Atlanta Festivals 2001
Our Atlanta Festival recap for 2001
Photo credit: Scott Henry
Atlanta is blessed with an amazing array of festivals and fairs that happen all year round. Below is our coverage of the big Festivals in Atlanta in 2001.
If you are looking for things to do this weekend, today or tomorrow. See our handy guide to the 5 things to do in Atlanta today. We've got critics and reader recommendations for live music, food and wine events, sports, free or those for the family. For a list of neighborhood centric-events or our page of Things to Do in ATL.
If you're in a band, an artist, run a venue, or keep your organization's calendar, we'd love to have your event on the site. Submit your event here and we'll get you on Atlanta's most comprehensive listing of events.
Festivals
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Rockabilly Rumbles onto two nights Article
Saturday February 3, 2001 12:04 am EST
The Star Bar's 6th Anniversary Dixie Rockabilly Rumble
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News from the Great Atlanta Pot Festival
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Mr. Peepers loves people. I don't like people. There's too many people here. They bother me. Mr. Peepers likes being out, but he doesn't like balloons, the shining balloons. They scare him. I got him a balloon for Valentine's Day and he went nuts. Something to do with invading his air space. I got his wings trimmed. He can fly down. Maybe the balloons can fly higher and that's why he goes nuts with them.
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Wednesday April 11, 2001 12:04 am EDT
Talk of the Town Profiles: Dogwood Festival 2001
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string(4446) "Music Midtown always rolls out a healthy number of old-timers and this year brings a typical cast of veterans, both seasoned (Bob Dylan) and overripe (Night Ranger). However, there's nobody — this year or in years past — who can approach the stunning longevity of the Blind Boys of Alabama's six-decade career.
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music@creativeloafing.com
The Blind Boys of Alabama perform at Music Midtown twice: with the Spirit of the Century band, Sat., May 5, at 8:45 p.m. on the Ford Focus/Fox5 Stage, and without the band, Sun., May 6, at 5:30 p.m. on the Turner South Stage. In addition, two Spirit of the Century band members perform separate sets: David Lindley appears Sat., May 5, at 5:45 p.m. and John Hammond's Wicked Grin appears Sun., May 6, at 6:45 p.m., both on the Ford Focus/Fox5 Stage. For more information, visit www.music midtown.com or call 770-MIDTOWN.??
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''[mailto:music@creativeloafing.com|music@creativeloafing.com]''
''''
''The Blind Boys of Alabama perform at Music Midtown twice: with the ''Spirit of the Century'' band, Sat., May 5, at 8:45 p.m. on the Ford Focus/Fox5 Stage, and without the band, Sun., May 6, at 5:30 p.m. on the Turner South Stage. In addition, two Spirit of the Century band members perform separate sets: David Lindley appears Sat., May 5, at 5:45 p.m. and John Hammond's Wicked Grin appears Sun., May 6, at 6:45 p.m., both on the Ford Focus/Fox5 Stage. For more information, visit www.music [http://midtown.com/|midtown.com] or call 770-MIDTOWN.''??
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string(5112) " Vibes Feature 4829 2020-04-04T21:35:26+00:00 vibes_feature-4829.jpeg music midtown The Blind Boys of Alabama tap into the spirit of the century with a new album, an extraordinary band and a special appearance at this year's fest 30322 2001-05-02T04:04:00+00:00 Music Midtown gets spiritual ben.eason@creativeloafing.com Ben Eason Hal Horowitz 1223571 2001-05-02T04:04:00+00:00 Music Midtown always rolls out a healthy number of old-timers and this year brings a typical cast of veterans, both seasoned (Bob Dylan) and overripe (Night Ranger). However, there's nobody — this year or in years past — who can approach the stunning longevity of the Blind Boys of Alabama's six-decade career.
Led by founding member Clarence Fountain — who, amazingly, started at age 8 and is still a member at 72 — the traditional gospel vocal group have in recent years enjoyed a renaissance of mainstream notoriety. They've shared billings with the likes of Tom Petty, Green Day, Bonnie Raitt and B.B. King, routinely whipping secular crowds into a frenzy with their show-stopping, audience-roaming antics and electrifying fervor.
One of those who fell under the Blind Boys' spell was producer John Chelew, best known for his work on John Hiatt's acclaimed Bring the Family album. While putting together 1994's Richard Thompson tribute, Beat the Retreat, Chelew first encountered the group, singing back-up on Raitt's contribution. "That's when I started thinking about what a great band they were," he says by phone from his L.A. home. "But I didn't like the albums they were making. They had '70s synthesizers and drum machines. So I spoke with their agent about making a rootsier sort of disc, one that would have the same kind of power as the great early gospel recordings of the '40s and '50s."
The opportunity finally came seven years later, when Chelew scoured his Rolodex and brought together a roots supergroup featuring world-fusion multi-instrumentalist David Lindley and blues guitarist John Hammond (both of whom also perform solo sets during Music Midtown), harmonica legend Charlie Musselwhite and Richard Thompson's rhythm section, drummer Michael Jerome and bassist Danny Thompson. The aggregation, which had never played together and did not know the Blind Boys' music, nevertheless locked in for four long and intense days in the studio. Hammering out impromptu arrangements for a totally acoustic set that incorporates songs by Jagger/Richards, Tom Waits and Ben Harper along with radically reworked standards "Motherless Children," "Amazing Grace" (done to the melody of "House of the Rising Sun") and "Nobody's Fault But Mine," they worked quickly and efficiently with an innate skill and sixth sense that only accomplished musicians possess.
What emerged was Spirit of the Century, not only the best-ever Blind Boys release, but a wildly passionate and infectiously rocking album no doubt headed for the top of critics' best-of lists, if not necessarily the sales charts. With Thompson's rubbery, stand-up bass anchoring the charge and Musselwhite's eerie harp nudging against the languid, intertwining swampy guitars of Hammond and Lindley, the Boys tear into these songs with a renewed vibrancy belying their age. The skillful backing band never overplays, leaving space for the gritty, soulful, adrenaline-fueled vocals to fly.
There's clearly a crackling energy here that transcends the grooves, partially brought about by the deadlines of limited studio time and the availability of the musicians. "We did the 12 songs with everyone together in the same room. The musicians knew it wasn't going to be overdubbed later, so they gave us a little more. Just that extra 8 percent was incredible. The first complete take was usually the best, even with a few mistakes, because it has that excitement — almost fear — and that gets on the tape."
It'll get onto the stage too, as this remarkable band, which is only scheduled to perform two live gigs to promote the record, will converge at Music Midtown for a set that'll rank among the rarest of concert experiences. Don't miss it, because when the Blind Boys of Alabama sing, their sacred harmonies turn even the unrepentant sinner into a true believer.
music@creativeloafing.com
The Blind Boys of Alabama perform at Music Midtown twice: with the Spirit of the Century band, Sat., May 5, at 8:45 p.m. on the Ford Focus/Fox5 Stage, and without the band, Sun., May 6, at 5:30 p.m. on the Turner South Stage. In addition, two Spirit of the Century band members perform separate sets: David Lindley appears Sat., May 5, at 5:45 p.m. and John Hammond's Wicked Grin appears Sun., May 6, at 6:45 p.m., both on the Ford Focus/Fox5 Stage. For more information, visit www.music midtown.com or call 770-MIDTOWN.??
courtesy Real World The Blind Boys of Alabama 0,0,10 Music Midtown, Atlanta Festivals 2001 "music midtown" 13004117 1230859 /mediaserver/atlanta/2015-17/vibes_feature-4829.jpeg courtesy Real World The Blind Boys of Alabama Music Midtown gets spiritual "
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Music Midtown gets spiritual Article
Wednesday May 2, 2001 12:04 am EDT
The Blind Boys of Alabama tap into the spirit of the century with a new album, an extraordinary band and a special appearance at this year's fest
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string(43574) "FRI/MAY 04
Listings preceded by a star () are acts recommended for their time slot
Budweiser/99X Stage
AMERICAN HI-FI — Crunchy Cheap Trick as heard by Weezer, these alterna-popsters are fronted by the ex-Letters To Cleo/Veruca Salt drummer who pulls a Dave Grohl by strapping on a guitar and stepping up to the mic. It's nothing we haven't heard before, but "Flavor of the Weak" sure is a catchy sumbitch. 6:45-7:15 p.m. (Horowitz)
OUR LADY PEACE — This band is the latest in a long, proud tradition of Canadian prog-rockers (Rush, um, Triumph, uhh). They bring artsy pretension to mid-'90s grunge, but if you ignore the high concepts behind their music (think Yes, only sillier), they're at least as good as every other band ripping off Pearl Jam and Soundgarden. 7:45-8:30 p.m. (Peisner)
OFFSPRING — Their tendency to rewrite the same crappy song over and over ("Come Out And Play," "Pretty Fly (For A White Guy)") notwithstanding, the Offspring's recent album, Conspiracy of One, is actually pretty damn good. Sure, it's just radio-ready meathead-rock, but if you don't think too hard about it, you won't feel bad about liking it. 9-10 p.m. (Peisner)
Black crowes -- When not busy posing as the world's "most rock 'n' roll rock 'n'roll band," the Black Crowes are actually a damn good rock 'n' roll band. Their upcoming album, Lions, proves as much, ditching the hippy-dippy trappings they've occasionally succumbed to and concentrating on the searing, soulful sounds that have always been their strength. 10:30 p.m.-12 a.m. (Peisner)
Coca-Cola/ V103/WB36! Stage
TALIB KWELI -- Talib Kweli has established himself as one of the leaders of the new school, helming the current conscious-rap movement along with sometime partner Mos Def. His latest single, "Move Somethin'," recently hit No.1 on the rap charts. 7:10-7:55 p.m. (Whitaker)
ARRESTED DEVELOPMENT — One of Atlanta's first hip-hop acts to hit it big, Speech and his organic-rap-and-good-times gang are back, still riffing pop and rap together into a down-home, Southern-fried version of the Fat Albert crew's band. Honestly though, we're still waiting for another "Mr. Wendel." 8:35-9:35 p.m. (Whitaker)
ERYKAH BADU — New-school soul diva Badu returns to the city her son calls part-time home for her third Atlanta show in just over two months. Her voice is an aquired taste for some, but her style and mix of sass and grace make her among the most likable R&B stars to emerge in recent years. 10:15-11:45 p.m. (Sarig)
Ford Focus/Fox 5 Stage
BEAUSOLEIL — Hands down the best and most revered Cajun band in the world, Beausoleil prove why at every show. Almost a religious experience for fans, the acoustic band is celebrating their 25th anniversary and has never sounded better. Get on those dancin' shoes and two-step into heaven. 7-8 p.m. (Horowitz)
SHOLA LEWIS — Ghanaian native and Atlanta resident Shola Lewis' most recent release, I Don't Understand on Roots & Culture Records, features original straight-up reggae that's both catchy and classy despite the drum-machine-and-synth production values. He's a notable, if undersung, member of the local music community. 8:30-9:30 p.m. (Sarig)
DIRTY DOZEN BRASS BAND — When seeing the Dirty Dozen Brass Band's raucous displays of second-line jazz, you're witnessing a slice of authentic New Orleans heritage that began decades ago. Just don't be upset if security guards happen to confiscate your parasol at the gates. 10-11:30 p.m. (Arieh)
Jose Cuervo/96 Rock Stage
PETE YORN — Don't hold it against Pete Yorn that his music was featured on the "Dawson's Creek" soundtrack. The New Jersey rocker's debut, musicforthemorningafter, is more than three-chord power-pop for the thinking man; it's finely-crafted, dark romanticism a la Joseph Arthurs. But Yorn knows something Arthurs doesn't: how to crank up the volume on those vintage guitars. 6-6:30 p.m. (York)
DRIVIN N CRYIN — Atlanta's own country-folk-punkers can't buy a break anywhere else in the country, yet keep the locals flocking to their energetic gigs as if they were as popular as the Black Crowes — which they shoulda been. Loud, brash and unpredictable, they still put on a great show. 7-8 p.m. (Horowitz)
PATTI SMITH — She's a freaking legend, what else do you need to know? While her recent recordings have been more interesting than compelling, she remains a thrilling and gifted performer. If you're setting up an itinerary for the weekend, file this one under "do not miss." 8:30-9:30 p.m. (Robertson)
BOB DYLAN — Bob Dylan's never retired to the oldies circuit. It's as if the idea of cranking out crowd-pleasing versions of his classics to yuppies and boomers willing to pony up heavy dough to be in his presence has never occurred to him. Instead he keeps meddling and reinventing, both himself and his songs. 10-11:30 p.m. (Peisner)
Mercury Mountaineer/99X Locals Only Stage
THE SENATORS — That these high schoolers from the Atlanta 'burbs have managed to infiltrate the intown music scene to the extent they have is a tribute to both their ambition and promise. Though still apt to wear their Cobain on their sleeves, the quartet sounds like you'd guess a great band would sound a few years before the baby fat melts away. 6:15-6:45 p.m. (Sarig)
SEXXXY CIRKUS — This local band, led by former Little Richard back-up singers, offers a mix of pop, hip-hop, rock and funk with a distinctly Eurotrash bent. It works great for them in places like Budapest and Hamburg, where their sexually energetic stage show has earned them much attention, but back home they come across as a spectacle combining Milli Vanilli and a Motown revue. 7:15-7:45 p.m. (Sarig)
MILLER'S TALE — Don't expect any Middle English tales of crafty clerks in bed with the carpenter's wife at this show. This X-Games-soundtrack-ready four piece come only to rock; they've been doing it for nearly a decade. Expect a high-energy show with plenty of guitar hooks and sinewy bass playing that says, "hardcore meets Les Claypool." 8:30-9 p.m. (Griffis)
LEFT FRONT TIRE — Habersham County teenagers pump it up and air-jack some crunchy pop with steel-belted harmonies. Swerving into Green Day's lane occasionally, the band offers an infectious live show with enough tread to last a while. Fun and tight with hooks a-plenty. 10:00-10:30 p.m. (Smith)
Unite Georgia/Z93 Stage
BLUE OYSTER CULT — BOC boasts more hip cache than most of their '70s metal brethren thanks to fortuitous associations with uber-hip types like Richard Meltzer and Patti Smith. In retrospect, though, they earned their respect by tweaking trad hard-rock crunch with brainy metaphors, pop atmospherics and an ironist's smirk. 7-8 p.m. (Robertson)
DELBERT MCCLINTON — Blues, country, R&B, Tex-Mex and everything else they play in the Lone Star state comes out sounding like Delbert McClinton music when this journeyman and his rugged band dig into his 30-year catalog. A consummate performer, this is good-time music perfect for sunny days and outdoor partying. 8:30-9:30 p.m. (Horowitz)
BLUES TRAVELER — For all who think Blues Traveler may have lost a few steps in recent years, you're not really paying attention — they were never good. The band always sounded like the third-prize winner in a college bar's battle-of-the-bands contest and John Popper's never understood that playing the harmonica really fast (or singing really fast) is not a fair substitute for having something to say. 10 p.m.-12 a.m. (Peisner)
[] SAT/MAY 05
Budweiser/99X Stage
INJECTED — This soon-to-go-national local outfit makes modern hard rock as filtered through a post-punk metal mindset. Abrasive and strangely captivating, like the remains of a four-car pile-up, Injected utilize elements of fragmented melody and noise. Not pretty, but loud. 1-1:30 p.m. (Smith)
DEXTER FREEBISH — If despite all logic you continue to find inspiration in the generic and moribund sound known as modern rock, you could do a lot worse than gravitate toward Brit fivesome Dexter Freebish, currently making the rounds with their catchy hit "Leaving Town." 2-2:30 p.m. (Sarig)
JOSH JOPLIN GROUP — The hard work is paying off for the local fave. Recently signed to Artemis, Josh and the boys are getting radio play around the country with a collection of tunes that boast thoughtful lyrics and a soulful longing reminiscent of early R.E.M. 3-3:50 p.m. (Allen)
REHAB — Local white-guy rap duo, whose major-label debut Southern Discomfort is finally showing signs of breaking through at radio six months after release, incorporate the fuck-it-I'm-crazy pose of Eminem, the redneck rock-rap of Kid Rock, the acoustic sing-song of Everlast with the good taste to let Dungeon Family affiliates P.A. produce. Sneer if you will, but the songs stand repeated listenings. 4:20-5:10 p.m. (Sarig)
TANTRIC — Take three former members of Days of the New, Madonna's record label, a big budget and what have you got? Not much. Tantric's tired debut is about as exciting as last year's Midtown appearance of Splender. Unlike tantric sex, this band's recycled ejaculation is premature and as spiritual as that $5 beer. 5:40-6:30 p.m. (Smith)
WALLFLOWERS — Why does it always sound like the Wallflowers just woke up? I mean Jakob Dylan's a decent songwriter, but he and his band treat their songs with the kind of enthusiasm reserved for "Golden Girls" reruns. Come on guys, you're rock stars! This is supposed to be fun! 7-8:15 p.m. (Peisner)
