Ruud van Empel talks photography


Apr 27, 2017 - taste of Atlanta changes locations, south City Kitchen moves into. Alpharetta and more. By AnGelA HAnsBeRGeR. Col. Bruce Hampton's all-...

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1:35 p.m., April, 22, 2017 Moreland Avenue N.E. near Mansfield Avenue N.E.

Steve eberhardt

Contents 10 A p r i l 2 7 - M a y 3 , 2 0 1 7 Vo l u m e 4 6 , I s s u e 0 1 c l a t l . c o m

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An arts leader steps down and more obstacles for pot reform By CL stAff

Ruud van Empel talks photography Plus: Healium Center hosts Open studio saturdays and Raven Roxanne exhibits at Chrome yellow By AliCiA CARteR

talking dorm room cocktails, piña coladas and jerky pairings with sean Gleason of Biltong Bar By BRAd KAPlAn

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Atlanta restaurant news taste of Atlanta changes locations, south City Kitchen moves into Alpharetta and more By AnGelA HAnsBeRGeR

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Col. Bruce Hampton’s all-star tribute the jam band progenitor celebrates his 70th birthday By dOuG delOACH

For a chance to have your photo published in an upcoming issue, send the image and the time and place it was taken to [email protected].

LemonadeSerenade

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News and culture briefs

Beef jerky and booze

Send an illustrated version of CL to illustrateCL@ creativeloafing.com, or tag it #illustrateCL, and it may be featured above. Size: 2.5" x 2.5" .jpg or .eps clatl.com ❘ April 27 - MAy 3, 2017 ❘ 3

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art. music. invaluable. This week’s cover features a photo by Brandon English. Design by Wes Duvall. Creative Loafing © is published by CL Atlanta, LLC, www.creativeloafing.com 115 Martin Luther King Jr. Drive, Suite 301, Atlanta, GA 30303. Periodicals Postage Paid at Atlanta GA. Creative Loafing is printed on a 90% recycled stock. It may be recycled further, please do your part. Distribution, Rack/Box Sales, Consulting, SIMNet of Georgia

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6

An arts leader steps down and more obstacles for pot reform

“Too many lives are being desTroyed, and This [Timeconsuming] approach is a burden on The ciTy’s resources.” — Kwanza Hall

Joeff Davis

A NEW CHAPTER: Myrna Fuller has retired as director of Hammonds House Museum.

Hammonds House director retires The West End-based Hammonds House Museum was founded in 1988 and since its inception has embarked on a mission to collect, preserve, exhibit and interpret the art of Africa and the African diaspora. But at the end of this month, the museum’s long-serving director, Myrna Fuller, is set to retire, marking the start of a new chapter in her life and the life of Hammonds House, as well. A visual artist and graphic designer, Fuller joined HHM in 2004; during her tenure, she worked to expand museum programming, facilitate collaborations and mounted more than 50 exhibitions. Her efforts in bringing work by new and often forgotten artists — such as Tomas Esson, Ealy Mays, Lillian Blades, Louis Delsarte and more — to the institution led to HHM being one of only seven organizations nationally selected to join the Visual Arts Network of the National Performance Network in 2007. Components of HHM’s permanent collection have toured the nation, traveling from museums like Prospect 3 in New Orleans to 6 ❘ April 27 - MAy 3, 2017 ❘ clatl.com

the National Museum in Washington, D.C. Fuller leaves the museum in the hands of Interim Director Leatrice Ellzy, making her departure on the heels of a grand parting project — a renovation of the property, refurbishing the 150-year-old facility.. Both reminiscent and hopeful for the future, Fuller says in an official release: “I am confident that the growth we’ve achieved over the last 13 years will serve as a strong foundation for Hammonds House Museum to reach its next chapter.” In conversation with Creative Loafing, Ellzy adds: “I’m excited, honored and humbled to build on the foundation that Myrna and Ed Spriggs before her have left. “The codification of black art and culture for current and future generations is imperative in this age of fleeting fancy. As we approach the institution’s 30th anniversary, we will focus on building capacity, updating systems, supporting the growth and development of artists, expanding our programmatic footprint and of course, continuing to exhibit dynamic art. I am thrilled about embarking on this new journey and invite everyone to come with.” — Tommy Crawford

Weed reform Hits a snag Atlanta Councilman Kwanza Hall’s push to relax pot possession punishment took a sidestep April 17, as the City Council ducked a vote and sent his legislation back to committee. Hall, who’s vying for the mayor’s seat this election season, wants to make toting less than an ounce of marijuana a mere ticketable offense, rather than an avenue to jail time. But local lawmakers still bicker about how exactly such a law would be enforced if the council and mayor approve his measure. Skeptics say deprioritizing weed crimes at the municipal level would still yield cops the ability to arrest people for violating state and federal drug laws, while supporters claim the ordinance could help curb racial profiling by Atlanta police; the city’s detention center tends to be packed with far more black people than white people pinned for petty pot charges. No one can ignore the fact that weed laws in Atlanta are used to target people of color — mostly youths — and Hall and his backers feel a sense of urgency to push this plan to fruition.

“Too many lives are being destroyed, and this [time-consuming] approach is a burden on the city’s resources,” Hall says. “Reducing the penalty for possession of marijuana is straightforward reform that will make a real difference for thousands of people.” But Councilwoman Joyce Sheperd thinks the proposal needs vetting from neighborhood organizations, and Councilwoman Cleta Winslow worries about the impact pot smokers have on children. “When you put children in danger, then I have issues. If somebody’s out there smoking [marijuana], I don’t know if somebody’s going to come up to the park and start shooting or what,” Winslow said April 17 before boos and hisses erupted from activists in the Council chambers. State Sen. Vincent Fort, a Bernie Sandersesque Democrat and another contender for Atlanta mayor, has claimed some responsibility for the city’s weed reform traction, and he’s touted decriminalization as a primary selling point for his campaign. “It’s unfortunate that there’s so much unreadiness [to pass the ordinance],” Fort says. “Every year, thousands of children in Atlanta are criminalized. I’d like to know where City Council has been [on weed reform] for the last however many years. How many kids are unnecessarily put in the prison pipeline?” For the next few weeks, Hall’s legislation will float through the city’s Public Safety and Legal Administration Committee, where it’s already labored for weeks; however, the ordinance plan means nothing if Atlanta Mayor Kasim Reed bats it down with a veto after further deliberation by the council. Reed has been tight-lipped on the issue, although he acknowledges the plight of minorities targeted by police for pot charges. His office tells Creative Loafing he’s still unsure if he’d sign Hall’s proposal. C — Sean Keenan

arts

t h e at e r

#GetOutside

Fabulous > blasphemous Out Front Theatre sparks controversy with latest production

• Treetop Experiences

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Included with Museum admission FREE for members

Brian WallenBerg

ADAM & STEVE: Ty Autry (left) and Brian Jordan star in The Most Fabulous Story Ever Told.

By Olivia CathCart

groups have always been at odds with the LGBTQ community, their disapproval of the play does not come as a shock, although it was still he theater has never been a stranger unexpected for Out Front’s artistic director Paul to controversy, and Atlanta’s newest Conroy. “I worked on a production of this show addition recently garnered a wave of in Boston about 10 years ago,” Conroy says. “And backlash. Currently in its inaugural when I produced this show in Boston, we didn’t season, Out Front Theatre Company’s mission hear a peep.” is to highlight and share LGBTQ Since announcing the show’s stories, which historically have been The Most return to Atlanta, Conroy and Out underrepresented in art and media. Fabulous Front have experienced a swarm of As the company segues into its Story Ever calls and emails. And a circulating third production — Paul Rudnick’s Told petition has garnered more than biblical play The Most Fabulous $15-25. Through 40,000 signatures and promises of Story Ever Told — conservative and May 14. Thurs.protests in hopes of shutting the religious groups have sprung up to Sat., 8 p.m.; Sun., production down, an idea Conroy voice their opposition to what they 3 p.m. Out Front and his cast will not consider. Inview as “blasphemy.” Theatre, 999 stead, their aim is to build bridges Rudnick’s play spins the fundaBrady Ave. N.W. and foster understanding with the mentalist remark “God made Adam 404-448-2755. production. and Eve, not Adam and Steve” outfronttheatre. com. “My hope is that doing a show into a queer retelling of one of the like this, with the current state of the Bible’s most well-known stories. world, it will give people some emFlipping the script, the play indeed pathy,” Conroy says. “As a state, as a country, as replaces Adam and Eve with lead characters a world, we’re becoming more and more divided Adam and Steve alongside Jane and Mabel, a and what we need to be doing is coming together. lesbian couple with whom they decide to start And not necessarily agreeing, but acknowledging civilization. The two gay couples “navigate the each other and understanding. There’s nothing centuries together as friends, and encounter wrong with saying, ‘I understand what you’re sayvarious diferent, odd characters, we follow them ing. I don’t agree with you, but that doesn’t mean through a crazed historical pageant that brings that I can’t understand it.’” C us down to a present-day NYC.” Considering the fact that many fundamentalist [email protected]

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FernbankMuseum.org | @FernbankMuseum

arts

events

Ruud van Empel talks photography

Plus: Healium Center hosts Open Studio Saturdays and Raven Roxanne exhibits at Chrome Yellow By aliCia Carter

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n conjunction with the High Museum, Jackson Fine Art presents artists talks for Matthew Brandt and Ruud van Empel, whose work challenges the perceptions of traditional photography. Brandt employs handmade photographic processes reminiscent of the medium’s earliest days, while Empel’s digital composites are assembled from hundreds of the artist’s own photographs into one photorealistic image. Brandt artist talk: Reservations required: Free-$14.50. 2 p.m. Sat., April 29. Hill Auditorium at the Woodruff Arts Center, 1280 Peachtree St. N.E. Ruud van Empel artist talk: 3:30 p.m. Sat., April 29. Jackson Fine Art, 3115 E. Shadowlawn Ave. N.E. 404-233-3739. www.jacksonfineart.com.

