ATLiens: The Atlanta United Podcast
CL's Atlanta United Podcast with Blake and Joe from ATLiens
Photo credit: Courtesy ATLiens United PC
Contents
CL has teamed up with Blake and Joe from the ATLiens Podcast to present all things Atlanta United - insights, game recaps, rumors, tailgating and places where Atlanta United fans hang out. Look for the ATLiens podcast on this page on the CL site, or check out Blake and Joe's site here every Thursday during the season along with occasional podcast during the off season. These episodes are available on SoundCloud, YouTube and anywhere you get your podcasts.
All Episodes
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ATLiens: Time to Party Article
Friday August 30, 2019 07:58 AM EDT
ATLiens Podcast Season 2 Episode 27
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ATLiens: O...F...Y...O...Again Article
Wednesday August 21, 2019 08:08 PM EDT
ATLiens Podcast Season 2 Episode 29
|
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ATLiens: Winner Winner Chicken Dinner Article
Friday August 16, 2019 06:33 AM EDT
ATLiens Podcast Season 2 Episode 25
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Atliens: Life without Villa Article
Thursday August 8, 2019 06:54 AM EDT
ATLiens Podcast Season 2 Episode 24
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ATLiens: FdB's House Article
Friday August 2, 2019 06:59 AM EDT
ATLiens Podcast Season 2 Episode 23
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ATLiens: West Coast Edition Article
Thursday July 25, 2019 07:04 AM EDT
ATLiens Podcast Season 2 Episode 22
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ATLiens: Taking Down the Capital Article
Sunday July 21, 2019 07:09 AM EDT
ATLiens Podcast Season 2 Episode 21
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ATLiens: How the West Was Won Article
Friday July 12, 2019 07:14 AM EDT
ATLiens Podcast Season 2 Episode 20
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ATLiens: Almost a Happy 4th Article
Thursday July 4, 2019 07:27 AM EDT
ATLiens Podcast Season 2 Episode 19
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ATLiens: What a Pity Article
Friday June 28, 2019 07:32 AM EDT
ATLiens Podcast Season 2 Episode 18
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ATLiens: All the Soccer Article
Thursday June 20, 2019 07:39 AM EDT
ATLiens Podcast Season 2 Episode 17
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ATLiens: Charleston Bound Article
Friday June 7, 2019 07:50 AM EDT
ATLiens Podcast Season 2 Episode 16
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ATLiens: The Atlanta United Podcast Article
Saturday June 1, 2019 07:36 PM EDT
CL's Atlanta United Podcast with Blake and Joe from ATLiens
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— Who says the art of the lyricist is dead? The Lyricist Lounge Sketch Show corrals a strong Atlanta-centric lineup featuring Boog Brown, 4-IZE, Headkrack, Dillon, Bodega Brovas, Dres tha Beatnik, Rasta Root, and more for a showcase of rhyme sketches. $10 (free w/ A3C pass). Wed., Oct. 5. The Earl.
— The Vinyl Junkies Clique (VJC) Reunion Los Angeles’ mid-’90s DJ crew has formed chapters in Atlanta, New York, Cincinnati, and Washington D.C. Rare is the occasion when they’re all in the same city together. P.U.D.G.E., Mista Rare Groove, SUM, Yamin Semali, D.T., Phoenix, and more show off their respective new shits and play songs from VJC’s 2005 CD, Strange Arrangement. $10 (free w/ A3C pass). Thurs. Oct. 6. 9 p.m. 529.
— It’s a damn shame that D4L co-founder Shawty Lo fell casualty to 2016’s war on artists. For this Shawty Lo tribute, Fabo, Mook B, Frontstreet, and more get “Geeked Up,” out of respect for their fallen homie. Young Dolph, Royce 5'9", and Rick Ross close the show. Fri., Oct. 7. 7 p.m. Festival Grounds.
— ATLiens 20th Anniversary Tribute Saturday’s 1996 show features performances by legacy acts Bone Thugs-N-Harmony, Bun B, Too $hort, and Redman. In the midst of it all, Mr. DJ and a live band host a parade of young artists paying homage to OutKast’s ATLiens. Nappy Roots, J-Live, Goldyard, Yani Mo, Jack Preston, and more grace the stage. Sat., Oct. 8. 2 p.m. Festival Grounds.
— Guinness Record Cypher Soul Food Cypher and MICXSIC’s Savage Fam PRO team up to smash the Guinness Book of World Records entry for Longest Freestyle Team Cypher. The record currently stands at 12 hours and 2 minutes. Atlanta’s foot soldiers are gunning for a full 24 hours. Reigning champ, Tampa-based Christian rapper KJ-52, joins at 7 a.m. After the record is broken the floor opens to the public, if they can keep the rhymes flowing. Sat. Oct. 8-Sun., Oct. 9. 3 p.m. Space 2.
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— Who says the art of the lyricist is dead? __[http://www.a3cfestival.com/schedule-shows?al3_page=details&al3_parentHost=http://www.a3cfestival.com&al3_event_id=795443|The Lyricist Lounge Sketch Show]__ corrals a strong Atlanta-centric lineup featuring Boog Brown, 4-IZE, Headkrack, Dillon, Bodega Brovas, Dres tha Beatnik, Rasta Root, and more for a showcase of rhyme sketches. ''$10 (free w/ A3C pass). Wed., Oct. 5. The Earl''.
—__ [https://www.facebook.com/events/2115727241986287/|The Vinyl Junkies Clique (VJC) Reunion]__ Los Angeles’ mid-’90s DJ crew has formed chapters in Atlanta, New York, Cincinnati, and Washington D.C. Rare is the occasion when they’re all in the same city together. P.U.D.G.E., Mista Rare Groove, SUM, Yamin Semali, D.T., Phoenix, and more show off their respective new shits and play songs from VJC’s 2005 CD, ''Strange Arrangement''. ''$10 (free w/ A3C pass). Thurs. Oct. 6. 9 p.m. 529''.
— It’s a damn shame that D4L co-founder Shawty Lo fell casualty to 2016’s war on artists. For this __[http://blog.a3cfestival.com/list/shawty-lo-tribute-show-added-to-festival-grounds-on-fri-oct-7|Shawty Lo tribute]__, Fabo, Mook B, Frontstreet, and more get “Geeked Up,” out of respect for their fallen homie. Young Dolph, Royce 5'9", and Rick Ross close the show. ''Fri., Oct. 7. 7 p.m. Festival Grounds''.
— __[http://blog.a3cfestival.com/list/nappy-roots-nick-grant-skyzoo-j-live-and-more-perform-atliens-tribute-show-a3c96|ATLiens 20th Anniversary Tribute]__ Saturday’s 1996 show features performances by legacy acts Bone Thugs-N-Harmony, Bun B, Too $hort, and Redman. In the midst of it all, Mr. DJ and a live band host a parade of young artists paying homage to OutKast’s ''ATLiens''. Nappy Roots, J-Live, Goldyard, Yani Mo, Jack Preston, and more grace the stage. ''Sat., Oct. 8. 2 p.m. Festival Grounds''.
— __[http://www.soulfoodcypher.com/home/2016/8/24/sfc-block-party-fundraiser|Guinness Record Cypher]__ Soul Food Cypher and MICXSIC’s Savage Fam PRO team up to smash the Guinness Book of World Records entry for Longest Freestyle Team Cypher. The record currently stands at 12 hours and 2 minutes. Atlanta’s foot soldiers are gunning for a full 24 hours. Reigning champ, Tampa-based Christian rapper KJ-52, joins at 7 a.m. After the record is broken the floor opens to the public, if they can keep the rhymes flowing. ''Sat. Oct. 8-Sun., Oct. 9. 3 p.m. Space 2''.
''[http://www.a3cfestival.com/attend|A3C Hip-Hop Festival & Conference ][http://www.a3cfestival.com/attend|$67-$499. Oct. 5-9. ][http://www.a3cfestival.com/attend|Multiple venues. ][http://www.a3cfestival.com/attend|www.a3cfestival.com.]''"
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string(3181) " The Difference Machine By Joseph Brown 1.57f25b5d821b3 2021-10-14T02:35:08+00:00 The_Difference_Machine_by_Joseph_Brown_1.57f25b5d821b3.png atliens a3c festival 1996 kj-52 micxsic savage fam pro shawty lo soul food cypher the difference machine vinyl junkies clique A3C 2016: A night-by-night top 5. Local artists shine when the annual hip-hop festival and conference returns Oct. 5-9 The Difference Machine By Joseph Brown 1.57f25b5d821b3 Events::Festivals - atlanta-festivals 2016-10-03T20:43:00+00:00 2016 A3C Festival and Conference ben.eason Ben Eason Chad Radford chad.radford (Chad Radford) 2016-10-03T20:43:00+00:00 Once again, the annual A3C Hip-Hop Festival & Conference is taking over Atlanta Oct. 5-9. If you want go where the locals go, and get a face full of the city’s underground talent, here’s a quick look at one event taking place each night.
— Who says the art of the lyricist is dead? The Lyricist Lounge Sketch Show corrals a strong Atlanta-centric lineup featuring Boog Brown, 4-IZE, Headkrack, Dillon, Bodega Brovas, Dres tha Beatnik, Rasta Root, and more for a showcase of rhyme sketches. $10 (free w/ A3C pass). Wed., Oct. 5. The Earl.
— The Vinyl Junkies Clique (VJC) Reunion Los Angeles’ mid-’90s DJ crew has formed chapters in Atlanta, New York, Cincinnati, and Washington D.C. Rare is the occasion when they’re all in the same city together. P.U.D.G.E., Mista Rare Groove, SUM, Yamin Semali, D.T., Phoenix, and more show off their respective new shits and play songs from VJC’s 2005 CD, Strange Arrangement. $10 (free w/ A3C pass). Thurs. Oct. 6. 9 p.m. 529.
— It’s a damn shame that D4L co-founder Shawty Lo fell casualty to 2016’s war on artists. For this Shawty Lo tribute, Fabo, Mook B, Frontstreet, and more get “Geeked Up,” out of respect for their fallen homie. Young Dolph, Royce 5'9", and Rick Ross close the show. Fri., Oct. 7. 7 p.m. Festival Grounds.
— ATLiens 20th Anniversary Tribute Saturday’s 1996 show features performances by legacy acts Bone Thugs-N-Harmony, Bun B, Too $hort, and Redman. In the midst of it all, Mr. DJ and a live band host a parade of young artists paying homage to OutKast’s ATLiens. Nappy Roots, J-Live, Goldyard, Yani Mo, Jack Preston, and more grace the stage. Sat., Oct. 8. 2 p.m. Festival Grounds.
— Guinness Record Cypher Soul Food Cypher and MICXSIC’s Savage Fam PRO team up to smash the Guinness Book of World Records entry for Longest Freestyle Team Cypher. The record currently stands at 12 hours and 2 minutes. Atlanta’s foot soldiers are gunning for a full 24 hours. Reigning champ, Tampa-based Christian rapper KJ-52, joins at 7 a.m. After the record is broken the floor opens to the public, if they can keep the rhymes flowing. Sat. Oct. 8-Sun., Oct. 9. 3 p.m. Space 2.