TRAIN — Every genre has its middle-of-the-road snoozers, even a genre as inherently middle-of-the-road as modern rock. Train are so bland and inoffensive it's almost offensive. If you've heard their breakthrough hit, "Meet Virginia," or their recent "Drops Of Jupiter," you've already heard too much. 8:45-10 p.m. (Peisner)
MARVELOUS 3 — The firecracker rockers always add a few more sparks when they perform in front of the fans that supported them for a decade playing dingy Atlanta clubs. They may be experiencing their 15 minutes, but they've earned every second of it, and they'll shake your world, at least for a few hours. 10:30-11:45 p.m. (Horowitz)
Coca-Cola/ V103/WB36! Stage
BILAL — Twenty-one-year-old Bilal Sayeed Oliver stands ready to muscle in on D'Angelo's territory as the new-soul It-boy. He made his name collaborating with everyone from Common to Erykah Badu. His debut record, 1st Born Second, entirely self-written, produced and performed, drops in June. 1-1:30 p.m. (Whitaker)
SUGARHILL GANG — The Gang still hasn't stopped rocking to the rhythm of the boogie-dah beat, although by sticking with "Rapper's Delight," this also means they haven't done much new in decades. Made for a great "Behind the Music" though. 2:10-3 p.m. (Whitaker)
FRANCINE REED — Atlanta's very own diva owns any stage the minute she takes it and holds the attention of even jittery festival-goers with her rugged down-home blues, sultry jazz, plucky vocals and chatty crowd interaction. When she hauls off and belts out a tune, the effect is spine tingling. A local treasure. 3:40-4:40 p.m. (Horowitz)
EN VOGUE — Bow down Destiny's Child and Dream. Because of these funky divas, the otherwise-dead girl-group thing got resurrected in the '90s. The En Vogue foursome brought a welcome spin: Each member could sing lead. Sadly mediocre follow-ups to their smash debut and the loss of Dawn Robinson sent the group's chart career to the grave. 5:20-6:20 p.m. (Noelzine)
MUSIQ SOULCHILD — If all R&B crooner Musiq Soulchild wants to do is sing, he'll certainly get his chance, performing tracks from his debut album Aijustwanaseing (I Just Wanna Sing). But once he feels that Hotlanta sun, he might be singing a different tune: "AijustwanagobacktoPhilly." 7-8 p.m. (Baraka)
BOOKER T. JONES — The long career of legendary Stax's organ-playing soulman Booker T. Jones has generated so many good songs it seems unfair to have him play a relatively short set, where surely some gems will be jettisoned. Jones is touring without the legendary MGs, whose presence nonetheless will loom large over the proceedings. 8:40- 9:40 p.m. (Madigan)
AL GREEN — The Rev. Green finally has made the journey from pulpit to stage, returning from preaching to put together a white-hot stage show that matches his signature white tux. Mixing in an altar call between his seminal R&B hits (including, among others, "Let's Stay Together" and "Love and Happiness"), this is one of the truly can't-miss performances. 10:20-11:20 p.m. (Whitaker)
Ford Focus/Fox 5 Stage
JOHANNES LINSTEAD — Fans of technically precise music will find solace in Linstead. The virtuoso guitarist will dazzle sun-dazed festival-goers with his speed and Latin-flavored salsa. His self-described "nouveau flamenco" style is a flamboyant combination of classical and gypsy picking. 1:30-2:15 p.m. (Smith)
VICTORIA WILLIAMS & MARC OLSON — Alt-country royalty and husband-and-wife tag-team, Olson and Williams concoct an authentic front-porch ambiance on their engagingly low-key recordings with the Harmony Ridge Creek Dippers. They should provide a welcome respite from the festival's overarching "let's rock out, dude" mentality. 2:45-3:45 p.m. (Robertson)
JOHN MAYER — Mayer snuck into town a couple of years ago and started playing open-mic nights at Eddie's Attic; now this 23-year-old pop/jazz artist (think Sting) and guitar ace is poised on the brink of crossover radio stardom with the release next month of Room for Squares, his major label debut on Aware/Columbia Records. 4:15-5:15 p.m. (Guthrie)
DAVID LINDLEY — He rocks, he rolls, he worldbeats and plays every stringed instrument ever invented, plus some he devised himself. Lindley doesn't tour often so take this rare opportunity to catch one of the most talented, eclectic, idiosyncratic and enjoyable musicians at the festival. Lindley also backs the Blind Boys of Alabama later in the evening. 5:45-6:45 p.m. (Horowitz)
LUCINDA WILLIAMS — If you found her stunning 1998 country-folk heart-stomper, Car Wheels on a Gravel Road, just the friend you were looking for to share a 12-pack of beer and a lonely Saturday night, then her upcoming album, Essence, which is somehow even darker and more reflective, might not scare you. Her live show likely will include some of her older, more rock-tinged stuff and promises to be a bit more, well, "up." 7:15-8:15 p.m. (Peisner)
BLIND BOYS OF ALABAMA-- Though their new album, Spirit of the Century, includes covers of songs by contemporary artists such as Tom Waits, the Rolling Stones and Ben Harper, the Blind Boys have been offering their version of the gospel for more than 60 years. Fans of battered country blues and early rock 'n' soul will recognize the roots of such music in the Blind Boys gritty, pained harmonies. See article, p. 75. 8:45-9:45 p.m. (Peisner)
KOOL & THE GANG — It used to be that Kool & the Gang was cool. Now, they're more like the Temptations, a post-cool band with a jukebox full of memorable dance hits. Tonight, as beer flows and things get sloppy, this show might resemble a big disco. 10:15-11:30 p.m. (Allen)
Jose Cuervo/96 Rock Stage
JENNIFER NETTLES BAND — Local act formed from the ashes of folk duo Soul Miner's Daughter display their expanding musical virtuosity and feature songs from their independent debut CD Story of Your Bones. 1:15-1:45 p.m. (Kimes)
THE CONNELLS — It's tough to get really juiced about the Connells' pleasantly engaging melodic college rock. It's also tough to hate it. At the very least, you have to admire the Raleigh-based quintet for sticking around for more than 15 years without selling out or selling albums. 2:15-3 p.m. (Horowitz)
THE SMITHEREENS — These veteran New York power-poppers continue to celebrate the joys of Brit-pop (that'd be first wave Brit-pop, mate) for the huddled masses. Like a slightly moodier version of the Dave Clark Five, the band remains true believers in the all-mighty hook. 3:30-4:15 p.m. (Robertson)
DAYS OF THE NEW — This bland alternarock outfit gives new meaning to the word "turgid." Reportedly upset with their initial categorization as post-grunge, their second release (the imaginatively titled Days of the New 2) wallows in syrupy production and a ridiculous cowboy/western theme. Needless to say it hasn't helped matters. 4:45-5:30 p.m. (Robertson)
OLEANDER — On the road in support of its latest effort, Unwind, Sacramento, Calif.-based Oleander play a brand of Seattle-sounding rock that's lesser than its forefathers' (Nirvana, Alice in Chains) but better than its peers' (Creed, Days of the New). But no frontin' — at last year's festival, the group's radio hit "Why I'm Here" was actually quite powerful. 6-7 p.m. (Arieh)
JERRY CANTRELL — Those of you who miss Seattle rock staple Alice in Chains will want to catch Cantrell's group, which features half of AIC (Sean Kinney plays drums) and set lists that include Cantrell-penned songs such as "Rooster" and "Them Bones." If you've seen Cantrell play, you know the guy's a superior guitar player. 7:30-8:30 p.m. (Arieh)
CHEAP TRICK — Sure, the Trick's reputation rests on their first four albums (especially the epochal At Budokan). But, boy howdy, what great albums they are. The intuitive melding of metallic grit and Beatlesque melody has aged gracefully, retaining all the subversive charm that made us love them in the first place. 9-10 p.m. (Robertson)
THE CULT — The Cult were basically the Doors re-imagined for fans of late '80s glam-metal, which was a surprisingly tolerable idea for quite a few years. Unfortunately, as their soon-to-be-released new album, Beyond Good and Evil, shows, they've yet to come up with another idea half-as-good. As nostalgia goes, though, you could do much worse. 10:30 p.m.-12 a.m. (Peisner)
Mercury Mountaineer/99X Locals Only Stage
TREEPHORT — This goofy gang of punk and ska-loving clowns could very well be this year's surprise local favorite. A Treephort show can be amazingly good or outstandingly sloppy, but the band's energy and good humor are always a happy constant. 12:30-1 p.m. (Smith)
MOTO-LITAS — An all-female Atlanta quartet who played their debut show on the first day of 2000, the Moto-Litas are one of the local scene's unqualified success stories. Evolving from a delightful novelty act, they've quickly become an alt-rock force to be reckoned with, on a par with the Breeders and Ultrababyfat. 1:30-2 p.m. (Nicoll)
DARLING MACHINE — A glittery flashback to '70s Detroit, these glam boys combine the tough streetwise posturing of Iggy and the Stooges with the rock-'n'-roll-all-night-party vibe of the New York Dolls. Post-punk Romance, sealed with some Kiss. 2:30-3 p.m. (Smith)
ANDY BROWNE — The former frontman/guitarist of Atlanta's legendary Nightporters marks the big-stage debut of his anthemic rock solo act. He's backed by a crackfire new band consisting of bassist Gary Brown (ex-Swimming Pool Q's), drummer Morgan Barruzini, guitarist Lawrence Canning and keyboardist Palmer Wood. 3:50-4:20 p.m. (Nicoll)
YOUNG ANTIQUES — Blending elements of pure pop, rock and Americana, Blake Rainey and his staff move the Antiques' store outside today. Blending elements of their diverse influences, YA play a high-energy brand of fun, punchy, rock 'n' roll that should appeal to a wide audience of overheated music fans. 5:10-5:40 p.m. (Smith)
SOMETHING 5 — The local quartet sounds like it has been focus-grouped for modern-rock success. Their debut CD, a virtual storehouse for all the overwraught cliches that have made the genre so oppressively lame, is no doubt bound for a major label near you. 6:30-7 p.m. (Sarig)
X-IMPOSSIBLES — Atlanta's finest exponents of classic, unabashed '70s-style punk rock, the X-Impossibles are a thunderous living tribute to the once-counterculture spirit of the New York Dolls and Iggy Pop, but presented with a vibrancy that supercedes mere nostalgia. Their recent national-label release, White Knuckle Ride, is highly recommended. 8:15-9:15 p.m. (Nicoll)
THE FORTY-FIVES — Imagine a mod revival taking place on Memphis' sweat-soaked Beale Street and you've got the Forty-Fives. This isn't revolutionary stuff, but it's loud, boisterous beer-drenched party music perfect for a street (or parking lot, as the case may be) festival. It's greasy, Southern, garage rock scattered, smothered, covered, chunked, topped and diced with Hammond organ, shouts and handclaps. Some should be yours. 10-10:30 p.m. (Ware)
Radio Disney Kids Stage
RED FEATHER DANCE CO. — This Native American troupe highlights the music and dance of a number of tribes, with an emphasis on education. 2:30-3 p.m. (Sarig)
RICK HUBBARD'S ALL KID KAZOO BAND — Hubbard gives out free kazoos (I'd like to see Night Ranger do that) and forms a Kazoo Band of children, their parents and whoever else cares to join in. More entertaining than Loverboy and probably sexier, too. 3:30-4:15 p.m. (Smith)
Turner South/civic center stage
TURNER SOUTH LIVE: A CONCERT FROM MUSIC MIDTOWN — The Indigo Girls, Shawn Colvin, Darius Rucker (you know, Hootie) and Ann Wilson of Heart headline this indoor concert, televised live on the Turner South cable channel. It's free for folks with tickets to Music Midtown, but you can't get in unless you picked up special event tickets last Friday morning at the Roxy. For those stuck at home, though, it's the only part of the fest you can see from your couch. 8-10 p.m. (Sarig)
Unite Georgia/Z93 Stage
GREG HESTER — Hester is a gifted singer/songwriter with the heart of a country gentleman, the brain of a rocker and the guts to mix all his influences at once without apology or consessions to commercialism. Fellow Midtown performer Andy Browne calls Hester "a country-fried Van Morrison." 1-1:30 p.m. (Smith)
FIVE FOR FIGHTING — The nom de plume of John Ondrasik, Five for Fighting serves as a vehicle for the singer-songwriter/ivory tickler's jabs at pop music from the crow's nest of the indie-minded marginalia. On his sophomore effort, America Town, Ondrasik forges ahead with the hook-filled pop lingo and arena-rock bombast of a young Elton Hercules John. 2-2:30 p.m. (Ellis)
BLUEGROUND UNDERGRASS — The Rev. Jeff Mosier and his Bruce Hampton-worshipping flock mix bluegrass and country with the mindset of a funky jam band. Freak-out hillbilly jazz for the masses. This should be a great spot for people watching, as BU attract equal amounts of hippies and yuppies. 3-4 p.m. (Smith)
COL. BRUCE HAMPTON AND THE CODE TALKERS — Hampton and his band of friendly freaks improv their way through a spacey set of lengthy jams and soulful, even spiritual, odes to interstellar living. A fixture of the Atlanta scene, Hampton is a lovable ol' crank and a true original, even though his songs are usually longer than the wait for an open port-a-potty. 4:30-5:30 p.m. (Smith)
JOHN KAY AND STEPPENWOLF — Vocalist/guitarist Kay is a German-born wildman who first popularized the term "heavy metal" (in the lyrics of Steppenwolf's 1968 mega-hit "Born to be Wild"). Although legally blind for decades — hence his perpetual sunshades — this professional crowd-pleaser has continued touring tirelessly ever since the original Steppenwolf broke up back in '76. 6-7 p.m. (Nicoll)
NIGHT RANGER — Sister Christian, oh the time has come. The time, that is, for you to pack up your hairspray and find honest work. Just because a few thousand golf-shirt-clad twentysomethings pack the front of your stage and sing along to the old hits, does not make you somehow relevant. 7:30-8:30 p.m. (Peisner)
LOVERBOY — Singer Mike Reno's ass — squeezed into a pair of size 31 Merry-Go-Round red leather pants — from the cover of the band's platinum 1981 album Get Lucky, is as much a part of the 1980s MTV-trash culture as the band's string of hard-rockin' keyboard-spiked pop-rock hits. Fifteen years after their last hit, "Lovin' Every Minute of It," Reno wears a size 38 on a good day and Merry-Go-Round is history. Turn me loose. 9-10 p.m. (Trammell)
KANSAS — The corn-belt's answer to Yes wheeze along, replete with high-falutin' concepts, unwieldy song titles and solos long enough to get a beer and visit a port-a-potty during. Now mostly based in Atlanta, they continue to release new material. But let's be honest: It's all about those "classic rock" hits. Carry on those wayward songs, boys! 10:30 p.m.-12 a.m. (Robertson)
[] SUN/MAY 06
Budweiser/99X Stage
6 AGAINST 7 — This local quintet landed on 99X's main stage by winning the Next Level competition held in recent weeks. One would suppose it's a boost for the young band, who so far have been richly rewarded for sounding exactly like all the modern-rock bands in heavy rotation on the station. But is it really better to play a big stage during a bad timeslot than, say, the smaller Locals Only stage during prime time? 1:30-2 p.m. (Sarig)
EVAN & JARON — While local hipsters long have expressed anything from indifference to annoyance about this photogenic twin-brother duo, now that they're hobnobbing with Carson and Amanda, the wretch-factor has no doubt risen dramatically. What naysayers missed along the way, though, is that E&J's self-titled breakthrough release is by far the best collection of boy pop to come out in this current season of sonic pap. 2:30-3:15 p.m. (Sarig)
BEN HARPER — Though at times he can be a bit of a hokey songwriter, Ben Harper is an absolutely mesmerizing live performer. Channeling the spirit of guys like Jimi Hendrix, Marvin Gaye and Cat Stevens (who is not technically dead but ...), Harper makes the old sound new and improved, a trick he employs to impressive effect on his recent double live album, Live From Mars. 3:45-4:45 p.m. (Peisner)
INDIGO GIRLS — Give 'em the hometown welcome they deserve for sticking to their philosophical/political guns while pushing the limited musical boundaries inherent in the folk/rock idiom. Between Ray's Daemon label and Saliers' restaurant, they're more committed to Atlanta than any other major act, and for folkies, they sure can rock. 5:15-6:30 p.m. (Horowitz)
FUEL — Pennsylvania-based modern-rock quartet, currently tearing up Billboard's charts with two singles — "Innocent" and "Hemorrhage (In My Hands)" — play cuts from their latest smash Something Like Human and 1998's platinum debut Sunburn. 7-8 p.m. (Kimes)
LIVE — It's a dubious honor, but Live easily qualifies as alternarock's most earnest band. Drawing inspiration from U2 and R.E.M., they lack the former's commanding stage presence and the latter's loopy charm. Their live performances bring to mind watching a particularly serious philosophy student defend his graduate thesis. 8:30-10 p.m. (Robertson)
Civic Center Stage
GEORGIA SEA ISLAND SINGERS — Among the last remaining ambassadors of the distinctive Gulla culture developed by freed African slaves along the Georgia coast, the family harmonies and gospel stomps offered by the Sea Island Singers are just the antidote to time spent negotiating the bleeding sound between the 99X and 96Rock stages.
2:30-3:30 p.m. (Sarig)
SHEMEKIA COPELAND — Late guitarist Johnny Copeland's daughter is one of the brightest and most passionate young blues singers to make a stab at crossover success. Gifted with natural stage presence and a gutsy voice that effortlessly reaches the back rows, Copeland growls, shouts, wails and testifies like the star she's destined to be. 4-5 p.m. (Horowitz)
BLIND BOYS OF ALABAMA — See article, and listing for Sat., May 6, Ford Focus/Fox5 Stage.