IN BLOOM: Ruud van Empel’s “Analogy #1,” 2016

Dr. Willie Parker stops by the Jimmy Carter Presidential Library for a lecture and signing of his new book, Life’s Work: A Moral Argument for Choice. In Life’s Work, Parker, a reproductive justice advocate and abortion provider, explains how his personal and professional journey has led him to help women in need, without judgment. 7-9 p.m. Mon., May 1. Jimmy Carter Presidential Library, 441 Freedom Parkway N.E. 404-865-7100. www.jimmycarterlibrary.gov. Tell Me I’m Sexy is a group exhibition opening at Murmur that “presents a satirical perspective on the objectification of women, reinforcement of gender stereotypes and Eurocentric beauty standard in contemporary mass media.” Featuring the work of Grace Allison Perkins, Graciela Nuñez Bedoya and Kyle Payne, the exhibit kicks off the 1/4 (Quarter) Program, a curatorial residency for emerging DIY artists. Opening reception: 7-10:30 p.m. Fri., April 28. Murmur, 100 Broad St. S.W. www.murmurmedia.org. Chrome Yellow hosts Raven Roxanne’s first Atlanta art show, featuring more than 30 works and prints of the Charleston, South Carolinabased artist’s abstract and impressionist paintings from her latest series, Ladies in Conversation. In addition to the artwork, the evening will feature

Courtesy JaCkson Fine art

Candler Park’s Healium Center hosts Open Studio Saturdays, offering a space where all are welcome to create art, no matter their skill level. The event will feature interactive art, an open jam, meditation, organic food and more. Healium provides all art materials, including recyclables. This event is BYOB with limited space open on a first-come basis. 18+ only. $10-$15. 2-5 p.m. Sat., April 29. Healium Center, 344 Candler Park Drive N.E. 404-216-8877. www.healiumcenter.com.

light bites provided by Eat Me Speak Me, and attendees will be able to peruse items available for purchase in Chrome Yellow’s retail space. 6-8 p.m. Thurs., April 27. Chrome Yellow, 501 Edgewood Ave. S.E. www.chromeyellowtradingco.com. The graduating graphic design class of Georgia State University presents a free one-night showing of its work. The exhibition, No. 468: A Graphic Design Show, features more than 30 designers. Stop by, have a drink and wish the students good luck. Free. 7-11 p.m. Fri., April 28. Westside Cultural Arts Center, 760 10th St. N.W. 678-218-3740. www.westsideartscenter.com. For better or worse, Bronson Pinchot will perhaps always be best known as Balki Bartokomous from the late ’80s/early ’90s sitcom “Perfect Strangers.” Also, little known fact: Pinchot voiced fashion designer Dietrich DuChamp on Nickelodeon’s “Aaahh!!! Real Monsters” (an often overlooked and highly underrated cartoon from the channel’s early ’90s lineup, IMHO). Pinchot has appeared in numerous other film and TV projects, including Beverly Hills Cop, but this weekend he’ll grace Dad’s Garage’s stage for a

two-night stay. $21-$31. 10:30 p.m. Fri.-Sat., April 28-29. Dad’s Garage Theater, 569 Ezzard St. S.E. 404-523-3141. www.dadsgarage.com. Hops and the High combines Atlantans’ love for good art and good beer. Join the High Museum at Monday Night Brewing for a tour and tasting of Monday Night’s offering. Attendees will receive a coloring book to express themselves artistically. Oh, and there’ll be cornhole. $12. 5:30-7:30 p.m. Thurs., April 27. Monday Night Brewing, 670 Trabert Ave. N.W. www.mondaynightbrewing.com. Are you an artist trying to get your work shown? Stop by Eyedrum’s Show and Tell to meet board members and volunteers, and propose solo or group shows for its 2018 series. Eyedrum plans to curate 12 exhibitions beginning in January. Check Eyedrum’s website for more information on the proposal process. Noon-4 p.m. Sun., April 30. Eyedrum Music and Art Gallery, 88 Forsyth St. S.W. www.eyedrum.org. C [email protected]

View more events at clatl.com/events.

9 FOOD

f i r st lo o k

Food culture, served fresh clatl.com/omnivore

Who needs gluten?

Certainly not Mediterranea, a lovely new gluten-free hideaway housed inside a former Grant Park trolley stop

Joeff dAvis pHotos

HEARTY, BUT LIGHT: Pan-seared scallops with fennel and grapefruit (left); baked feta in tomato sauce with foccacia

By AngelA HAnsBerger

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he 1920s-era building on the corner of Ormond and Grant streets once housed a stop on Atlanta’s Pulliam/ Washington trolley line. Nearby Ormewood Park takes its name from Aquilla J. Orme, the pioneer who extended the trolley line into the area, making the quaint neighborhood of Victorian homes possible. It’s with a nod to this trailblazing legacy that a few local residents schemed up Grant Park’s latest dining destination: Mediterranea, a wholly gluten-free restaurant located inside the former trolley station. While its architecture is all Atlanta, the menu is a virtual tour of the Mediterranean basin, with stops in Italy, Greece, France and Israel. Chock-full of vegetarian and vegan options, it contains not a trace of gluten. But you won’t miss the stuff. Before diets were a fad, Mediterraneans ate with an emphasis on fruits, vegetables, whole grains, olive oil, nuts and legumes. In this way, Mediterranea’s menu offers up a healthy, gustatory balance of good eats, paying homage to Old World cooking traditions and encouraging diners to let culture be their guide. Partners in business and in life, Gerard Nudo (a pastry chef) and Gary McElroy (a celiac) moved to Atlanta two years ago after leaving jobs at the famed Rizzoli Books in New York City. They found the old trolley stop, vacant since 1992, with a gaping hole in the roof, and

At dinner, start with the vegan quartet of decided to transform it into something special. spreads ($8) — calabrese chickpea, white bean, Today, the dining room is airy, with oversize beet and lemon artichoke — if only to get at windows coaxing beams of sunlight. Notes of that soft, naan-like bread that comes with it. jazz waft through the space, a little bit art deco Baked feta ($7) is unexpectedly luscious: a with gray, gold and umber tones, all exposed square of cheese nestled in a cast iron skillet brick and natural textures. Woodworker Alan with thick tomato sauce and a little bit of heat Lieberman built tables from local wood. A pefrom chilies. The top is golden brown and begcan tree felled in Virginia-Highland makes up ging for a piece of focaccia plunged right in. the swirling wood bar, bakery case, cabinetry Salad choices are plentiful, and shelving. Beside it sits a bakery as one would expect, including a case filled with pastries and quichMediterranea faultless kale Caesar topped with es. A cozy rooftop deck overlooks 332 Ormond nuggets of jalapeño-cheddar corn Ormond Park. St. SE. croutons ($8). The simple standMediterranea serves coffee, 404-748-4219. out is the house salad ($6): tender baked goods, lunch and dinner. On mediterraneaatl. cupped leaves of Boston lettuce, weekends, there’s brunch. Nudo com. sweet tangles of onion and large does all the baking and pescatarian slivers of watermelon radish minchef Rob Haan runs the kitchen. gling with bright dressing and pistachios. Sebastijan Katic, formerly of Bacchanalia and Each time, entrees had me walking away satiBrezza, manages front of house. ated but not stuffed. Hearty, but light. Pan seared Lunch is a smattering of sandwiches, soups scallops ($24) with both sides crisply seared are and salads. A modestly priced combo of half pretty as a picture, surrounding a mound of a sandwich, a cup of soup and a salad will run crunchy sweet fennel and tangy pieces of grapeyou just $9-$13, depending on the type of fruit. The market vegetable and orzo plate on sandwich. Turkey souvlaki ($12) is a couple of this occasion was a sizable trio of crunchy haricot feta-stuffed meatballs with cubes of cucumbers, vert, orzo mixed with roasted tomato and olives tomato, lettuce and a tzatziki-like herb yogurt and punchy, flavor-rich rapini ($16). sauce on grilled flatbread. The bocadillo ($10) Twin planks of pan-roasted branzino is a soft, fluffy pocket with a remarkable crumb ($26) sit atop the Mediterranean orzo, skins structure for being gluten-free. Inside is the browned, flesh moist and nary a bone in sight. sandwich version of a salade niçoise — tuna Roast beet risotto ($15) with crispy beet greens dressed in olive oil and hard-boiled egg. Soups is as clever in its use of the whole vegetable as are downright enchanting: thick and robust lenit is comforting. til; zesty cold cucumber with dill.

A sophisticated wine list leans Mediterranean with a price point to fit every budget. Wednesdays, bottles are half off. A bone-dry Picpoul de Pinet with bright lemon notes paired exceedingly well with seafood choices. House cocktails like rosé sangria ($8) accompany brews from Eventide down the street and a small selection of gluten-free and glutenreduced beers. There’s even locally made kombucha from Golda. Do not skip dessert. Alongside those in the bakery case, like the super-moist almond pound cake for $2.50 a slice, all of Nudo’s house-made desserts are outstanding. The brioche bread pudding served with warm caramel and blackberry sauce and topped with large blackberries is richly decadent. The chocolate pot de crème ($8) is a knockout. Served in a teacup and topped with fresh raspberries and a little puff of cream, it is dense yet silky smooth with a profoundly deep chocolate flavor. It doesn’t need the cocoa nib pecan tuile that comes with it, but I ate it happily, anyway. Co-owner Nudo says he and his team tried to create Mediterranea’s menu with foods that are naturally gluten-free. They wanted to use simple, fresh ingredients that would shine in “flavorful, healthy eating.” Mission accomplished. From the gracious, attentive service to the last spoonful of dessert, Mediterranea provides a dining experience to be savored, remembered and sought again. C [email protected]

clatl.com ❘ April 27 - MAy 3, 2017 ❘ 9

10 FOOD

happy hour

SOMETHING SOMETHING DANGER ZONE

Beef jerky and booze

Talking dorm room cocktails, piña coladas and jerky pairings with Sean Gleason of Biltong Bar

“The name for this drink comes from ‘Archer’. I like referencing TV shows and movies in drink titles. The first version of this drink came from my time at Leon’s, when I was trying to make a stripped-down version of a Rum Barrel for a tiki-themed party. Over time, the drink just became a little more refined.” — Sean Gleason

- 1 ounce Smith & Cross Rum (or other Navy strength rum) - 1 ounce black rum - 1/2 ounce ruby grapefruit juice - 1/2 ounce lime juice - 1/2 ounce grenadine (homemade, or any decent brand should work, as long as it involves actual pomegranate and no red dye) - 1/4 ounce cinnamon syrup (homemade, or the one from BG Reynolds) - 1/2 ounce egg white - 1 dash Angostura bitters

Eric cash

Combine all ingredients over ice in shaker, then shake and strain over fresh ice in a Collins glass. Garnish with grated cinnamon and nutmeg.

