Will Cardwell
Happenings/Listings Editor
Recent Georgia State Journalism grad and former Creative Loafing Music Section freelancer.
Articles By This Writer
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string(9153) "The Wren’s Nest, a stately Queen Anne-style house nestled in Atlanta’s historic West End, has remained a constant amid the neighborhood’s ever-changing landscape. A true relic of the past, the two-story building has stood for almost 150 years, and once housed the family of famous folk writer and journalist Joel Chandler Harris. Due to the building’s rich history and cultural significance, the Wren’s Nest has been declared a National Historic Landmark as well as a historic house museum. The spot is a popular one for both history buffs and school field trips, though guided tours and antiques might not be the only remnants of the past that linger in the well-preserved home. According to some, the house has earned a reputation for being haunted by its former inhabitants, and many guests claim to have felt presences of otherworldly beings or seen specters themselves. Given the house’s age and storied past it is hard to think of a more fitting haunt for ghosts.
Constructed around 1870, the Wren’s Nest was first home to Atlanta entrepreneur and businessman George Muse and his family of seven. At the time the house consisted of just two rooms. Muse went on to found the George Muse Clothing Company, once one of the largest stores in the Southeast. The department store remained a fixture of Downtown Atlanta until it shuttered its doors in the early 1990s. The store’s iconic neon sign can still be seen at the intersection of Peachtree and Walton streets.
However, the Wren’s Nest can attribute most of its fame, and ghosts, to the Harris family. Joel Chandler Harris moved his family into the Wren’s Nest around a decade later, expanding the house to its current size and a more Victorian model. Harris was an associate editor at the Atlanta Constitution, but was perhaps best known for his adaption of the historically black Uncle Remus stories, which includes “Br’er Rabbit.” Harris lived in the house with his wife Mary Esther and their nine children, only six of whom survived to adulthood, until his death in 1908. The Wren’s Nest was made into a museum shortly afterwards in 1913, but some say the spirit of Harris has yet to leave his old home.
Reports of paranormal activity at the Wren’s Nest began in the early aughts. The estate’s executive director at the time, Lain Shakespeare, himself a descendant of Joel Chandler Harris, invited members of the Southeastern Institute of Paranormal Research to conduct a paranormal investigation at the house. Since then, unexplained noises have been heard on audio clips, unidentified figures have reportedly been seen roaming the halls, and objects have teleported or stopped working on the property. Despite these encounters, the Wren’s Nest’s current executive director Melissa Swindell remains unconvinced.
“I don’t know. I’m a little skeptical. There are things I can’t explain, but I want to be able to think through them logically,” says Swindell when asked about the haunting. “We’ve had some paranormal experts come in, and they’ll play back recordings. There are sounds I can’t identify or people’s voices that weren’t in the group. I can’t explain it, but at the same time I haven’t heard anything outside of the recordings.”
One of these hard-to-explain incidents occurred after Swindell attempted to relocate Harris’ old typewriter. The Wren’s Nest decided to put the typewriter on loan to a communal workspace in a historic building on Auburn Avenue, a cause and location that seemed suitable for the antique. Unfortunately it seems Harris disagreed, as Swindell recalls her car completely and inexplicably shutting down as she exited the property’s threshold. “Maybe Harris was like, ‘Don’t take my typewriter away,’” laughs Swindell. “He’s since been okay with it. We’ve moved past it. The typewriter is on loan now.”
Despite Swindell’s skepticism, stories and sightings of unexplainable phenomenon have earned the house quite a reputation with ghost enthusiasts. So much so that the Southeastern Institute of Paranormal Research launched a month-long paranormal investigation in February 2019. Several members of this team were a part of the same group that visited the house when Lain Shakespeare was director. The investigations were led by members of the institute, who utilized classic ghost-hunting gear, including digital voice recorders, infrared cameras, EMF meters, temperature sensors, and an ITC (instrumental trans-communication) device affectionately named ‘Boo Bear,’ to gather evidence on the house’s alleged otherworldly residents. The team’s investigation was conducted in four parts and took place on the property after dark.
The investigation yielded evidence that there is some sort of paranormal activity taking place at the Wren’s Nest. A loud unidentifiable banging can be heard in the basement upon playback of the team’s audio. The sound’s source is unclear, and the noise could not be heard during the investigation. The phantom scent of burning candle wax could be smelled by some in the house’s library. A group of investigators reported communication with a spirit by way of a flashlight turning on and off on command. A knocking sound was also produced from some unknown spot in the house, and seemed to be repeated upon request. Eerie whispers were heard upon audio playback, saying things like “That’s crazy,” “… here?” and “now.” Unintelligible voices could also be heard in the recordings. All of the collected evidence and experiences throughout the investigation were deemed conclusive enough for the Southeastern Institute of Paranormal Research to issue a statement, which declares in part:
“In conclusion, we believe that there is paranormal activity at the Wren’s Nest. We believe there is a residual haunting (meaning our sensitives are picking up on energies that are like a recording from a moment in time that replays itself over and over), as well as an intelligent haunting (meaning the spirits interact with the investigators) at the Wren’s Nest.”
However, perhaps the most frightening pieces of evidence are the alleged ghost sightings.
It’s not only members of paranormal teams who claim to have seen or sensed ghosts at the Wren’s Nest. With some frequency, guests report encounters with the otherworldly, some claiming to feel strange, lingering energy and others seeing full-bodied apparitions. No one has officially ID’d any of the spirits, but using historical context and physical descriptions, the staff and investigative team can make some guesses to the identity of the ghosts who haunt the grounds.
Perhaps the most famous are the ghosts of two young boys who are frequently seen playing on the stairs and in the yard. The children appear to be around three and five years old and seem perfectly content spending their afterlife playing in their former home. Harris’ grandchildren, Pierre and Charles, who died on the property in infancy, seem to offer the most likely clues to the identity of these ghosts.
A portly spirit can be seen in Joel Chandler Harris’ rocking chair, leading many to believe it is the ghost of Harris himself. A tall, thin, well-dressed man in period-appropriate clothing has also been seen standing in Joel Chandler Harris’ bedroom as well as the dining room. Sensitives claim the ghost is something of a homebody who has a large presence in the house. This specter is probably Harris’ son Evelyn, who matches the spirit’s physical description and was known for his closeness with his mother, staying inside the house and helping with chores while the other boys played.
A woman can be seen peeking through curtains between the library and the parlor, taking particular interest in the paranormal investigations. Witnesses have claimed the ghost’s visage matches a former worker at the house named Chloe, recognizing her from a framed photo prominently displayed in the home. The ghost is apparently very interested in the living and, according to paranormal sensitives, has no idea she is dead.
Though the alleged hauntings may frighten some, the Wren’s Nest embraces the potentially paranormal activity. “To me, it makes history relevant and makes history come alive, pun not intended, for people who don’t typically engage with history,” says Swindell. “We’ve seen a lot of new visitors and new people to the Wren’s Nest since doing this, and a lot of them have this immediate childhood connection when they find out that this is where the Br’er Rabbit stories have come from. So once they know that, then we are engaged in a historical conversation with them.”
It is also worth mentioning that none of the ghosts who allegedly occupy the house are violent, nor do they omit negative energy. “When the Southeastern Institute of Paranormal Research came in and said there were ghosts, I just figured, well, they aren’t bothering me so I guess we’ll be alright,” Swindell says.
Go to wrensnest.org if you wish to learn more, visit, or donate to the Wren’s Nest. "
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Constructed around 1870, the Wren’s Nest was first home to Atlanta entrepreneur and businessman George Muse and his family of seven. At the time the house consisted of just two rooms. Muse went on to found the George Muse Clothing Company, once one of the largest stores in the Southeast. The department store remained a fixture of Downtown Atlanta until it shuttered its doors in the early 1990s. The store’s iconic neon sign can still be seen at the intersection of Peachtree and Walton streets.