5:30-6:45 p.m. (Horowitz)
Coca-Cola/ V103/WB36! Stage
GURUFISH — An extremely theatrical Atlanta show band, Gurufish are ideally suited to perform in this venue. They play flashy '70s glam-rock with heavy infusions of funk/soul/disco, and behind their outrageous wigs and ultrawide bell-bottom pants is better-than-journeyman-level musicianship, particularly on the keyboards. 1-1:40 p.m. (Nicoll)
CRAIG ELLIS — South Carolina R&B vocalist combines his gospel background with a taste for sexy new-jack and hip-hop. Wrapping up work on his debut, Ellis offers a sneak peak at what could be the next big thing in urban crooning. 2:20-3 p.m. (Sarig)
ORIGINAL P — Some of the original members of Parliament (but not George Clinton) take funksters on an exciting ride on the Mothership. Let's hope the band, which has been around in one form or another since 1970 and is legally enjoined from using the name Parliament, at least has the rights to perform hits like "Flashlight" and "P-Funk." 3:40-4:40 p.m. (Baraka)
LUDACRIS — Show love to another hip-hop star and native ATLien. Late-night shifts and gophering for Ryan Cameron and the crew at 97.5 paid off for the former Chris Bridges. Now everyone's kissing his ass and trying to do his omnipresent MTV dance. Throw dem bows. 5:20-6:20 p.m. (Whitaker)
RUN DMC — With in-fighting and religion in the mix, Run DMC (and Jam Master Jay) are still trying to maintain some sort of relevance to the current market. But of late, they're more like the washed-up, aging rap duo played by Horatio Sanz and Tracy Morgan on "Saturday Night Live." At least Aerosmith's still kicking. See article, p. 85. 7-8 p.m. (Whitaker)
CARL THOMAS — While Puff Diddy bounces in and out of jail, someone's got to keep the cheese rolling in at Bad Boy Records. Aside from Puff's teen pastries Dream, Chicago balladeer Carl Thomas is the Daddy's current big, well, gun. Still riding the success of last year's single "I Wish," Thomas is reportedly readying his follow-up. 8:40-9:40 p.m. (Whitaker)
Ford Focus/Fox 5 Stage
DAN HICKS & THE HOT LICKS — The San Francisco scene in the '60s was a wide-open haven for musicians and Hicks made a name for himself with his unique blend of parlor music and classic jazz. Throwing a bit of off-kilter humor into the mix, he created a timeless and entertaining act that's just as much fun today as it was back then. See Show 'n' Tell, p. 77. 1:15-2 p.m. (Kelly)
LIL BRIAN & THE ZYDECO TRAVELERS — Houston accordion whiz Brian Terry leads an outfit pushing zydeco's frantic energy into a new era by incorporating elements of funk and hip-hop into the mix. Welcome to the Z-Funk era. 2:30-3:15 p.m. (Sarig)
SONIA DADA — A personal favorite of Music Midtown producer Alex Cooley, this large and diverse ensemble, formed in Chicago in the early '90s, manage to mix horn-driven funk, soul and gospel-tinged rock without pandering to the obvious frat crowd. Festive and satisfying. 3:45-4:45 p.m. (Smith)
MARCIA BALL — Austin's queen of the boogie-woogie piano packs a punch whenever she hits the stage. The statuesque Ms. Ball sits ever-so-ladylike on the stool but rips through a rollicking setlist like a tornado. Every ass in the place will be shaking. 5:15-6:15 p.m. (Kelly)
JOHN HAMMOND'S WICKED GRIN — Possibly the only chance you'll get to hear bluesman Hammond's incredible new Tom Waits covers album played with the band who made it. His sound infuses gospel, rock and blues into a swampy mix oozing with soul. Creepy and forbidding, like the blues is supposed to be. Not to be missed. Hammond also backs the Blind Boys of Alabama's Saturday performance. 6:45-7:45 p.m. (Horowitz)
STEVE EARLE — Steve Earle's harrowing back-from-the-dead drug saga has been repeated so many times, it's lost all potency. Fortunately, the same cannot be said for his music. His ever-expanding palate of roots-rock, country, folk, blues and, most recently, psychedelic pop, actually draws on his darkest days without making them sound like cheap "Behind The Music" voyeurism. 8:15-9:30 p.m. (Peisner)
Jose Cuervo/ 96 Rock Stage
SLANGBANGER — Self-described "electro-rockers," Slangbanger sling some hard rock, some funk and some rap against the wall and the result slowly slides to the ground, leaving a trail of sticky goop. 1-1:30 p.m. (Smith)
LESS THAN JAKE — The decade-old Florida outfit Less Than Jake play snotty, three-chord punk-rock with horns — it ain't ska, but it's nothing if not competent. Radio play has more or less eluded them, which might be one of the reasons why their relatively formulaic (though energetic) stuff still sounds a little fresh. 2-2:45 p.m. (Peisner)
DEREK TRUCKS BAND — Precocious-novelty-turned-guitar-prodigy, Trucks hung up the baseball cleats and picked up the acoustic at age 9. Since, he's performed with the likes of Bob Dylan and John Lee Hooker. His band plays basic Southern boogie/jam rock, but Trucks takes them over the top with a deftness that shames contemporaries Jonny Lang or Kenny Wayne Shepherd. 3:15-4:15 p.m. (Arieh)
ERIC JOHNSON — As guitar shredders go, the Prince-discovered Johnson is classier than most, tempering his lightning-fast fret runs with subtle excursions into folk, prog and even spacey blues. Not as flashy nor as aggressive as his G3 touring mates Joe Satriani or Steve Vai, Johnson is just as talented and far tastier. 4:45-5:45 p.m. (Horowitz)
GOV'T MULE — Recovering from the death of Allen Woody and a change of label scenery, Gov't Mule can still pack a Southern-fried wallop. Fans of the Allman Brothers (Woody and Mule co-founder Warren Hayes both played for the brothers) and black concert T-shirts surely will find a lighter-flicking experience here. 6:15-7:45 p.m. (Allen)
JACKYL — Betcha didn't know these local metalhead yahoos were even still around. Probably best remembered (and deservedly so) for their chainsaw solo on 1992's "The Lumberjack," Jackyl should satisfy those with a craving for sub-AC/DC boogie-rock riffs and self-consciously offensive lyrics. 8:15-9:45 p.m. (Robertson)
Mercury Mountaineer/99X Locals Only Stage
SOMETHING LEFT AFTER MISFORTUNE — A Sunday afternoon is not the time to hear music this heavy, but it will be worth showing up just to watch the soccer moms scatter with their baby carriages once S.L.A.M. starts playing their dark and cerebral brand of hard rock. It'll be like a scene straight out of a "Beavis and Butthead" episode. 1-1:30 p.m. (Guthrie)
NILLAH — Sunny harmonies, chiming Rickenbacker guitars and good-natured Southern charm make Nillah one of the Atlanta's best-kept pop secrets. Fans of The Byrds, Let's Active, early Replacements and U2 should enjoy this trio, led by spiky-haired bassist Eli Eickhoff. See Earshot, p. 87. 2-2:30 p.m. (Smith)
AERIAL — Enjoy a rare chance to catch nocturnal, acidic breakbeat act Aerial out of the smoke-filled clubs and under the smog-filled sky. The band's squelchy synth lines, haunting sax, delay-laden vocals and overall after-hours vibe play like the perfect soundtrack for Jacques' Roadhouse (from "Twin Peaks"), but expect Aerial's beats to rock like a block party. 3:15-4:15 p.m. (Ware)
MINUS — This Marietta-based heavy-rock foursome has earned major-label interest based on its self-titled indie debut last year. Call 'em children of the Korn. 4:45-5:15 p.m. (Sarig)
KENNY HOWES & THE YEAH! — Whether they're aping The Who circa 1967 or Big Star circa 1974, Howes and band are hardcore devotees to the sounds of classic rock and power-pop, and produce a better-than-average interpretation of those styles. 6:30-7 p.m. (Sarig)
SOUP — East Coast regional favorites Soup have honed their sound the time-honored way: through road testing. They throw acoustic hooks, vocal harmonies and tales of mystic places into a jam-packed bouillabaisse. For fans of Ramen, 'cause you'll need to like a little noodle in your Soup. 8-8:30 p.m. (Ware)
Radio Disney Kids Stage
RED FEATHER DANCE CO. — This Native American troupe highlights the music and dance of a number of tribes, with an emphasis on education. 2:30-3 p.m. (Sarig)
RICK HUBBARD'S ALL KID KAZOO BAND — Hubbard gives out free kazoos (I'd like to see Night Ranger do that) and forms a Kazoo Band of children, their parents and whoever else cares to join in. More entertaining than Loverboy and probably sexier, too. 3:30- 4:15 p.m. (Smith)
Unite Georgia/ Z93 Stage
GHOST TRANE — As winners of the Z93's Next Level competition, this local jam band that bills itself as "An Atlanta Family" earned the right to open for the big boys. 1:30-2 p.m. (Sarig)
GABE DIXON BAND — Unlike this band's boring moniker and somnambulistic recent album, Dixon's live shows supposedly are energetic and lively. Fans of Ben Folds and Billy Joel should enjoy this piano-based combo, otherwise now might be a good time for some lunch. 2:30-3:15 p.m. (Smith)
O.A.R. — A quintet of Ohio State students, horn-added rock outfit O.A.R. has managed to parlay its music — tightly arranged, enthusiastically presented and completely inoffensive in a cap-wearing middle-class frat-friendly sort of way — into quite a college following. 3:45-4:30 p.m. (Sarig)
NORTH MISSISSIPPI ALLSTARS — Brothers Cody and Luther Dickinson, along with bassist Chris Chew, play Oxford, Miss., blues on amphetamines. It's like they were baptized at the Mississippi Delta and have been drinking Alabama red clay-tainted water their entire lives, because the blues' muddy waters and swampy slide voodoo are in their blood. These are the explosive "bloooos" of Jon Spencer's wet dreams. 5-6 p.m. (Ware)
LITTLE FEAT — The heyday of Little Feat is long past, and its recordings receive scant attention, but this stellar outfit continues to tour in a style more befitting a powerhouse hit band. The current set list is generously sprinkled with highlights from the glory days, keeping alive the spirit of Lowell George. 6:30-7:45 p.m. (Madigan)
GALACTIC — The New Orleans-based sextet has been serving its own blend of muggy, Meters-style funk and jazz since the mid-'90s, and building a considerable fan base in the process. And like it or not, Theryl DeClouet will be on hand to belt out his hothouse R&B numbers that tend to get the lovers grooving — and the doubters strolling to another stage. 8:15- 9:45 p.m. (Arieh)
!!!Additional Slideshows
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Pictures from Chad Radford's awkward interview with Odd Future at Adult Swim's headquarters. They barely responded to Chad's questions butBy Joeff Davis
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!!!Terminal West at King Plow
March 20, 2012 - An 18-and-up crowd christened the new Westside music venue, Terminal West at King Plow, with glowBy Brandon English
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string(52294) "__FRI/MAY 04__
''Listings preceded by a star (''{img src="http://atlanta.creativeloafing.com/images/flicks_1star.gif"}'') are acts recommended for their time slot''
__Budweiser/99X Stage__
__AMERICAN HI-FI__ — Crunchy Cheap Trick as heard by Weezer, these alterna-popsters are fronted by the ex-Letters To Cleo/Veruca Salt drummer who pulls a Dave Grohl by strapping on a guitar and stepping up to the mic. It's nothing we haven't heard before, but "Flavor of the Weak" sure is a catchy sumbitch. __6:45-7:15 p.m.__ (Horowitz)
__OUR LADY PEACE__ — This band is the latest in a long, proud tradition of Canadian prog-rockers (Rush, um, Triumph, uhh). They bring artsy pretension to mid-'90s grunge, but if you ignore the high concepts behind their music (think Yes, only sillier), they're at least as good as every other band ripping off Pearl Jam and Soundgarden. __7:45-8:30 p.m.__ (Peisner)
__OFFSPRING__ — Their tendency to rewrite the same crappy song over and over ("Come Out And Play," "Pretty Fly (For A White Guy)") notwithstanding, the Offspring's recent album, ''Conspiracy of One'', is actually pretty damn good. Sure, it's just radio-ready meathead-rock, but if you don't think too hard about it, you won't feel bad about liking it. __9-10 p.m.__ (Peisner)
__Black crowes __-- When not busy posing as the world's "most rock 'n' roll rock 'n'roll band," the Black Crowes are actually a damn good rock 'n' roll band. Their upcoming album, ''Lions'', proves as much, ditching the hippy-dippy trappings they've occasionally succumbed to and concentrating on the searing, soulful sounds that have always been their strength. __10:30 p.m.-12 a.m.__ (Peisner)
__Coca-Cola/ V103/WB36! Stage__
__{img src="http://atlanta.creativeloafing.com/images/flicks_1star.gif"} TALIB KWELI __-- Talib Kweli has established himself as one of the leaders of the new school, helming the current conscious-rap movement along with sometime partner Mos Def. His latest single, "Move Somethin'," recently hit No.1 on the rap charts. __7:10-7:55 p.m.__ (Whitaker)
__ARRESTED DEVELOPMENT__ — One of Atlanta's first hip-hop acts to hit it big, Speech and his organic-rap-and-good-times gang are back, still riffing pop and rap together into a down-home, Southern-fried version of the Fat Albert crew's band. Honestly though, we're still waiting for another "Mr. Wendel." __8:35-9:35 p.m.__ (Whitaker)
__ERYKAH BADU__ — New-school soul diva Badu returns to the city her son calls part-time home for her third Atlanta show in just over two months. Her voice is an aquired taste for some, but her style and mix of sass and grace make her among the most likable R&B stars to emerge in recent years. __10:15-11:45 p.m.__ (Sarig)
__Ford Focus/Fox 5 Stage__
__BEAUSOLEIL__ — Hands down the best and most revered Cajun band in the world, Beausoleil prove why at every show. Almost a religious experience for fans, the acoustic band is celebrating their 25th anniversary and has never sounded better. Get on those dancin' shoes and two-step into heaven. __7-8 p.m.__ (Horowitz)
__SHOLA LEWIS__ — Ghanaian native and Atlanta resident Shola Lewis' most recent release, ''I Don't Understand'' on Roots & Culture Records, features original straight-up reggae that's both catchy and classy despite the drum-machine-and-synth production values. He's a notable, if undersung, member of the local music community. __8:30-9:30 p.m.__ (Sarig)
__DIRTY DOZEN BRASS BAND__ — When seeing the Dirty Dozen Brass Band's raucous displays of second-line jazz, you're witnessing a slice of authentic New Orleans heritage that began decades ago. Just don't be upset if security guards happen to confiscate your parasol at the gates. __10-11:30 p.m.__ (Arieh)
__Jose Cuervo/96 Rock Stage__
__PETE YORN__ — Don't hold it against Pete Yorn that his music was featured on the "Dawson's Creek" soundtrack. The New Jersey rocker's debut, ''musicforthemorningafter'', is more than three-chord power-pop for the thinking man; it's finely-crafted, dark romanticism a la Joseph Arthurs. But Yorn knows something Arthurs doesn't: how to crank up the volume on those vintage guitars. __6-6:30 p.m.__ (York)
__DRIVIN N CRYIN__ — Atlanta's own country-folk-punkers can't buy a break anywhere else in the country, yet keep the locals flocking to their energetic gigs as if they were as popular as the Black Crowes — which they shoulda been. Loud, brash and unpredictable, they still put on a great show. __7-8 p.m.__ (Horowitz)
__{img src="http://atlanta.creativeloafing.com/images/flicks_1star.gif"} PATTI SMITH__ — She's a freaking legend, what else do you need to know? While her recent recordings have been more interesting than compelling, she remains a thrilling and gifted performer. If you're setting up an itinerary for the weekend, file this one under "do not miss." __8:30-9:30 p.m.__ (Robertson)
__{img src="http://atlanta.creativeloafing.com/images/flicks_1star.gif"} BOB DYLAN__ — Bob Dylan's never retired to the oldies circuit. It's as if the idea of cranking out crowd-pleasing versions of his classics to yuppies and boomers willing to pony up heavy dough to be in his presence has never occurred to him. Instead he keeps meddling and reinventing, both himself and his songs. __ 10-11:30 p.m.__ (Peisner)
__Mercury Mountaineer/99X Locals Only Stage__
__{img src="http://atlanta.creativeloafing.com/images/flicks_1star.gif"} THE SENATORS__ — That these high schoolers from the Atlanta 'burbs have managed to infiltrate the intown music scene to the extent they have is a tribute to both their ambition and promise. Though still apt to wear their Cobain on their sleeves, the quartet sounds like you'd guess a great band would sound a few years before the baby fat melts away. __6:15-6:45 p.m.__ (Sarig)
__SEXXXY CIRKUS__ — This local band, led by former Little Richard back-up singers, offers a mix of pop, hip-hop, rock and funk with a distinctly Eurotrash bent. It works great for them in places like Budapest and Hamburg, where their sexually energetic stage show has earned them much attention, but back home they come across as a spectacle combining Milli Vanilli and a Motown revue. __7:15-7:45 p.m.__ (Sarig)
__MILLER'S TALE__ — Don't expect any Middle English tales of crafty clerks in bed with the carpenter's wife at this show. This X-Games-soundtrack-ready four piece come only to rock; they've been doing it for nearly a decade. Expect a high-energy show with plenty of guitar hooks and sinewy bass playing that says, "hardcore meets Les Claypool." __8:30-9 p.m.__ (Griffis)
__LEFT FRONT TIRE__ — Habersham County teenagers pump it up and air-jack some crunchy pop with steel-belted harmonies. Swerving into Green Day's lane occasionally, the band offers an infectious live show with enough tread to last a while. Fun and tight with hooks a-plenty. __10:00-10:30 p.m.__ (Smith)
__Unite Georgia/Z93 Stage__
__BLUE OYSTER CULT__ — BOC boasts more hip cache than most of their '70s metal brethren thanks to fortuitous associations with uber-hip types like Richard Meltzer and Patti Smith. In retrospect, though, they earned their respect by tweaking trad hard-rock crunch with brainy metaphors, pop atmospherics and an ironist's smirk. __7-8 p.m.__ (Robertson)
__DELBERT MCCLINTON__ — Blues, country, R&B, Tex-Mex and everything else they play in the Lone Star state comes out sounding like Delbert McClinton music when this journeyman and his rugged band dig into his 30-year catalog. A consummate performer, this is good-time music perfect for sunny days and outdoor partying. __8:30-9:30 p.m.__ (Horowitz)
__BLUES TRAVELER__ — For all who think Blues Traveler may have lost a few steps in recent years, you're not really paying attention — they were never good. The band always sounded like the third-prize winner in a college bar's battle-of-the-bands contest and John Popper's never understood that playing the harmonica really fast (or singing really fast) is not a fair substitute for having something to say. __10 p.m.-12 a.m.__ (Peisner)
[[] __SAT/MAY 05__
__Budweiser/99X Stage__
__INJECTED__ — This soon-to-go-national local outfit makes modern hard rock as filtered through a post-punk metal mindset. Abrasive and strangely captivating, like the remains of a four-car pile-up, Injected utilize elements of fragmented melody and noise. Not pretty, but loud. __1-1:30 p.m.__ (Smith)
__DEXTER FREEBISH__ — If despite all logic you continue to find inspiration in the generic and moribund sound known as modern rock, you could do a lot worse than gravitate toward Brit fivesome Dexter Freebish, currently making the rounds with their catchy hit "Leaving Town." __2-2:30 p.m.__ (Sarig)
__{img src="http://atlanta.creativeloafing.com/images/flicks_1star.gif"} JOSH JOPLIN GROUP__ — The hard work is paying off for the local fave. Recently signed to Artemis, Josh and the boys are getting radio play around the country with a collection of tunes that boast thoughtful lyrics and a soulful longing reminiscent of early R.E.M. __3-3:50 p.m.__ (Allen)
__REHAB__ — Local white-guy rap duo, whose major-label debut ''Southern Discomfort'' is finally showing signs of breaking through at radio six months after release, incorporate the fuck-it-I'm-crazy pose of Eminem, the redneck rock-rap of Kid Rock, the acoustic sing-song of Everlast with the good taste to let Dungeon Family affiliates P.A. produce. Sneer if you will, but the songs stand repeated listenings. __4:20-5:10 p.m.__ (Sarig)
__TANTRIC__ — Take three former members of Days of the New, Madonna's record label, a big budget and what have you got? Not much. Tantric's tired debut is about as exciting as last year's Midtown appearance of Splender. Unlike tantric sex, this band's recycled ejaculation is premature and as spiritual as that $5 beer. __5:40-6:30 p.m.__ (Smith)
__WALLFLOWERS__ — Why does it always sound like the Wallflowers just woke up? I mean Jakob Dylan's a decent songwriter, but he and his band treat their songs with the kind of enthusiasm reserved for "Golden Girls" reruns. Come on guys, you're rock stars! This is supposed to be fun! __7-8:15 p.m.__ (Peisner)
__TRAIN__ — Every genre has its middle-of-the-road snoozers, even a genre as inherently middle-of-the-road as modern rock. Train are so bland and inoffensive it's almost offensive. If you've heard their breakthrough hit, "Meet Virginia," or their recent "Drops Of Jupiter," you've already heard too much. __8:45-10 p.m.__ (Peisner)
__MARVELOUS 3__ — The firecracker rockers always add a few more sparks when they perform in front of the fans that supported them for a decade playing dingy Atlanta clubs. They may be experiencing their 15 minutes, but they've earned every second of it, and they'll shake your world, at least for a few hours. __10:30-11:45 p.m.__ (Horowitz)
__Coca-Cola/ V103/WB36! Stage__
__BILAL__ — Twenty-one-year-old Bilal Sayeed Oliver stands ready to muscle in on D'Angelo's territory as the new-soul It-boy. He made his name collaborating with everyone from Common to Erykah Badu. His debut record, ''1st Born Second'', entirely self-written, produced and performed, drops in June. __1-1:30 p.m.__ (Whitaker)
__SUGARHILL GANG__ — The Gang still hasn't stopped rocking to the rhythm of the boogie-dah beat, although by sticking with "Rapper's Delight," this also means they haven't done much new in decades. Made for a great "Behind the Music" though. __2:10-3 p.m.__ (Whitaker)
__{img src="http://atlanta.creativeloafing.com/images/flicks_1star.gif"} FRANCINE REED__ — Atlanta's very own diva owns any stage the minute she takes it and holds the attention of even jittery festival-goers with her rugged down-home blues, sultry jazz, plucky vocals and chatty crowd interaction. When she hauls off and belts out a tune, the effect is spine tingling. A local treasure. __3:40-4:40 p.m.__ (Horowitz)
__EN VOGUE__ — Bow down Destiny's Child and Dream. Because of these funky divas, the otherwise-dead girl-group thing got resurrected in the '90s. The En Vogue foursome brought a welcome spin: Each member could sing lead. Sadly mediocre follow-ups to their smash debut and the loss of Dawn Robinson sent the group's chart career to the grave. __5:20-6:20 p.m.__ (Noelzine)
__MUSIQ SOULCHILD__ — If all R&B crooner Musiq Soulchild wants to do is sing, he'll certainly get his chance, performing tracks from his debut album ''Aijustwanaseing (I Just Wanna Sing)''. But once he feels that Hotlanta sun, he might be singing a different tune: "AijustwanagobacktoPhilly." __7-8 p.m. __(Baraka)
__BOOKER T. JONES__ — The long career of legendary Stax's organ-playing soulman Booker T. Jones has generated so many good songs it seems unfair to have him play a relatively short set, where surely some gems will be jettisoned. Jones is touring without the legendary MGs, whose presence nonetheless will loom large over the proceedings. __8:40- 9:40 p.m.__ (Madigan)
__{img src="http://atlanta.creativeloafing.com/images/flicks_1star.gif"} AL GREEN__ — The Rev. Green finally has made the journey from pulpit to stage, returning from preaching to put together a white-hot stage show that matches his signature white tux. Mixing in an altar call between his seminal R&B hits (including, among others, "Let's Stay Together" and "Love and Happiness"), this is one of the truly can't-miss performances. __10:20-11:20 p.m.__ (Whitaker)
__Ford Focus/Fox 5 Stage__
__JOHANNES LINSTEAD__ — Fans of technically precise music will find solace in Linstead. The virtuoso guitarist will dazzle sun-dazed festival-goers with his speed and Latin-flavored salsa. His self-described "nouveau flamenco" style is a flamboyant combination of classical and gypsy picking. __1:30-2:15 p.m.__ (Smith)
__VICTORIA WILLIAMS & MARC OLSON__ — Alt-country royalty and husband-and-wife tag-team, Olson and Williams concoct an authentic front-porch ambiance on their engagingly low-key recordings with the Harmony Ridge Creek Dippers. They should provide a welcome respite from the festival's overarching "let's rock out, dude" mentality. __2:45-3:45 p.m.__ (Robertson)
__JOHN MAYER__ — Mayer snuck into town a couple of years ago and started playing open-mic nights at Eddie's Attic; now this 23-year-old pop/jazz artist (think Sting) and guitar ace is poised on the brink of crossover radio stardom with the release next month of ''Room for Squares'', his major label debut on Aware/Columbia Records. __4:15-5:15 p.m.__ (Guthrie)
__{img src="http://atlanta.creativeloafing.com/images/flicks_1star.gif"} DAVID LINDLEY__ — He rocks, he rolls, he worldbeats and plays every stringed instrument ever invented, plus some he devised himself. Lindley doesn't tour often so take this rare opportunity to catch one of the most talented, eclectic, idiosyncratic and enjoyable musicians at the festival. Lindley also backs the Blind Boys of Alabama later in the evening. __5:45-6:45 p.m.