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The inspiration for Gunshow
Leave everything you know about traditional restaurant service at the door of Kevin Gillespie’s new Glenwood Park funhouse. For starters, you don’t order from a menu. Seating in the open, clamorous space is often communal.
The story of the General Muir
Simply labeling the General Muir a Jewish deli may be useful shorthand, but it doesn’t cover the extent of its multifaceted pleasures. Yes, the back counter sells “appetizing”—the word used to describe whitefish salads, lox, and cream-cheese bagel schmears—as well as treats like blueberry noodle kugel and lemony black-and-white cookies.
The Silverbacks have the rowdiest supporters in town
Merited or not, Atlanta sports fans have a reputation for fair-weather flightiness. Followers of the city’s big-league teams would do well to take a lesson from supporters of our lesser-known pro team, the Atlanta Silverbacks.
After a bout of doldrums, when only a handful of exciting restaurants opened in each of the last few years, 2013 is fizzing with activity. And among the new crop, Gunshow stands out as one of the most promising, perplexing, interactive, and utterly ballsy restaurants Atlanta has ever seen.
The Other 284 Days
The story of Turner Field and its neighbors is one of stunted vision, cynical opportunism, halfhearted reform efforts, and misguided renewal schemes. Millions of dollars have been squandered and hundreds of acres left vacant. Around here, thousands of people live below the poverty line while just a handful—some legally, some not—cash in, because it’s more lucrative to park cars on an empty lot eighty-one days a year than to clean up that lot, open a business, and operate it year-round.
The Atlanta BeltLine
In the center of an old railroad bridge in Reynoldstown, a man pedaled a unicycle, arms outstretched. An odd-looking chap, he had spindly fingers made from motorcycle foot pegs and a red taillight heart that gleamed, E.T.-like, under horseshoe ribs. Visitors to last year’s Art on the Atlanta BeltLine exhibition could bring him creaking and clacking to life with a separate set of foot pedals. Will Eccleston’s Uniman is gone now, dismantled in the artist’s backyard, just as the overgrown grass and rusted tracks will someday be transformed. But for a moment, Uniman was part of an unfolding history.
The Enterprise Innovation Institute
As you read this, programmers hover over laptops and lattes at the Technology Square Starbucks, designing the Next Big Thing. It has never been so easy (or so cheap) to turn a good idea into a global product. So they devise apps to entertain you, devices to save you energy and time, and stuff you won’t know you need until they invent it. Technology Square is the heart of Atlanta’s start-up community and site of the Advanced Technology Development Center (ATDC) of Georgia Tech. Stephen Fleming, a former venture capitalist, runs this incubator and the overarching Enterprise Innovation Institute.
Rickey Wingo, fifty-three, suffered from schizophrenia and got agitated due to a side effect of his medicine. The final time it happened, workers at Northwest Georgia Regional Hospital pinned him to the ground and beat him to death, according to the state’s chief medical examiner, who ruled Wingo’s death a homicide. No staffers were charged or punished. Wingo’s case was just one of 115 suspicious deaths and incidents uncovered in a five-year Atlanta Journal-Constitution investigation of Georgia’s state psychiatric hospitals. No, this wasn’t Jack Nelson’s 1960 Pulitzer Prize–winning exposé about abuses at Milledgeville’s Central State. This series was published in 2007. Do you remember it?
As evidence for the maxim that one person can indeed make a difference, consider that, all by his lonesome, arts enthusiast Louis Corrigan gave more money to local arts groups last year than the entire Atlanta Office of Cultural Affairs. Corrigan, a successful investment firm research analyst, is the majority funder of Flux Projects, which sponsors creative installations and performances around the city, and he provides about 40 percent of the backing for professional dance troupe gloATL. But he’s not simply a modern Medici seeking a tax write-off; in keeping with his financial background, Corrigan leverages his assets so the grassroots community gets the biggest bang from his bucks. Through his nonprofit foundation, Possible Futures, he targets grants to enable arts journalism websites artsatl.com and burnaway.org to cover and promote local goings-on. Through Flux and his support for gloATL, Corrigan underwrites public arts projects in such highly visible venues as Freedom Park and Centennial Olympic Park, with the aim of reaching audiences that might not otherwise seek out experimental visual art, photography, or dance.
The folks behind the decision to transform the old Lakewood Fairgrounds into a thirty-three-acre film and television production campus want you to know two things: Part of the reason they came here was because of Georgia’s vaunted tax incentives for moviemakers, but no, their company doesn’t get a break on its own taxes. The crucial point is that, by creating the largest studio and soundstage complex in the state, EUE/Screen Gems has made it possible for lots of other filmmakers and TV networks to take advantage of the state’s tax deals.