A3C Hip-Hop Festival & Conference $67-$499. Oct. 5-9. Multiple venues. www.a3cfestival.com. 0,0,10 a3c festival and conference "1996" "A3C Festival" "ATLiens" "KJ-52" "MICXSIC" "Savage Fam PRO" "Shawty Lo" "Soul Food Cypher" "The Difference Machine" "Vinyl Junkies Clique" 20835634 2016 A3C Festival and Conference "
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2016 A3C Festival and Conference Article
Monday October 3, 2016 04:43 PM EDT
A3C 2016: A night-by-night top 5. Local artists shine when the annual hip-hop festival and conference returns Oct. 5-9
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string(18783) " No value assignedDonald Glover already knows what you think about him. And he doesn’t blame you. Whether you be an ATLien who doesn’t quite approve of his Atlanta credentials or an arbiter of race who looks dubiously upon his representation of blackness. Nevertheless the Stone Mountain native, who moved to NYC and made a name for himself penning wit for the likes of Tina Fey on NBC’s “30 Rock” before scoring Grammy success via his rap alter-ego Childish Gambino, is poised to present the most authentic representation of post-trap Atlanta yet. How, might you ask, can I state this with such certainty? Because I’ve seen the future — which in this case means the first four episodes of his new FX series “Atlanta,” debuting 10 p.m. Tues., Sept. 6. While I admittedly harbored doubts of my own going into it (for a bit of both aforementioned reasons) the show is — how shall I put this — good AF, mane.Glover, the show’s executive producer and writer, also stars as Earnest “Earn” Marks, a hard-up Atlanta native and baby daddy working a bullshit job at Hartsfield-Jackson Airport. Earn lays his post-adolescent rap aspirations aside to manage his cousin, Alfred “Paper Boi” Miles (Brian Tyree Henry), a dope-boy-by-day on the cusp of his own hip-hop come-up. Together with Paper Boi’s spaced-out consigliere Darius (Keith Standfield), they make for a comical trio — to the chagrin of Earn’s baby mama Van (Zazie Beetz). But as Glover’s earliest description of the show suggests, this is Atlanta rap meets “Twin Peaks.” The surrealistic tone comes in dark, off-kilter doses that make the 25-minute episodes more dramedy than straight-up comedy. In the pilot episode, gunplay in a liquor store parking lot leads to Earn’s debut on the 11 o’clock news and more credibility to add to Paper Boi’s rap sheet.If that sounds a tad too close to home, it’s dead on. In early press for the show, Glover told the Television Critics Association he wanted “to show people what it’s like to be black.” Which, as he admits in our following convo, is an insurmountable task — partly because the black experience is neither monolithic nor easily conveyed. If anything, Glover’s own career is proof of that, as is the city of Atlanta.No value assignedFor 40 minutes, we chopped it up — covering his thoughts on the mythology that the city lacks identity (it definitely doesn’t if you’re black), FX’s doubts about him hiring a band of mostly unproven talent as writers for the show (he was just hiring his friends and family like any rapper would), and his concerns over Atlanta losing its soul to gentrification (trust him, it already has).So what, perchance, do I mean by using such a loaded word as authentic to describe the show? Well, its depiction of ATL’s underbelly seems as prone to piss off (and alternately counter) the city’s black middle class bona fides as it stands to contradict the gentrified narrative being sold by its new-money elite.While “Atlanta” is every bit as idiosyncratic, smart, funny, and honest as its creator, Glover’s hopes for the show, best summed up by his brother and show writer Stephen, are simpler: “He was like, ‘All we really need to do is make sure Atlanta fucks with it. Or at least talks about it,’” he says. “‘If they hate it, like, we’re gonna have a problem.’”Problem averted, bruh. Welcome home.No value assignedI feel like the show says everything I’ve been trying to explain to transplants and white people about Atlanta for the past decade.It’s hard, though, that’s the thing. I realized it’s impossible to do that. It really is. When I said at the Television Critics Association talk that I’m trying to make white people know what it feels like to be black, people took it out of context. I know that’s impossible, but the show kind of moves in real time. It’s a TV show so you can show stories developing and how things feel and the mix of things that are happening. It’s cool that you feel that way after the first four episodes because I think it gets better and better and the feelings get more specific.Since word of the show started to circulate in Atlanta people have expressed skepticism about what Donald Glover’s version of Atlanta might look like. Do you think people are gonna be surprised by how authentic it feels?Some people, probably (laughs). And that’s good. That’s OK. I’m never mad. We wanted to make a show that was punk. We wanted to make something that felt like it probably shouldn’t be on TV. That’s the stuff that made NWA hot, or even OutKast. It was like, “OK, this doesn’t belong here — which is kind of why I’m looking at it.”I’m cool with people feeling like I shouldn’t have the mouthpiece to talk about Atlanta. There’s people who speak on Atlanta that I really don’t feel should have that right. I’m sure there are some people who feel Drake should talk about Atlanta more than me. I don’t feel that way. It’s a perspective that’s specific and I also plan to explore everyone’s perspective. As a black man, I’m pretty good at giving my perspective, but a black woman’s experience in Atlanta is completely different from mine — extremely different. And a white dude’s experience in, like, Buckhead or going to Emory is probably completely different. That’s why it’s important to show how that kind of stuff intertwines. It’s all perspective.No value assignedI grew up in Decatur, Lithonia — Eastside, DeKalb County, like you. So did you regularly experience that validation check people from inside the city like to pull on each other — like, “Where you from? What high school did you go to?” — to determine whether or not you’re Atlanta enough?Yeah, I know, that’s a funny thing. When we first shot the pilot, we were over in the Bankhead area, in the projects to shoot a video there. It’s me and my brother and Hiro Murai, the director and five white guys in a white van. And when we stepped out to unload the camera equipment, some woman from a window screams. She’s like, “Crackers here!!” Screams it, right. And me and my brother are dying laughing. Kids come up to us and they’re like, “Where are you guys from?” And we said we’re from Stone Mountain. He went to Redan for a little bit, I went to Stone Mountain Middle and … Stephenson High and people were like, “Oh, cool.”That was the first time I was like, “Yo, those credentials speak volumes here.” It was the first time for me I could pull that card. See, I remember people talking about Zone 6 like it wasn’t anything. But now, its weird coming back to Atlanta. The area I grew up in — which is like Martin’s Crossing, close to Lithonia — is now super black. All the Jamaican spots are over there. It wasn’t quite like that when I was growing up. You can see how the city’s changed and gentrification’s pushed people over there. I met a black girl on the set and it made me laugh. She was like, “Where’d you grow up? I said, “Stone Mountain.” She was like, “Oh, DeKalb County? That’s dangerous.”What?I know, I was like, really? I think she was from Alpharetta or somewhere like that. I had never met a black girl from Alpharetta. But coming back, you do get checked. People look at me different than when I was growing up. No value assignedHave you ever felt the love from Atlanta?That’s a really good question. It’s weird. It’s a hard thing. Black people are always looking for some sense of control. It’s important to have some sorta control over your life and livelihood and who represents you. And I get it. I understand when black people are skeptical of me, but what I tried to show through the show is what’s fucked up is that we have to all figure this out in public in front of everybody. We’ve been fucked up by systems and people for a long time. And, you know, us being pitted against each other is kind of a language we speak now. And I get it. I understand it. But at the end of the day, we don’t get to control the forces that are really doing this to us. We don’t make those decisions.So, I’ve definitely felt the love from Atlanta when I do stuff, and I think black people in general are the most understanding, forgiving people, maybe in the world. I definitely felt the love but I also understand that people are skeptical and people want me to somehow show my black card. Like, I’m not special.There’s always been this idea of real Atlanta vs. what isn’t real. But what about this mythology that Atlanta has no identity or an identity crisis?Yeah, I know exactly what you’re saying. Even growing up, my parents were from New York and they’d go to Little Five Points and be like, “Oh this is trying to be the Village.” Atlanta feels kind of like new money to a lot of Northerners or people who aren’t from there. Like, “Oh they have money but they don’t have taste.” But I also feel like Atlanta is unique. It’s never gonna be any of those other places because of how money flows through there and the types of people who pass through there and why. Half the reason I wanted to do the show there is I don’t know any other place that has one dude for every four women, or the second largest gay population, or like Chick-fil-A, or all this old money that’s tied into religion.I don’t think it has an identity crisis, especially if you’re hanging out with black people all the time. If you’re hanging with a bunch of black people, there’s a very specific feeling. It’s super specific, to the point where it’s weird to me how Vice can still talk about the trap in 2015. That’s really interesting to me. That’s an entire mythology that people in Australia understand and know now. It’s kinda cool.No value assignedWhat is your take on how Atlanta’s been portrayed, especially on TV, over the last five years? I don’t have any hate for it. People don’t get upset about “Friends,” and say, “That’s not like New York.” That wasn’t the point of “Friends.” You could say the same thing for like B.A.P.S. or Atlanta “Housewives,” all that stuff. You really have to look at why people are making it and what audience they’re trying to get from that, their take on Atlanta and what they’re exploiting. Everything’s perspective.Most of the time they portray Atlanta depending on what they’re selling. I don’t think we were trying to sell anything with our show — other than a good show, so it might be different.All the writers are black, nearly all from Atlanta, and none beside yourself had previous writers’ room experience. Did FX look at you like you were crazy when you proposed that?I’m sure they looked at it like, “Yo, this dude’s just hiring all his buddies.” And yeah, that’s a valid fear. Especially coming from the hip-hop world, that’s usually what you do. You hire your buddies. “This is gonna be my manager, he’ll be like my bodyguard, he’ll be my weed dude” — ’cause then everybody gets paid. And that’s important. I’m not even gonna bullshit. It was important to me to get people paid, but I think one part of the black experience that’s always hard to get people to understand is we want to do stuff that’s qualified. I think my brother’s honestly a better writer than me. He’s never had a writing job before. Stephanie Robinson’s an amazing writer. I was just lucky enough to have people around that found her and she was qualified. She’s from Atlanta but she has a totally different perspective. She grew up in China and Atlanta. She used to babysit for Lil Jon, and babysat for Ludacris once. Swank Jamal Olori, writer and roommate of Glover’s brother Stephen, his family is African but he was born in Atlanta. Ibra Ake, who is a staff writer, was born in Nigeria and moved here as a kid. In this specific situation, I was like, “OK, you’re from Atlanta, you’re black, you’re qualified to write this stuff.” I really wanted to make sure that people were qualified. And also, you’ve gotta give people a chance. These people hadn’t been in writers’ rooms before. I had only been in a couple writers’ rooms. Being in a writers’ room is hard. I took the responsibility of knowing this is gonna be a lot of people’s first encounter so I didn’t want to do it in an office. I did it in my house where I was recording music and also doing the show. We called it the Factory. And we worked out of the Factory.They did look at me kinda crazy when I was like I want to hire all of my people I know and work out of my house. But I think it gave the show a specific feeling that you couldn’t get from just getting a bunch of writers with previous experience.No value assignedThe tone of the show is funny but it’s also kind of dark. The climax to the jail scene felt like it could’ve been “The Wire” for a second. Was it hard capturing that mix?I think when you’re black and growing up in Atlanta there’s a specific feeling of knowing shit might pop off and that’s just the way it is. That’s what life is, you accept it as the futility of your situation sometimes. You can laugh at it, you can cry at it, but at the end of the day that’s what it is. So we just tried to keep that feeling every time something would happen.Despite this being the black cultural capital there’s this one-dimensional stereotype about what a typical black person from Atlanta is. Did you set out to challenge that or broaden it in any way?I really didn’t. I just tried to sit down and show my friends — me and my friends. At least for this first season. I thought, “How do me and my friends react, how do we hang out?” That’s enough, honestly. With Alfred Paper Boi being a drug dealer, people were shocked that he didn’t live in the projects when we first started. I’m like, “Nah, he sells drugs, he has a nice place somewhat.” He lives in an apartment, but probably off of Howell Mill or some shit. You have to give people context on how people actually live. How drugs are like an actual economy, how strip clubs are an actual economy. You have to give layers to everything and I think that’s enough — rather than trying to create different types of people.We watched “Boondocks” a lot, which I really liked. And “Boondocks” does a good job of giving people layers, but they’re also all playing perspectives — like OK this character is a specific part of the black experience. Rather than do that, because they already did that so well, we decided to just show regular people and show how those philosophies mix.What would you say are some of your fondest memories of growing up here?Ahh, you know, skipping school and going to Underground. I lived by Stone Mountain so, as weird and racially awkward as the Laser Show can be, I have fond memories of seeing the Laser Show. I used to play basketball at the Stone Mountain Rec Center or the Gresham Park Rec Center in Decatur. I grew up in the Gresham Park area when I was younger and went to Gresham Park Elementary. It’s not even around anymore.No value assignedAre you worried about the city losing its soul as gentrification continues?I mean, it’s already, it’s just gonna happen. You can get sad about it or you can just understand how things work. All the major cities are going through it. In episode 2, when the guy’s talking to Earn and he’s got that really Atlanta dialect, that’s probably not going to be around in 15 years. People probably aren’t going to talk like that anymore, so part of it was like let’s capture this while it’s still around.Eventually a rapper from Toronto is gonna sound just like a rapper from Atlanta. Yeah, there’s Future, there’s still sounds that sound like Atlanta, but if that sound works people just take it, and I think that’s what we’re seeing. A lot of things are just being culturally mixed. I do think it’s going to change and it’s kind of up to Atlanta, the community there, to figure out how it’s going to change and what you want to keep.Race, class, inequality — all those themes play a major role in the show. But it’s funny because Atlanta’s always pretended to be beyond a lot of that stuff. There’s always been this rich black middle class yet at the same time this has been the income inequality capital for the last three years running.Atlanta’s a microcosm for America. In a weird way Atlanta’s almost the canary for other places. You can see what’s about to happen. One of the reasons we shot in Bankhead so much is we’re able to shoot in, like, a building that they started constructing and then stopped. Then across the street you have a gas station and other projects. They’re building the Mercedes-Benz Stadium right up the street. Everything is in close proximity in that area and that’s just kind of the culture clash.No value assignedHow supportive has the city been? Do big wigs have any idea what the show could mean for cultural capital?They’ve just been super supportive, everybody at the Georgia Film Commission. I couldn’t be thankful enough. What’s been really great is like when people see it they’re like, “Yo, that’s feels like Atlanta. People support it.” What was important to me was that people didn’t feel like we were coming in just to exploit Atlanta, which I feel like sometimes comes across in a lot of documentaries or films. I would rather people feel like they were telling a story with us. And if there’s a joke, I want you to laugh with us a little bit.HARD TO EARN: Donald Glover's character, Earnest Marks, could bring the actor/rapper a new level of hometown validation.Guy D’Alema/FX
Do you think “Atlanta” will change how people perceive Atlanta — both inside and outside the city?I think it might do that early on, but I hope as we do a good job it’ll just change how people feel about our experiences. That’s a big part of this show. I’m trying to show people our experiences are completely different. And sometimes you just have to take our word for it. There’s a reason that people’s reactions to “Black Lives Matter” was “All Lives Matter.” I don’t think it was an evil thing; they just literally can’t understand the context of it. They really can’t, because we’re kind of living two different worlds completely. And I think the closer we are to accepting that — and accepting why that even is — the closer we are to, like, helping each other, you know?