__ (Horowitz)
__{img src="http://atlanta.creativeloafing.com/images/flicks_1star.gif"} LUCINDA WILLIAMS__ — If you found her stunning 1998 country-folk heart-stomper, ''Car Wheels on a Gravel Road'', just the friend you were looking for to share a 12-pack of beer and a lonely Saturday night, then her upcoming album, ''Essence'', which is somehow even darker and more reflective, might not scare you. Her live show likely will include some of her older, more rock-tinged stuff and promises to be a bit more, well, "up." __7:15-8:15 p.m.__ (Peisner)
__{img src="http://atlanta.creativeloafing.com/images/flicks_1star.gif"} BLIND BOYS OF ALABAMA__-- Though their new album, ''Spirit of the Century'', includes covers of songs by contemporary artists such as Tom Waits, the Rolling Stones and Ben Harper, the Blind Boys have been offering their version of the gospel for more than 60 years. Fans of battered country blues and early rock 'n' soul will recognize the roots of such music in the Blind Boys gritty, pained harmonies. See article, p. 75. __8:45-9:45 p.m.__ (Peisner)
__KOOL & THE GANG__ — It used to be that Kool & the Gang was cool. Now, they're more like the Temptations, a post-cool band with a jukebox full of memorable dance hits. Tonight, as beer flows and things get sloppy, this show might resemble a big disco. __10:15-11:30 p.m.__ (Allen)
__Jose Cuervo/96 Rock Stage__
__JENNIFER NETTLES BAND__ — Local act formed from the ashes of folk duo Soul Miner's Daughter display their expanding musical virtuosity and feature songs from their independent debut CD ''Story of Your Bones''. __1:15-1:45 p.m.__ (Kimes)
__THE CONNELLS__ — It's tough to get really juiced about the Connells' pleasantly engaging melodic college rock. It's also tough to hate it. At the very least, you have to admire the Raleigh-based quintet for sticking around for more than 15 years without selling out or selling albums. __2:15-3 p.m.__ (Horowitz)
__THE SMITHEREENS__ — These veteran New York power-poppers continue to celebrate the joys of Brit-pop (that'd be first wave Brit-pop, mate) for the huddled masses. Like a slightly moodier version of the Dave Clark Five, the band remains true believers in the all-mighty hook. __3:30-4:15 p.m.__ (Robertson)
__DAYS OF THE NEW__ — This bland alternarock outfit gives new meaning to the word "turgid." Reportedly upset with their initial categorization as post-grunge, their second release (the imaginatively titled ''Days of the New 2'') wallows in syrupy production and a ridiculous cowboy/western theme. Needless to say it hasn't helped matters. __4:45-5:30 p.m.__ (Robertson)
__OLEANDER__ — On the road in support of its latest effort, ''Unwind'', Sacramento, Calif.-based Oleander play a brand of Seattle-sounding rock that's lesser than its forefathers' (Nirvana, Alice in Chains) but better than its peers' (Creed, Days of the New). But no frontin' — at last year's festival, the group's radio hit "Why I'm Here" was actually quite powerful. __6-7 p.m.__ (Arieh)
__JERRY CANTRELL__ — Those of you who miss Seattle rock staple Alice in Chains will want to catch Cantrell's group, which features half of AIC (Sean Kinney plays drums) and set lists that include Cantrell-penned songs such as "Rooster" and "Them Bones." If you've seen Cantrell play, you know the guy's a superior guitar player. __7:30-8:30 p.m.__ (Arieh)
__CHEAP TRICK__ — Sure, the Trick's reputation rests on their first four albums (especially the epochal ''At Budokan''). But, boy howdy, what great albums they are. The intuitive melding of metallic grit and Beatlesque melody has aged gracefully, retaining all the subversive charm that made us love them in the first place. __9-10 p.m.__ (Robertson)
__THE CULT__ — The Cult were basically the Doors re-imagined for fans of late '80s glam-metal, which was a surprisingly tolerable idea for quite a few years. Unfortunately, as their soon-to-be-released new album, ''Beyond Good and Evil'', shows, they've yet to come up with another idea half-as-good. As nostalgia goes, though, you could do much worse. __10:30 p.m.-12 a.m.__ (Peisner)
__Mercury Mountaineer/99X Locals Only Stage__
__{img src="http://atlanta.creativeloafing.com/images/flicks_1star.gif"} TREEPHORT__ — This goofy gang of punk and ska-loving clowns could very well be this year's surprise local favorite. A Treephort show can be amazingly good or outstandingly sloppy, but the band's energy and good humor are always a happy constant. __12:30-1 p.m.__ (Smith)
__{img src="http://atlanta.creativeloafing.com/images/flicks_1star.gif"} MOTO-LITAS__ — An all-female Atlanta quartet who played their debut show on the first day of 2000, the Moto-Litas are one of the local scene's unqualified success stories. Evolving from a delightful novelty act, they've quickly become an alt-rock force to be reckoned with, on a par with the Breeders and Ultrababyfat. __1:30-2 p.m.__ (Nicoll)
__DARLING MACHINE__ — A glittery flashback to '70s Detroit, these glam boys combine the tough streetwise posturing of Iggy and the Stooges with the rock-'n'-roll-all-night-party vibe of the New York Dolls. Post-punk Romance, sealed with some Kiss. __2:30-3 p.m.__ (Smith)
__ANDY BROWNE__ — The former frontman/guitarist of Atlanta's legendary Nightporters marks the big-stage debut of his anthemic rock solo act. He's backed by a crackfire new band consisting of bassist Gary Brown (ex-Swimming Pool Q's), drummer Morgan Barruzini, guitarist Lawrence Canning and keyboardist Palmer Wood. __3:50-4:20 p.m.__ (Nicoll)
__{img src="http://atlanta.creativeloafing.com/images/flicks_1star.gif"} YOUNG ANTIQUES__ — Blending elements of pure pop, rock and Americana, Blake Rainey and his staff move the Antiques' store outside today. Blending elements of their diverse influences, YA play a high-energy brand of fun, punchy, rock 'n' roll that should appeal to a wide audience of overheated music fans. __5:10-5:40 p.m.__ (Smith)
__SOMETHING 5__ — The local quartet sounds like it has been focus-grouped for modern-rock success. Their debut CD, a virtual storehouse for all the overwraught cliches that have made the genre so oppressively lame, is no doubt bound for a major label near you. __6:30-7 p.m.__ (Sarig)
__{img src="http://atlanta.creativeloafing.com/images/flicks_1star.gif"} X-IMPOSSIBLES__ — Atlanta's finest exponents of classic, unabashed '70s-style punk rock, the X-Impossibles are a thunderous living tribute to the once-counterculture spirit of the New York Dolls and Iggy Pop, but presented with a vibrancy that supercedes mere nostalgia. Their recent national-label release, ''White Knuckle Ride'', is highly recommended. __8:15-9:15 p.m.__ (Nicoll)
__THE FORTY-FIVES__ — Imagine a mod revival taking place on Memphis' sweat-soaked Beale Street and you've got the Forty-Fives. This isn't revolutionary stuff, but it's loud, boisterous beer-drenched party music perfect for a street (or parking lot, as the case may be) festival. It's greasy, Southern, garage rock scattered, smothered, covered, chunked, topped and diced with Hammond organ, shouts and handclaps. Some should be yours. __10-10:30 p.m.__ (Ware)
__Radio Disney Kids Stage__
__RED FEATHER DANCE CO.__ — This Native American troupe highlights the music and dance of a number of tribes, with an emphasis on education. __2:30-3 p.m.__ (Sarig)
__RICK HUBBARD'S ALL KID KAZOO BAND__ — Hubbard gives out free kazoos (I'd like to see Night Ranger do ''that'') and forms a Kazoo Band of children, their parents and whoever else cares to join in. More entertaining than Loverboy and probably sexier, too. __3:30-4:15 p.m.__ (Smith)
__Turner South/civic center stage__
__''TURNER SOUTH LIVE: A CONCERT FROM MUSIC MIDTOWN''__ — The Indigo Girls, Shawn Colvin, Darius Rucker (you know, Hootie) and Ann Wilson of Heart headline this indoor concert, televised live on the Turner South cable channel. It's free for folks with tickets to Music Midtown, but you can't get in unless you picked up special event tickets last Friday morning at the Roxy. For those stuck at home, though, it's the only part of the fest you can see from your couch. __8-10 p.m.__ (Sarig)
__Unite Georgia/Z93 Stage__
__GREG HESTER__ — Hester is a gifted singer/songwriter with the heart of a country gentleman, the brain of a rocker and the guts to mix all his influences at once without apology or consessions to commercialism. Fellow Midtown performer Andy Browne calls Hester "a country-fried Van Morrison." __1-1:30 p.m.__ (Smith)
__FIVE FOR FIGHTING__ — The nom de plume of John Ondrasik, Five for Fighting serves as a vehicle for the singer-songwriter/ivory tickler's jabs at pop music from the crow's nest of the indie-minded marginalia. On his sophomore effort, ''America Town'', Ondrasik forges ahead with the hook-filled pop lingo and arena-rock bombast of a young Elton Hercules John. __2-2:30 p.m.__ (Ellis)
__BLUEGROUND UNDERGRASS__ — The Rev. Jeff Mosier and his Bruce Hampton-worshipping flock mix bluegrass and country with the mindset of a funky jam band. Freak-out hillbilly jazz for the masses. This should be a great spot for people watching, as BU attract equal amounts of hippies and yuppies. __3-4 p.m.__ (Smith)
__COL. BRUCE HAMPTON AND THE CODE TALKERS__ — Hampton and his band of friendly freaks improv their way through a spacey set of lengthy jams and soulful, even spiritual, odes to interstellar living. A fixture of the Atlanta scene, Hampton is a lovable ol' crank and a true original, even though his songs are usually longer than the wait for an open port-a-potty. __4:30-5:30 p.m.__ (Smith)
__JOHN KAY AND STEPPENWOLF__ — Vocalist/guitarist Kay is a German-born wildman who first popularized the term "heavy metal" (in the lyrics of Steppenwolf's 1968 mega-hit "Born to be Wild"). Although legally blind for decades — hence his perpetual sunshades — this professional crowd-pleaser has continued touring tirelessly ever since the original Steppenwolf broke up back in '76. __6-7 p.m. __(Nicoll)
__NIGHT RANGER__ — Sister Christian, oh the time has come. The time, that is, for you to pack up your hairspray and find honest work. Just because a few thousand golf-shirt-clad twentysomethings pack the front of your stage and sing along to the old hits, does not make you somehow relevant. __7:30-8:30 p.m.__ (Peisner)
__LOVERBOY__ — Singer Mike Reno's ass — squeezed into a pair of size 31 Merry-Go-Round red leather pants — from the cover of the band's platinum 1981 album ''Get Lucky'', is as much a part of the 1980s MTV-trash culture as the band's string of hard-rockin' keyboard-spiked pop-rock hits. Fifteen years after their last hit, "Lovin' Every Minute of It," Reno wears a size 38 on a good day and Merry-Go-Round is history. Turn me loose. __9-10 p.m.__ (Trammell)
__KANSAS__ — The corn-belt's answer to Yes wheeze along, replete with high-falutin' concepts, unwieldy song titles and solos long enough to get a beer and visit a port-a-potty during. Now mostly based in Atlanta, they continue to release new material. But let's be honest: It's all about those "classic rock" hits. Carry on those wayward songs, boys! __10:30 p.m.-12 a.m. __(Robertson)
[[] __SUN/MAY 06 __
__Budweiser/99X Stage__
__6 AGAINST 7__ — This local quintet landed on 99X's main stage by winning the Next Level competition held in recent weeks. One would suppose it's a boost for the young band, who so far have been richly rewarded for sounding exactly like all the modern-rock bands in heavy rotation on the station. But is it really better to play a big stage during a bad timeslot than, say, the smaller Locals Only stage during prime time? __1:30-2 p.m.__ (Sarig)
__EVAN & JARON__ — While local hipsters long have expressed anything from indifference to annoyance about this photogenic twin-brother duo, now that they're hobnobbing with Carson and Amanda, the wretch-factor has no doubt risen dramatically. What naysayers missed along the way, though, is that E&J's self-titled breakthrough release is by far the best collection of boy pop to come out in this current season of sonic pap. __2:30-3:15 p.m.__ (Sarig)
__BEN HARPER__ — Though at times he can be a bit of a hokey songwriter, Ben Harper is an absolutely mesmerizing live performer. Channeling the spirit of guys like Jimi Hendrix, Marvin Gaye and Cat Stevens (who is not technically dead but ...), Harper makes the old sound new and improved, a trick he employs to impressive effect on his recent double live album, ''Live From Mars''. __3:45-4:45 p.m.__ (Peisner)
__INDIGO GIRLS__ — Give 'em the hometown welcome they deserve for sticking to their philosophical/political guns while pushing the limited musical boundaries inherent in the folk/rock idiom. Between Ray's Daemon label and Saliers' restaurant, they're more committed to Atlanta than any other major act, and for folkies, they sure can rock. __5:15-6:30 p.m.__ (Horowitz)
__FUEL__ — Pennsylvania-based modern-rock quartet, currently tearing up ''Billboard'''s charts with two singles — "Innocent" and "Hemorrhage (In My Hands)" — play cuts from their latest smash ''Something Like Human'' and 1998's platinum debut ''Sunburn''. __7-8 p.m.__ (Kimes)
__LIVE__ — It's a dubious honor, but Live easily qualifies as alternarock's most earnest band. Drawing inspiration from U2 and R.E.M., they lack the former's commanding stage presence and the latter's loopy charm. Their live performances bring to mind watching a particularly serious philosophy student defend his graduate thesis. __8:30-10 p.m.__ (Robertson)
__Civic Center Stage __
__{img src="http://atlanta.creativeloafing.com/images/flicks_1star.gif"} GEORGIA SEA ISLAND SINGERS__ — Among the last remaining ambassadors of the distinctive Gulla culture developed by freed African slaves along the Georgia coast, the family harmonies and gospel stomps offered by the Sea Island Singers are just the antidote to time spent negotiating the bleeding sound between the 99X and 96Rock stages.
__2:30-3:30 p.m.__ (Sarig)
__SHEMEKIA COPELAND__ — Late guitarist Johnny Copeland's daughter is one of the brightest and most passionate young blues singers to make a stab at crossover success. Gifted with natural stage presence and a gutsy voice that effortlessly reaches the back rows, Copeland growls, shouts, wails and testifies like the star she's destined to be. __4-5 p.m.__ (Horowitz)
__BLIND BOYS OF ALABAMA__ — See [https://legacy.clatl.com/atlanta/music-midtown-menu/vibes_feature.html|article], and listing for Sat., May 6, Ford Focus/Fox5 Stage.
__5:30-6:45 p.m.__ (Horowitz)
__Coca-Cola/ V103/WB36! Stage __
__GURUFISH__ — An extremely theatrical Atlanta show band, Gurufish are ideally suited to perform in this venue. They play flashy '70s glam-rock with heavy infusions of funk/soul/disco, and behind their outrageous wigs and ultrawide bell-bottom pants is better-than-journeyman-level musicianship, particularly on the keyboards. __1-1:40 p.m.__ (Nicoll)
__CRAIG ELLIS__ — South Carolina R&B vocalist combines his gospel background with a taste for sexy new-jack and hip-hop. Wrapping up work on his debut, Ellis offers a sneak peak at what could be the next big thing in urban crooning. __2:20-3 p.m.__ (Sarig)
__ORIGINAL P__ — Some of the original members of Parliament (but not George Clinton) take funksters on an exciting ride on the Mothership. Let's hope the band, which has been around in one form or another since 1970 and is legally enjoined from using the name Parliament, at least has the rights to perform hits like "Flashlight" and "P-Funk." __3:40-4:40 p.m.__ (Baraka)
__{img src="http://atlanta.creativeloafing.com/images/flicks_1star.gif"} LUDACRIS__ — Show love to another hip-hop star and native ATLien. Late-night shifts and gophering for Ryan Cameron and the crew at 97.5 paid off for the former Chris Bridges. Now everyone's kissing his ass and trying to do his omnipresent MTV dance. Throw dem bows. __5:20-6:20 p.m.__ (Whitaker)
__RUN DMC__ — With in-fighting and religion in the mix, Run DMC (and Jam Master Jay) are still trying to maintain some sort of relevance to the current market. But of late, they're more like the washed-up, aging rap duo played by Horatio Sanz and Tracy Morgan on "Saturday Night Live." At least Aerosmith's still kicking. See article, p. 85. __7-8 p.m.__ (Whitaker)
__CARL THOMAS__ — While Puff Diddy bounces in and out of jail, someone's got to keep the cheese rolling in at Bad Boy Records. Aside from Puff's teen pastries Dream, Chicago balladeer Carl Thomas is the Daddy's current big, well, gun. Still riding the success of last year's single "I Wish," Thomas is reportedly readying his follow-up. __8:40-9:40 p.m.__ (Whitaker)
__Ford Focus/Fox 5 Stage __
__DAN HICKS & THE HOT LICKS__ — The San Francisco scene in the '60s was a wide-open haven for musicians and Hicks made a name for himself with his unique blend of parlor music and classic jazz. Throwing a bit of off-kilter humor into the mix, he created a timeless and entertaining act that's just as much fun today as it was back then. See Show 'n' Tell, p. 77. __1:15-2 p.m.__ (Kelly)
__LIL BRIAN & THE ZYDECO TRAVELERS__ — Houston accordion whiz Brian Terry leads an outfit pushing zydeco's frantic energy into a new era by incorporating elements of funk and hip-hop into the mix. Welcome to the Z-Funk era. __2:30-3:15 p.m.__ (Sarig)
__{img src="http://atlanta.creativeloafing.com/images/flicks_1star.gif"} SONIA DADA__ — A personal favorite of Music Midtown producer Alex Cooley, this large and diverse ensemble, formed in Chicago in the early '90s, manage to mix horn-driven funk, soul and gospel-tinged rock without pandering to the obvious frat crowd. Festive and satisfying. __3:45-4:45 p.m.__ (Smith)
__MARCIA BALL__ — Austin's queen of the boogie-woogie piano packs a punch whenever she hits the stage. The statuesque Ms. Ball sits ever-so-ladylike on the stool but rips through a rollicking setlist like a tornado. Every ass in the place will be shaking. __5:15-6:15 p.m.__ (Kelly)
__{img src="http://atlanta.creativeloafing.com/images/flicks_1star.gif"} JOHN HAMMOND'S WICKED GRIN__ — Possibly the only chance you'll get to hear bluesman Hammond's incredible new Tom Waits covers album played with the band who made it. His sound infuses gospel, rock and blues into a swampy mix oozing with soul. Creepy and forbidding, like the blues is supposed to be. Not to be missed. Hammond also backs the Blind Boys of Alabama's Saturday performance. __6:45-7:45 p.m.__ (Horowitz)
__{img src="http://atlanta.creativeloafing.com/images/flicks_1star.gif"} STEVE EARLE__ — Steve Earle's harrowing back-from-the-dead drug saga has been repeated so many times, it's lost all potency. Fortunately, the same cannot be said for his music. His ever-expanding palate of roots-rock, country, folk, blues and, most recently, psychedelic pop, actually draws on his darkest days without making them sound like cheap "Behind The Music" voyeurism. __8:15-9:30 p.m.__ (Peisner)
__Jose Cuervo/ 96 Rock Stage __
__SLANGBANGER__ — Self-described "electro-rockers," Slangbanger sling some hard rock, some funk and some rap against the wall and the result slowly slides to the ground, leaving a trail of sticky goop. __1-1:30 p.m.__ (Smith)
__LESS THAN JAKE__ — The decade-old Florida outfit Less Than Jake play snotty, three-chord punk-rock with horns — it ain't ska, but it's nothing if not competent. Radio play has more or less eluded them, which might be one of the reasons why their relatively formulaic (though energetic) stuff still sounds a little fresh. __2-2:45 p.m.__ (Peisner)
__DEREK TRUCKS BAND__ — Precocious-novelty-turned-guitar-prodigy, Trucks hung up the baseball cleats and picked up the acoustic at age 9. Since, he's performed with the likes of Bob Dylan and John Lee Hooker. His band plays basic Southern boogie/jam rock, but Trucks takes them over the top with a deftness that shames contemporaries Jonny Lang or Kenny Wayne Shepherd. __3:15-4:15 p.m.__ (Arieh)
__ERIC JOHNSON__ — As guitar shredders go, the Prince-discovered Johnson is classier than most, tempering his lightning-fast fret runs with subtle excursions into folk, prog and even spacey blues. Not as flashy nor as aggressive as his G3 touring mates Joe Satriani or Steve Vai, Johnson is just as talented and far tastier. __4:45-5:45 p.m.__ (Horowitz)
__GOV'T MULE__ — Recovering from the death of Allen Woody and a change of label scenery, Gov't Mule can still pack a Southern-fried wallop. Fans of the Allman Brothers (Woody and Mule co-founder Warren Hayes both played for the brothers) and black concert T-shirts surely will find a lighter-flicking experience here. __6:15-7:45 p.m.__ (Allen)
__JACKYL__ — Betcha didn't know these local metalhead yahoos were even still around. Probably best remembered (and deservedly so) for their chainsaw solo on 1992's "The Lumberjack," Jackyl should satisfy those with a craving for sub-AC/DC boogie-rock riffs and self-consciously offensive lyrics. __8:15-9:45 p.m.__ (Robertson)
__Mercury Mountaineer/99X Locals Only Stage __
__SOMETHING LEFT AFTER MISFORTUNE__ — A Sunday afternoon is not the time to hear music this heavy, but it will be worth showing up just to watch the soccer moms scatter with their baby carriages once S.L.A.M. starts playing their dark and cerebral brand of hard rock. It'll be like a scene straight out of a "Beavis and Butthead" episode. __1-1:30 p.m.__ (Guthrie)
__{img src="http://atlanta.creativeloafing.com/images/flicks_1star.gif"} NILLAH__ — Sunny harmonies, chiming Rickenbacker guitars and good-natured Southern charm make Nillah one of the Atlanta's best-kept pop secrets. Fans of The Byrds, Let's Active, early Replacements and U2 should enjoy this trio, led by spiky-haired bassist Eli Eickhoff. See Earshot, p. 87. __2-2:30 p.m.__ (Smith)
__AERIAL__ — Enjoy a rare chance to catch nocturnal, acidic breakbeat act Aerial out of the smoke-filled clubs and under the smog-filled sky. The band's squelchy synth lines, haunting sax, delay-laden vocals and overall after-hours vibe play like the perfect soundtrack for Jacques' Roadhouse (from "Twin Peaks"), but expect Aerial's beats to rock like a block party. __3:15-4:15 p.m.__ (Ware)
__[MINUS]__ — This Marietta-based heavy-rock foursome has earned major-label interest based on its self-titled indie debut last year. Call 'em children of the Korn. __4:45-5:15 p.m.__ (Sarig)
__KENNY HOWES & THE YEAH!__ — Whether they're aping The Who circa 1967 or Big Star circa 1974, Howes and band are hardcore devotees to the sounds of classic rock and power-pop, and produce a better-than-average interpretation of those styles. __6:30-7 p.m.__ (Sarig)
__SOUP__ — East Coast regional favorites Soup have honed their sound the time-honored way: through road testing. They throw acoustic hooks, vocal harmonies and tales of mystic places into a jam-packed bouillabaisse. For fans of Ramen, 'cause you'll need to like a little noodle in your Soup. __8-8:30 p.m.__ (Ware)
__Radio Disney Kids Stage __
__RED FEATHER DANCE CO.__ — This Native American troupe highlights the music and dance of a number of tribes, with an emphasis on education. __2:30-3 p.m.__ (Sarig)
__RICK HUBBARD'S ALL KID KAZOO BAND__ — Hubbard gives out free kazoos (I'd like to see Night Ranger do ''that'') and forms a Kazoo Band of children, their parents and whoever else cares to join in. More entertaining than Loverboy and probably sexier, too. __3:30- 4:15 p.m.__ (Smith)
__Unite Georgia/ Z93 Stage __
__GHOST TRANE__ — As winners of the Z93's Next Level competition, this local jam band that bills itself as "An Atlanta Family" earned the right to open for the big boys. __1:30-2 p.m.__ (Sarig)
__GABE DIXON BAND__ — Unlike this band's boring moniker and somnambulistic recent album, Dixon's live shows supposedly are energetic and lively. Fans of Ben Folds and Billy Joel should enjoy this piano-based combo, otherwise now might be a good time for some lunch. __2:30-3:15 p.m.__ (Smith)
__O.A.R.__ — A quintet of Ohio State students, horn-added rock outfit O.A.R. has managed to parlay its music — tightly arranged, enthusiastically presented and completely inoffensive in a cap-wearing middle-class frat-friendly sort of way — into quite a college following. __3:45-4:30 p.m.__ (Sarig)
__NORTH MISSISSIPPI ALLSTARS__ — Brothers Cody and Luther Dickinson, along with bassist Chris Chew, play Oxford, Miss., blues on amphetamines. It's like they were baptized at the Mississippi Delta and have been drinking Alabama red clay-tainted water their entire lives, because the blues' muddy waters and swampy slide voodoo are in their blood. These are the explosive "bloooos" of Jon Spencer's wet dreams. __5-6 p.m.__ (Ware)
__LITTLE FEAT__ — The heyday of Little Feat is long past, and its recordings receive scant attention, but this stellar outfit continues to tour in a style more befitting a powerhouse hit band. The current set list is generously sprinkled with highlights from the glory days, keeping alive the spirit of Lowell George. __6:30-7:45 p.m.__ (Madigan)
__GALACTIC__ — The New Orleans-based sextet has been serving its own blend of muggy, Meters-style funk and jazz since the mid-'90s, and building a considerable fan base in the process. And like it or not, Theryl DeClouet will be on hand to belt out his hothouse R&B numbers that tend to get the lovers grooving — and the doubters strolling to another stage. __8:15- 9:45 p.m.__ (Arieh)
!!!Additional Slideshows
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!!![https://legacy.clatl.com/atlanta/a3c-through-the-years/Slideshow/12351357|A3C Through the Years ]
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Tags: [https://legacy.clatl.com/atlanta/ArticleArchives?category=1222780|Music Feature]
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2001 Music Midtown menu Article
Wednesday May 2, 2001 12:04 am EDT
CL's opinionated guide to the fest
| more...
