> string(3) "ONE" ["searchable"]=> string(1) "y" ["url"]=> string(10) "item441111" ["object_type"]=> string(11) "trackeritem" ["object_id"]=> string(6) "441111" ["contents"]=> string(5972) " IMG 2826 1 2019-09-04T19:28:15+00:00 IMG_2826-1.JPG atlanta hip-hop creative loafing one musicfest gucci mane wu-tang clan 7am centennial olympic park survival guide dmx rae sremmurd j carter greg street 10 year anniversary Get prepared to celebrate the 10th anniversary of Atlanta’s cultural homecoming IMG 2826 1 2019-09-04T19:24:53+00:00 ONE Musicfest survival guide joshfrob17 Joshua Robinson Joshua Robinson joshfrob17 (Joshua Robinson) 2019-09-04T19:24:53+00:00 ONE Musicfest, Atlanta’s premier blend of hip-hop and R&B, returns this weekend for its 10th anniversary showcase. The festival hits Centennial Olympic Park from Saturday, September 7 to Sunday, September 8. Flexing a star-studded lineup that features local legends such as Gucci Mane and Usher alongside rising stars such as Baby Rose and Yung Baby Tate, ONE is ready to celebrate its landmark year with a bang. In addition to the highly anticipated performances, a wide array of food trucks and merch vendors run the gamut from a cut-and-dry music outing to a bonafide Afrocentric experience. With so much to look forward to, you don’t want to get lost in the sauce and squander the festivities, so here is a survival guide to ONE Musicfest 2019: Tip #1: Get familiar with the lineup. For its 10th year, ONE Musicfest has tapped over 40 artists for its two-day shindig. Headliners include Gucci Mane, Rae Sremmurd, Tory Lanez, and Rick Ross, and up-and-coming talents such as 7AM, Tayla Parx, and ParisAlexa round out the bill. ONE isn’t the only entity celebrating a career-spanning achievement either. DMX and Wu-Tang Clan are both hitting the festival, highlighting the 20th anniversary of It’s Dark and Hell is Hot and the 25th anniversary of Enter the Wu-Tang (36 Chambers), respectively. Following in the footsteps of DJ Nabs’s Crunk set last year, industry legends such as Dungeon Family producer KP the Great and V-103 mainstay Greg Street keep the ball rolling with more supersets, and Three 6 Mafia reunites to play their first show since 2012. With three stages of nonstop music over the course of two days, there are a lot of performances that you do not want to miss. Familiarize yourself with the lineup on ONE Musicfest’s website and download the festival’s official app to keep tabs on when and where your favorite artists are playing. Tip 2: Understand the wristband. Everyone has been a festival novice at some point, and chances are you’ve seen or been someone who finds misfortune with their wristband. Wristbands are your ticket into the festival and a nifty resource for cashless payments at vendors and food trucks, so understanding how to protect it and use it is crucial. First and foremost, you should activate your wristband online. Doing so links your ticket to your name. That way, ONE staff can properly assist you in the case of loss or theft. Activating it online also allows you to set it up for cashless payments. While optional, it beats ATM fees and speeds up long waits at food trucks, so it is an avenue worth your consideration. Once the day of the festival arrives and your wristband is fully activated, carefully proceed to tighten it to your wrist — not too tight and not too loose. A tried and true method is placing two fingers on the inside of your wrist and tighten the band around them. Once you remove your fingers, the wristband is tight enough to not slip off your hand and loose enough to not irritate the hell out of you. As mentioned before, your wristband is the key to being able to enjoy all of ONE Musicfest’s happenings, so don’t cut it, stretch it or mutilate it in any form or fashion. If your wristband is damaged, there is a $20 fee to replace it. Review the entire wristband policy and activation guide on ONE Musicfest’s website. Tip 3: Get your bag right. Nothing is worse than pulling up to a festival and being turned away for something as preventable as bringin the wrong type of bag. Some information is better from the horse’s mouth, so do yourself a favor and peruse ONE Musicfest’s official bag policy on its website. Tip 4: Know what is and isn't allowed inside. Piggybacking off the last point, arrive with confidence by knowing what you can and can’t bring onto festival grounds. ONE Musicfest offers a comprehensive list of allowed and prohibited items under its FAQ section, so don’t simply assume that you’re in the clear to bring what you deem is safe. Metal water bottles, for example, are not allowed inside, but empty plastic water bottles are. Furthermore, beach towels are welcomed, but blankets and anything larger are not. Check out the complete list online because one wants to be forced to throw away their favorite selfie stick at the gate. Tip 5: Be prepared to be on festival grounds all day. Finally, there is no re-entry. Once you arrive be prepared to enjoy the full experience as mouth-watering food, great vendors and music galore await. The weekend forecast predicts 90 degree weather, so dress comfortably and stay hydrated. Jason “J” Carter, the founder of ONE Musicfest, cosigns this final tip and stresses the importance of really having a great time at the annual music outing. “We call ONE Musicfest a cultural homecoming,” Carter says. “It’s like going back on campus and reconnecting with old faces and old friends. Festivals and music have a magnetic way of connecting folks and bringing people together, so be ready to make some new friends. Go with the flow and enjoy the vibe.” ONE Musicfest 10 YEARS LATER: ONE Musicfest founder J Carter cosigns CL's tips and welcomes attendees to this weekend's festivities. 0,0,1 "One Musicfest" Atlanta "Survival Guide" "DMX" "Rae Sremmurd" "J Carter" "Greg Street" "10 Year Anniversary" "Creative Loafing" hip-hop "Gucci Mane" "Wu-Tang Clan" 7AM "Centennial Olympic Park" ONE Musicfest survival guide " ["score"]=> float(0) ["_index"]=> string(35) "atlantawiki_tiki_main_62887fe234a1d" ["objectlink"]=> string(36) "No value for 'contentTitle'" ["photos"]=> string(128) "" ["desc"]=> string(90) "Get prepared to celebrate the 10th anniversary of Atlanta’s cultural homecoming" ["category"]=> string(50) "Music and Nightlife
Crib Notes
Festivals" }
ONE Musicfest survival guide Music and Nightlife, Crib Notes, Festivals
Wednesday September 4, 2019 03:24 PM EDT
Get prepared to celebrate the 10th anniversary of Atlanta’s cultural homecoming
|
more...
array(100) { ["title"]=> string(20) "Halloween starts now" ["modification_date"]=> string(25) "2020-03-31T22:37:27+00:00" ["creation_date"]=> string(25) "2019-09-04T20:17:33+00:00" ["contributors"]=> array(2) { [0]=> string(10) "jim.harris" [1]=> string(9) "ben.eason" } ["date"]=> string(25) "2019-09-04T20:02:45+00:00" ["tracker_status"]=> string(1) "o" ["tracker_id"]=> string(2) "11" ["view_permission"]=> string(13) "view_trackers" ["parent_object_id"]=> string(2) "11" ["parent_object_type"]=> string(7) "tracker" ["field_permissions"]=> string(2) "[]" ["tracker_field_contentTitle"]=> string(20) "Halloween starts now" ["tracker_field_contentCreator"]=> string(10) "jim.harris" ["tracker_field_contentCreator_text"]=> string(10) "Jim Harris" ["tracker_field_contentCreator_unstemmed"]=> string(10) "jim harris" ["tracker_field_contentByline"]=> string(10) "Tony Paris" ["tracker_field_contentByline_exact"]=> string(10) "Tony Paris" ["tracker_field_contentBylinePerson"]=> string(6) "162403" ["tracker_field_contentBylinePerson_text"]=> string(28) "tony.paris (Tony Paris)" ["tracker_field_description"]=> string(46) "‘Monsterama’ ushers in the haunting season" ["tracker_field_description_raw"]=> string(46) "‘Monsterama’ ushers in the haunting season" ["tracker_field_contentDate"]=> string(25) "2019-09-04T20:02:45+00:00" ["tracker_field_contentWikiPage"]=> string(30) "Content:_:Halloween starts now" ["tracker_field_contentWikiPage_text"]=> string(3046) "Creatures of the night will converge on Atlanta for the sixth annual Monsterama convention at the Atlanta Marriott hotel in Alpharetta from September 27 through 29. “We hope this year’s show will be our biggest and best yet,” says convention co-chair and organizer Anthony Taylor. Taylor says he started the convention in 2014 because he saw an unfulfilled need for it locally. “I knew there were a lot of Halloween and monster lovers around the South, and I felt they needed a place to convene and celebrate their passions. We all love monster movies especially during the Halloween season,” he says, “and this is an opportunity to spend three days immersed in those passions with your best friends.” Featured guests include actors Ian Ogilvy (Death Becomes Her, “Return of the Saint”), Jackie Joseph (The Little Shop of Horrors), Jane Merrow (Hands of the Ripper, The Lion in Winter), Pauline Peart (The Satanic Rites of Dracula), Trina Parks (Diamonds Are Forever), Madeline Brumby (Frankenstein Created Bikers), and Katie Carpenter (“The Haunting of Hill House”). Also appearing are writers Dacre Stoker, Jeff Strand, Nancy A. Collins, artists Mark Maddox, Neil Vokes, Craig Hamilton and Matt Webb, as well as many others. “This year features our best lineup of guests ever,” says Taylor, “while also celebrating British horror and classic sci-fi.” The full roster of guests can be found on the convention website at MonsteramaCon.com. Activities planned for attendees include panel discussions on film, media, art, comics, literature, and demos of special effects, makeup, sculpture, prop making, and other related crafts. Gaming is also represented. Monsterama also features a large vendor’s area with dealers of toys, art, jewelry, books, film and television memorabilia, and more. Also there’s a model building contest, exhibits, and real 16-millimeter film screenings. A highlight is certain to be the Silver Scream Spook Show, featuring local ‘ghost-lebrities’ Professor Morte and the Go-Go Ghouls screening Revenge of the Creature in 3-D on the big screen. Other screenings include Frank Langella’s Dracula, The 7th Voyage of Sinbad, Robinson Crusoe on Mars, and Abbott and Costello Meet Frankenstein. There will be kid-friendly panels and programs throughout the weekend as well. Saturday night’s Monster Prom is always popular. This year, DJ Death’s Kiss will be spinning the sounds of Halloween and giving away some amazing door prizes at the dance. The Monster Prom runs from 8 p.m. till midnight and is free with your Monsterama admission. “We’re so happy to be able to present this show to Southern monster fans for another year,” says Taylor. “We hope to see a lot of new faces as well as old friends for the weekend!” Monsterama takes place September 27-29 at the Atlanta Marriott Alpharetta at 5750 Windward Parkway in Alpharetta. Registration opens at 2 p.m. Friday with events starting at 4 p.m. and ending at 5 p.m. on Sunday." ["tracker_field_contentWikiPage_raw"]=> string(3276) "Creatures of the night will converge on Atlanta for the sixth annual Monsterama convention at the Atlanta Marriott hotel in Alpharetta from September 27 through 29. “We hope this year’s show will be our biggest and best yet,” says convention co-chair and organizer Anthony Taylor. Taylor says he started the convention in 2014 because he saw an unfulfilled need for it locally. “I knew there were a lot of Halloween and monster lovers around the South, and I felt they needed a place to convene and celebrate their passions. We all love monster movies especially during the Halloween season,” he says, “and this is an opportunity to spend three days immersed in those passions with your best friends.” Featured guests include actors Ian Ogilvy (''Death Becomes Her'', “Return of the Saint”), Jackie Joseph (''The Little Shop of Horrors''), Jane Merrow (''Hands of the Ripper, The Lion in Winter''), Pauline Peart (''The Satanic Rites of Dracula''), Trina Parks (''Diamonds Are Forever''), Madeline Brumby (''Frankenstein Created Bikers''), and Katie Carpenter (“The Haunting of Hill House”). Also appearing are writers Dacre Stoker, Jeff Strand, Nancy A. Collins, artists Mark Maddox, Neil Vokes, Craig Hamilton and Matt Webb, as well as many others. “This year features our best lineup of guests ever,” says Taylor, “while also celebrating British horror and classic sci-fi.” The full roster of guests can be found on the convention website at MonsteramaCon.com. Activities planned for attendees include panel discussions on film, media, art, comics, literature, and demos of special effects, makeup, sculpture, prop making, and other related crafts. Gaming is also represented. Monsterama also features a large vendor’s area with dealers of toys, art, jewelry, books, film and television memorabilia, and more. Also there’s a model building contest, exhibits, and real 16-millimeter film screenings. A highlight is certain to be the Silver Scream Spook Show, featuring local ‘ghost-lebrities’ Professor Morte and the Go-Go Ghouls screening ''Revenge of the Creature'' in 3-D on the big screen. Other screenings include Frank Langella’s ''Dracula, The 7th Voyage of Sinbad, Robinson Crusoe on Mars'', and ''Abbott and Costello Meet Frankenstein''. There will be kid-friendly panels and programs throughout the weekend as well. {img fileId="22814" stylebox="float: right; margin-left:15px;" desc="FAMILY FUN: A family enjoying the vendor room at Monsterama. Fun for all ages is a priority at the event." width="600px"} Saturday night’s Monster Prom is always popular. This year, DJ Death’s Kiss will be spinning the sounds of Halloween and giving away some amazing door prizes at the dance. The Monster Prom runs from 8 p.m. till midnight and is free with your Monsterama admission. “We’re so happy to be able to present this show to Southern monster fans for another year,” says Taylor. “We hope to see a lot of new faces as well as old friends for the weekend!” ''Monsterama takes place September 27-29 at the Atlanta Marriott Alpharetta at 5750 Windward Parkway in Alpharetta. Registration opens at 2 p.m. Friday with events starting at 4 p.m. and ending at 5 p.m. on Sunday.''" 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Taylor says he started the convention in 2014 because he saw an unfulfilled need for it locally. “I knew there were a lot of Halloween and monster lovers around the South, and I felt they needed a place to convene and celebrate their passions. We all love monster movies especially during the Halloween season,” he says, “and this is an opportunity to spend three days immersed in those passions with your best friends.” Featured guests include actors Ian Ogilvy (Death Becomes Her, “Return of the Saint”), Jackie Joseph (The Little Shop of Horrors), Jane Merrow (Hands of the Ripper, The Lion in Winter), Pauline Peart (The Satanic Rites of Dracula), Trina Parks (Diamonds Are Forever), Madeline Brumby (Frankenstein Created Bikers), and Katie Carpenter (“The Haunting of Hill House”). Also appearing are writers Dacre Stoker, Jeff Strand, Nancy A. Collins, artists Mark Maddox, Neil Vokes, Craig Hamilton and Matt Webb, as well as many others. “This year features our best lineup of guests ever,” says Taylor, “while also celebrating British horror and classic sci-fi.” The full roster of guests can be found on the convention website at MonsteramaCon.com. Activities planned for attendees include panel discussions on film, media, art, comics, literature, and demos of special effects, makeup, sculpture, prop making, and other related crafts. Gaming is also represented. Monsterama also features a large vendor’s area with dealers of toys, art, jewelry, books, film and television memorabilia, and more. Also there’s a model building contest, exhibits, and real 16-millimeter film screenings. A highlight is certain to be the Silver Scream Spook Show, featuring local ‘ghost-lebrities’ Professor Morte and the Go-Go Ghouls screening Revenge of the Creature in 3-D on the big screen. Other screenings include Frank Langella’s Dracula, The 7th Voyage of Sinbad, Robinson Crusoe on Mars, and Abbott and Costello Meet Frankenstein. There will be kid-friendly panels and programs throughout the weekend as well. Saturday night’s Monster Prom is always popular. This year, DJ Death’s Kiss will be spinning the sounds of Halloween and giving away some amazing door prizes at the dance. The Monster Prom runs from 8 p.m. till midnight and is free with your Monsterama admission. “We’re so happy to be able to present this show to Southern monster fans for another year,” says Taylor. “We hope to see a lot of new faces as well as old friends for the weekend!” Monsterama takes place September 27-29 at the Atlanta Marriott Alpharetta at 5750 Windward Parkway in Alpharetta. Registration opens at 2 p.m. Friday with events starting at 4 p.m. and ending at 5 p.m. on Sunday. Geek Behind the Lens Photography BEHIND THE CURTAIN: Shane Morton demonstrates advanced monstersuit making at Monsterama, Atlanta's horror and SF convention. 0,0,10 Halloween starts now " ["score"]=> float(0) ["_index"]=> string(35) "atlantawiki_tiki_main_62887fe234a1d" ["objectlink"]=> string(36) "No value for 'contentTitle'" ["photos"]=> string(138) "" ["desc"]=> string(55) "‘Monsterama’ ushers in the haunting season" ["category"]=> string(17) "Culture
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Halloween starts now Culture, News
Wednesday September 4, 2019 04:02 PM EDT
‘Monsterama’ ushers in the haunting season
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array(100) { ["title"]=> string(36) "Free Will Astrology - September 2019" ["modification_date"]=> string(25) "2022-02-01T14:25:36+00:00" ["creation_date"]=> string(25) "2019-09-04T21:42:28+00:00" ["contributors"]=> array(2) { [0]=> string(10) "jim.harris" [1]=> string(9) "ben.eason" } ["date"]=> string(25) "2019-09-04T21:38:04+00:00" ["tracker_status"]=> string(1) "o" ["tracker_id"]=> string(2) "11" ["view_permission"]=> string(13) "view_trackers" ["parent_object_id"]=> string(2) "11" ["parent_object_type"]=> string(7) "tracker" ["field_permissions"]=> string(2) "[]" ["tracker_field_contentTitle"]=> string(36) "Free Will Astrology - September 2019" ["tracker_field_contentCreator"]=> string(10) "jim.harris" ["tracker_field_contentCreator_text"]=> string(10) "Jim Harris" ["tracker_field_contentCreator_unstemmed"]=> string(10) "jim harris" ["tracker_field_contentByline"]=> string(11) "Rob Breszny" ["tracker_field_contentByline_exact"]=> string(11) "Rob Breszny" ["tracker_field_contentBylinePerson"]=> string(1) "0" ["tracker_field_contentDate"]=> string(25) "2019-09-04T21:38:04+00:00" ["tracker_field_contentWikiPage"]=> string(46) "Content:_:Free Will Astrology - September 2019" ["tracker_field_contentWikiPage_text"]=> string(7960) "!VIRGO !!The Maiden Aug. 23-Sept. 22 Shogun is a bestselling novel about an Englishman who transforms himself into a samurai warrior in seventeenth-century Japan. Written by James Clavell, it’s over 1,100 pages long. Clavell testified that the idea for the story sprang up in him when he read one line in his daughter’s school book: “In 1600 an Englishman went to Japan and became a samurai.” I suspect it’s highly likely you will soon encounter a seed like that, Virgo: a bare inspiration that will eventually bloom into a Big Thing. LIBRA (Sept. 23-Oct. 22): Libran athlete Mickey Mantle is in Major League Baseball’s Hall of Fame. He had a spectacular 18-year career, winning the Most Valuable Player Award three times, playing in 12 World Series, and being selected to the All-Star team 16 times. So it’s astounding that he played with a torn ligament in his knee for 17 years, according to his biographer Jane Leavy. She quoted an orthopedic surgeon who said that Mantle compensated for his injury with “neuromuscular genius.” I’m thinking that in the next few weeks you’re in a position to accomplish an equivalent of Mantle’s heroic adjustment. SCORPIO (Oct. 23-Nov. 21): Most people who belong to the Church of Satan neither believe in nor worship Satan. (They’re atheists, and don’t believe in the supernatural.) I think a comparable principle is true for many rightwing fundamentalist Christians. Their actions and words are replete with bigotry, hard-heartedness, materialism, and selfishness: so contrary to what the real Jesus Christ taught that they in effect don’t believe in or worship Jesus Christ. I mention this, Scorpio, in hope of inspiring you to take inventory of whether your stated ideals are reflected in the practical details of how you live your life. That’s always an interesting and important task, of course, but it’s especially so for you right now. The coming weeks will be an excellent time to purge any hypocrisy from your system and get your actual behavior in close alignment with your deepest values. SAGITTARIUS (Nov. 22-Dec. 21): It’s the right time for you to create a fresh mission statement and promotional campaign. For inspiration, read mine: “My column ‘Free Will Astrology’ offers you a wide selection of realities to choose from. With 4,212 years of dedication to customer service (over the course of my last 13 incarnations), I’m a reliable ally supporting your efforts to escape your oppressive conditioning and other people’s hells. My horoscopes come with an ironclad guarantee: If the advice you read is wrong, you’re under no obligation to believe it. And remember: a panel of 531 experts has determined that ‘Free Will Astrology’ is an effective therapy for your chronic wounds and primordial pain. It is also dramatic proof that there is no good reason to be afraid of life.” CAPRICORN (Dec. 22-Jan. 19): Here are good questions for you to meditate on during the next four weeks. 1. How can you attract resources that will expand your mind and your world? 2. Are you bold enough to reach out to wise sources and provocative influences that could connect you with useful tricks and practical treasures? 3. What interesting lessons can you stir up as you explore the mercurial edges, skirt the changeable boundaries, journey to catalytic frontiers, and make pilgrimages to holy hubbubs? 4. How best can you encourage lyrical emotion over polished sentimentality? Joyous idealism over astringent zealotry? Exuberant integrity over formulaic kindness? AQUARIUS (Jan. 20-Feb. 18): “It is the beginning of wisdom when you recognize that the best you can do is choose which rules you want to live by,” wrote author Wallace Stegner, “and it’s persistent and aggravated imbecility to pretend you can live without any.” That will be an excellent meditation for you during the coming weeks. I trust you are long past the time of fantasizing you can live without any rules. Your challenge now is to adjust some of the rules you have been living by, or even dare to align yourself with some new rules—and then completely commit yourself to being loyal to them and enjoying them. PISCES (Feb. 19-March 20): Given the astrological omens that will symbolize your personal story in the coming weeks and months, I think Piscean author Nikos Kazantzakis articulated the perfect prescription for you. I invite you to interpret his thoughts to fit your circumstances. “We’re going to start with small, easy things,” he wrote. “Then, little by little we shall try our hand at the big things. And after that, after we finish the big things, we shall undertake the impossible.” Here’s an additional prod from Kazantzakis: “Reach what you cannot.” ARIES (March 21-April 19): Here are examples of activities I recommend you try in the coming days. 1. Build a campfire on the beach with friends and regale each other with stories of your most interesting successes. 2. Buy eccentric treasures at a flea market and ever thereafter refer to them as your holy icons. 3. Climb a hill and sit on the grass as you sing your favorite songs and watch the moon slowly rise over the eastern horizon. 4. Take naps when you’re “not supposed to.” 5. Sneak into an orchard at night and eat fruit plucked just moments before. 6. Tell a beloved person a fairy tale in which he or she is the hero. TAURUS (April 20-May 20): The hardiest creature on the planet may be the bacterium known as Deinococcus radiodurans. It can endure exposure to radiation, intense cold, dehydration, acid, and vacuum. I propose we make it your power creature for the coming weeks. Why? Not because I expect you’ll have to deal with a lot of extreme conditions, but rather because I think you’ll be exceptionally robust, both physically and psychologically. If you’ve been waiting for the right time to succeed at demanding challenges that require you to be in top form, now is a good time to do it. P.S. Deinococcus radiodurans is colloquially referred to as Conan the Bacterium, borrowing from the spirit of the fictional character Conan the Barbarian, who is renowned for his strength and agility. GEMINI (May 21-June 20): In the yearly cycle of many Geminis, retreating into a state akin to hibernation makes sense during the end of August and the first three weeks of September. But since many of you are high-energy sophisticates, you often override your body’s signals. And then nature pushes back by compelling you to slow down. The result may be a rhythm that feels like constantly taking three steps forward and two steps backward. May I suggest a different approach this year? Would you consider surrendering, even slightly, to the invitation to relax and recharge? CANCER (June 21-July 22): If you decide to travel to a particular place via hot air balloon, you must be prepared for the possibility that your route will be indirect. At different altitudes, the wind may be blowing in different directions: toward the east at a hundred feet high, but toward the southwest at two hundred feet. The trick for the pilot is to jockey up and down until finding a layer that’s headed toward the desired destination. I see your life right now as having a metaphorical resemblance to this riddle. You have not yet discovered the layer that will take you where you want to go. But I bet you will soon. LEO (July 23-Aug. 22): Considering how bright you have been burning since the Flame Angels designated you as the Hottest Cool Person of the Month, I hesitate to urge you to simmer down. But I must. Before there’s a meltdown in your vicinity, please lower your thermostat. Not a lot. Just a little. If you do that, everyone will continue to see your gleaming charisma in the best possible light. But don’t you dare extinguish your blaze. Don’t apologize for your brilliant shimmer. The rest of us need your magical radiance." ["tracker_field_contentWikiPage_raw"]=> string(8028) "!VIRGO !!~~#c0392b:__The Maiden Aug. 23-Sept. 22__~~ __Shogun__ ''__is a bestselling novel about an Englishman who transforms himself into a samurai warrior in seventeenth-century Japan. Written by James Clavell, it’s over 1,100 pages long. Clavell testified that the idea for the story sprang up in him when he read one line in his daughter’s school book: “In 1600 an Englishman went to Japan and became a samurai.” I suspect it’s highly likely you will soon encounter a seed like that, Virgo: a bare inspiration that will eventually bloom into a Big Thing.__'' __LIBRA (Sept. 23-Oct. 22):__ Libran athlete Mickey Mantle is in Major League Baseball’s Hall of Fame. He had a spectacular 18-year career, winning the Most Valuable Player Award three times, playing in 12 World Series, and being selected to the All-Star team 16 times. So it’s astounding that he played with a torn ligament in his knee for 17 years, according to his biographer Jane Leavy. She quoted an orthopedic surgeon who said that Mantle compensated for his injury with “neuromuscular genius.” I’m thinking that in the next few weeks you’re in a position to accomplish an equivalent of Mantle’s heroic adjustment. __SCORPIO (Oct. 23-Nov. 21):__ Most people who belong to the Church of Satan neither believe in nor worship Satan. (They’re atheists, and don’t believe in the supernatural.) I think a comparable principle is true for many rightwing fundamentalist Christians. Their actions and words are replete with bigotry, hard-heartedness, materialism, and selfishness: so contrary to what the real Jesus Christ taught that they in effect don’t believe in or worship Jesus Christ. I mention this, Scorpio, in hope of inspiring you to take inventory of whether your stated ideals are reflected in the practical details of how you live your life. That’s always an interesting and important task, of course, but it’s especially so for you right now. The coming weeks will be an excellent time to purge any hypocrisy from your system and get your actual behavior in close alignment with your deepest values. __SAGITTARIUS (Nov. 22-Dec. 21):__ It’s the right time for you to create a fresh mission statement and promotional campaign. For inspiration, read mine: “My column ‘Free Will Astrology’ offers you a wide selection of realities to choose from. With 4,212 years of dedication to customer service (over the course of my last 13 incarnations), I’m a reliable ally supporting your efforts to escape your oppressive conditioning and other people’s hells. My horoscopes come with an ironclad guarantee: If the advice you read is wrong, you’re under no obligation to believe it. And remember: a panel of 531 experts has determined that ‘Free Will Astrology’ is an effective therapy for your chronic wounds and primordial pain. It is also dramatic proof that there is no good reason to be afraid of life.” __CAPRICORN (Dec. 22-Jan. 19):__ Here are good questions for you to meditate on during the next four weeks. 1. How can you attract resources that will expand your mind and your world? 2. Are you bold enough to reach out to wise sources and provocative influences that could connect you with useful tricks and practical treasures? 3. What interesting lessons can you stir up as you explore the mercurial edges, skirt the changeable boundaries, journey to catalytic frontiers, and make pilgrimages to holy hubbubs? 4. How best can you encourage lyrical emotion over polished sentimentality? Joyous idealism over astringent zealotry? Exuberant integrity over formulaic kindness? __AQUARIUS (Jan. 20-Feb. 18):__ “It is the beginning of wisdom when you recognize that the best you can do is choose which rules you want to live by,” wrote author Wallace Stegner, “and it’s persistent and aggravated imbecility to pretend you can live without any.” That will be an excellent meditation for you during the coming weeks. I trust you are long past the time of fantasizing you can live without any rules. Your challenge now is to adjust some of the rules you have been living by, or even dare to align yourself with some new rules—and then completely commit yourself to being loyal to them and enjoying them. __PISCES (Feb. 19-March 20):__ Given the astrological omens that will symbolize your personal story in the coming weeks and months, I think Piscean author Nikos Kazantzakis articulated the perfect prescription for you. I invite you to interpret his thoughts to fit your circumstances. “We’re going to start with small, easy things,” he wrote. “Then, little by little we shall try our hand at the big things. And after that, after we finish the big things, we shall undertake the impossible.” Here’s an additional prod from Kazantzakis: “Reach what you cannot.” __ARIES (March 21-April 19):__ Here are examples of activities I recommend you try in the coming days. 1. Build a campfire on the beach with friends and regale each other with stories of your most interesting successes. 2. Buy eccentric treasures at a flea market and ever thereafter refer to them as your holy icons. 