SERIOUS BUSINESS: Sean Gleason mixes up the Something Something Danger Zone at Biltong Bar.

By Brad Kaplan

W

hat bartender wouldn’t want to work at a place whose motto is “beef jerky and booze”? When Sean Gleason was offered just that chance — to create and run the beverage program for Biltong Bar at Ponce City Market — he jumped. At the time, he was working at Leon’s Full Service, a hotbed of bartender talent over the years (starting with Miles Macquarrie, now at Kimball House). A year in, Biltong Bar is, like Leon’s, a true drinking destination, thanks to Gleason’s complex cocktails and a surprisingly vast selection of spirits within the rather intimate confines of the bar. We sat down with Gleason to learn about the joys of beef jerky, Long Island Iced Teas and bad piña coladas. When did you realize cocktails were something worth paying attention to? I had cocktails in college, but I’m not sure 10 ❘ April 27 - MAy 3, 2017 ❘ clatl.com

they should count. The experience of tasting a cocktail that most stands out to me was one of Miles Macquarrie’s I had about the time I started serving at Noodle [in Decatur]. I thought I hated gin, but his drink, the Blood Water, made me re-examine everything I thought I knew about cocktails. I still love that drink and occasionally feature it on the classics menu at Biltong. What was your first experience actually making cocktails? The first drink I ever invented was during my sophomore year of college at Emory. It was a spite-fueled mockery of a Long Island Iced Tea affectionately called the “Sean Super Drink” by my roommate. It was terrible — Captain Morgan, Irish whiskey, amaretto, cherry vanilla Dr. Pepper — but I kept drinking them anyway. What’s your guilty pleasure these days? Definitely the piña colada. Even when

they’re made with bad rum and a shitty toosweet mix, they are just always tasty. I’m not sure I can trust a person who doesn’t like piña coladas, actually.

operating under the assumption of movie theater style) demands something thirst-quenching, so beer is good, but so is any Collins-style drink, or really anything shaken.

Favorite drink to relax with? Honestly? A cup of warm tea. Preferably oolong.

Favorite thing about how the Atlanta cocktail scene is shaking these days? There are so many different little microcosms of culture in Atlanta, and they all seem to do their own things. I guess what I like best is how inclusively “common goal” everyone is to raising the bar and increasing quality, despite radical differences in clientele across the city.

At Biltong Bar, you feature the South African style of beef jerky, but what would you pair with grocery store beef jerky? It’s been years since I had grocery store jerky, so I’d probably side with the masses: cheap bourbon and really cold domestic beer. Biltong Bar is also known for its popcorn — what do you like with that? Our popcorn comes with melted butter, parmesan cheese and peri-peri salt. It’s less salty and much richer than standard popcorn, so it pairs well with stirred cocktails. I’m partial to it with a Manhattan. Standard popcorn (I’m

Least favorite thing? I don’t personally like the re-emergence of pseudo-speakeasies, places with hidden doors and passcodes to get into. To me, bars are the epitome of a neighborhood hangout, where anyone is welcome to gather, have fun and get away from it all. Once you start adding that air of exclusivity, it stops feeling like a bar. C [email protected]

Home of the Dirty South Burger! Non-smoking 21+ and up Dog-friendly patio ••••• New bar upstairs with pool and dart room! ••••• 520 Flat Shoals Ave SE Atlanta, GA 30316

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FOOD

Atlanta restaurant news Taste of Atlanta changes locations, South City Kitchen moves into Alpharetta and more

JAmes cAmp/CL file

BELTLINE BOUND: Taste of Atlanta moves to Historic Fourth Ward Park.

By AngelA HAnsBerger

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aste of Atlanta turns 16 this year and is moving to Historic Fourth Ward Park. “The move pairs the city’s must-do food festival with the ease of walking and biking on Atlanta’s Beltline and provides a spacious new permanent home for Taste of Atlanta,” said founder Dale DeSena in a press release. To kick off the weekend of food and drink, Fox Bros Bar-B-Q’s Jonathan and Justin Fox will host a Sweet 16 Soiree on Fri., Oct. 20, in its new spot. Tom + Chee, the grilled cheese and tomato soup restaurant near the Mall of Georgia, has closed after two years in operation. The Howell Mill and West Midtown locations of Tom + Chee closed in January and February, respectively. The Kennesaw restaurant remains open. The fourth metro South City Kitchen is coming to Alpharetta. The restaurant is scheduled to open in 2018 inside The Hotel at Avalon with a patio overlooking Avalon Boulevard and a menu featuring seasonal items and signature dishes like she-crab soup and Springer Mountain Farms buttermilk fried chicken.

Lingering Shade Social Club is taking over the Hilda’s space inside Irwin Street Market along the Beltline’s Eastside trail. Initially slated for a summer 2016 debut, the revised concept is now set to open in June. Owned and operated by Atlanta CPA Lewis Jeffries, the upscale patio bar will serve up classic cocktails, local beers and boiled peanuts. Food Truck Fridays return to Broad Street Plaza on May 5 at Five Points MARTA station. Part of the MARTA Makeover Initiative led by Central Atlanta Progress and Atlanta Downtown Improvement District, the seasonal gathering brings a variety of lunch choices to Downtown. 2016 vendors included King of Pops, Willy’s Mexican Grill, Ibiza Bites and Bento Box. Two Alpharetta restaurants have announced new executive chefs. Stuart Rogers, who has been with Oak Steakhouse since its opening in October of 2014 is now leading the kitchen. New York native Jason Stern has already started mixing up the menu at Colletta with Old and New World dishes. Stern takes over for Michael Perez who is opening a new spot in Westside. C [email protected]

Got restaurant gossip? Give us a shout at [email protected].

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RETURN OF THE COOL: Nick Grant plays the Loft April 29.

by tai saint-louis

of T.I., Ludacris and CeeLo Green, respectively. It’s a cheat code, to say the least, but one that Grant has found to be a double-edged sword. f the ramblings of old-school hip-hop “These guys wake up and they chase the fans were any indication, the arrival of next thing we have to accomplish like they Nick Grant’s debut album, Return of the Cool (Culture Republic/Epic), should have haven’t had success,” Grant says. “For me, who hasn’t accomplished anything, I can’t let these been received with great fanfare. After all, here guys outwork me. It’s a gift and a curse, though, stood a 20-something Southern rapper deliverbecause when you have all these great people ing quality rhymes over jazz and soul influenced around you, there’s no room for failure. You’ve hip-hop beats that paid homage to the old while got Phil Jackson, Jordan — all these great peoalways remaining fresh in his approach. ple around you — so people expect Yet the conversation about you to win all the time. When you Grant remains at a low rumble. Nick Grant don’t, people panic. It’s definitely “It’s frustrating at times,” says the With Ab-Soul. $23a curse, too, because people look at Walterboro, South Carolina-born $28. 7 p.m. Sat., April 29. The Loft, me like the rich kid who gets everyAtlanta transplant. “The path I’m 1374 W. Peachtree thing, ’cuz he’s got all these great on is less traveled, and I’m in it St. N.W. 404-885people around him. But I learn for a different reason. My music is 1365. centerstageso much from them, and if I fail, to change lives and get a perspecatlanta.com. that’s on me.” tive on things. I know careers take Currently on his second national time, so I’m OK with having to do tour alongside Ab-Soul, Grant is already hard at a little more work.” work on Sunday Dinner, the project he considA follow-up to his critically acclaimed 2016 ers his proper debut album. “Me being from the debut mixtape, ’88, Return of the Cool found South, the only time I would see my family was Grant tapping into all of his influences, from funerals, cookouts and Sunday dinner, which OutKast and Tupac to D’Angelo and Erykah Badu, to recreate the feelings he’d felt while dis- was the most intimate,” he says. “I was the kid at the end of the table and I’m looking at all covering the artists who molded him. The result these people. They tell me who I don’t wanna is a cohesive project, originally meant to be a be and who I wanna become. So I can take piecmixtape, that shows artistic maturity beyond his es from each of these people. And by me doing years in the game. music, each person becomes a song.” Also evident in the presentation of Grant’s Grant’s approach to Sunday Dinner, out latmusic and his patient approach is the influer this year, mirrors his approach to his career: ence of a great team, spearheaded by industry Let it slow cook to its full potential. C veterans Jason Geter, Chaka Zulu and Bernard Parks — the business minds behind the success [email protected]

I

15 music

s h oW p r e v i e W

Col. Bruce Hampton’s all-star tribute The jam band progenitor celebrates his 70th birthday

Michael Weintrob

THE COL. AT 70: Bruce Hampton is one of the most influential rock musicians Atlanta has ever produced.