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string(1585) "DAVID, ATLANTA:
I stopped going when they moved it from 10th Street. I know it's not their fault, but it just hasn't been the same. It just seems like a bunch of drunk rednecks when before it was an intown/Midtown party festival. People from outside the Perimeter coming in totally ruined it for me. Now it seems people that are just amateurs from outside the Perimeter come in and get drunk and stupid. If I'm going to be drunk and stupid, I'll be drunk and stupid with my friends intown so we can walk around and jump in a cab and go home.
SCOTT, ATLANTA:
I like the crowds, the partying, it's fun. You get off work, forget your problems, enjoy the music, have a few beers and just have a good time. The whole point is meeting people, being nice to people, saying hey to people you know and people you don't know. People are friendly and seem to be in a good mood. Of course some people are going to get intoxicated and out of hand. It happens, but it's not the end of the world. If you don't enjoy the crowds, don't come. It's an outdoor concert. It's meant to have a good time.
ANA, ATLANTA:
I always felt it was geared to an older, hippier crowd, but this year there's more hip-hop, more rap. So I expect the crowd to be more varied and younger this year. But finding drunk people in this city is not hard to come across. Everyone is drunk at Buckhead. But I went last year with my very pregnant cousin; we had no problems with the crowds or getting around. It was a pretty kosher environment. It's nice to have something to do outdoors and not at a bad price.??
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string(1597) "__DAVID, ATLANTA:__
I stopped going when they moved it from 10th Street. I know it's not their fault, but it just hasn't been the same. It just seems like a bunch of drunk rednecks when before it was an intown/Midtown party festival. People from outside the Perimeter coming in totally ruined it for me. Now it seems people that are just amateurs from outside the Perimeter come in and get drunk and stupid. If I'm going to be drunk and stupid, I'll be drunk and stupid with my friends intown so we can walk around and jump in a cab and go home.
__SCOTT, ATLANTA:__
I like the crowds, the partying, it's fun. You get off work, forget your problems, enjoy the music, have a few beers and just have a good time. The whole point is meeting people, being nice to people, saying hey to people you know and people you don't know. People are friendly and seem to be in a good mood. Of course some people are going to get intoxicated and out of hand. It happens, but it's not the end of the world. If you don't enjoy the crowds, don't come. It's an outdoor concert. It's meant to have a good time.
__ANA, ATLANTA: __
I always felt it was geared to an older, hippier crowd, but this year there's more hip-hop, more rap. So I expect the crowd to be more varied and younger this year. But finding drunk people in this city is not hard to come across. Everyone is drunk at Buckhead. But I went last year with my very pregnant cousin; we had no problems with the crowds or getting around. It was a pretty kosher environment. It's nice to have something to do outdoors and not at a bad price.??
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string(2076) " News Stalk 4877 2020-04-05T00:02:52+00:00 news_stalk-4877.jpeg music midtown CL's Coverage of the 2001 Music Midtown Festival 30336 2001-05-02T04:04:00+00:00 Are the crowds too intoxicated at the Music Midtown festival? ben.eason@creativeloafing.com Ben Eason Jeff Slate 1306476 2001-05-02T04:04:00+00:00 DAVID, ATLANTA:
I stopped going when they moved it from 10th Street. I know it's not their fault, but it just hasn't been the same. It just seems like a bunch of drunk rednecks when before it was an intown/Midtown party festival. People from outside the Perimeter coming in totally ruined it for me. Now it seems people that are just amateurs from outside the Perimeter come in and get drunk and stupid. If I'm going to be drunk and stupid, I'll be drunk and stupid with my friends intown so we can walk around and jump in a cab and go home.
SCOTT, ATLANTA:
I like the crowds, the partying, it's fun. You get off work, forget your problems, enjoy the music, have a few beers and just have a good time. The whole point is meeting people, being nice to people, saying hey to people you know and people you don't know. People are friendly and seem to be in a good mood. Of course some people are going to get intoxicated and out of hand. It happens, but it's not the end of the world. If you don't enjoy the crowds, don't come. It's an outdoor concert. It's meant to have a good time.
ANA, ATLANTA:
I always felt it was geared to an older, hippier crowd, but this year there's more hip-hop, more rap. So I expect the crowd to be more varied and younger this year. But finding drunk people in this city is not hard to come across. Everyone is drunk at Buckhead. But I went last year with my very pregnant cousin; we had no problems with the crowds or getting around. It was a pretty kosher environment. It's nice to have something to do outdoors and not at a bad price.??
CL Photo Archives Talk of the Town Profile 0,0,10 "music midtown" 13004160 1230922 Are the crowds too intoxicated at the Music Midtown festival? "
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Are the crowds too intoxicated at the Music Midtown festival? Article
Wednesday May 2, 2001 12:04 am EDT
CL's Coverage of the 2001 Music Midtown Festival
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string(7481) "Sometimes I worry that I'm becoming a square. This I ponder under the shadow of a festival pole (those decorated mobile towers so integral to Music Midtown celebration) made of a mechanized Tweety taking Winnie the Pooh from behind. As I watch people pass, I pray some disturbingly young-looking kids won't stagger into me, spilling their beer or deciding they can't make it to the port-o-lets.
Some complain that corporate festivals are for squares. But, I mean, I can't be that much of a square. I recognized Lindsay from MTV's "Real World - Seattle" (now a local morning radio jock) when I gave her directions. I laughed at Dennis Rodman (who'd later join Live onstage) trying to cut in line at the VIP food tent and being denied. And within 10 minutes of settling at the V103 stage Friday night to watch Talib Kweli rock the mic, a kid of barely 16 offered me a hit off a joint. I shook my head no. "You straight?" he asked. I shook my head yes. I was pretty sure the kid wasn't trying to pick me up, so I had to wonder: "straight" as in "all set" or "straight" as in square?
Of all the great acts at Music Midtown this year — from new soul to old school to alt-rock to rap-rock — the only one I truly felt was one that would generally be considered old (though hardly washed up): Patti Smith. Even given all the younger, vibrant artists, Smith was the one who most embodied all the qualities I identify as rock. And by "rock," we're not talking strictly about guitar-based acts — rock is just a feeling that overwhelms you. Smith still stalks the stage, jittery as a protest singer, even if what she's railing against is the very festival that signs the check. Nobody said rock was pure anymore, but Smith and her band purely rocked me.
A few years ago I would've complained there were too many dinosaur acts at the festival, and I'm not completely convinced Steppenwolf followed by Night Ranger, Loverboy and Kansas isn't a bit excessive. But I've come to appreciate that programming crowd pleasers such as Sugarhill Gang and cred acts such as Patti Smith is as important as the flavor of the week. It was artists like Smith, Cheap Trick, Run-DMC and the Cult that inspired me to go home and pull out some of my favorite worn albums and relax, flipping through gatefold covers and other things of the past.
Yeah, that's right, vinyl LPs; shiny, warm black platters. Who the hell listens to those anymore? Well, maybe being a well-rounded square isn't such a bad thing, and maybe smooth corporate events aren't evil, either. So count me in when Midtown gets squared off for next year's shows. Just one word of advice for the bookers: Journey.
-- TONY WARE
Top five things heard and seen at Music Midtown 2001:
1. Jam-packed crowds streamed through the concert area at dusk Friday as drivin n cryin served as a perfect opener for Patti Smith on the 96 Rock Stage. For Smith, the irony of playing on a stage sponsored by a station that gives her little or no airplay did not go unnoticed. Surrounded by corporate-sponsor banners hung everywhere — even flying through the sky, pulled by airplanes — Smith began a mid-set tirade during "Don't Say Nothing." "Fuck this festival," she railed. "Fuck the sponsors, fuck VH-1, fuck all of this. This show isn't for them, this show is for you," she shouted out to the cheering crowd. Though hers was mostly a greatest hits set, with "Gloria," "Dancing Barefoot" and "Rock and Roll Nigger," it was as punk as an event like this gets.
2. Bob Dylan, following Smith, closed the 96 Rock stage Friday night. The chattering crowd even tolerated Dylan's quieter moments, even as the V103 stage thumped loudly nearby. As his recent Academy Award-winning song "Things Have Changed" provided a set highlight, an older member of the crowd leaned over to his youthful friend: "You know the Wallflowers? Well that's Jakob Dylan's dad."
3. As the Saturday crowd became a solid mass between the Locals Only stage and the 99X main stage, Atlanta's X-Impossibles benefitted from a packed and somewhat captive crowd. After a well-received but typically lackluster Wallflowers set, many in the crowd simply turned around and caught the X-Impossibles play. As a giant mosh pit formed in the front of the small stage — consisting largely of underage kids who can't see the band in clubs — guitarist Shawn Christian pulled his shirt off, revealing the words "Support Local Rock" written across his chest. "This is the way it should be in the clubs all the time," he yelled, while a hundred or so yards away, inside the Civic Center, a show featuring a rather bland line-up of national acts (most not even playing at the festival) began airing live on Turner South.
4. Sunday afternoon, Aerial had a huge crowd enthralled at the Locals Only stage. Suddenly, a bozo DJ rudely bellowed "Whatsupppp?" from the overpowering 99X stage, disturbing the set's hypnotic mood to introduce Ben Harper. (A similar thing happened to Something 5 a day earlier.)
5. As the festival wound down Sunday night, a hippy-ish Galatic fan held a hand-lettered sign that read: "I need corndogs and doses." As he sheepishly explained to passers-by, "My girlfriend's purse was stolen and I'm hungry." That explains the corndogs, but the doses? "Hey, we gotta have something for Galatic."
-- LEE SMITH
No doubt, there was plenty of fun to be had on Music Midtown's pavement and parched grass, as the sun blazed down on Atlanta's urban heat-trap. But what did you do besides showing up to get involved in the activities? Crowd-surfing to Evan & Jaron? Keeping the beach ball aloft during Eric Johnson's 18th guitar solo? Embarrassing your family with an offensively decorated festival pole?
For most of us, our part of the equation involved simply standing on our feet for 45 minutes watching some guy strum a guitar 400 feet away. That might be someone's idea of fun, but by my estimation, the real action was to be found inside the air-conditioned SciTrek museum, where KidsTown delivered hands-on thrills unmatched by whatever interactive kicks were going on outside.
In addition to the regular SciTrek exhibits, KidsTown featured arts and crafts, jugglers on stilts, magic shows, Native American dance and tons of free stuff for the taking. There were performers, sure. In fact, it was impossible to hang around KidsTown for long without becoming a performer yourself. Miss Amy had the crowd doing the "Hokey Pokey" and grasping for their "head and shoulders, knees and toes, knees and toes" at impossible speeds, before breaking into storytime. The folks from Radio Disney invited pre-teens to engage in some Backstreet Boys karaoke, and a shocking number of youngsters could recreate the group's dance steps with startling accuracy.
Best of all was Rick Hubbard, a talented singer and multi-instrumentalist who knew well how to stir up "kaos" ("kids appearing on stage," that is). With tubs full of props to give away, including bubbles, percussion toys, inflatable guitars and special Music Midtown kazoos, Hubbard made everyone in the audience — kids and grown-ups alike — part of his band.
If you missed it, you missed out. Consider this: For all of the in-your-face advertising going on around the outside stages, did Budweiser or Ford offer you any free toys? And for all of Patti Smith's spouting about "this show's for you," she didn't invite you up on stage with her, now did she?
-- RONI SARIG ??
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Some complain that corporate festivals are for squares. But, I mean, I can't be that much of a square. I recognized Lindsay from MTV's "Real World - Seattle" (now a local morning radio jock) when I gave her directions. I laughed at Dennis Rodman (who'd later join Live onstage) trying to cut in line at the VIP food tent and being denied. And within 10 minutes of settling at the V103 stage Friday night to watch Talib Kweli rock the mic, a kid of barely 16 offered me a hit off a joint. I shook my head no. "You straight?" he asked. I shook my head yes. I was pretty sure the kid wasn't trying to pick me up, so I had to wonder: "straight" as in "all set" or "straight" as in square?
Of all the great acts at Music Midtown this year — from new soul to old school to alt-rock to rap-rock — the only one I truly felt was one that would generally be considered old (though hardly washed up): Patti Smith. Even given all the younger, vibrant artists, Smith was the one who most embodied all the qualities I identify as rock. And by "rock," we're not talking strictly about guitar-based acts — rock is just a feeling that overwhelms you. Smith still stalks the stage, jittery as a protest singer, even if what she's railing against is the very festival that signs the check. Nobody said rock was pure anymore, but Smith and her band purely rocked me.
A few years ago I would've complained there were too many dinosaur acts at the festival, and I'm not completely convinced Steppenwolf followed by Night Ranger, Loverboy and Kansas isn't a bit excessive. But I've come to appreciate that programming crowd pleasers such as Sugarhill Gang and cred acts such as Patti Smith is as important as the flavor of the week. It was artists like Smith, Cheap Trick, Run-DMC and the Cult that inspired me to go home and pull out some of my favorite worn albums and relax, flipping through gatefold covers and other things of the past.
Yeah, that's right, vinyl LPs; shiny, warm black platters. Who the hell listens to those anymore? Well, maybe being a well-rounded square isn't such a bad thing, and maybe smooth corporate events aren't evil, either. So count me in when Midtown gets squared off for next year's shows. Just one word of advice for the bookers: Journey.
''-- TONY WARE''
__Top five things heard and seen at Music Midtown 2001:__
__1.__ Jam-packed crowds streamed through the concert area at dusk Friday as drivin n cryin served as a perfect opener for Patti Smith on the 96 Rock Stage. For Smith, the irony of playing on a stage sponsored by a station that gives her little or no airplay did not go unnoticed. Surrounded by corporate-sponsor banners hung everywhere — even flying through the sky, pulled by airplanes — Smith began a mid-set tirade during "Don't Say Nothing." "Fuck this festival," she railed. "Fuck the sponsors, fuck VH-1, fuck all of this. This show isn't for them, this show is for you," she shouted out to the cheering crowd. Though hers was mostly a greatest hits set, with "Gloria," "Dancing Barefoot" and "Rock and Roll Nigger," it was as punk as an event like this gets.
__2.__ Bob Dylan, following Smith, closed the 96 Rock stage Friday night. The chattering crowd even tolerated Dylan's quieter moments, even as the V103 stage thumped loudly nearby. As his recent Academy Award-winning song "Things Have Changed" provided a set highlight, an older member of the crowd leaned over to his youthful friend: "You know the Wallflowers? Well that's Jakob Dylan's dad."
__3.__ As the Saturday crowd became a solid mass between the Locals Only stage and the 99X main stage, Atlanta's X-Impossibles benefitted from a packed and somewhat captive crowd. After a well-received but typically lackluster Wallflowers set, many in the crowd simply turned around and caught the X-Impossibles play. As a giant mosh pit formed in the front of the small stage — consisting largely of underage kids who can't see the band in clubs — guitarist Shawn Christian pulled his shirt off, revealing the words "Support Local Rock" written across his chest. "This is the way it should be in the clubs all the time," he yelled, while a hundred or so yards away, inside the Civic Center, a show featuring a rather bland line-up of national acts (most not even playing at the festival) began airing live on Turner South.