3. Climb a hill and sit on the grass as you sing your favorite songs and watch the moon slowly rise over the eastern horizon. 4. Take naps when you’re “not supposed to.” 5. Sneak into an orchard at night and eat fruit plucked just moments before. 6. Tell a beloved person a fairy tale in which he or she is the hero. __TAURUS (April 20-May 20):__ The hardiest creature on the planet may be the bacterium known as Deinococcus radiodurans. It can endure exposure to radiation, intense cold, dehydration, acid, and vacuum. I propose we make it your power creature for the coming weeks. Why? Not because I expect you’ll have to deal with a lot of extreme conditions, but rather because I think you’ll be exceptionally robust, both physically and psychologically. If you’ve been waiting for the right time to succeed at demanding challenges that require you to be in top form, now is a good time to do it. P.S. Deinococcus radiodurans is colloquially referred to as Conan the Bacterium, borrowing from the spirit of the fictional character Conan the Barbarian, who is renowned for his strength and agility. GEMINI (May 21-June 20): In the yearly cycle of many Geminis, retreating into a state akin to hibernation makes sense during the end of August and the first three weeks of September. But since many of you are high-energy sophisticates, you often override your body’s signals. And then nature pushes back by compelling you to slow down. The result may be a rhythm that feels like constantly taking three steps forward and two steps backward. May I suggest a different approach this year? Would you consider surrendering, even slightly, to the invitation to relax and recharge? __CANCER (June 21-July 22):__ If you decide to travel to a particular place via hot air balloon, you must be prepared for the possibility that your route will be indirect. At different altitudes, the wind may be blowing in different directions: toward the east at a hundred feet high, but toward the southwest at two hundred feet. The trick for the pilot is to jockey up and down until finding a layer that’s headed toward the desired destination. I see your life right now as having a metaphorical resemblance to this riddle. You have not yet discovered the layer that will take you where you want to go. But I bet you will soon. __LEO (July 23-Aug. 22):__ Considering how bright you have been burning since the Flame Angels designated you as the Hottest Cool Person of the Month, I hesitate to urge you to simmer down. But I must. Before there’s a meltdown in your vicinity, please lower your thermostat. Not a lot. Just a little. If you do that, everyone will continue to see your gleaming charisma in the best possible light. But don’t you dare extinguish your blaze. Don’t apologize for your brilliant shimmer. The rest of us need your magical radiance." 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September 2019" } ["relation_objects"]=> array(0) { } ["relation_types"]=> array(2) { [0]=> string(16) "tiki.file.attach" [1]=> string(27) "tiki.wiki.linkeditem.invert" } ["relation_count"]=> array(2) { [0]=> string(18) "tiki.file.attach:1" [1]=> string(29) "tiki.wiki.linkeditem.invert:1" } ["title_initial"]=> string(1) "F" ["title_firstword"]=> string(4) "Free" ["searchable"]=> string(1) "y" ["url"]=> string(10) "item441126" ["object_type"]=> string(11) "trackeritem" ["object_id"]=> string(6) "441126" ["contents"]=> string(8358) " Virgo Web 2019-09-04T21:41:14+00:00 Virgo_web.jpg horoscope astrology september virgo the maiden Virgo Web 2019-09-04T21:38:04+00:00 Free Will Astrology - September 2019 jim.harris Jim Harris Rob Breszny 2019-09-04T21:38:04+00:00 !VIRGO !!The Maiden Aug. 23-Sept. 22 Shogun is a bestselling novel about an Englishman who transforms himself into a samurai warrior in seventeenth-century Japan. Written by James Clavell, it’s over 1,100 pages long. Clavell testified that the idea for the story sprang up in him when he read one line in his daughter’s school book: “In 1600 an Englishman went to Japan and became a samurai.” I suspect it’s highly likely you will soon encounter a seed like that, Virgo: a bare inspiration that will eventually bloom into a Big Thing. LIBRA (Sept. 23-Oct. 22): Libran athlete Mickey Mantle is in Major League Baseball’s Hall of Fame. He had a spectacular 18-year career, winning the Most Valuable Player Award three times, playing in 12 World Series, and being selected to the All-Star team 16 times. So it’s astounding that he played with a torn ligament in his knee for 17 years, according to his biographer Jane Leavy. She quoted an orthopedic surgeon who said that Mantle compensated for his injury with “neuromuscular genius.” I’m thinking that in the next few weeks you’re in a position to accomplish an equivalent of Mantle’s heroic adjustment. SCORPIO (Oct. 23-Nov. 21): Most people who belong to the Church of Satan neither believe in nor worship Satan. (They’re atheists, and don’t believe in the supernatural.) I think a comparable principle is true for many rightwing fundamentalist Christians. Their actions and words are replete with bigotry, hard-heartedness, materialism, and selfishness: so contrary to what the real Jesus Christ taught that they in effect don’t believe in or worship Jesus Christ. I mention this, Scorpio, in hope of inspiring you to take inventory of whether your stated ideals are reflected in the practical details of how you live your life. That’s always an interesting and important task, of course, but it’s especially so for you right now. The coming weeks will be an excellent time to purge any hypocrisy from your system and get your actual behavior in close alignment with your deepest values. SAGITTARIUS (Nov. 22-Dec. 21): It’s the right time for you to create a fresh mission statement and promotional campaign. For inspiration, read mine: “My column ‘Free Will Astrology’ offers you a wide selection of realities to choose from. With 4,212 years of dedication to customer service (over the course of my last 13 incarnations), I’m a reliable ally supporting your efforts to escape your oppressive conditioning and other people’s hells. My horoscopes come with an ironclad guarantee: If the advice you read is wrong, you’re under no obligation to believe it. And remember: a panel of 531 experts has determined that ‘Free Will Astrology’ is an effective therapy for your chronic wounds and primordial pain. It is also dramatic proof that there is no good reason to be afraid of life.” CAPRICORN (Dec. 22-Jan. 19): Here are good questions for you to meditate on during the next four weeks. 1. How can you attract resources that will expand your mind and your world? 2. Are you bold enough to reach out to wise sources and provocative influences that could connect you with useful tricks and practical treasures? 3. What interesting lessons can you stir up as you explore the mercurial edges, skirt the changeable boundaries, journey to catalytic frontiers, and make pilgrimages to holy hubbubs? 4. How best can you encourage lyrical emotion over polished sentimentality? Joyous idealism over astringent zealotry? Exuberant integrity over formulaic kindness? AQUARIUS (Jan. 20-Feb. 18): “It is the beginning of wisdom when you recognize that the best you can do is choose which rules you want to live by,” wrote author Wallace Stegner, “and it’s persistent and aggravated imbecility to pretend you can live without any.” That will be an excellent meditation for you during the coming weeks. I trust you are long past the time of fantasizing you can live without any rules. Your challenge now is to adjust some of the rules you have been living by, or even dare to align yourself with some new rules—and then completely commit yourself to being loyal to them and enjoying them. PISCES (Feb. 19-March 20): Given the astrological omens that will symbolize your personal story in the coming weeks and months, I think Piscean author Nikos Kazantzakis articulated the perfect prescription for you. I invite you to interpret his thoughts to fit your circumstances. “We’re going to start with small, easy things,” he wrote. “Then, little by little we shall try our hand at the big things. And after that, after we finish the big things, we shall undertake the impossible.” Here’s an additional prod from Kazantzakis: “Reach what you cannot.” ARIES (March 21-April 19): Here are examples of activities I recommend you try in the coming days. 1. Build a campfire on the beach with friends and regale each other with stories of your most interesting successes. 2. Buy eccentric treasures at a flea market and ever thereafter refer to them as your holy icons. 3. Climb a hill and sit on the grass as you sing your favorite songs and watch the moon slowly rise over the eastern horizon. 4. Take naps when you’re “not supposed to.” 5. Sneak into an orchard at night and eat fruit plucked just moments before. 6. Tell a beloved person a fairy tale in which he or she is the hero. TAURUS (April 20-May 20): The hardiest creature on the planet may be the bacterium known as Deinococcus radiodurans. It can endure exposure to radiation, intense cold, dehydration, acid, and vacuum. I propose we make it your power creature for the coming weeks. Why? Not because I expect you’ll have to deal with a lot of extreme conditions, but rather because I think you’ll be exceptionally robust, both physically and psychologically. If you’ve been waiting for the right time to succeed at demanding challenges that require you to be in top form, now is a good time to do it. P.S. Deinococcus radiodurans is colloquially referred to as Conan the Bacterium, borrowing from the spirit of the fictional character Conan the Barbarian, who is renowned for his strength and agility. GEMINI (May 21-June 20): In the yearly cycle of many Geminis, retreating into a state akin to hibernation makes sense during the end of August and the first three weeks of September. But since many of you are high-energy sophisticates, you often override your body’s signals. And then nature pushes back by compelling you to slow down. The result may be a rhythm that feels like constantly taking three steps forward and two steps backward. May I suggest a different approach this year? Would you consider surrendering, even slightly, to the invitation to relax and recharge? CANCER (June 21-July 22): If you decide to travel to a particular place via hot air balloon, you must be prepared for the possibility that your route will be indirect. At different altitudes, the wind may be blowing in different directions: toward the east at a hundred feet high, but toward the southwest at two hundred feet. The trick for the pilot is to jockey up and down until finding a layer that’s headed toward the desired destination. I see your life right now as having a metaphorical resemblance to this riddle. You have not yet discovered the layer that will take you where you want to go. But I bet you will soon. LEO (July 23-Aug. 22): Considering how bright you have been burning since the Flame Angels designated you as the Hottest Cool Person of the Month, I hesitate to urge you to simmer down. But I must. Before there’s a meltdown in your vicinity, please lower your thermostat. Not a lot. Just a little. If you do that, everyone will continue to see your gleaming charisma in the best possible light. But don’t you dare extinguish your blaze. Don’t apologize for your brilliant shimmer. The rest of us need your magical radiance. publicdomainvectors.org The Maiden 0,0,1 horoscope astrology September virgo "the maiden" Free Will Astrology - September 2019 " ["score"]=> float(0) ["_index"]=> string(35) "atlantawiki_tiki_main_62887fe234a1d" ["objectlink"]=> string(36) "No value for 'contentTitle'" ["photos"]=> string(127) "" ["desc"]=> string(32) "No description provided" ["category"]=> string(13) "News Features" }
Free Will Astrology - September 2019 News Features
Wednesday September 4, 2019 05:38 PM EDT
VIRGO
The Maiden Aug. 23-Sept. 22
Shogun is a bestselling novel about an Englishman who transforms himself into a samurai warrior in seventeenth-century Japan. Written by James Clavell, it’s over 1,100 pages long. Clavell testified that the idea for the story sprang up in him when he read one line in his daughter’s school book: “In 1600 an Englishman went to Japan and became a samurai.” I...
| more...array(101) { ["title"]=> string(31) "GRAZING: Feasting in Summerhill" ["modification_date"]=> string(25) "2022-02-01T14:25:36+00:00" ["creation_date"]=> string(25) "2019-09-04T22:09:54+00:00" ["contributors"]=> array(2) { [0]=> string(10) "jim.harris" [1]=> string(9) "ben.eason" } ["date"]=> string(25) "2019-09-04T22:04:44+00:00" ["tracker_status"]=> string(1) "o" ["tracker_id"]=> string(2) "11" ["view_permission"]=> string(13) "view_trackers" ["parent_object_id"]=> string(2) "11" ["parent_object_type"]=> string(7) "tracker" ["field_permissions"]=> string(2) "[]" ["tracker_field_contentTitle"]=> string(31) "GRAZING: Feasting in Summerhill" ["tracker_field_contentCreator"]=> string(10) "jim.harris" ["tracker_field_contentCreator_text"]=> string(10) "Jim Harris" ["tracker_field_contentCreator_unstemmed"]=> string(10) "jim harris" ["tracker_field_contentByline"]=> string(13) "Cliff Bostock" ["tracker_field_contentByline_exact"]=> string(13) "Cliff Bostock" ["tracker_field_contentBylinePerson"]=> string(6) "476087" ["tracker_field_contentBylinePerson_text"]=> string(33) "cliffbostock (Cliff Bostock)" ["tracker_field_description"]=> string(59) "Religious barbecue, tattooed pizza, and bejeweled ice cream" ["tracker_field_description_raw"]=> string(59) "Religious barbecue, tattooed pizza, and bejeweled ice cream" ["tracker_field_contentDate"]=> string(25) "2019-09-04T22:04:44+00:00" ["tracker_field_contentWikiPage"]=> string(41) "Content:_:GRAZING: Feasting in Summerhill" ["tracker_field_contentWikiPage_text"]=> string(9803) "Summerhill, the neighborhood around the former Turner Field, is the latest site of our city’s rabid gentrification. Originally home to freed slaves and Jewish immigrants after the Civil War, it had a thriving commercial district, mainly along Georgia Avenue. Eventually, most businesses vacated the buildings, leaving them empty for decades. Now, redevelopment — served in part by Georgia State University’s taking over the stadium — is turning it into a center for restaurants, which will eventually number as many as 12. I’ve visited three of the new eateries for barbecue, pizza, and soft-serve ice cream. The anchor restaurant is Wood’s Chapel BBQ, a 5,200-square-foot space that takes its name from a church that opened soon after the neighborhood’s creation in 1865. It is certainly a departure from the romanticized, disheveled barbecue shacks all over the South. Besides the enormous dining room, there’s a game room, a large patio, and a smokehouse whose fragrance fills the air as soon as you park your car in the unpaved lot full of loose, big stones, like ole-timey rural driveways for trucks. I should warn you that there’s often a long line at the counter to place an order. Feel free to chat with strangers. Make friends for life during the sometimes 30-minute wait. I’ve tried just about everything on the menu except sandwiches in my three visits. Everything here is locally-sourced and intensely flavorful. My favorite has been the St. Louis-style ribs. They are perfect — smoked, glazed, and blackened with the requisite bark. I love that they aren’t sloppy. There’s this idea that rib meat should be falling off the bone, dripping sauce. These ribs, pink in the center, allow you to pick them up and take a bite without creating a greasy avalanche. I’ve also tried the chopped “whole hog” from Riverview Farms. I found it on the dry side, and that brings up one significant complaint. Normally, you can compensate for dryness by adding sauce, but I did not find any of the available three sauces very palatable. Two are ketchupy and sugary; the third is vinegary, but also sweet. You must dispense the sauces from a gigantic contraption into tiny cups. You’ll find yourself walking back and forth to supply your table. It’s a long walk! Honestly, though, the meats don’t need the sauces for taste. They come from the smokehouse immensely flavorful as they are. The sugary sauces can obscure the primary flavor. The beef brisket is sublimely juicy with streams of fat — sometimes too much fat, if there’s such a thing. I lived in Houston, where brisket is king, and this is as good as any I ever ate there. I’m not crazy about smoked fish, but I ordered the restaurant’s salmon. I ended up giving my serving to my tablemate, who loved it. The only meat I didn’t try was the smoked turkey. All of the meats are served solo or in pairs, along with two sides. Here, the kitchen gets playful. I would be perfectly happy to order nothing but a big bowl of the greens with the cornbread. The greens — collards during my visits — were swimming in pot liquor lightly doused with vinegar and full of pork pieces. The cornbread was the sweet variety — they seem to love sugar here — but it’s nonetheless good dipped in the bowl of collards. The jalapeno-spiked coleslaw, turned pink by the inclusion of thin slices of beets, is maybe the best side. The creamed corn borders on the complicated, bringing nuevo-elote to mind. The pork and beans with burnt ends tastes like the usual at first. Then you realize the kitchen adds texture by using several types of beans while the burnt ends add extra richness. The potato salad is spiked with dill. (I prefer mustard in my potato salad.) The mac and cheese, although tasty and slightly spicy, was way too sticky-thick. The one mystifying fail for me was the intriguing fried rice with pork belly. It really tasted like a Chinese-American mid-century nightmare. The minced pork was flavorless. I’ve sampled two of the gorgeous pies exhibited on the counter. Both the lemon chess and especially the banana-pudding pie were nostalgic, creamy successes. (For another sweet adventure nearby, consider visiting Big Softie, described below.) There is no way Wood’s Chapel won’t be an epic success. The owners are Todd Ginsberg, Shelley Sweet, Jennifer Johnson and Ben Johnson. They own five other venues, including The General Muir. Sweet and the Johnsons also operate West Egg Café. Pitmaster Brian Keenan was the owner of Meating Street Barbecue in Roswell, and chef Wilson Gourley last worked at 8ARM. Junior’s Pizza has opened in the boxy-modern building next to Wood’s Chapel. Be prepared to marvel. The walls aren’t quite as inked as the skin of owners Alex and Jennifer Aton, but the huge, slice-munching unicorn and bug-eyed demon painted by tattoo artists will make you feel lost in the Krog Street Tunnel. Junior’s website logo takes the prize for best pizzeria blasphemy anywhere. It’s a traditional “sacred heart” with flames, wings, and thorns. But a slice of pizza takes the place of the heart itself. Jesus! I’m not sure how to categorize the pizza. Alex worked for Fellini’s for 10 years, so the pies are unsurprisingly thicker than the Neapolitan versions so popular now. You might call them sort-of, kind-of New York style, but Alex has eschewed that description in the voluminous press the pizzeria has received. Whatever, the dough is the result of experiments he conducted at home, where the couple made pies and delivered them privately for two years. People have their favorite styles of pizza, just as they do with barbecue. Mine is generally the Neapolitan but I usually, inappropriately, ask for it to be well done. I don’t like gooey pies. In fact, before Neapolitans became available around town, I loved the super-thin, crackery pizzas at Everybody’s (R.I.P.). I’ve tried four of the cheap slices at Junior’s, where the wait to order at the counter can be as lengthy as it is at Wood’s Chapel. I ate two slices at home (vegan and white) and two at the restaurant (regular tomato and Sicilian). I can say at the outset that the outer crust on all the pies was problematic for my taste. I want it to require a bit of tugging by the teeth and I want some char, but I don’t want a dental wrestling match. I left the crust behind on all four of these slices. Otherwise, the dough was pretty conventional. My favorite slice was the regular, tomato-sauced one with pepperoni. I’d received suggestions to order it because it features very thin-sliced pepperoni that curls into tiny cups in the oven, getting charred and slightly crisp around the lip. This alone makes going to Junior’s worthwhile. My second fave was the Sicilian, almost never my thing because of the thickness, but it tasted great topped with roasted chicken. Prepare to chew the thick dough a long time. My third-rating goes to the white. The cheeses were better than average, but I made the mistake of ordering it topped with basil and garlic. The basil was a miniscule portion, cooked until super-shriveled. I had asked the counter person if the garlic was roasted. She said yes. I was thinking slippery, sweet cloves here and there on the pizza, but it was minced and pervasive. I wouldn’t talk to anyone but myself after eating it. The award for fourth place goes to the vegan slice. Oy. I got it topped with some Kalamatas, but I found the virtually slimy, faux cheese repulsive. This was one of the slices I took home, so I don’t know if the brief trip in the box steamed it into something it’s usually not. As I wrote above, people have their favorite styles of pizza, so don’t troll me for not being more enthusiastic. I absolutely recommend it. The prices are low, the vibe is terrific, the pizza’s merits depend on your wise selection of toppings. After your meal at Wood’s Chapel or Junior’s, please waddle across the street to Big Softie for ice cream you know is going to be fantastic because it adjoins a new location of Little Tart Bakeshop. Both are owned by Sarah O’Brien. Of course, everything is made on the premises from sourced ingredients. You get a choice of soft-serve chocolate, vanilla, coffee, vegan (made with oat milk), and, sometimes, a specialty. I’ve only tried the vanilla and coffee in my two visits. Select a waffle cone. They are made at Little Tart. The glass case exhibits bowls of toppings that look like they’d be perfect for the Mad Hatter’s tea party. Several are in the form of sprinkles, including a festive “pink praline” and little chunks of “honey comb.” I had those two on cone #1 and toasted coconut and benne brittle on the second. The latter is just plain spectacular. Benne seeds are basically heirloom sesame seeds, native to sub-Saharan Africa, brought to South Carolina’s low country by slaves. I remember eating wafers made with them as a kid. I don’t know exactly what Big Softie does to make the brittle, but it is, of course, crunchy and just a little bitter — a perfect foil for the sweet and creamy ice cream. The shop also makes beverages, such as a root beer float. There’s a patio behind Little Tart where you can lick a cone and rest your feet which may be exhausted by the long waits at the counter of all three of these venues. I haven’t actually stopped by Little Tart yet. I need to see how the ice cream might taste atop the city’s best croissant. Wood’s Chapel BBQ, 85 Georgia Ave. S.E., 404-522-3000, www.woodschapelbbq.com. Junior’s Pizza, 77 Georgia Ave. S.E., 404-549-7147, www.juniorspizzaatl.com. Big Softie, 68 Georgia Ave. S.E., 404-348-4797, www.bigsoftieatl.com." ["tracker_field_contentWikiPage_raw"]=> string(9985) "Summerhill, the neighborhood around the former Turner Field, is the latest site of our city’s rabid gentrification. Originally home to freed slaves and Jewish immigrants after the Civil War, it had a thriving commercial district, mainly along Georgia Avenue. Eventually, most businesses vacated the buildings, leaving them empty for decades. Now, redevelopment — served in part by Georgia State University’s taking over the stadium — is turning it into a center for restaurants, which will eventually number as many as 12. I’ve visited three of the new eateries for barbecue, pizza, and soft-serve ice cream. The anchor restaurant is Wood’s Chapel BBQ, a 5,200-square-foot space that takes its name from a church that opened soon after the neighborhood’s creation in 1865. It is certainly a departure from the romanticized, disheveled barbecue shacks all over the South. Besides the enormous dining room, there’s a game room, a large patio, and a smokehouse whose fragrance fills the air as soon as you park your car in the unpaved lot full of loose, big stones, like ole-timey rural driveways for trucks. I should warn you that there’s often a long line at the counter to place an order. Feel free to chat with strangers. Make friends for life during the sometimes 30-minute wait. I’ve tried just about everything on the menu except sandwiches in my three visits. Everything here is locally-sourced and intensely flavorful. My favorite has been the St. Louis-style ribs. They are perfect — smoked, glazed, and blackened with the requisite bark. I love that they aren’t sloppy. There’s this idea that rib meat should be falling off the bone, dripping sauce. These ribs, pink in the center, allow you to pick them up and take a bite without creating a greasy avalanche. {BOX( bg="#b3b3ff" float="left" width="30%")}{img fileId="22820|22822|22823|22824" stylebox="float: left; margin-bottom:10px;" width="600px" desc="desc"}{BOX} I’ve also tried the chopped “whole hog” from Riverview Farms. I found it on the dry side, and that brings up one significant complaint. Normally, you can compensate for dryness by adding sauce, but I did not find any of the available three sauces very palatable. Two are ketchupy and sugary; the third is vinegary, but also sweet. You must dispense the sauces from a gigantic contraption into tiny cups. You’ll find yourself walking back and forth to supply your table. It’s a long walk! Honestly, though, the meats don’t need the sauces for taste. They come from the smokehouse immensely flavorful as they are. The sugary sauces can obscure the primary flavor. The beef brisket is sublimely juicy with streams of fat — sometimes too much fat, if there’s such a thing. I lived in Houston, where brisket is king, and this is as good as any I ever ate there. I’m not crazy about smoked fish, but I ordered the restaurant’s salmon. I ended up giving my serving to my tablemate, who loved it. The only meat I didn’t try was the smoked turkey. All of the meats are served solo or in pairs, along with two sides. Here, the kitchen gets playful. I would be perfectly happy to order nothing but a big bowl of the greens with the cornbread. The greens — collards during my visits — were swimming in pot liquor lightly doused with vinegar and full of pork pieces. The cornbread was the sweet variety — they seem to love sugar here — but it’s nonetheless good dipped in the bowl of collards. The jalapeno-spiked coleslaw, turned pink by the inclusion of thin slices of beets, is maybe the best side. The creamed corn borders on the complicated, bringing nuevo-elote to mind. The pork and beans with burnt ends tastes like the usual at first. Then you realize the kitchen adds texture by using several types of beans while the burnt ends add extra richness. The potato salad is spiked with dill. (I prefer mustard in my potato salad.) The mac and cheese, although tasty and slightly spicy, was way too sticky-thick. The one mystifying fail for me was the intriguing fried rice with pork belly. It really tasted like a Chinese-American mid-century nightmare. The minced pork was flavorless. I’ve sampled two of the gorgeous pies exhibited on the counter. Both the lemon chess and especially the banana-pudding pie were nostalgic, creamy successes. (For another sweet adventure nearby, consider visiting Big Softie, described below.) There is no way Wood’s Chapel won’t be an epic success. The owners are Todd Ginsberg, Shelley Sweet, Jennifer Johnson and Ben Johnson. They own five other venues, including The General Muir. Sweet and the Johnsons also operate West Egg Café. Pitmaster Brian Keenan was the owner of Meating Street Barbecue in Roswell, and chef Wilson Gourley last worked at 8ARM. Junior’s Pizza has opened in the boxy-modern building next to Wood’s Chapel. Be prepared to marvel. The walls aren’t quite as inked as the skin of owners Alex and Jennifer Aton, but the huge, slice-munching unicorn and bug-eyed demon painted by tattoo artists will make you feel lost in the Krog Street Tunnel. Junior’s website logo takes the prize for best pizzeria blasphemy anywhere. It’s a traditional “sacred heart” with flames, wings, and thorns. But a slice of pizza takes the place of the heart itself. Jesus! I’m not sure how to categorize the pizza. Alex worked for Fellini’s for 10 years, so the pies are unsurprisingly thicker than the Neapolitan versions so popular now. You might call them sort-of, kind-of New York style, but Alex has eschewed that description in the voluminous press the pizzeria has received. Whatever, the dough is the result of experiments he conducted at home, where the couple made pies and delivered them privately for two years. People have their favorite styles of pizza, just as they do with barbecue. Mine is generally the Neapolitan but I usually, inappropriately, ask for it to be well done. I don’t like gooey pies. In fact, before Neapolitans became available around town, I loved the super-thin, crackery pizzas at Everybody’s (R.I.P.). I’ve tried four of the cheap slices at Junior’s, where the wait to order at the counter can be as lengthy as it is at Wood’s Chapel. I ate two slices at home (vegan and white) and two at the restaurant (regular tomato and Sicilian). I can say at the outset that the outer crust on all the pies was problematic for my taste. I want it to require a bit of tugging by the teeth and I want some char, but I don’t want a dental wrestling match. I left the crust behind on all four of these slices. Otherwise, the dough was pretty conventional. My favorite slice was the regular, tomato-sauced one with pepperoni. I’d received suggestions to order it because it features very thin-sliced pepperoni that curls into tiny cups in the oven, getting charred and slightly crisp around the lip. This alone makes going to Junior’s worthwhile. My second fave was the Sicilian, almost never my thing because of the thickness, but it tasted great topped with roasted chicken. Prepare to chew the thick dough a long time. My third-rating goes to the white. The cheeses were better than average, but I made the mistake of ordering it topped with basil and garlic. The basil was a miniscule portion, cooked until super-shriveled. I had asked the counter person if the garlic was roasted. She said yes. I was thinking slippery, sweet cloves here and there on the pizza, but it was minced and pervasive. I wouldn’t talk to anyone but myself after eating it. The award for fourth place goes to the vegan slice. Oy. I got it topped with some Kalamatas, but I found the virtually slimy, faux cheese repulsive. This was one of the slices I took home, so I don’t know if the brief trip in the box steamed it into something it’s usually not. As I wrote above, people have their favorite styles of pizza, so don’t troll me for not being more enthusiastic. I absolutely recommend it. The prices are low, the vibe is terrific, the pizza’s merits depend on your wise selection of toppings. After your meal at Wood’s Chapel or Junior’s, please waddle across the street to Big Softie for ice cream you know is going to be fantastic because it adjoins a new location of Little Tart Bakeshop. Both are owned by Sarah O’Brien. Of course, everything is made on the premises from sourced ingredients. You get a choice of soft-serve chocolate, vanilla, coffee, vegan (made with oat milk), and, sometimes, a specialty. I’ve only tried the vanilla and coffee in my two visits. Select a waffle cone. They are made at Little Tart. The glass case exhibits bowls of toppings that look like they’d be perfect for the Mad Hatter’s tea party. Several are in the form of sprinkles, including a festive “pink praline” and little chunks of “honey comb.” I had those two on cone #1 and toasted coconut and benne brittle on the second. The latter is just plain spectacular. Benne seeds are basically heirloom sesame seeds, native to sub-Saharan Africa, brought to South Carolina’s low country by slaves. I remember eating wafers made with them as a kid. I don’t know exactly what Big Softie does to make the brittle, but it is, of course, crunchy and just a little bitter — a perfect foil for the sweet and creamy ice cream. The shop also makes beverages, such as a root beer float. There’s a patio behind Little Tart where you can lick a cone and rest your feet which may be exhausted by the long waits at the counter of all three of these venues. I haven’t actually stopped by Little Tart yet. I need to see how the ice cream might taste atop the city’s best croissant. __Wood’s Chapel BBQ__, ''85 Georgia Ave. S.E., 404-522-3000, www.woodschapelbbq.com.'' __Junior’s Pizza__, ''77 Georgia Ave. S.E., 404-549-7147, www.juniorspizzaatl.com.'' __Big Softie__, ''68 Georgia Ave. S.E., 404-348-4797, www.bigsoftieatl.com.''" 