by Doug Deloach

Unit, which provided a heaping dose of surrealistically swinging impetus to the jam band movement of the 1990s. Across these myriad ver a turkey burger and iced tea endeavors, the Colonel established a reputation in Decatur, Col. Bruce Hampton wonders aloud, “How many times for championing in-the-moment improvisational performance and catapulting the careers of wunhave we done this over the years? derkind musicians, including founding AquarI know it’s been at least five or six.” ium Rescue Unit members Oteil Burbridge The first time was 1982. The interview, (Dead & Co., Allman Brothers) and Jimmy Herconducted in a $180-a-month apartment on ring (Jazz is Dead, Phil Lesh & Friends). Peachtree Place in Midtown, was for a feature On May 1, this extraordinary musical career article in MUZIK! titled, “In the Vanguard will be honored in a concert extravaganza called of the Old Wave since 1981,” marking the re“Hampton 70: A Celebration of Col. Bruce lease of Isles of Langerhan by the Late Bronze Hampton.” Age. The album was recorded and The monumental birthday bash mixed by storied engineer/proHampton 70: features Hampton performing ducer Eddy Offord (John Lennon, A Celebration with various collaborators includYes, Dixie Dregs, Shirley Bassey, of Col. Bruce ing Georgia’s own Rolling Stone, Midnight Moan) at his ramshackle Hampton Chuck Leavell; Hampton’s Oscarrefurbished theater-cum-sound winning Sling Blade co-star Billy studio in East Point. Released on $35-$125. 7:30 p.m. Mon., May. 1. Bob Thornton; members of WideAtlanta-based Landslide Records, Fox Theatre, 660 spread Panic and Phish; Pete Buck Isles of Langerhan features HampPeachtree St. N.E. of R.E.M.; Johnny Knapp; Rev. ton, Ben “Pops” Thornton (Billy 404-881-2100. Jeff Mosier; Kevn Kinney; Denny McPherson), Lincoln Metcalfe foxtheatre.org. Walley (of Frank Zappa fame); and (Ricky Keller) and Bubba Phreon Oliver Wood of the Wood Brothers. (Jerry Fields). One of the songs Cy Young Award winner in 2007 Jake Peavy will on the album, “Time is Free” by David Earle also be on hand. Proceeds from the show benefit Johnson, has since become something of a the Fox Theatre Institute and other musicHampton anthem and a jam band staple. minded charities. Over the course of six decades, Hampton, “It’s not possible,” Hampton says when who turns 70 on April 30, has led a series of genre-melding avant-garde, Southern rock, R&B asked how all of this is possible. “Nobody is in a band, driving and flying around the country at and jazz aggregations under monikers such as 70 years old. No one is crazy enough to do that.” Fiji Mariners, the Codetalkers, Quark Alliance, Hampton says his earliest musical collaboraPharoah Gummint and Madrid Express. Best tion occurred when he was a teenaged basketknown of the bunch is the Aquarium Rescue

O

“Nobody is iN a baNd, driviNg aNd flyiNg arouNd the couNtry at 70 years old. No oNe is crazy eNough to do that.” — Col. BruCe Hampton ball player at Dykes High School. “I wore a coat and tie to a game with one sleeve painted bright yellow,” he says. “All I could do was hit 30-foot hook shots. No defense, no jump shots, just crazy hook shots. After the game, a friend of mine named Harold Kelling, who was a guitarist, said, ‘You need to come to our gig.’” Kelling’s gig was with Tommy & the Nightbeats, a fairly typical garage-rock-rhythmand-soul band of the era. Soon after Hampton joined, Tommy & the Nightbeats became the IV of IX. The band’s first engagement with Hampton was opening for Johnny and Edgar Winter’s Black Plague. At the second gig, the IV of IX opened for Otis Redding at a Georgia Tech fraternity party. “That scared me so bad, I’m still trembling,” Hampton says. “I was watching Otis and thinking, ‘So that’s the way it’s done.’” From such humble beginnings a seed was sown, which grew to become the Hampton Grease Band. Featuring Hampton, Kelling and guitarist Glenn Phillips, another Dykes alumni, Jerry Fields (drums) and Mike Holbrook (bass), the Grease Band was a phenomenon of the psychedelic ’60s and one of the most influential musical forces Atlanta has ever produced. The rest, as they say, is history. “When I turned 55, my great-uncle said, ‘OK, you’re going to quit, right?’” Hampton says. “I said, ‘Not quite, but I’m definitely going to lay back. Since then, I’ve worked more and harder than I ever did before.” Such lifelong dedication will be deservedly celebrated at the Fox Theater. C [email protected]

clatl.com ❘ April 27 - MAy 3, 2017 ❘ 15

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Music, up-to-the-minute clatl.com/cribnotes

Mess-Around best bets for 2017

Redd Kross, Art School Jocks, the Gories and more highlight a weekend of garage-punk debauchery

Chad RadfoRd / Jay Que da Silva / eva nelSon

A FINE MESS: Death Stuff (from left), Terry & Louie and Art School Jocks are three must-see acts playing the ninth annual Atlanta Mess-Around at 529 and the Earl.

By Chad RadfoRd

T

he Atlanta Mess-Around turns nine this year. For nearly a decade the annual garage-punk blowout has become an East Atlanta institution serving the music’s extended community. For many, the two-day musical marathon is a family reunion of sorts; a chance to catch up with some of the friendly faces who’ve come from out of town to hang out at 529 and the Earl. For others, it’s akin to going walkabout in the midst of a debaucherous weekend bound by three chords, distortion and sincerely outrageous rock ’n’ roll. The 2017 lineup is hand-selected by co-founders Damon Hare and Jesse Smith putting their tastes on display for a fast and fun weekend April 28-29. On Friday, Smith rolls out a new collaboration with Greg Cartwright of Oblivians and Reigning Sound. Local punk staples Mutual Jerk, Uniform, Glare and more also share the stage with newcomers and battle-proven favorites alike. Here are five must-see acts for an East Atlanta rite of passage. Nobody saw Death Stuff coming. Guitarist Trevor Vick, drummer Jacob Armando and singer and bass player Lloyd Wingard piqued curiosity with their 2016 demo. But the group’s self-titled cassette, released via Monofonus Press, hangs in a balance of grumbling, motorik hardcore and an obsession with the fact that everyone’s gonna die sooner or later. The Thanatos drive only speeds up the tempos in songs such as “Surprise Ex,” “ADD” and “Cuddlers,” as the group builds a wall of thrashy, sonic murk. Bursts of scorched melodies move at the speed of lighting, afflicted by the darkside but teeming with so 16 ❘ April 27 - MAy 3, 2017 ❘ clatl.com

much life it’s as though the group cannot play the songs hard enough. Fri., April 28. 4:45 p.m. 529.

June 2 via the San Francisco/Miami-based Father/Daughter Records. Singer and guitarist Dianna Settles, bass player Camille Lindsley, Singer and guitarist Mick Collins is herguitarist Deborah Hudson and drummer Ali alded by many as the godfather of the garageBragg describe their sound as “existential baserock revival that he kicked off in the late ’80s ment pop,” which makes sense. The group has when fronting the Detroit three-piece the little interest in charging at the speed of punk GorieS. Everyone from the Jon Spencer Blues or hardcore. Still, their dissatisfaction with the Explosion to the King Khan & BBQ Show status quo is plain to see. Settles’ exhausted owe him a nod. Interest in the group’s initial delivery of lyrics such as: “Cover your legs up. run waned in the early ’90s, and Collins went Watch your drink. In fact just never let them on to explore various other enclaves of music buy you a drink” embrace feminism and perranging from Detroit techno to the damaged sonal politics with real-world frustration. Placpop of the Dirtbombs. It wasn’t long after the ing so much emphasis on retaining humanity, group’s members moved on that everyone from and never resorting to dogma — set to murky the White Stripes to Black Lips lamented the guitar textures and melodic splendor — has group’s fast-paced and irreverent guitar rock. elevated Art School Jocks to the vanguard of So why not give the people what musical enlightenment for Atthey want? Since 2009, Collins lanta’s underground music scene The Atlanta Messalong with fellow singer/guitarand far beyond. Sat., April 29. Around 2017 ist Danny Kroha and drummer 3:10 p.m. 529. $10-$60. Peggy O’Neill have played a Fri.-Sat., April 28-29. handful of reunion shows when The story of terry & louie The Earl and 529. the time is right. Every time the is steeped in tragedy and triumph. atlantamessaround. group takes the stage it embraces Singer/guitarists Terry Six (Nice com. the primitive, no bass/no pracBoys) and King Louie Bankston tice gutbucket grit that put it on (Loose Diamonds, Missing Monuthe map, and it’s just as powerful today as it ments) are former Exploding Hearts bandmates. was when Ronald Reagan was president. Friday Louie left the band before a 2003 van wreck night, April 28. 12:30 a.m. The Earl. took the lives of everyone in the group — Six is the only member who survived the crash. After a decade spent apart the two reconvened over a art School JockS are one of the younghandful of songs they started but never finished. est groups playing the Mess-Around this year. They’re also one of Atlanta’s more intriguing “(I’m) Looking for a Heart” was meant to be the outfits to rise through the ranks since playing title track for Exploding Hearts’ second album that will never be. Tragedy bestows the song’s their first show in 2016. Less than a year later, timeless power pop hooks and attitude with an NPR premiered “Just a Gwen,” the first single from the group’s self-titled debut EP, due out awful lot of gravitas. But it’s also a powerful

debut 7-inch that only a pair of players with so much history could muster. They’ve continued releasing songs via Six’s Tuff Break label, and now, performing alongside bass player Chad Savage and drummer Aaron Hill, the group tears through a full set of Terry & Louie originals, as well as a few Exploding Hearts tunes. Sat., April 29. The Earl. 11:30 p.m. reDD kroSS makes the trek all the way from Los Angeles to headline the Mess-Around on the group’s Beneath the Valley of the Teen Babes from Monsanto Tour. Founding members and brothers singer/guitarist Jeff and bass player Steven McDonald are joined by guitarist Jason Shapiro and Melvins drummer Dale Crover for a deep dive into Redd Kross’s body of work. Jeff was only 15 years old, and Steve was only 11, when they played their first show as the Tourists opening for hardcore legend Black Flag in L.A.’s Polliwog Park. Black Flag whipped the crowd into a riot that night. All these years later, the same iconoclastic energy still resonates in Redd Kross’s songwriting. Since cranking out early classics such as “Linda Blair” from 1982’s debut Born Innocent to “Stay Away from Downtown” from 2012’s Researching the Blues, Redd Kross wields a singularly irreverent style of post-punk and proto-alternative rock songwriting. Each number is driven by swift power pop hooks and psychedelic melodies, with little care for what the rest of the music world is up to. For this show, expect the classics — “Linda Blair,” “Janus, Jeanie, and George Harrison” and more, including a performance of 1984’s Teen Babes from Monsanto covers album in its entirety. Saturday night, April 29. The Earl. 12:30 a.m. C [email protected]

17

How Bob Glassley reconciled a 38-year punk rock legacy

alBeRt liCano / dl JaCoBs

FLASH TO BANG: (clockwise from left) Bob Glassley leads the new Cheifs lineup at Dipiazzas in Long Beach, March 2017; the original lineup poses at the Holly-West.