__4.__ Sunday afternoon, Aerial had a huge crowd enthralled at the Locals Only stage. Suddenly, a bozo DJ rudely bellowed "Whatsupppp?" from the overpowering 99X stage, disturbing the set's hypnotic mood to introduce Ben Harper. (A similar thing happened to Something 5 a day earlier.)
__5.__ As the festival wound down Sunday night, a hippy-ish Galatic fan held a hand-lettered sign that read: "I need corndogs and doses." As he sheepishly explained to passers-by, "My girlfriend's purse was stolen and I'm hungry." That explains the corndogs, but the doses? "Hey, we gotta have something for Galatic."
-- ''LEE SMITH''
__No doubt, __there was plenty of fun to be had on Music Midtown's pavement and parched grass, as the sun blazed down on Atlanta's urban heat-trap. But what did you do besides showing up to get involved in the activities? Crowd-surfing to Evan & Jaron? Keeping the beach ball aloft during Eric Johnson's 18th guitar solo? Embarrassing your family with an offensively decorated festival pole?
For most of us, our part of the equation involved simply standing on our feet for 45 minutes watching some guy strum a guitar 400 feet away. That might be someone's idea of fun, but by my estimation, the real action was to be found inside the air-conditioned SciTrek museum, where KidsTown delivered hands-on thrills unmatched by whatever interactive kicks were going on outside.
In addition to the regular SciTrek exhibits, KidsTown featured arts and crafts, jugglers on stilts, magic shows, Native American dance and tons of free stuff for the taking. There were performers, sure. In fact, it was impossible to hang around KidsTown for long without becoming a performer yourself. Miss Amy had the crowd doing the "Hokey Pokey" and grasping for their "head and shoulders, knees and toes, knees and toes" at impossible speeds, before breaking into storytime. The folks from Radio Disney invited pre-teens to engage in some Backstreet Boys karaoke, and a shocking number of youngsters could recreate the group's dance steps with startling accuracy.
Best of all was Rick Hubbard, a talented singer and multi-instrumentalist who knew well how to stir up "kaos" ("kids appearing on stage," that is). With tubs full of props to give away, including bubbles, percussion toys, inflatable guitars and special Music Midtown kazoos, Hubbard made everyone in the audience — kids and grown-ups alike — part of his band.
If you missed it, you missed out. Consider this: For all of the in-your-face advertising going on around the outside stages, did Budweiser or Ford offer you any free toys? And for all of Patti Smith's spouting about "this show's for you," she didn't invite you up on stage with her, now did she?
''-- RONI SARIG ''??
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string(7960) " Vibes Livereview 4959 2020-04-04T21:57:57+00:00 vibes_livereview-4959.jpeg music midtown CL writers ponder their experience at this year's megafest 30327 2001-05-09T04:04:00+00:00 2001 Music Midtown musings ben.eason@creativeloafing.com Ben Eason 2001-05-09T04:04:00+00:00 Sometimes I worry that I'm becoming a square. This I ponder under the shadow of a festival pole (those decorated mobile towers so integral to Music Midtown celebration) made of a mechanized Tweety taking Winnie the Pooh from behind. As I watch people pass, I pray some disturbingly young-looking kids won't stagger into me, spilling their beer or deciding they can't make it to the port-o-lets.
Some complain that corporate festivals are for squares. But, I mean, I can't be that much of a square. I recognized Lindsay from MTV's "Real World - Seattle" (now a local morning radio jock) when I gave her directions. I laughed at Dennis Rodman (who'd later join Live onstage) trying to cut in line at the VIP food tent and being denied. And within 10 minutes of settling at the V103 stage Friday night to watch Talib Kweli rock the mic, a kid of barely 16 offered me a hit off a joint. I shook my head no. "You straight?" he asked. I shook my head yes. I was pretty sure the kid wasn't trying to pick me up, so I had to wonder: "straight" as in "all set" or "straight" as in square?
Of all the great acts at Music Midtown this year — from new soul to old school to alt-rock to rap-rock — the only one I truly felt was one that would generally be considered old (though hardly washed up): Patti Smith. Even given all the younger, vibrant artists, Smith was the one who most embodied all the qualities I identify as rock. And by "rock," we're not talking strictly about guitar-based acts — rock is just a feeling that overwhelms you. Smith still stalks the stage, jittery as a protest singer, even if what she's railing against is the very festival that signs the check. Nobody said rock was pure anymore, but Smith and her band purely rocked me.
A few years ago I would've complained there were too many dinosaur acts at the festival, and I'm not completely convinced Steppenwolf followed by Night Ranger, Loverboy and Kansas isn't a bit excessive. But I've come to appreciate that programming crowd pleasers such as Sugarhill Gang and cred acts such as Patti Smith is as important as the flavor of the week. It was artists like Smith, Cheap Trick, Run-DMC and the Cult that inspired me to go home and pull out some of my favorite worn albums and relax, flipping through gatefold covers and other things of the past.
Yeah, that's right, vinyl LPs; shiny, warm black platters. Who the hell listens to those anymore? Well, maybe being a well-rounded square isn't such a bad thing, and maybe smooth corporate events aren't evil, either. So count me in when Midtown gets squared off for next year's shows. Just one word of advice for the bookers: Journey.
-- TONY WARE
Top five things heard and seen at Music Midtown 2001:
1. Jam-packed crowds streamed through the concert area at dusk Friday as drivin n cryin served as a perfect opener for Patti Smith on the 96 Rock Stage. For Smith, the irony of playing on a stage sponsored by a station that gives her little or no airplay did not go unnoticed. Surrounded by corporate-sponsor banners hung everywhere — even flying through the sky, pulled by airplanes — Smith began a mid-set tirade during "Don't Say Nothing." "Fuck this festival," she railed. "Fuck the sponsors, fuck VH-1, fuck all of this. This show isn't for them, this show is for you," she shouted out to the cheering crowd. Though hers was mostly a greatest hits set, with "Gloria," "Dancing Barefoot" and "Rock and Roll Nigger," it was as punk as an event like this gets.
2. Bob Dylan, following Smith, closed the 96 Rock stage Friday night. The chattering crowd even tolerated Dylan's quieter moments, even as the V103 stage thumped loudly nearby. As his recent Academy Award-winning song "Things Have Changed" provided a set highlight, an older member of the crowd leaned over to his youthful friend: "You know the Wallflowers? Well that's Jakob Dylan's dad."
3. As the Saturday crowd became a solid mass between the Locals Only stage and the 99X main stage, Atlanta's X-Impossibles benefitted from a packed and somewhat captive crowd. After a well-received but typically lackluster Wallflowers set, many in the crowd simply turned around and caught the X-Impossibles play. As a giant mosh pit formed in the front of the small stage — consisting largely of underage kids who can't see the band in clubs — guitarist Shawn Christian pulled his shirt off, revealing the words "Support Local Rock" written across his chest. "This is the way it should be in the clubs all the time," he yelled, while a hundred or so yards away, inside the Civic Center, a show featuring a rather bland line-up of national acts (most not even playing at the festival) began airing live on Turner South.
4. Sunday afternoon, Aerial had a huge crowd enthralled at the Locals Only stage. Suddenly, a bozo DJ rudely bellowed "Whatsupppp?" from the overpowering 99X stage, disturbing the set's hypnotic mood to introduce Ben Harper. (A similar thing happened to Something 5 a day earlier.)
5. As the festival wound down Sunday night, a hippy-ish Galatic fan held a hand-lettered sign that read: "I need corndogs and doses." As he sheepishly explained to passers-by, "My girlfriend's purse was stolen and I'm hungry." That explains the corndogs, but the doses? "Hey, we gotta have something for Galatic."
-- LEE SMITH
No doubt, there was plenty of fun to be had on Music Midtown's pavement and parched grass, as the sun blazed down on Atlanta's urban heat-trap. But what did you do besides showing up to get involved in the activities? Crowd-surfing to Evan & Jaron? Keeping the beach ball aloft during Eric Johnson's 18th guitar solo? Embarrassing your family with an offensively decorated festival pole?
For most of us, our part of the equation involved simply standing on our feet for 45 minutes watching some guy strum a guitar 400 feet away. That might be someone's idea of fun, but by my estimation, the real action was to be found inside the air-conditioned SciTrek museum, where KidsTown delivered hands-on thrills unmatched by whatever interactive kicks were going on outside.
In addition to the regular SciTrek exhibits, KidsTown featured arts and crafts, jugglers on stilts, magic shows, Native American dance and tons of free stuff for the taking. There were performers, sure. In fact, it was impossible to hang around KidsTown for long without becoming a performer yourself. Miss Amy had the crowd doing the "Hokey Pokey" and grasping for their "head and shoulders, knees and toes, knees and toes" at impossible speeds, before breaking into storytime. The folks from Radio Disney invited pre-teens to engage in some Backstreet Boys karaoke, and a shocking number of youngsters could recreate the group's dance steps with startling accuracy.
Best of all was Rick Hubbard, a talented singer and multi-instrumentalist who knew well how to stir up "kaos" ("kids appearing on stage," that is). With tubs full of props to give away, including bubbles, percussion toys, inflatable guitars and special Music Midtown kazoos, Hubbard made everyone in the audience — kids and grown-ups alike — part of his band.
If you missed it, you missed out. Consider this: For all of the in-your-face advertising going on around the outside stages, did Budweiser or Ford offer you any free toys? And for all of Patti Smith's spouting about "this show's for you," she didn't invite you up on stage with her, now did she?
-- RONI SARIG ??
Ken Forsyth Festival poles serve as beacons of enlightenment to the Music Midtown massive crowd 0,0,10 "music midtown" 13004200 1230989 2001 Music Midtown musings "
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string(12502) ""Dammit men, we've got to get organized!"
-- Jonathan Winters, The Russians Are Coming, the Russians Are Coming!
What you think about anarchy depends on what you think about human nature. If, like Rousseau, you think "man is born free but is everywhere in chains," the end of civilization as we know it is a good thing. If, like Hobbes, you think people are essentially rotten, life in a state of nature is "nasty, poor, brutish and short." If you're an existentialist, you don't believe in human nature, but you still believe in being real.
Now that we've got that out of the way, here are a few films about anarchy and social chaos — the bad, the good and the existential.
The bad"The conch shell shatters, down you go."-- Pink Floyd, "The Wall
Hollow Man (2000) Directed by Paul Verhoeven. Plato had a parable about a man who first turned invisible and then turned into a fiend. His point was that most people are good because they know they're being watched. (You drive the speed limit when the cop's around, speed when he's not.) Invisible, people would be monsters. Plato's fable was the germ of H.G. Welles The Invisible Man and James Whale's 1933 movie based on it, which was frightening mainly for the psychological effect the Invisible Man had on the village he terrorized. Verhoeven's incarnation has psychological horror, too, plus the kind of state-of-the-art, digitally rendered geysers of blood we've come to expect in a Verhoeven movie. If you get past that, there's a philosophical core here. Where invisible Claude Rains was driven insane by the chemical, invisible Kevin Bacon turns evil because he can get away with it. As Plato predicted, a man who doesn't have to be good becomes very, very bad indeed.
Lord of the Flies (1963) Directed by Peter Brook. Forget those idiotic reality TV shows. For real fun, start with World War III, take a planeload of refugee boys from a British private school (they'd call it a "public school," go figure) and crash them on an island in the South Pacific while killing all the adults on the plane. Watch as the kids reenact, in microcosm, the workings-out of original sin that led to World War III. Starting out all mannered and proper (the stately choir walking down the beach singing "Kyrie Elieson"), the lads soon revert to savagery (a British boy's idea of savagery). Folks have called this film racist, but that misses the point: Civilization has a very thin skin, and the beast within is close to the surface, ready to leap out and kill. Brook makes this point via naturalistic performances by untrained child actors, hauntingly filmed in minimalist black and white. It's easy to find fault with this film (why are the uniforms clean?), but the whole is greater than the sum of its parts and it's wholly disturbing. (See also The Persecution and Assassination of Jean-Paul Marat as Performed by the Inmates of the Asylum of Charenton Under the Direction of the Marquis de Sade by the same director.)
Rashomon (1950) Directed by Akira Kurosawa. Contrary to urban mythology, Rashomon (the film) is not about the relativity of point of view. (The original short story is, but that's a different story.) Like Plato, Kurosawa was obsessed with the beast within. How much human "goodness" is merely conventional — because the eyes of society are watching? How bad would people be if there were no eyes to see? In Kurosawa's fable (set during the social chaos of a Japanese civil war in the 1600s) a bandit ambushes a pair of newlyweds in the woods; later on a woodcutter stumbles into the rape-and-murder scene. Later, the people involved (including a ghost) tell their stories of what happened; the stories are later retold to a group of refugees huddled in the wreckage of the Rashomon gate in old Kyoto. Everyone's story is different, not because there is no truth but because all the characters are lying to make themselves look good. Contrary to popular opinion, in Kurosawa's Rashomon we do know the truth — and the truth is everyone acts badly. Hearing this ugly truth almost destroys a Buddhist monk whose deepest religious principle is compassion — but it's not the whole truth. Kurosawa doesn't agree with Plato — people aren't entirely rotten, goodness isn't entirely an act. As the movie ends, a final act of kindness restores the monk's faith in humanity.
The good
"And do what thou wilt shall be the whole of the law."-- Antoinine Artaud
Outside the "no rules, just right" campaign for Outback Steakhouse, anarchist utopias on film are hard to find. This is partly because utopias are boring, partly because society-hating filmmakers are more interested in mayhem than utopia. This has the odd effect of making films by people who hate society look a lot like the films by people who love it. In either case, anarchy is filled with rape, murder and destruction, though the society-haters try to show the mayhem from the point of view of the perpetrators, putting the spree back in crime spree with films like Natural Born Killers, The Doom Generation, etc., a bad selling point for potential crime victims. Topping the list of anarchic crime sprees:
The Weekend (1967) Directed by Jean-Luc Godard. "Mr. Hurlot's Vacation in Hell" as filmed by Jacques Tati on bad acid. The plot, to the extent I grasp it: A dysfunctional family (husband and wife both wanting to murder each other) goes on vacation, hitting the road after the odd bit of screwing, some dirty talk and a parking lot shootout or two. On the road, something bad seems to be happening. They keep passing violent accidents — bloody bodies strewn all over the place like some French driver's-ed film. This is either a spontaneous breakdown of civilization or the deliberate result of anarchist attacks. (One scene makes this incoherent movie worth viewing: a weird, fascinating 15-minute pan of an endless traffic jam punctuated by weird vehicles and artistic car wrecks.) Eventually, the couple is kidnapped by anarchists who live in the woods. More screwing, violence and car wrecks. Throughout all this, everybody keeps talking; it's like secondary audio programming filled with pseudointellectual left-wing pontificating. (The influence of Ionesco is obvious; everything's disconnected, acausal, at cross-purposes. Where this illogic is funny in the hands of an apolitical Tati, Godard's political ax-grinding makes it merely boring, unless you hit the fast-forward button.) Eventually, the anarchists turn to cannibalism, yielding, perhaps, the origin of the phrase: "eat the rich."
The existential
"Outside society — that's where I want to be!"-- Patti Smith
I call these films existential because, while they're filled with crime, the point is the liberation the crime leads to, rather than the crime itself.
Deliverance (1972) Directed by John Boorman. Based on a novel by James Dickey, this film is all about some Atlanta yuppies who get set upon by buggering, murderous mountain men on a canoe trip, right? Wrong. Forget the surface details, (especially poor Ned Beatty cursed to spend the rest of his life trying to live down that "squeal, piggy!" scene.) Boorman's point is that out on the river, there's no bullshit. Some people are trying to kill you; you're trying to kill them first. Stripped of the bullshit, that's what human life is. The yuppies go through hell, one of them dies — but they get to be real. They've been delivered from the usual bullshit, which is why this film is called Deliverance.
Fight Club (1999) Directed by David Fincher. God, I love this movie. Without giving too much away, let's just say there's a 20-something guy (unnamed, though probably "Jack") enduring a typical life of quiet desperation in a Dilbert cube. Typical, except that he suffers from insomnia. His new-agey doctor doesn't believe in pills, though. "If you want to see real suffering, check out the testicular cancer support group." The insomniac does — and becomes a self-help junky, moving from support group to support group in the hours of sleepless night. He eventually finds a woman to have sex with (Helena Bonham Carter as another self-help junky) and good clean male bonding with a guy named Tyler Durden (Brad Pitt), who wants to destroy civilization as we know it. The dude creates a cult of personality centered on illegal underground "fight clubs" — no need to get buggered on a canoe trip to be real when you can beat the shit out of somebody in a basement, right? It's all about instant self-actualization, like the scene where Tyler sticks a gun in the face of a guy working in a convenience store and asks him what his real dream is. The clerk says he wanted to be a veterinarian. Tyler tells him, "If you're not on your way to becoming a veterinarian in six weeks, you will be dead," and takes his driver's license to track the guy down. The fight club begins to look more and more like a mindless militia. Our insomniac eventually wakes up to the fact that he's trapped in a nasty little subculture. He tries to stop Tyler from destroying civilization because that's not what he really wants, is it?
The historical
"What are you rebelling against?"
"What have you got?"--Marlon Brando, The Wild One
Here are a few films that don't fit the category of "good, bad, existential." Films about periods in history when social breakdown was more than a concept....
Pat Garrett and Billy the Kid (1973) Directed by Sam Peckinpah. If an anarchist utopia ever existed, it probably existed in the American West. (If it didn't, that's where most of us would like to think it did.) This film is one of many mourning the passing of that no-rules utopia. (See also Altman's McCabe & Mrs. Miller.) Peckinpah's film is an elegiac spatter-poem about the death of that utopia as Pat Garrett (representing the long arm of the bought-off law) is paid to slaughter his former outlaw friends (including Billy the Kid) and is eventually slaughtered himself by the same robber barons who paid him. Conventional material, maybe, but unconventionally filmed, this movie is stuffed with haunting characters and haunting death scenes — like Slim Pickens shot full of holes, bleeding his life out in a river to the tune of Dylan's "Knockin' on Heaven's Door." In a way the film is one long death scene: the death of freedom, the death of friendship, the death of the West.
Ragtime (1981) Directed by Milos Forman. What's a movie about the turn of the century doing in a list of films about anarchism? Forget the nostalgic images; in many ways, the time was similar to the 1960s. There was a new kind of subversive music moving from the black ghetto into mainstream white society, a class struggle, a struggle for black civil rights, along with dedicated revolutionaries willing to blow things up. This movie is about what drove certain people into radical action against the power structure — and the cost of that action. Based on E.L. Doctorow's left-wing novel and directed by Forman, a Czech refugee from Communist oppression, the resulting movie isn't so much anti-Capitalist but anti-power. If you want to understand anarchists, see this movie. (See Forman's 1975 One Flew Over the Cuckoo's Nest as well.)
Rude Boy (1980) Directed by Jack Hazan, David Mingay. Flash forward to London in 1978. With the Clash on the soundtrack, a kid in punk gear wanders through a rotting modernist housing project with graffiti-scrawled walls where racists and leftists square off. ("SWP stands for shitty white people!") Like the walls, the movie is scrawled with politics that the kid walks past without really noticing — skinhead National Front types to the right of him, punks and hippies to the left. Despite his punk gear, the kid is apolitical. His background should make him sympathetic to leftist punks like the Clash (he's from the same city, the same class) but there's something about the socialists and anarchists parading in the street that pisses him off. "There's always going to be people driving big cars. I fink I wanna be one of those people, y'know?" The story takes place against a backdrop of political frame-ups, Clash concerts (see with your very eyes where Rage Against the Machine stole their act!) and Margaret Thatcher posters. The film's obvious message: Social disorder is the prelude to social control. Which is just another way of saying ... anarchy is the policeman's friend. ??
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string(12541) "''''''"Dammit men, we've got to get organized!"''
-- Jonathan Winters, The Russians Are Coming, the Russians Are Coming!
What you think about anarchy depends on what you think about human nature. If, like Rousseau, you think "man is born free but is everywhere in chains," the end of civilization as we know it is a good thing. If, like Hobbes, you think people are essentially rotten, life in a state of nature is "nasty, poor, brutish and short." If you're an existentialist, you don't believe in human nature, but you still believe in being real.
Now that we've got that out of the way, here are a few films about anarchy and social chaos -- the bad, the good and the existential.