However, the Wren’s Nest can attribute most of its fame, and ghosts, to the Harris family. Joel Chandler Harris moved his family into the Wren’s Nest around a decade later, expanding the house to its current size and a more Victorian model. Harris was an associate editor at the Atlanta Constitution, but was perhaps best known for his adaption of the historically black ''Uncle Remus'' stories, which includes “Br’er Rabbit.” Harris lived in the house with his wife Mary Esther and their nine children, only six of whom survived to adulthood, until his death in 1908. The Wren’s Nest was made into a museum shortly afterwards in 1913, but some say the spirit of Harris has yet to leave his old home.
Reports of paranormal activity at the Wren’s Nest began in the early aughts. The estate’s executive director at the time, Lain Shakespeare, himself a descendant of Joel Chandler Harris, invited members of the Southeastern Institute of Paranormal Research to conduct a paranormal investigation at the house. Since then, unexplained noises have been heard on audio clips, unidentified figures have reportedly been seen roaming the halls, and objects have teleported or stopped working on the property. Despite these encounters, the Wren’s Nest’s current executive director Melissa Swindell remains unconvinced.
“I don’t know. I’m a little skeptical. There are things I can’t explain, but I want to be able to think through them logically,” says Swindell when asked about the haunting. “We’ve had some paranormal experts come in, and they’ll play back recordings. There are sounds I can’t identify or people’s voices that weren’t in the group. I can’t explain it, but at the same time I haven’t heard anything outside of the recordings.”
One of these hard-to-explain incidents occurred after Swindell attempted to relocate Harris’ old typewriter. The Wren’s Nest decided to put the typewriter on loan to a communal workspace in a historic building on Auburn Avenue, a cause and location that seemed suitable for the antique. Unfortunately it seems Harris disagreed, as Swindell recalls her car completely and inexplicably shutting down as she exited the property’s threshold. “Maybe Harris was like, ‘Don’t take my typewriter away,’” laughs Swindell. “He’s since been okay with it. We’ve moved past it. The typewriter is on loan now.”
Despite Swindell’s skepticism, stories and sightings of unexplainable phenomenon have earned the house quite a reputation with ghost enthusiasts. So much so that the Southeastern Institute of Paranormal Research launched a month-long paranormal investigation in February 2019. Several members of this team were a part of the same group that visited the house when Lain Shakespeare was director. The investigations were led by members of the institute, who utilized classic ghost-hunting gear, including digital voice recorders, infrared cameras, EMF meters, temperature sensors, and an ITC (instrumental trans-communication) device affectionately named ‘Boo Bear,’ to gather evidence on the house’s alleged otherworldly residents. The team’s investigation was conducted in four parts and took place on the property after dark.
The investigation yielded evidence that there is some sort of paranormal activity taking place at the Wren’s Nest. A loud unidentifiable banging can be heard in the basement upon playback of the team’s audio. The sound’s source is unclear, and the noise could not be heard during the investigation. The phantom scent of burning candle wax could be smelled by some in the house’s library. A group of investigators reported communication with a spirit by way of a flashlight turning on and off on command. A knocking sound was also produced from some unknown spot in the house, and seemed to be repeated upon request. Eerie whispers were heard upon audio playback, saying things like “That’s crazy,” “… here?” and “now.” Unintelligible voices could also be heard in the recordings. All of the collected evidence and experiences throughout the investigation were deemed conclusive enough for the Southeastern Institute of Paranormal Research to issue a statement, which declares in part:
“In conclusion, we believe that there is paranormal activity at the Wren’s Nest. We believe there is a residual haunting (meaning our sensitives are picking up on energies that are like a recording from a moment in time that replays itself over and over), as well as an intelligent haunting (meaning the spirits interact with the investigators) at the Wren’s Nest.”
However, perhaps the most frightening pieces of evidence are the alleged ghost sightings.
It’s not only members of paranormal teams who claim to have seen or sensed ghosts at the Wren’s Nest. With some frequency, guests report encounters with the otherworldly, some claiming to feel strange, lingering energy and others seeing full-bodied apparitions. No one has officially ID’d any of the spirits, but using historical context and physical descriptions, the staff and investigative team can make some guesses to the identity of the ghosts who haunt the grounds.
Perhaps the most famous are the ghosts of two young boys who are frequently seen playing on the stairs and in the yard. The children appear to be around three and five years old and seem perfectly content spending their afterlife playing in their former home. Harris’ grandchildren, Pierre and Charles, who died on the property in infancy, seem to offer the most likely clues to the identity of these ghosts.
A portly spirit can be seen in Joel Chandler Harris’ rocking chair, leading many to believe it is the ghost of Harris himself. A tall, thin, well-dressed man in period-appropriate clothing has also been seen standing in Joel Chandler Harris’ bedroom as well as the dining room. Sensitives claim the ghost is something of a homebody who has a large presence in the house. This specter is probably Harris’ son Evelyn, who matches the spirit’s physical description and was known for his closeness with his mother, staying inside the house and helping with chores while the other boys played.
A woman can be seen peeking through curtains between the library and the parlor, taking particular interest in the paranormal investigations. Witnesses have claimed the ghost’s visage matches a former worker at the house named Chloe, recognizing her from a framed photo prominently displayed in the home. The ghost is apparently very interested in the living and, according to paranormal sensitives, has no idea she is dead.
Though the alleged hauntings may frighten some, the Wren’s Nest embraces the potentially paranormal activity. “To me, it makes history relevant and makes history come alive, pun not intended, for people who don’t typically engage with history,” says Swindell. “We’ve seen a lot of new visitors and new people to the Wren’s Nest since doing this, and a lot of them have this immediate childhood connection when they find out that this is where the Br’er Rabbit stories have come from. So once they know that, then we are engaged in a historical conversation with them.”
It is also worth mentioning that none of the ghosts who allegedly occupy the house are violent, nor do they omit negative energy. “When the Southeastern Institute of Paranormal Research came in and said there were ghosts, I just figured, well, they aren’t bothering me so I guess we’ll be alright,” Swindell says.
Go to [https://wrensnest.org/|wrensnest.org] if you wish to learn more, visit, or donate to the Wren’s Nest. "
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string(9672) " Wren S Nest 5 2019-09-30T16:22:46+00:00 Wren_s_Nest_5.jpg halloween 2020 Unexplained activity at Joel Chandler Harris’s former home defies logic Wren S Nest 5 2019-09-30T16:20:19+00:00 Paranormal activity at the Wren’s Nest? will.cardwell Will Cardwell Will Cardwell 2019-09-30T16:20:19+00:00 The Wren’s Nest, a stately Queen Anne-style house nestled in Atlanta’s historic West End, has remained a constant amid the neighborhood’s ever-changing landscape. A true relic of the past, the two-story building has stood for almost 150 years, and once housed the family of famous folk writer and journalist Joel Chandler Harris. Due to the building’s rich history and cultural significance, the Wren’s Nest has been declared a National Historic Landmark as well as a historic house museum. The spot is a popular one for both history buffs and school field trips, though guided tours and antiques might not be the only remnants of the past that linger in the well-preserved home. According to some, the house has earned a reputation for being haunted by its former inhabitants, and many guests claim to have felt presences of otherworldly beings or seen specters themselves. Given the house’s age and storied past it is hard to think of a more fitting haunt for ghosts.
Constructed around 1870, the Wren’s Nest was first home to Atlanta entrepreneur and businessman George Muse and his family of seven. At the time the house consisted of just two rooms. Muse went on to found the George Muse Clothing Company, once one of the largest stores in the Southeast. The department store remained a fixture of Downtown Atlanta until it shuttered its doors in the early 1990s. The store’s iconic neon sign can still be seen at the intersection of Peachtree and Walton streets.