By Chad RadfoRd

I

n November of 1979, Bob Glassley and a few friends piled into his car for a road trip down the West Coast. It was a retired police cruiser from the Dorris California Police Department, an all-white Plymouth with a souped-up engine. At the time, Glassley sang for a young punk band from Portland called the Rubbers. They were on a mission that day, to make some alliances in the Los Angeles music scene, and to line up some shows for a touring caravan of Portland bands. “We set out for L.A., and the motor blew somewhere outside of Stockton,” Glassley says. “When we got back on the road we found out it was the day they were taping the Hollywood Christmas parade. All of the freeway exits were closed, so we just kept driving around the city, looking for an off-ramp.” Eventually they made it into the city and crashed at the Holly-West in East L.A. The space was a former MGM studio and office building on the corner of Hollywood Boulevard

and Western, housing everything from a porno studio and a church led by a gay preacher to rehearsal spaces where musicians lived, practiced and spent most of their time hanging out. One day, Glassley was listening to a group making noise in a nearby room when a young man with bright blue hair — George Walker — poked his head around the doorway and asked if anyone played bass. “I said I did, although that was a serious stretch,” Glassley says. “I owned a cheap bass back in Portland, so I felt qualified.” Walker was a gay black man in the late ’70s L.A. punk scene where there were few out gay or black musicians. The two became friends, and after sticking around and playing music for a few days, Glassley was invited to join the group and play bass alongside Walker on guitar with singer Jerry Koskie and drummer Kenneth “Rabit” Bragger. Soon they would come to be known as Cheifs. Glassley returned to Portland to play the final shows the Rubbers had booked and was L.A.-bound soon after. The Rubbers’ Bruce Loose went on to sing and play bass with San

“On One hand, I’m cOmIng tO grIps wIth the legacy sIde Of It fOr the fIrst tIme, and the Other hand, I want tO hIt the rOad and play sOme fuckIng punk rOck!” — BoB Glassley Francisco’s legendary punk outfit, Flipper. Back in L.A., Glassley experienced a thrilling new beginning, building friendships with the now-legendary denizens of the local punk scene, including Darby Crash and Lorna Doom of the Germs, Keith Morris of Black Flag and the Circle Jerks, and Jack Grisham of T.S.O.L. He was thrust into a life bound by the livefast, die-young ethos of late ’70s and early ’80s punk scene. But nearly 40 years after breaking up, the specter of Cheifs has returned, demanding the songs be heard again. In their prime, Cheifs were a lauded act that bridged the gaps between West Coast punk and hardcore. They were a fixture of the Los Angeles scene but after scant few releases, the group has languished in obscurity.

From 1979 to 1982, Cheifs were a staple of the L.A. punk scene. Even though he hadn’t played in a band since they broke up, a chance meeting with a fan one night at the Masquerade proved the catalyst for Glassley to head up a new Atlanta-based incarnation of Cheifs. Now 57 years old, Glassley lives near Woodstock, Georgia, where he works as a director of technology for Triton Digital. After watching social and political turmoil surge in recent years, the old familiar sting of unease that drove him to punk in the first place is stirring once again. With a new lineup together, Glassley is paying respect to Cheifs’ Hollywood legend while laying the groundwork for a new chapter in his musical career. See Cheifin’ out! p.18 clatl.com ❘ April 27 - MAy 3, 2017 ❘ 17

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cheifin’ out

SCREAMING AT A WALL: (clockwise from left) Bob Glassley (left) with Scott Hedeen, Brad Castlen and James Joyce of the current incarnation of Cheifs; the original Cheifs lineup on stage, May 2, 1981, at Devonshire Downs in Northridge, California; Bob Glassley, 2017; singer Brad Castlen on stage, 2017.

Vincent raMirez PhotograPhy

Despite the decades that have passed, the songs he played and wrote leading into the Reagan era remain as urgent and relevant as the day they were penned. “It’s unfortunate,” Glassley says. “Some of those songs are even more relevant now, in the face of everything the country — the world — is going through.” By December of ’79, the group had settled on the name Cheifs. A friend of the band, Roger Rogerson, who played bass for the Circle Jerks, often playfully called out bossy people for being “the big chief,” or saying they were “chiefin’ out.” The band rolled with it. Around the same time, Glassley had an uncle die from Leukemia. He’d worked as a butcher and always wore plain white T-shirts. When he died, Glassley inherited those shirts. One afternoon he bought some red and black spray paint, went to his room at Holly-West, and made band 18 ❘ April 27 - MAy 3, 2017 ❘ clatl.com

shirts. When he showed them to the rest of the band, the reaction was a resounding, “Dude, you spelled it wrong! On every single one of them!” But amid the punk era’s landscape adorned with logos like the Misfits’ skull and Black Flag’s bars, Cheifs presented a golden opportunity for branding. “I know how to spell,” Glassley laughs. “The i and the e came after c! … And ask anyone named Keith how they spell their name!” Cheifs played regularly at venues such as Hong Kong Café and the Fleetwood, sharing stages with a who’s-who of Southern California punk legends: Black Flag, X, the Minutemen, Fear, Redd Kross, Descendents, Germs, T.S.O.L., Social Distortion and more. “The Gears, too, if I can add a band to that list,” says former Black Flag and Circle Jerks vocalist Keith Morris, who currently sings with the band Off! “The Gears and Cheifs were our party buddies. How many

Mark kocher

— Brad castlen Cheifin’ out! from p.17

Mark kocher

Mark kocher

“Here we are a buncH of guys from georgia. How are we going to play tHese l.a. punk songs? i was worried people would Have a problem witH tHat and tHat we’re playing witH just one original member.”

times did we all just crash on that floor where they practiced in the Holly-West building? Cheifs were easily one of the greatest bands around,” Morris adds. “When Holly-West Crisis finally came out it was such a great record.” Cheifs’ sound occupied a strange but growing middle ground in the post-punk era, when the term hardcore didn’t yet denote a musical genre. Before Cheifs came along, groups like X, the Screamers and the Weirdos had stylized a Hollywood punk sound by infusing short, sharp blasts of rock ’n’ roll with outsider art leanings. The more aggressive sound of bands like Black Flag and the Adolescents had yet to fully reveal itself. In Cheifs, Walker’s twisted hooks and bar chords taking shape in songs such as “Blues” and “(At The Beach At) Tower 18” were driven by a contentious snarl and fast, reflexive melodies. Rabit’s jittery drumming in “Knocked Out” was cut from a loud-fast and deceptively simple style on par with New York’s no wave scene. Koskie’s sneering voice was a conduit for disturbed visions of disenfranchisement, and Glassley gave direction to Cheifs’ buzz saw onslaught.

One song that Glassley penned the music and lyrics for, “Eddie’s Revenge,” tells the true story of a journalist who was gunned down by police. “The LAPD at the time were neo-Nazis, I won’t mince words,” he says. “I read a story in the newspaper about this amateur writer who was shot while standing inside a phone booth, holding a typewriter. A cop felt threatened. There was even a witness,” he adds. “The song is from his perspective, wanting payback because justice wasn’t served.” Glassley sings: “Armed with a typewriter you look very threatening/They know you’re a nut case so they’ll say anything/And don’t try to resist your life’s worth nothing.” Other songs such as “Blues” confront the hardships of the world with thick skin. In “(At The Beach At) Tower 18,” Walker offers insight into the perils of a gay lifestyle in the Reagan era when he sings, “You think your sex action’s better than theirs/They’re doing a job you could never do/At the beach!” “Knocked Out” celebrates the youthful abandon and persistence of throwing punk shows whether the cops liked it out not. The Germs’ vexed singer Darby Crash was a friend of the band, who hung out at Holly-West. Glassley recalls an afternoon in 1980 when Cheifs’ manager Debbie Johnson announced she’d lined up studio time at Present Time Records in North Hollywood. Crash wanted to be there. “I recall See Cheifin’ out! p.20

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Cheifin’ out! from p.18

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reissued Cheifs’ “Blues” b/w “(At The Beach At) Tower 18” and “Knocked Out” 7-inch. In 1989, “Blues” appeared on the seminal Killed By Death Vol. 2 LP. What’s more, the Descendents often whip out a cover of “Knocked Out” during live shows. Glassley moved to Georgia for work in 2000. His time with Cheifs had become a distant memory ever since. But that changed in July 2016 when Flag, a hardcore supergroup featuring singer Keith Morris, bass player Chuck Dukowski, drummer Bill Stevenson and vocalist/guitarist Dez Cadena — all Black Flag alumni — along

lection,” Hedeen says. “I sold a Cheifs single for $300, so I joked that he was a partial investor in the brewery.” Hedeen and Glassley became friends. Hedeen hadn’t played guitar in a long time, but one night he sent Glassley a text. “I asked if he’d ever considered playing Cheifs’ music again,” Hedeen says. “I was in his ear. At the time he didn’t know the depths of where he had been, and the interest that’s out there for that era of music. It’s like you’ve seen a famous photograph from history countless times, and suddenly you realize that you see someone in the background. He was there.”