Interview condensed for space and clarity. Additional research by Adjoa Danso. "
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string(20198) " %{[ data-embed-type="image" data-embed-id="57c06b2535ab46bf5462e9fa" data-embed-element="span" data-embed-size="640w" contenteditable="false" ]}%Donald Glover already knows what you think about him. And he doesn’t blame you. Whether you be an ATLien who doesn’t quite approve of his Atlanta credentials or an arbiter of race who looks dubiously upon his representation of blackness. Nevertheless the Stone Mountain native, who moved to NYC and made a name for himself penning wit for the likes of Tina Fey on NBC’s “30 Rock” before scoring Grammy success via his rap alter-ego Childish Gambino, is poised to present the most authentic representation of post-trap Atlanta yet. How, might you ask, can I state this with such certainty? Because I’ve seen the future — which in this case means the first four episodes of his new FX series “Atlanta,” debuting 10 p.m. Tues., Sept. 6. While I admittedly harbored doubts of my own going into it (for a bit of both aforementioned reasons) the show is — how shall I put this — good AF, mane.Glover, the show’s executive producer and writer, also stars as Earnest “Earn” Marks, a hard-up Atlanta native and baby daddy working a bullshit job at Hartsfield-Jackson Airport. Earn lays his post-adolescent rap aspirations aside to manage his cousin, Alfred “Paper Boi” Miles (Brian Tyree Henry), a dope-boy-by-day on the cusp of his own hip-hop come-up. Together with Paper Boi’s spaced-out consigliere Darius (Keith Standfield), they make for a comical trio — to the chagrin of Earn’s baby mama Van (Zazie Beetz). But as Glover’s earliest description of the show suggests, this is Atlanta rap meets “Twin Peaks.” The surrealistic tone comes in dark, off-kilter doses that make the 25-minute episodes more dramedy than straight-up comedy. In the pilot episode, gunplay in a liquor store parking lot leads to Earn’s debut on the 11 o’clock news and more credibility to add to Paper Boi’s rap sheet.If that sounds a tad too close to home, it’s dead on. In early press for the show, Glover told the Television Critics Association he wanted “to show people what it’s like to be black.” Which, as he admits in our following convo, is an insurmountable task — partly because the black experience is neither monolithic nor easily conveyed. If anything, Glover’s own career is proof of that, as is the city of Atlanta.%{[ data-embed-type="image" data-embed-id="57c064c838ab46607d62ea55" data-embed-element="span" data-embed-size="640w" contenteditable="false" ]}%For 40 minutes, we chopped it up — covering his thoughts on the mythology that the city lacks identity (it definitely doesn’t if you’re black), FX’s doubts about him hiring a band of mostly unproven talent as writers for the show (he was just hiring his friends and family like any rapper would), and his concerns over Atlanta losing its soul to gentrification (trust him, it already has).So what, perchance, do I mean by using such a loaded word as authentic to describe the show? Well, its__ __depiction of ATL’s underbelly__ __seems__ __as prone to piss off (and alternately counter) the city’s black middle class bona fides as it stands to contradict the gentrified narrative being sold by its new-money elite.While “Atlanta” is every bit as idiosyncratic, smart, funny, and honest as its creator, Glover’s hopes for the show, best summed up by his brother and show writer Stephen, are simpler: “He was like, ‘All we really need to do is make sure Atlanta fucks with it. Or at least talks about it,’” he says. “‘If they hate it, like, we’re gonna have a problem.’”Problem averted, bruh. Welcome home.%{[ data-embed-type="image" data-embed-id="57c065e136ab46a84762e99f" data-embed-element="span" data-embed-size="640w" contenteditable="false" ]}%__I feel like the show says everything I’ve been trying to explain to transplants and white people about Atlanta for the past decade.__It’s hard, though, that’s the thing. I realized it’s impossible to do that. It really is. When I said at the Television Critics Association talk that__ __I’m trying to make white people know what it feels like to be black, people took it out of context. I know that’s impossible, but the show kind of moves in real time. It’s a TV show so you can show stories developing and how things feel and the mix of things that are happening. It’s cool that you__ __feel that way after the first four episodes because I think it gets better and better and the feelings get more specific.__Since word of the show started to circulate in Atlanta people have expressed skepticism about what Donald Glover’s version of Atlanta might look like. Do you think people are gonna be surprised by how authentic it feels?__Some people, probably (laughs). And that’s good. That’s OK. I’m never mad. We wanted to make a show that was punk. We wanted to make something that felt like it probably shouldn’t be on TV. That’s the stuff that made NWA hot, or even OutKast. It was like, “OK, this doesn’t belong here — which is kind of why I’m looking at it.”I’m cool with people feeling like I shouldn’t have the mouthpiece to talk about Atlanta. There’s people who speak on Atlanta that I really don’t feel should have that [right]. I’m sure there are some people who feel Drake should talk about Atlanta more than me. I don’t feel that way. It’s a perspective that’s specific and I also plan to explore everyone’s perspective. As a black man, I’m pretty good at giving my perspective, but a black woman’s experience in Atlanta is completely different from mine — extremely different. And a white dude’s experience in, like, Buckhead [or] going to Emory is probably completely different. That’s why it’s important to show how that kind of stuff intertwines. It’s all perspective.%{[ data-embed-type="image" data-embed-id="57c0662435ab46c83362e9b7" data-embed-element="span" data-embed-size="640w" contenteditable="false" ]}%__I grew up in Decatur, Lithonia — Eastside, DeKalb County, like you. So did you regularly experience that validation check people from inside the city like to pull on each other — like, “Where you from? What high school did you go to?” — to determine whether or not you’re Atlanta enough?__Yeah, I know, that’s a funny thing. When we first shot the pilot, we were over in the Bankhead area, in the projects to shoot a video there. It’s me and my brother and Hiro [Murai, the director] and five white guys in a white van. And when we stepped out to unload the camera equipment, some woman from a window screams. She’s like, “Crackers here!!” Screams it, right. And me and my brother are dying laughing. Kids come up to us and they’re like, “Where are you guys from?” And we said we’re from Stone Mountain. He went to Redan for a little bit, I went to Stone Mountain Middle and … Stephenson High and people were like, “Oh, cool.”That was the first time I was like, “Yo, those credentials speak volumes here.” It was the first time for me I could pull that card. See, I remember people talking about Zone 6 like it wasn’t anything. But now, its weird coming back to Atlanta. The area I grew up in — which is like Martin’s Crossing, close to Lithonia — is now super black. All the Jamaican spots are over there. It wasn’t quite like that when I was growing up. You can see how the city’s changed and gentrification’s pushed people over there. I met a black girl on the set and it made me laugh. She was like, “Where’d you grow up? I said, “Stone Mountain.” She was like, “Oh, DeKalb County? That’s dangerous.”__What?__I know, I was like, really? I think she was from Alpharetta or somewhere like that. I had never met a black girl from Alpharetta. But coming back, you do get checked. People look at me different than when I was growing up. %{[ data-embed-type="image" data-embed-id="57c0667d39ab46a04b62e9b3" data-embed-element="span" data-embed-size="640w" contenteditable="false" ]}%__Have you ever felt the love from Atlanta?__That’s a really good question. It’s weird. It’s a hard thing. Black people are always looking for some sense of control. It’s important to have some sorta control over your life and livelihood and who represents you. And I get it. I understand when black people are skeptical of me, but what I tried to show through the show is what’s fucked up is that we have to all figure this out in public in front of everybody. We’ve been fucked up by systems and people for a long time. And, you know, us being pitted against each other is kind of a language we speak now. And I get it. I understand it. But at the end of the day, we don’t get to control the forces that are really doing this to us. We don’t make those decisions.So, I’ve definitely felt the love from Atlanta when I do stuff, and I think black people in general are the most understanding, forgiving people, maybe in the world. I definitely felt the love but I also understand that people are skeptical and people want me to somehow show my black card. Like, I’m not special.__There’s always been this idea of real Atlanta vs. what isn’t real. But what about this mythology that Atlanta has no identity or an identity crisis?__Yeah, I know exactly what you’re saying. Even growing up, my parents were from New York and they’d go to Little Five Points and be like, “Oh this is trying to be the Village.” Atlanta feels kind of like new money to a lot of Northerners or people who aren’t from there. Like, “Oh they have money but they don’t have taste.” But I also feel like Atlanta is unique. It’s never gonna be any of those other places because of how money flows through there and the types of people who pass through there and why. Half the reason I wanted to do the show there is I don’t know any other place that has one dude for every four women, or the second largest gay population, or like Chick-fil-A, or all this old money that’s tied into religion.I don’t think it has an identity crisis, especially if you’re hanging out with black people all the time. If you’re hanging with a bunch of black people, there’s a very specific feeling. It’s super specific, to the point where it’s weird to me how ''Vice'' can still talk about the trap in 2015. That’s really interesting to me. That’s an entire mythology that people in Australia understand and know now. It’s kinda cool.%{[ data-embed-type="image" data-embed-id="57c0665635ab46743662e997" data-embed-element="span" data-embed-size="640w" contenteditable="false" ]}%__What is your take on how Atlanta’s been portrayed, especially on TV, over the last five years?__ I don’t have any hate for it. People don’t get upset about “Friends,” and say, “That’s not like New York.” That wasn’t the point of “Friends.” You could say the same thing for like ''B.A.P.S.'' or Atlanta “Housewives,” all that stuff. You really have to look at why people are making it and what audience they’re trying to get from that, their take on Atlanta and what they’re exploiting. Everything’s perspective.Most of the time they [portray]__ __Atlanta depending on what they’re selling. I don’t think we were trying to sell anything with our show — other than a good show, so it might be different.__All the writers are black, nearly all from Atlanta, and none beside yourself had previous writers’ room experience. Did FX look at you like you were crazy when you proposed that?__I’m sure they looked at it like, “Yo, this dude’s just hiring all his buddies.” And yeah, that’s a valid fear. Especially coming from the hip-hop world, that’s usually what you do. You hire your buddies. “This is gonna be my manager, he’ll be like my bodyguard, he’ll be my weed dude” — ’cause then everybody gets paid. And that’s important. I’m not even gonna bullshit. It was important to me to get people paid, but I think one part of the black experience that’s always hard to get people to understand is we want to do stuff that’s qualified. I think my brother’s honestly a better writer than me. He’s never had a writing job before. Stephanie [Robinson]’s an amazing writer. I was just lucky enough to have people around that found her and she was qualified. She’s from Atlanta but she has a totally different perspective. She grew up in China and Atlanta. She used to babysit for Lil Jon, and babysat for Ludacris once. Swank [Jamal Olori, writer and roommate of Glover’s brother Stephen], his family is African but he was born in Atlanta.__ __Ibra Ake, who is a staff writer, was born in Nigeria and moved here as a kid. In this specific situation, I was like, “OK, you’re from Atlanta, you’re black, you’re qualified to write this stuff.” I really wanted to make sure that people were qualified. And also, you’ve gotta give people a chance. [These] people hadn’t been in writers’ rooms before. I had only been in a couple writers’ rooms. Being in a writers’ room is hard. I took the responsibility of knowing this is gonna be a lot of people’s first encounter so I didn’t want to do it in an office. I did it in my house where I was recording music and also doing the show. We called it the Factory. And we worked out of the Factory.They did look at me kinda crazy when I was like I want to hire all of my people I know and work out of my house. But I think it gave the show a specific feeling that you couldn’t get from just getting a bunch of writers with previous experience.%{[ data-embed-type="image" data-embed-id="57c066a038ab46841462e99b" data-embed-element="span" data-embed-size="640w" contenteditable="false" ]}%__The tone of the show is funny but it’s also kind of dark. The climax to the jail scene felt like it could’ve been “The Wire” for a second. Was it hard capturing that mix?__I think when you’re black and growing up in Atlanta there’s a specific feeling of knowing shit might pop off and that’s just the way it is. That’s what life is, you accept it as the futility of your situation sometimes. You can laugh at it, you can cry at it, but at the end of the day that’s what it is. So we just tried to keep that feeling every time something would happen.__Despite this being the black cultural capital there’s this one-dimensional stereotype about what a typical black person from Atlanta is. Did you set out to challenge that or broaden it in any way?__I really didn’t. I just tried to sit down and show my friends — me and my friends. At least for this first season. I thought,__ __“How do me and my friends react, how do we hang out?” That’s enough, honestly. With Alfred [Paper Boi] being a drug dealer, people were shocked that he didn’t live in the projects when we first started. I’m like, “Nah, he sells drugs, he has a nice place somewhat.” He lives in an apartment, but probably off of Howell Mill or some shit. You have to give people context on how people actually live. How drugs are like an actual economy, how strip clubs are an actual economy. You have to give layers to everything and I think that’s enough — rather than trying to create different types of people.We watched “Boondocks” a lot, which I really liked. And “Boondocks” does a good job of giving people layers, but they’re also all playing perspectives — like OK this [character] is a specific part of the black experience. Rather than do that, because they already did that so well, we decided to just show regular people and show how those philosophies mix.__What would you say are some of your fondest memories of growing up here?__Ahh, you know, skipping school and going to Underground. I lived by Stone Mountain so, as weird and racially awkward as the Laser Show can be, I have fond memories of seeing the Laser Show. I used to play basketball at the Stone Mountain Rec Center or the Gresham Park Rec Center [in Decatur]. I grew up in the Gresham Park area when I was younger and went to Gresham Park Elementary. It’s not even around anymore.%{[ data-embed-type="image" data-embed-id="57c065b735ab46d33262e987" data-embed-element="span" data-embed-size="640w" contenteditable="false" ]}%__Are you worried about the city losing its soul as gentrification continues?__I mean, it’s already, it’s just gonna happen. You can get sad about it or you can just understand how things work. All the major cities are going through it. In episode 2, when the guy’s talking to Earn and he’s got that really Atlanta dialect, that’s probably not going to be around in 15 years. People probably aren’t going to talk like that anymore, so part of it was like let’s capture this while it’s still around.Eventually a rapper from Toronto is gonna sound just like a rapper from Atlanta. Yeah, there’s Future, there’s still sounds that sound like Atlanta, but if that sound works people just take it, and I think that’s what we’re seeing. A lot of things are just being culturally mixed. I do think it’s going to change and it’s kind of up to Atlanta, the community there, to figure out how it’s going to change and what you want to keep.__Race, class, inequality — all those themes play a major role in the show. But it’s funny because Atlanta’s always pretended to be beyond a lot of that stuff. There’s always been this rich black middle class yet at the same time this has been the income inequality capital for the last three years running.__Atlanta’s a microcosm for America. In a weird way Atlanta’s almost the canary for other places. You can see what’s about to happen. One of the reasons we shot in Bankhead so much is we’re able to shoot in, like, a building that they started constructing and then stopped. Then across the street you have a gas station and other projects. They’re building the [Mercedes-Benz] Stadium right up the street. Everything is in close proximity in that area and that’s just kind of the culture clash.%{[ data-embed-type="image" data-embed-id="57c0657c35ab46882c62e9f5" data-embed-element="span" data-embed-size="640w" contenteditable="false" ]}%__How supportive has the city been? Do big wigs have any idea what the show could mean for cultural capital?__They’ve just been super supportive, everybody at the Georgia Film Commission. I couldn’t be thankful enough. What’s been really great is like when people see it they’re like, “Yo, that’s feels like Atlanta. People support it.” What was important to me was that people didn’t feel like we were coming in just to exploit Atlanta, which I feel like sometimes comes across in a lot of documentaries or films. I would rather people feel like they were telling a story with us. And if there’s a joke, I want you to laugh with us a little bit.{img src="//media.baseplatform.io/files/base/scomm/clatl/image/2016/08/640w/cover_DonaldGlover1_11_19.57c06b31ea7e7.png"}HARD TO EARN: Donald Glover's character, Earnest Marks, could bring the actor/rapper a new level of hometown validation.Guy D’Alema/FX
~hc~]}%~/hc~