____
The bad''"The conch shell shatters, down you go."''-- Pink Floyd, "The Wall
''Hollow Man (2000) Directed by Paul Verhoeven. Plato had a parable about a man who first turned invisible and then turned into a fiend. His point was that most people are good because they know they're being watched. (You drive the speed limit when the cop's around, speed when he's not.) Invisible, people would be monsters. Plato's fable was the germ of H.G. Welles ''The Invisible Man and James Whale's 1933 movie based on it, which was frightening mainly for the psychological effect the Invisible Man had on the village he terrorized. Verhoeven's incarnation has psychological horror, too, plus the kind of state-of-the-art, digitally rendered geysers of blood we've come to expect in a Verhoeven movie. If you get past that, there's a philosophical core here. Where invisible Claude Rains was driven insane by the chemical, invisible Kevin Bacon turns evil because he can get away with it. As Plato predicted, a man who doesn't have to be good becomes very, very bad indeed.
''Lord of the Flies (1963) Directed by Peter Brook. Forget those idiotic reality TV shows. For real fun, start with World War III, take a planeload of refugee boys from a British private school (they'd call it a "public school," go figure) and crash them on an island in the South Pacific while killing all the adults on the plane. Watch as the kids reenact, in microcosm, the workings-out of original sin that led to World War III. Starting out all mannered and proper (the stately choir walking down the beach singing "Kyrie Elieson"), the lads soon revert to savagery (a British boy's idea of savagery). Folks have called this film racist, but that misses the point: Civilization has a very thin skin, and the beast within is close to the surface, ready to leap out and kill. Brook makes this point via naturalistic performances by untrained child actors, hauntingly filmed in minimalist black and white. It's easy to find fault with this film (why are the uniforms clean?), but the whole is greater than the sum of its parts and it's wholly disturbing. (See also ''The Persecution and Assassination of Jean-Paul Marat as Performed by the Inmates of the Asylum of Charenton Under the Direction of the Marquis de Sade by the same director.)
'' Rashomon (1950) Directed by Akira Kurosawa. Contrary to urban mythology, ''Rashomon (the film) is not about the relativity of point of view. (The original short story is, but that's a different story.) Like Plato, Kurosawa was obsessed with the beast within. How much human "goodness" is merely conventional -- because the eyes of society are watching? How bad would people be if there were no eyes to see? In Kurosawa's fable (set during the social chaos of a Japanese civil war in the 1600s) a bandit ambushes a pair of newlyweds in the woods; later on a woodcutter stumbles into the rape-and-murder scene. Later, the people involved (including a ghost) tell their stories of what happened; the stories are later retold to a group of refugees huddled in the wreckage of the Rashomon gate in old Kyoto. Everyone's story is different, not because there is no truth but because all the characters are lying to make themselves look good. Contrary to popular opinion, in Kurosawa's ''Rashomon'' we do know the truth -- and the truth is everyone acts badly. Hearing this ugly truth almost destroys a Buddhist monk whose deepest religious principle is compassion -- but it's not the whole truth. Kurosawa doesn't agree with Plato -- people aren't entirely rotten, goodness isn't entirely an act. As the movie ends, a final act of kindness restores the monk's faith in humanity.
____
The good
''"And do what thou wilt shall be the whole of the law."''-- Antoinine Artaud
Outside the "no rules, just right" campaign for Outback Steakhouse, anarchist utopias on film are hard to find. This is partly because utopias are boring, partly because society-hating filmmakers are more interested in mayhem than utopia. This has the odd effect of making films by people who hate society look a lot like the films by people who love it. In either case, anarchy is filled with rape, murder and destruction, though the society-haters try to show the mayhem from the point of view of the perpetrators, putting the spree back in crime spree with films like ''Natural Born Killers'', ''The Doom Generation'', etc., a bad selling point for potential crime victims. Topping the list of anarchic crime sprees:
The Weekend (1967) Directed by Jean-Luc Godard. "Mr. Hurlot's Vacation in Hell" as filmed by Jacques Tati on bad acid. The plot, to the extent I grasp it: A dysfunctional family (husband and wife both wanting to murder each other) goes on vacation, hitting the road after the odd bit of screwing, some dirty talk and a parking lot shootout or two. On the road, something bad seems to be happening. They keep passing violent accidents -- bloody bodies strewn all over the place like some French driver's-ed film. This is either a spontaneous breakdown of civilization or the deliberate result of anarchist attacks. (One scene makes this incoherent movie worth viewing: a weird, fascinating 15-minute pan of an endless traffic jam punctuated by weird vehicles and artistic car wrecks.) Eventually, the couple is kidnapped by anarchists who live in the woods. More screwing, violence and car wrecks. Throughout all this, everybody keeps talking; it's like secondary audio programming filled with pseudointellectual left-wing pontificating. (The influence of Ionesco is obvious; everything's disconnected, acausal, at cross-purposes. Where this illogic is funny in the hands of an apolitical Tati, Godard's political ax-grinding makes it merely boring, unless you hit the fast-forward button.) Eventually, the anarchists turn to cannibalism, yielding, perhaps, the origin of the phrase: "eat the rich."
____
The existential
''"Outside society -- that's where I want to be!"''-- Patti Smith
I call these films existential because, while they're filled with crime, the point is the liberation the crime leads to, rather than the crime itself.
'' Deliverance (1972) Directed by John Boorman. Based on a novel by James Dickey, this film is all about some Atlanta yuppies who get set upon by buggering, murderous mountain men on a canoe trip, right? Wrong. Forget the surface details, (especially poor Ned Beatty cursed to spend the rest of his life trying to live down that "squeal, piggy!" scene.) Boorman's point is that out on the river, there's no bullshit. Some people are trying to kill you; you're trying to kill them first. Stripped of the bullshit, that's what human life is. The yuppies go through hell, one of them dies -- but they get to be real. They've been delivered from the usual bullshit, which is why this film is called ''Deliverance.
''Fight Club (1999) Directed by David Fincher. God, I love this movie. Without giving too much away, let's just say there's a 20-something guy (unnamed, though probably "Jack") enduring a typical life of quiet desperation in a Dilbert cube. Typical, except that he suffers from insomnia. His new-agey doctor doesn't believe in pills, though. "If you want to see real suffering, check out the testicular cancer support group." The insomniac does -- and becomes a self-help junky, moving from support group to support group in the hours of sleepless night. He eventually finds a woman to have sex with (Helena Bonham Carter as another self-help junky) and good clean male bonding with a guy named Tyler Durden (Brad Pitt), who wants to destroy civilization as we know it. The dude creates a cult of personality centered on illegal underground "fight clubs" -- no need to get buggered on a canoe trip to be real when you can beat the shit out of somebody in a basement, right? It's all about instant self-actualization, like the scene where Tyler sticks a gun in the face of a guy working in a convenience store and asks him what his real dream is. The clerk says he wanted to be a veterinarian. Tyler tells him, "If you're not on your way to becoming a veterinarian in six weeks, you will be dead," and takes his driver's license to track the guy down. The fight club begins to look more and more like a mindless militia. Our insomniac eventually wakes up to the fact that he's trapped in a nasty little subculture. He tries to stop Tyler from destroying civilization because that's not what he really wants, is it?''
''''
''''
____
The historical
''"What are you rebelling against?"''
''''
''"What have you got?"''--Marlon Brando,'' The Wild One''
Here are a few films that don't fit the category of "good, bad, existential." Films about periods in history when social breakdown was more than a concept....
''Pat Garrett and Billy the Kid (1973) Directed by Sam Peckinpah. If an anarchist utopia ever existed, it probably existed in the American West. (If it didn't, that's where most of us would like to think it did.) This film is one of many mourning the passing of that no-rules utopia. (See also Altman's ''McCabe & Mrs. Miller.) Peckinpah's film is an elegiac spatter-poem about the death of that utopia as Pat Garrett (representing the long arm of the bought-off law) is paid to slaughter his former outlaw friends (including Billy the Kid) and is eventually slaughtered himself by the same robber barons who paid him. Conventional material, maybe, but unconventionally filmed, this movie is stuffed with haunting characters and haunting death scenes -- like Slim Pickens shot full of holes, bleeding his life out in a river to the tune of Dylan's "Knockin' on Heaven's Door." In a way the film is one long death scene: the death of freedom, the death of friendship, the death of the West.
'' Ragtime (1981) Directed by Milos Forman. What's a movie about the turn of the century doing in a list of films about anarchism? Forget the nostalgic images; in many ways, the time was similar to the 1960s. There was a new kind of subversive music moving from the black ghetto into mainstream white society, a class struggle, a struggle for black civil rights, along with dedicated revolutionaries willing to blow things up. This movie is about what drove certain people into radical action against the power structure -- and the cost of that action. Based on E.L. Doctorow's left-wing novel and directed by Forman, a Czech refugee from Communist oppression, the resulting movie isn't so much anti-Capitalist but anti-power. If you want to understand anarchists, see this movie. (See Forman's 1975 ''One Flew Over the Cuckoo's Nest as well.)
'' Rude Boy (1980) Directed by Jack Hazan, David Mingay. Flash forward to London in 1978. With the Clash on the soundtrack, a kid in punk gear wanders through a rotting modernist housing project with graffiti-scrawled walls where racists and leftists square off. ("SWP stands for shitty white people!") Like the walls, the movie is scrawled with politics that the kid walks past without really noticing -- skinhead National Front types to the right of him, punks and hippies to the left. Despite his punk gear, the kid is apolitical. His background should make him sympathetic to leftist punks like the Clash (he's from the same city, the same class) but there's something about the socialists and anarchists parading in the street that pisses him off. "There's always going to be people driving big cars. I fink I wanna be one of those people, y'know?" The story takes place against a backdrop of political frame-ups, Clash concerts (see with your very eyes where Rage Against the Machine stole their act!) and Margaret Thatcher posters. The film's obvious message: Social disorder is the prelude to social control. Which is just another way of saying ... anarchy is the policeman's friend. ''??
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string(12826) " anarchy film festival Checking out social chaos on celluloid 2001-05-16T04:04:00+00:00 Anarchy film fest May 16 2001 ben.eason@creativeloafing.com Ben Eason MARTY FUGATE 1223704 2001-05-16T04:04:00+00:00 "Dammit men, we've got to get organized!"
-- Jonathan Winters, The Russians Are Coming, the Russians Are Coming!
What you think about anarchy depends on what you think about human nature. If, like Rousseau, you think "man is born free but is everywhere in chains," the end of civilization as we know it is a good thing. If, like Hobbes, you think people are essentially rotten, life in a state of nature is "nasty, poor, brutish and short." If you're an existentialist, you don't believe in human nature, but you still believe in being real.
Now that we've got that out of the way, here are a few films about anarchy and social chaos — the bad, the good and the existential.
The bad"The conch shell shatters, down you go."-- Pink Floyd, "The Wall
Hollow Man (2000) Directed by Paul Verhoeven. Plato had a parable about a man who first turned invisible and then turned into a fiend. His point was that most people are good because they know they're being watched. (You drive the speed limit when the cop's around, speed when he's not.) Invisible, people would be monsters. Plato's fable was the germ of H.G. Welles The Invisible Man and James Whale's 1933 movie based on it, which was frightening mainly for the psychological effect the Invisible Man had on the village he terrorized. Verhoeven's incarnation has psychological horror, too, plus the kind of state-of-the-art, digitally rendered geysers of blood we've come to expect in a Verhoeven movie. If you get past that, there's a philosophical core here. Where invisible Claude Rains was driven insane by the chemical, invisible Kevin Bacon turns evil because he can get away with it. As Plato predicted, a man who doesn't have to be good becomes very, very bad indeed.
Lord of the Flies (1963) Directed by Peter Brook. Forget those idiotic reality TV shows. For real fun, start with World War III, take a planeload of refugee boys from a British private school (they'd call it a "public school," go figure) and crash them on an island in the South Pacific while killing all the adults on the plane. Watch as the kids reenact, in microcosm, the workings-out of original sin that led to World War III. Starting out all mannered and proper (the stately choir walking down the beach singing "Kyrie Elieson"), the lads soon revert to savagery (a British boy's idea of savagery). Folks have called this film racist, but that misses the point: Civilization has a very thin skin, and the beast within is close to the surface, ready to leap out and kill. Brook makes this point via naturalistic performances by untrained child actors, hauntingly filmed in minimalist black and white. It's easy to find fault with this film (why are the uniforms clean?), but the whole is greater than the sum of its parts and it's wholly disturbing. (See also The Persecution and Assassination of Jean-Paul Marat as Performed by the Inmates of the Asylum of Charenton Under the Direction of the Marquis de Sade by the same director.)
Rashomon (1950) Directed by Akira Kurosawa. Contrary to urban mythology, Rashomon (the film) is not about the relativity of point of view. (The original short story is, but that's a different story.) Like Plato, Kurosawa was obsessed with the beast within. How much human "goodness" is merely conventional — because the eyes of society are watching? How bad would people be if there were no eyes to see? In Kurosawa's fable (set during the social chaos of a Japanese civil war in the 1600s) a bandit ambushes a pair of newlyweds in the woods; later on a woodcutter stumbles into the rape-and-murder scene. Later, the people involved (including a ghost) tell their stories of what happened; the stories are later retold to a group of refugees huddled in the wreckage of the Rashomon gate in old Kyoto. Everyone's story is different, not because there is no truth but because all the characters are lying to make themselves look good. Contrary to popular opinion, in Kurosawa's Rashomon we do know the truth — and the truth is everyone acts badly. Hearing this ugly truth almost destroys a Buddhist monk whose deepest religious principle is compassion — but it's not the whole truth. Kurosawa doesn't agree with Plato — people aren't entirely rotten, goodness isn't entirely an act. As the movie ends, a final act of kindness restores the monk's faith in humanity.
The good
"And do what thou wilt shall be the whole of the law."-- Antoinine Artaud
Outside the "no rules, just right" campaign for Outback Steakhouse, anarchist utopias on film are hard to find. This is partly because utopias are boring, partly because society-hating filmmakers are more interested in mayhem than utopia. This has the odd effect of making films by people who hate society look a lot like the films by people who love it. In either case, anarchy is filled with rape, murder and destruction, though the society-haters try to show the mayhem from the point of view of the perpetrators, putting the spree back in crime spree with films like Natural Born Killers, The Doom Generation, etc., a bad selling point for potential crime victims. Topping the list of anarchic crime sprees:
The Weekend (1967) Directed by Jean-Luc Godard. "Mr. Hurlot's Vacation in Hell" as filmed by Jacques Tati on bad acid. The plot, to the extent I grasp it: A dysfunctional family (husband and wife both wanting to murder each other) goes on vacation, hitting the road after the odd bit of screwing, some dirty talk and a parking lot shootout or two. On the road, something bad seems to be happening. They keep passing violent accidents — bloody bodies strewn all over the place like some French driver's-ed film. This is either a spontaneous breakdown of civilization or the deliberate result of anarchist attacks. (One scene makes this incoherent movie worth viewing: a weird, fascinating 15-minute pan of an endless traffic jam punctuated by weird vehicles and artistic car wrecks.) Eventually, the couple is kidnapped by anarchists who live in the woods. More screwing, violence and car wrecks. Throughout all this, everybody keeps talking; it's like secondary audio programming filled with pseudointellectual left-wing pontificating. (The influence of Ionesco is obvious; everything's disconnected, acausal, at cross-purposes. Where this illogic is funny in the hands of an apolitical Tati, Godard's political ax-grinding makes it merely boring, unless you hit the fast-forward button.) Eventually, the anarchists turn to cannibalism, yielding, perhaps, the origin of the phrase: "eat the rich."
The existential
"Outside society — that's where I want to be!"-- Patti Smith
I call these films existential because, while they're filled with crime, the point is the liberation the crime leads to, rather than the crime itself.
Deliverance (1972) Directed by John Boorman. Based on a novel by James Dickey, this film is all about some Atlanta yuppies who get set upon by buggering, murderous mountain men on a canoe trip, right? Wrong. Forget the surface details, (especially poor Ned Beatty cursed to spend the rest of his life trying to live down that "squeal, piggy!" scene.) Boorman's point is that out on the river, there's no bullshit. Some people are trying to kill you; you're trying to kill them first. Stripped of the bullshit, that's what human life is. The yuppies go through hell, one of them dies — but they get to be real. They've been delivered from the usual bullshit, which is why this film is called Deliverance.
Fight Club (1999) Directed by David Fincher. God, I love this movie. Without giving too much away, let's just say there's a 20-something guy (unnamed, though probably "Jack") enduring a typical life of quiet desperation in a Dilbert cube. Typical, except that he suffers from insomnia. His new-agey doctor doesn't believe in pills, though. "If you want to see real suffering, check out the testicular cancer support group." The insomniac does — and becomes a self-help junky, moving from support group to support group in the hours of sleepless night. He eventually finds a woman to have sex with (Helena Bonham Carter as another self-help junky) and good clean male bonding with a guy named Tyler Durden (Brad Pitt), who wants to destroy civilization as we know it. The dude creates a cult of personality centered on illegal underground "fight clubs" — no need to get buggered on a canoe trip to be real when you can beat the shit out of somebody in a basement, right? It's all about instant self-actualization, like the scene where Tyler sticks a gun in the face of a guy working in a convenience store and asks him what his real dream is. The clerk says he wanted to be a veterinarian. Tyler tells him, "If you're not on your way to becoming a veterinarian in six weeks, you will be dead," and takes his driver's license to track the guy down. The fight club begins to look more and more like a mindless militia. Our insomniac eventually wakes up to the fact that he's trapped in a nasty little subculture. He tries to stop Tyler from destroying civilization because that's not what he really wants, is it?
The historical
"What are you rebelling against?"
"What have you got?"--Marlon Brando, The Wild One
Here are a few films that don't fit the category of "good, bad, existential." Films about periods in history when social breakdown was more than a concept....
Pat Garrett and Billy the Kid (1973) Directed by Sam Peckinpah. If an anarchist utopia ever existed, it probably existed in the American West. (If it didn't, that's where most of us would like to think it did.) This film is one of many mourning the passing of that no-rules utopia. (See also Altman's McCabe & Mrs. Miller.) Peckinpah's film is an elegiac spatter-poem about the death of that utopia as Pat Garrett (representing the long arm of the bought-off law) is paid to slaughter his former outlaw friends (including Billy the Kid) and is eventually slaughtered himself by the same robber barons who paid him. Conventional material, maybe, but unconventionally filmed, this movie is stuffed with haunting characters and haunting death scenes — like Slim Pickens shot full of holes, bleeding his life out in a river to the tune of Dylan's "Knockin' on Heaven's Door." In a way the film is one long death scene: the death of freedom, the death of friendship, the death of the West.
Ragtime (1981) Directed by Milos Forman. What's a movie about the turn of the century doing in a list of films about anarchism? Forget the nostalgic images; in many ways, the time was similar to the 1960s. There was a new kind of subversive music moving from the black ghetto into mainstream white society, a class struggle, a struggle for black civil rights, along with dedicated revolutionaries willing to blow things up. This movie is about what drove certain people into radical action against the power structure — and the cost of that action. Based on E.L. Doctorow's left-wing novel and directed by Forman, a Czech refugee from Communist oppression, the resulting movie isn't so much anti-Capitalist but anti-power. If you want to understand anarchists, see this movie. (See Forman's 1975 One Flew Over the Cuckoo's Nest as well.)
Rude Boy (1980) Directed by Jack Hazan, David Mingay. Flash forward to London in 1978. With the Clash on the soundtrack, a kid in punk gear wanders through a rotting modernist housing project with graffiti-scrawled walls where racists and leftists square off. ("SWP stands for shitty white people!") Like the walls, the movie is scrawled with politics that the kid walks past without really noticing — skinhead National Front types to the right of him, punks and hippies to the left. Despite his punk gear, the kid is apolitical. His background should make him sympathetic to leftist punks like the Clash (he's from the same city, the same class) but there's something about the socialists and anarchists parading in the street that pisses him off. "There's always going to be people driving big cars. I fink I wanna be one of those people, y'know?" The story takes place against a backdrop of political frame-ups, Clash concerts (see with your very eyes where Rage Against the Machine stole their act!) and Margaret Thatcher posters. The film's obvious message: Social disorder is the prelude to social control. Which is just another way of saying ... anarchy is the policeman's friend. ??