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Originally home to freed slaves and Jewish immigrants after the Civil War, it had a thriving commercial district, mainly along Georgia Avenue. Eventually, most businesses vacated the buildings, leaving them empty for decades. Now, redevelopment — served in part by Georgia State University’s taking over the stadium — is turning it into a center for restaurants, which will eventually number as many as 12. I’ve visited three of the new eateries for barbecue, pizza, and soft-serve ice cream. The anchor restaurant is Wood’s Chapel BBQ, a 5,200-square-foot space that takes its name from a church that opened soon after the neighborhood’s creation in 1865. It is certainly a departure from the romanticized, disheveled barbecue shacks all over the South. Besides the enormous dining room, there’s a game room, a large patio, and a smokehouse whose fragrance fills the air as soon as you park your car in the unpaved lot full of loose, big stones, like ole-timey rural driveways for trucks. I should warn you that there’s often a long line at the counter to place an order. Feel free to chat with strangers. Make friends for life during the sometimes 30-minute wait. I’ve tried just about everything on the menu except sandwiches in my three visits. Everything here is locally-sourced and intensely flavorful. My favorite has been the St. Louis-style ribs. They are perfect — smoked, glazed, and blackened with the requisite bark. I love that they aren’t sloppy. There’s this idea that rib meat should be falling off the bone, dripping sauce. These ribs, pink in the center, allow you to pick them up and take a bite without creating a greasy avalanche. I’ve also tried the chopped “whole hog” from Riverview Farms. I found it on the dry side, and that brings up one significant complaint. Normally, you can compensate for dryness by adding sauce, but I did not find any of the available three sauces very palatable. Two are ketchupy and sugary; the third is vinegary, but also sweet. You must dispense the sauces from a gigantic contraption into tiny cups. You’ll find yourself walking back and forth to supply your table. It’s a long walk! Honestly, though, the meats don’t need the sauces for taste. They come from the smokehouse immensely flavorful as they are. The sugary sauces can obscure the primary flavor. The beef brisket is sublimely juicy with streams of fat — sometimes too much fat, if there’s such a thing. I lived in Houston, where brisket is king, and this is as good as any I ever ate there. I’m not crazy about smoked fish, but I ordered the restaurant’s salmon. I ended up giving my serving to my tablemate, who loved it. The only meat I didn’t try was the smoked turkey. All of the meats are served solo or in pairs, along with two sides. Here, the kitchen gets playful. I would be perfectly happy to order nothing but a big bowl of the greens with the cornbread. The greens — collards during my visits — were swimming in pot liquor lightly doused with vinegar and full of pork pieces. The cornbread was the sweet variety — they seem to love sugar here — but it’s nonetheless good dipped in the bowl of collards. The jalapeno-spiked coleslaw, turned pink by the inclusion of thin slices of beets, is maybe the best side. The creamed corn borders on the complicated, bringing nuevo-elote to mind. The pork and beans with burnt ends tastes like the usual at first. Then you realize the kitchen adds texture by using several types of beans while the burnt ends add extra richness. The potato salad is spiked with dill. (I prefer mustard in my potato salad.) The mac and cheese, although tasty and slightly spicy, was way too sticky-thick. The one mystifying fail for me was the intriguing fried rice with pork belly. It really tasted like a Chinese-American mid-century nightmare. The minced pork was flavorless. I’ve sampled two of the gorgeous pies exhibited on the counter. Both the lemon chess and especially the banana-pudding pie were nostalgic, creamy successes. (For another sweet adventure nearby, consider visiting Big Softie, described below.) There is no way Wood’s Chapel won’t be an epic success. The owners are Todd Ginsberg, Shelley Sweet, Jennifer Johnson and Ben Johnson. They own five other venues, including The General Muir. Sweet and the Johnsons also operate West Egg Café. Pitmaster Brian Keenan was the owner of Meating Street Barbecue in Roswell, and chef Wilson Gourley last worked at 8ARM. Junior’s Pizza has opened in the boxy-modern building next to Wood’s Chapel. Be prepared to marvel. The walls aren’t quite as inked as the skin of owners Alex and Jennifer Aton, but the huge, slice-munching unicorn and bug-eyed demon painted by tattoo artists will make you feel lost in the Krog Street Tunnel. Junior’s website logo takes the prize for best pizzeria blasphemy anywhere. It’s a traditional “sacred heart” with flames, wings, and thorns. But a slice of pizza takes the place of the heart itself. Jesus! I’m not sure how to categorize the pizza. Alex worked for Fellini’s for 10 years, so the pies are unsurprisingly thicker than the Neapolitan versions so popular now. You might call them sort-of, kind-of New York style, but Alex has eschewed that description in the voluminous press the pizzeria has received. Whatever, the dough is the result of experiments he conducted at home, where the couple made pies and delivered them privately for two years. People have their favorite styles of pizza, just as they do with barbecue. Mine is generally the Neapolitan but I usually, inappropriately, ask for it to be well done. I don’t like gooey pies. In fact, before Neapolitans became available around town, I loved the super-thin, crackery pizzas at Everybody’s (R.I.P.). I’ve tried four of the cheap slices at Junior’s, where the wait to order at the counter can be as lengthy as it is at Wood’s Chapel. I ate two slices at home (vegan and white) and two at the restaurant (regular tomato and Sicilian). I can say at the outset that the outer crust on all the pies was problematic for my taste. I want it to require a bit of tugging by the teeth and I want some char, but I don’t want a dental wrestling match. I left the crust behind on all four of these slices. Otherwise, the dough was pretty conventional. My favorite slice was the regular, tomato-sauced one with pepperoni. I’d received suggestions to order it because it features very thin-sliced pepperoni that curls into tiny cups in the oven, getting charred and slightly crisp around the lip. This alone makes going to Junior’s worthwhile. My second fave was the Sicilian, almost never my thing because of the thickness, but it tasted great topped with roasted chicken. Prepare to chew the thick dough a long time. My third-rating goes to the white. The cheeses were better than average, but I made the mistake of ordering it topped with basil and garlic. The basil was a miniscule portion, cooked until super-shriveled. I had asked the counter person if the garlic was roasted. She said yes. I was thinking slippery, sweet cloves here and there on the pizza, but it was minced and pervasive. I wouldn’t talk to anyone but myself after eating it. The award for fourth place goes to the vegan slice. Oy. I got it topped with some Kalamatas, but I found the virtually slimy, faux cheese repulsive. This was one of the slices I took home, so I don’t know if the brief trip in the box steamed it into something it’s usually not. As I wrote above, people have their favorite styles of pizza, so don’t troll me for not being more enthusiastic. I absolutely recommend it. The prices are low, the vibe is terrific, the pizza’s merits depend on your wise selection of toppings. After your meal at Wood’s Chapel or Junior’s, please waddle across the street to Big Softie for ice cream you know is going to be fantastic because it adjoins a new location of Little Tart Bakeshop. Both are owned by Sarah O’Brien. Of course, everything is made on the premises from sourced ingredients. You get a choice of soft-serve chocolate, vanilla, coffee, vegan (made with oat milk), and, sometimes, a specialty. I’ve only tried the vanilla and coffee in my two visits. Select a waffle cone. They are made at Little Tart. The glass case exhibits bowls of toppings that look like they’d be perfect for the Mad Hatter’s tea party. Several are in the form of sprinkles, including a festive “pink praline” and little chunks of “honey comb.” I had those two on cone #1 and toasted coconut and benne brittle on the second. The latter is just plain spectacular. Benne seeds are basically heirloom sesame seeds, native to sub-Saharan Africa, brought to South Carolina’s low country by slaves. I remember eating wafers made with them as a kid. I don’t know exactly what Big Softie does to make the brittle, but it is, of course, crunchy and just a little bitter — a perfect foil for the sweet and creamy ice cream. The shop also makes beverages, such as a root beer float. There’s a patio behind Little Tart where you can lick a cone and rest your feet which may be exhausted by the long waits at the counter of all three of these venues. I haven’t actually stopped by Little Tart yet. I need to see how the ice cream might taste atop the city’s best croissant. Wood’s Chapel BBQ, 85 Georgia Ave. S.E., 404-522-3000, www.woodschapelbbq.com. Junior’s Pizza, 77 Georgia Ave. S.E., 404-549-7147, www.juniorspizzaatl.com. Big Softie, 68 Georgia Ave. S.E., 404-348-4797, www.bigsoftieatl.com. Cliff Bostock DOUBLE MEAT PLATE: Brisket, chopped pork, pork and beans, and very odd fried rice with pork belly at Wood's Chapel. 0,0,10 GRAZING: Feasting in Summerhill " ["score"]=> float(0) ["_index"]=> string(35) "atlantawiki_tiki_main_62887fe234a1d" ["objectlink"]=> string(36) "No value for 'contentTitle'" ["photos"]=> string(131) "" ["desc"]=> string(68) "Religious barbecue, tattooed pizza, and bejeweled ice cream" ["category"]=> string(14) "Food and Drink" }
GRAZING: Feasting in Summerhill Food and Drink
Wednesday September 4, 2019 06:04 PM EDT
Religious barbecue, tattooed pizza, and bejeweled ice cream
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["tracker_field_contentCreator"]=> string(10) "jim.harris" ["tracker_field_contentCreator_text"]=> string(10) "Jim Harris" ["tracker_field_contentCreator_unstemmed"]=> string(10) "jim harris" ["tracker_field_contentByline"]=> string(14) "LAUREN KEATING" ["tracker_field_contentByline_exact"]=> string(14) "LAUREN KEATING" ["tracker_field_contentBylinePerson"]=> string(6) "470500" ["tracker_field_contentBylinePerson_text"]=> string(36) "lauren.keating (Lauren Keating)" ["tracker_field_description"]=> string(35) "Sleeping it off in a bed of carrots" ["tracker_field_description_raw"]=> string(35) "Sleeping it off in a bed of carrots" ["tracker_field_contentDate"]=> string(25) "2019-09-05T14:43:20+00:00" ["tracker_field_contentWikiPage"]=> string(39) "Content:_:THE BLOTTER: What’s up, Doc" ["tracker_field_contentWikiPage_text"]=> string(5745) "RATHER RIPPED: In East Atlanta Village at 7 a.m, a security alarm started ringing inside a Korean restaurant. A police officer responded to the alarm call. “When I arrived I observed the front door … was damaged and open,” the officer noted. “I looked inside — and there appeared to be a person lying down on a table of the kitchen area of the restaurant.” The door lock had been ripped out and flung on the restaurant floor. The cop decided to call for backup. “When we walked through the restaurant, we observed whole carrots in the area … where the man was lying on the kitchen table. One of the carrots appeared to have a bite taken out of it. Next to the carrots, sat an open can of Pellegrino water.” Perplexed, cops did not wake the man sprawled on the kitchen table — yet. One cop walked outside and asked a few familiar EAV homeless people: Does anyone know this mystery guy? Nope. But one had seen the mystery guy passed out in the Village on Flat Shoals Road earlier. Finally, cops woke up the mystery man on the kitchen table. The 39-year-old man was surprised to learn he’d been eating carrots and napping inside a closed Korean restaurant. “I’m really drunk and don’t remember the last half of the evening,” he admitted. The only thing he knew for sure: His Wells Fargo debit card was missing. His night of revelry didn’t go over well with the restaurant’s owner, who pressed charges for breaking and entering. Cops took the 39-year-old to jail. One upside: Apparently, the carrots were free. The man wasn’t charged for the stolen carrots he consumed. BALONEY BLUES: In Westside Atlanta, two guys in their 50s were having lunch on Jefferson Street. They decided to trade sandwiches. Guy #1 trades his peanut-butter-and-jelly sandwich for Guy #2’s baloney sandwich. The trade goes smoothly — and the two men devour their respective sandwiches. After the food is gone, Guy #1 reveals that Guy #2 could have kept his baloney sandwich and gotten a free PBJ. Guy #1 says, “Hey, if you’re still hungry, there are extra peanut-butter-and-jelly sandwiches on a table in the lunchroom. For free.” Guy #2 gets angry, yelling, “Don’t tell me what to do, motherfucker!” Then he walks away. Minutes later, Guy #2 returns — and punches Guy #1 in the right ear. COP’S UNLUCKY DAY: An officer got a call about a lovers’ dispute erupting in a Reynoldstown home. When the cop arrived, both lovers were gone. In the front yard, a few people milled about. One said the boyfriend and girlfriend both took off running toward Berean Avenue. So the cop hopped into his patrol car and headed that way. Quickly, the cop spotted the running boyfriend, and yelled, “Stop, let’s talk and figure this out.” Boyfriend keeps running. “I was then able to pull ahead of the male in my city vehicle and exit the patrol car,” the cop noted. “I grabbed the male by his shirt … and the male yelled, ‘She’s just mad I caught her cheating.’” The cop and boyfriend talk for a minute. Suddenly, the boyfriend yells, “Your car is rolling backward!” Sure enough, the cop’s patrol car is now rolling at a brisk speed down the street. The cop hops into the car, trying to hit the brakes … but it’s too late. The patrol car slams “into a pole at the intersection of Narrow Street and Berean Avenue.” The cop walks over to inspect the damage, and the boyfriend sprints away. Eventually, the cop secures his patrol car and goes back to the couple’s Reynoldstown home to check on the feuding lovers. All OK. No one wants to press charges. The girlfriend says she only called police because she wanted her cell phone back — and the boyfriend took off running with her phone. But since he’s returned her cell phone, she’s not mad. The cop’s patrol car sustained significant damage. Plus, the cop’s body got a bit banged up. “I did hurt my elbow and left leg when I attempted to stop the vehicle, but I did not need medical attention,” he noted. GOOD HELP IS HARD TO FIND: At a pizza place on Glenwood Avenue, trouble broke out in the kitchen over dough. The shift leader told a female employee that she wasn’t folding the pizza dough correctly. Apparently, the female employee didn’t handle the dough criticism very well. The pizza restaurant’s manager stepped in and told the female employee to go home and cool off. Then, while the manager was taking out the trash, a male employee said he didn’t want to work there any more. So who does the pizza manager call to cover the quitter’s shift? The lousy-dough-folding female employee he just sent home. She returns to work. Then, the male employee who just quit his job … suddenly starts throwing produce and food all over the place. “I observed pepperoni, sausage, banana peppers, and olives on the floor,” an officer noted. YOU BE ILLIN’: Around 3 a.m, a cop observed a guy walking near the Bobby Jones Golf Course on Northside Drive … and stopped him to make sure he was OK. The man, age 31, was carrying a travel bag of clothes. “The man told me that he wants to go to the hospital, because he is suffering from an illness that is causing his body to eat his muscles,” the officer noted. Also, the man insisted proteins are blocking his kidney, which makes it difficult for him to pee. “He goes on to tell me his kidney is hurting, his back hurts — and his feet are on fire.” So the officer calls Grady medics. The man keeps talking while they wait for medics to arrive … insisting that he’s also a wanted outlaw man with a mental illness and violent tendencies. The Blotter Diva compiles reports from the Atlanta Police Department and puts them into her own words." ["tracker_field_contentWikiPage_raw"]=> string(5769) "__RATHER RIPPED:__ In East Atlanta Village at 7 a.m, a security alarm started ringing inside a Korean restaurant. A police officer responded to the alarm call. “When I arrived I observed the front door … was damaged and open,” the officer noted. “I looked inside — and there appeared to be a person lying down on a table of the kitchen area of the restaurant.” The door lock had been ripped out and flung on the restaurant floor. The cop decided to call for backup. “When we walked through the restaurant, we observed whole carrots in the area … where the man was lying on the kitchen table. One of the carrots appeared to have a bite taken out of it. Next to the carrots, sat an open can of Pellegrino water.” Perplexed, cops did not wake the man sprawled on the kitchen table — yet. One cop walked outside and asked a few familiar EAV homeless people: Does anyone know this mystery guy? Nope. But one had seen the mystery guy passed out in the Village on Flat Shoals Road earlier. Finally, cops woke up the mystery man on the kitchen table. The 39-year-old man was surprised to learn he’d been eating carrots and napping inside a closed Korean restaurant. “I’m really drunk and don’t remember the last half of the evening,” he admitted. The only thing he knew for sure: His Wells Fargo debit card was missing. His night of revelry didn’t go over well with the restaurant’s owner, who pressed charges for breaking and entering. Cops took the 39-year-old to jail. One upside: Apparently, the carrots were free. The man wasn’t charged for the stolen carrots he consumed. __BALONEY BLUES:__ In Westside Atlanta, two guys in their 50s were having lunch on Jefferson Street. They decided to trade sandwiches. Guy #1 trades his peanut-butter-and-jelly sandwich for Guy #2’s baloney sandwich. The trade goes smoothly — and the two men devour their respective sandwiches. After the food is gone, Guy #1 reveals that Guy #2 could have kept his baloney sandwich and gotten a free PBJ. Guy #1 says, “Hey, if you’re still hungry, there are extra peanut-butter-and-jelly sandwiches on a table in the lunchroom. For free.” Guy #2 gets angry, yelling, “Don’t tell me what to do, motherfucker!” Then he walks away. Minutes later, Guy #2 returns — and punches Guy #1 in the right ear. __COP’S UNLUCKY DAY:__ An officer got a call about a lovers’ dispute erupting in a Reynoldstown home. When the cop arrived, both lovers were gone. In the front yard, a few people milled about. One said the boyfriend and girlfriend both took off running toward Berean Avenue. So the cop hopped into his patrol car and headed that way. Quickly, the cop spotted the running boyfriend, and yelled, “Stop, let’s talk and figure this out.” Boyfriend keeps running. “I was then able to pull ahead of the male in my city vehicle and exit the patrol car,” the cop noted. “I grabbed the male by his shirt … and the male yelled, ‘She’s just mad I caught her cheating.’” The cop and boyfriend talk for a minute. Suddenly, the boyfriend yells, “Your car is rolling backward!” Sure enough, the cop’s patrol car is now rolling at a brisk speed down the street. The cop hops into the car, trying to hit the brakes … but it’s too late. The patrol car slams “into a pole at the intersection of Narrow Street and Berean Avenue.” The cop walks over to inspect the damage, and the boyfriend sprints away. Eventually, the cop secures his patrol car and goes back to the couple’s Reynoldstown home to check on the feuding lovers. All OK. No one wants to press charges. The girlfriend says she only called police because she wanted her cell phone back — and the boyfriend took off running with her phone. But since he’s returned her cell phone, she’s not mad. The cop’s patrol car sustained significant damage. Plus, the cop’s body got a bit banged up. “I did hurt my elbow and left leg when I attempted to stop the vehicle, but I did not need medical attention,” he noted. __GOOD HELP IS HARD TO FIND:__ At a pizza place on Glenwood Avenue, trouble broke out in the kitchen over dough. The shift leader told a female employee that she wasn’t folding the pizza dough correctly. Apparently, the female employee didn’t handle the dough criticism very well. The pizza restaurant’s manager stepped in and told the female employee to go home and cool off. Then, while the manager was taking out the trash, a male employee said he didn’t want to work there any more. So who does the pizza manager call to cover the quitter’s shift? The lousy-dough-folding female employee he just sent home. She returns to work. Then, the male employee who just quit his job … suddenly starts throwing produce and food all over the place. “I observed pepperoni, sausage, banana peppers, and olives on the floor,” an officer noted. __YOU BE ILLIN’:__ Around 3 a.m, a cop observed a guy walking near the Bobby Jones Golf Course on Northside Drive … and stopped him to make sure he was OK. The man, age 31, was carrying a travel bag of clothes. “The man told me that he wants to go to the hospital, because he is suffering from an illness that is causing his body to eat his muscles,” the officer noted. Also, the man insisted proteins are blocking his kidney, which makes it difficult for him to pee. “He goes on to tell me his kidney is hurting, his back hurts — and his feet are on fire.” So the officer calls Grady medics. The man keeps talking while they wait for medics to arrive … insisting that he’s also a wanted outlaw man with a mental illness and violent tendencies. ''The Blotter Diva compiles reports from the Atlanta Police Department and puts them into her own words.''" 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A police officer responded to the alarm call. “When I arrived I observed the front door … was damaged and open,” the officer noted. “I looked inside — and there appeared to be a person lying down on a table of the kitchen area of the restaurant.” The door lock had been ripped out and flung on the restaurant floor. The cop decided to call for backup. “When we walked through the restaurant, we observed whole carrots in the area … where the man was lying on the kitchen table. One of the carrots appeared to have a bite taken out of it. Next to the carrots, sat an open can of Pellegrino water.” Perplexed, cops did not wake the man sprawled on the kitchen table — yet. One cop walked outside and asked a few familiar EAV homeless people: Does anyone know this mystery guy? Nope. But one had seen the mystery guy passed out in the Village on Flat Shoals Road earlier. Finally, cops woke up the mystery man on the kitchen table. The 39-year-old man was surprised to learn he’d been eating carrots and napping inside a closed Korean restaurant. “I’m really drunk and don’t remember the last half of the evening,” he admitted. The only thing he knew for sure: His Wells Fargo debit card was missing. His night of revelry didn’t go over well with the restaurant’s owner, who pressed charges for breaking and entering. Cops took the 39-year-old to jail. One upside: Apparently, the carrots were free. The man wasn’t charged for the stolen carrots he consumed. BALONEY BLUES: In Westside Atlanta, two guys in their 50s were having lunch on Jefferson Street. They decided to trade sandwiches. Guy #1 trades his peanut-butter-and-jelly sandwich for Guy #2’s baloney sandwich. The trade goes smoothly — and the two men devour their respective sandwiches. After the food is gone, Guy #1 reveals that Guy #2 could have kept his baloney sandwich and gotten a free PBJ. Guy #1 says, “Hey, if you’re still hungry, there are extra peanut-butter-and-jelly sandwiches on a table in the lunchroom. For free.” Guy #2 gets angry, yelling, “Don’t tell me what to do, motherfucker!” Then he walks away. Minutes later, Guy #2 returns — and punches Guy #1 in the right ear. COP’S UNLUCKY DAY: An officer got a call about a lovers’ dispute erupting in a Reynoldstown home. When the cop arrived, both lovers were gone. In the front yard, a few people milled about. One said the boyfriend and girlfriend both took off running toward Berean Avenue. So the cop hopped into his patrol car and headed that way. Quickly, the cop spotted the running boyfriend, and yelled, “Stop, let’s talk and figure this out.” Boyfriend keeps running. “I was then able to pull ahead of the male in my city vehicle and exit the patrol car,” the cop noted. “I grabbed the male by his shirt … and the male yelled, ‘She’s just mad I caught her cheating.’” The cop and boyfriend talk for a minute. Suddenly, the boyfriend yells, “Your car is rolling backward!” Sure enough, the cop’s patrol car is now rolling at a brisk speed down the street. The cop hops into the car, trying to hit the brakes … but it’s too late. The patrol car slams “into a pole at the intersection of Narrow Street and Berean Avenue.” The cop walks over to inspect the damage, and the boyfriend sprints away. Eventually, the cop secures his patrol car and goes back to the couple’s Reynoldstown home to check on the feuding lovers. All OK. No one wants to press charges. The girlfriend says she only called police because she wanted her cell phone back — and the boyfriend took off running with her phone. But since he’s returned her cell phone, she’s not mad. The cop’s patrol car sustained significant damage. Plus, the cop’s body got a bit banged up. “I did hurt my elbow and left leg when I attempted to stop the vehicle, but I did not need medical attention,” he noted. GOOD HELP IS HARD TO FIND: At a pizza place on Glenwood Avenue, trouble broke out in the kitchen over dough. The shift leader told a female employee that she wasn’t folding the pizza dough correctly. Apparently, the female employee didn’t handle the dough criticism very well. The pizza restaurant’s manager stepped in and told the female employee to go home and cool off. Then, while the manager was taking out the trash, a male employee said he didn’t want to work there any more. So who does the pizza manager call to cover the quitter’s shift? The lousy-dough-folding female employee he just sent home. She returns to work. Then, the male employee who just quit his job … suddenly starts throwing produce and food all over the place. “I observed pepperoni, sausage, banana peppers, and olives on the floor,” an officer noted. YOU BE ILLIN’: Around 3 a.m, a cop observed a guy walking near the Bobby Jones Golf Course on Northside Drive … and stopped him to make sure he was OK. The man, age 31, was carrying a travel bag of clothes. “The man told me that he wants to go to the hospital, because he is suffering from an illness that is causing his body to eat his muscles,” the officer noted. Also, the man insisted proteins are blocking his kidney, which makes it difficult for him to pee. “He goes on to tell me his kidney is hurting, his back hurts — and his feet are on fire.” So the officer calls Grady medics. The man keeps talking while they wait for medics to arrive … insisting that he’s also a wanted outlaw man with a mental illness and violent tendencies. The Blotter Diva compiles reports from the Atlanta Police Department and puts them into her own words. ILLUSTRATION BY TRAY BUTLER 0,0,3 THE BLOTTER: What’s up, Doc? 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THE BLOTTER: What’s up, Doc? News Features
Thursday September 5, 2019 10:43 AM EDT
Sleeping it off in a bed of carrots