__Do you think “Atlanta” will change how people perceive Atlanta — both inside and outside the city?__I think it might do that early on, but I hope as we do a good job it’ll just change how people feel about our experiences. That’s a big part of this show. I’m trying to show people our experiences are completely different. And sometimes you just have to take our word for it. There’s a reason that people’s reactions to “Black Lives Matter” was “All Lives Matter.” I don’t think it was an evil thing; they just literally can’t understand the context of it. They really can’t, because we’re kind of living two different worlds completely. And I think the closer we are to accepting that — and accepting why that even is — the closer we are to, like, helping each other, you know? '' ''
''Interview condensed for space and clarity. Additional research by Adjoa Danso. ''"
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string(19458) " stone mountain atliens lithonia race bankhead gentrification childish gambino blackness fx donald glover, identity crisis media representation natives All we really need to do is make sure Atlanta fucks with it' 2016-08-29T20:30:00+00:00 Donald Glover's real rap on 'Atlanta' Rodney Carmichael 2016-08-29T20:30:00+00:00 No value assignedDonald Glover already knows what you think about him. And he doesn’t blame you. Whether you be an ATLien who doesn’t quite approve of his Atlanta credentials or an arbiter of race who looks dubiously upon his representation of blackness. Nevertheless the Stone Mountain native, who moved to NYC and made a name for himself penning wit for the likes of Tina Fey on NBC’s “30 Rock” before scoring Grammy success via his rap alter-ego Childish Gambino, is poised to present the most authentic representation of post-trap Atlanta yet. How, might you ask, can I state this with such certainty? Because I’ve seen the future — which in this case means the first four episodes of his new FX series “Atlanta,” debuting 10 p.m. Tues., Sept. 6. While I admittedly harbored doubts of my own going into it (for a bit of both aforementioned reasons) the show is — how shall I put this — good AF, mane.Glover, the show’s executive producer and writer, also stars as Earnest “Earn” Marks, a hard-up Atlanta native and baby daddy working a bullshit job at Hartsfield-Jackson Airport. Earn lays his post-adolescent rap aspirations aside to manage his cousin, Alfred “Paper Boi” Miles (Brian Tyree Henry), a dope-boy-by-day on the cusp of his own hip-hop come-up. Together with Paper Boi’s spaced-out consigliere Darius (Keith Standfield), they make for a comical trio — to the chagrin of Earn’s baby mama Van (Zazie Beetz). But as Glover’s earliest description of the show suggests, this is Atlanta rap meets “Twin Peaks.” The surrealistic tone comes in dark, off-kilter doses that make the 25-minute episodes more dramedy than straight-up comedy. In the pilot episode, gunplay in a liquor store parking lot leads to Earn’s debut on the 11 o’clock news and more credibility to add to Paper Boi’s rap sheet.If that sounds a tad too close to home, it’s dead on. In early press for the show, Glover told the Television Critics Association he wanted “to show people what it’s like to be black.” Which, as he admits in our following convo, is an insurmountable task — partly because the black experience is neither monolithic nor easily conveyed. If anything, Glover’s own career is proof of that, as is the city of Atlanta.No value assignedFor 40 minutes, we chopped it up — covering his thoughts on the mythology that the city lacks identity (it definitely doesn’t if you’re black), FX’s doubts about him hiring a band of mostly unproven talent as writers for the show (he was just hiring his friends and family like any rapper would), and his concerns over Atlanta losing its soul to gentrification (trust him, it already has).So what, perchance, do I mean by using such a loaded word as authentic to describe the show? Well, its depiction of ATL’s underbelly seems as prone to piss off (and alternately counter) the city’s black middle class bona fides as it stands to contradict the gentrified narrative being sold by its new-money elite.While “Atlanta” is every bit as idiosyncratic, smart, funny, and honest as its creator, Glover’s hopes for the show, best summed up by his brother and show writer Stephen, are simpler: “He was like, ‘All we really need to do is make sure Atlanta fucks with it. Or at least talks about it,’” he says. “‘If they hate it, like, we’re gonna have a problem.’”Problem averted, bruh. Welcome home.No value assignedI feel like the show says everything I’ve been trying to explain to transplants and white people about Atlanta for the past decade.It’s hard, though, that’s the thing. I realized it’s impossible to do that. It really is. When I said at the Television Critics Association talk that I’m trying to make white people know what it feels like to be black, people took it out of context. I know that’s impossible, but the show kind of moves in real time. It’s a TV show so you can show stories developing and how things feel and the mix of things that are happening. It’s cool that you feel that way after the first four episodes because I think it gets better and better and the feelings get more specific.Since word of the show started to circulate in Atlanta people have expressed skepticism about what Donald Glover’s version of Atlanta might look like. Do you think people are gonna be surprised by how authentic it feels?Some people, probably (laughs). And that’s good. That’s OK. I’m never mad. We wanted to make a show that was punk. We wanted to make something that felt like it probably shouldn’t be on TV. That’s the stuff that made NWA hot, or even OutKast. It was like, “OK, this doesn’t belong here — which is kind of why I’m looking at it.”I’m cool with people feeling like I shouldn’t have the mouthpiece to talk about Atlanta. There’s people who speak on Atlanta that I really don’t feel should have that right. I’m sure there are some people who feel Drake should talk about Atlanta more than me. I don’t feel that way. It’s a perspective that’s specific and I also plan to explore everyone’s perspective. As a black man, I’m pretty good at giving my perspective, but a black woman’s experience in Atlanta is completely different from mine — extremely different. And a white dude’s experience in, like, Buckhead or going to Emory is probably completely different. That’s why it’s important to show how that kind of stuff intertwines. It’s all perspective.No value assignedI grew up in Decatur, Lithonia — Eastside, DeKalb County, like you. So did you regularly experience that validation check people from inside the city like to pull on each other — like, “Where you from? What high school did you go to?” — to determine whether or not you’re Atlanta enough?Yeah, I know, that’s a funny thing. When we first shot the pilot, we were over in the Bankhead area, in the projects to shoot a video there. It’s me and my brother and Hiro Murai, the director and five white guys in a white van. And when we stepped out to unload the camera equipment, some woman from a window screams. She’s like, “Crackers here!!” Screams it, right. And me and my brother are dying laughing. Kids come up to us and they’re like, “Where are you guys from?” And we said we’re from Stone Mountain. He went to Redan for a little bit, I went to Stone Mountain Middle and … Stephenson High and people were like, “Oh, cool.”That was the first time I was like, “Yo, those credentials speak volumes here.” It was the first time for me I could pull that card. See, I remember people talking about Zone 6 like it wasn’t anything. But now, its weird coming back to Atlanta. The area I grew up in — which is like Martin’s Crossing, close to Lithonia — is now super black. All the Jamaican spots are over there. It wasn’t quite like that when I was growing up. You can see how the city’s changed and gentrification’s pushed people over there. I met a black girl on the set and it made me laugh. She was like, “Where’d you grow up? I said, “Stone Mountain.” She was like, “Oh, DeKalb County? That’s dangerous.”What?I know, I was like, really? I think she was from Alpharetta or somewhere like that. I had never met a black girl from Alpharetta. But coming back, you do get checked. People look at me different than when I was growing up. No value assignedHave you ever felt the love from Atlanta?That’s a really good question. It’s weird. It’s a hard thing. Black people are always looking for some sense of control. It’s important to have some sorta control over your life and livelihood and who represents you. And I get it. I understand when black people are skeptical of me, but what I tried to show through the show is what’s fucked up is that we have to all figure this out in public in front of everybody. We’ve been fucked up by systems and people for a long time. And, you know, us being pitted against each other is kind of a language we speak now. And I get it. I understand it. But at the end of the day, we don’t get to control the forces that are really doing this to us. We don’t make those decisions.So, I’ve definitely felt the love from Atlanta when I do stuff, and I think black people in general are the most understanding, forgiving people, maybe in the world. I definitely felt the love but I also understand that people are skeptical and people want me to somehow show my black card. Like, I’m not special.There’s always been this idea of real Atlanta vs. what isn’t real. But what about this mythology that Atlanta has no identity or an identity crisis?Yeah, I know exactly what you’re saying. Even growing up, my parents were from New York and they’d go to Little Five Points and be like, “Oh this is trying to be the Village.” Atlanta feels kind of like new money to a lot of Northerners or people who aren’t from there. Like, “Oh they have money but they don’t have taste.” But I also feel like Atlanta is unique. It’s never gonna be any of those other places because of how money flows through there and the types of people who pass through there and why. Half the reason I wanted to do the show there is I don’t know any other place that has one dude for every four women, or the second largest gay population, or like Chick-fil-A, or all this old money that’s tied into religion.I don’t think it has an identity crisis, especially if you’re hanging out with black people all the time. If you’re hanging with a bunch of black people, there’s a very specific feeling. It’s super specific, to the point where it’s weird to me how Vice can still talk about the trap in 2015. That’s really interesting to me. That’s an entire mythology that people in Australia understand and know now. It’s kinda cool.No value assignedWhat is your take on how Atlanta’s been portrayed, especially on TV, over the last five years? I don’t have any hate for it. People don’t get upset about “Friends,” and say, “That’s not like New York.” That wasn’t the point of “Friends.” You could say the same thing for like B.A.P.S. or Atlanta “Housewives,” all that stuff. You really have to look at why people are making it and what audience they’re trying to get from that, their take on Atlanta and what they’re exploiting. Everything’s perspective.Most of the time they portray Atlanta depending on what they’re selling. I don’t think we were trying to sell anything with our show — other than a good show, so it might be different.All the writers are black, nearly all from Atlanta, and none beside yourself had previous writers’ room experience. Did FX look at you like you were crazy when you proposed that?I’m sure they looked at it like, “Yo, this dude’s just hiring all his buddies.” And yeah, that’s a valid fear. Especially coming from the hip-hop world, that’s usually what you do. You hire your buddies. “This is gonna be my manager, he’ll be like my bodyguard, he’ll be my weed dude” — ’cause then everybody gets paid. And that’s important. I’m not even gonna bullshit. It was important to me to get people paid, but I think one part of the black experience that’s always hard to get people to understand is we want to do stuff that’s qualified. I think my brother’s honestly a better writer than me. He’s never had a writing job before. Stephanie Robinson’s an amazing writer. I was just lucky enough to have people around that found her and she was qualified. She’s from Atlanta but she has a totally different perspective. She grew up in China and Atlanta. She used to babysit for Lil Jon, and babysat for Ludacris once. Swank Jamal Olori, writer and roommate of Glover’s brother Stephen, his family is African but he was born in Atlanta. Ibra Ake, who is a staff writer, was born in Nigeria and moved here as a kid. In this specific situation, I was like, “OK, you’re from Atlanta, you’re black, you’re qualified to write this stuff.” I really wanted to make sure that people were qualified. And also, you’ve gotta give people a chance. These people hadn’t been in writers’ rooms before. I had only been in a couple writers’ rooms. Being in a writers’ room is hard. I took the responsibility of knowing this is gonna be a lot of people’s first encounter so I didn’t want to do it in an office. I did it in my house where I was recording music and also doing the show. We called it the Factory. And we worked out of the Factory.They did look at me kinda crazy when I was like I want to hire all of my people I know and work out of my house. But I think it gave the show a specific feeling that you couldn’t get from just getting a bunch of writers with previous experience.No value assignedThe tone of the show is funny but it’s also kind of dark. The climax to the jail scene felt like it could’ve been “The Wire” for a second. Was it hard capturing that mix?I think when you’re black and growing up in Atlanta there’s a specific feeling of knowing shit might pop off and that’s just the way it is. That’s what life is, you accept it as the futility of your situation sometimes. You can laugh at it, you can cry at it, but at the end of the day that’s what it is. So we just tried to keep that feeling every time something would happen.Despite this being the black cultural capital there’s this one-dimensional stereotype about what a typical black person from Atlanta is. Did you set out to challenge that or broaden it in any way?I really didn’t. I just tried to sit down and show my friends — me and my friends. At least for this first season. I thought, “How do me and my friends react, how do we hang out?” That’s enough, honestly. With Alfred Paper Boi being a drug dealer, people were shocked that he didn’t live in the projects when we first started. I’m like, “Nah, he sells drugs, he has a nice place somewhat.” He lives in an apartment, but probably off of Howell Mill or some shit. You have to give people context on how people actually live. How drugs are like an actual economy, how strip clubs are an actual economy. You have to give layers to everything and I think that’s enough — rather than trying to create different types of people.We watched “Boondocks” a lot, which I really liked. And “Boondocks” does a good job of giving people layers, but they’re also all playing perspectives — like OK this character is a specific part of the black experience. Rather than do that, because they already did that so well, we decided to just show regular people and show how those philosophies mix.What would you say are some of your fondest memories of growing up here?Ahh, you know, skipping school and going to Underground. I lived by Stone Mountain so, as weird and racially awkward as the Laser Show can be, I have fond memories of seeing the Laser Show. I used to play basketball at the Stone Mountain Rec Center or the Gresham Park Rec Center in Decatur. I grew up in the Gresham Park area when I was younger and went to Gresham Park Elementary. It’s not even around anymore.No value assignedAre you worried about the city losing its soul as gentrification continues?I mean, it’s already, it’s just gonna happen. You can get sad about it or you can just understand how things work. All the major cities are going through it. In episode 2, when the guy’s talking to Earn and he’s got that really Atlanta dialect, that’s probably not going to be around in 15 years. People probably aren’t going to talk like that anymore, so part of it was like let’s capture this while it’s still around.Eventually a rapper from Toronto is gonna sound just like a rapper from Atlanta. Yeah, there’s Future, there’s still sounds that sound like Atlanta, but if that sound works people just take it, and I think that’s what we’re seeing. A lot of things are just being culturally mixed. I do think it’s going to change and it’s kind of up to Atlanta, the community there, to figure out how it’s going to change and what you want to keep.Race, class, inequality — all those themes play a major role in the show. But it’s funny because Atlanta’s always pretended to be beyond a lot of that stuff. There’s always been this rich black middle class yet at the same time this has been the income inequality capital for the last three years running.Atlanta’s a microcosm for America. In a weird way Atlanta’s almost the canary for other places. You can see what’s about to happen. One of the reasons we shot in Bankhead so much is we’re able to shoot in, like, a building that they started constructing and then stopped. Then across the street you have a gas station and other projects. They’re building the Mercedes-Benz Stadium right up the street. Everything is in close proximity in that area and that’s just kind of the culture clash.No value assignedHow supportive has the city been? Do big wigs have any idea what the show could mean for cultural capital?They’ve just been super supportive, everybody at the Georgia Film Commission. I couldn’t be thankful enough. What’s been really great is like when people see it they’re like, “Yo, that’s feels like Atlanta. People support it.” What was important to me was that people didn’t feel like we were coming in just to exploit Atlanta, which I feel like sometimes comes across in a lot of documentaries or films. I would rather people feel like they were telling a story with us. And if there’s a joke, I want you to laugh with us a little bit.HARD TO EARN: Donald Glover's character, Earnest Marks, could bring the actor/rapper a new level of hometown validation.Guy D’Alema/FX
Do you think “Atlanta” will change how people perceive Atlanta — both inside and outside the city?I think it might do that early on, but I hope as we do a good job it’ll just change how people feel about our experiences. That’s a big part of this show. I’m trying to show people our experiences are completely different. And sometimes you just have to take our word for it. There’s a reason that people’s reactions to “Black Lives Matter” was “All Lives Matter.” I don’t think it was an evil thing; they just literally can’t understand the context of it. They really can’t, because we’re kind of living two different worlds completely. And I think the closer we are to accepting that — and accepting why that even is — the closer we are to, like, helping each other, you know?
