For decades, as the lights dimmed before every Fashionata runway show, Rich’s fashion director Sol Kent would position himself in the wings backstage and whisper to each of his anxious models, “Be Divine!” Kent’s words ended up inspiring “Be Divine: A Tribute to Fashionata,” Thursday night’s sold-out tribute to the city’s long-running Rich’s-hosted style extravaganza at The William Breman Jewish Heritage Museum in Midtown. The evening served as a benefit for the Breman.
Of his legendary style sense, Rich’s fashion director Sol Kent once wryly observed to Atlanta Constitution columnist Celestine Sibley, “There’s nothing so unchic as a woman who looks too new.” Kent’s genius at merging the new with the traditional and his eye for discovering future classics will be on dazzling display at tonight’s tribute to his career, “Be Divine: A Tribute to Fashionata” at the William Breman Jewish Heritage Museum in Midtown. The evening benefiting the Breman also serves as a social set finale for the museum’s six month-long “Return to Rich’s: The Story Behind the Store” retrospective set to close on May 27.
As The Seed & Feed Marching Abominable, Atlanta’s iconic kooky community marching band struts into its 40th anniversary today at the Inman Park Festival parade, the act has a souvenir for fans. To celebrate four decades of silliness, the band’s fundraising arm, the Seed & Feed Marching Abominable Endowment, Inc., a 501c3 nonprofit, is selling the act’s brand new 2015 "Naughty Bits" calendar.
The first time Atlanta writer Dana Hazels Seith attempted to interview Blondie for the new Clermont Lounge coffee table book, No Cameras, the legendary dancer threw her out of her Ponce de Leon Avenue dressing room. For good measure, Blondie also tossed Seith on her second and third attempts to talk to her.
The Negro Building was the first designated space, since Emancipation, for the showcase of African-American achievement in a white-dominated setting. Without it, the Exposition committee could have not received federal backing, and those funds appropriated from Congress, are what helped make the fair an international success.
Last Tuesday night, huddled behind the steering wheel in an overcoat, gloves and a hat, Buckhead Coalition president Sam Massell was gridlocked on Atlanta’s main artery, stuck in the slush with the rest of us. As his usual 16-minute Buckhead commute down Peachtree Road slid into an hour, Massell, 86, had time to reflect on half a century of metro Atlanta's mass transit maladies.
Nestled amid apartment complexes on Seventeenth Street, the seven-story, 100-foot Millennium Gate is hard to miss but easy to whiz by. Many Atlantans assume the Roman-inspired arch, erected in 2008, is just another decorative element of Atlantic Station, the mini-city built on the site of an old steel mill. But the monumental structure houses a 12,000-square-foot museum that pays tribute to Georgia history and Atlanta’s founding families.
When word got out that downtown Atlanta’s Hyatt Regency was working to reopen the Polaris—the blue-dome saucer that was immediately a skyline hallmark when it opened in 1967—the city buzzed with excitement. Details on the redesign have been kept under wraps since, and so I was excited when I got to meet the designers at The Johnson Studio and see the space last week.
Throughout its storied 58-year history, three things have remained constant at Atlanta’s politico watering hole Manuel’s Tavern. The city’s scribblers can always score a scoop if you wait around long enough. The tavern’s telepathic bartenders know you want another drink before you do. And at the end of the evening, your clothes are a walking billboard for Lucky Strikes.
If you’ve found yourself in the Old Fourth Ward—maybe strolling up Irwin Street toward Bell Street Burritos or heading down the Atlanta BeltLine to Studioplex—you’ve undoubtedly spotted that giant concrete tower. And you’ve wondered, Just what is that? Or, more intriguingly, Does anyone live in there?