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array(103) { ["title"]=> string(51) "SCENES AND MOTIONS: ‘The Dog in the Night-Time’" ["modification_date"]=> string(25) "2020-02-03T17:49:40+00:00" ["creation_date"]=> string(25) "2019-09-05T14:43:41+00:00" ["contributors"]=> array(2) { [0]=> string(10) "tony.paris" [1]=> string(10) "jim.harris" } ["date"]=> string(25) "2019-09-05T14:44:40+00:00" ["tracker_status"]=> string(1) "o" ["tracker_id"]=> string(2) "11" ["view_permission"]=> string(13) "view_trackers" ["parent_object_id"]=> string(2) "11" ["parent_object_type"]=> string(7) "tracker" ["field_permissions"]=> string(2) "[]" ["tracker_field_contentTitle"]=> string(51) "SCENES AND MOTIONS: ‘The Dog in the Night-Time’" ["tracker_field_contentCreator"]=> string(10) "tony.paris" ["tracker_field_contentCreator_text"]=> string(10) "Tony Paris" ["tracker_field_contentCreator_unstemmed"]=> string(10) "tony paris" ["tracker_field_contentByline"]=> string(14) "EDWARD MCNALLY" ["tracker_field_contentByline_exact"]=> string(14) "EDWARD MCNALLY" ["tracker_field_contentBylinePerson"]=> string(6) "463145" ["tracker_field_contentBylinePerson_text"]=> string(36) "edward.mcnally (Edward McNally)" ["tracker_field_description"]=> string(32) "‘A Curious Incident,’ indeed" ["tracker_field_description_raw"]=> string(32) "‘A Curious Incident,’ indeed" ["tracker_field_contentDate"]=> string(25) "2019-09-05T14:44:40+00:00" ["tracker_field_contentWikiPage"]=> string(51) "SCENES AND MOTIONS: ‘The Dog in the Night-Time’" ["tracker_field_contentWikiPage_text"]=> string(7187) "!!!!“And because there is something they can’t see people think it has to be special, because people always think there is something special about what they can’t see, like the dark side of the moon, or the other side of a black hole, or in the dark when they wake up at night and they’re scared.” !!!!― Mark Haddon, The Curious Incident of the Dog in the Night-Time Art in any form can help us to see. And to feel. Art, at its best, helps us think and perhaps even to understand. Take for instance The Curious Incident of the Dog in the Night-Time. Mark Haddon’s best-selling “mystery novel” (2003) (and subsequent theatrical adaptation) is told from the point of view of Christopher, a special teenager who’s better at solving equations than navigating a world that’s out of sync with how his mind works. After being wrongly accused of murdering his neighbor’s dog, he resolves to find the real culprit. When his investigation uncovers painful truths about his family, he dares to strike out on his own. In his blog, author Mark Haddon wrote "Curious Incident is not a book about Asperger's or any specific disorder. If anything, it's a novel about difference, about being an outsider, about seeing the world in a surprising and revealing way.” As a book and as a play, Christopher’s coming-of-age story has become a hero’s quest fascinating readers and audiences all over the world. Speaking to critic Maddy Costa in The Guardian, playwright Simon Stephens agreed that the irony is that “Christopher sees stories as lies, and theatre as dishonest. But it's through the lie that you find the greater truth. That's why you need to expose the mechanics of it.” This revealing irony is a big part of what got two metro area artistic directors, Lisa Adler (Horizon Theatre) and Justin Anderson (Aurora Theatre), excited about mounting the Atlanta premiere of one of the most popular dramatic scripts of the past decade. “Christopher faces tremendous challenges because of his otherness,” says Anderson. “He’s desperately trying to find his place in the world. He overcomes so many obstacles that, by the end of the play, he and the audience come to understand that (his) otherness is perfect. Ultimately, our young hero is equal to everyone else and deserves respect as a valuable member of his family and his community.” Anderson adds, “I’m fascinated by how bodies move in physical spaces, and so I’m thrilled to be able to use our combined tools and talents to make visible the thought process of these characters and to reveal the inner mystery of this young man’s mind. In many ways, ‘Curious Incident…’ is the most ambitious creative project I’ve ever been involved with.” Might Atlanta audiences have unusually high expectations for this premiere? Perhaps. Consider that, over the past seven years, the international bestseller has been adapted to the stage by Simon Stephens and premiered at the Royal National Theatre in London where it won seven Olivier Awards. To dramatize the intricate workings of Christopher’s brilliant imagination, the British creative team developed a state-of-the-art computerized LED lighting system, transforming a mostly bare set into a hypnotic grid of lights at key points in the story. At any moment, the giant white box of the stage became a swirling kaleidoscope of math equations, a speeding passenger train, a maze of London streets, or a star-filled expanse of interstellar space. In 2015, the Royal Theatre production opened on Broadway to rave reviews and earned five Tony Awards, including ‘Best Play.’ Since then, touring productions and foreign language translations have wowed audiences in over a dozen countries across Europe, Asia, Africa, and the Middle East. And now, two small local theaters are co-producing and co-directing a new production with a local cast that will rely less on dazzling LED lighting effects, and more on ingenious original choreography. It will run at Horizon in L5P Sept. 20–Oct. 27 and at Aurora in Lawrenceville, Jan 9.–Feb 9., 2020. As you might expect, theatre co-founder Lisa Adler is thrilled to open Horizon’s 36 season with “Curious Incident…” by adapting it to Horizon’s intimate stage in the Little Five Points Community Center. “Simon Stephens’ play is a great example of movement theatre at its best,” says Adler. “Our ensemble of eight actors will be telling a lot of this story with their bodies. Depending on the needs of a given scene, they’ll stand or stretch to become a closet, a piece of furniture, or the cabin of an imaginary spaceship.” The veteran director explains that “even though Christopher is a teenage character who can’t stand being touched, there are times when we’ll show him moving in space by having ‘invisible’ actors lifting him up walls and through the air.” “Christopher is fascinated with math problems, puzzles, and seeing clues hidden in plain sight,” says Adler. “So, we’re basing our set design and choreography on all these elements as well as on Tetris, P.T., and other video games. We’re using projections, panels, portals, sound effects — lots of clever stage tricks to solve the stage puzzles this unique script presents.” Adler is quick to add, “Creatively, we’re having as much fun as with any play we’ve ever done, and we’re working to involve the audience in the puzzle-solving fun.” To bring forth the best possible performances from their ensemble, Adler and Anderson invited Chicago-based “movement director” Roger Ellis to join their “trinity of perspectives.” The three directors are collaborating in rehearsals for four weeks leading up to opening night. Anderson describes the play and the trio’s directorial arrangement as a “beautiful marriage of realism, surrealism, and dreamlike moments.” “We’re definitely learning from each other,” he adds. “The conversations and creative debates make for a super creative fusion. It feels like the very best ideas are bubbling to the top.” I write this as someone who marveled with glee at the ingenuity of the Broadway production I witnessed four Septembers ago, and someone who was deeply moved by Christopher’s personal journey. And I’ll add that as a man with more than a little bit of an OCD personality, I certainly have my own mental challenges with obsessing over patterns and yearning to find order in a miraculous but often chaotic universe. Personally, I can’t wait to see The Curious Incident of The Dog in The Night-Time again, both at Horizon this month and at Aurora in January. I’ve got to admit I’m curious (pun intended) to see how well they solve the puzzles of producing this very special play. !!!! The Curious Incident of The Dog in The Night-Time, directed by Lisa Adler and Justin Anderson. !!!!Sept. 20–Oct. 27 !!!!Horizon Theatre !!!!1083 Austin Ave., Atlanta. !!!!404-584-7450. https://www.horizontheatre.com/ !!!! Jan. 9–Feb. 9 !!!!Aurora Theatre !!!!128 East Pike St., Lawrenceville !!!!678-226-6222, https://www.auroratheatre.com/ " ["tracker_field_contentWikiPage_raw"]=> string(7237) "!!!!''“And because there is something they can’t see people think it has to be special, because people always think there is something special about what they can’t see, like the dark side of the moon, or the other side of a black hole, or in the dark when they wake up at night and they’re scared.” '' !!!!― Mark Haddon, ''The Curious Incident of the Dog in the Night-Time'' Art in any form can help us to see. And to feel. Art, at its best, helps us think and perhaps even to understand. Take for instance The Curious Incident of the Dog in the Night-Time. Mark Haddon’s best-selling “mystery novel” (2003) (and subsequent theatrical adaptation) is told from the point of view of Christopher, a special teenager who’s better at solving equations than navigating a world that’s out of sync with how his mind works. After being wrongly accused of murdering his neighbor’s dog, he resolves to find the real culprit. When his investigation uncovers painful truths about his family, he dares to strike out on his own. In his blog, author Mark Haddon wrote "Curious Incident is not a book about Asperger's or any specific disorder. If anything, it's a novel about difference, about being an outsider, about seeing the world in a surprising and revealing way.” As a book and as a play, Christopher’s coming-of-age story has become a hero’s quest fascinating readers and audiences all over the world. Speaking to critic Maddy Costa in The Guardian, playwright Simon Stephens agreed that the irony is that “Christopher sees stories as lies, and theatre as dishonest. But it's through the lie that you find the greater truth. That's why you need to expose the mechanics of it.” This revealing irony is a big part of what got two metro area artistic directors, Lisa Adler (Horizon Theatre) and Justin Anderson (Aurora Theatre), excited about mounting the Atlanta premiere of one of the most popular dramatic scripts of the past decade. “Christopher faces tremendous challenges because of his otherness,” says Anderson. “He’s desperately trying to find his place in the world. He overcomes so many obstacles that, by the end of the play, he and the audience come to understand that (his) otherness is perfect. Ultimately, our young hero is equal to everyone else and deserves respect as a valuable member of his family and his community.” Anderson adds, “I’m fascinated by how bodies move in physical spaces, and so I’m thrilled to be able to use our combined tools and talents to make visible the thought process of these characters and to reveal the inner mystery of this young man’s mind. In many ways, ‘Curious Incident''…''’ is the most ambitious creative project I’ve ever been involved with.” Might Atlanta audiences have unusually high expectations for this premiere? Perhaps. Consider that, over the past seven years, the international bestseller has been adapted to the stage by Simon Stephens and premiered at the Royal National Theatre in London where it won seven Olivier Awards. To dramatize the intricate workings of Christopher’s brilliant imagination, the British creative team developed a state-of-the-art computerized LED lighting system, transforming a mostly bare set into a hypnotic grid of lights at key points in the story. At any moment, the giant white box of the stage became a swirling kaleidoscope of math equations, a speeding passenger train, a maze of London streets, or a star-filled expanse of interstellar space. In 2015, the Royal Theatre production opened on Broadway to rave reviews and earned five Tony Awards, including ‘Best Play.’ Since then, touring productions and foreign language translations have wowed audiences in over a dozen countries across Europe, Asia, Africa, and the Middle East. And now, two small local theaters are co-producing and co-directing a new production with a local cast that will rely less on dazzling LED lighting effects, and more on ingenious original choreography. It will run at Horizon in L5P Sept. 20–Oct. 27 and at Aurora in Lawrenceville, Jan 9.–Feb 9., 2020. As you might expect, theatre co-founder Lisa Adler is thrilled to open Horizon’s 36{SUP()}th{SUP} season with “Curious Incident''…''” by adapting it to Horizon’s intimate stage in the Little Five Points Community Center. “Simon Stephens’ play is a great example of movement theatre at its best,” says Adler. “Our ensemble of eight actors will be telling a lot of this story with their bodies. Depending on the needs of a given scene, they’ll stand or stretch to become a closet, a piece of furniture, or the cabin of an imaginary spaceship.” The veteran director explains that “even though Christopher is a teenage character who can’t stand being touched, there are times when we’ll show him moving in space by having ‘invisible’ actors lifting him up walls and through the air.” “Christopher is fascinated with math problems, puzzles, and seeing clues hidden in plain sight,” says Adler. “So, we’re basing our set design and choreography on all these elements as well as on Tetris, P.T., and other video games. We’re using projections, panels, portals, sound effects — lots of clever stage tricks to solve the stage puzzles this unique script presents.” Adler is quick to add, “Creatively, we’re having as much fun as with any play we’ve ever done, and we’re working to involve the audience in the puzzle-solving fun.” To bring forth the best possible performances from their ensemble, Adler and Anderson invited Chicago-based “movement director” Roger Ellis to join their “trinity of perspectives.” The three directors are collaborating in rehearsals for four weeks leading up to opening night. Anderson describes the play and the trio’s directorial arrangement as a “beautiful marriage of realism, surrealism, and dreamlike moments.” “We’re definitely learning from each other,” he adds. “The conversations and creative debates make for a super creative fusion. It feels like the very best ideas are bubbling to the top.” I write this as someone who marveled with glee at the ingenuity of the Broadway production I witnessed four Septembers ago, and someone who was deeply moved by Christopher’s personal journey. And I’ll add that as a man with more than a little bit of an OCD personality, I certainly have my own mental challenges with obsessing over patterns and yearning to find order in a miraculous but often chaotic universe. Personally, I can’t wait to see ''The Curious Incident of The Dog in The Night-Time'' again, both at Horizon this month and at Aurora in January. 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["relation_count"]=> array(2) { [0]=> string(18) "tiki.file.attach:1" [1]=> string(29) "tiki.wiki.linkeditem.invert:1" } ["title_initial"]=> string(1) "S" ["title_firstword"]=> string(6) "SCENES" ["searchable"]=> string(1) "y" ["url"]=> string(10) "item441146" ["object_type"]=> string(11) "trackeritem" ["object_id"]=> string(6) "441146" ["contents"]=> string(7815) " Curious Publicity Email 2019-09-05T14:40:54+00:00 curious-publicity-email.jpeg scenes&motions ‘A Curious Incident,’ indeed Curious Publicity Email 2019-09-05T14:44:40+00:00 SCENES AND MOTIONS: ‘The Dog in the Night-Time’ tony.paris Tony Paris EDWARD MCNALLY edward.mcnally (Edward McNally) 2019-09-05T14:44:40+00:00 !!!!“And because there is something they can’t see people think it has to be special, because people always think there is something special about what they can’t see, like the dark side of the moon, or the other side of a black hole, or in the dark when they wake up at night and they’re scared.” !!!!― Mark Haddon, The Curious Incident of the Dog in the Night-Time Art in any form can help us to see. And to feel. Art, at its best, helps us think and perhaps even to understand. Take for instance The Curious Incident of the Dog in the Night-Time. Mark Haddon’s best-selling “mystery novel” (2003) (and subsequent theatrical adaptation) is told from the point of view of Christopher, a special teenager who’s better at solving equations than navigating a world that’s out of sync with how his mind works. After being wrongly accused of murdering his neighbor’s dog, he resolves to find the real culprit. When his investigation uncovers painful truths about his family, he dares to strike out on his own. In his blog, author Mark Haddon wrote "Curious Incident is not a book about Asperger's or any specific disorder. If anything, it's a novel about difference, about being an outsider, about seeing the world in a surprising and revealing way.” As a book and as a play, Christopher’s coming-of-age story has become a hero’s quest fascinating readers and audiences all over the world. Speaking to critic Maddy Costa in The Guardian, playwright Simon Stephens agreed that the irony is that “Christopher sees stories as lies, and theatre as dishonest. But it's through the lie that you find the greater truth. That's why you need to expose the mechanics of it.” This revealing irony is a big part of what got two metro area artistic directors, Lisa Adler (Horizon Theatre) and Justin Anderson (Aurora Theatre), excited about mounting the Atlanta premiere of one of the most popular dramatic scripts of the past decade. “Christopher faces tremendous challenges because of his otherness,” says Anderson. “He’s desperately trying to find his place in the world. He overcomes so many obstacles that, by the end of the play, he and the audience come to understand that (his) otherness is perfect. Ultimately, our young hero is equal to everyone else and deserves respect as a valuable member of his family and his community.” Anderson adds, “I’m fascinated by how bodies move in physical spaces, and so I’m thrilled to be able to use our combined tools and talents to make visible the thought process of these characters and to reveal the inner mystery of this young man’s mind. In many ways, ‘Curious Incident…’ is the most ambitious creative project I’ve ever been involved with.” Might Atlanta audiences have unusually high expectations for this premiere? Perhaps. Consider that, over the past seven years, the international bestseller has been adapted to the stage by Simon Stephens and premiered at the Royal National Theatre in London where it won seven Olivier Awards. To dramatize the intricate workings of Christopher’s brilliant imagination, the British creative team developed a state-of-the-art computerized LED lighting system, transforming a mostly bare set into a hypnotic grid of lights at key points in the story. At any moment, the giant white box of the stage became a swirling kaleidoscope of math equations, a speeding passenger train, a maze of London streets, or a star-filled expanse of interstellar space. In 2015, the Royal Theatre production opened on Broadway to rave reviews and earned five Tony Awards, including ‘Best Play.’ Since then, touring productions and foreign language translations have wowed audiences in over a dozen countries across Europe, Asia, Africa, and the Middle East. And now, two small local theaters are co-producing and co-directing a new production with a local cast that will rely less on dazzling LED lighting effects, and more on ingenious original choreography. It will run at Horizon in L5P Sept. 20–Oct. 27 and at Aurora in Lawrenceville, Jan 9.–Feb 9., 2020. As you might expect, theatre co-founder Lisa Adler is thrilled to open Horizon’s 36 season with “Curious Incident…” by adapting it to Horizon’s intimate stage in the Little Five Points Community Center. “Simon Stephens’ play is a great example of movement theatre at its best,” says Adler. “Our ensemble of eight actors will be telling a lot of this story with their bodies. Depending on the needs of a given scene, they’ll stand or stretch to become a closet, a piece of furniture, or the cabin of an imaginary spaceship.” The veteran director explains that “even though Christopher is a teenage character who can’t stand being touched, there are times when we’ll show him moving in space by having ‘invisible’ actors lifting him up walls and through the air.” “Christopher is fascinated with math problems, puzzles, and seeing clues hidden in plain sight,” says Adler. “So, we’re basing our set design and choreography on all these elements as well as on Tetris, P.T., and other video games. We’re using projections, panels, portals, sound effects — lots of clever stage tricks to solve the stage puzzles this unique script presents.” Adler is quick to add, “Creatively, we’re having as much fun as with any play we’ve ever done, and we’re working to involve the audience in the puzzle-solving fun.” To bring forth the best possible performances from their ensemble, Adler and Anderson invited Chicago-based “movement director” Roger Ellis to join their “trinity of perspectives.” The three directors are collaborating in rehearsals for four weeks leading up to opening night. Anderson describes the play and the trio’s directorial arrangement as a “beautiful marriage of realism, surrealism, and dreamlike moments.” “We’re definitely learning from each other,” he adds. “The conversations and creative debates make for a super creative fusion. It feels like the very best ideas are bubbling to the top.” I write this as someone who marveled with glee at the ingenuity of the Broadway production I witnessed four Septembers ago, and someone who was deeply moved by Christopher’s personal journey. And I’ll add that as a man with more than a little bit of an OCD personality, I certainly have my own mental challenges with obsessing over patterns and yearning to find order in a miraculous but often chaotic universe. Personally, I can’t wait to see The Curious Incident of The Dog in The Night-Time again, both at Horizon this month and at Aurora in January. I’ve got to admit I’m curious (pun intended) to see how well they solve the puzzles of producing this very special play. !!!! The Curious Incident of The Dog in The Night-Time, directed by Lisa Adler and Justin Anderson. !!!!Sept. 20–Oct. 27 !!!!Horizon Theatre !!!!1083 Austin Ave., Atlanta. !!!!404-584-7450. https://www.horizontheatre.com/ !!!! Jan. 9–Feb. 9 !!!!Aurora Theatre !!!!128 East Pike St., Lawrenceville !!!!678-226-6222, https://www.auroratheatre.com/ COURTESY THE HORIZON THEATRE FLY "CURIOUS:' Brandon Michael Mayes (as Christopher) in rehearsal for Horizon Theatre’s production of 'The Curious Incident of the Dog in the Night-time.' 0,0,1 scenes&motions SCENES AND MOTIONS: ‘The Dog in the Night-Time’ " ["score"]=> float(0) ["_index"]=> string(35) "atlantawiki_tiki_main_62887fe234a1d" ["objectlink"]=> string(36) "No value for 'contentTitle'" ["photos"]=> string(141) "" ["desc"]=> string(41) "‘A Curious Incident,’ indeed" ["category"]=> string(41) "Culture
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SCENES AND MOTIONS: ‘The Dog in the Night-Time’ Culture, Theater, Theater Feature
Thursday September 5, 2019 10:44 AM EDT
‘A Curious Incident,’ indeed
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more...
array(100) { ["title"]=> string(21) "Eyewitness to history" ["modification_date"]=> string(25) "2022-02-01T14:25:36+00:00" ["creation_date"]=> string(25) "2019-09-05T15:17:22+00:00" ["contributors"]=> array(2) { [0]=> string(10) "jim.harris" [1]=> string(9) "ben.eason" } ["date"]=> string(25) "2019-09-05T15:14:21+00:00" ["tracker_status"]=> string(1) "o" ["tracker_id"]=> string(2) "11" ["view_permission"]=> string(13) "view_trackers" ["parent_object_id"]=> string(2) "11" ["parent_object_type"]=> string(7) "tracker" ["field_permissions"]=> string(2) "[]" ["tracker_field_contentTitle"]=> string(21) "Eyewitness to history" ["tracker_field_contentCreator"]=> string(10) "jim.harris" ["tracker_field_contentCreator_text"]=> string(10) "Jim Harris" ["tracker_field_contentCreator_unstemmed"]=> string(10) "jim harris" ["tracker_field_contentByline"]=> string(16) "Kevin C. Madigan" ["tracker_field_contentByline_exact"]=> string(16) "Kevin C. Madigan" ["tracker_field_contentBylinePerson"]=> string(1) "0" ["tracker_field_description"]=> string(136) "With his tour of Atlanta’s historic civil rights landmarks, Tom Houck recounts the key role of the city and its people in the movement" ["tracker_field_description_raw"]=> string(136) "With his tour of Atlanta’s historic civil rights landmarks, Tom Houck recounts the key role of the city and its people in the movement" ["tracker_field_contentDate"]=> string(25) "2019-09-05T15:14:21+00:00" ["tracker_field_contentWikiPage"]=> string(31) "Content:_:Eyewitness to history" ["tracker_field_contentWikiPage_text"]=> string(6222) "Merely a teenager when he signed up with the civil rights movement in the mid-1960s, Tom Houck has been committed to the cause ever since. Now 72, the raspy-voiced activist runs weekly bus tours of Atlanta’s historic civil rights spots, encompassing buildings, schools, churches, statues, neighborhoods, and other significant places and participants in the South’s struggle for equal rights. “We don’t follow any specific rules or script, except our love for Atlanta and its nonviolence in the civil rights movement, which I was very fortunate to be a part of,” Houck says from his perch at the front of the tour bus on a recent Saturday morning. “I got kicked out of high school for going to Selma (Alabama, in 1965, after Bloody Sunday) and never returned, and wound up working for the Southern Christian Leadership Conference in Atlanta,” Houck recalls. The SCLC was founded by Dr. Martin Luther King Jr. in 1957 in reaction to the Montgomery Bus Boycott and its aftermath, and the organization consisted mostly of local African American leaders such as Ralph David Abernathy, Andrew Young, and Joseph Lowery who organized nonviolent protests against discrimination and, in doing so, made a place for themselves in this country’s history. As we pass the old SCLC building on Auburn Avenue, Houck says, “The march from Selma to Montgomery and the March on Washington, those were all planned here; this is where the Albany, Georgia, movement was based; the Poor People’s Campaign was organized here.” The National Park Service has purchased the former SCLC headquarters and “hopefully will restore this building to the beauty it once had,” he continues. “It took a lot of blood and sweat and tears to get the city integrated,” Houck acknowledges. “Atlanta was the headquarters of many of those civil rights leaders, that’s why you see so many streets and buildings named after them. Some became politicians — Andy Young became mayor of Atlanta; there is Congressman John Lewis; Hosea Williams was elected to several offices.” Houck says he was arrested about 20 times while working as a “foot soldier” in the civil rights movement “and I got 17 stitches in my knee to prove it.” A tavern across the street from the SCLC became a refuge for him and his fellow freedom fighters. “You get thirsty when you’re out in the field getting your head beat in.” In the middle of all this Houck was “bamboozled” into being a driver for Dr. King and his family. “Here I am, a white boy in 1966, I was 18, I had a lot more hair then and weighed about 150 pounds less. The civil rights movement was still going on, but I decided yes, yes, I would drive,” he recalls. “I drove for about nine months, but I still wanted to organize — I was a hell of a good organizer — so I went back to organizing over the housing demonstrations in Chicago, the Vietnam war, and ultimately, the Poor People’s Campaign for low-income whites, Hispanics, and Asians.” He describes the Poor People’s Campaign as a challenge for social and economic justice and dignity that is still going on today. “We had a president back then (Lyndon Johnson) who was not quite like the one we have today.” Houck acknowledges it was a great experience driving for King “because it put me in the center of Atlanta and of the King family. I met a lot of people through them who became my best friends, my travel agents, my doctor, and my dentist, Walter Young, Andy’s brother, who is still practicing.” The King family suffered more than just the tragedy of MLK’s assassination in 1968. Younger brother Alfred Daniel King was found dead the following year in a swimming pool “under mysterious circumstances,” according to Houck. Their mother, Alberta Williams King, was shot to death inside Ebenezer Baptist Church in 1974, while playing the organ. Yolanda King, their eldest child, died of a heart attack in 2007 at the age of 51. Coretta Scott King, MLK’s late widow, started to plan the King Center on Auburn Avenue shortly after his death. “Today it’s headed by (King’s youngest child) Bernice Albertine King,” Houck notes. “It’s dedicated to nonviolent protest around the world — still a work in progress but it’s coming along. That’s what their goal is.” Houck’s tour, which begins at the King Center, also takes in the Vine City home where the King family lived and their children were raised. “The house was full of love and joy. We would play football out here with neighborhood kids and Dr. King would sometimes join us,” Houck remembers. “It was here that Coretta got the news on April 4th of 1968, shortly after 6 o’clock, that Martin had been shot in Memphis,” Houck adds. “She got ready to go (to the Atlanta airport) and got picked up by Mayor Ivan Allen, and on the way there they discovered Martin had died. She led the same march in Memphis the next day that Martin was going to lead, nonviolently, then came back to Atlanta and played host to the world for the next three or four days. One of the last visitors to come here was Bobby Kennedy, and a few months later we know what happened to him.” Another residence on the tour is the family home of John Wesley Dobbs, a pivotal figure in black suffrage who co-founded the Atlanta Negro Voters League, and who was instrumental in getting mayor William Hartsfield to hire black police officers. Dobbs died in 1961 on the same day the Atlanta School System was desegregated, and his grandson, Maynard Jackson Jr., won election as the city’s first black mayor 12 years later. A giant sculpture to honor Dobbs was erected on Auburn Avenue during the 1996 Summer Olympics. Many of Atlanta’s most prominent civil rights leaders are buried at South-View Cemetery, where Houck’s bus stops towards the end of the three-hour tour. King himself was buried there temporarily before his crypt at the King Center was constructed. The tour also takes a drive down part of the Atlanta boulevard named after King, where Houck once had an apartment. “It’s an honor to have lived on a street named for my hero,” he says. -CL- " ["tracker_field_contentWikiPage_raw"]=> string(6535) "Merely a teenager when he signed up with the civil rights movement in the mid-1960s, Tom Houck has been committed to the cause ever since. Now 72, the raspy-voiced activist runs weekly bus tours of Atlanta’s historic civil rights spots, encompassing buildings, schools, churches, statues, neighborhoods, and other significant places and participants in the South’s struggle for equal rights. “We don’t follow any specific rules or script, except our love for Atlanta and its nonviolence in the civil rights movement, which I was very fortunate to be a part of,” Houck says from his perch at the front of the tour bus on a recent Saturday morning. {img fileId="22854" stylebox="float: right; margin-left:15px;" desc="desc"} “I got kicked out of high school for going to Selma (Alabama, in 1965, after Bloody Sunday) and never returned, and wound up working for the Southern Christian Leadership Conference in Atlanta,” Houck recalls. The SCLC was founded by Dr. Martin Luther King Jr. in 1957 in reaction to the Montgomery Bus Boycott and its aftermath, and the organization consisted mostly of local African American leaders such as Ralph David Abernathy, Andrew Young, and Joseph Lowery who organized nonviolent protests against discrimination and, in doing so, made a place for themselves in this country’s history. As we pass the old SCLC building on Auburn Avenue, Houck says, “The march from Selma to Montgomery and the March on Washington, those were all planned here; this is where the Albany, Georgia, movement was based; the Poor People’s Campaign was organized here.” The National Park Service has purchased the former SCLC headquarters and “hopefully will restore this building to the beauty it once had,” he continues. “It took a lot of blood and sweat and tears to get the city integrated,” Houck acknowledges. “Atlanta was the headquarters of many of those civil rights leaders, that’s why you see so many streets and buildings named after them. Some became politicians — Andy Young became mayor of Atlanta; there is Congressman John Lewis; Hosea Williams was elected to several offices.” {img fileId="22853" max="600px" stylebox="float: left; margin-right:25px;" desc="desc"} Houck says he was arrested about 20 times while working as a “foot soldier” in the civil rights movement “and I got 17 stitches in my knee to prove it.” A tavern across the street from the SCLC became a refuge for him and his fellow freedom fighters. “You get thirsty when you’re out in the field getting your head beat in.” In the middle of all this Houck was “bamboozled” into being a driver for Dr. King and his family. “Here I am, a white boy in 1966, I was 18, I had a lot more hair then and weighed about 150 pounds less. The civil rights movement was still going on, but I decided yes, yes, I would drive,” he recalls. “I drove for about nine months, but I still wanted to organize — I was a hell of a good organizer — so I went back to organizing over the housing demonstrations in Chicago, the Vietnam war, and ultimately, the Poor People’s Campaign for low-income whites, Hispanics, and Asians.” He describes the Poor People’s Campaign as a challenge for social and economic justice and dignity that is still going on today. “We had a president back then (Lyndon Johnson) who was not quite like the one we have today.” Houck acknowledges it was a great experience driving for King “because it put me in the center of Atlanta and of the King family. I met a lot of people through them who became my best friends, my travel agents, my doctor, and my dentist, Walter Young, Andy’s brother, who is still practicing.” The King family suffered more than just the tragedy of MLK’s assassination in 1968. Younger brother Alfred Daniel King was found dead the following year in a swimming pool “under mysterious circumstances,” according to Houck. Their mother, Alberta Williams King, was shot to death inside Ebenezer Baptist Church in 1974, while playing the organ. Yolanda King, their eldest child, died of a heart attack in 2007 at the age of 51. Coretta Scott King, MLK’s late widow, started to plan the King Center on Auburn Avenue shortly after his death. “Today it’s headed by (King’s youngest child) Bernice Albertine King,” Houck notes. “It’s dedicated to nonviolent protest around the world — still a work in progress but it’s coming along. That’s what their goal is.” Houck’s tour, which begins at the King Center, also takes in the Vine City home where the King family lived and their children were raised. “The house was full of love and joy. We would play football out here with neighborhood kids and Dr. King would sometimes join us,” Houck remembers. “It was here that Coretta got the news on April 4th of 1968, shortly after 6 o’clock, that Martin had been shot in Memphis,” Houck adds. “She got ready to go (to the Atlanta airport) and got picked up by Mayor Ivan Allen, and on the way there they discovered Martin had died. She led the same march in Memphis the next day that Martin was going to lead, nonviolently, then came back to Atlanta and played host to the world for the next three or four days. One of the last visitors to come here was Bobby Kennedy, and a few months later we know what happened to him.” Another residence on the tour is the family home of John Wesley Dobbs, a pivotal figure in black suffrage who co-founded the Atlanta Negro Voters League, and who was instrumental in getting mayor William Hartsfield to hire black police officers. Dobbs died in 1961 on the same day the Atlanta School System was desegregated, and his grandson, Maynard Jackson Jr., won election as the city’s first black mayor 12 years later. A giant sculpture to honor Dobbs was erected on Auburn Avenue during the 1996 Summer Olympics. {img fileId="22855|22856" imalign="center" stylebox="float: left; margin-right:25px;" height="600px" desc="desc" styledesc="text-align: left;"} Many of Atlanta’s most prominent civil rights leaders are buried at South-View Cemetery, where Houck’s bus stops towards the end of the three-hour tour. King himself was buried there temporarily before his crypt at the King Center was constructed. The tour also takes a drive down part of the Atlanta boulevard named after King, where Houck once had an apartment. “It’s an honor to have lived on a street named for my hero,” he says. __''-CL-''__ " ["tracker_field_contentWikiPage_creation_date"]=> string(25) "2019-09-05T15:17:21+00:00" ["tracker_field_contentWikiPage_modification_date"]=> string(25) "2019-09-05T17:18:02+00:00" ["tracker_field_contentWikiPage_freshness_days"]=> int(988) ["tracker_field_photos"]=> string(5) "22852" ["tracker_field_photos_names"]=> array(1) { [0]=> string(19) "Houck Filming PHOTO" } ["tracker_field_photos_filenames"]=> array(1) { [0]=> string(25) "Houck_filming_PHOTO__.jpg" } ["tracker_field_photos_filetypes"]=> array(1) { [0]=> string(10) "image/jpeg" } ["tracker_field_photos_text"]=> string(19) "Houck Filming PHOTO" ["tracker_field_contentPhotoCredit"]=> string(25) "Civil Rights Tour Atlanta" ["tracker_field_contentPhotoTitle"]=> string(103) "THE GUARDIAN OF THE HUMAN SPIRIT: Tom Houck being interviewed at the Center for Civil and Human Rights." 