Interview condensed for space and clarity. Additional research by Adjoa Danso. "ATLiens" "Bankhead" "Childish Gambino" "Donald Glover," "FX" "Lithonia" "Stone Mountain" "blackness" "gentrification" "identity crisis" "media representation" "natives" "race" 20831904 http://dev.creativeloafing.com/image/2016/08/cover_DonaldGlover1_10_19.57c06b1f07826.png Donald Glover's real rap on 'Atlanta' "
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Donald Glover's real rap on 'Atlanta' Article
Monday August 29, 2016 04:30 PM EDT
All we really need to do is make sure Atlanta fucks with it'
|
more...
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Looking for a good place to ring in 2015? Here's a quick round up of the best shows going on around Atlanta.
Kishi Bashi, Roger Sellers, Red Sea. $20-$25. 9:30 p.m. @ Center Stage
Warehouse, TV Dinner, Valentina Tapia, Breathers, and DJ No Daddy. $5. 9 p.m. @ 529
ill.Gates, Daily Bread, the Morkestra. $22. 9 p.m. @ Aisle 5
jump
Bling in the New Year with Cousin Dan and Sealions. $10. 10 p.m. @ The Drunken Unicorn
Hey Alligator, DJ Black Amigo, Ryan Baker, K Ryder (open bar). $45. 10 p.m. @ the Music Room
The Isley Brothers, Morris Day, Mint Condition, Jeffrey Osbourne, and Dru Hill play the "Affordable Old School Music Fest." $25. 8 p.m. Philips Arena
The Mammal Gallery's 2nd annual NYE Musician Mashup. $5. 8 p.m. @ The Mammal Gallery
Shampoo, Twin Studies, Cinema Novo. Free. 10 p.m. @ Mojo Pizza
Biters, Dinos Boys, Ravagers, MammaBear, DJ Adrian Barrera. $10. 9 p.m. @ the Earl
4th Ward Afro-Klezmer Orchestra. Free. 8 p.m. @ Pallookaville Fine Foods
Gringo Star, Andrew and the Disapyramids, Black Linen, and more. $10. 8 p.m. @ the Star Bar
Futurebirds, Blank Range, and Water Liars. $26-$31. 9 p.m. @ the Buckhead Theatre
[https://www.ticketfly.com/purchase/event/738887/tfly?utma=1.1954313963.1419291216.1419783854.1419783866.5&utmb=1.2.10.1419783866&utmc=1&utmx=-&utmz=1.1419783866.5.5.utmcsr=google|utmccn=(organic)|utmcmd=organic|utmctr=(not provided)&utmv=-&__utmk=81826838|BT and more play Kingdom Rave NYE. $35-$45. 9 p.m. @ Quad @ Spring4th Complex]
Iris NYE Party with 12th Planet, MK Ultra, Eddie Gold, Ployd, Stranger Candy, Ra, Loud Cloud, ATLiens, Ralph & Louie. $20-$40. 9 p.m. @Iris aka Rush Lounge
The Swinging Richards, Buck o Five. $10-$15. 8 p.m. Smith's Olde Bar (The Music Room)
The Backyard Birds. $10. 8 p.m. Smith's Olde Bar (The Atlanta Room)
Keep On Movin' Dance party w/ DJ Jacob Jones. $10. 8 p.m. @ the Basement
Speakeasy New Years Eve Party and Xmas Tree Fire w/ Deku, the Morkestra, DT, Boog Brown, JP Villa, and more. FREE. 10pm @ Tomorrow's Month House."
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Looking for a good place to ring in 2015? Here's a quick round up of the best shows going on around Atlanta.
[http://clatl.com/atlanta/kishi-bashi-roger-sellers-red-sea/Event?oid=12601932|Kishi Bashi, Roger Sellers, Red Sea. $20-$25. 9:30 p.m. @ Center Stage]
[http://clatl.com/atlanta/warehouse-tv-dinner-valentina-tapia-breathers/Event?oid=12972231|Warehouse, TV Dinner, Valentina Tapia, Breathers, and DJ No Daddy. $5. 9 p.m. @ 529]
[http://clatl.com/atlanta/illgates-daily-bread-the-morkestra/Event?oid=12603041|ill.Gates, Daily Bread, the Morkestra. $22. 9 p.m. @ Aisle 5]
[jump]
[http://clatl.com/atlanta/bling-in-the-new-year-with-cousin-dan-sealions/Event?oid=12923274|Bling in the New Year with Cousin Dan and Sealions. $10. 10 p.m. @ The Drunken Unicorn]
[http://clatl.com/atlanta/new-years-eve-extravaganza/Event?oid=12772655|Hey Alligator, DJ Black Amigo, Ryan Baker, K Ryder (open bar). $45. 10 p.m. @ the Music Room]
[http://www.philipsarena.com/events/detail/new-years-eve-affordable-old-school-music-fest|The Isley Brothers, Morris Day, Mint Condition, Jeffrey Osbourne, and Dru Hill play the "Affordable Old School Music Fest." $25. 8 p.m. Philips Arena]
[https://www.facebook.com/events/797753550272249/?ref=2&ref_dashboard_filter=calendar|The Mammal Gallery's 2nd annual NYE Musician Mashup. $5. 8 p.m. @ The Mammal Gallery]
[https://www.facebook.com/events/1591005697790024/|Shampoo, Twin Studies, Cinema Novo. Free. 10 p.m. @ Mojo Pizza]
[http://clatl.com/atlanta/biters-dinos-boys-ravagers-mammabear-dj-adrian-barrera/Event?oid=12972771|Biters, Dinos Boys, Ravagers, MammaBear, DJ Adrian Barrera. $10. 9 p.m. @ the Earl]
[https://www.facebook.com/events/389877114502795/?ref=2&ref_dashboard_filter=calendar|4th Ward Afro-Klezmer Orchestra. Free. 8 p.m. @ Pallookaville Fine Foods]
[http://clatl.com/atlanta/gringo-star-andrew-and-the-disapyramids-black-linen-zoners-mattiel/Event?oid=12991291|Gringo Star, Andrew and the Disapyramids, Black Linen, and more. $10. 8 p.m. @ the Star Bar]
[http://clatl.com/atlanta/futurebirds-water-liars-blank-range/Event?oid=12467191|Futurebirds, Blank Range, and Water Liars. $26-$31. 9 p.m. @ the Buckhead Theatre]
[https://www.ticketfly.com/purchase/event/738887/tfly?__utma=1.1954313963.1419291216.1419783854.1419783866.5&__utmb=1.2.10.1419783866&__utmc=1&__utmx=-&__utmz=1.1419783866.5.5.utmcsr=google|utmccn=(organic)|utmcmd=organic|utmctr=(not provided)&__utmv=-&__utmk=81826838|BT and more play Kingdom Rave NYE. $35-$45. 9 p.m. @ Quad @ Spring4th Complex]
[http://clatl.com/atlanta/iris-nye-party-with-12th-planet-mk-ultra-eddie-gold-ployd-stranger-candy-ra-loud-cloud-atliens-ralph-and-louie/Event?oid=12990781|Iris NYE Party with 12th Planet, MK Ultra, Eddie Gold, Ployd, Stranger Candy, Ra, Loud Cloud, ATLiens, Ralph & Louie. $20-$40. 9 p.m. @Iris aka Rush Lounge]
[http://www.smithsoldebar.com/events/new-year-s-eve-bash-with-the-swinging-richards|The Swinging Richards, Buck o Five. $10-$15. 8 p.m. Smith's Olde Bar (The Music Room)]
[http://www.smithsoldebar.com/events/new-year-s-eve-bash-with-the-backyard-birds#.VKLOgMAAs|The Backyard Birds. $10. 8 p.m. Smith's Olde Bar (The Atlanta Room)]
[https://www.freshtix.com/events/keep-on-movin-nye-2015|Keep On Movin' Dance party w/ DJ Jacob Jones. $10. 8 p.m. @ the Basement]
[https://www.facebook.com/events/1506768149597142/|Speakeasy New Years Eve Party and Xmas Tree Fire w/ Deku, the Morkestra, DT, Boog Brown, JP Villa, and more. FREE. 10pm @ Tomorrow's Month House.]"
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string(4111) " the earl 529 4th ward afro-klezmer orchestra mammal gallery atliens eddie gold ployd cinema novo center stage breathers aisle 5 gringo star warehouse dinos boys biters futurebirds shampoo the star bar red sea black linen twin studies mammabear the buckhead theatre pallookaville fine foods philips arena new year\'s eve morris day tv dinner mk ultra mint condition blank range 2015 valentina tapia daily bread kishi bashi the morkestra kingdom rave andrew and the disapyramids the isley brothers stranger candy roger sellers ravagers ralph & louie ra quad @ spring4th complex musician mashup mojo pizza loud cloud jeffrey osbourne iris 12th planet ill.gates dru hill affordable old school music fest dj no daddy dj adrian barrera bt and water liars Looking for a good place to ring in 2015? Here's a quick round up of Atlanta's best New Year's Eve shows. 2014-12-30T16:13:00+00:00 ATL NYE: Where you need to be on the eve of 2015 Chad Radford chad.radford (Chad Radford) 2014-12-30T16:13:00+00:00
Looking for a good place to ring in 2015? Here's a quick round up of the best shows going on around Atlanta.
Kishi Bashi, Roger Sellers, Red Sea. $20-$25. 9:30 p.m. @ Center Stage
Warehouse, TV Dinner, Valentina Tapia, Breathers, and DJ No Daddy. $5. 9 p.m. @ 529
ill.Gates, Daily Bread, the Morkestra. $22. 9 p.m. @ Aisle 5
jump
Bling in the New Year with Cousin Dan and Sealions. $10. 10 p.m. @ The Drunken Unicorn
Hey Alligator, DJ Black Amigo, Ryan Baker, K Ryder (open bar). $45. 10 p.m. @ the Music Room
The Isley Brothers, Morris Day, Mint Condition, Jeffrey Osbourne, and Dru Hill play the "Affordable Old School Music Fest." $25. 8 p.m. Philips Arena
The Mammal Gallery's 2nd annual NYE Musician Mashup. $5. 8 p.m. @ The Mammal Gallery
Shampoo, Twin Studies, Cinema Novo. Free. 10 p.m. @ Mojo Pizza
Biters, Dinos Boys, Ravagers, MammaBear, DJ Adrian Barrera. $10. 9 p.m. @ the Earl
4th Ward Afro-Klezmer Orchestra. Free. 8 p.m. @ Pallookaville Fine Foods
Gringo Star, Andrew and the Disapyramids, Black Linen, and more. $10. 8 p.m. @ the Star Bar
Futurebirds, Blank Range, and Water Liars. $26-$31. 9 p.m. @ the Buckhead Theatre
[https://www.ticketfly.com/purchase/event/738887/tfly?utma=1.1954313963.1419291216.1419783854.1419783866.5&utmb=1.2.10.1419783866&utmc=1&utmx=-&utmz=1.1419783866.5.5.utmcsr=google|utmccn=(organic)|utmcmd=organic|utmctr=(not provided)&utmv=-&__utmk=81826838|BT and more play Kingdom Rave NYE. $35-$45. 9 p.m. @ Quad @ Spring4th Complex]
Iris NYE Party with 12th Planet, MK Ultra, Eddie Gold, Ployd, Stranger Candy, Ra, Loud Cloud, ATLiens, Ralph & Louie. $20-$40. 9 p.m. @Iris aka Rush Lounge
The Swinging Richards, Buck o Five. $10-$15. 8 p.m. Smith's Olde Bar (The Music Room)
The Backyard Birds. $10. 8 p.m. Smith's Olde Bar (The Atlanta Room)
Keep On Movin' Dance party w/ DJ Jacob Jones. $10. 8 p.m. @ the Basement
Speakeasy New Years Eve Party and Xmas Tree Fire w/ Deku, the Morkestra, DT, Boog Brown, JP Villa, and more. FREE. 10pm @ Tomorrow's Month House. "Warehouse" "Valentina Tapia" "twin studies" "TV Dinner" "the Star Bar" "The Morkestra" "The Isley Brothers" "the earl" "The Buckhead Theatre" "Stranger Candy" "shampoo" "Roger Sellers" "Red Sea" "Ravagers" "Ralph & Louie" "Ra" "quad @ spring4th complex" "Ployd" "Philips Arena" "Pallookaville Fine Foods" "New Year's Eve" "Musician Mashup" "Morris Day" "Mojo Pizza" "MK Ultra" "Mint Condition" "Mammal Gallery" "mammabear" "Loud Cloud" "kishi bashi" "Kingdom Rave" "Jeffrey Osbourne" "Iris 12th Planet" "ill.Gates" "gringo star" "Futurebirds" "Eddie Gold" "Dru Hill Affordable Old School Music Fest" "DJ No Daddy" "DJ Adrian Barrera" "DINOS Boys" "Daily Bread" "Cinema Novo" "Center Stage" "BT" "Breathers" "Blank Range" "Black Linen" "Biters" "ATLiens" "Andrew and the Disapyramids" "and Water Liars" "Aisle 5" "529" "4th Ward Afro-Klezmer Orchestra" "2015" 12974210 13081246 /mediaserver/atlanta/2015-17/1419954847-kishi-bashi.jpg Kaden Shallat ATL NYE: Where you need to be on the eve of 2015 "
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ATL NYE: Where you need to be on the eve of 2015 Article
Tuesday December 30, 2014 11:13 AM EST
Looking for a good place to ring in 2015? Here's a quick round up of Atlanta's best New Year's Eve shows.
|
more...
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*Dustin Chambers
*
The "Two Dope Boyz" are coming home.
After trekking the country and making a stop in every city but Atlanta, OutKast have announced a show for the hometown fans. On Sat., Sept. 27, Big Boi and Andre 3000 will hit Centennial Olympic Park. The one-day festival, OutKast: ATLast, will feature an extended headlining set from the duo, as well a few special guests appearances. The music's slated to start at 5 p.m.