However, the Wren’s Nest can attribute most of its fame, and ghosts, to the Harris family. Joel Chandler Harris moved his family into the Wren’s Nest around a decade later, expanding the house to its current size and a more Victorian model. Harris was an associate editor at the Atlanta Constitution, but was perhaps best known for his adaption of the historically black Uncle Remus stories, which includes “Br’er Rabbit.” Harris lived in the house with his wife Mary Esther and their nine children, only six of whom survived to adulthood, until his death in 1908. The Wren’s Nest was made into a museum shortly afterwards in 1913, but some say the spirit of Harris has yet to leave his old home.
Reports of paranormal activity at the Wren’s Nest began in the early aughts. The estate’s executive director at the time, Lain Shakespeare, himself a descendant of Joel Chandler Harris, invited members of the Southeastern Institute of Paranormal Research to conduct a paranormal investigation at the house. Since then, unexplained noises have been heard on audio clips, unidentified figures have reportedly been seen roaming the halls, and objects have teleported or stopped working on the property. Despite these encounters, the Wren’s Nest’s current executive director Melissa Swindell remains unconvinced.
“I don’t know. I’m a little skeptical. There are things I can’t explain, but I want to be able to think through them logically,” says Swindell when asked about the haunting. “We’ve had some paranormal experts come in, and they’ll play back recordings. There are sounds I can’t identify or people’s voices that weren’t in the group. I can’t explain it, but at the same time I haven’t heard anything outside of the recordings.”
One of these hard-to-explain incidents occurred after Swindell attempted to relocate Harris’ old typewriter. The Wren’s Nest decided to put the typewriter on loan to a communal workspace in a historic building on Auburn Avenue, a cause and location that seemed suitable for the antique. Unfortunately it seems Harris disagreed, as Swindell recalls her car completely and inexplicably shutting down as she exited the property’s threshold. “Maybe Harris was like, ‘Don’t take my typewriter away,’” laughs Swindell. “He’s since been okay with it. We’ve moved past it. The typewriter is on loan now.”
Despite Swindell’s skepticism, stories and sightings of unexplainable phenomenon have earned the house quite a reputation with ghost enthusiasts. So much so that the Southeastern Institute of Paranormal Research launched a month-long paranormal investigation in February 2019. Several members of this team were a part of the same group that visited the house when Lain Shakespeare was director. The investigations were led by members of the institute, who utilized classic ghost-hunting gear, including digital voice recorders, infrared cameras, EMF meters, temperature sensors, and an ITC (instrumental trans-communication) device affectionately named ‘Boo Bear,’ to gather evidence on the house’s alleged otherworldly residents. The team’s investigation was conducted in four parts and took place on the property after dark.
The investigation yielded evidence that there is some sort of paranormal activity taking place at the Wren’s Nest. A loud unidentifiable banging can be heard in the basement upon playback of the team’s audio. The sound’s source is unclear, and the noise could not be heard during the investigation. The phantom scent of burning candle wax could be smelled by some in the house’s library. A group of investigators reported communication with a spirit by way of a flashlight turning on and off on command. A knocking sound was also produced from some unknown spot in the house, and seemed to be repeated upon request. Eerie whispers were heard upon audio playback, saying things like “That’s crazy,” “… here?” and “now.” Unintelligible voices could also be heard in the recordings. All of the collected evidence and experiences throughout the investigation were deemed conclusive enough for the Southeastern Institute of Paranormal Research to issue a statement, which declares in part:
“In conclusion, we believe that there is paranormal activity at the Wren’s Nest. We believe there is a residual haunting (meaning our sensitives are picking up on energies that are like a recording from a moment in time that replays itself over and over), as well as an intelligent haunting (meaning the spirits interact with the investigators) at the Wren’s Nest.”
However, perhaps the most frightening pieces of evidence are the alleged ghost sightings.
It’s not only members of paranormal teams who claim to have seen or sensed ghosts at the Wren’s Nest. With some frequency, guests report encounters with the otherworldly, some claiming to feel strange, lingering energy and others seeing full-bodied apparitions. No one has officially ID’d any of the spirits, but using historical context and physical descriptions, the staff and investigative team can make some guesses to the identity of the ghosts who haunt the grounds.
Perhaps the most famous are the ghosts of two young boys who are frequently seen playing on the stairs and in the yard. The children appear to be around three and five years old and seem perfectly content spending their afterlife playing in their former home. Harris’ grandchildren, Pierre and Charles, who died on the property in infancy, seem to offer the most likely clues to the identity of these ghosts.
A portly spirit can be seen in Joel Chandler Harris’ rocking chair, leading many to believe it is the ghost of Harris himself. A tall, thin, well-dressed man in period-appropriate clothing has also been seen standing in Joel Chandler Harris’ bedroom as well as the dining room. Sensitives claim the ghost is something of a homebody who has a large presence in the house. This specter is probably Harris’ son Evelyn, who matches the spirit’s physical description and was known for his closeness with his mother, staying inside the house and helping with chores while the other boys played.
A woman can be seen peeking through curtains between the library and the parlor, taking particular interest in the paranormal investigations. Witnesses have claimed the ghost’s visage matches a former worker at the house named Chloe, recognizing her from a framed photo prominently displayed in the home. The ghost is apparently very interested in the living and, according to paranormal sensitives, has no idea she is dead.
Though the alleged hauntings may frighten some, the Wren’s Nest embraces the potentially paranormal activity. “To me, it makes history relevant and makes history come alive, pun not intended, for people who don’t typically engage with history,” says Swindell. “We’ve seen a lot of new visitors and new people to the Wren’s Nest since doing this, and a lot of them have this immediate childhood connection when they find out that this is where the Br’er Rabbit stories have come from. So once they know that, then we are engaged in a historical conversation with them.”
It is also worth mentioning that none of the ghosts who allegedly occupy the house are violent, nor do they omit negative energy. “When the Southeastern Institute of Paranormal Research came in and said there were ghosts, I just figured, well, they aren’t bothering me so I guess we’ll be alright,” Swindell says.
Go to wrensnest.org if you wish to learn more, visit, or donate to the Wren’s Nest. Haley Glass Photography HAUNTED HOUSE: Reports of paranormal activity in the Wren’s Nest began in the early aughts. 0,0,10 Halloween 2020 Paranormal activity at the Wren’s Nest? "
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Paranormal activity at the Wren’s Nest? Article
Monday September 30, 2019 12:20 PM EDT
Unexplained activity at Joel Chandler Harris’s former home defies logic
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SCAD and Micah Wright talk about the festival, the evolution of gaming, and the future of the industry
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string(4663) "Televised sporting events are among the most viewed broadcasts in the nation, complete with crowds of impassioned fans. With so many eyes on the players, it’s common for successful athletes to become household names, many being idolized by the general public. A select few athletes have recognized their level of influence and visibility, using their stature as a platform to create real societal change both on and off the field. The National Center for Civil and Human Rights traveling exhibit Breaking Barriers: Sports for Change, currently in Atlanta, seeks to pay tribute to such individuals and their contributions to social justice.
The National Center for Civil and Human Rights has partnered with ESPN in the creation of the exhibit, with the goal of examining the multiple intersections of human rights and sports throughout time. Breaking Barriers: Sports for Change debuted in Atlanta, but has made its way across the country, finding temporary homes in places like Tampa, Los Angeles, and the ESPN Headquarters in Bristol, Connecticut. The installation was expanded and tweaked at each stop along its journey, purposely finding its way back to Atlanta before the Super Bowl, certainly the biggest sporting event of the year.
“Our goal is to inspire folks who visit to find their voice and to see how sports can play a unique role in creating equity and acceptance,” says Ryan Roemerman, director of the National Center for Civil and Human Rights’ LGBTQ Institute and senior strategist. “People will be able to visit the center and learn more about the civil and human rights movements in general, but also see how sports can play a role in creating change.”