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He lived those days in the 70s when Atlanta was becoming "the city too busy to hate," and he helped make it one of the most integrated and exciting cities in the country to be in at that time. Thanks, Kevin Madigan, for the story, and Bravo Tom! With his tour of Atlanta’s historic civil rights landmarks, Tom Houck recounts the key role of the city and its people in the movement Houck Filming PHOTO 2019-09-05T15:14:21+00:00 Eyewitness to history jim.harris Jim Harris Kevin C. Madigan 2019-09-05T15:14:21+00:00 Merely a teenager when he signed up with the civil rights movement in the mid-1960s, Tom Houck has been committed to the cause ever since. Now 72, the raspy-voiced activist runs weekly bus tours of Atlanta’s historic civil rights spots, encompassing buildings, schools, churches, statues, neighborhoods, and other significant places and participants in the South’s struggle for equal rights. “We don’t follow any specific rules or script, except our love for Atlanta and its nonviolence in the civil rights movement, which I was very fortunate to be a part of,” Houck says from his perch at the front of the tour bus on a recent Saturday morning. “I got kicked out of high school for going to Selma (Alabama, in 1965, after Bloody Sunday) and never returned, and wound up working for the Southern Christian Leadership Conference in Atlanta,” Houck recalls. The SCLC was founded by Dr. Martin Luther King Jr. in 1957 in reaction to the Montgomery Bus Boycott and its aftermath, and the organization consisted mostly of local African American leaders such as Ralph David Abernathy, Andrew Young, and Joseph Lowery who organized nonviolent protests against discrimination and, in doing so, made a place for themselves in this country’s history. As we pass the old SCLC building on Auburn Avenue, Houck says, “The march from Selma to Montgomery and the March on Washington, those were all planned here; this is where the Albany, Georgia, movement was based; the Poor People’s Campaign was organized here.” The National Park Service has purchased the former SCLC headquarters and “hopefully will restore this building to the beauty it once had,” he continues. “It took a lot of blood and sweat and tears to get the city integrated,” Houck acknowledges. “Atlanta was the headquarters of many of those civil rights leaders, that’s why you see so many streets and buildings named after them. Some became politicians — Andy Young became mayor of Atlanta; there is Congressman John Lewis; Hosea Williams was elected to several offices.” Houck says he was arrested about 20 times while working as a “foot soldier” in the civil rights movement “and I got 17 stitches in my knee to prove it.” A tavern across the street from the SCLC became a refuge for him and his fellow freedom fighters. “You get thirsty when you’re out in the field getting your head beat in.” In the middle of all this Houck was “bamboozled” into being a driver for Dr. King and his family. “Here I am, a white boy in 1966, I was 18, I had a lot more hair then and weighed about 150 pounds less. The civil rights movement was still going on, but I decided yes, yes, I would drive,” he recalls. “I drove for about nine months, but I still wanted to organize — I was a hell of a good organizer — so I went back to organizing over the housing demonstrations in Chicago, the Vietnam war, and ultimately, the Poor People’s Campaign for low-income whites, Hispanics, and Asians.” He describes the Poor People’s Campaign as a challenge for social and economic justice and dignity that is still going on today. “We had a president back then (Lyndon Johnson) who was not quite like the one we have today.” Houck acknowledges it was a great experience driving for King “because it put me in the center of Atlanta and of the King family. I met a lot of people through them who became my best friends, my travel agents, my doctor, and my dentist, Walter Young, Andy’s brother, who is still practicing.” The King family suffered more than just the tragedy of MLK’s assassination in 1968. Younger brother Alfred Daniel King was found dead the following year in a swimming pool “under mysterious circumstances,” according to Houck. Their mother, Alberta Williams King, was shot to death inside Ebenezer Baptist Church in 1974, while playing the organ. Yolanda King, their eldest child, died of a heart attack in 2007 at the age of 51. Coretta Scott King, MLK’s late widow, started to plan the King Center on Auburn Avenue shortly after his death. “Today it’s headed by (King’s youngest child) Bernice Albertine King,” Houck notes. “It’s dedicated to nonviolent protest around the world — still a work in progress but it’s coming along. That’s what their goal is.” Houck’s tour, which begins at the King Center, also takes in the Vine City home where the King family lived and their children were raised. “The house was full of love and joy. We would play football out here with neighborhood kids and Dr. King would sometimes join us,” Houck remembers. “It was here that Coretta got the news on April 4th of 1968, shortly after 6 o’clock, that Martin had been shot in Memphis,” Houck adds. “She got ready to go (to the Atlanta airport) and got picked up by Mayor Ivan Allen, and on the way there they discovered Martin had died. She led the same march in Memphis the next day that Martin was going to lead, nonviolently, then came back to Atlanta and played host to the world for the next three or four days. One of the last visitors to come here was Bobby Kennedy, and a few months later we know what happened to him.” Another residence on the tour is the family home of John Wesley Dobbs, a pivotal figure in black suffrage who co-founded the Atlanta Negro Voters League, and who was instrumental in getting mayor William Hartsfield to hire black police officers. Dobbs died in 1961 on the same day the Atlanta School System was desegregated, and his grandson, Maynard Jackson Jr., won election as the city’s first black mayor 12 years later. A giant sculpture to honor Dobbs was erected on Auburn Avenue during the 1996 Summer Olympics. Many of Atlanta’s most prominent civil rights leaders are buried at South-View Cemetery, where Houck’s bus stops towards the end of the three-hour tour. King himself was buried there temporarily before his crypt at the King Center was constructed. The tour also takes a drive down part of the Atlanta boulevard named after King, where Houck once had an apartment. “It’s an honor to have lived on a street named for my hero,” he says. -CL- Civil Rights Tour Atlanta THE GUARDIAN OF THE HUMAN SPIRIT: Tom Houck being interviewed at the Center for Civil and Human Rights. 0,0,8 Eyewitness to history " ["score"]=> float(0) ["_index"]=> string(35) "atlantawiki_tiki_main_62887fe234a1d" ["objectlink"]=> string(36) "No value for 'contentTitle'" ["photos"]=> string(137) "" ["desc"]=> string(145) "With his tour of Atlanta’s historic civil rights landmarks, Tom Houck recounts the key role of the city and its people in the movement" ["category"]=> string(13) "News Features" }
Eyewitness to history News Features
Thursday September 5, 2019 11:14 AM EDT
With his tour of Atlanta’s historic civil rights landmarks, Tom Houck recounts the key role of the city and its people in the movement
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array(99) { ["title"]=> string(38) "PODCAST: Weekend roundup September 6-8" ["modification_date"]=> string(25) "2019-10-03T20:33:55+00:00" ["creation_date"]=> string(25) "2019-09-05T18:37:05+00:00" ["contributors"]=> array(2) { [0]=> string(13) "will.cardwell" [1]=> string(10) "jim.harris" } ["date"]=> string(25) "2019-09-05T19:00:00+00:00" ["tracker_status"]=> string(1) "o" ["tracker_id"]=> string(2) "11" ["view_permission"]=> string(13) "view_trackers" ["parent_object_id"]=> string(2) "11" ["parent_object_type"]=> string(7) "tracker" ["field_permissions"]=> string(2) "[]" ["tracker_field_contentTitle"]=> string(38) "PODCAST: Weekend roundup September 6-8" ["tracker_field_contentCreator"]=> string(13) "will.cardwell" ["tracker_field_contentCreator_text"]=> string(13) "Will Cardwell" ["tracker_field_contentCreator_unstemmed"]=> string(13) "will cardwell" ["tracker_field_contentByline"]=> string(65) "Will Cardwell, Jacob Chisenhall, Narah Landress, and Chad Radford" ["tracker_field_contentByline_exact"]=> string(65) "Will Cardwell, Jacob Chisenhall, Narah Landress, and Chad Radford" ["tracker_field_contentBylinePerson"]=> string(1) "0" ["tracker_field_description"]=> string(118) "ONE MusicFest at Cenntenial Olympic Park, Kælan Mikla at 529, And That's Why We Drink at Buckhead Theatre, and more" ["tracker_field_description_raw"]=> string(118) "ONE MusicFest at Cenntenial Olympic Park, Kælan Mikla at 529, And That's Why We Drink at Buckhead Theatre, and more" ["tracker_field_contentDate"]=> string(25) "2019-09-05T19:00:00+00:00" ["tracker_field_contentWikiPage"]=> string(48) "Content:_:PODCAST: Weekend roundup September 6-8" ["tracker_field_contentWikiPage_text"]=> string(416) " Welcome to Creative Loafing’s weekend roundup podcast for September 6-8! Will Cardwell, Jacob Chisenhall, and Chad Radford talk about their top picks for the weekend, including ONE MusicFest at Cenntenial Olympic Park, Kælan Mikla at 529, And That's Why We Drink at Buckhead Theatre, and more! Tune in and turn out. !!Friday, September 6 !!Saturday, September 7 !!Sunday, September 8 " ["tracker_field_contentWikiPage_raw"]=> string(4456) "{iframe src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/676512914&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true&visual=true" width="640" height="120" scrolling="auto"} Welcome to Creative Loafing’s weekend roundup podcast for September 6-8! Will Cardwell, Jacob Chisenhall, and Chad Radford talk about their top picks for the weekend, including ONE MusicFest at Cenntenial Olympic Park, Kælan Mikla at 529, And That's Why We Drink at Buckhead Theatre, and more! Tune in and turn out. !!Friday, September 6 {LIST()} {filter field="tracker_id" content="6"} {filter type="trackeritem"} {filter field="object_id" content="439850 OR 431995 OR 439561"} {sort mode="date_nasc"} {output(template="themes/CreativeLoafing/templates/event_results.tpl")} {FORMAT(name="eventDate")}{display name="date" default="No date provided"}{FORMAT} {FORMAT(name="objectlink")}{display name="title" format="objectlink"}{FORMAT} {FORMAT(name="photos")}{display name="wikiplugin_img" format="wikiplugin" fileId="tracker_field_photos" height="400" responsive="y" default="fileId=106"}{FORMAT} {FORMAT(name="desc")}{display name="tracker_field_description" format="snippet" length="100" default="No description provided"}%%%{display name="tracker_field_eventCost" default="No price provided"}{FORMAT} {FORMAT(name="eventVenue")}{display name="tracker_field_eventVenue" format="trackerrender" default=""}{FORMAT} {FORMAT(name="eventPerformers")}{display name="tracker_field_eventPerformers" format="trackerrender" default=""}{FORMAT} {FORMAT(name="eventCategory")}{display name="tracker_field_eventCategory" format="trackerrender" default=""}{FORMAT} {ALTERNATE()}^Nothing found, please try again^{ALTERNATE} {LIST} !!Saturday, September 7 {LIST()} {filter field="tracker_id" content="6"} {filter type="trackeritem"} {filter field="object_id" content="430953 OR 431638 OR 431966 OR 426091 OR 432476 OR 432338 OR 431997"} {sort mode="date_nasc"} {output(template="themes/CreativeLoafing/templates/event_results.tpl")} {FORMAT(name="eventDate")}{display name="date" default="No date provided"}{FORMAT} {FORMAT(name="objectlink")}{display name="title" format="objectlink"}{FORMAT} {FORMAT(name="photos")}{display name="wikiplugin_img" format="wikiplugin" fileId="tracker_field_photos" height="400" responsive="y" default="fileId=106"}{FORMAT} {FORMAT(name="desc")}{display name="tracker_field_description" format="snippet" length="100" default="No description provided"}%%%{display name="tracker_field_eventCost" default="No price provided"}{FORMAT} {FORMAT(name="eventVenue")}{display name="tracker_field_eventVenue" format="trackerrender" default=""}{FORMAT} {FORMAT(name="eventPerformers")}{display name="tracker_field_eventPerformers" format="trackerrender" default=""}{FORMAT} {FORMAT(name="eventCategory")}{display name="tracker_field_eventCategory" format="trackerrender" default=""}{FORMAT} {ALTERNATE()}^Nothing found, please try again^{ALTERNATE} {LIST} !!Sunday, September 8 {LIST()} {filter field="tracker_id" content="6"} {filter type="trackeritem"} {filter field="object_id" content="426092"} {sort mode="date_nasc"} {output(template="themes/CreativeLoafing/templates/event_results.tpl")} {FORMAT(name="eventDate")}{display name="date" default="No date provided"}{FORMAT} {FORMAT(name="objectlink")}{display name="title" format="objectlink"}{FORMAT} {FORMAT(name="photos")}{display name="wikiplugin_img" format="wikiplugin" fileId="tracker_field_photos" height="400" responsive="y" default="fileId=106"}{FORMAT} {FORMAT(name="desc")}{display name="tracker_field_description" format="snippet" length="100" default="No description provided"}%%%{display name="tracker_field_eventCost" default="No price provided"}{FORMAT} {FORMAT(name="eventVenue")}{display name="tracker_field_eventVenue" format="trackerrender" default=""}{FORMAT} {FORMAT(name="eventPerformers")}{display name="tracker_field_eventPerformers" format="trackerrender" default=""}{FORMAT} {FORMAT(name="eventCategory")}{display name="tracker_field_eventCategory" format="trackerrender" default=""}{FORMAT} {ALTERNATE()}^Nothing found, please try again^{ALTERNATE} {LIST} " ["tracker_field_contentWikiPage_creation_date"]=> string(25) "2019-09-05T18:37:05+00:00" ["tracker_field_contentWikiPage_modification_date"]=> string(25) "2019-09-05T19:11:33+00:00" ["tracker_field_contentWikiPage_freshness_days"]=> int(988) ["tracker_field_photos"]=> string(5) "22869" ["tracker_field_photos_names"]=> array(1) { [0]=> string(8) "Annawise" } ["tracker_field_photos_filenames"]=> array(1) { [0]=> string(12) "annawise.jpg" } ["tracker_field_photos_filetypes"]=> array(1) { [0]=> string(10) "image/jpeg" } ["tracker_field_photos_text"]=> string(8) "Annawise" ["tracker_field_contentPhotoCredit"]=> string(12) "Nathan Bajar" ["tracker_field_contentPhotoTitle"]=> string(60) "WHAT'S UP WITH YOU: Anna Wise plays 529 Friday, September 6." 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Will Cardwell, Jacob Chisenhall, and Chad Radford talk about their top picks for the weekend, including ONE MusicFest at Cenntenial Olympic Park, Kælan Mikla at 529, And That's Why We Drink at Buckhead Theatre, and more! Tune in and turn out. !!Friday, September 6 !!Saturday, September 7 !!Sunday, September 8 Nathan Bajar WHAT'S UP WITH YOU: Anna Wise plays 529 Friday, September 6. 0,0,1 weekendroundup PODCAST: Weekend roundup September 6-8 " ["score"]=> float(0) ["_index"]=> string(35) "atlantawiki_tiki_main_62887fe234a1d" ["objectlink"]=> string(36) "No value for 'contentTitle'" ["photos"]=> string(126) "" ["desc"]=> string(127) "ONE MusicFest at Cenntenial Olympic Park, Kælan Mikla at 529, And That's Why We Drink at Buckhead Theatre, and more" ["category"]=> string(19) "Music and Nightlife" }
PODCAST: Weekend roundup September 6-8 Music and Nightlife
Thursday September 5, 2019 03:00 PM EDT
ONE MusicFest at Cenntenial Olympic Park, Kælan Mikla at 529, And That's Why We Drink at Buckhead Theatre, and more
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The two pieces that make up this release, titled “The Organ that Made You Bleed” and “One Bee” show off an improvisational and naturally expressive tonal exploration that veers away from the compositional works she’s created with ACME, and via collaborations with artists such as Jóhann Jóhannsson, Max Richter, A Winged Victory for the Sullen, Dustin O’halloran, Stars of the Lid, and more. Drone Studies is out Sept. 6. I met up with Jensen and Jonathan Turner at Knoxville, Tennessee’s Big Ears festival in March of 2019, where we discussed these two side-long pieces and their relationship to her body of work. " ["tracker_field_contentWikiPage_raw"]=> string(1425) "{iframe src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/676708767&color=%231e20de&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true" width="640" height="120" scrolling="auto"} [ttps://www.claricejensen.com/|Clarice Jensen], the composer, cellist, and Artistic Director with the Brooklyn-based ACME — that’s the [https://www.acmemusic.org/|American Contemporary Music Ensemble] — has a new cassette release out via [http://geographic-north.com/|Geographic North], titled ''Drone Studies''. 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The two pieces that make up this release, titled “The Organ that Made You Bleed” and “One Bee” show off an improvisational and naturally expressive tonal exploration that veers away from the compositional works she’s created with ACME, and via collaborations with artists such as Jóhann Jóhannsson, Max Richter, A Winged Victory for the Sullen, Dustin O’halloran, Stars of the Lid, and more. Drone Studies is out Sept. 6. I met up with Jensen and Jonathan Turner at Knoxville, Tennessee’s Big Ears festival in March of 2019, where we discussed these two side-long pieces and their relationship to her body of work. Ryuhei Shindo GAME OF DRONES: Cellist and composer Clarice Jensen. 0,0,10 "Clarice Jensen" "Geographic North" "Drone Studies" "Big Ears" ACME "American Contemporary Music Ensemble" PODCAST: Clarice Jensen " ["score"]=> float(0) ["_index"]=> string(35) "atlantawiki_tiki_main_62887fe234a1d" ["objectlink"]=> string(36) "No value for 'contentTitle'" ["photos"]=> string(132) "" ["desc"]=> string(57) "The ACME Artistic Director talks 'Drone Studies'" ["category"]=> string(35) "Music and Nightlife
Crib Notes" }
PODCAST: Clarice Jensen Music and Nightlife, Crib Notes
Friday September 6, 2019 09:58 AM EDT
The ACME Artistic Director talks 'Drone Studies'
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array(102) { ["title"]=> string(37) "THE MOVE: September, Plan Accordingly" ["modification_date"]=> string(25) "2019-12-05T15:57:18+00:00" ["creation_date"]=> string(25) "2019-09-06T18:35:00+00:00" ["contributors"]=> array(2) { [0]=> string(8) "ema.carr" [1]=> string(10) "jim.harris" } ["date"]=> string(25) "2019-09-06T18:21:10+00:00" ["tracker_status"]=> string(1) "o" ["tracker_id"]=> string(2) "11" ["view_permission"]=> string(13) "view_trackers" ["parent_object_id"]=> string(2) "11" ["parent_object_type"]=> string(7) "tracker" ["field_permissions"]=> string(2) "[]" ["tracker_field_contentTitle"]=> string(37) "THE MOVE: September, Plan Accordingly" ["tracker_field_contentCreator"]=> string(8) "ema.carr" ["tracker_field_contentCreator_text"]=> string(8) "Ema Carr" ["tracker_field_contentCreator_unstemmed"]=> string(8) "ema carr" ["tracker_field_contentByline"]=> string(8) "Ema Carr" ["tracker_field_contentByline_exact"]=> string(8) "Ema Carr" ["tracker_field_contentBylinePerson"]=> string(6) "417605" ["tracker_field_contentBylinePerson_text"]=> string(24) "ema.carr (Ema Carr)" ["tracker_field_description"]=> string(30) "Hey, y'all! Here's the move. " ["tracker_field_description_raw"]=> string(30) "Hey, y'all! Here's the move. " ["tracker_field_contentDate"]=> string(25) "2019-09-06T18:21:10+00:00" ["tracker_field_contentWikiPage"]=> string(37) "THE MOVE: September, Plan Accordingly" ["tracker_field_contentWikiPage_text"]=> string(9152) "The Move is a column intended to help you beat the fight against basic, one move at a time. Look here for all the best underground, and some above-ground, events in ATL. Bc you CAN have a balanced diet of disco and yoga. Warning of side effects: Overdose of culture and queerdom. Bloated bank account from lack of overpriced ticket purchases. Confusion meeting clarity via mind, body, and soul. Consume at your own risk. My GAWD, swamp-ass season isn’t going anywhere any time soon. If you can't take the heat, read on for the sweet tea, my sweaty bithkitz. SUNDAY SEPT. 1 House in the Park House music in Atlanta, outside of festivals, is typically played at night. Late night. Unlike Europe, South America, and basically the rest of the planet where house music is played in every taxi, cafe, Laundromat, and, well, everywhere 24/7. Americans typically associate it with underground club raves. House in the Park happens outside. During the day. In Grant Park. And, it’s family-oriented. For eight hours, four DJs will make the park pulse with international house music while families and extended families park tailgate tent to tailgate with spreads that would make any BBQ pitmaster swoon. “House in the Park" is a musical exploration of the soul and a vision to see House Music become a unifying movement, transcending every strata of society, ethnic identification, race classification, age, and lifestyle,” claim those who organize House in the Park. It’s been speshy to watch a free festival grow into a larger, ticketed event. Think of it this way: Even if you only dance part of the day, it’s still cheaper (and more fun) at a modest $10, than most exercise classes. Thank you, DJ Ramon “Rawsoul” Guyton and Kai Alce for uniting Atlanta via worldwide vibes. MONDAY, SEPT. 2 Chaka Khan Pond Atlanta’s favorite day party, Chaka Khan Hacienda, will be setting up poolside at the W Midtown this Labor Day. NYC’s spicy redhead, Amber Valentine, will share the DJ deck with Chaka Khan Mother, Ree de la Vega. The Human Rights Campaign is the hostess with the mostest swag, info, and a cabana giveaway! Braids with Babes will be there to braid your locks and glitter those pecs. IDK about y’all, but I’d much rather spend my Labor Day at the W than at that dirty death pond y’all call Lake Lanier. I hear it’s not even safe for pups these days. #bluegreenalgae SUNDAY, SEPT. 8 Queer Yoga Deep Stretch First and foremost, this is an event for every body, not just those who identify as queer. Don’t expect to be converted, unless you want to. Do expect to leave inspired by colorful vibes and diversity. Located in the gorgeous King Plow ballroom. Yogis are invited next door to Counter Culture Coffee for some FREE special cups of Joe afterwards. “ALL humans of ALL shapes, sizes, colors, and identities who are willing to contribute to a positive and uplifting community environment are welcome!” says instructor/organizer, Patrick Joseph Boston. WEDNESDAY, SEPT. 11 Flying Lotus What do Steven Ellison, FlyLo, and Captain Murphy have in common? They share a human body with Flying Lotus, an American record producer, musician, DJ, filmmaker, and rapper from LA. John Coltrane was an experimental jazz influencer. His great-nephew, Flying Lotus, is known for experimental hip hop, alternative hip hop, and electronic music. A Flying Lotus performance is much more than a DJ spinning other musician’s tracks. He creates and records each beat he plays, on staging that is more theatrical than the typical concert stage. Oh the LIGHTS! One can’t really imagine what’s cooking for this tour, but we do know we need to take 3D glasses with us to the Variety Playhouse for this event, according to FL’s Twitter. THURSDAY, SEPT. 12-15 Boys in Trouble If you, or someone you know, suffers from toxic masculinity syndrome, this is the prescription for you. A nice dose of timely and compelling commentary on contemporary masculinity will fix you right up. Doctor’s orders. This is an all male dance performance, which places a dynamic queer lens on questions of embodiment, violence, black queer love, whiteness, shame, and posturing. Recommending this for fraternities, Brian Kemp’s staff, and all males who regularly frequent the Ivy Buckhead, or any Buckhead dive bar really. “Sean Dorsey Dance’s award-winning, multigenerational ensemble performs these athletic dances with gusto — moving seamlessly between full-throttle dancing, live speaking, and intimate storytelling,” according to 7 Stages. THURSDAY & FRIDAY, SEPT. 12 & 13 Heather McMahan’s “Farewell Tour” A year ago, Heather McMahan was on the verge of winning 2018’s “Best Comedian” by Creative Loafing’s critics. I convinced her to have a slumber party at my carriage house and we hit EAV, with wigs, in full character. Well, Heather stayed in one of her many popular street characters, “Tiffany from Decatur,” and attempted to be “Cim, with a C,” (pronounced Kim), a Zima lush Tiffany met at their shared megachurch. Since then, Heather’s fame has EXPLODED. A true comedic Instagram sensation, her popularity grew modestly until Maria Shriver became a fan. In July, Shriver was co-hosting the 17th, I mean 4th, hour of “The Today Show” when she recapped Heather’s Instagram stories from the weekend prior. THE. NEXT. WEEK. Heather was on, not as a guest, but as a HOST of “The Today Show” with Jenna Bush Hager. A week after that, she announces her first tour, “The Farewell Tour,” an eight-city Southeastern tour, which sold out in minutes. Why keep a sold-out show on The Move? B/C this is one Atlantan living her truth and doing the most with it — we should be very proud. SUNDAY, SEPT. 22 Hemp Painting Class This month, learn how to use hemp for building, sculpting, and painting, oh my! This Decatur workshop with Aviva Kessler will teach attendees how to make a small batch of hemp sculpt and learn how to apply pigment to it and also to hemp plaster batches. You’ll even use hemp paints to paint an actual wall at Waller’s Coffee Shop, and go home with your own small sculpted and pigmented "hemp rock.” I got to hold a hemp rock during Aviva’s “Friends in High Places” podcast interview, and it was surprisingly lightweight. I’m no builder, but I’d prob be kewl with a hemp hut for a home. Just don’t smoke your rock. Aviva has spent 20 years advocating for marijuana. Bless her. She’s done so by song and education. She crushed CL’s Live from the Archives performance, available on CL’s Instagram. BONUS!! You can catch her with her band, Aviva and the Flying Penguins, live at the Clermont Lounge Thursday, Sept. 19. MONDAY, SEPT. 23 Drag / Burlesque Open Stage Open mic for drag AND burlesque, holy bajesus, we’ve all died and gone to queer heaven. A safe space and event for those itching to blossom into performance creativity. Amen! We will likely see many stars born from this open mic. I can feel it. “Do you have a drag or burlesque dream in your heart or an act you've been wanting to try in front of a new audience? Tonight is your night! Newcomers welcome!” at The Bakery Atlanta. SATURDAY, SEPT. 28 MY ILLEGAL BODY A timely event to benefit Planned Parenthood and the Feminist Women's Health Center, My Illegal Body will feature live performances by Atlanta favs rose hotel, Riboflavin, Rated Age, TAYLOR ALXNDR, and Taves & Weatherly. Some DJ action with Aja Arnold and Kale Svvick. This event is donation-based, obvi. Also, a write-off! Make your accountant proud by supporting your local performers supporting women. The scene sets up at 529 in East Atlanta Village. C U there! SUNDAY, SEPT. 29 Meet At MET Got wheels? Roll over to the MET, formerly known by most Atlantans as the Metropolitan Lofts, during Atlanta