The calls for OutKast to play an ATL show have grown louder since they first announced their 40-plus festival tour back in January. Arguably the biggest news to hit the city since the announcement of Major League Soccer's arrival or the Braves exit, an ITP show by OutKast is the perfect way to celebrate the 20th anniversary of their debut and overall legacy in music.
Sure, CounterPoint was close and awesome, but not close enough for the diehards. Let's face it, these guys are "Straight Outta Stankonia," and it's about damn time the ATLiens phoned home.
Tickets will be available via radio and promoter presales at 10 a.m. on Mon., June 16, followed by the public onsale on Wed., June 18, at the same time. Prices you ask? $55 general admission, $105 Gold Circle, and $250 for VIP, including all applicable fees. You can purchase your tickets on the official show website, Ticketmaster, phone (800-745-8300), and the Center Stage box office.
Check back with Crib Notes in the coming weeks as more performers will be announced."
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*[http://clatl.com/atlanta/ImageArchives?by=1306421|Dustin Chambers]
*
The "Two Dope Boyz" are coming home.
After trekking the country and making a stop in every city but Atlanta, OutKast have announced a show for the hometown fans. On Sat., Sept. 27, Big Boi and Andre 3000 will hit Centennial Olympic Park. The one-day festival, OutKast: ATLast, will feature an extended headlining set from the duo, as well a few special guests appearances. The music's slated to start at 5 p.m.
The [http://clatl.com/atlanta/dear-outkast/Content?oid=10316328|calls for OutKast to play an ATL show] have grown louder since they first announced their 40-plus festival tour back in January. Arguably the biggest news to hit the city since the announcement of [http://clatl.com/atlanta/atlanta-a-soccer-town-indeed-it-is/Content?oid=11267766|Major League Soccer's arrival] or the [http://clatl.com/atlanta/bye-bye-braves/Content?oid=9745499|Braves exit], an ITP show by OutKast is the perfect way to celebrate the 20th anniversary of their debut and overall legacy in music.
Sure, [http://clatl.com/atlanta/outkast-returns/Content?oid=11028049|CounterPoint] was close and awesome, but not close enough for the diehards. Let's face it, these guys are "[http://clatl.com/atlanta/straight-outta-stankonia/Content?oid=10895134|Straight Outta Stankonia]," and it's about damn time the ATLiens phoned home.
Tickets will be available via radio and promoter presales at 10 a.m. on Mon., June 16, followed by the public onsale on Wed., June 18, at the same time. Prices you ask? $55 general admission, $105 Gold Circle, and $250 for VIP, including all applicable fees. You can purchase your tickets on[http://www.outkastatlast.com/| the official show website], Ticketmaster, phone (800-745-8300), and the Center Stage box office.
Check back with Crib Notes in the coming weeks as more performers will be announced."
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string(2131) " outkast big boi centennial olympic park atliens show stankonia andre outkast: atlast homecoming rival entertainment the bowery presents south The prodigal sons return! 2014-06-13T11:23:00+00:00 OutKast to play Centennial Olympic Park Gavin Godfrey 2014-06-13T11:23:00+00:00
*Dustin Chambers
*
The "Two Dope Boyz" are coming home.
After trekking the country and making a stop in every city but Atlanta, OutKast have announced a show for the hometown fans. On Sat., Sept. 27, Big Boi and Andre 3000 will hit Centennial Olympic Park. The one-day festival, OutKast: ATLast, will feature an extended headlining set from the duo, as well a few special guests appearances. The music's slated to start at 5 p.m.
The calls for OutKast to play an ATL show have grown louder since they first announced their 40-plus festival tour back in January. Arguably the biggest news to hit the city since the announcement of Major League Soccer's arrival or the Braves exit, an ITP show by OutKast is the perfect way to celebrate the 20th anniversary of their debut and overall legacy in music.
Sure, CounterPoint was close and awesome, but not close enough for the diehards. Let's face it, these guys are "Straight Outta Stankonia," and it's about damn time the ATLiens phoned home.
Tickets will be available via radio and promoter presales at 10 a.m. on Mon., June 16, followed by the public onsale on Wed., June 18, at the same time. Prices you ask? $55 general admission, $105 Gold Circle, and $250 for VIP, including all applicable fees. You can purchase your tickets on the official show website, Ticketmaster, phone (800-745-8300), and the Center Stage box office.
Check back with Crib Notes in the coming weeks as more performers will be announced. "The Bowery Presents South" "Stankonia" "show" "Rival Entertainment" "OutKast: ATLast" "OutKast" "homecoming" "Centennial Olympic Park" "Big Boi" "ATLiens" "Andre" 11384307 13078695 /mediaserver/atlanta/2015-17/1402607625-1398787929-outkast02.jpg Dustin Chambers /mediaserver/atlanta/2015-17/ok-tease-2.jpg OutKast to play Centennial Olympic Park "
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OutKast to play Centennial Olympic Park Article
Friday June 13, 2014 07:23 AM EDT
The prodigal sons return!
|
more...
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*Dustin Chambers
*
In the cast of prominent characters who comprise the OutKast and Dungeon Family lore, the name David "Mr. DJ" Sheats typically doesn't come to mind, and that's how the man bearing the namsake likes it. Almost 40 years old, Mr. DJ got his start in the music world as the first DJ for OutKast. Later, the cousin of Rico Wade helped form the production team, Earthtone III, along with Big Boi and Andre 3000, and went on to produce some of the most memorable OutKast records. With Earthtone III, Mr. DJ won a Grammy for his production on "Ms. Jackson," and the group's Album of the Year-winning Speakerboxxx/The Love Below.
After Earthtone III disbanded, Mr. DJ branched out on his own, rocking with the likes of Common (Universal Mind Control), Mos Def (The Ecstastic), and J. Cole, while building his Camp David imprint from the ground up and enjoying a life of relative obscurity compared to his former production partners. As OutKast kicked off their 40-stop festival tour, we sat down with Mr. DJ in the house he helped build, aka Stankonia, to talk about the highs and lows of Earthone III, his favorite non-OutKast recording session, and how getting drunk at a wedding got him his first Grammy.
Before you became the OutKast DJ, did you have big aspirations as far music goes?
At first my goal was to just stop stealing cars and being a knucklehead, and do something better with my life ... Organized Noize, we grew up watching them do our beats. Dre and I, we used to mimic them. So, when we got drum machines the blunt would be hanging from our mouth, ashes everywhere. Once we made a few hits together Big Boi realized it and was like, "Shit, I think we should start Earthtone III. We should start a production company together." It was history from there.
What was your first memorable recording moment as Earthtone III?
I think the first song that we did as Earthtone III was "Elevators (Me & You)." Dre started the beat on the bus - we were on tour. It was dope and we knew. We rode city to city with that same beat playing and playing. When we got back to the studio that was the first thing we dropped in that B Room in Stankonia.
jump
What particular song or album stuck out to you in terms of your own growth as a producer?
Aquemini. That was the album I did, "Da Art of Storytellin,'" parts one and two. At that point I realized that I had something to offer or what I was valuable. __
What stood out about those two songs in particular?
"Da Art of Storytellin' (Part 1)" the opening was really this woman's voice saying, "No, no, no." I put on 16-level and it's like, "Nooo, nooo, nooo." So then I had a chance to take the keyboard and play over the top of that.
"Da Art of Storytellin' (Part 2)," I had not too long before that tried ecstasy. The next day I was kind of on the after effects of that and it took me to another little place. That's my favorite beat. It's a really serious song. If you listen to the words of "Da Art of Storytellin' (Part 2)" it's talking about the end of the earth. Dre says, "Mother earth is tossing and turning and that's a sign." He's tired of people fucking her and never showing appreciation and busting nuts when they're done. We always talked about if Armageddon broke out we're all going to meet at the Dungeon, and we're going to have our guns and we would fight.
*Dustin Chambers
*
Did you have a favorite album?
Aquemini, because it was a growing time. It was a transitioning into an adult time for us. Big was having problems ... his aunt died and she was like his mother. We were turning into adults, had adult problems. Not that all the albums weren't real truthful, but that was a real album.
What was the in-studio dynamic?
Everybody could do a little bit of everything. Big was definitely really good with the hooks - charisma and memorable hooks. Dre added the seriousness, and I just added the beats, and the music. I was kind of the workhorse of the music.
Was it tough getting three different egos to record together? Was there a schedule?
We're night owls. Dre takes forever to record. You can't put anything on the schedule because he's going to record when he's going to record. For the most part we all worked at nighttime. We'd go to the strip club, Magic City, come back to the studio, stay till six or seven in the morning.
page
Aside from work ethic, did anyone have any weird studio rituals/superstitions?
Big has a ritual: He takes off all his jewelry before he goes into the booth. He says he does it because he wants to be regular and not go in with all of the superficial things on so that the rhymes are pure.
*Dustin Chambers
*
So Earthtone III had it's successes, but when did you realize that your days of recording together were coming to an end?
I think it was after the Stankonia album. Really, it was a strong finish. Everybody had a lot of input therefore we made good songs. Everybody was at their creative max, which I think in turn caused everybody to kind of branch off and start to do their own thing because now you have your individuality and you want to express that.
On that particular album was there a record that really stood out to you as far as the recording process? You did win a Grammy for "Ms. Jackson" ...
We were coming from a wedding and we were having a conversation about how relationships are funny, how being married is funny. Dre already had the %22Ms. Jackson%22 beat down. When we got back to the studio I was a little tipsy and went into the booth and went, "Ahhhh-woooooo," and we recorded it and we actually turned that around backwards ... The piano trailing off symbolizes a marriage from the time that it's good to when things fall apart.
Speaking of things falling apart, what was the most humbling thing for you to deal with when Earthtone III stopped recording together?
When we were making music together there was a lot of income coming in ... It's almost like the Internet, when you have always been under one umbrella - there was nowhere to direct the traffic to. So, then you're sort of left on your own. Being under an umbrella and not using your own name you kind of have to start all over again and that makes you work harder.
What's the biggest non-OutKast song you can remember recording?
The remix to Lenny Kravitz's, "Again."
Did Lenny come to Stankonia?
I got a phone call and they said, "Hey Lenny likes the 'Again' record. Can y'all come to Miami to his house?" Big and Dre said they couldn't go. I got me a little chick and I Goddamn got on a plane and they flew me down there. I had butterflies. Lenny Kravitz came to the door and I was like, "Hey I'm supposed to ... I'm the DJ," but I could hardly talk. Then we went into this cool ass house, his house. To go inside the studio you have to stand in this capsule, it closes and opens up, and on the other side you're inside a studio. There were dolphins swimming in water behind us. It was the most surreal shit I had ever seen! There were all these lights and he had these holes in the wall that you could climb up in. Yea, thank you for asking that question because I just relived all of it!
Even with Dre and Big not really recording here together anymore, why has Stankonia remained a creative epicenter that carries so much influence in ATL still?
Stankonia and the name, it's a symbol of Atlanta because we were the first ones to claim Atlanta and make Atlanta be respected on a larger scale. Before that, you had Jermaine Dupri that was here. Kris Kross, rest in peace to Chris, love those guys, they represented a kind of Naughty By nature New York style. Da Brat was representing West Coast style, so nobody was really representing Atlanta till we did. Stankonia symbolizes that.
The gang's all here for the 20th anniversary of Southernplayalisticadillacmuzik and OutKast as a whole. What do you hope music fans will take away from the celebration and this festival tour?
What I hope comes out of this whole resurgence is that the younger generation gets a chance to know that there is a different kind of music, wholesome music if you will, something that provokes some feeling. This generation doesn't know about that kind of music and what influence it will have on your life. It's more relatable to their lives than the music they're listening to now.
Yea, Dre always griped that folks thought Stankonia was the first OutKast album ...
Yea, so when they see the older generation going crazy and selling out these tours and they hear about it, they'll say, "Who the hell is OutKast?!" Then they'll go back and hear it and be re-introduced to music again and maybe this shit will reset. Because right now I don't know what the fuck is going on.
page
*Dustin Chambers
*
You're almost 40, and going even harder than before. What drives you?
I was doing music before I knew that it would pay me. I did it because I liked watching my cousins and them do it. I'm not a vocal person, so anything that I can do to make and influence people without having to talk myself - I love that.__
"
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*[http://clatl.com/atlanta/ImageArchives?by=1306421|Dustin Chambers]
*
In the cast of prominent characters who comprise the [http://clatl.com/atlanta/straight-outta-stankonia/Content?oid=10895134|OutKast] and Dungeon Family lore, the name David "[https://twitter.com/therealMRDJ|Mr. DJ]" Sheats typically doesn't come to mind, and that's how the man bearing the namsake likes it. Almost 40 years old, Mr. DJ got his start in the music world as the first DJ for OutKast. Later, the cousin of Rico Wade helped form the production team, Earthtone III, along with Big Boi and Andre 3000, and went on to produce some of the most memorable OutKast records. With Earthtone III, Mr. DJ won a Grammy for his production on "Ms. Jackson," and the group's Album of the Year-winning ''Speakerboxxx/The Love Below''.
After Earthtone III disbanded, Mr. DJ branched out on his own, rocking with the likes of Common (''Universal Mind Control''), Mos Def (''The Ecstastic''), and J. Cole, while building his Camp David imprint from the ground up and enjoying a life of relative obscurity compared to his former production partners. As OutKast kicked off their 40-stop festival tour, we sat down with Mr. DJ in the house he helped build, aka [http://clatl.com/atlanta/stankonia/Content?oid=10900749|Stankonia], to talk about the highs and lows of Earthone III, his favorite non-OutKast recording session, and how getting drunk at a wedding got him his first Grammy.
__Before you became the OutKast DJ, did you have big aspirations as far music goes?__
At first my goal was to just stop stealing cars and being a knucklehead, and do something better with my life ... Organized Noize, we grew up watching them do our beats. Dre and I, we used to mimic them. So, when we got drum machines the blunt would be hanging from our mouth, ashes everywhere. Once we made a few hits together Big Boi realized it and was like, "Shit, I think we should start Earthtone III. We should start a production company together." It was history from there.
__What was your first memorable recording moment as Earthtone III?__
I think the first song that we did as Earthtone III was "Elevators (Me & You)." Dre started [the beat] on the bus - we were on tour. It was dope and we knew. We rode city to city with that same beat playing and playing. When we got back to the studio that was the first thing we dropped in that B Room in Stankonia.
[jump]
__What particular song or album stuck out to you in terms of your own growth as a producer?__
''Aquemini''. That was the album I did, "Da Art of Storytellin,'" parts one and two. At that point I realized that I had something to offer or what I was valuable. __
What stood out about those two songs in particular?