Breaking Barriers: Sports for Change’s return to Atlanta is more than just an attempt to increase its visibility with the those in town for the Super Bowl. The exhibit is as much a celebration of the city and its history of civil rights and social progress as it is of the athletes featured in the exhibit. The fight for justice mirrors Atlanta’s own significance and contribution to the Civil Rights Movement.
“The city of Atlanta is a place where the modern civil rights movement was born and that is something that we pride ourselves on,” Roemerman says. “The city understands that the fight for civil rights started here but it’s not over. It’s far from over. A lot of folks think of the Civil and Human rights movements through marches and things like that, and that is true, but I think the exhibit helps people understand that YOU can fight for civil and human rights and equity for all through a variety of platforms. We see that now more than ever.”
Legendary athletes Muhammad Ali, Jackie Robinson, and Billie Jean King, are some of those honored in the exhibit for their roles in advancing desegregation and minimizing gender disparity, but some contemporary sports personalities are given a spotlight as well. Bronze medalist fencer Ibtihaj Muhammad, the first Muslim American woman to compete wearing a hijab as well as the first Muslim American to be awarded an olympic medal, is one of the currently active athletes to receive recognition for her contributions to religious equality. African American women’s tennis player and gold medalist Venus Williams is featured as well for her representing black women as top athletic contenders.
While Breaking Barriers: Sports for Change celebrates the progress we’ve made as a society and the individuals that have done their part in fighting for justice, there’s still a long way to go. The recent harassment of Native American veteran Nathan Phillips during the 2019 Indigenous People’s March is off the court evidence of this. The National Center for Civil and Human Rights hopes that people find inspiration from the exhibit, and that they can continue the legacy started by these competitors.
“There’s always room for growth in terms of equity, even among current players,” Roemerman says. “At our launch the other night, we had Patricio Manuel, who is an American professional boxer and also the first transgender boxer in history to participate in a professional fight. Today you can see people challenging the concept of what someone who wants to play sports should be and has to be. People are really going to respond to that. As more folks use their platform as a way to educate, I can only hope sports becomes a more equitable place for all.”
The exhibit runs through March 29. Admission to the National Center for Civil and Human Rights is free through the end of February in celebration of Black History Month, courtesy of the Coca-Cola Foundation."
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''Breaking Barriers: Sports for Change''’s return to Atlanta is more than just an attempt to increase its visibility with the those in town for the Super Bowl. The exhibit is as much a celebration of the city and its history of civil rights and social progress as it is of the athletes featured in the exhibit. The fight for justice mirrors Atlanta’s own significance and contribution to the Civil Rights Movement.
“The city of Atlanta is a place where the modern civil rights movement was born and that is something that we pride ourselves on,” Roemerman says. “The city understands that the fight for civil rights started here but it’s not over. It’s far from over. A lot of folks think of the Civil and Human rights movements through marches and things like that, and that is true, but I think the exhibit helps people understand that __YOU__ can fight for civil and human rights and equity for all through a variety of platforms. We see that now more than ever.”
Legendary athletes Muhammad Ali, Jackie Robinson, and Billie Jean King, are some of those honored in the exhibit for their roles in advancing desegregation and minimizing gender disparity, but some contemporary sports personalities are given a spotlight as well. Bronze medalist fencer Ibtihaj Muhammad, the first Muslim American woman to compete wearing a hijab as well as the first Muslim American to be awarded an olympic medal, is one of the currently active athletes to receive recognition for her contributions to religious equality. African American women’s tennis player and gold medalist Venus Williams is featured as well for her representing black women as top athletic contenders.
While ''Breaking Barriers: Sports for Change'' celebrates the progress we’ve made as a society and the individuals that have done their part in fighting for justice, there’s still a long way to go. The recent harassment of Native American veteran Nathan Phillips during the 2019 Indigenous People’s March is off the court evidence of this. The National Center for Civil and Human Rights hopes that people find inspiration from the exhibit, and that they can continue the legacy started by these competitors.
“There’s always room for growth in terms of equity, even among current players,” Roemerman says. “At our launch the other night, we had Patricio Manuel, who is an American professional boxer and also the first transgender boxer in history to participate in a professional fight. Today you can see people challenging the concept of what someone who wants to play sports should be and has to be. People are really going to respond to that. As more folks use their platform as a way to educate, I can only hope sports becomes a more equitable place for all.”
''The exhibit runs through March 29. Admission to the National Center for Civil and Human Rights is free through the end of February in celebration of Black History Month, courtesy of the Coca-Cola Foundation.''"
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string(5345) " Boxer 2019-02-14T22:20:43+00:00 boxer.jpg you might want to reconsider the claim about justin smollett. National Center for Civil and Human Rights team up with ESPN to show how sports can play a role in creating peace and acceptance Boxer 2019-02-14T22:16:35+00:00 ‘Breaking Barriers: Sports for Change’ seeks equity for all will.cardwell Will Cardwell Will Cardwell 2019-02-14T22:16:35+00:00 Televised sporting events are among the most viewed broadcasts in the nation, complete with crowds of impassioned fans. With so many eyes on the players, it’s common for successful athletes to become household names, many being idolized by the general public. A select few athletes have recognized their level of influence and visibility, using their stature as a platform to create real societal change both on and off the field. The National Center for Civil and Human Rights traveling exhibit Breaking Barriers: Sports for Change, currently in Atlanta, seeks to pay tribute to such individuals and their contributions to social justice.
The National Center for Civil and Human Rights has partnered with ESPN in the creation of the exhibit, with the goal of examining the multiple intersections of human rights and sports throughout time. Breaking Barriers: Sports for Change debuted in Atlanta, but has made its way across the country, finding temporary homes in places like Tampa, Los Angeles, and the ESPN Headquarters in Bristol, Connecticut. The installation was expanded and tweaked at each stop along its journey, purposely finding its way back to Atlanta before the Super Bowl, certainly the biggest sporting event of the year.
“Our goal is to inspire folks who visit to find their voice and to see how sports can play a unique role in creating equity and acceptance,” says Ryan Roemerman, director of the National Center for Civil and Human Rights’ LGBTQ Institute and senior strategist. “People will be able to visit the center and learn more about the civil and human rights movements in general, but also see how sports can play a role in creating change.”
Breaking Barriers: Sports for Change’s return to Atlanta is more than just an attempt to increase its visibility with the those in town for the Super Bowl. The exhibit is as much a celebration of the city and its history of civil rights and social progress as it is of the athletes featured in the exhibit. The fight for justice mirrors Atlanta’s own significance and contribution to the Civil Rights Movement.
“The city of Atlanta is a place where the modern civil rights movement was born and that is something that we pride ourselves on,” Roemerman says. “The city understands that the fight for civil rights started here but it’s not over. It’s far from over. A lot of folks think of the Civil and Human rights movements through marches and things like that, and that is true, but I think the exhibit helps people understand that YOU can fight for civil and human rights and equity for all through a variety of platforms. We see that now more than ever.”
Legendary athletes Muhammad Ali, Jackie Robinson, and Billie Jean King, are some of those honored in the exhibit for their roles in advancing desegregation and minimizing gender disparity, but some contemporary sports personalities are given a spotlight as well. Bronze medalist fencer Ibtihaj Muhammad, the first Muslim American woman to compete wearing a hijab as well as the first Muslim American to be awarded an olympic medal, is one of the currently active athletes to receive recognition for her contributions to religious equality. African American women’s tennis player and gold medalist Venus Williams is featured as well for her representing black women as top athletic contenders.
While Breaking Barriers: Sports for Change celebrates the progress we’ve made as a society and the individuals that have done their part in fighting for justice, there’s still a long way to go. The recent harassment of Native American veteran Nathan Phillips during the 2019 Indigenous People’s March is off the court evidence of this. The National Center for Civil and Human Rights hopes that people find inspiration from the exhibit, and that they can continue the legacy started by these competitors.