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Anarchy film fest May 16 2001 Article
Wednesday May 16, 2001 12:04 am EDT
Checking out social chaos on celluloid
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string(1155) "Howard Finster's Paradise Garden has been called a vision of Eden, built out of a dump and constructed of trash. If that's the case, more than 100 folk artists will be down at the dump this weekend.
The celebrated evangelical painter plays host to the Howard Finster Fest, which draws similarly rustic artists from a dozen states. According to Beverly Finster, the youngest daughter of the 84-year-old patriarch, Howard's arrival at the festival will be less than subtle, showing up in a noisy, folk-art adorned antique hearse around 2 p.m. both days. Also crossing the gates of Paradise will be 11 musical acts, mostly bluegrass and folk bands, including some performing on homemade instruments.
Beverly says the artists will be selling their wares in tents throughout the gardens, creating a feeling of home for the visiting vendors. "It's really just great having it here," she says. "It feels like we're one big folk-art family."
The third annual Howard Finster Fest takes place 10 a.m.-6 p.m. Sat., May 19, and noon-6 p.m. Sun., May 20, at Paradise Gardens, 84 Knox St., Summerville. $5, $3 children. 1-800-FINSTER or www.finster.com??
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string(1159) "Howard Finster's Paradise Garden has been called a vision of Eden, built out of a dump and constructed of trash. If that's the case, more than 100 folk artists will be down at the dump this weekend.
The celebrated evangelical painter plays host to the Howard Finster Fest, which draws similarly rustic artists from a dozen states. According to Beverly Finster, the youngest daughter of the 84-year-old patriarch, Howard's arrival at the festival will be less than subtle, showing up in a noisy, folk-art adorned antique hearse around 2 p.m. both days. Also crossing the gates of Paradise will be 11 musical acts, mostly bluegrass and folk bands, including some performing on homemade instruments.
Beverly says the artists will be selling their wares in tents throughout the gardens, creating a feeling of home for the visiting vendors. "It's really just great having it here," she says. "It feels like we're one big folk-art family."
''The third annual Howard Finster Fest takes place 10 a.m.-6 p.m. Sat., May 19, and noon-6 p.m. Sun., May 20, at Paradise Gardens, 84 Knox St., Summerville. $5, $3 children. 1-800-FINSTER or www.finster.com''??
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string(1496) " howard finster fest Folk Festivals in Atlanta 2001 2001-05-16T04:04:00+00:00 Festivals: Folk festival fever ben.eason@creativeloafing.com Ben Eason Tray Butler 1223569 2001-05-16T04:04:00+00:00 Howard Finster's Paradise Garden has been called a vision of Eden, built out of a dump and constructed of trash. If that's the case, more than 100 folk artists will be down at the dump this weekend.
The celebrated evangelical painter plays host to the Howard Finster Fest, which draws similarly rustic artists from a dozen states. According to Beverly Finster, the youngest daughter of the 84-year-old patriarch, Howard's arrival at the festival will be less than subtle, showing up in a noisy, folk-art adorned antique hearse around 2 p.m. both days. Also crossing the gates of Paradise will be 11 musical acts, mostly bluegrass and folk bands, including some performing on homemade instruments.
Beverly says the artists will be selling their wares in tents throughout the gardens, creating a feeling of home for the visiting vendors. "It's really just great having it here," she says. "It feels like we're one big folk-art family."
The third annual Howard Finster Fest takes place 10 a.m.-6 p.m. Sat., May 19, and noon-6 p.m. Sun., May 20, at Paradise Gardens, 84 Knox St., Summerville. $5, $3 children. 1-800-FINSTER or www.finster.com??
Courtesy Howard Finster Fest 0,0,10 "Howard Finster Fest" 13004291 1231137 Festivals: Folk festival fever "
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Wednesday May 16, 2001 12:04 am EDT
Folk Festivals in Atlanta 2001
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General Motors Mainstage
2 p.m. Karla McAlpine
3 p.m. Jacques Lesure Quartet
4 p.m. Joe Jennings
5 p.m. Loston Harris
6:15 p.m. Brian Blade Fellowship
7:30 p.m. Medeski Martin & Wood
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4 p.m. Ojeda Penn
5 p.m. Audrey Shakir
6:15 p.m. Poncho Sanchez
7:30 p.m. Arturo Sandoval
8:30 p.m. Sonny Rollins
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3 p.m. GSU Faculty Band
4 p.m. Bill Anschell
5 p.m. Russell Gunn
6:15 p.m. Chucho Valdes
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3 p.m. Jacques Lesure Quartet
4 p.m. Joe Jennings
5 p.m. Loston Harris
6:15 p.m. Brian Blade Fellowship
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Atlanta Jazz Festival's free concerts in Piedmont Park Article
Wednesday May 23, 2001 12:04 am EDT
Atlanta Jazz Festival Lineup 2001
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I love it. My boyfriend was a participant last year and had an opportunity to showcase his talents along with other local artists. It was wonderful. It exposes the creative works of these artists who otherwise would not have an opportunity to such exposure. It's impossible to be a city on the upward move like ours without supporting this event or similar events like these. It's so much more interesting to say, 'I got this piece at an arts festival,' rather than at Lenox or Phipps. And in a lot of cases the prices are too reasonable. I bought tons of stuff.RENEE & SHELLY, ATLANTA
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It's a pain in the ass for the regulars. You can't find a parking place. They have a festival in Atlanta every week. What's the point? It's indicative of the insecurity of young people. They rely on other people to create fun. They need a director, a producer and lots of glitz. Meaningless festivals are like TV dinners and fast food. They take no effort on your part and they're over before they start. They're designed for mass consumption and they're not at all satisfying, which is the marketing genius behind them because you keep hoping for something better.??
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string(2260) " News Stalk 5266 2020-04-05T01:19:47+00:00 news_stalk-5266.jpeg virginia-highlands festival Talk of the Town: VA Highlands Summerfest 2001 30338 2001-05-30T04:04:00+00:00 Are you looking forward to the Virginia-Highland Summerfest? ben.eason@creativeloafing.com Ben Eason Jeff Slate 1306476 2001-05-30T04:04:00+00:00 YOLANDA, ATLANTA
I love it. My boyfriend was a participant last year and had an opportunity to showcase his talents along with other local artists. It was wonderful. It exposes the creative works of these artists who otherwise would not have an opportunity to such exposure. It's impossible to be a city on the upward move like ours without supporting this event or similar events like these. It's so much more interesting to say, 'I got this piece at an arts festival,' rather than at Lenox or Phipps. And in a lot of cases the prices are too reasonable. I bought tons of stuff.RENEE & SHELLY, ATLANTA
Can't wait. It's a ball! Living in Atlanta, there's nothing to do. That's why when there are art festivals we look forward to them. Once you hit a certain age you don't want to go to a bar. Here you drink beer on the street, it's legal, relax, get a little pink on your nose, red on your shoulders, freckles come out, see your friends, too many tight tank tops, kiss the babies, see the freaks, see cute guys, pet the dogs - people-watching at its finest. And it's excellent value. It's better quality art than you see at other neighborhood festivals.TIM, ATLANTA
It's a pain in the ass for the regulars. You can't find a parking place. They have a festival in Atlanta every week. What's the point? It's indicative of the insecurity of young people. They rely on other people to create fun. They need a director, a producer and lots of glitz. Meaningless festivals are like TV dinners and fast food. They take no effort on your part and they're over before they start. They're designed for mass consumption and they're not at all satisfying, which is the marketing genius behind them because you keep hoping for something better.??
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Talk of the Town: VA Highlands Summerfest 2001
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Butchart has been collecting Athens music artifacts since the late '70s. "The music scene was very small then," he says. "Everyone knew each other and we knew we had something very special." A former member of the Side Effects, one of Athens' pioneering new-music bands (along with R.E.M., Pylon, Love Tractor and Oh OK), Butchart has been active in the scene for more than 20 years. Ploharski, a dealer of vintage vinyl and music memorabilia, operates Low Yo Yo Stuff, a record store inside the 40 Watt Club building.
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Though this year's AthFest occurs during Athens' 200th anniversary celebration, the event won't be totally nostalgic. "That's the cool thing about AthFest, this year especially," says festival spokesman Jeff Montgomery. "People can come and check out the history exhibit and then walk right down the street and see what's going on in Athens now."
Montgomery and Troy Aubrey, AthFest 2001 booking committee chair, also are behind the new Athens website www.athensmusic.net, an outlet for local band information and music. The site offers CDs and LPs for sale from more than 200 different local artists, past and present.
Butchart points out that in the old days there was only one big show per night and there wasn't competition between bands. "Everybody worked together, like we are doing here," he says, holding a vintage '81 flyer for R.E.M. at Tyrone's, a long-defunct Athens club. At AthFest, attendees can walk between more than 15 venues during the nightly club crawls, getting a wildly diverse look at bands — the majority of which are local and unsigned. Daytime activities include two outdoor stages for free music as well as an artists' market and a children's area.
Like the dusty old pictures of Athens' past being exhibited at the Morton, Aubrey says Athfest is "a great snapshot of our still-thriving music scene. Athens operates just fine outside of the major-label music business world. While most festivals focus more on the commerce side of things, we showcase artists." With 150 bands playing over four days, chances are good another band or two will make a lasting impact. So, save all the flyers and posters you can. Who knows, they might be museum pieces one day.
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Montgomery and Troy Aubrey, AthFest 2001 booking committee chair, also are behind the new Athens website www.athensmusic.net, an outlet for local band information and music. The site offers CDs and LPs for sale from more than 200 different local artists, past and present.
Butchart points out that in the old days there was only one big show per night and there wasn't competition between bands. "Everybody worked together, like we are doing here," he says, holding a vintage '81 flyer for R.E.M. at Tyrone's, a long-defunct Athens club. At AthFest, attendees can walk between more than 15 venues during the nightly club crawls, getting a wildly diverse look at bands — the majority of which are local and unsigned. Daytime activities include two outdoor stages for free music as well as an artists' market and a children's area.
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AthFest looks to future and R.E.M.-bers the past Article
Wednesday June 20, 2001 12:04 am EDT
AthFest 2001
| more...
Related
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2001 Music Midtown musings
05/09/2001
Pot Fest: Burned again
03/14/2001
Rockabilly Rumbles onto two nights
02/03/2001
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---
As the holiday season approaches, Winter festivals and events offer the chance for families and friends alike together and revel in the most wonderful time of the year. For college football fans, the Chick-Fil-A Peach Bowl is an exciting winter tradition. Celebrate MLK Day with the MLK March and Rally, and catch the month-long Jewish Film Festival. Here's a list of the festivals and fairs that happen all year round. If you are looking for things to do this weekend, today or tomorrow. See our handy guide to the 5 things to do in Atlanta today. We've got critics and reader recommendations for live music, food and wine events, sports, free or those for the family. For a list of neighborhood centric-events or our page of Things to Do in ATL.
If you're in a band, an artist, run a venue, or keep your organization's calendar, we'd love to have your event on the site. Submit your event here and we'll get you on Atlanta's most comprehensive listing of events.
!!DECEMBER
!!JANUARY
!!FEBRUARY
!!Seasonal
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!! [#JANUARY|January]
!! [#FEBRUARY|February]
!! ((atlanta festivals|All Festivals))
!! [atlanta-events|All Events]
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As the holiday season approaches, Winter festivals and events offer the chance for families and friends alike together and revel in the most wonderful time of the year. For college football fans, the Chick-Fil-A Peach Bowl is an exciting winter tradition. Celebrate MLK Day with the MLK March and Rally, and catch the month-long Jewish Film Festival. Here's a list of the festivals and fairs that happen all ((atlanta events 2020|year round)). If you are looking for things to do this [atlanta-events/this weekend|weekend], [atlanta-events/today|today] or [atlanta-events/tomorrow|tomorrow]. See our handy guide to the ((things to do|5 things to do in Atlanta today)). We've got critics and reader recommendations for [atlanta-events/music|live music], [atlanta-events/food|food and wine events], [atlanta-events/sports|sports], [atlanta-events/free|free] or those for the [atlanta-events/family|family]. For a list of ((whats going on in atlanta|neighborhood centric-events)) or our page of ((things to do|Things to Do in ATL)).
If you're in a band, an artist, run a venue, or keep your organization's calendar, we'd love to have your event on the site. Submit your event ((add-event|here)) and we'll get you on Atlanta's most comprehensive listing of [atlanta-events|events].
!![atlanta-events/december|DECEMBER]
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!![atlanta-events/january|JANUARY]
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!![atlanta-events/february|FEBRUARY]
{include page="atlanta events 2020" start="[atlanta-events/february|FEBRUARY]" stop="[atlanta-events/march|MARCH]"}
!![holiday-and-seasonal-events-things-to-do|Seasonal]
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As the holiday season approaches, Winter festivals and events offer the chance for families and friends alike together and revel in the most wonderful time of the year. For college football fans, the Chick-Fil-A Peach Bowl is an exciting winter tradition. Celebrate MLK Day with the MLK March and Rally, and catch the month-long Jewish Film Festival. Here's a list of the festivals and fairs that happen all year round. If you are looking for things to do this weekend, today or tomorrow. See our handy guide to the 5 things to do in Atlanta today. We've got critics and reader recommendations for live music, food and wine events, sports, free or those for the family. For a list of neighborhood centric-events or our page of Things to Do in ATL.
If you're in a band, an artist, run a venue, or keep your organization's calendar, we'd love to have your event on the site. Submit your event here and we'll get you on Atlanta's most comprehensive listing of events.
!!DECEMBER
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CL Archive Photo/Alan Friendman Santa Speedo Run - Virginia Highlands, December 2009 0,0,10 "Winter Festivals" Winter Festivals in Atlanta "
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Winter Festivals in Atlanta Article
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Search for Atlanta Winter Festivals. Take the chill off in December, January and February with CL's guide to MLK Day, Chick-Fil-A Bowl, Jewish Film Festival & more.
| more...
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Grab a bag of your favorite treats, the spookiest outfit you can find, and get ready to celebrate the most spine-tingling holiday out there: Halloween! Halloween is a day that emerged over 2000 years ago from ancient Celtic traditions, and has since grown to become one of the world’s most popular, albeit controversial holidays. All you need to enjoy yourself is candy, costumes, and a willingness to get spooked!
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Grab a bag of your favorite treats, the spookiest outfit you can find, and get ready to celebrate the most spine-tingling holiday out there: Halloween! Halloween is a day that emerged over 2000 years ago from ancient Celtic traditions, and has since grown to become one of the world’s most popular, albeit controversial holidays. All you need to enjoy yourself is candy, costumes, and a willingness to get spooked!
!!Big Halloween Events
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---
Grab a bag of your favorite treats, the spookiest outfit you can find, and get ready to celebrate the most spine-tingling holiday out there: Halloween! Halloween is a day that emerged over 2000 years ago from ancient Celtic traditions, and has since grown to become one of the world’s most popular, albeit controversial holidays. All you need to enjoy yourself is candy, costumes, and a willingness to get spooked!
!!Big Halloween Events
!!List of Halloween Events
!!CL Articles on Halloween
!!Past Halloweens
Luca Nebuloni 0,0,10 atlanta events 2020 "holiday events" Halloween Events "
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Halloween Events Article
Saturday October 31, 2020 02:51 pm EDT
TRICK OR TREAT: Celebrate Halloween in the ATL.
| more...
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It's hot. Damn hot. The Fourth of July and the Peachtree Road Race marks the high point of the Summer but there are great Festivals in the air conditioning and ice cream and other treats for those headed outdoors. Here's a list of the festivals and fairs that happen all year round. If you are looking for things to do this weekend, today or tomorrow. See our handy guide to the 5 things to do in Atlanta today. We've got critics and reader recommendations for live music, food and wine events, sports, free or those for the family. For a list of neighborhood centric-events or our page of Things to Do in ATL.
If you're in a band, an artist, run a venue, or keep your organization's calendar, we'd love to have your event on the site. Submit your event here and we'll get you on Atlanta's most comprehensive listing of events.
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It's hot. Damn hot. The Fourth of July and the Peachtree Road Race marks the high point of the Summer but there are great Festivals in the air conditioning and ice cream and other treats for those headed outdoors. Here's a list of the festivals and fairs that happen all year round. If you are looking for things to do this weekend, today or tomorrow. See our handy guide to the 5 things to do in Atlanta today. We've got critics and reader recommendations for live music, food and wine events, sports, free or those for the family. For a list of neighborhood centric-events or our page of Things to Do in ATL.
If you're in a band, an artist, run a venue, or keep your organization's calendar, we'd love to have your event on the site. Submit your event here and we'll get you on Atlanta's most comprehensive listing of events.
!!JUNE
!!JULY
!!AUGUST
!!Seasonal
CL Photo Archives Peachtree Road Race 2012 0,0,10 Summer Guide - Outdoor summer concerts and festivals in Atlanta, Summer Guide - Summer festivals and events in Atlanta "summer festivals" Summer Festivals in Atlanta "
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Summer Festivals in Atlanta Article
Monday June 1, 2020 04:20 pm EDT
Check out the Summer Festivals in Atlanta for June, July, and August. Your guide to the Peachtree Road Race, Decatur Book Festival, Juneteenth, Fourth of July.
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----
---
If you are a venue, artist, band or anyone hosting a public event, please help us to help you by submitting your event here. For a broad events calendar for today, go to our comprehensive listing of events in Atlanta today, tomorrow, or this weekend.
!!COVID-19 Safe Events
Below is our Atlanta list of Things to Do Today
!!Decatur COVID-19 Updates
If you would like your organization, business or venue listed, please let us know here.
!!Want to receive our 5 Things To Do recommendations in your inbox? Click here and select the "5 Things to Do" newsletter.
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!!COVID-19 Safe Events
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string(1263) " Decatur Neighborhood 2017-04-09T03:02:03+00:00 Decatur Neighborhood.jpg Browse what's going on in Decatur with our comprehensive calendar of events. Find things to do by neighborhood, what's going on today, tomorrow & this weekend. 49 decatur 2020-05-13T20:05:00+00:00 What's Going On in Decatur ben.eason@creativeloafing.com Ben Eason CL Events Staff 2020-05-13T20:05:00+00:00 Decatur, GA - Progressive enclave with quaint homes, a walkable downtown, great restaurants, and probably the city's highest concentration of top notch cocktail bars.
----
---
If you are a venue, artist, band or anyone hosting a public event, please help us to help you by submitting your event here. For a broad events calendar for today, go to our comprehensive listing of events in Atlanta today, tomorrow, or this weekend.
!!COVID-19 Safe Events
Below is our Atlanta list of Things to Do Today
!!Decatur COVID-19 Updates
If you would like your organization, business or venue listed, please let us know here.
!!Want to receive our 5 Things To Do recommendations in your inbox? Click here and select the "5 Things to Do" newsletter.
CL Photo Archives NEIGHBORHOOD: DECATUR 0,0,10 What's Going On in Decatur "
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What's Going On in Decatur Article
Wednesday May 13, 2020 04:05 pm EDT
Browse what's going on in Decatur with our comprehensive calendar of events. Find things to do by neighborhood, what's going on today, tomorrow & this weekend.
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As Atlanta starts to venture outdoors once again, the Festival season springs to life. The Atlanta Dogwood Festival marks the unofficial start of the Spring. Here's a list of the festivals and fairs that happen all year round. If you are looking for things to do this weekend, today or tomorrow. See our handy guide to the 5 things to do in Atlanta today. We've got critics and reader recommendations for live music, food and wine events, sports, free or those for the family. For a list of neighborhood centric-events or our page of Things to Do in ATL.
If you're in a band, an artist, run a venue, or keep your organization's calendar, we'd love to have your event on the site. Submit your event here and we'll get you on Atlanta's most comprehensive listing of events.
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If you're in a band, an artist, run a venue, or keep your organization's calendar, we'd love to have your event on the site. Submit your event ((add-event|here)) and we'll get you on Atlanta's most comprehensive listing of [atlanta-events|events].
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If you're in a band, an artist, run a venue, or keep your organization's calendar, we'd love to have your event on the site. Submit your event here and we'll get you on Atlanta's most comprehensive listing of events.
!!MARCH
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Spring Festivals in Atlanta Article
Sunday March 1, 2020 12:00 am EST
Check out the Spring Festivals in Atlanta for March, April, and May. your guide to Dogwood Festival, Shaky Knees, 420 Fest, Sweet Auburn, Inman Park Festival.
| more...