“The Gears and Cheifs were our parTy buddies. how many Times did we all jusT Crash on ThaT floor where They praCTiCed in The holly-wesT buildinG? Cheifs were easily one of The GreaTesT bands around …” —Keith Morris

courtesy cheifs

him setting in the control room and making suggestions about sound and vocal tricks, like the doubling that Jerry used on most of the recordings,” Glassley says. The songs they recorded — “Blues,” “(At The Beach At) Tower 18” and “Knocked Out” — were pressed on a 7-inch via Playgems. It was Cheifs’ only release while the group was active. Crash is credited as “Creative Consultant” on the sleeve. “That wall of sound on the guitar was likely his doing,” Glassley says. “He was there from beginning to end, providing input, effectively working as a producer. He was a good friend of the band,” Glassley adds. “His fans demanded him to be someone he wasn’t 24/7. They expected him to be on stage all the time. I think he really enjoyed chilling with everyone at Holly-West.” Holly-West is hallowed ground in the annals of punk history. Redd Kross’ bass player, Steven McDonald, remembers the intimidating feel of the place when he was a kid. “I was only 12 years old back in the those days,” McDonald says. “Redd Kross recorded a project there, and we hung out with Cheifs and the Gears and everyone else. Everyone was friendly and accepting, but the place had this Bukowski vibe. It was a scary, old, decrepit building, but the community was really cool.” Cheifs’ song “The Lonlies” appeared on the New Alliance/SST compilation titled Chunks that year. Later, “Riot Squad” (an adopted Rubbers song), “No Justice” and “Scrapped” appeared on an American Standard compilation titled Who Cares. A half-dozen more songs were recorded, but personal differences caused Koskie and Rabit to leave the band. Glassley and Walker reconvened with vocalist Paul Brashier and drummer Gilbert Navarro, aka Jack Rivera, but they were together less than a year. By 1982, Cheifs were done. Glassley sold his bass and bought a computer, and has worked with technology ever since. He has made attempts to get the original lineup together for occasional one-off shows, even a birthday party for Descendents’ drummer Bill Stevenson. But neither Koskie nor Rabit have expressed any interest in playing with Cheifs again. The two have reunited to play shows with their pre-Cheifs band, the Simpletones. Neither Koskie nor Rabit were available for comment. Walker is presumed dead, although no death certificate has been produced yet. He was last seen hanging around Newport Beach in the early ’90s, but when Glassley went searching, word on the street was he had died. Cheifs have since languished in obscurity, but the music refuses to disappear. A 1997 Flipside compilation titled Holly-West Crisis emerged as the definitive Cheifs document rounding up everything the group recorded. In 2000, Hate Records repackaged the songs for a European release, and Dr. Strange reissued Holly-Wood Crisis in 2004. The same year Spontaneous Combustion

POSTER BOYS: Cheifs shared stages with Fear, T.S.O.L., Black Flag

with Descendents guitarist Stephen Egerton played the Masquerade. Glassley went backstage to say hello. While talking with Stevenson, Glassley felt a hand on his shoulder. A stranger asked: “Excuse me, did you say you were in the misspelled Cheifs?” It was Scott Hedeen who owns Burnt Hickory Brewery in Kennesaw. The brewery is known for naming beers after punk bands, such as the Didjits Blood Orange IPA and Die Kreuzen Imperial Pumpkin Porter. Atlanta metalheads Order of the Owl even have a Chocolate Orange Stout in their name. “Some of the seed money I used to start the brewery came from selling my punk record col-

Glassley knew former Crisis Under Control singer and punk historian Brad Castlen would be interested. “When this started out last July, it was more for fun, but as people responded to the potential of the Cheifs’ music being played live again, I realized this was something more,” Glassley says. “Brad and Scott helped me see that. As I started posting lyrics on Facebook, it became clear there was still relevancy and many of the songs could have been written today and people related. That said, I was dead set against doing anything that would not live up to the original spirit and energy.” They convened with a temporary drummer to play a Halloween party at Burnt Hickory. Hedeen

made posters boasting a performance by “HollyWest resurrected playing the songs of Cheifs.” Glassley was hit hard by seeing the name again. “He said, ‘You can’t do that!’” Hedeen says. “He didn’t want to dis the other members of the band, but I think we’ve convinced him now that they don’t care. Our intention is to make sure that Bob and the band get their just deserts.” When Hedeen takes the stage, he sticks a laminated photo of Walker on his guitar, adorned with the word “Respect” — Shepard Fairey style. “George was a trailblazer on so many levels,” Hedeen says. “Getting into his head and figuring out how these songs work is a major accomplishment for me. I had to decode this man’s web of how he did it. I had to reinvent myself.” Drummer James Joyce knew Hedeen through the brewery and tried out for the gig. After one practice, they looked at each other and said, “OK, we’re the Cheifs!” A Christmas party at Burnt Hickory was followed by a show at the Earl opening for Detroit proto-punk rockers Death. Then came a run of L.A.-area shows in March. At first, wondering if they’d be accepted by the group’s hometown was nerve-wracking. “There were people who came out to the shows and said, ‘Wait, where’s Jerry?’” Glassley says. “I was worried about it at first, but the bottom line is, I tried to get him involved, but I found somebody else.” Still, anxiety was high, especially for Castlen and Joyce, both of whom are of a younger generation than Glassley and Hedeen. Before their Saturday night show at Cafe NELA, they were sitting at the bar when Joyce noticed Keith Morris walk in. “Brad started losing it,” Joyce says. “He kept saying, ‘This is your fault! If it wasn’t for you being able to play these drum beats and tying everything together, I wouldn’t have to

21 Cheifs play the Atlanta Mess-Around With Watcher, Death Stuff, and Mutual Jerk at 529. $10. 3 p.m. Fri., April 28. atlantamessaround.com.

“As I stArted postIng lyrIcs on FAcebook, It becAme cleAr there wAs stIll relevAncy And mAny oF the songs could hAve been wrItten todAy And people relAted. thAt sAId, I wAs deAd set AgAInst doIng AnythIng thAt would not lIve up to the orIgInAl spIrIt And energy.” — BoB Glassley

cris calhoun / dl Jacobs

perform in front of Keith Morris, and have him judge me as the singer for Cheifs.’” Morris, in his 2016 memoir, My Damage: The Story of A Punk Rock Survivor, writes that Cheifs were one of the few bands he thought of as the Circle Jerks’ competition. Now, he was there to see what the new group was all about. “In the early days we were always friends — all of it was friendly until it was time to play shows,” Morris says. “That’s when some darkness crept up: ‘We’ve been playing longer, and we’ve played more shows than you. We’re from Hollywood, you’re from where you’re at, we draw more people, can you keep up with us?’ All of that kind of drama. But I always drank a few extra beers, got a little more fuzzy-headed and tried to keep the camaraderie at a social and friendly level.” The Circle Jerks played their first show with Cheifs at a club in Redondo Beach called Kahuna’s Bearded Clam. “We pissed off everybody that night,” Morris says. “One of the songs we played was ‘Wasted’ and the guys from Black Flag wanted to firebomb our vehicles and run us out of town.” The anxiety that Castlen felt, however, was over respect for the music. “There’s a lot of attitude in punk about where you come from,” Castlen says. “Crisis Under Control used to get that attitude from Atlanta punks because we didn’t live in Fulton County. ‘You can’t play punk or hardcore if you’re from Gwinnett County!’ So that’s just magnified. Here we are a bunch of guys from Georgia. How are we going to play these L.A. punk songs? I was worried people would have a problem with that and that we’re playing with just one original member.” Afterward, Castlen thought, “If I don’t ask, it’s going bother me the rest of my life.” He approached Morris and asked, “What did you think?” Morris looked over his glasses and gave a thumbs up. “We did it justice?” Castlen asked. In the conversation Morris replied, “Oh, I woulda told you if you didn’t!” Neither Koskie nor Rabit showed up for the L.A. shows. But other old friends were there: Don Bolles of the Germs was at the Cafe NELA show, and second Cheifs drummer Jack Rivera sat in for a performance of “Blues.” The night before, at a show in Anaheim, Brian Brannon of skate punk legends JFA and members of the Vandals were there offering praise. Castlen recalls overhearing a conversation at a record store out there when their merch guy asked the record store clerk — an older guy — if he was going to the show. His response: “No. I don’t want to ruin it. I saw them back in the day.” That kind of skepticism is understandable; plenty of people feel similarly about any bands who are resurrected with a new lineup. “But we’re busting our asses, making it sound as close to the original recordings as possible,” Castlen says. “I heard the criticism, but the legend of Cheifs means a lot to us, and we all felt like we had to prove ourselves.”

RESPECT: The original Cheifs lineup (top) hanging out at the Holly-West building; George Walker (bottom) poses for the camera in 1981.