Streets Alive Southwest. All afternoon into early evening, the MET will host an artist market, and offer live screenprinting by the MET's own Danger Press, illustrated fortune telling by Paper Ghost Fortune Machine, The Analog Vending Machine! by Sarah Lawrence Design Emporium, art installations by Dayle Bennett of Design Studio No. 4, and even breakdancing by West End's own Toma Fit. Galleries MINT, Mutiny Artwrx, and Flora Aura Photography by Charlie Watts will be open for passersby to peep. Atlanta Streets Alive occurs three times a year, closing down different sections of Atlanta streets to vehicles for an afternoon. “Bring your bicycle or just your feet, and get ready to explore your community streets in a safer, healthier, more livable way,” per Atlanta Streets Alive. Psst… Xtra! Xtra! Weed all about it! Shameless plug for CL’s latest POTcast series, “Friends in High Places.” Listen along as I interview the likes of those mapping out the cannabis industry for Georgians, bc it’s not coming, it’s here. Cannabis entrepreneurs, politicians, legal experts, artists, and activists, are all available for your listening curiosities on iTunes, Spotify, SoundCloud, and of course, creativeloafing.com/podcasts." ["tracker_field_contentWikiPage_raw"]=> string(9388) "The Move is a column intended to help you beat the fight against basic, one move at a time. Look here for all the best underground, and some above-ground, events in ATL. Bc you CAN have a balanced diet of disco and yoga. Warning of side effects: Overdose of culture and queerdom. Bloated bank account from lack of overpriced ticket purchases. Confusion meeting clarity via mind, body, and soul. Consume at your own risk. My GAWD, swamp-ass season isn’t going anywhere any time soon. If you can't take the heat, read on for the sweet tea, my sweaty bithkitz. __SUNDAY SEPT. 1__ __House in the Park __ House music in Atlanta, outside of festivals, is typically played at night. Late night. Unlike Europe, South America, and basically the rest of the planet where house music is played in every taxi, cafe, Laundromat, and, well, everywhere 24/7. Americans typically associate it with underground club raves. __House in the Park__ happens outside. During the day. In Grant Park. And, it’s family-oriented. For eight hours, four DJs will make the park pulse with international house music while families and extended families park tailgate tent to tailgate with spreads that would make any BBQ pitmaster swoon. “House in the Park" is a musical exploration of the soul and a vision to see House Music become a unifying movement, transcending every strata of society, ethnic identification, race classification, age, and lifestyle,” claim those who organize House in the Park. It’s been speshy to watch a free festival grow into a larger, ticketed event. Think of it this way: Even if you only dance part of the day, it’s still cheaper (and more fun) at a modest $10, than most exercise classes. Thank you, DJ Ramon “Rawsoul” Guyton and Kai Alce for uniting Atlanta via worldwide vibes. __MONDAY, SEPT. 2__ __Chaka Khan Pond__ Atlanta’s favorite day party, __Chaka Khan Hacienda__, will be setting up poolside at the W Midtown this Labor Day. NYC’s spicy redhead, Amber Valentine, will share the DJ deck with Chaka Khan Mother, Ree de la Vega. The Human Rights Campaign is the hostess with the mostest swag, info, and a cabana giveaway! Braids with Babes will be there to braid your locks and glitter those pecs. IDK about y’all, but I’d much rather spend my Labor Day at the W than at that dirty death pond y’all call Lake Lanier. I hear it’s not even safe for pups these days. #bluegreenalgae __SUNDAY, SEPT. 8__ __Queer Yoga Deep Stretch__ First and foremost, this is an event for every body, not just those who identify as queer. Don’t expect to be converted, unless you want to. Do expect to leave inspired by colorful vibes and diversity. Located in the gorgeous King Plow ballroom. Yogis are invited next door to Counter Culture Coffee for some FREE special cups of Joe afterwards. “ALL humans of ALL shapes, sizes, colors, and identities who are willing to contribute to a positive and uplifting community environment are welcome!” says instructor/organizer, __Patrick Joseph Boston__. __WEDNESDAY, SEPT. 11__ __Flying Lotus__ What do __Steven Ellison__, __FlyLo__, and __Captain Murphy__ have in common? They share a human body with __Flying Lotus__, an American record producer, musician, DJ, filmmaker, and rapper from LA. John Coltrane was an experimental jazz influencer. His great-nephew, Flying Lotus, is known for experimental hip hop, alternative hip hop, and electronic music. A Flying Lotus performance is much more than a DJ spinning other musician’s tracks. He creates and records each beat he plays, on staging that is more theatrical than the typical concert stage. Oh the LIGHTS! One can’t really imagine what’s cooking for this tour, but we do know we need to take 3D glasses with us to the Variety Playhouse for this event, according to FL’s Twitter. __THURSDAY, SEPT. 12-15__ __Boys in Trouble__ If you, or someone you know, suffers from toxic masculinity syndrome, this is the prescription for you. A nice dose of timely and compelling commentary on contemporary masculinity will fix you right up. Doctor’s orders. This is an all male dance performance, which places a dynamic queer lens on questions of embodiment, violence, black queer love, whiteness, shame, and posturing. Recommending this for fraternities, Brian Kemp’s staff, and all males who regularly frequent the Ivy Buckhead, or any Buckhead dive bar really. “Sean Dorsey Dance’s award-winning, multigenerational ensemble performs these athletic dances with gusto — moving seamlessly between full-throttle dancing, live speaking, and intimate storytelling,” according to 7 Stages. __THURSDAY & FRIDAY, SEPT. 12 & 13__ __Heather McMahan’s “Farewell Tour”__ A year ago, __Heather McMahan__ was on the verge of winning 2018’s “Best Comedian” by ''Creative Loafing''’s critics. I convinced her to have a slumber party at my carriage house and we hit EAV, with wigs, in full character. Well, Heather stayed in one of her many popular street characters, “Tiffany from Decatur,” and attempted to be “Cim, with a C,” (pronounced Kim), a Zima lush Tiffany met at their shared megachurch. Since then, Heather’s fame has EXPLODED. A true comedic Instagram sensation, her popularity grew modestly until Maria Shriver became a fan. In July, Shriver was co-hosting the 17th, I mean 4th, hour of “The Today Show” when she recapped Heather’s Instagram stories from the weekend prior. THE. NEXT. WEEK. Heather was on, not as a guest, but as a HOST of “The Today Show” with Jenna Bush Hager. A week after that, she announces her first tour, “The Farewell Tour,” an eight-city Southeastern tour, which sold out in minutes. Why keep a sold-out show on The Move? B/C this is one Atlantan living her truth and doing the most with it — we should be very proud. __SUNDAY, SEPT. 22__ __Hemp Painting Class__ This month, learn how to use hemp for building, sculpting, and painting, ''oh my''! This Decatur workshop with __Aviva Kessler__ will teach attendees how to make a small batch of hemp sculpt and learn how to apply pigment to it and also to hemp plaster batches. You’ll even use hemp paints to paint an actual wall at Waller’s Coffee Shop, and go home with your own small sculpted and pigmented "hemp rock.” I got to hold a hemp rock during Aviva’s “Friends in High Places” podcast interview, and it was surprisingly lightweight. I’m no builder, but I’d prob be kewl with a hemp hut for a home. Just don’t smoke your rock. Aviva has spent 20 years advocating for marijuana. Bless her. She’s done so by song and education. She crushed ''CL’''s Live from the Archives performance, available on CL’s Instagram. BONUS!! You can catch her with her band, __Aviva and the Flying Penguins__, live at the __Clermont Lounge__ Thursday, Sept. 19. __MONDAY, SEPT. 23__ __Drag / Burlesque Open Stage__ Open mic for drag AND burlesque, holy bajesus, we’ve all died and gone to queer heaven. A safe space and event for those itching to blossom into performance creativity. Amen! We will likely see many stars born from this open mic. I can feel it. “Do you have a drag or burlesque dream in your heart or an act you've been wanting to try in front of a new audience? Tonight is your night! Newcomers welcome!” at __The Bakery Atlanta__. SATURDAY, SEPT. 28 __MY ILLEGAL BODY__ A timely event to benefit __Planned Parenthood__ and the __Feminist Women's Health Center__, ''My Illegal Body'' will feature live performances by Atlanta favs __rose hotel__, __Riboflavin__, __Rated Age__, __TAYLOR ALXNDR__, and __Taves & Weatherly__. Some DJ action with __Aja Arnold__ and __Kale Svvick__. This event is donation-based, obvi. Also, a write-off! Make your accountant proud by supporting your local performers supporting women. The scene sets up at __529__ in East Atlanta Village. C U there! __SUNDAY, SEPT. 29__ __Meet At MET__ Got wheels? Roll over to __the MET__, formerly known by most Atlantans as the Metropolitan Lofts, during __Atlanta Streets Alive Southwest__. All afternoon into early evening, the MET will host an artist market, and offer live screenprinting by the MET's own __Danger Press__, illustrated fortune telling by __Paper Ghost Fortune Machine__, The Analog Vending Machine! by __Sarah Lawrence Design Emporium__, art installations by __Dayle Bennett__ of __Design Studio No. 4__, and even breakdancing by West End's own __Toma Fit__. __Galleries MINT__, Mutiny __Artwrx__, and __Flora Aura Photography__ by __Charlie Watts__ will be open for passersby to peep. Atlanta Streets Alive occurs three times a year, closing down different sections of Atlanta streets to vehicles for an afternoon. “Bring your bicycle or just your feet, and get ready to explore your community streets in a safer, healthier, more livable way,” per Atlanta Streets Alive. __Psst… Xtra! Xtra! Weed all about it!__ Shameless plug for ''CL''’s latest POTcast series, “Friends in High Places.” Listen along as I interview the likes of those mapping out the cannabis industry for Georgians, bc it’s not coming, it’s here. Cannabis entrepreneurs, politicians, legal experts, artists, and activists, are all available for your listening curiosities on iTunes, Spotify, SoundCloud, and of course, creativeloafing.com/podcasts." 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Here's the move. TOUR PHOTOS 1 (1) 2019-09-06T18:21:10+00:00 THE MOVE: September, Plan Accordingly ema.carr Ema Carr Ema Carr ema.carr (Ema Carr) 2019-09-06T18:21:10+00:00 The Move is a column intended to help you beat the fight against basic, one move at a time. Look here for all the best underground, and some above-ground, events in ATL. Bc you CAN have a balanced diet of disco and yoga. Warning of side effects: Overdose of culture and queerdom. Bloated bank account from lack of overpriced ticket purchases. Confusion meeting clarity via mind, body, and soul. Consume at your own risk. My GAWD, swamp-ass season isn’t going anywhere any time soon. If you can't take the heat, read on for the sweet tea, my sweaty bithkitz. SUNDAY SEPT. 1 House in the Park House music in Atlanta, outside of festivals, is typically played at night. Late night. Unlike Europe, South America, and basically the rest of the planet where house music is played in every taxi, cafe, Laundromat, and, well, everywhere 24/7. Americans typically associate it with underground club raves. House in the Park happens outside. During the day. In Grant Park. And, it’s family-oriented. For eight hours, four DJs will make the park pulse with international house music while families and extended families park tailgate tent to tailgate with spreads that would make any BBQ pitmaster swoon. “House in the Park" is a musical exploration of the soul and a vision to see House Music become a unifying movement, transcending every strata of society, ethnic identification, race classification, age, and lifestyle,” claim those who organize House in the Park. It’s been speshy to watch a free festival grow into a larger, ticketed event. Think of it this way: Even if you only dance part of the day, it’s still cheaper (and more fun) at a modest $10, than most exercise classes. Thank you, DJ Ramon “Rawsoul” Guyton and Kai Alce for uniting Atlanta via worldwide vibes. MONDAY, SEPT. 2 Chaka Khan Pond Atlanta’s favorite day party, Chaka Khan Hacienda, will be setting up poolside at the W Midtown this Labor Day. NYC’s spicy redhead, Amber Valentine, will share the DJ deck with Chaka Khan Mother, Ree de la Vega. The Human Rights Campaign is the hostess with the mostest swag, info, and a cabana giveaway! Braids with Babes will be there to braid your locks and glitter those pecs. IDK about y’all, but I’d much rather spend my Labor Day at the W than at that dirty death pond y’all call Lake Lanier. I hear it’s not even safe for pups these days. #bluegreenalgae SUNDAY, SEPT. 8 Queer Yoga Deep Stretch First and foremost, this is an event for every body, not just those who identify as queer. Don’t expect to be converted, unless you want to. Do expect to leave inspired by colorful vibes and diversity. Located in the gorgeous King Plow ballroom. Yogis are invited next door to Counter Culture Coffee for some FREE special cups of Joe afterwards. “ALL humans of ALL shapes, sizes, colors, and identities who are willing to contribute to a positive and uplifting community environment are welcome!” says instructor/organizer, Patrick Joseph Boston. WEDNESDAY, SEPT. 11 Flying Lotus What do Steven Ellison, FlyLo, and Captain Murphy have in common? They share a human body with Flying Lotus, an American record producer, musician, DJ, filmmaker, and rapper from LA. John Coltrane was an experimental jazz influencer. His great-nephew, Flying Lotus, is known for experimental hip hop, alternative hip hop, and electronic music. A Flying Lotus performance is much more than a DJ spinning other musician’s tracks. He creates and records each beat he plays, on staging that is more theatrical than the typical concert stage. Oh the LIGHTS! One can’t really imagine what’s cooking for this tour, but we do know we need to take 3D glasses with us to the Variety Playhouse for this event, according to FL’s Twitter. THURSDAY, SEPT. 12-15 Boys in Trouble If you, or someone you know, suffers from toxic masculinity syndrome, this is the prescription for you. A nice dose of timely and compelling commentary on contemporary masculinity will fix you right up. Doctor’s orders. This is an all male dance performance, which places a dynamic queer lens on questions of embodiment, violence, black queer love, whiteness, shame, and posturing. Recommending this for fraternities, Brian Kemp’s staff, and all males who regularly frequent the Ivy Buckhead, or any Buckhead dive bar really. “Sean Dorsey Dance’s award-winning, multigenerational ensemble performs these athletic dances with gusto — moving seamlessly between full-throttle dancing, live speaking, and intimate storytelling,” according to 7 Stages. THURSDAY & FRIDAY, SEPT. 12 & 13 Heather McMahan’s “Farewell Tour” A year ago, Heather McMahan was on the verge of winning 2018’s “Best Comedian” by Creative Loafing’s critics. I convinced her to have a slumber party at my carriage house and we hit EAV, with wigs, in full character. Well, Heather stayed in one of her many popular street characters, “Tiffany from Decatur,” and attempted to be “Cim, with a C,” (pronounced Kim), a Zima lush Tiffany met at their shared megachurch. Since then, Heather’s fame has EXPLODED. A true comedic Instagram sensation, her popularity grew modestly until Maria Shriver became a fan. In July, Shriver was co-hosting the 17th, I mean 4th, hour of “The Today Show” when she recapped Heather’s Instagram stories from the weekend prior. THE. NEXT. WEEK. Heather was on, not as a guest, but as a HOST of “The Today Show” with Jenna Bush Hager. A week after that, she announces her first tour, “The Farewell Tour,” an eight-city Southeastern tour, which sold out in minutes. Why keep a sold-out show on The Move? B/C this is one Atlantan living her truth and doing the most with it — we should be very proud. SUNDAY, SEPT. 22 Hemp Painting Class This month, learn how to use hemp for building, sculpting, and painting, oh my! This Decatur workshop with Aviva Kessler will teach attendees how to make a small batch of hemp sculpt and learn how to apply pigment to it and also to hemp plaster batches. You’ll even use hemp paints to paint an actual wall at Waller’s Coffee Shop, and go home with your own small sculpted and pigmented "hemp rock.” I got to hold a hemp rock during Aviva’s “Friends in High Places” podcast interview, and it was surprisingly lightweight. I’m no builder, but I’d prob be kewl with a hemp hut for a home. Just don’t smoke your rock. Aviva has spent 20 years advocating for marijuana. Bless her. She’s done so by song and education. She crushed CL’s Live from the Archives performance, available on CL’s Instagram. BONUS!! You can catch her with her band, Aviva and the Flying Penguins, live at the Clermont Lounge Thursday, Sept. 19. MONDAY, SEPT. 23 Drag / Burlesque Open Stage Open mic for drag AND burlesque, holy bajesus, we’ve all died and gone to queer heaven. A safe space and event for those itching to blossom into performance creativity. Amen! We will likely see many stars born from this open mic. I can feel it. “Do you have a drag or burlesque dream in your heart or an act you've been wanting to try in front of a new audience? Tonight is your night! Newcomers welcome!” at The Bakery Atlanta. SATURDAY, SEPT. 28 MY ILLEGAL BODY A timely event to benefit Planned Parenthood and the Feminist Women's Health Center, My Illegal Body will feature live performances by Atlanta favs rose hotel, Riboflavin, Rated Age, TAYLOR ALXNDR, and Taves & Weatherly. Some DJ action with Aja Arnold and Kale Svvick. This event is donation-based, obvi. Also, a write-off! Make your accountant proud by supporting your local performers supporting women. The scene sets up at 529 in East Atlanta Village. C U there! SUNDAY, SEPT. 29 Meet At MET Got wheels? Roll over to the MET, formerly known by most Atlantans as the Metropolitan Lofts, during Atlanta Streets Alive Southwest. All afternoon into early evening, the MET will host an artist market, and offer live screenprinting by the MET's own Danger Press, illustrated fortune telling by Paper Ghost Fortune Machine, The Analog Vending Machine! by Sarah Lawrence Design Emporium, art installations by Dayle Bennett of Design Studio No. 4, and even breakdancing by West End's own Toma Fit. Galleries MINT, Mutiny Artwrx, and Flora Aura Photography by Charlie Watts will be open for passersby to peep. Atlanta Streets Alive occurs three times a year, closing down different sections of Atlanta streets to vehicles for an afternoon. “Bring your bicycle or just your feet, and get ready to explore your community streets in a safer, healthier, more livable way,” per Atlanta Streets Alive. Psst… Xtra! Xtra! Weed all about it! Shameless plug for CL’s latest POTcast series, “Friends in High Places.” Listen along as I interview the likes of those mapping out the cannabis industry for Georgians, bc it’s not coming, it’s here. Cannabis entrepreneurs, politicians, legal experts, artists, and activists, are all available for your listening curiosities on iTunes, Spotify, SoundCloud, and of course, creativeloafing.com/podcasts. Heather McMahan prepares hits the road for her first tour, "The Farewell Tour". 0,0,2 themove THE MOVE: September, Plan Accordingly " ["score"]=> float(0) ["_index"]=> string(35) "atlantawiki_tiki_main_62887fe234a1d" ["objectlink"]=> string(36) "No value for 'contentTitle'" ["photos"]=> string(135) "" ["desc"]=> string(39) "Hey, y'all! Here's the move. " ["category"]=> string(7) "Culture" }
THE MOVE: September, Plan Accordingly Culture
Friday September 6, 2019 02:21 PM EDT
Hey, y'all! Here's the move.
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PODCAST: Friends in High Places Ep. 06 with Mayor Ted Terry News Features
Friday September 6, 2019 03:58 PM EDT
Friends in High Places Seacon 1 Episode 6
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PODCAST: Friends in High Places Ep. 07 Pot and Pancakes News Features
Friday September 6, 2019 05:25 PM EDT
Friends in High Places Season 1 Episode 7
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6 Cocktails To Drink Before You Die Distillers/Cocktails
Saturday September 7, 2019 11:27 AM EDT
From Our 2019 "100 Dishes" Issue
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Crib Notes" }
Podcast: Southern Surf StompFest! 2019 Music and Nightlife, Crib Notes
Monday September 9, 2019 11:05 AM EDT
Chad Shivers on Atlanta's landlocked surf scene
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array(99) { ["title"]=> string(23) "Homelessness in Atlanta" ["modification_date"]=> string(25) "2021-02-22T02:07:13+00:00" ["creation_date"]=> string(25) "2019-09-09T23:18:25+00:00" ["contributors"]=> array(1) { [0]=> string(9) "ben.eason" } ["date"]=> string(25) "2019-09-09T23:13:44+00:00" ["tracker_status"]=> string(1) "o" ["tracker_id"]=> string(2) "11" ["view_permission"]=> string(13) "view_trackers" ["parent_object_id"]=> string(2) "11" ["parent_object_type"]=> string(7) "tracker" ["field_permissions"]=> string(2) "[]" ["tracker_field_contentTitle"]=> string(23) "Homelessness in Atlanta" ["tracker_field_contentCreator"]=> string(10) "tony.paris" ["tracker_field_contentCreator_text"]=> string(10) "Tony Paris" ["tracker_field_contentCreator_unstemmed"]=> string(10) "tony paris" ["tracker_field_contentByline"]=> string(10) "Tony Paris" ["tracker_field_contentByline_exact"]=> string(10) "Tony Paris" ["tracker_field_contentBylinePerson"]=> string(6) "162403" ["tracker_field_contentBylinePerson_text"]=> string(28) "tony.paris (Tony Paris)" ["tracker_field_description"]=> string(39) "A guide to those who help those in need" ["tracker_field_description_raw"]=> string(39) "A guide to those who help those in need" ["tracker_field_contentDate"]=> string(25) "2019-09-09T23:13:44+00:00" ["tracker_field_contentWikiPage"]=> string(33) "Content:_:Homelessness in Atlanta" ["tracker_field_contentWikiPage_text"]=> string(2296) "Creative Loafing believes homelessness to be a serious problem in Atlanta. It is a cruel and heartless fate that can befall anyone. Thankfully, many of our readers feel the same way. Media reports claim the percentage of homeless people in Atlanta is in decline. Yet it’s not easy to believe that is true, especially when driving through this city and seeing those living in encampments in the trees, near an expressway on- or off-ramp, or underneath a bridge overpass. Nor is homelessness limited to one neighborhood. It extends throughout Atlanta and the state. This segment of Atlanta’s population needs help. There are many organizations seeking to help the less fortunate members of this city. There are many ways you, our readers, can help, too. !!Organizations and Shelters: Atlanta Union Mission: Atlanta Union Mission Atlanta Union Mission, The Shepherd’s Inn, Homeless Shelter for Men website Atlanta Union Mission Fuqua Hall (located inside The Shepherd’s Inn) 144 Mills Street Atlanta, GA 30313 (404) 350-1300 Atlanta Union Mission Day Shelter for Women website Atlanta Union Mission: My Sister’s House website The Mad Housers website !!Atlanta Shelters for Couples and Families: Zaban Paradies Center: website Nicholas House: website !!Other Organizations: Atlanta Center for Self-Sufficiency website Atlanta Children’s Shelter website City of Refuge website Gateway Center website Georgia Alliance to End Homelessness website Our House website SafeHouse Outreach website StandUp for Kids website !!News reports on homelessness in Atlanta: How Atlanta Is Streamlining Funding And Targeting The Most Vulnerable To Reduce Homelessness — WBUR Boston City Announces New $50M Housing Program to Get Homeless into Apartments — WSB-TV A Strategy to Fight Homelessness in Our City — Reddit Atlanta Makes Progress in Reducing Homelessness, but Safety Concerns Worsen Downtown — The Saporta Report Torpy at Large: The Homeless Census, or Numbers You Can't Count On — The Atlanta Journal-Constitution Atlanta Shifts Strategy On Homelessness After Shelter Closure — WABE-FM Atlanta Refused to Give up on Homelessness. It’s Working — The Christian Science Monitor" ["tracker_field_contentWikiPage_raw"]=> string(3615) "''Creative Loafing'' believes homelessness to be a serious problem in Atlanta. It is a cruel and heartless fate that can befall anyone. Thankfully, many of our readers feel the same way. Media reports claim the percentage of homeless people in Atlanta is in decline. Yet it’s not easy to believe that is true, especially when driving through this city and seeing those living in encampments in the trees, near an expressway on- or off-ramp, or underneath a bridge overpass. Nor is homelessness limited to one neighborhood. It extends throughout Atlanta and the state. This segment of Atlanta’s population needs help. There are many organizations seeking to help the less fortunate members of this city. There are many ways you, our readers, can help, too. !!Organizations and Shelters: Atlanta Union Mission: [https://atlantamission.org/?_vsrefdom=cmgd&gclid=EAIaIQobChMI7PeU2MnB5AIVEz0MCh3aMAclEAAYASAAEgIvIvD_BwE|Atlanta Union Mission] Atlanta Union Mission, The Shepherd’s Inn, Homeless Shelter for Men [https://atlantamission.org/services/shelter-for-men/|website] Atlanta Union Mission Fuqua Hall (located inside The Shepherd’s Inn) 144 Mills Street Atlanta, GA 30313 (404) 350-1300 Atlanta Union Mission Day Shelter for Women [https://atlantamission.org/services/shelter-for-women-children/|website] Atlanta Union Mission: My Sister’s House [https://atlantamission.org/services/shelter-for-women-children/|website] The Mad Housers [http://madhousers.org|website] !!Atlanta Shelters for Couples and Families: Zaban Paradies Center: [https://www.zabanparadiescenter.org|website] Nicholas House: [https://nicholashouse.org|website] !!Other Organizations: Atlanta Center for Self-Sufficiency [http://atlantacss.org|website] Atlanta Children’s Shelter [https://www.acsatl.org|website] City of Refuge [https://cityofrefugeatl.org|website] Gateway Center [https://www.gatewayctr.org|website] Georgia Alliance to End Homelessness [https://gahomeless.org|website] Our House [https://ourhousega.org|website] SafeHouse Outreach [https://www.safehouseoutreach.org|website] StandUp for Kids [https://www.standupforkids.org|website] !!News reports on homelessness in Atlanta: How Atlanta Is Streamlining Funding And Targeting The Most Vulnerable To Reduce Homelessness — [https://www.wbur.org/hereandnow/2019/02/22/atlanta-reduce-homelessness|WBUR Boston] City Announces New $50M Housing Program to Get Homeless into Apartments — [https://www.wsbtv.com/news/local/atlanta/city-announces-new-50m-housing-program-to-get-homeless-into-apartments/978181429|WSB-TV] A Strategy to Fight Homelessness in Our City — [https://www.reddit.com/r/Atlanta/comments/ac63gm/a_strategy_to_fight_homelessness_in_our_city/|Reddit] Atlanta Makes Progress in Reducing Homelessness, but Safety Concerns Worsen Downtown — [https://www.bizjournals.com/atlanta/news/2019/08/09/atlanta-makes-progress-in-reducing-homelessness.html|The Saporta Report] Torpy at Large: The Homeless Census, or Numbers You Can't Count On — [https://www.ajc.com/news/local/torpy-large-the-homeless-census-like-putting-your-thumb-jello/nySD4kG1Fq1L8REukH8gBN/|The Atlanta Journal-Constitution] Atlanta Shifts Strategy On Homelessness After Shelter Closure — [https://www.wabe.org/atlanta-shifts-strategy-homelessness-shelter-closure/|WABE-FM] Atlanta Refused to Give up on Homelessness. It’s Working — [https://www.csmonitor.com/USA/Society/2019/0823/Atlanta-refused-to-give-up-on-homelessness.-It-s-working|The Christian Science Monitor]" ["tracker_field_contentWikiPage_creation_date"]=> string(25) "2019-09-09T23:18:25+00:00" ["tracker_field_contentWikiPage_modification_date"]=> string(25) "2019-09-10T15:22:41+00:00" ["tracker_field_contentWikiPage_freshness_days"]=> int(983) ["tracker_field_photos"]=> string(5) "22998" ["tracker_field_photos_names"]=> array(1) { [0]=> string(12) "Homelessness" } ["tracker_field_photos_filenames"]=> array(1) { [0]=> string(16) "Homelessness.jpg" } ["tracker_field_photos_filetypes"]=> array(1) { [0]=> string(10) "image/jpeg" } ["tracker_field_photos_text"]=> string(12) "Homelessness" ["tracker_field_contentPhotoCredit"]=> string(19) "Joeff Davis/CL File" ["tracker_field_contentPhotoTitle"]=> string(125) "IN THE HEART OF THE CITY: Homeless across the street from Atlanta's City Hall and one block from the Governor's Office, 2012." 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It is a cruel and heartless fate that can befall anyone. Thankfully, many of our readers feel the same way. Media reports claim the percentage of homeless people in Atlanta is in decline. Yet it’s not easy to believe that is true, especially when driving through this city and seeing those living in encampments in the trees, near an expressway on- or off-ramp, or underneath a bridge overpass. Nor is homelessness limited to one neighborhood. It extends throughout Atlanta and the state. This segment of Atlanta’s population needs help. There are many organizations seeking to help the less fortunate members of this city. There are many ways you, our readers, can help, too. !!Organizations and Shelters: Atlanta Union Mission: Atlanta Union Mission Atlanta Union Mission, The Shepherd’s Inn, Homeless Shelter for Men website Atlanta Union Mission Fuqua Hall (located inside The Shepherd’s Inn) 144 Mills Street Atlanta, GA 30313 (404) 350-1300 Atlanta Union Mission Day Shelter for Women website Atlanta Union Mission: My Sister’s House website The Mad Housers website !!Atlanta Shelters for Couples and Families: Zaban Paradies Center: website Nicholas House: website !!Other Organizations: Atlanta Center for Self-Sufficiency website Atlanta Children’s Shelter website City of Refuge website Gateway Center website Georgia Alliance to End Homelessness website Our House website SafeHouse Outreach website StandUp for Kids website !!News reports on homelessness in Atlanta: How Atlanta Is Streamlining Funding And Targeting The Most Vulnerable To Reduce Homelessness — WBUR Boston City Announces New $50M Housing Program to Get Homeless into Apartments — WSB-TV A Strategy to Fight Homelessness in Our City — Reddit Atlanta Makes Progress in Reducing Homelessness, but Safety Concerns Worsen Downtown — The Saporta Report Torpy at Large: The Homeless Census, or Numbers You Can't Count On — The Atlanta Journal-Constitution Atlanta Shifts Strategy On Homelessness After Shelter Closure — WABE-FM Atlanta Refused to Give up on Homelessness. It’s Working — The Christian Science Monitor Joeff Davis/CL File IN THE HEART OF THE CITY: Homeless across the street from Atlanta's City Hall and one block from the Governor's Office, 2012. 0,0,10 homeless homelessness Homelessness in Atlanta " ["score"]=> float(0) ["_index"]=> string(35) "atlantawiki_tiki_main_62887fe234a1d" ["objectlink"]=> string(36) "No value for 'contentTitle'" ["photos"]=> string(130) "" ["desc"]=> string(48) "A guide to those who help those in need" ["category"]=> string(22) "Community
Housing" }
Homelessness in Atlanta Community, Housing
Monday September 9, 2019 07:13 PM EDT
A guide to those who help those in need
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more...
