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Airbnb, meet the Georgia General Assembly

Gold Dome study committee to examine short-term rentals in the state

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Give the homeless a home

Give the homeless a home 21

Talk of closing and building shelters misses best way to get people off the street


Kacey Musgraves minds her biscuits

Kacey Musgraves minds her biscuits

Kacey Musgraves takes classic country on tour behind sophomore album, ‘Pageant Material.’

Food & Drink

First Draft with Tim Ensor

First Draft with Tim Ensor

The My Parents’ Basement co-founder talks beer


‘The Book of Luke’ is full of surprises

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Luther Campbell’s memoir is a journey in Southern culture and rap history
Bye-bye Airbnb?
Bye-bye Airbnb?

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In Nightlife

Yo! Karaoke

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Sunday Fried Chicken Special

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  • August 18, 2015 - Marking the one year anniversary of the forming of Black Lives Matter, activists returned to the CNN center where over 5,000 people gathered last year. Despite numbers well below that and persistent rain, activists came rife with dedication and devotion. Felicia Christian, mother of Alexia Christian who was killed while in police custody, was along for the entirety of the march providing a voice to not only her daughter but other families coping with similar situations. A common chant throughout the march stemmed from the Janelle Monae headed Wondaland Arts track "Hell You Talmbout" as activists exclaimed for onlookers and even police to say the names of the numerous victims of police brutality.
  • August 5, 2015 - In a word, the scene at Aisle 5 on Wednesday night was sweltering. It was heatstroke hot, and the mass of bodies and minds that gathered to witness Kamasi Washington's Atlanta debut displayed an uneasy tension between explosive energy and quiet anticipation. The audience had to save its strength to cope with rising temperature, and with the spiritual and intellectual spectacle unfolding on the stage.

    With just one epic-length proper album under his belt, aptly titled The Epic out via Brainfeeder, Washington has carved out his own place alongside his musical forefathers who have dialed into the true sound of the universe — Lonnie Liston Smith, Alice Coltrane, John Coltrane, Pharoah Sanders, et. al. The L.A.-based saxophone player took the stage with a massive stature. And like Miles Davis, he knows how to assemble a band that packs gravitational pull. Two drummers, keys, bass, horns, and the counterweight of vocalist Patrice Quinn’s tranquilizing voice settled in with an opulence and grandeur that matched Washington’s tenor sax rhythms and wailing.

    On Wednesday night, Washington led a seven-piece ensemble through a set hanging in the balance between composed and improvised excursions. Hard bop jazz, funk, and various other modal inflections blended with a cosmic resonance that was at once massive, ecstatic, and infinitely beautiful. In its presence, the heat of so many bodies packed in like sardines melted away.

    Faun and a Pan Flute opened the show, each of the group’s members squeezed onto the stage amid an arsenal of instruments — enough gear to accommodate Faun’s nine-piece ensemble, and Washington’s crew. With just four songs Faun and a Pan Flute set in motion a night of heady musical abstraction, broadcast to a room that soaked in every note and every nuance, locked in the throes of survival mode brought on by the heat and the power of Washington’s command of just enough straight-ahead jazz to temper a personal, universal blast from the cosmos.

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