Kendall Behnke, who sang alongside Koskie and Rabit in the Simpletones, came out for the Friday night show. He showed up again the following night at Cafe NELA. According Castlen, Behnke called Koskie to get him out for the show. He didn’t come but asked how they were. Behnke’s reply: “I’m not going to lie to you … they killed it.” Castlen says the band discussed what would happen if Koskie showed up. “I’d have no problem handing the mic over to him, if he wanted to sing,” he says. “But Bob’s in Woodstock, Georgia, so it would be hard to have a Cheifs reunion with two guys in California. I think he’s a great singer; I love the songs, and I have nothing bad to say about him. But I’m glad he doesn’t want to be involved, because here I am.” While practicing for the L.A. run, the new lineup learned a few songs that the original Cheifs played but never recorded, including “Heart in

Chains” and “1988,” both originally performed by the Rubbers. Both songs will appear on a split 7-inch with L.A. punk stalwarts the Gears via the Hermosa Beach label Hardline Entertainment. “I love playing and didn’t realize how much I missed it,” Glassley says. “Even my wife, Vicki, has commented on how playing again affected me, in a good way. Add to that the relevancy of this music, these words at this time, and it makes sense. Given the situation our country and the world faces, I think there is a lot to say, and this is a familiar vehicle to make oneself heard. I fully expect us to be writing new songs in the months ahead, and we’ll see where that goes, but for me it feels like 1980 all over again — only worse.” They’re recording at the Living Room in June. After recording those two songs, they’ll record the rest of the songs they’ve learned, if for no other reason than to have a document of this

lineup’s time together. Whether what they record gets released remains to be seen. “If you’re a legendary band that can release a new album, people will buy it, like it was an original Descendents album,” Joyce says. “We’re not there, so we’re not trying to push out an entire album’s worth of material that somebody has to digest. It’ll be more like a song or two here and there.” This approach takes the pressure off while fleshing out the strongest material a song or two at a time. But before Cheifs start writing new songs, their priority lies in taking the show on the road. Until now, the group has never played outside of L.A. and San Diego. But with the new lineup clicking in Atlanta, the group has its sights set on the East Coast. After 35 years, excitement surrounding the group only underscores the strength of the songs. Giving the music a chance to be heard by a new generation, in an entirely new era, the new incarnation of Cheifs is already uncovering new meanings for these songs. For nearly 40 years, the road has been long and full of pitfalls. Like it was the day that Glassley and his friends piled into his converted cop car heading for Los Angeles, the future is unwritten. “I still have difficulty wrapping my head around it all. I have a split personality in this regard,” Glassley says. “On one hand, I’m coming to grips with the legacy side of it for the first time, and the other hand, I want to hit the road and play some fucking punk rock!” C [email protected]

clatl.com ❘ April 27 - MAy 3, 2017 ❘ 21

See & Do

5.4

Princess Nokia MJQ Concourse

FOOD

art: Contemporary Kids (at heart)

sunday, 4/30, FesTival

Courtesy of Mother CluCker fried ChiCken festival

Takorea, Ormsby’s and more, will show off their fried-style recipes. Other snacks will be available from chef Kevin Gillespie’s Revival and dessert will be provided by High Road Ice Cream. In addition to the bites, an open bar will be supplied with American Spirit Whiskey samples and beer. Ticket

Shaky Beats Music Festival Centennial Olympic Park

Thursday, 4/27

Mother Clucker: A Celebration of Fried Chicken

Renowned chef Ron Eyester (Nancy G’s, The Family Dog, Rosebud) is bringing back the Mother Clucker Chicken Fest. This all-you-can-eat event will showcase traditional, classic and innovative fried chicken bites. Twenty Atlanta-area restaurants, including JCT. Kitchen, Smoke Ring, Taiyo Ramen,

5.5-5.7

purchase supports the Songs for Kids Foundation, which brings music therapy to children residing in local hospitals. $15-$40. 2-5 p.m. Sun., April 30. The Stave Room at American Spirit Works, 199 Armour Drive N.E. 404-962-8702. www.americanspiritworks.com. — SavannaH elder

Atlanta Contemporary and Color ATL, Atlanta’s adult coloring book that provides creative relief to struggling individuals in various homes and shelters, host a free interactive adult coloring workshop. Contemporary Kids (At Heart) explores the healing nature of coloring for adults as a means to elevate stress and anxiety. Combined with the mixologistapproved drinks found at the center’s weekly Contemporary Cocktails events, the evening is an adult spin on the interactive and handson style of the Contemporary Kids program, and will feature local artists Geinene Carson, Angela Davis Johnson and Headless Sage. For every coloring book sold, a duplicate is given to local organizations for individuals facing hardship. Buy a coloring book, de-stress and help others in need. Oh, and have a cocktail! Free. 6:30-8 p.m. Thurs., April 27. Atlanta Contemporary, 535 Means St. N.W. 404-6881970. www.atlantacontemporary.org. — Hilleary GramlinG

Friday. 4/28

Psychedelic rock: The Black angels

Austin’s the Black Angels have evolved subtly over the course of their 13-year See See & Do p.24

)

L, Atcrerious e Kids

tress stekly ing ndsam, on, For iven ng and tail! a 88-

Disintegration opening reception Parlor

5.7

Pints & Puppies — Atlanta Ladybird Grove and Mess Hall

In the aftermath of mass shootings like Pulse nightclub in Orlando, Emanuel AME Church in Charleston and two in San Bernardino, California, the push for gun control has reached the forefront again. According to the New York Times, being shot to death in America is about as common as falling to your death from a building in Australia. While the National Rifle Association hosts its 146th annual meeting in Atlanta from April 27-30, Dashboard U.S. presents Unloaded, a multimedia group traveling art show that displays various beliefs about gun control including but not limited to the convenience of sales, manipulation of products and influence on American culture. The exhibition features 30 artists from New York to California, including local artists like Paul Stephen Benjamin, Mary Engel, Brandon English, Nancy Floyd, Paper Frank and Casey Li Brander (whose self portrait “For the image of the woman holding a gun, Destiny Fulfilled,” 2012, is pictured right), just to name a few. Opening reception: Free. 6-10 p.m. Fri., April 28. On view through May 20. Marcia Wood Gallery, 263 Walker St. S.W. 404-8270030. www.dashboard.us/unloaded.

5.10

Bastille Fox Theatre

Unloaded Friday, 4/28, Visual arTs

Casey Li Brander

k

5.6

— nyasHa Drakes

d

Jake and Amir “If I Were You” Monday, 5/1, CoMedy

noah KaLina

In the age of YouTube and iPhones, it takes exceptional effort for a sketch group to rise up from the oversaturated sea of sketch comics. Jake Hurwitz and Amir Blumenfeld jumped out from the pack with their popular web-series, “Jake and Amir,” one of CollegeHumor’s longest running series. After churning out more than 700 videos, the dynamic

duo moved onto other projects including their advice podcast, “If I Were You.” They’re not experts; they’re just two comedians who’ll try their best to at least make you laugh while they attempt to help sort your life out. $25-$45. 8 p.m. Mon., May 1. Relapse Theatre, 380 14th St. N.W. 404-791-8663. therelapsetheater.com. — Olivia CatHCart

See + Do Thu. April 27, 2017 | 8:30pm

THE FUTURE BABES Gas Hound | Bird Laww

Triple Ds and Douchemaster present:

ATLANTA MESS-AROUND 2017! Fri. April 28, 2017 | 8:00pm

THE GORIES

5 Things To Do

Thursday, 7:30 p.m. My Favorite Things at Southwest Arts Center

Christian McBride & Tip City

Friday, 6:30 p.m. Night Visions 2017 at The Stave Room at American Spirit Works

Saturday, noon VOX-a-Palooza at The Phillip

Sunday, 3 p.m. Purple Rain at Auburn Avenue Research Library

Monday, 7 p.m. Pushing Dead premiere at Midtown Art Cinema

Rush Center

Saturday, 4/29, Jazz

Timmy’s Organism The New Natives (Greg Cartwright & Gentleman Jesse) Heavy Lids | Poison Rites | Vincas ---------------------------------------------Sat. April 29, 2017 | 8:00pm

REDD KROSS

Terry & Louie | The Cowboys | RMBLR Craig Brown Band | Uniform Sun. April 30, 2017 | 9:00pm Triple Ds presents:

TEEN AGERS | RECONCILER

The Pauses | Jeremy Ray ---------------------------------------------Tue. May 2, 2017 | 8:00pm Triple Ds presents:

RUSSELL HOWARD

----------------------------------------------

SWEET CRUDE

Motel Radio | The Artisanals ----------------------------------------------

5.04 Andy Shauf | 5.05 Low Cut Connie | 5.06 NE-HI 5.08 Mono | 5.09 UV-TV | 5.10 Shonen Knife

There are few musicians with discographies as varied and impressive as Christian McBride’s. The seasoned jazz bassist cut his teeth in the streets of Philadelphia where he landed gigs backing up legends such as Milt Jackson and J.J. Johnson. As his Ray Brown-inspired bass chops garnered acclaim, McBride became a soughtafter sideman and quickly broke from the jazz mold by performing with

See & Do from p.22

lifespan. Taking their name from the Velvet Underground’s “Black Angel’s Death Song,” the band has incorporated the disaffected jangle of their forebears into their own brand of menacing garage rock. From the dizzying drone of their 2006 debut Passover to the melodic metal on this year’s aptly titled Death Song, frontman Alex Maas and his band continue to reinvent their Texas psych sound. Space rockers and feedback fiends A Place to Bury Strangers open the show. $26-$28. 9 p.m. Variety Playhouse, 1099 Euclid Ave. N.E. 404-524-7354. www.variety-playhouse.com. — eMily Maxwell

the likes of Queen Latifah and Paul McCartney. Since then, he’s broken out on his own with a plethora of his own projects from an 18-piece big band to his most recent group Tip City, with which McBride is set to grace Little Five Points. With Khari Cabral Simmons. $33.50-$66. 8 p.m. Sat., April 29. Variety Playhouse, 1099 Euclid Ave. N.E. 404524-7354. www.variety-playhouse.com. — Paul DeMerriTT

Saturday, 4/29

Festival: inman park Festival

Atlanta loves its festivals. The arrival of spring brings with it a onslaught of fests and outdoor gatherings for locals to enjoy the weather, camaraderie, live music and artist markets. The 46th annual two-day Inman Park Festival offers events for all ages, including kid-friendly activities like Butterfly Tales Storytelling, giant bubbles and Paniflov’s Performing Pets; street parade; artist market; the annual tour of homes; and three stages of live music featuring Georgia Soul Council, Dux, 10th Letter Ensemble and See See & Do p.27