array(100) { ["title"]=> string(32) "Editor's Note on Best of Atlanta" ["modification_date"]=> string(25) "2022-02-01T14:25:36+00:00" ["creation_date"]=> string(25) "2019-09-10T22:27:26+00:00" ["contributors"]=> array(1) { [0]=> string(9) "ben.eason" } ["date"]=> string(25) "2019-09-10T22:21:18+00:00" ["tracker_status"]=> string(1) "o" ["tracker_id"]=> string(2) "11" ["view_permission"]=> string(13) "view_trackers" ["parent_object_id"]=> string(2) "11" ["parent_object_type"]=> string(7) "tracker" ["field_permissions"]=> string(2) "[]" ["tracker_field_contentTitle"]=> string(32) "Editor's Note on Best of Atlanta" ["tracker_field_contentCreator"]=> string(9) "ben.eason" ["tracker_field_contentCreator_text"]=> string(9) "Ben Eason" ["tracker_field_contentCreator_unstemmed"]=> string(9) "ben eason" ["tracker_field_contentByline"]=> string(10) "CL Editors" ["tracker_field_contentByline_exact"]=> string(10) "CL Editors" ["tracker_field_contentBylinePerson"]=> string(1) "0" ["tracker_field_description"]=> string(60) "Reader's Pick for Best Thing to Hide from Out-of-Town Guests" ["tracker_field_description_raw"]=> string(60) "Reader's Pick for Best Thing to Hide from Out-of-Town Guests" ["tracker_field_contentDate"]=> string(25) "2019-09-10T22:21:18+00:00" ["tracker_field_contentWikiPage"]=> string(42) "Content:_:Editor's Note on Best of Atlanta" ["tracker_field_contentWikiPage_text"]=> string(2942) "We’re pleased that our 30th anniversary issue of the Best of Atlanta is on the streets, with over 700 choices for both Readers’ picks and Critics’ picks. One category in particular has generated a lot of controversy on social media. In the “Best Thing to Hide from Out-of-Town Guests” category, our readers voted “the homeless.” Our critics picked the “‘Autoeater’ sculpture at Peachtree and Tenth Streets.” We take our responsibility as a newspaper and a publication of record seriously. As an alternative newspaper we occasionally include voting categories that convey a provocative tone to balance out the overwhelming boosterish spirit of the issue. We often disagree with our readers and their picks for Best Of winners, but we feel it is our responsibility to accurately reflect their choices. Did we agree with the readers in this particular instance? No. Did we think it was a funny response? No. But we also thought censoring or changing the readers’ choice because we didn’t agree with it was an even more dangerous move. For 30 years we have printed entries from readers, many that we considered to be a poor choice, but we have respect for those who take the time to share their perspectives with CL and the broader community. This is a give and take and we are proud to be a part of such an on-going dialogue. We are also aware that we printed all of the readers’ entries without context. In the past, we have included two or three sentences from our critics to describe the critics’ choices. Yet, in 30 years, we have never attempted to get inside the minds of our readers and explain their choices. Each ballot and choice by a reader has its own rationale. We want to take the opportunity to thank our readers for allowing us to be an authentic voice in the community. We’ve fought many battles over the years to keep free speech alive in Atlanta. To our knowledge we have never taken down a Reader’s pick or any Critic’s pick post-publication. This year, however, we have in fact removed the readers’ pick for the “Best Thing to Hide from Out-of-Town Guests.” Not because we are trying to censor readers, but because, taken out of context many people perceive this to be the choice of Creative Loafing critics. It most certainly is not. We have removed it as it has become a distraction to those fighting day and night to end homelessness in Atlanta. We don’t take this decision lightly. Our free speech libertarian readers will say we have caved to the crowd. Our progressive readers will say we didn’t go far enough. Hopefully those who know and trust us accept that we are serving a key role in the community to provide a platform for informed people to meet one another and interact. -- Best of Atlanta Editors Please feel free to leave a thoughtful reaction below. We moderate our comments and only display comments from people who exercise basic civility." ["tracker_field_contentWikiPage_raw"]=> string(3115) "We’re pleased that our 30th anniversary issue of the ((best of atlanta 2019|Best of Atlanta)) is on the streets, with over 700 choices for both Readers’ picks and Critics’ picks. One category in particular has generated a lot of controversy on social media. In the “[https://creativeloafing.com/Best of Atlanta 2019 Cityscape?offset=50|Best Thing to Hide from Out-of-Town Guests]” category, our readers voted “the homeless.” Our critics picked the “‘Autoeater’ sculpture at Peachtree and Tenth Streets.” We take our responsibility as a newspaper and a publication of record seriously. As an alternative newspaper we occasionally include voting categories that convey a provocative tone to balance out the overwhelming boosterish spirit of the issue. We often disagree with our readers and their picks for Best Of winners, but we feel it is our responsibility to accurately reflect their choices. Did we agree with the readers in this particular instance? No. Did we think it was a funny response? No. But we also thought censoring or changing the readers’ choice because we didn’t agree with it was an even more dangerous move. For 30 years we have printed entries from readers, many that we considered to be a poor choice, but we have respect for those who take the time to share their perspectives with CL and the broader community. This is a give and take and we are proud to be a part of such an on-going dialogue. We are also aware that we printed all of the readers’ entries without context. In the past, we have included two or three sentences from our critics to describe the critics’ choices. Yet, in 30 years, we have never attempted to get inside the minds of our readers and explain their choices. Each ballot and choice by a reader has its own rationale. We want to take the opportunity to thank our readers for allowing us to be an authentic voice in the community. We’ve fought many battles over the years to keep free speech alive in Atlanta. To our knowledge we have never taken down a Reader’s pick or any Critic’s pick post-publication. This year, however, we have in fact removed the readers’ pick for the “Best Thing to Hide from Out-of-Town Guests.” Not because we are trying to censor readers, but because, taken out of context many people perceive this to be the choice of Creative Loafing critics. It most certainly is not. We have removed it as it has become a distraction to [https://creativeloafing.com/content-461933-homelessness-in-atlanta|those fighting] day and night to end homelessness in Atlanta. We don’t take this decision lightly. Our free speech libertarian readers will say we have caved to the crowd. Our progressive readers will say we didn’t go far enough. Hopefully those who know and trust us accept that we are serving a key role in the community to provide a platform for informed people to meet one another and interact. __''-- Best of Atlanta Editors''__ Please feel free to leave a thoughtful reaction below. We moderate our comments and only display comments from people who exercise basic civility." 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I am not your editorial staff, so I can't assume reasoning. That wouldn't be fair to you. The best I, like anyone else can do, is take your word for it. With that said, I would like to open up this conversation by pointing out this: What you printed and posted in regards to homelessness in Atlanta lacks the basic civility you stated would not be allowed in the comments of this editorial update regarding it. If non-civil opinions are not allowed in this comment section, why are they allowed in print and in your paper? Why are they allowed to be in a CL "Best Of". Can the homeless be insulted, but not you? If the overall response to the "Best Thing to Hide" had been African Americans, would you have still ran it? What if it was the LGBTQ community? Would you have still ran it? Targeting Atlanta's homeless community is not any different than those. It is targeting a group of people based on situations they cannot control. Believe it or not, even homeless people read Creative Loafing and I am sure many of them picked up your paper within the last week and were disheartened that they were targeted and not protected by such a rude opinion of your readers. By running, then not adding context to that opinion, you empowered that opinion of hate. Just like many others, I was upset when I first saw Atlanta's homeless targeted as the "best thing to hide". Yes, many of us reacted out of anger, and it was justifiable. Atlanta is a city that was built on the blood, sweat and tears of the civil rights movement. This city has strived to be a pillar of equality across a country continuously encouraged to hate others that don't fit directly into the mold of an "American". We have a legacy to uphold as the "city too busy to hate". That legacy was completely dropped when it comes to how that opinion from your readers was presented. I, just like you, support the 1st amendment. The 1st amendment is the only thing that has protected me in certain situations where I would have otherwise ended up in jail for my work. It also important to understand the difference between FREE Speech, and HATE speech, and although some forms of hate speech are protected by the 1st amendment, NOT ALL. What you shared from your readers rides the ever blurry line of that paradox. For example: In 1942, the Supreme Court said that the First Amendment doesn't protect "fighting words", or statements that "by their very utterance inflict injury or tend to incite an immediate breach of peace". Do you know who hides homeless? Our city does. We lock people up for being homeless. We degrade them to the point they feel alienated from our community. We shut down their shelters and then joke about how we need to hide them. That opinion by your readers was a verbal assault on a community which has continuously been assaulted by this cities leadership and the community itself. The opinion of your readers only solidified that. People that read that opinion and agreed with it will now feel MORE empowered to verbally insult homeless in Atlanta. Know why? Because their opinion is now the "opinion of Atlanta's readers" and they know it because Creative Loafing said so. Atlanta is an every evolving city and where we sit right now is on the verge of a complete cultural shift. Old Atlanta is being pushed out by New Atlanta, but one thing will remain the same. We will always have homelessness and the majority of them will continue to be African Americans. Now, Suburban Susan who decided to invest in a new home in Bankhead will feel empowered to insult the community she helped displace, because she saw that people agree with that lack of compassion via Creative Loafings "Best of" 2019. Actions Matter. -RV Ryan – Well stated. We understand that it was our actions that led to this comment being disseminated and we take responsibility for everything published in the newspaper. We’ve never been afraid to say when we have been wrong. If there is some good that has come from this, it is that people like you raise the points that need to be stated. homeless Reader's Pick for Best Thing to Hide from Out-of-Town Guests Cover Image 2019-09-10T22:21:18+00:00 Editor's Note on Best of Atlanta ben.eason Ben Eason CL Editors 2019-09-10T22:21:18+00:00 We’re pleased that our 30th anniversary issue of the Best of Atlanta is on the streets, with over 700 choices for both Readers’ picks and Critics’ picks. One category in particular has generated a lot of controversy on social media. In the “Best Thing to Hide from Out-of-Town Guests” category, our readers voted “the homeless.” Our critics picked the “‘Autoeater’ sculpture at Peachtree and Tenth Streets.” We take our responsibility as a newspaper and a publication of record seriously. As an alternative newspaper we occasionally include voting categories that convey a provocative tone to balance out the overwhelming boosterish spirit of the issue. We often disagree with our readers and their picks for Best Of winners, but we feel it is our responsibility to accurately reflect their choices. Did we agree with the readers in this particular instance? No. Did we think it was a funny response? No. But we also thought censoring or changing the readers’ choice because we didn’t agree with it was an even more dangerous move. For 30 years we have printed entries from readers, many that we considered to be a poor choice, but we have respect for those who take the time to share their perspectives with CL and the broader community. This is a give and take and we are proud to be a part of such an on-going dialogue. We are also aware that we printed all of the readers’ entries without context. In the past, we have included two or three sentences from our critics to describe the critics’ choices. Yet, in 30 years, we have never attempted to get inside the minds of our readers and explain their choices. Each ballot and choice by a reader has its own rationale. We want to take the opportunity to thank our readers for allowing us to be an authentic voice in the community. We’ve fought many battles over the years to keep free speech alive in Atlanta. To our knowledge we have never taken down a Reader’s pick or any Critic’s pick post-publication. This year, however, we have in fact removed the readers’ pick for the “Best Thing to Hide from Out-of-Town Guests.” Not because we are trying to censor readers, but because, taken out of context many people perceive this to be the choice of Creative Loafing critics. It most certainly is not. We have removed it as it has become a distraction to those fighting day and night to end homelessness in Atlanta. We don’t take this decision lightly. Our free speech libertarian readers will say we have caved to the crowd. Our progressive readers will say we didn’t go far enough. Hopefully those who know and trust us accept that we are serving a key role in the community to provide a platform for informed people to meet one another and interact. -- Best of Atlanta Editors Please feel free to leave a thoughtful reaction below. We moderate our comments and only display comments from people who exercise basic civility. 0,0,10 homeless Editor's Note on Best of Atlanta " ["score"]=> float(0) ["_index"]=> string(35) "atlantawiki_tiki_main_62887fe234a1d" ["objectlink"]=> string(36) "No value for 'contentTitle'" ["photos"]=> string(129) "" ["desc"]=> string(69) "Reader's Pick for Best Thing to Hide from Out-of-Town Guests" ["category"]=> string(13) "News Features" }
Editor's Note on Best of Atlanta News Features
Tuesday September 10, 2019 06:21 PM EDT
Reader's Pick for Best Thing to Hide from Out-of-Town Guests
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IMF2017_0924_025626_7632_DVP.jpg atlanta music imagine music festival glenn goodhand madeleine goodhand electronic music edm diplo marshmello alison wonderland atlanta motor speedway leah culvert midnite panda eddie gold mantis ployd An interview with Glenn and Madeleine Goodhand of IRIS Presents IMF2017 0924 025626 7632 DVP 2019-09-11T15:50:07+00:00 Podcast: Imagine Music Festival 2019 chad.radford Chad Radford Chad Radford chad.radford (Chad Radford) 2019-09-11T15:50:07+00:00 Imagine Music Festival returns for the 6th annual Aquatic Fairytale at Atlanta Motor Speedway Sept. 19-22, bringing a weekend-long EDM extravaganza under the sun and stars. 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Podcast: Imagine Music Festival 2019 Music and Nightlife, Crib Notes, Festivals
Wednesday September 11, 2019 11:50 AM EDT
An interview with Glenn and Madeleine Goodhand of IRIS Presents
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array(104) { ["title"]=> string(59) "LISTENING POST: Miles Davis and the ‘Birth of the Cool’" ["modification_date"]=> string(25) "2019-09-13T01:15:23+00:00" ["creation_date"]=> string(25) "2019-09-12T19:36:50+00:00" ["contributors"]=> array(2) { [0]=> string(10) "tony.paris" [1]=> string(6) "editor" } ["date"]=> string(25) "2019-09-12T19:40:28+00:00" ["tracker_status"]=> string(1) "o" ["tracker_id"]=> string(2) "11" ["view_permission"]=> string(13) "view_trackers" ["parent_object_id"]=> string(2) "11" ["parent_object_type"]=> string(7) "tracker" ["field_permissions"]=> string(2) "[]" ["tracker_field_contentTitle"]=> string(59) "LISTENING POST: Miles Davis and the ‘Birth of the Cool’" ["tracker_field_contentCreator"]=> string(10) "tony.paris" ["tracker_field_contentCreator_text"]=> string(10) "Tony Paris" ["tracker_field_contentCreator_unstemmed"]=> string(10) "tony paris" ["tracker_field_contentByline"]=> string(12) "Doug DeLoach" ["tracker_field_contentByline_exact"]=> string(12) "Doug DeLoach" ["tracker_field_contentBylinePerson"]=> string(1) "0" ["tracker_field_description"]=> string(61) "New documentary finds the trumpeter shadowboxing with himself" ["tracker_field_description_raw"]=> string(61) "New documentary finds the trumpeter shadowboxing with himself" ["tracker_field_contentDate"]=> string(25) "2019-09-12T19:40:28+00:00" ["tracker_field_contentWikiPage"]=> string(69) "Content:_:LISTENING POST: Miles Davis and the ‘Birth of the Cool’" ["tracker_field_contentWikiPage_text"]=> string(18306) "Miles Davis: Birth of the Cool, a feature-length documentary about the mercurial jazz trumpeter, composer and pop icon who died in 1991 at age 65, opens at the Plaza Theatre this Friday, Sept. 13. Directed by McArthur “genius” grantee Stanley Nelson (The Murder of Emmett Till, Freedom Riders), Birth of the Cool offers a compelling portrait of a brilliant, complex, charismatic and deeply conflicted man whose influence on the course of jazz, in particular, and popular culture more generally, rivals the impact of any artist in any field back through the ages. It helps to bring some knowledge of the subject to the screening experience. The deeper the knowledge, the more rewarding the experience will be, especially regarding the music. While Nelson does a nice job of laying out the essential chronology and evolutionary twists of Davis’ life and career, the musical passages are edited for 21st century attention spans. Davis fans will appreciate the never-before-seen photos, home movies and concert footage, but the artistry sometimes plays second trumpet to the documentary formula. “Music has always been like a curse with me,” intones actor Carl Lumbly at the beginning of the film in a voice-over mimicking Davis’ trademark raspy near-whisper (a self-inflicted consequence of failing to heed the rehab regimen following larynx surgery in 1956). This narrative technique is used throughout, with Lumbly quoting from Miles: The Autobiography. The book’s co-author, Quincy Troupe, also serves as one of the many commentators drawn from Davis’ circle of friends, fellow musicians and family members, along with critics, historians and industry colleagues “I’ve always felt driven to play music,” the voice-over continues as the scene depicts Davis shadowboxing in a ring. “I always go to bed thinking about it and wake up thinking about it. It’s always there. It comes before everything.” Single-mindedness is not an uncommon trait among successful people, but can lead to unintended, undesirable repercussions if left unchecked. Nelson’s documentary does a remarkable job of exploring the central dialectic of Davis’ life and artistic output, which pits an obsessive, anti-social malcontent against a sensitive, visionary genius. Birth of the Cool refers both to Davis’ landmark collaboration with arranger Gil Evans, which spawned a seminal series of recordings by a nine-piece ensemble between 1948 and 1950, and the trumpeters’ cultivated persona and style, which combined aloof sophistication and cynical detachment with an appreciation for finely tailored clothes and high performance sports cars. “Miles Davis was the personification of cool,” remarks Tammy Kernodle, a professor of musicology and author of Soul on Soul: The Life and Music of Mary Lou Williams, in the documentary. “He becomes our black Superman.” Black or white, Superman is vulnerable to kryptonite, a mineral remnant from his home planet, exposure to which can cripple or kill him. Davis’ kryptonite comes in the form of a misogynistic streak inherited from his father who once struck his wife so hard a couple of her teeth were knocked out. Tellingly, when Davis reflects on the domestic violence he witnessed as an adolescent, he says, “It had to affect us somehow, but I don’t really know how.” Nelson pointedly answers Davis’ self-query through interviews with the musician’s former wives and girlfriends a number of whom relate their own tales of mistreatment. Davis’ first wife, Frances Taylor, was a professional dancer on the rise when she met Davis in 1958. She describes how, out of spiteful jealousy, Davis demanded she drop out of the original cast of ‘West Side Story.’ In a later incident, he knocked her to the floor. (Taylor left Davis in 1965 and died last year at age 89). Davis’ contradictory nature permeates Birth of the Cool. Cruel and dismissive, he was also a preternaturally gifted improviser who used a horn and mute to articulate some of the most deeply emotive music a human has ever produced. He was the most successful jazz musician of his day who was also a black man living and working in not so great America. Birth of the Cool vividly recounts a notorious incident in New York City in August 1959 when Davis was playing at Birdland. It was near the end of a two-week run promoting the release of ‘Kind of Blue,’ destined to become one of the highest-selling jazz albums of all time. One night, during a break between sets, Davis escorted a white woman outside the club so she could catch a cab. When a white police officer ordered Davis to “move on,” he refused to comply, pointing to the marquee on which his name was prominently displayed. The officer moved to arrest Davis and a struggle ensued. An off-duty detective walking by joined the fray, repeatedly striking Davis with a club. Beaten and bloodied, the trumpeter was arrested, but subsequently acquitted of disorderly conduct and assaulting a police officer. “That incident changed me forever, made me much more bitter and cynical than I might have been,” Davis says. At this point, ‘Birth of the Cool’ is barely half over. Still to come is the dissolution of the ‘Kind of Blue’ band, which included John Coltrane, followed by the assembling of the incredible Sixties quintet with Wayne Shorter, Ron Carter, Herbie Hancock and 17-year-old Tony Williams; the revolutionary experiments with electronic instruments culminating in the landmark 1969 album Bitches Brew; protracted struggles with drugs and depression; a return to the concert stage at Avery Fisher Hall after years of withdrawal and isolation; the influence of Betty Mabry, Davis’ second wife, and Cicely Tyson, his third; reminiscences by Davis’ son, Erin, and cousin, Vince Wilburn, who administers the music side of the Miles Davis estate with other family members; and even more beauty, tragedy, exaltation and exasperation. Birth of the Cool is probably the most comprehensive compendium of the life and art of Miles Davis the world is likely to get. The man was a tough subject when he was alive. Telling his story undoubtedly required a few tough calls by Stanley Nelson. The result is an engaging, unflinching document, which is sure to be studied for years to come. Special Note: Jazz great and former Davis collaborator Jimmy Heath and Davis family members Vince Wilburn Jr. (Davis’ nephew) and Erin Davis (Davis’ son) will be present for a Q&A following the 7 p.m. screening on Friday, Sep. 13. Plaza Theatre, 1049 Ponce De Leon Ave NE, Atlanta, GA 30306, 470-225-6503. Made in America: A Concert of American Art Song and Opera: Capitol City Opera, which was formed in 1983 to provide classically trained singers in the Atlanta area with an opportunity to learn and perform complete opera roles and to develop their vocal and acting skills on a professional level, is presenting a free concert Saturday afternoon, September 14. “Made in America: A Concert of American Art Song and Opera” features songs by American composers Lee Hoiby and Charles Ives, as well as selections from operas set in America including Aaron Copland’s The Tender Land and Mark Adamo’s Little Women. The performers include Allison Nance (mezzo-soprano), Robin Sewell (soprano) and Catherine Giel (piano). Suggested donation $10. 3 p.m. Sat., Sep. 14. High Point Episcopal Community Church, 4945 High Point Road Northeast, Atlanta, Georgia 30342. 404-252-3324. Kronos Quartet with Mahsa Vahdat: Saturday’s concert, featuring Kronos Quartet with Iranian vocalist Mahsa Vahdat, at Emory University’s Emerson Concert Hall kicks off the 2019-2020 Candler Concert Series. It promises to be an extraordinary experience. The program features newly commissioned works by composers from the greater Muslim world including Azerbaijan, Egypt, Somalia, Palestine, Yemen, Afghanistan, Iran and Syria, as well as fresh arrangements of related pieces drawn from Kronos’ vast repertoire. The setlist was originally conceived as a response to President Donald Trump’s 2017 executive order (EO) limiting entry of immigrants and refugees to the United States from seven Muslim-majority countries. The EO was immediately challenged by various courts, which found the ban un-Constitutional based on its blatantly anti-Muslim sentiment (a breach of the Establishment Clause). Although certain legal challenges remain unresolved today, the Trump administration revoked and revised the EO a number of times until it finally passed muster and was upheld by the Supreme Court in June 2018. Meanwhile, Vahdat and her sister, Marjan, also a professional singer, are banned from singing in Iran while they await sentencing on charges stemming from a headscarf-free performance in a music video shot on a rooftop in Tehran. Furthermore, Marjan is not allowed to perform in the U.S. because she does not possess the proper visa. How I wish I was making this up. For further details on this 21st century fundamentalist crackerbox saga, see the interview conducted by Andrew Alexander and Mark Gresham at EarRelevant. In addition to discussing the Vadhat sisters’ plight and Sunday’s program, Harrington dives into the relationship between Western classical and other types of music and the important role music plays in troubled times. As he puts it, “It’s part of a musicians’ responsibility to lift our audience out of ‘un-knowledge.’ Kronos Quartet with Mahsa Vahdat. $65. 8 p.m., Sat. Sep. 14. , Emerson Concert Hall, Schwartz Center for Performing Arts, 1700 North Decatur Road, Atlanta, GA 30322. 404-727-5050. Glenn Phillips Band CD/DVD/Book release show: To anyone who hasn’t yet read Chad Radford’s interview with Glenn Phillips online and in the current print edition of Creative Loafing, rectify that oversight post haste. When you get back here, you’ll know that Phillips has written a memoir, Echoes: The Hampton Grease Band, My Life, My Music and How I Stopped Having Panic Attacks. The book is packaged with a full-length album of new music, The Dark Parade (the guitarist’s first solo album in 16 years) and a DVD chronicle of a 2015 concert marking the 40th anniversary of Phillips’ first solo album, Lost At Sea. The concert DVD features the original players on Phillips’ epic first solo release along with Cindy Wilson of The B-52s guesting on the encores. For those of you still hopelessly lost at sea at this point, Phillips is our town’s very own homegrown (actually, he was born in New England, but that doesn’t count anymore) intergalactic guitar wizard who initially materialized on this musical plane as a founding member of the Hampton Grease Band (there were earlier bands, but those don’t count, either). Since then, Phillips has conjured up something like 20 albums in cahoots with everybody from Bob Weir and Pete Buck to Henry Kaiser and Elliott Sharpe. Additionally, Supreme Court, an ongoing, decades-long project with Swimming Pool Qs founder Jeff Calder, continues yielding wondrous material. While the chat with Radford will fill you in on the panic attack side of Phillips’ story, which is gripping and inspirational in its own right, I encourage with extreme prejudice your presence at Eddie Owen’s Red Clay Music Foundry in Duluth Saturday night for the official release show for the Echoes book/CD/DVD joint. Phillips will be joined onstage by regular cohorts Bill Rea, John Boissiere and Calder, along with special guests Dana Nelson and Hampton Grease Band bassist Mike Holbrook. First set at 7:30; second set: 8:45 p.m. All are welcome to stay for both sets. Country Music Watch Party Most Listening Post readers are aware by now of documentarian Ken Burns’ latest magnum opus, Country Music, which premiers this Sunday on PBS. As CL resident country music expert James Kelly recently penned in a gracious plenty preview of the series, the opening episode of Burns’ eight-part, 16-hour documentary highlights the integral role played by Atlanta in the origin of the indigenous American art form, which became known as country music. In 1923, New York-based Okeh Records sent to Atlanta a team of engineers equipped with one of the world’s first portable recording machines. Their mission was to capture on wax cylinders a posse of southern musicians, which included multi-time state fiddle champion John Carson, doing their various things (e.g., jazz, blues, gospel). Of the many recordings produced during the multi-day sessions, which took place in a small now vacant building at 152 Nassau Street, the 78 rpm recording of Fiddlin’ John Carson performing “The Little Old Log Cabin in the Lane”/”The Old Hen Cackled and the Rooster’s Going to Crow” was a smash success. Today, it’s widely considered the first record by a country music artist, although at the time no such genre label existed. In recent months, a public campaign led by Save 152 Nassau has been advocating for the preservation of the downtown building where American music history was made, which is threatened by demolition to make room for, of all things, a Margaritaville Restaurant. All of which brings us to Sunday’s “Country Music Watch Party” at ASW Whiskey Exchange located in the Lee + White development along the West End Beltline. Sponsored by Save 152 Nassau, the event features live music by the Skillet Lickers, whose roots extend back four generations to the earliest years of the American recording industry in the 1920s, followed by the broadcast premiere of Country Music. A portion of sales during the evening’s festivities will benefit the Atlanta Music Project. ”Country Music Watch Party,” Free, Sun., Sep. 15. Music 6-8 p.m., screening of “Country Music” 8-10 p.m. ASW Whiskey Exchange, 1000 White St. Suite A, Atlanta GA 30310. 404-590-2279 Tinariwen at Variety Playhouse w/ Lonnie Holley Formed in 1979 while in exile in Algeria, Tinariwen is a band of Tuareg musicians from northern Mali who have been hailed worldwide for their superb musicianship; bluesy, mesmerizing electric guitar-driven sound; and powerful messaging, which celebrates the nomadic Tuareg culture. During a period of relative stability, Tinariwen returned to their homeland until 2012-13 when an uprising of Islamist extremists again made living in Mali a dangerously untenable proposition. Since then, Tinariwen has been touring and recording outside of the country, and sharing stages with Robert Plant, The Rolling Stones, Herbie Hancock and Carlos Santana. In 2012, Tinariwen was named Best Group in the Songlines Music Awards for their album Tassili, which also garnered a Grammy for Best World Music Album. Currently touring in support of their latest album, Amajdar, which dropped September 6, Tinariwen will perform at the Variety Playhouse on Monday, September 16, with Lonnie Holley opening. The following day, Tuesday, September 17, Tinariwen travel to Winston-Salem, North Carolina, for a gig at Ramkat, a local venue, also with Lonnie Holley as the opener. The concert caused a stir several weeks ago when a couple of sponsored Facebook posts announcing the show caught the attention of the usual assortment of bigots, racists and “patriots.” “Take the fucking towels off your god damn heads,” wrote one commenter. “Any true American will not support this bunch of trash,” chimed in another, followed by “Taliban rock?,” “Shootout at midnight?” etc., etc. ad nauseam. One of Ramkat’s owners quoted in the local press said the venue plans to hire extra security for the gig. There’s no limit to the many ways America is being made great again. Rhiannon Giddens with Francesco Turrisi: there is no Other tour: Rhiannon Giddens is a singular phenomenon. The classically trained, infinitely flexible, pellucidly clear voice; the virtuosic touch, whether on violin, viola or minstrel banjo; the imaginatively challenging choice of material; the unmistakable poise, strength and charisma; Giddens is one of the boldest, bravest, baddest musicians on planet Earth. Her latest album, there is no Other (Nonesuch), which dropped In May, features Giddens paired with Italian multi-instrumentalist Francesco Turrisi, the same duo that will be performing Friday, Sep. 20 at City Winery. Recorded with minimal fiddling and tweaking, the album includes original songs penned by Giddens; interpretations of traditional ballads, shanties and folk songs, such as Ola Belle Reed’s “I’m Gonna Write Me a Letter,” Oscar Brown, Jr’s “Brown Baby,” and “Pizzica di San Vito” (an Italian traditional); and “Black Swan,” the somber lullaby from Gian-Carlo Menotti’s opera, The Medium. With Giddens and Turrisi playing an array of acoustic instruments drawn from African, Arabic, European, and American cultures, there is no Other weaves a magnificent 12-track tapestry of contemplative space and otherworldly beauty. In January, I interviewed Giddens for Songlines, a world music magazine headquartered in London. The main focus of the interview was the album she had just finished, Songs of Our Native Daughters, for Smithsonian Folkways. When I asked her about upcoming projects, she mentioned there is no Other and the tour with Turrisi, which included a performance at Big Ears. “It’s a meditation on how all of these different sounds we play come together,” Giddens said. “We have this idea that world music is a recent phenomenon, but actually it’s a very old idea. The sounds of the frame drum and the minstrel banjo or a playing a trans-drum from Iran called the daf on an Appalachian ballad — all of these sorts of things work really well because they’re all coming from the same source.” “I’m so proud of the record; it’s really killer,” she continued. “It’s got accordion and piano and viola and violin, all of these different beautiful sounds from around the world that work together because we are, in fact, all together.” Rhiannon Giddens with Francesco Turrisi. $50-$60 {SOLD OUT). Friday, Sep. 20, 6 p.m-9 p.m. City Winery Atlanta, 650 North Avenue NE Ste. 201, Atlanta, Georgia 30308. 