“There’s always room for growth in terms of equity, even among current players,” Roemerman says. “At our launch the other night, we had Patricio Manuel, who is an American professional boxer and also the first transgender boxer in history to participate in a professional fight. Today you can see people challenging the concept of what someone who wants to play sports should be and has to be. People are really going to respond to that. As more folks use their platform as a way to educate, I can only hope sports becomes a more equitable place for all.”
The exhibit runs through March 29. Admission to the National Center for Civil and Human Rights is free through the end of February in celebration of Black History Month, courtesy of the Coca-Cola Foundation. Courtesy of National Center for Civil and Human Rights PUT ‘EM UP: Transgender boxer Patricio Manuel is one of many athletes who continues to redefine what athletes should be. ‘Breaking Barriers: Sports for Change’ seeks equity for all "
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Thursday February 14, 2019 05:16 PM EST
National Center for Civil and Human Rights team up with ESPN to show how sports can play a role in creating peace and acceptance
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Plasma Fest 2018 Article
Wednesday November 21, 2018 03:04 PM EST
Plasma Magazine pays tribute to all things DIY
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Kamasi Washington plays the Buckhead Theatre Nov. 17 Article
Thursday November 8, 2018 04:28 PM EST
The Los Angeles-born tenor saxophone player, composer, and bandleader returns supporting 'Heaven & Earth'
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string(588) " Manchester Orchestra Levitation Credit Mike Dempsey 2018-11-08T21:39:39+00:00 manchester orchestra Levitation-Credit-Mike-Dempsey.jpeg The ninth annual Thanksgiving celebration takes over the Fox Theatre and Egyptian Ballroom Wed., Nov 21 Manchester Orchestra Levitation Credit Mike Dempsey 2018-11-08T21:23:52+00:00 The Stuffing IX feat. Manchester Orchestra and the Front Bottoms will.cardwell Will Cardwell Will Cardwell 2018-11-08T21:23:52+00:00 Mike Dempsey Get stuffed The Stuffing IX feat. Manchester Orchestra and the Front Bottoms "
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The Stuffing IX feat. Manchester Orchestra and the Front Bottoms Article
Thursday November 8, 2018 04:23 PM EST
The ninth annual Thanksgiving celebration takes over the Fox Theatre and Egyptian Ballroom Wed., Nov 21
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For Warren, who launched the local music news startup in 2017 as a Facebook page, Georgia Local Spotlight was a passion project. For months, he posted photos and videos of local acts before shows and releases in an attempt to give starving artists some free publicity. Although a well-intentioned gesture, the page remained under the radar and produced modest results.
However, Warren’s efforts did not go unnoticed. Local photographer and musician Sarah-Anne Brown admired Warren’s efforts but thought his project had more potential. “I asked him if I could take over because I had a lot of ideas,” says Brown. “So many phenomenal bands are not getting the coverage they deserve. If nobody else is going to make them famous, I’m going to do it.” Warren agreed to make Brown editor-in-chief of Georgia Local Spotlight and within the week, they put together a full website and a fleet of volunteer writers eager for material and change.
One year has passed since the founding of Georgia Local Spotlight, and it’s been a busy one for the niche grassroots news organization. Aside from regularly posting record reviews, show previews, and artist profiles, GLS debuted their Georgia Local Spotlight Presents series back in May. The goal of the series was to shine a proverbial spotlight on up-and-coming local artists by booking themed gigs at the Masquerade. The organization hopes to revive the project in 2019.
They also host a GLS First Listen series on their SoundCloud account, where artists are given a chance to premiere parts of upcoming releases before the project is made live. “We don’t care about your genre. If you’re from Georgia and you’re making cool shit then we wanna talk about it,” says Brown. “Being able to work with those artists and have them trust us to showcase what they’re doing has been a honor. That’s a lot of trust. I know that when you put so much work into a project, it becomes your baby.”
The year has not been without its struggles, which primarily arose from GLS’s dependence on an all-volunteer staff. Most of the writers have day jobs, go to school full time, or both. Writer/editor Daniel Graham was recently brought on board to help GLS deal with the increasing workload that accompanies success. All donations from Georgia Local Spotlight’s Patreon account go directly into a savings account, in hopes that the organization will eventually be able to support a staff and manufacture merch.
Despite these growing pains, the future is bright with hope for GLS, with plans for cross-platform projects like podcasting, YouTube channel, and other ventures. “We have so many things in the works,“ says Brown. “It’s gone from an act of love to something we hope to turn into a career. We are looking at five-year plans, getting incorporated with local businesses, anything we can do. We’ve got some plans, but I don’t wanna give away all our secrets.” -CL-"
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For Warren, who launched the local music news startup in 2017 as a Facebook page, Georgia Local Spotlight was a passion project. For months, he posted photos and videos of local acts before shows and releases in an attempt to give starving artists some free publicity. Although a well-intentioned gesture, the page remained under the radar and produced modest results.
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However, Warren’s efforts did not go unnoticed. Local photographer and musician Sarah-Anne Brown admired Warren’s efforts but thought his project had more potential. “I asked him if I could take over because I had a lot of ideas,” says Brown. “So many phenomenal bands are not getting the coverage they deserve. If nobody else is going to make them famous, I’m going to do it.” Warren agreed to make Brown editor-in-chief of Georgia Local Spotlight and within the week, they put together a full website and a fleet of volunteer writers eager for material and change.
One year has passed since the founding of Georgia Local Spotlight, and it’s been a busy one for the niche grassroots news organization. Aside from regularly posting record reviews, show previews, and artist profiles, GLS debuted their Georgia Local Spotlight Presents series back in May. The goal of the series was to shine a proverbial spotlight on up-and-coming local artists by booking themed gigs at the Masquerade. The organization hopes to revive the project in 2019.
They also host a GLS First Listen series on their SoundCloud account, where artists are given a chance to premiere parts of upcoming releases before the project is made live. “We don’t care about your genre. If you’re from Georgia and you’re making cool shit then we wanna talk about it,” says Brown. “Being able to work with those artists and have them trust us to showcase what they’re doing has been a honor. That’s a lot of trust. I know that when you put so much work into a project, it becomes your baby.”
The year has not been without its struggles, which primarily arose from GLS’s dependence on an all-volunteer staff. Most of the writers have day jobs, go to school full time, or both. Writer/editor Daniel Graham was recently brought on board to help GLS deal with the increasing workload that accompanies success. All donations from Georgia Local Spotlight’s [http://https://www.patreon.com/georgialocalspotlight|Patreon] account go directly into a savings account, in hopes that the organization will eventually be able to support a staff and manufacture merch.
Despite these growing pains, the future is bright with hope for GLS, with plans for cross-platform projects like podcasting, YouTube channel, and other ventures. “We have so many things in the works,“ says Brown. “It’s gone from an act of love to something we hope to turn into a career. We are looking at five-year plans, getting incorporated with local businesses, anything we can do. We’ve got some plans, but I don’t wanna give away all our secrets.” __-CL-__"
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For Warren, who launched the local music news startup in 2017 as a Facebook page, Georgia Local Spotlight was a passion project. For months, he posted photos and videos of local acts before shows and releases in an attempt to give starving artists some free publicity. Although a well-intentioned gesture, the page remained under the radar and produced modest results.
However, Warren’s efforts did not go unnoticed. Local photographer and musician Sarah-Anne Brown admired Warren’s efforts but thought his project had more potential. “I asked him if I could take over because I had a lot of ideas,” says Brown. “So many phenomenal bands are not getting the coverage they deserve. If nobody else is going to make them famous, I’m going to do it.” Warren agreed to make Brown editor-in-chief of Georgia Local Spotlight and within the week, they put together a full website and a fleet of volunteer writers eager for material and change.