"Da Art of Storytellin' (Part 1)" [the opening] was really this woman's voice saying, "No, no, no." I put on 16-level and it's like, "Nooo, nooo, nooo." So then I had a chance to take the keyboard and play over the top of that.
"Da Art of Storytellin' (Part 2)," I had not too long before that tried ecstasy. The next day I was kind of on the after effects of that and it took me to another little place. That's my favorite beat. It's a really serious song. If you listen to the words of "Da Art of Storytellin' (Part 2)" it's talking about the end of the earth. Dre says, "Mother earth is tossing and turning and that's a sign." He's tired of people fucking her and never showing appreciation and busting nuts when they're done. We always talked about if Armageddon broke out we're all going to meet at the Dungeon, and we're going to have our guns and we would fight.
{img src="https://media1.fdncms.com/atlanta/imager/mr-dj-legendary-outkast-producer-opens-u/u/original/10953863/1397766915-mrdj02.jpg"}
*[http://clatl.com/atlanta/ImageArchives?by=1306421|Dustin Chambers]
*
__Did you have a favorite album?__
''Aquemini'', because it was a growing time. It was a transitioning into an adult time for us. Big was having problems ... his aunt died and she was like his mother. We were turning into adults, had adult problems. Not that all the albums weren't real truthful, but that was a ''real'' album.
__What was the in-studio dynamic?__
Everybody could do a little bit of everything. Big was definitely really good with the hooks - charisma and memorable hooks. Dre added the seriousness, and I just added the beats, and the music. I was kind of the workhorse of the music.
__Was it tough getting three different egos to record together? Was there a schedule?__
We're night owls. Dre takes forever to record. You can't put anything on the schedule because he's going to record when he's going to record. For the most part we all worked at nighttime. We'd go to the strip club, Magic City, come back to the studio, stay till six or seven in the morning.
[page]
__Aside from work ethic, did anyone have any weird studio rituals/superstitions?__
Big has a ritual: He takes off all his jewelry before he goes into the booth. He says he does it because he wants to be regular and not go in with all of the superficial things on so that the rhymes are pure.
{img src="https://media2.fdncms.com/atlanta/imager/mr-dj-legendary-outkast-producer-opens-u/u/original/10953870/1397767265-mrdj06.jpg"}
*[http://clatl.com/atlanta/ImageArchives?by=1306421|Dustin Chambers]
*
__So Earthtone III had it's successes, but when did you realize that your days of recording together were coming to an end?__
I think it was after the ''Stankonia ''album. Really, it was a strong finish. Everybody had a lot of input therefore we made good songs. Everybody was at their creative max, which I think in turn caused everybody to kind of branch off and start to do their own thing because now you have your individuality and you want to express that.
____
__On that particular album was there a record that really stood out to you as far as the recording process? You did win a Grammy for "Ms. Jackson" ... __
We were coming from a wedding and we were having a conversation about how relationships are funny, how being married is funny. Dre already had the ["Ms. Jackson"] beat down. When we got back to the studio I was a little tipsy and went into the booth and went, "Ahhhh-woooooo," and we recorded it and we actually turned that around backwards ... The piano [trailing off] symbolizes a marriage from the time that it's good to when things fall apart.
____
__Speaking of things falling apart, what was the most humbling thing for you to deal with when Earthtone III stopped recording together?__
When we were making music together there was a lot of income coming in ... It's almost like the Internet, when you have always been under one umbrella - there was nowhere to direct the traffic to. So, then you're sort of left on your own. Being under an umbrella and not using your own name you kind of have to start all over again and that makes you work harder.
____
__What's the biggest non-OutKast song you can remember recording?__
The remix to Lenny Kravitz's, "Again."
__Did Lenny come to Stankonia?__
I got a phone call and they said, "Hey Lenny likes the 'Again' record. Can y'all come to Miami to his house?" Big and Dre said they couldn't go. I got me a little chick and I Goddamn got on a plane and they flew me down there. I had butterflies. Lenny Kravitz came to the door and I was like, "Hey I'm supposed to ... I'm the DJ," but I could hardly talk. Then we went into this cool ass house, his house. To go inside the studio you have to stand in this capsule, it closes and opens up, and on the other side you're inside a studio. There were dolphins swimming in water behind us. It was the most surreal shit I had ever seen! There were all these lights and he had these holes in the wall that you could climb up in. Yea, thank you for asking that question because I just relived all of it!
__Even with Dre and Big not really recording here together anymore, why has Stankonia remained a creative epicenter that carries so much influence in ATL still?__
Stankonia and the name, it's a symbol of Atlanta because we were the first ones to claim Atlanta and make Atlanta be respected on a larger scale. Before that, you had Jermaine Dupri that was here. Kris Kross, rest in peace to Chris, love those guys, they represented a kind of Naughty By nature New York style. Da Brat was representing West Coast style, so nobody was really representing Atlanta till we did. Stankonia symbolizes that.
__The gang's all here for the 20th anniversary of ''Southernplayalisticadillacmuzik'' and OutKast as a whole. What do you hope music fans will take away from the celebration and this festival tour?__
What I hope comes out of this whole resurgence is that the younger generation gets a chance to know that there is a different kind of music, wholesome music if you will, something that provokes some feeling. This generation doesn't know about that kind of music and what influence it will have on your life. It's more relatable to their lives than the music they're listening to now.
__Yea, Dre always griped that folks thought ''Stankonia'' was the first OutKast album ... __
Yea, so when they see the older generation going crazy and selling out these tours and they hear about it, they'll say, "Who the hell is OutKast?!" Then they'll go back and hear it and be re-introduced to music again and maybe this shit will reset. Because right now I don't know what the fuck is going on.
[page]
{img src="https://media1.fdncms.com/atlanta/imager/mr-dj-legendary-outkast-producer-opens-u/u/original/10953864/1397766956-mrdj03.jpg"}
*[http://clatl.com/atlanta/ImageArchives?by=1306421|Dustin Chambers]
*
__You're almost 40, and going even harder than before. What drives you?__
I was doing music before I knew that it would pay me. I did it because I liked watching my cousins and them do it. I'm not a vocal person, so anything that I can do to make and influence people without having to talk myself - I love that.__
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*Dustin Chambers
*
In the cast of prominent characters who comprise the OutKast and Dungeon Family lore, the name David "Mr. DJ" Sheats typically doesn't come to mind, and that's how the man bearing the namsake likes it. Almost 40 years old, Mr. DJ got his start in the music world as the first DJ for OutKast. Later, the cousin of Rico Wade helped form the production team, Earthtone III, along with Big Boi and Andre 3000, and went on to produce some of the most memorable OutKast records. With Earthtone III, Mr. DJ won a Grammy for his production on "Ms. Jackson," and the group's Album of the Year-winning Speakerboxxx/The Love Below.
After Earthtone III disbanded, Mr. DJ branched out on his own, rocking with the likes of Common (Universal Mind Control), Mos Def (The Ecstastic), and J. Cole, while building his Camp David imprint from the ground up and enjoying a life of relative obscurity compared to his former production partners. As OutKast kicked off their 40-stop festival tour, we sat down with Mr. DJ in the house he helped build, aka Stankonia, to talk about the highs and lows of Earthone III, his favorite non-OutKast recording session, and how getting drunk at a wedding got him his first Grammy.
Before you became the OutKast DJ, did you have big aspirations as far music goes?
At first my goal was to just stop stealing cars and being a knucklehead, and do something better with my life ... Organized Noize, we grew up watching them do our beats. Dre and I, we used to mimic them. So, when we got drum machines the blunt would be hanging from our mouth, ashes everywhere. Once we made a few hits together Big Boi realized it and was like, "Shit, I think we should start Earthtone III. We should start a production company together." It was history from there.
What was your first memorable recording moment as Earthtone III?
I think the first song that we did as Earthtone III was "Elevators (Me & You)." Dre started the beat on the bus - we were on tour. It was dope and we knew. We rode city to city with that same beat playing and playing. When we got back to the studio that was the first thing we dropped in that B Room in Stankonia.
jump
What particular song or album stuck out to you in terms of your own growth as a producer?
Aquemini. That was the album I did, "Da Art of Storytellin,'" parts one and two. At that point I realized that I had something to offer or what I was valuable. __
What stood out about those two songs in particular?
"Da Art of Storytellin' (Part 1)" the opening was really this woman's voice saying, "No, no, no." I put on 16-level and it's like, "Nooo, nooo, nooo." So then I had a chance to take the keyboard and play over the top of that.
"Da Art of Storytellin' (Part 2)," I had not too long before that tried ecstasy. The next day I was kind of on the after effects of that and it took me to another little place. That's my favorite beat. It's a really serious song. If you listen to the words of "Da Art of Storytellin' (Part 2)" it's talking about the end of the earth. Dre says, "Mother earth is tossing and turning and that's a sign." He's tired of people fucking her and never showing appreciation and busting nuts when they're done. We always talked about if Armageddon broke out we're all going to meet at the Dungeon, and we're going to have our guns and we would fight.
*Dustin Chambers
*
Did you have a favorite album?
Aquemini, because it was a growing time. It was a transitioning into an adult time for us. Big was having problems ... his aunt died and she was like his mother. We were turning into adults, had adult problems. Not that all the albums weren't real truthful, but that was a real album.
What was the in-studio dynamic?
Everybody could do a little bit of everything. Big was definitely really good with the hooks - charisma and memorable hooks. Dre added the seriousness, and I just added the beats, and the music. I was kind of the workhorse of the music.
Was it tough getting three different egos to record together? Was there a schedule?
We're night owls. Dre takes forever to record. You can't put anything on the schedule because he's going to record when he's going to record. For the most part we all worked at nighttime. We'd go to the strip club, Magic City, come back to the studio, stay till six or seven in the morning.
page
Aside from work ethic, did anyone have any weird studio rituals/superstitions?
Big has a ritual: He takes off all his jewelry before he goes into the booth. He says he does it because he wants to be regular and not go in with all of the superficial things on so that the rhymes are pure.
*Dustin Chambers
*
So Earthtone III had it's successes, but when did you realize that your days of recording together were coming to an end?
I think it was after the Stankonia album. Really, it was a strong finish. Everybody had a lot of input therefore we made good songs. Everybody was at their creative max, which I think in turn caused everybody to kind of branch off and start to do their own thing because now you have your individuality and you want to express that.
On that particular album was there a record that really stood out to you as far as the recording process? You did win a Grammy for "Ms. Jackson" ...
We were coming from a wedding and we were having a conversation about how relationships are funny, how being married is funny. Dre already had the %22Ms. Jackson%22 beat down. When we got back to the studio I was a little tipsy and went into the booth and went, "Ahhhh-woooooo," and we recorded it and we actually turned that around backwards ... The piano trailing off symbolizes a marriage from the time that it's good to when things fall apart.
Speaking of things falling apart, what was the most humbling thing for you to deal with when Earthtone III stopped recording together?
When we were making music together there was a lot of income coming in ... It's almost like the Internet, when you have always been under one umbrella - there was nowhere to direct the traffic to. So, then you're sort of left on your own. Being under an umbrella and not using your own name you kind of have to start all over again and that makes you work harder.
What's the biggest non-OutKast song you can remember recording?
The remix to Lenny Kravitz's, "Again."
Did Lenny come to Stankonia?
I got a phone call and they said, "Hey Lenny likes the 'Again' record. Can y'all come to Miami to his house?" Big and Dre said they couldn't go. I got me a little chick and I Goddamn got on a plane and they flew me down there. I had butterflies. Lenny Kravitz came to the door and I was like, "Hey I'm supposed to ... I'm the DJ," but I could hardly talk. Then we went into this cool ass house, his house. To go inside the studio you have to stand in this capsule, it closes and opens up, and on the other side you're inside a studio. There were dolphins swimming in water behind us. It was the most surreal shit I had ever seen! There were all these lights and he had these holes in the wall that you could climb up in. Yea, thank you for asking that question because I just relived all of it!
Even with Dre and Big not really recording here together anymore, why has Stankonia remained a creative epicenter that carries so much influence in ATL still?
Stankonia and the name, it's a symbol of Atlanta because we were the first ones to claim Atlanta and make Atlanta be respected on a larger scale. Before that, you had Jermaine Dupri that was here. Kris Kross, rest in peace to Chris, love those guys, they represented a kind of Naughty By nature New York style. Da Brat was representing West Coast style, so nobody was really representing Atlanta till we did. Stankonia symbolizes that.
The gang's all here for the 20th anniversary of Southernplayalisticadillacmuzik and OutKast as a whole. What do you hope music fans will take away from the celebration and this festival tour?
What I hope comes out of this whole resurgence is that the younger generation gets a chance to know that there is a different kind of music, wholesome music if you will, something that provokes some feeling. This generation doesn't know about that kind of music and what influence it will have on your life. It's more relatable to their lives than the music they're listening to now.
Yea, Dre always griped that folks thought Stankonia was the first OutKast album ...
Yea, so when they see the older generation going crazy and selling out these tours and they hear about it, they'll say, "Who the hell is OutKast?!" Then they'll go back and hear it and be re-introduced to music again and maybe this shit will reset. Because right now I don't know what the fuck is going on.
page
*Dustin Chambers
*
You're almost 40, and going even harder than before. What drives you?
I was doing music before I knew that it would pay me. I did it because I liked watching my cousins and them do it. I'm not a vocal person, so anything that I can do to make and influence people without having to talk myself - I love that.__
"The Love Below" "The Dungeon" "Stankonia" "Speakerboxxx" "Rico Wade" "Ms. Jackson" "Mr. DJ" "Idewild" "Earthtone III" "Dungeon Family" "Camp David" "Big Boi" "ATLiens" "Aquemini" "Andre 3000" 10953150 13078080 /mediaserver/atlanta/2015-17/1397766805-mrdj01.jpg Dustin Chambers /mediaserver/atlanta/2015-17/1397766915-mrdj02.jpg Dustin Chambers /mediaserver/atlanta/2015-17/1397766956-mrdj03.jpg Dustin Chambers /mediaserver/atlanta/2015-17/1397767265-mrdj06.jpg Dustin Chambers Mr. DJ: Legendary OutKast producer opens up "
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Mr. DJ: Legendary OutKast producer opens up Article
Friday April 18, 2014 11:51 AM EDT
A chat with the man behind several OutKast hits.