404-946-3791." ["tracker_field_contentWikiPage_raw"]=> string(20055) "''Miles Davis: Birth of the Cool,'' a feature-length documentary about the mercurial jazz trumpeter, composer and pop icon who died in 1991 at age 65, opens at the Plaza Theatre this Friday, Sept. 13. Directed by McArthur “genius” grantee Stanley Nelson (''The Murder of Emmett Till,'' ''Freedom Riders''), ''Birth of the Cool'' offers a compelling portrait of a brilliant, complex, charismatic and deeply conflicted man whose influence on the course of jazz, in particular, and popular culture more generally, rivals the impact of any artist in any field back through the ages. It helps to bring some knowledge of the subject to the screening experience. The deeper the knowledge, the more rewarding the experience will be, especially regarding the music. While Nelson does a nice job of laying out the essential chronology and evolutionary twists of Davis’ life and career, the musical passages are edited for 21st century attention spans. Davis fans will appreciate the never-before-seen photos, home movies and concert footage, but the artistry sometimes plays second trumpet to the documentary formula. “Music has always been like a curse with me,” intones actor Carl Lumbly at the beginning of the film in a voice-over mimicking Davis’ trademark raspy near-whisper (a self-inflicted consequence of failing to heed the rehab regimen following larynx surgery in 1956). This narrative technique is used throughout, with Lumbly quoting from [https://www.amazon.com/dp/0671725823/?tag=thneyo0f-20|Miles: The Autobiography]. The book’s co-author, Quincy Troupe, also serves as one of the many commentators drawn from Davis’ circle of friends, fellow musicians and family members, along with critics, historians and industry colleagues “I’ve always felt driven to play music,” the voice-over continues as the scene depicts Davis shadowboxing in a ring. “I always go to bed thinking about it and wake up thinking about it. It’s always there. It comes before everything.” Single-mindedness is not an uncommon trait among successful people, but can lead to unintended, undesirable repercussions if left unchecked. Nelson’s documentary does a remarkable job of exploring the central dialectic of Davis’ life and artistic output, which pits an obsessive, anti-social malcontent against a sensitive, visionary genius. ''Birth of the Cool'' refers both to Davis’ landmark collaboration with arranger Gil Evans, which spawned a seminal series of recordings by a nine-piece ensemble between 1948 and 1950, and the trumpeters’ cultivated persona and style, which combined aloof sophistication and cynical detachment with an appreciation for finely tailored clothes and high performance sports cars. “Miles Davis was the personification of cool,” remarks Tammy Kernodle, a professor of musicology and author of ''Soul on Soul: The Life and Music of Mary Lou Williams'', in the documentary. “He becomes our black Superman.” Black or white, Superman is vulnerable to kryptonite, a mineral remnant from his home planet, exposure to which can cripple or kill him. Davis’ kryptonite comes in the form of a misogynistic streak inherited from his father who once struck his wife so hard a couple of her teeth were knocked out. Tellingly, when Davis reflects on the domestic violence he witnessed as an adolescent, he says, “It had to affect us somehow, but I don’t really know how.” Nelson pointedly answers Davis’ self-query through interviews with the musician’s former wives and girlfriends a number of whom relate their own tales of mistreatment. Davis’ first wife, Frances Taylor, was a professional dancer on the rise when she met Davis in 1958. She describes how, out of spiteful jealousy, Davis demanded she drop out of the original cast of ‘West Side Story.’ In a later incident, he knocked her to the floor. (Taylor left Davis in 1965 and died last year at age 89). Davis’ contradictory nature permeates ''Birth of the Cool.'' Cruel and dismissive, he was also a preternaturally gifted improviser who used a horn and mute to articulate some of the most deeply emotive music a human has ever produced. He was the most successful jazz musician of his day who was also a black man living and working in not so great America. ''Birth of the Cool'' vividly recounts a notorious incident in New York City in August 1959 when Davis was playing at Birdland. It was near the end of a two-week run promoting the release of ‘Kind of Blue,’ destined to become one of the highest-selling jazz albums of all time. One night, during a break between sets, Davis escorted a white woman outside the club so she could catch a cab. When a white police officer ordered Davis to “move on,” he refused to comply, pointing to the marquee on which his name was prominently displayed. The officer moved to arrest Davis and a struggle ensued. An off-duty detective walking by joined the fray, repeatedly striking Davis with a club. Beaten and bloodied, the trumpeter was arrested, but subsequently acquitted of disorderly conduct and assaulting a police officer. “That incident changed me forever, made me much more bitter and cynical than I might have been,” Davis says. At this point, ‘Birth of the Cool’ is barely half over. Still to come is the dissolution of the ‘Kind of Blue’ band, which included John Coltrane, followed by the assembling of the incredible Sixties quintet with Wayne Shorter, Ron Carter, Herbie Hancock and 17-year-old Tony Williams; the revolutionary experiments with electronic instruments culminating in the landmark 1969 album ''Bitches Brew''; protracted struggles with drugs and depression; a return to the concert stage at Avery Fisher Hall after years of withdrawal and isolation; the influence of Betty Mabry, Davis’ second wife, and Cicely Tyson, his third; reminiscences by Davis’ son, Erin, and cousin, Vince Wilburn, who administers the music side of the Miles Davis estate with other family members; and even more beauty, tragedy, exaltation and exasperation. ''Birth of the Cool'' is probably the most comprehensive compendium of the life and art of Miles Davis the world is likely to get. The man was a tough subject when he was alive. Telling his story undoubtedly required a few tough calls by Stanley Nelson. The result is an engaging, unflinching document, which is sure to be studied for years to come. __Special Note:__ Jazz great and former Davis collaborator Jimmy Heath and Davis family members Vince Wilburn Jr. (Davis’ nephew) and Erin Davis (Davis’ son) will be present for a Q&A following the 7 p.m. screening on Friday, Sep. 13. [http://plazaatlanta.com/movie/miles-davis-birth-of-the-cool/|Plaza Theatre], 1049 Ponce De Leon Ave NE, Atlanta, GA 30306, 470-225-6503. __Made in America: A Concert of American Art Song and Opera: __[http://www.ccityopera.org/home|Capitol City Opera], which was formed in 1983 to provide classically trained singers in the Atlanta area with an opportunity to learn and perform complete opera roles and to develop their vocal and acting skills on a professional level, is presenting a [https://www.facebook.com/events/399409050683903/|free concert Saturday afternoon, September 14]. “Made in America: A Concert of American Art Song and Opera” features songs by American composers Lee Hoiby and Charles Ives, as well as selections from operas set in America including Aaron Copland’s ''The Tender Land'' and Mark Adamo’s ''Little Women.'' The performers include Allison Nance (mezzo-soprano), Robin Sewell (soprano) and Catherine Giel (piano). Suggested donation $10. 3 p.m. Sat., Sep. 14. High Point Episcopal Community Church, 4945 High Point Road Northeast, Atlanta, Georgia 30342. 404-252-3324. __Kronos Quartet with Mahsa Vahdat__: Saturday’s concert, featuring Kronos Quartet with Iranian vocalist Mahsa Vahdat, at Emory University’s Emerson Concert Hall kicks off the 2019-2020 Candler Concert Series. It promises to be an extraordinary experience. The program features newly commissioned works by composers from the greater Muslim world including Azerbaijan, Egypt, Somalia, Palestine, Yemen, Afghanistan, Iran and Syria, as well as fresh arrangements of related pieces drawn from Kronos’ vast repertoire. The setlist was originally conceived as a response to President Donald Trump’s 2017 executive order (EO) limiting entry of immigrants and refugees to the United States from seven Muslim-majority countries. The EO was immediately challenged by various courts, which found the ban un-Constitutional based on its blatantly anti-Muslim sentiment (a breach of the Establishment Clause). Although certain legal challenges remain unresolved today, the Trump administration revoked and revised the EO a number of times until it finally passed muster and was upheld by the Supreme Court in June 2018. Meanwhile, Vahdat and her sister, Marjan, also a professional singer, are banned from singing in Iran while they await sentencing on charges stemming from a headscarf-free performance in a music video shot on a rooftop in Tehran. Furthermore, Marjan is not allowed to perform in the U.S. because she does not possess the proper visa. How I wish I was making this up. For further details on this 21st century fundamentalist crackerbox saga, see the [https://www.earrelevant.net/2019/09/david-harrington-talks-about-kronos-quartets-music-for-change/|interview] conducted by Andrew Alexander and Mark Gresham at [http://www.earrelevant.net/|EarRelevant]. In addition to discussing the Vadhat sisters’ plight and Sunday’s program, Harrington dives into the relationship between Western classical and other types of music and the important role music plays in troubled times. As he puts it, “It’s part of a musicians’ responsibility to lift our audience out of ‘un-knowledge.’ ''[https://tickets.arts.emory.edu/single/eventDetail.aspx?p=120445|Kronos Quartet with Mahsa Vahdat]. $65. 8 p.m., Sat. Sep. 14. , Emerson Concert Hall, Schwartz Center for Performing Arts, 1700 North Decatur Road, Atlanta, GA 30322. 404-727-5050.'' __Glenn Phillips Band CD/DVD/Book release show__: To anyone who hasn’t yet read Chad Radford’s [https://creativeloafing.com/content-440209-glenn-phillips-and-the-dark|interview with Glenn Phillips] online and in the current print edition of ''Creative Loafing'', rectify that oversight post haste. When you get back here, you’ll know that Phillips has written a memoir, ''[https://glennphillipsband.square.site/product/pre-order-ships-august-14-echoes-the-hampton-grease-band-my-life-my-music-and-how-i-stopped-having-panic-attacks-book-cd-dvd/21|Echoes: The Hampton Grease Band, My Life, My Music and How I Stopped Having Panic Attacks]''. The book is packaged with a full-length album of new music, ''The Dark Parade'' (the guitarist’s first solo album in 16 years) and a DVD chronicle of a 2015 concert marking the 40th anniversary of Phillips’ first solo album, ''Lost At Sea.'' The concert DVD features the original players on Phillips’ epic first solo release along with Cindy Wilson of The B-52s guesting on the encores. For those of you still hopelessly lost at sea at this point, Phillips is our town’s very own homegrown (actually, he was born in New England, but that doesn’t count anymore) intergalactic guitar wizard who initially materialized on this musical plane as a founding member of the Hampton Grease Band (there were earlier bands, but those don’t count, either). Since then, Phillips has conjured up something like 20 albums in cahoots with everybody from Bob Weir and Pete Buck to Henry Kaiser and Elliott Sharpe. Additionally, Supreme Court, an ongoing, decades-long project with Swimming Pool Qs founder Jeff Calder, continues yielding wondrous material. While the chat with Radford will fill you in on the panic attack side of Phillips’ story, which is gripping and inspirational in its own right, I encourage with extreme prejudice your presence at Eddie Owen’s Red Clay Music Foundry in Duluth [https://eddieowenpresents.com/events/eddie-owen-presents-glenn-phillips-band-cd-dvd-book-release-show/|Saturday night] for the official release show for the ''Echoes'' book/CD/DVD joint. Phillips will be joined onstage by regular cohorts Bill Rea, John Boissiere and Calder, along with special guests Dana Nelson and Hampton Grease Band bassist Mike Holbrook. First set at 7:30; second set: 8:45 p.m. All are welcome to stay for both sets. __Country Music Watch Party__ Most Listening Post readers are aware by now of documentarian Ken Burns’ latest magnum opus, ''[https://www.pbs.org/kenburns/country-music/|Country Music],'' which premiers this Sunday on PBS. As ''CL'' resident country music expert James Kelly recently penned in a [https://creativeloafing.com/content-440326-three-chords-and-the-truth-and-then-some|gracious plenty preview] of the series, the opening episode of Burns’ eight-part, 16-hour documentary highlights the integral role played by Atlanta in the origin of the indigenous American art form, which became known as country music. In 1923, New York-based Okeh Records sent to Atlanta a team of engineers equipped with one of the world’s first portable recording machines. Their mission was to capture on wax cylinders a posse of southern musicians, which included multi-time state fiddle champion John Carson, doing their various things (e.g., jazz, blues, gospel). Of the many recordings produced during the multi-day sessions, which took place in a small now vacant building at 152 Nassau Street, the 78 rpm recording of Fiddlin’ John Carson performing “The Little Old Log Cabin in the Lane”/”The Old Hen Cackled and the Rooster’s Going to Crow” was a smash success. Today, it’s widely considered the first record by a country music artist, although at the time no such genre label existed. In recent months, a public campaign led by [http://www.nassaustreetsessions.com/?fbclid=IwAR3Ued1PntWh6iZ48v_LDxXRrMg9AJajwjzUHPAyykDqb5NZ6u_MULiAKe8|Save 152 Nassau] has been advocating for the preservation of the downtown building where American music history was made, which is threatened by demolition to make room for, of all things, a Margaritaville Restaurant. All of which brings us to Sunday’s “Country Music Watch Party” at ASW Whiskey Exchange located in the [https://leeandwhiteatl.com/|Lee + White development] along the West End Beltline. Sponsored by Save 152 Nassau, the event features live music by the [https://skilletlickers.org/|Skillet Lickers], whose roots extend back four generations to the earliest years of the American recording industry in the 1920s, followed by the broadcast premiere of ''Country Music.'' A portion of sales during the evening’s festivities will benefit the [https://www.atlantamusicproject.org/|Atlanta Music Project]. ''”[https://www.facebook.com/events/2587839381267187/|Country Music Watch Party],” Free, Sun., Sep. 15. Music 6-8 p.m., screening of “Country Music” 8-10 p.m. ASW Whiskey Exchange, 1000 White St. Suite A, Atlanta GA 30310. 404-590-2279'' __Tinariwen at Variety Playhouse w/ Lonnie Holley__ Formed in 1979 while in exile in Algeria, Tinariwen is a band of Tuareg musicians from northern Mali who have been hailed worldwide for their superb musicianship; bluesy, mesmerizing electric guitar-driven sound; and powerful messaging, which celebrates the nomadic Tuareg culture. During a period of relative stability, Tinariwen returned to their homeland until 2012-13 when an uprising of Islamist extremists again made living in Mali a dangerously untenable proposition. Since then, Tinariwen has been touring and recording outside of the country, and sharing stages with Robert Plant, The Rolling Stones, Herbie Hancock and Carlos Santana. In 2012, Tinariwen was named Best Group in the [https://en.wikipedia.org/wiki/Songlines_Music_Awards|Songlines Music Awards] for their album ''Tassili,'' which also garnered a Grammy for Best World Music Album. Currently touring in support of their latest album, ''Amajdar,'' which dropped September 6, Tinariwen will perform at the Variety Playhouse on [https://www.ticketfly.com/purchase/event/1847361?utm_medium=api|Monday, September 16], with Lonnie Holley opening. The following day, Tuesday, September 17, Tinariwen travel to Winston-Salem, North Carolina, for a gig at Ramkat, a local venue, also with Lonnie Holley as the opener. The concert caused a stir several weeks ago when a couple of sponsored Facebook posts announcing the show caught the attention of the usual assortment of bigots, racists and “patriots.” “Take the fucking towels off your god damn heads,” wrote one commenter. “Any true American will not support this bunch of trash,” chimed in another, followed by “Taliban rock?,” “Shootout at midnight?” etc., etc. ad nauseam. One of Ramkat’s owners quoted in the local press said the venue plans to hire extra security for the gig. There’s no limit to the many ways America is being made great again. __Rhiannon Giddens with Francesco Turrisi: t''here is no Other'' tour:__ Rhiannon Giddens is a singular phenomenon. The classically trained, infinitely flexible, pellucidly clear voice; the virtuosic touch, whether on violin, viola or minstrel banjo; the imaginatively challenging choice of material; the unmistakable poise, strength and charisma; Giddens is one of the boldest, bravest, baddest musicians on planet Earth. Her latest album, ''[https://www.nonesuch.com/journal/rhiannon-giddens-new-album-francesco-turrisi-there-no-other-out-now-nonesuch-records-2019-05-03|there is no Other]'' (Nonesuch), which dropped In May, features Giddens paired with Italian multi-instrumentalist Francesco Turrisi, the same duo that will be performing Friday, Sep. 20 at City Winery. Recorded with minimal fiddling and tweaking, the album includes original songs penned by Giddens; interpretations of traditional ballads, shanties and folk songs, such as Ola Belle Reed’s “[https://www.youtube.com/watch?v=6t7zowxgO5A&list=RDKBIQ_tjBt0M&index=3|I’m Gonna Write Me a Letter],” Oscar Brown, Jr’s “Brown Baby,” and “Pizzica di San Vito” (an Italian traditional); and “Black Swan,” the somber lullaby from Gian-Carlo Menotti’s opera, ''The Medium.'' With Giddens and Turrisi playing an array of acoustic instruments drawn from African, Arabic, European, and American cultures, ''there is no Other'' weaves a magnificent 12-track tapestry of contemplative space and otherworldly beauty. In January, I interviewed Giddens for Songlines, a world music magazine headquartered in London. The main focus of the interview was the album she had just finished, ''Songs of Our Native Daughters,'' for Smithsonian Folkways. When I asked her about upcoming projects, she mentioned ''there is no Other'' and the tour with Turrisi, which included a performance at Big Ears. “It’s a meditation on how all of these different sounds we play come together,” Giddens said. “We have this idea that world music is a recent phenomenon, but actually it’s a very old idea. The sounds of the frame drum and the minstrel banjo or a playing a trans-drum from Iran called the ''daf'' on an Appalachian ballad — all of these sorts of things work really well because they’re all coming from the same source.” “I’m so proud of the record; it’s really killer,” she continued. “It’s got accordion and piano and viola and violin, all of these different beautiful sounds from around the world that work together because we are, in fact, all together.” ''Rhiannon Giddens with Francesco Turrisi. $50-$60 {SOLD OUT). 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2019-09-12T19:40:28+00:00 LISTENING POST: Miles Davis and the ‘Birth of the Cool’ tony.paris Tony Paris Doug DeLoach 2019-09-12T19:40:28+00:00 Miles Davis: Birth of the Cool, a feature-length documentary about the mercurial jazz trumpeter, composer and pop icon who died in 1991 at age 65, opens at the Plaza Theatre this Friday, Sept. 13. Directed by McArthur “genius” grantee Stanley Nelson (The Murder of Emmett Till, Freedom Riders), Birth of the Cool offers a compelling portrait of a brilliant, complex, charismatic and deeply conflicted man whose influence on the course of jazz, in particular, and popular culture more generally, rivals the impact of any artist in any field back through the ages. It helps to bring some knowledge of the subject to the screening experience. The deeper the knowledge, the more rewarding the experience will be, especially regarding the music. While Nelson does a nice job of laying out the essential chronology and evolutionary twists of Davis’ life and career, the musical passages are edited for 21st century attention spans. Davis fans will appreciate the never-before-seen photos, home movies and concert footage, but the artistry sometimes plays second trumpet to the documentary formula. “Music has always been like a curse with me,” intones actor Carl Lumbly at the beginning of the film in a voice-over mimicking Davis’ trademark raspy near-whisper (a self-inflicted consequence of failing to heed the rehab regimen following larynx surgery in 1956). This narrative technique is used throughout, with Lumbly quoting from Miles: The Autobiography. The book’s co-author, Quincy Troupe, also serves as one of the many commentators drawn from Davis’ circle of friends, fellow musicians and family members, along with critics, historians and industry colleagues “I’ve always felt driven to play music,” the voice-over continues as the scene depicts Davis shadowboxing in a ring. “I always go to bed thinking about it and wake up thinking about it. It’s always there. It comes before everything.” Single-mindedness is not an uncommon trait among successful people, but can lead to unintended, undesirable repercussions if left unchecked. Nelson’s documentary does a remarkable job of exploring the central dialectic of Davis’ life and artistic output, which pits an obsessive, anti-social malcontent against a sensitive, visionary genius. Birth of the Cool refers both to Davis’ landmark collaboration with arranger Gil Evans, which spawned a seminal series of recordings by a nine-piece ensemble between 1948 and 1950, and the trumpeters’ cultivated persona and style, which combined aloof sophistication and cynical detachment with an appreciation for finely tailored clothes and high performance sports cars. “Miles Davis was the personification of cool,” remarks Tammy Kernodle, a professor of musicology and author of Soul on Soul: The Life and Music of Mary Lou Williams, in the documentary. “He becomes our black Superman.” Black or white, Superman is vulnerable to kryptonite, a mineral remnant from his home planet, exposure to which can cripple or kill him. Davis’ kryptonite comes in the form of a misogynistic streak inherited from his father who once struck his wife so hard a couple of her teeth were knocked out. Tellingly, when Davis reflects on the domestic violence he witnessed as an adolescent, he says, “It had to affect us somehow, but I don’t really know how.” Nelson pointedly answers Davis’ self-query through interviews with the musician’s former wives and girlfriends a number of whom relate their own tales of mistreatment. Davis’ first wife, Frances Taylor, was a professional dancer on the rise when she met Davis in 1958. She describes how, out of spiteful jealousy, Davis demanded she drop out of the original cast of ‘West Side Story.’ In a later incident, he knocked her to the floor. (Taylor left Davis in 1965 and died last year at age 89). Davis’ contradictory nature permeates Birth of the Cool. Cruel and dismissive, he was also a preternaturally gifted improviser who used a horn and mute to articulate some of the most deeply emotive music a human has ever produced. He was the most successful jazz musician of his day who was also a black man living and working in not so great America. Birth of the Cool vividly recounts a notorious incident in New York City in August 1959 when Davis was playing at Birdland. It was near the end of a two-week run promoting the release of ‘Kind of Blue,’ destined to become one of the highest-selling jazz albums of all time. One night, during a break between sets, Davis escorted a white woman outside the club so she could catch a cab. When a white police officer ordered Davis to “move on,” he refused to comply, pointing to the marquee on which his name was prominently displayed. The officer moved to arrest Davis and a struggle ensued. An off-duty detective walking by joined the fray, repeatedly striking Davis with a club. Beaten and bloodied, the trumpeter was arrested, but subsequently acquitted of disorderly conduct and assaulting a police officer. “That incident changed me forever, made me much more bitter and cynical than I might have been,” Davis says. At this point, ‘Birth of the Cool’ is barely half over. Still to come is the dissolution of the ‘Kind of Blue’ band, which included John Coltrane, followed by the assembling of the incredible Sixties quintet with Wayne Shorter, Ron Carter, Herbie Hancock and 17-year-old Tony Williams; the revolutionary experiments with electronic instruments culminating in the landmark 1969 album Bitches Brew; protracted struggles with drugs and depression; a return to the concert stage at Avery Fisher Hall after years of withdrawal and isolation; the influence of Betty Mabry, Davis’ second wife, and Cicely Tyson, his third; reminiscences by Davis’ son, Erin, and cousin, Vince Wilburn, who administers the music side of the Miles Davis estate with other family members; and even more beauty, tragedy, exaltation and exasperation. Birth of the Cool is probably the most comprehensive compendium of the life and art of Miles Davis the world is likely to get. The man was a tough subject when he was alive. Telling his story undoubtedly required a few tough calls by Stanley Nelson. The result is an engaging, unflinching document, which is sure to be studied for years to come. Special Note: Jazz great and former Davis collaborator Jimmy Heath and Davis family members Vince Wilburn Jr. (Davis’ nephew) and Erin Davis (Davis’ son) will be present for a Q&A following the 7 p.m. screening on Friday, Sep. 13. Plaza Theatre, 1049 Ponce De Leon Ave NE, Atlanta, GA 30306, 470-225-6503. Made in America: A Concert of American Art Song and Opera: Capitol City Opera, which was formed in 1983 to provide classically trained singers in the Atlanta area with an opportunity to learn and perform complete opera roles and to develop their vocal and acting skills on a professional level, is presenting a free concert Saturday afternoon, September 14. “Made in America: A Concert of American Art Song and Opera” features songs by American composers Lee Hoiby and Charles Ives, as well as selections from operas set in America including Aaron Copland’s The Tender Land and Mark Adamo’s Little Women. The performers include Allison Nance (mezzo-soprano), Robin Sewell (soprano) and Catherine Giel (piano). Suggested donation $10. 3 p.m. Sat., Sep. 14. High Point Episcopal Community Church, 4945 High Point Road Northeast, Atlanta, Georgia 30342. 404-252-3324. Kronos Quartet with Mahsa Vahdat: Saturday’s concert, featuring Kronos Quartet with Iranian vocalist Mahsa Vahdat, at Emory University’s Emerson Concert Hall kicks off the 2019-2020 Candler Concert Series. It promises to be an extraordinary experience. The program features newly commissioned works by composers from the greater Muslim world including Azerbaijan, Egypt, Somalia, Palestine, Yemen, Afghanistan, Iran and Syria, as well as fresh arrangements of related pieces drawn from Kronos’ vast repertoire. The setlist was originally conceived as a response to President Donald Trump’s 2017 executive order (EO) limiting entry of immigrants and refugees to the United States from seven Muslim-majority countries. The EO was immediately challenged by various courts, which found the ban un-Constitutional based on its blatantly anti-Muslim sentiment (a breach of the Establishment Clause). Although certain legal challenges remain unresolved today, the Trump administration revoked and revised the EO a number of times until it finally passed muster and was upheld by the Supreme Court in June 2018. Meanwhile, Vahdat and her sister, Marjan, also a professional singer, are banned from singing in Iran while they await sentencing on charges stemming from a headscarf-free performance in a music video shot on a rooftop in Tehran. Furthermore, Marjan is not allowed to perform in the U.S. because she does not possess the proper visa. How I wish I was making this up. For further details on this 21st century fundamentalist crackerbox saga, see the interview conducted by Andrew Alexander and Mark Gresham at EarRelevant. In addition to discussing the Vadhat sisters’ plight and Sunday’s program, Harrington dives into the relationship between Western classical and other types of music and the important role music plays in troubled times. As he puts it, “It’s part of a musicians’ responsibility to lift our audience out of ‘un-knowledge.’ Kronos Quartet with Mahsa Vahdat. $65. 8 p.m., Sat. Sep. 14. , Emerson Concert Hall, Schwartz Center for Performing Arts, 1700 North Decatur Road, Atlanta, GA 30322. 404-727-5050. Glenn Phillips Band CD/DVD/Book release show: To anyone who hasn’t yet read Chad Radford’s interview with Glenn Phillips online and in the current print edition of Creative Loafing, rectify that oversight post haste. When you get back here, you’ll know that Phillips has written a memoir, Echoes: The Hampton Grease Band, My Life, My Music and How I Stopped Having Panic Attacks. The book is packaged with a full-length album of new music, The Dark Parade (the guitarist’s first solo album in 16 years) and a DVD chronicle of a 2015 concert marking the 40th anniversary of Phillips’ first solo album, Lost At Sea. The concert DVD features the original players on Phillips’ epic first solo release along with Cindy Wilson of The B-52s guesting on the encores. For those of you still hopelessly lost at sea at this point, Phillips is our town’s very own homegrown (actually, he was born in New England, but that doesn’t count anymore) intergalactic guitar wizard who initially materialized on this musical plane as a founding member of the Hampton Grease Band (there were earlier bands, but those don’t count, either). Since then, Phillips has conjured up something like 20 albums in cahoots with everybody from Bob Weir and Pete Buck to Henry Kaiser and Elliott Sharpe. Additionally, Supreme Court, an ongoing, decades-long project with Swimming Pool Qs founder Jeff Calder, continues yielding wondrous material. While the chat with Radford will fill you in on the panic attack side of Phillips’ story, which is gripping and inspirational in its own right, I encourage with extreme prejudice your presence at Eddie Owen’s Red Clay Music Foundry in Duluth Saturday night for the official release show for the Echoes book/CD/DVD joint. Phillips will be joined onstage by regular cohorts Bill Rea, John Boissiere and Calder, along with special guests Dana Nelson and Hampton Grease Band bassist Mike Holbrook. First set at 7:30; second set: 8:45 p.m. All are welcome to stay for both sets. Country Music Watch Party Most Listening Post readers are aware by now of documentarian Ken Burns’ latest magnum opus, Country Music, which premiers this Sunday on PBS. As CL resident country music expert James Kelly recently penned in a gracious plenty preview of the series, the opening episode of Burns’ eight-part, 16-hour documentary highlights the integral role played by Atlanta in the origin of the indigenous American art form, which became known as country music. In 1923, New York-based Okeh Records sent to Atlanta a team of engineers equipped with one of the world’s first portable recording machines. Their mission was to capture on wax cylinders a posse of southern musicians, which included multi-time state fiddle champion John Carson, doing their various things (e.g., jazz, blues, gospel). Of the many recordings produced during the multi-day sessions, which took place in a small now vacant building at 152 Nassau Street, the 78 rpm recording of Fiddlin’ John Carson performing “The Little Old Log Cabin in the Lane”/”The Old Hen Cackled and the Rooster’s Going to Crow” was a smash success. Today, it’s widely considered the first record by a country music artist, although at the time no such genre label existed. In recent months, a public campaign led by Save 152 Nassau has been advocating for the preservation of the downtown building where American music history was made, which is threatened by demolition to make room for, of all things, a Margaritaville Restaurant. All of which brings us to Sunday’s “Country Music Watch Party” at ASW Whiskey Exchange located in the Lee + White development along the West End Beltline. Sponsored by Save 152 Nassau, the event features live music by the Skillet Lickers, whose roots extend back four generations to the earliest years of the American recording industry in the 1920s, followed by the broadcast premiere of Country Music. A portion of sales during the evening’s festivities will benefit the Atlanta Music Project. ”Country Music Watch Party,” Free, Sun., Sep. 15. Music 6-8 p.m., screening of “Country Music” 8-10 p.m. ASW Whiskey Exchange, 1000 White St. Suite A, Atlanta GA 30310. 404-590-2279 Tinariwen at Variety Playhouse w/ Lonnie Holley Formed in 1979 while in exile in Algeria, Tinariwen is a band of Tuareg musicians from northern Mali who have been hailed worldwide for their superb musicianship; bluesy, mesmerizing electric guitar-driven sound; and powerful messaging, which celebrates the nomadic Tuareg culture. During a period of relative stability, Tinariwen returned to their homeland until 2012-13 when an uprising of Islamist extremists again made living in Mali a dangerously untenable proposition. Since then, Tinariwen has been touring and recording outside of the country, and sharing stages with Robert Plant, The Rolling Stones, Herbie Hancock and Carlos Santana. In 2012, Tinariwen was named Best Group in the Songlines Music Awards for their album Tassili, which also garnered a Grammy for Best World Music Album. Currently touring in support of their latest album, Amajdar, which dropped September 6, Tinariwen will perform at the Variety Playhouse on Monday, September 16, with Lonnie Holley opening. The following day, Tuesday, September 17, Tinariwen travel to Winston-Salem, North Carolina, for a gig at Ramkat, a local venue, also with Lonnie Holley as the opener. The concert caused a stir several weeks ago when a couple of sponsored Facebook posts announcing the show caught the attention of the usual assortment of bigots, racists and “patriots.” “Take the fucking towels off your god damn heads,” wrote one commenter. “Any true American will not support this bunch of trash,” chimed in another, followed by “Taliban rock?,” “Shootout at midnight?” etc., etc. ad nauseam. One of Ramkat’s owners quoted in the local press said the venue plans to hire extra security for the gig. There’s no limit to the many ways America is being made great again. Rhiannon Giddens with Francesco Turrisi: there is no Other tour: Rhiannon Giddens is a singular phenomenon. The classically trained, infinitely flexible, pellucidly clear voice; the virtuosic touch, whether on violin, viola or minstrel banjo; the imaginatively challenging choice of material; the unmistakable poise, strength and charisma; Giddens is one of the boldest, bravest, baddest musicians on planet Earth. Her latest album, there is no Other (Nonesuch), which dropped In May, features Giddens paired with Italian multi-instrumentalist Francesco Turrisi, the same duo that will be performing Friday, Sep. 20 at City Winery. Recorded with minimal fiddling and tweaking, the album includes original songs penned by Giddens; interpretations of traditional ballads, shanties and folk songs, such as Ola Belle Reed’s “I’m Gonna Write Me a Letter,” Oscar Brown, Jr’s “Brown Baby,” and “Pizzica di San Vito” (an Italian traditional); and “Black Swan,” the somber lullaby from Gian-Carlo Menotti’s opera, The Medium. With Giddens and Turrisi playing an array of acoustic instruments drawn from African, Arabic, European, and American cultures, there is no Other weaves a magnificent 12-track tapestry of contemplative space and otherworldly beauty. In January, I interviewed Giddens for Songlines, a world music magazine headquartered in London. The main focus of the interview was the album she had just finished, Songs of Our Native Daughters, for Smithsonian Folkways. When I asked her about upcoming projects, she mentioned there is no Other and the tour with Turrisi, which included a performance at Big Ears. “It’s a meditation on how all of these different sounds we play come together,” Giddens said. “We have this idea that world music is a recent phenomenon, but actually it’s a very old idea. The sounds of the frame drum and the minstrel banjo or a playing a trans-drum from Iran called the daf on an Appalachian ballad — all of these sorts of things work really well because they’re all coming from the same source.” “I’m so proud of the record; it’s really killer,” she continued. “It’s got accordion and piano and viola and violin, all of these different beautiful sounds from around the world that work together because we are, in fact, all together.” Rhiannon Giddens with Francesco Turrisi. $50-$60 {SOLD OUT). Friday, Sep. 20, 6 p.m-9 p.m. City Winery Atlanta, 650 North Avenue NE Ste. 201, Atlanta, Georgia 30308. 404-946-3791. 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LISTENING POST: Miles Davis and the ‘Birth of the Cool’ Culture, Movies and TV, Previews, Music and Nightlife
Thursday September 12, 2019 03:40 PM EDT
New documentary finds the trumpeter shadowboxing with himself
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Music Midtown 2019 Music and Nightlife, Festivals
Saturday September 14, 2019 12:00 PM EDT
Guide to the 2019 festival
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