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They also host a GLS First Listen series on their SoundCloud account, where artists are given a chance to premiere parts of upcoming releases before the project is made live. “We don’t care about your genre. If you’re from Georgia and you’re making cool shit then we wanna talk about it,” says Brown. “Being able to work with those artists and have them trust us to showcase what they’re doing has been a honor. That’s a lot of trust. I know that when you put so much work into a project, it becomes your baby.”
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Thursday November 8, 2018 03:41 PM EST
Two music curators oversee a labor of love
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string(1053) "{HTML()}Jungle jazz group Safari Williams invites listeners on an auditory trek through the Savannah celebrating the group’s self-titled debut via the Glow Recording Studio. The jazz fiction trio relies on wild, untamed energy to tell the story of searching for a missing guide, the titular Safari Williams, and the animals they encounter along the way. One such encounter plays out in Jaguar, a funkified track littered with spontaneous tempo changes that give each band member a chance at taking lead. Clark Hamilton’s lush guitar riffs trade off the melody with Daniel Hyman’s crisp, tangible baselines, both kept in place and accentuated by Anthony Doud’s fluid pace. Jaguar highlights the band’s proficiency without neglecting its bizarre sense of creativity. Safari Williams is out digitally November 7, but limited-edition cassettes will be available at the show.
With Art Contest, Upchuck, King Nappa. 9 p.m. Wed., Nov. 7. 529,529 Flat Shoals Ave. S.E.. 404-228-6769. 529atlanta.com
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Ween makes a two-night stand at the Tabernacle Article
Friday October 19, 2018 12:47 PM EDT
Deaner and Gener return Oct. 19-20
|
more...
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For the first time this year, patrons can upgrade their general admission tickets to a GA+ option to watch the acts right in front of the stage. The GA+ ticket is available through Music Midtown’s website for an additional $100.
As festival season kicks into high gear, Live Nation Atlanta President Peter Conlon, who co-founded Music Midtown with Alex Cooley 1994, took a few minutes to talk with CL’s Will Cardwell about how the city benefits from the annual weekend blowout.
We’re the biggest music festival in Atlanta. Historically, we’ve built a brand. A lot of acts in the history of the festival that went on to be meaningful acts in this market, their first play was Music Midtown. There’s a lot of focus on certain acts at the mid-level. As recently as 21 Pilots, who headlined Music Midtown a few years ago — we just put them on sale at Philips Arena, and they sold out in one day. We were one of the first festivals to have them.
The original concept of Music Midtown was to have an eclectic enough lineup where we brought people in for certain artists but exposed them to other artists, to all different kinds of music. That’s what we’ve tried to maintain. We aren’t as eclectic as we used to be, but maybe we’ll get that way.
The other thing we’ve tried to do is keep it affordable. The first festival back in ’94 was $25, but we can’t do that anymore. Even the current price of $145, for the acts you are seeing, it’s extremely affordable. In an arena, you pay that much just for one night. The other thing is the economic benefit for Atlanta. It generates around $50 million for the city. And we pay for everything.”
EDITOR’S NOTE: This interview has been edited for content and clarity.
Music Midtown feat. Kendrick Lamar, Imagine Dragons, Janelle Monáe, and more. $35-$145. Noon-11 p.m. Sat., Sept. 15, Noon-10 p.m. Sun., Sept. 16.Piedmont Park, www.musicmidtown.com.
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''The other thing we’ve tried to do is keep it affordable. The first festival back in ’94 was $25, but we can’t do that anymore. Even the current price of $145, for the acts you are seeing, it’s extremely affordable. In an arena, you pay that much just for one night. The other thing is the economic benefit for Atlanta. It generates around $50 million for the city. And we pay for everything.”''
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''[https://www.musicmidtown.com/|Music Midtown feat. Kendrick Lamar, Imagine Dragons, Janelle Monáe, and more. $35-$145. Noon-11 p.m. Sat., Sept. 15, Noon-10 p.m. Sun., Sept. 16.Piedmont Park, www.musicmidtown.com.]''
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For the first time this year, patrons can upgrade their general admission tickets to a GA+ option to watch the acts right in front of the stage. The GA+ ticket is available through Music Midtown’s website for an additional $100.
As festival season kicks into high gear, Live Nation Atlanta President Peter Conlon, who co-founded Music Midtown with Alex Cooley 1994, took a few minutes to talk with CL’s Will Cardwell about how the city benefits from the annual weekend blowout.
We’re the biggest music festival in Atlanta. Historically, we’ve built a brand. A lot of acts in the history of the festival that went on to be meaningful acts in this market, their first play was Music Midtown. There’s a lot of focus on certain acts at the mid-level. As recently as 21 Pilots, who headlined Music Midtown a few years ago — we just put them on sale at Philips Arena, and they sold out in one day. We were one of the first festivals to have them.
The original concept of Music Midtown was to have an eclectic enough lineup where we brought people in for certain artists but exposed them to other artists, to all different kinds of music. That’s what we’ve tried to maintain. We aren’t as eclectic as we used to be, but maybe we’ll get that way.
The other thing we’ve tried to do is keep it affordable. The first festival back in ’94 was $25, but we can’t do that anymore. Even the current price of $145, for the acts you are seeing, it’s extremely affordable. In an arena, you pay that much just for one night. The other thing is the economic benefit for Atlanta. It generates around $50 million for the city. And we pay for everything.”
EDITOR’S NOTE: This interview has been edited for content and clarity.
Music Midtown feat. Kendrick Lamar, Imagine Dragons, Janelle Monáe, and more. $35-$145. Noon-11 p.m. Sat., Sept. 15, Noon-10 p.m. Sun., Sept. 16.Piedmont Park, www.musicmidtown.com.
Foster Addington DRINK IT IN: Rising Atlanta artist Mattiel plays Music Midtown’s Roxy Stage Sat., Sept. 15 at 1:30 p.m. "music midtown" From Mattiel to Kendrick Lamar: Music Midtown returns Sept. 15-16 "
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Festival co-founder Peter Conlon on how Atlanta benefits from so much music
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Metal rockers take the stage and tear it up with anger and emotion
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“Our band is based around a story where we, the band, are stranded and are looking for our guide, named Safari Williams, who abandoned us,” says Hyman. “All the songs we sing are about the animals we encounter and the places we stumble into along the way.”
The group takes listeners on a sonic trek into the wilds, fleshing out its new personality and identity with intricate rhythms, culminating in a quirky genre they call “kaleidoscopic jungle jazz.” Hamilton’s flourish guitar riffs take lead, while Hyman’s bulletproof bass lines drive a perpetual groove. Doud’s percussion bridges these driving elements with two manic energy, jungle-inspired imagery, and technical proficiency. Through it all, Safari Williams shares an undeniable chemistry and a sense of camaraderie that stems from years spent playing together in other projects.
Although Safari Williams is still a new presence in the Atlanta music scene, the group is quickly drawing attention through its commitment to the narrative its members have created. And following a blistering recording session for Georgia Tech's student-run radio station, 91.1 FM/WREK, all eyes are on Safari Williams. According to Hyman, the group will add both theatrical and interactive components to its upcoming shows. And while Safari Williams has yet to release any recorded material, the group recently tracked songs for a debut album which will should be out by the end of the summer, so keep those binoculars on hand. Safari Williams has a lot more in store.
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Safari Williams' 'kaleidoscopic jungle jazz' Article
Tuesday June 19, 2018 03:19 PM EDT
Former King Guru players choose their own adventure
|
more...
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string(5613) "For years, long lines and sold-out shows have been commonplace for 529. To alleviate these problems, the East Atlanta Village music haunt has more than doubled its capacity to hold 250 patrons, bringing with it a larger stage, two new bathrooms, and a beefed-up sound system.
“East Atlanta Village is only getting busier every year, so the capacity upgrade was more of a necessity than it was a desire,” says Kyle Swick, 529 promoter and founder of DIY booking and promotional network Irrelevant Music. “There is now more space for artists, patrons, and staff. The second bar allows for quicker service, and the new stage and sound system is a huge upgrade, thus the venue sounds better in general.”