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Let's imagine, for posterity's sake, that when the history of Atlanta is written 100 years from now, it will be divided into two epochs.
Before OutKast: When the city was progressively known as a Civil War casualty, Margaret Mitchell's muse, New South gateway, Dr. King's birthplace, "too busy to hate," Ted Turner's playground, and home of the Braves.
And, After OutKast: When a resident species of crunk but sentient beings transmogrified the cultural landscape into rap's capital city, aka ATL, where the players dwell.
Repping the A is so pervasive nowadays it's gone from cachet to cliché. But Big and Dre were still teenage music-industry outcasts in 1994 when they put the city on the map. Approximately 68 geographic references to Atlanta are sprinkled throughout Southernplayalisticadillacmuzik alone. That's 13 shout-outs to East Point, 10 to Organized Noize's basement studio the Dungeon, eight to College Park, four to Decatur. Bankhead and Buckhead each get a mention. Club Nikki, Magic City, Greenbriar Mall ("Da 'Bri"); even the Georgia Dome is thrown in the mix.
Beyond giving birth to a generation of ATLiens, OutKast helped engrave the city's identity into pop's collective consciousness.
April 26, 2014, marks 20 years since the release of that Southernplayalistic debut. As Big and Dre prepare to celebrate with a 40-festival world tour that kicks off this weekend at Coachella and includes a stop at CounterPoint in nearby Kingston Downs, Ga., on April 27, the time is right to look at Atlanta through OutKast's kaleidoscope.
Using the duo's discography and videos as a guide, we searched for the narrative thread between ATL's past and present. Since the Dirty South is defined by the politics of race, space, and place as much as it is by Georgia's red clay, an ethnographic mixtape of sorts emerged. One in which old 'hoods bear new street names and former public housing residents still call demolished projects home. Then there are even more rare discoveries, like the first Dungeon, preserved in its original condition by the unrelated grandmother who lives there today. And found footage of Big Boi's safe-sex PSA, rapped during his senior year at Tri-Cities High School.
It all serves as a reminder that OutKast, too, gave the world its version of Atlanta. For that, we're stankful.
— Rodney Carmichael
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20 years of OutKast's Atlanta, from discography to mythology
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I've got an ounce of dank and a couple of dranks
So let's crank up this session like Tri-Cities High School
Was pulling 'em in a broke-down rabbit
I spit a couple of words and laying them down was just a habit
— "Ova Da Wudz," ATLiens (1996)
According to Viola Turner, there would be no OutKast without Tri-Cities High School. Before they joined the Dungeon Family tree, Antwan Patton and Andre Benjamin's early creative spirit was fostered at Tri-Cities. In 1990, the school launched its magnet visual and performing arts program, which became a draw to students and their families.
"There were people who would say they lived in Fulton County and change their address just to come to Tri-Cities," says Turner, the former director of the magnet program. At the time, Fulton County had three magnet schools: Tri-Cities, Westlake (science and math) and Riverwood (international studies). With Tri-Cities focused on honing its students' creative prowess, it's not surprising that early incarnations of OutKast, Xscape, and Jagged Edge came out of that environment.
There was a student-run news program, "Fast Forward," and Big Boi acted in an anti-drug and alcohol music video, "Think About It," geared toward pregnant teens and directed by social studies teacher Dennis Waters. "It was not unusual to see a group of students around each other, like in a huddle, who were either rapping or singing," Turner says.
Most importantly, Tri-Cities is where Andre and Antwan met.
Antwan was in Turner's drama class, and acted in a Black History Month play she directed. Turner first caught wind of Andre as the poetry-reading Sutton Middle School student her younger daughter used to talk about. Turner says "'Twan" and Andre rolled with a group of creative cool kids who spent hours after school working on dance routines, class productions, and of course, their own musical aspirations.
"Today, you hear a lot about kids fighting," she says. "That group of kids who [was] just too busy creating."
While she's uncertain whether or not the young men were part of the magnet program or just embracing its benefits, Turner says the pair's influence could be seen and felt early on by everyone at the school.
"They had a passion that was maybe greater than other students, and that passion that they had drew people to them and made them stand out," she says. "Their commitment to what they were doing, and their love for what they were doing, when you exude that kind of spirit, you draw people to you."
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Thursday April 10, 2014 04:00 AM EDT
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I got soul, that's something that you ain't got
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Where nothing but pimps, fully equipped
Quick to make a sale, swell
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With its 1994 debut, Southernplayalisticadillacmuzik, OutKast became the first to appropriate Atlanta's three-letter airport code as designated slang for the city. The birth of "ATL" arrived before the world's busiest airport was renamed to honor the late Mayor Maynard Jackson and his $500 million efforts to build the world's largest terminal. According to Miguel Southwell, the airport's current Interim Aviation General Manager, Hartsfield-Jackson will accelerate $10 million renovations at Concourse B this summer. Like Jackson, OutKast helped turn ATL into a global destination and earn it the nicknames the "Third Coast" and "the Hip-Hop Capital of the World."
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Straight Outta Stankonia - Hartsfield-Jackson Atlanta International Airport Article
Thursday April 10, 2014 04:00 AM EDT
No description provided
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A couple of years ago on Headland and Delowe
Was the start of something good
When me and my nigga rode the MARTA through the hood
Just tryna find that hookup ...
— "Elevators (Me & You)," ATLiens (1996)
There must've been some alchemy in the air on the day Rico Wade, Ray Murray, and Sleepy Brown of Organized Noize Productions met two aspiring rappers in a strip mall parking lot.
As hip-hop mythology goes, Headland and Delowe is hallowed ground, even in all its unassuming present-day glory. Anchored by a Wayfield Foods, the commercial strip boasts a random mix of mom-and-pop nail, beauty, and barber shops, a taekwondo dojo, dance school, and a 90-days same-as-cash furniture outlet.
On a recent Friday afternoon at the No. 1 Barbershop, clippers buzzed as barbers edged beards and faded heads. When asked about the significance the intersection holds today, shop co-owner D. Woo, aka Wooski, talked about the place in almost spiritual terms.
"You might relate it to a chakra or the top of a pyramid," Wooski said. "It's just an epicenter for positive energy."
Wade was at Lamonte's Beauty Supply, where he worked as a store manager, on that fateful day, circa 1991. Murray had just been in the midst of verbalizing their need for some young, new talent to produce when Big and Dre seemingly appeared out of nowhere. An impromptu audition followed in the form of a parking-lot freestyle, according to former CL music editor Roni Sarig, who recounted the scene in his book Third Coast. After spitting bars over the extended instrumental of A Tribe Called Quest's "Scenario," Big and Dre earned an invite to the Organized Noize headquarters, aka the Dungeon. The rest is recorded history.
Despite being immortalized on record by the best-selling hip-hop duo of all time, no historical marker or leftover signage demarcates the former location of Lamonte's or the blacktop parking lot that would prove to be OutKast's launchpad. So much remains unchanged it feels like the block time forgot. An old Section 8 apartment complex is being demolished across the street. But it's hard to shake the sense that something could be percolating beneath the surface.
In addition to Wooski's barbershop, which he started with five other entrepreneurs eight years ago, he's promoting his own in-the-works indie label called Black Umbrella Entertainment.
"Atlanta's teeming with talent," he says. "Headland and Delowe is definitely the birthplace of something good. It's something in the water."
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Straight Outta Stankonia - Headland and Delowe Article
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You'd drop me off by the Dungeon
Never came in but I knew that you were wondering
Now all these niggas in this house up to something
Selling crack, sack by sack, so they could function
W-w-w-w-well yes and no
Yes, we were selling it, but no it wasn't blow
Cook it in the basement then move it at a show
Then grab the microphone and everybody yelled, "Hoooo!"
— "A Life in the Day of Benjamin Andre (Incomplete)," Speakerboxxx/The Love Below (2003)
Technically, Big Boi and Andre never lived at the place known as the Dungeon.
Nestled in Lakewood Heights beyond the confines of the United States Penitentiary, the basement of Rico Wade's mother's house functioned as the Dungeon Family's first studio space. It's also where the Organized Noize production trio of Wade, Ray Murray, and Sleepy Brown would help develop the sound delivered to the music world by way of OutKast, Goodie Mob, and more.
Rickety stairs lead down to an unfinished basement with dirt floors. In the early '90s, this was the place of cyphers, writing poetry in notebooks, tinkering with production equipment, and smoking a lot of weed. Speakers were wedged into the walls, and boards and beat machines were more prevalent than furniture. Some nights, folks slept in sleeping bags, only to wake up and create all over again.
"We didn't care about the neighborhood," Wade says about the location of the original Dungeon. "We was just caring about what we was doing. ... It was my home, it was the Dungeon."
There were multiple Dungeons over the years. Mentions in the early to mid-'90s refer to this particular location, whereas later references could mean the mansion Wade bought once money started coming in, Murray's Dungeon East, or even Bubba Sparxxx's Suwanee digs he once shared with Dr. Dax and Sleepy Brown known as Dungeon White.
Mary (for privacy, she wouldn't disclose her last name) lives alone in the space that sits above the original Dungeon. She bought the modest brick home in 2005. For the last nine years, passersby have bombarded her with the same question: "Do you know OutKast used to live here?"
Mary just calls it "the basement." There are no more speakers or recording equipment, but there's still a sense of history in the small space. The Dungeon's former tenants left their marks on the basement ceiling with messages reading "Big Twan" and "Daddy Dre Over Here." The weathered front-panel of an air conditioning unit displays signatures and artwork from CeeLo and repeated references to "OK," "P.A." (Dungeon Family's first group), a drawing of a blunt with "P. Funk" (Sleepy Brown's nickname) scribbled above, and the phrase "ALL DAY, AYAN-DAY," made famous on OutKast's 1994 debut, Southernplayalisticadillacmuzik. Hell, even Peaches' John Hancock is on there.
"People started asking about OutKast or I would see them do things on TV, so I said, let me keep this because it means it was before they were famous," Mary says about the artifacts she once debated selling before she and her daughter thought better of it. "I said they may want to one day see this."
According to Mary, not one member of Dungeon Family, OutKast included, has ever come by the house since she's lived there. She counts me as the second journalist to come knocking, and says if any of the Dungeon Family members come through and laid claim to her finds, she'll gladly give them up ... for a price.
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Straight Outta Stankonia - The Original Dungeon Article
Thursday April 10, 2014 04:00 AM EDT
No description provided
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To the far left, you can see the Georgia Dome
Which, by the way, still flies the Confederate battle flag
— "Welcome to Atlanta (Interlude)," Southernplayalisticadillacmuzik (1994)
Before it hosted basketball games for the 1996 Olympics (and courted controversy with its flying of Georgia's state flag, then with the Confederate battle emblem), the Dome's construction forced businesses and families to relocate, reducing many surrounding neighborhoods to dead zones. In 2017, the Falcons plan to open a publicly funded $1.2 billion stadium just south of the Dome and turn the current site into a parking lot.
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Straight Outta Stankonia - Georgia Dome Article
Thursday April 10, 2014 04:00 AM EDT
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At Magic City shaking titties just to pay the rent
Lord, trying to hustle must be something that was heaven sent
— "Claimin' True," Southernplayalisticadillacmuzik (1994)
Before strip clubs became proving grounds for Atlanta's new music economy, the city's nightlife was already the stuff of legend.
By 1993, Blondie had long been holding down the Clermont. Freaknik began attracting hundreds of thousands to its annual lock down of city streets, nightclubs, and malls. And OutKast was shooting performances in front of former West End strip club Montre's Lounge for its first video, "Players Ball."
Fast forward a decade and a new ordinance that shifted bar closings from 4 a.m. to 2:30 a.m. brought an end to an era bookended by Gold Club owner Steve Kaplan's alleged VIP-room prostitution ring and BMF honcho Big Meech's rainmaking ways in Magic City. But OutKast and Dungeon Family had partaken in Atlanta's nighttime underbelly during its prime.
"The glory days are when Rico had a deal," says Dr. Dax, simply known then as "the white boy in Dungeon Family," about Rico Wade's deal with Interscope Records. Dax used to see Big Boi and Andre around skipping school and hanging at clubs before they ever put out an album. Their success along with Dungeon Family's rise led to some lifestyle changes.
"That's what I considered the true New South," he says. "We started living together, making money together, fucking girls together."
Now, a respected artist in his own right, Dax loves telling stories about the long nights of yesteryear and his experiences on tour with Big Boi and Andre. In fact, one particular instance involving 2001's Stank Love Tour stands out.
It's not clear exactly what was said, but Dax can remember that damn thing like it was yesterday. While in New Orleans during Mardi Gras, Big Boi was approached by Britney Spears who said she was a fan. Before she could even get out another word, Big Boi leaned in and whispered something in her ear, inaudible to both of their entourages. "He said some freak player shit and she wasn't ready for it," Dax says. Britney's jaw dropped, while Justin Timberlake was off somewhere writing "Cry Me a River."
Moments like these were common during the days of touring, booty clubs, and partying according to Dax. Dax met the duo back in '98 at the video shoot for Goodie Mob's "Black Ice." He eventually clicked with Big Boi, becoming his "goonie minion," in between selling dope, throwing parties, and being more or less a "henchman" for everyone in Dungeon Family. He calls Big Boi his "guardian angel" and "like a best friend," and says Big and Dre both embraced Atlanta's club scene, especially Club 112 around the time of Stankonia's release in 2000.
Looking at Polaroids of himself with Andre, Big Boi, Gipp, and other Dungeon Family affiliates at the now closed haunt of ATL music royalty, Dax laughs in response to the "player and poet" shtick once used to describe the Big Boi-Andre dynamic.
"They were both players and poets," he says. "Real life — Andre is the ultimate ladies man. He is kind of a shy guy, but trust me, he loves women."
These days the scene is much different than it was when OutKast and Dungeon Family would take breaks in between recording at Stankonia to frequent the booty club for extra inspiration. While strip clubs have normalized to the point of being considered Atlanta hip-hop cliché, they face increasing challenges as the city attracts more conservatives. Brookhaven is doing what it can to shut down the Pink Pony. And in a telling sign of the economic strain, Follies and Magic City are being sued by their own dancers over minimum wage and overtime pay. Not to mention that older strip joints like Montre's, Club Nikki, and the Gentleman's Club of the good ole days have since closed, along with other popular Dungeon hangouts including the Bounce and Central Station.
Legendary might be understatement Dax says. "No one had fun like we did. You'd have to be Willie Nelson or some shit."
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