Coco and Clair Clair Friday, 4/28, Lo-Fi rap

Atlanta’s lo-fi, self-proclaimed “demon girl” rap duo Coco and Clair Clair is dropping a new album, titled POSH. Celebrate the release party at Rowdy Dowdy with a night of high-energy female empowerment and dancing. Fans can expect to get down to a mix of fresh beats and Coco and Clair Clair classics like “Water,” the crazy catchy hater-bashing anthem that warns enemies to “hydrate or burn in hell.” Don’t miss the rest of the lineup, which includes performances by Fit of Body, Pallas, Sea Ghost and DJ sets from Divine Interface and Anónima. Free. 9 p.m. Fri., April 28. RowdyDowdy, 1300 Sylvan Road S.W. www.facebook.com/rowdyatdowdy. — Meagan MasTriani

JennifeR GRimm

R. AnDRew LepLey

Wed. May 3, 2017 | 8:30pm The Bowery presents:

26

26 ❘ April 27 - MAy 3, 2017 ❘ clatl.com

27

See + Do

fRee will astRology

TAURUS

The Bull April 20-May 20

Jenny Jimenez

The New Pornographers TueSdAy, 5/2, PerfecT PoP-rock With their new album, Whiteout Conditions, Canadian power-pop supergroup the New Pornographers have strengthened what was already one of the finest recorded catalogs of rock music in recent times. Bandleader Carl Newman has described the record’s sound as “bubblegum krautrock,” and you can hear what he means in the neon pulse of songs like “Play Money” and the See & Do from p.24

Mudcat, among others. If the warm air, free tunes and street food don’t sound enticing, the people-watching nirvana and colorful costumes of the street parade should. Festival: Free; Tour of Homes: $15. Sat.-Sun., April 29-30, 11 a.m.7 p.m. Inman Park. www.inmanparkfestival.org. — Hilleary GramlinG

Hip-hop: Ab-Soul

One could argue that Ab-Soul is Top Dawg Entertainment’s most underappreciated artist. In fact, he’s probably one of the most slept-on wordsmiths in all of hip-hop, and it hasn’t been for a lack of effort. Like his label cohorts, Kendrick Lamar and Schoolboy Q, Soul has consistently released albums that are equally praised by both fans and critics, starting with 2011’s Longterm Mentality. Soul’s

sugary melodies of “Avalanche Alley.” Toss in a handful of addictive codas, vocals by the unparalleled Neko Case and some of Newman’s oddly pleasing turns of phrase, and you’ve got another terrific New Pornographers record — the 17th in 17 years. With Waxahatchee. $35. 8 p.m. Tues., May 2. Variety Playhouse, 1099 Euclid Ave. N.E. 404-524-7354. variety-playhouse.com. — Ben Salmon taking his latest effort, Do What Thou Wilt, on the road in the form of his YMF Tour. He may not have the mainstream clout of his Black Hippy brethren, but don’t be shocked if you’re standing in the middle of the Loft crowd surrounded by die-hards mouthing every word to “Huey Knew THEN” and “D.R.U.G.S.” With Nick Grant. $23-$28. 8 p.m. Sat., April 29. The Loft, 1374 W. Peachtree St. 404-885-1365. www.centerstage-atlanta.com. — Gavin Godfrey

Follow us!

full calendar of events online at clatl.com/events

By RoB BRezsny GEMINI (May 21-June 20): It’s time for you to take a break from the magic you have been weaving since your birthday in 2016. That’s why I’m suggesting that you go on a brief sabbatical. Allow your deep mind to fully integrate the lessons you’ve been learning and the transformations you have undergone over the past 11 months. In a few weeks, you’ll be ready to resume where you left off. For now, though, you require breathing room. Your spiritual batteries need time to recharge. The hard work you’ve done should be balanced by an extended regimen of relaxed playtime. CANCER (June 21-July 22): Apparently, a lot of kids in the U.K. don’t like to eat vegetables. In response, food researchers marketed a variety of exotic variations designed to appeal to their palate. The new dishes included chocolateflavored carrots, pizza-flavored corn, and cheese-and-onionflavored cauliflower. I don’t recommend that you get quite so extreme in trying to broaden your own appeal. But see if you can at least reach out to your potential constituency with a fresh twist. Be imaginative as you expand the range of what your colleagues and clientele have to choose from. LEO (July 23-Aug. 22): In speaking about the arduous quest to become one’s authentic self, writer Thomas Merton used the example of poets who aspire to be original but end up being imitative. “Many poets never succeed in being themselves,” he said. “They never get around to being the particular poet they are intended to be by God. They never become the person or artist who is called for by all of the circumstances of their individual lives. They waste their years in vain efforts to be some other poet. They wear out their minds and bodies in a hopeless endeavor to have somebody else’s experiences or write somebody else’s poems.” I happen to believe that this is a problem for nonpoets, as well. Many of us never succeed in becoming ourselves. Luckily for you, in the coming weeks and months you will have an unprecedented chance to become more of who you really are. Work on dissolving any attraction you might have to acting like someone other than yourself. VIRGO (Aug. 23-Sept. 22): On numerous occasions, French acrobat Charles Blondin walked across a tightrope that spanned the gorge near Niagara Falls. His cable was three and a quarter inches in diameter, 1,100 feet long, and 160 feet above the Niagara River. Once he made the entire crossing by doing back flips and somersaults. Another time he carried a small stove on his back, stopped midway to cook an omelet, and ate the meal before finishing. Now would be an excellent time for you to carry out your personal equivalent of his feats, Virgo. What daring actions have you never tried before even though you’ve been sufficiently trained or educated to perform them well? LIBRA (Sept. 23-Oct. 22): Ready for some subterranean journeys? They may not involve literal explorations of deep caverns and ancient tunnels. You may not stumble upon lost treasure and forgotten artifacts ruins. But then again, you might. At the very least, you will encounter metaphorical versions of some of the above. What mysteries would you love to solve? What secrets would be fun to uncover?

illustRation lauRen BaRfield

“One of the advantages of being disorderly,” said author A. A. Milne, “is that one is constantly making exciting discoveries.” I wouldn’t normally offer this idea as advice to a methodical dynamo like you. But my interpretation of the astrological omens compels me to override my personal theories about what you need. I must suggest that you consider experimenting with jaunty, rambunctious behavior in the coming days, even if it generates some disorder. The potential reward? Exciting discoveries, of course. SCORPIO (Oct. 23-Nov. 21): Why would you guzzle mindclouding moonshine when you will eventually get a chance to sip a heart-reviving tonic? Why spoil your appetite by loading up on non-nutritious hors d’oeuvres when a healthy feast will be available sooner than you imagine? I advise you to suppress your compulsion for immediate gratification. It may seem impossible, but I know you can. And in the long run, you’ll be happy if you do.

SAGITTARIUS (Nov. 22-Dec. 21): “You’ll always be my favorite what-if.” Many years ago, I heard that phrase whispered in my ear. It came from the mouth of a wonderful-but-impossible woman. We had just decided that it was not a good plan to run away and get married at Angkor Wat in Cambodia and then spend the next decade being tour guides who led travelers on exotic getaways to the world’s sacred sites. “You’ll always be my favorite what-if” was a poignant but liberating moment. It allowed us to move on with our lives and pursue other dreams that were more realistic. I invite you to consider triggering a liberation like that soon. CAPRICORN (Dec. 22-Jan. 19): I’d love to see you increase the number of people, places, and experiences you love, as well as the wise intensity with which you love them. Now is an excellent time to upgrade your appreciation and adoration for the whole world and everything in it. To get you in the mood, I’ll call your attention to some unfamiliar forms of ardor you may want to pursue: eraunophilia, an attraction to thunder and lightning; cymophilia, a fascination with waves and waviness; asymmetrophilia, a zeal for asymmetrical things; sapiophilia, an erotic enchantment with intelligence. AQUARIUS (Jan. 20-Feb. 18): You could go online and buy an antique Gothic throne or a psychedelic hippie couch to spruce up your living room. For your bathroom, you could get a Japanese “wonder toilet,” complete with a heated seat, automated bidet, and white noise generator. Here’s another good idea: You could build a sacred crazy altar in your bedroom where you will conduct rituals of playful liberation. Can you think of other ideas to revitalize your home environment? It’s high time you did so. PISCES (Feb. 19-March 20): Among America’s 50 states, Texas has the third-highest rate of teenage pregnancies. Uncoincidentally, sex education in Texas is steeped in ignorance. Most of its high schools offer no teaching about contraception other than to advise students to avoid sex. You can’t afford to be as deprived of the truth as those kids. You need accurate information that’s tailored to your precise needs, not fake news or ideological delusions. Make sure you gather insight from the very best sources. That’s how you’ll avoid behavior that’s irrelevant to your life goals. That’s how you’ll attract experiences that serve your highest good. ARIES (March 21-April 19): I have misgivings when I witness bears riding bicycles or tigers dancing on their hind legs or Aries people wielding diplomatic phrases and making careful compromises at committee meetings. While I am impressed by the disciplined expression of primal power, I worry for the soul of the creature that is behaving with such restraint. Take advantage of opportunities to make deals and forge win-win situations. But also keep a part of your fiery heart untamed. Don’t let people think they’ve got you all figured out.

clatl.com ❘ April 27 - MAy 3, 2017 ❘ 27

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Jonesin’ “Exaggeration” — way more than necessary. Across 1 Contacts electronically, in a way 4 They’re the result of extracted genes 8 Chunks of fairway 14 Buck’s counterpart 15 “___ that a kick in the pants?” 16 Hall of Fame quarterback Johnny 17 “Friends” costar Courteney 18 Falco of “Nurse Jackie” 19 Kitchen protectors 20 Theme park chain, grossly exaggerated? 23 French realist painter Bonheur 24 “Conjunction Junction” conjunction 25 Chef DiSpirito 28 End of many failed ‘90s businesses? 31 Autumn mo. 33 “The Fault in ___ Stars”

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