529’s expansion paves the way for more frequent large-scale shows. On July 7, the club hosts Summer Stunner Fest’s Saturday shows, featuring Biters, RMBLR, Crocodile Tears, Trouble Boys, and more. On July 16, 529 will host four days of the Irrelevant Music Festival, spotlighting under-the-radar locals including Microwave, Material Girls, Pylon Reenactment Society, Dasher, DIP, Red Sea, and more. www.529atlanta.com. — Will Cardwell
The Buckhead Theatre has been a part of Atlanta’s storied history since opening in 1931, and reached new heights following a 2010 relaunch. The venue offers a small-room feel in a large theatre setting, and in February, it received a substantial renovation, mainly cosmetic: new flooring, new paint, and state-of-the-art sound and lighting systems. While the maximum capacity remains at 1,450, renovations are currently being made to the seated balconies to offer more seats.
Buckhead Theatre’s marketing manager Josh Martin thinks these changes are good for both the venue and the community as a whole. “We believe the renovations elevate Buckhead Theatre to being the venue it was always meant to be ever since Charlie Loudermilk reopened the space back in 2010,” says Martin. “Before we came on board, about 30 to 40 public events were happening at the venue annually. We anticipate to hold over 100 live concerts and events just in 2018 alone.”
Attendees have the opportunity to experience these improvements at any of the Buckhead Theatre’s upcoming shows, some of which come from ATL Collective Presents: Tom Petty’s Wildflowers on June 29, Tory Lanez on August 12, Bullet for My Valentine on September 27, and Kamasi Washington on November 17. — WC
In November 2016, after nearly 30 years at 695 North Avenue, the Masquerade vacated its long-standing home to settle into new digs at Kenny’s Alley at Underground Atlanta. It was intended to be a temporary move that would buy Atlanta’s revered underground music club a little time to plot its future, after plans to develop a warehouse in West Midtown were thwarted by residential developers. On October 23, nearly a full year after settling in at 75 Martin Luther King Jr. Drive S.W., the Masquerade signed a lease with the Underground Atlanta development company, WRS, Inc., and is staying put for at least a decade.
“The lease is 10 years-plus, with other options on our side, so we could extend that if we choose to,” says the Masquerade’s talent buyer Greg Green. “What spurred us was the favorable experience we’ve had over the course of the year. We gave it a year’s time, we saw the other options that were in front of us, saw the support the WRS folks have given us and their eagerness to keep us here, and it all came together to make this decision.”
Now, the club’s staff is making renovations and upgrades to all three of its Heaven, Hell, and Purgatory concert venues.
In December, Heaven was closed to the public through March to knock out the ceiling and build a new balcony and mezzanine in the former Underground Atlanta food court. There’s also a new set of upstairs bathrooms, two new bars, upgraded sound and lighting, three new artist green rooms and two new artist bathrooms/showers.
The renovated Heaven reopened in March, jumping from a 1,000 to a 1,400 capacity room, and the expanded space is a spectacle to behold. Summer highlights in Heaven include performances by Snow Tha Product on June 9; the Summer Slaughter 2018 tour featuring Between the Buried and Me, Born of Osiris, Veil of Maya, and more on July 15; Digable Planets on July 23; and Bomba Estéreo on August 9. — Chad Radford
Multipurpose indoor entertainment complex Philips Arena is undergoing a $192 million upgrade to modernize the venue and adapt to the modern fan. The 19-year-old, 21,000 capacity facility, which hosts sporting events and concerts year-round, hasn’t changed much since its opening in 1999. Although Philips Arena is synonymous with basketball, this renovation is for the music as much as it is for the Hawks. Every decision regarding the redesign ensures optimization for sound. Formerly-private suites are rebranded as public, allowing sound to travel freely, and communal viewing areas have been added on the upper levels as well.
Philips Arena’s senior vice president and general manager Trey Feazell wants to see more music Downtown. “We’re about the community,” Feazell says. “We’re a community asset, so we want to give back. That means we are bringing in more diverse shows. We are positioned perfectly,” he adds, “like the center of a dartboard. Everybody in the Metropolitan area can get to us.”
Philips Arena reopens in October, and already has several artists booked including Drake (November 16-17), Fleetwood Mac (March 3), and P!nk (March 12). www.philipsarena.com. — WC"
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~~#000000:Philips Arena reopens in October, and already has several artists booked including Drake (__November 16-17__), Fleetwood Mac (__March 3__), and P!nk (__March 12__). www.philipsarena.com. __— WC__~~"
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“East Atlanta Village is only getting busier every year, so the capacity upgrade was more of a necessity than it was a desire,” says Kyle Swick, 529 promoter and founder of DIY booking and promotional network Irrelevant Music. “There is now more space for artists, patrons, and staff. The second bar allows for quicker service, and the new stage and sound system is a huge upgrade, thus the venue sounds better in general.”
529’s expansion paves the way for more frequent large-scale shows. On July 7, the club hosts Summer Stunner Fest’s Saturday shows, featuring Biters, RMBLR, Crocodile Tears, Trouble Boys, and more. On July 16, 529 will host four days of the Irrelevant Music Festival, spotlighting under-the-radar locals including Microwave, Material Girls, Pylon Reenactment Society, Dasher, DIP, Red Sea, and more. www.529atlanta.com. — Will Cardwell
The Buckhead Theatre has been a part of Atlanta’s storied history since opening in 1931, and reached new heights following a 2010 relaunch. The venue offers a small-room feel in a large theatre setting, and in February, it received a substantial renovation, mainly cosmetic: new flooring, new paint, and state-of-the-art sound and lighting systems. While the maximum capacity remains at 1,450, renovations are currently being made to the seated balconies to offer more seats.
Buckhead Theatre’s marketing manager Josh Martin thinks these changes are good for both the venue and the community as a whole. “We believe the renovations elevate Buckhead Theatre to being the venue it was always meant to be ever since Charlie Loudermilk reopened the space back in 2010,” says Martin. “Before we came on board, about 30 to 40 public events were happening at the venue annually. We anticipate to hold over 100 live concerts and events just in 2018 alone.”
Attendees have the opportunity to experience these improvements at any of the Buckhead Theatre’s upcoming shows, some of which come from ATL Collective Presents: Tom Petty’s Wildflowers on June 29, Tory Lanez on August 12, Bullet for My Valentine on September 27, and Kamasi Washington on November 17. — WC
In November 2016, after nearly 30 years at 695 North Avenue, the Masquerade vacated its long-standing home to settle into new digs at Kenny’s Alley at Underground Atlanta. It was intended to be a temporary move that would buy Atlanta’s revered underground music club a little time to plot its future, after plans to develop a warehouse in West Midtown were thwarted by residential developers. On October 23, nearly a full year after settling in at 75 Martin Luther King Jr. Drive S.W., the Masquerade signed a lease with the Underground Atlanta development company, WRS, Inc., and is staying put for at least a decade.
“The lease is 10 years-plus, with other options on our side, so we could extend that if we choose to,” says the Masquerade’s talent buyer Greg Green. “What spurred us was the favorable experience we’ve had over the course of the year. We gave it a year’s time, we saw the other options that were in front of us, saw the support the WRS folks have given us and their eagerness to keep us here, and it all came together to make this decision.”
Now, the club’s staff is making renovations and upgrades to all three of its Heaven, Hell, and Purgatory concert venues.
In December, Heaven was closed to the public through March to knock out the ceiling and build a new balcony and mezzanine in the former Underground Atlanta food court. There’s also a new set of upstairs bathrooms, two new bars, upgraded sound and lighting, three new artist green rooms and two new artist bathrooms/showers.
The renovated Heaven reopened in March, jumping from a 1,000 to a 1,400 capacity room, and the expanded space is a spectacle to behold. Summer highlights in Heaven include performances by Snow Tha Product on June 9; the Summer Slaughter 2018 tour featuring Between the Buried and Me, Born of Osiris, Veil of Maya, and more on July 15; Digable Planets on July 23; and Bomba Estéreo on August 9. — Chad Radford
Multipurpose indoor entertainment complex Philips Arena is undergoing a $192 million upgrade to modernize the venue and adapt to the modern fan. The 19-year-old, 21,000 capacity facility, which hosts sporting events and concerts year-round, hasn’t changed much since its opening in 1999. Although Philips Arena is synonymous with basketball, this renovation is for the music as much as it is for the Hawks. Every decision regarding the redesign ensures optimization for sound. Formerly-private suites are rebranded as public, allowing sound to travel freely, and communal viewing areas have been added on the upper levels as well.
Philips Arena’s senior vice president and general manager Trey Feazell wants to see more music Downtown. “We’re about the community,” Feazell says. “We’re a community asset, so we want to give back. That means we are bringing in more diverse shows. We are positioned perfectly,” he adds, “like the center of a dartboard. Everybody in the Metropolitan area can get to us.”
Philips Arena reopens in October, and already has several artists booked including Drake (November 16-17), Fleetwood Mac (March 3), and P!nk (March 12). www.philipsarena.com. — WC Elena De Soto CROWDS AND POWER: The Masquerade recently unveiled a new multilayer balcony overlooking Heaven. Fables of the renovation "
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529, the Buckhead Theatre, Masquerade, and Philips Arena get a facelift
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$8. 7 p.m. (doors). Thurs., May 24. The Masquerade (Hell). 75 MLK Jr. Drive S.W. 404-577-8178. www.masq.com. @Liragraphy TOUGH ACT TO FOLLOW: Bitter plays Georgia Local Spotlight’s Acts of Queens showcase on May 24. Young Atlanta sounds "
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string(1608) "{HTML()}Start your summer off right with three days of nonstop music and atmosphere under the springtime sun. The Shaky Knees Music Festival returns to Central Park May 4-6, with a weekend lineup featuring performances by David Byrne of Talking Heads fame, Courtney Barnett, Chicano Batman, Fleet Foxes, and more. Other artists on the bill for this sixth iteration of the homegrown Shaky Knees fest include Jack White, Queens of the Stone Age, the National, Tenacious D, Cake, Matt and Kim, and more local and national acts spread across the Peachtree, Piedmont, Ponce de Leon, and Criminal Records stages. There are a boatload of late night shows happening as well, including the Black Angels tearing up the Masquerade in Hell on May 4, as well as the Melvins at the Masquerade (Heaven), Parquet Courts at Terminal West, and the War On Drugs at Variety Playhouse on May 5.
Single day tickets are $99+ fees. Three-day passes are $189 + Fees. But don’t forget, if you get that Shaky Knees logo tattooed on your body the festival is free you. Artists at local shops are lined up and ready to get you that sweet Shakytat you’re thinking about getting right now.
Central Park is located at 400 Merritts Ave NE, right near the intersection of North Ave. and Central Park Place,. Take MARTA to avoid the traffic and parking CF.
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2018 Shaky Knees returns May 4-6 Article
Tuesday April 24, 2018 01:08 PM EDT
David Byrne, Courtney Barnett, Chicano Batman, and more lead a weekend of music in Central Park
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string(3717) "After nearly a decade of playing host to thousands of boozy merry-goers and jam bands at quaint Candler Park, Sweetwater yesterday announced moving its popular 420 Fest to Centennial Olympic Park in 2014.
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string(4676) " 1381948972 Screen Shot 2013 10 16 At 2.35.46 Pm 2019-04-11T21:37:22+00:00 1381948972-screen_shot_2013-10-16_at_2.35.46_pm.png sweetwater 420 fest candler park festival candler park steve cardwell jennifer bensch candler park neighborhood organization SweetWater 420 Fest Headed Downtown from Chandler Park 1381948972 Screen Shot 2013 10 16 At 2.35.46 Pm 2013-10-16T19:56:00+00:00 What does Sweetwater 420 Fest's move to Downtown mean for Candler Park? ben.eason Ben Eason Thomas Wheatley thomas.wheatley (Thomas Wheatley) 2013-10-16T19:56:00+00:00 After nearly a decade of playing host to thousands of boozy merry-goers and jam bands at quaint Candler Park, Sweetwater yesterday announced moving its popular 420 Fest to Centennial Olympic Park in 2014.
It'd be hard to gauge how Candler Park residents feel about the festival's move. Some enjoyed the commotion and crowds that flocked to the park and mellow intown neighborhood. Fans of bands could listen to songs from their porches and host parties. Others had grown weary of the illegally parked cars, loud music, and festivals' impact on the greenspace. But moving the three-day festival will affect the neighborhood. [Disclosure: CL has been a festival sponsor in past years.|Disclosure: CL has been a festival sponsor in past years.]
In a farewell letter to residents, Jennifer Bensch of Happy Ending Productions, the firm that manages the festival, said organizers "wanted to begin looking at look long-term opportunities that could potentially help grow the festival and provide better access for local patrons and those traveling in for the fest."
"We've been able to cultivate this festival over the years and look forward to it evolving even more in the years ahead," she wrote. "After listening to the neighborhood, we know that growing the festival would not be possible if we stayed. This change in location will allow for a bigger footprint with greater transportation access, all right in the heart of downtown Atlanta."
Earlier this year, some neighborhood residents told CL that they felt the laid-back festival, which had grown to accommodate as many as 50,000 people from across metro Atlanta, had become too large for the neighborhood. A few skipped out of town during the festival to avoid the noise and crowds. The debate over 420 Fest - which included, in true Candler Park fashion, a temporary sign protesting the event on one critic's home - was a complicated one that Atlanta's had before: how do you balance the use of public parks while also respecting the surrounding neighborhoods?
In addition to the businesses and restaurants along McLendon Avenue's commercial strip, the Candler Park Neighborhood Organization had benefited from Sweetwater setting up stages, beer trucks, and food stands in the park. For many years, Sweetwater allowed CPNO to use its likeness for a 5K held during the festival. This year, the race generated nearly $20,000. That money helped pay for community improvements and projects.
CPNO President Steve Cardwell told CL last night that it's "sad to see them go in some ways but understand[s] they have goals they want to achieve." He also said that the neighborhood association's board recognized that the growing festival wouldn't last forever in the park. Over the summer, its members started brainstorming other ways to raise revenue to support community projects. One example is partnering with the Horizon Theatre to sell tickets to The Santaland Diaries, the annual yuletide performance of the play adapted from a well-known David Sedaris monologue.
In her email, Bensch noted that Sweetwater is "not abandoning Candler Park." Funds from the most recent festival will still be allocated to projects to help fix up the eponymous greenspace, as the brewer has done in the past. It's working with Park Pride, the Atlanta greenspace advocacy group, to determine the best use of that cash. Sweetwater will continue to sponsor the neighborhood's Fall Fest, a more neighborhood-scale event organized by the CPNO. The 5K, however, will be brought in house and centered around the Downtown site before ending at the park.
"Candler Park was a great home and we want to give back where we can," a Sweetwater spokeswoman told CL last night. Dustin Chambers/CL File See you Downtown, brother! 0,0,11 Atlanta Festivals 2013, 2020 Sweetwater 420 Fest "SweetWater 420 Fest" "candler park" "candler park festival" "Sweetwater 420 Fest" "Steve Cardwell" "Jennifer Bensch" "Candler Park Neighborhood Organization" "candler park" 9505575 13076017 What does Sweetwater 420 Fest's move to Downtown mean for Candler Park? "
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What does Sweetwater 420 Fest's move to Downtown mean for Candler Park? Article
Wednesday October 16, 2013 03:56 PM EDT
SweetWater 420 Fest Headed Downtown from Chandler Park
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