Tag Archives: Atlevents

Lets Go Bach To Broadway!

Written By | Hunter Gilmore

The Atlanta Ballet is bringing us all Bach To Broadway! Maybe not literally but they are
definitely bringing us some serious ballet moves. Now this was my first time attending a ballet and I must say I was highly impressed. The company of dancers comprising the Atlanta Ballet are strong, graceful, and impactful in their own right. Bach to Broadway is creatively directed by Gennadi Nedvigin and conducted by Tara Simoncic. The show is broken up into 3 captivating acts, each of which tell a story of their own.

The first act is called “7 for Eight” with music by Sebastian Bach. This act is the introduction so the music selection is noticeably slower than the other acts yet still just as interesting. It definitely gave a deep and somber feel with the black background and costumes. It is set to seven movements from four Bach concerts and built for eight dancers, “7 for Eight” is a ballet dedicated to pure movement with no formal story or plot line. “7 for Eight” becomes an extended study on intimate physical moments between individuals.

The second act is called “Who Cares” which is extremely fitting since it definitely gave romantic vibes to say the least. George Balanchine and George Gershwin collaborated to create this intricate piece. Balanchine used the songs not to evoke any particular era but as a way to portray an exuberance that is both broadly American and charged wit the energy of New York City. It is set against a starry Manhattan skyline, this playfully romantic ballet teases the purely classical choreography off-balance with inflections of jazz dance steps and rhythms.

“Concerto Armonico” is the third and final ballet. This one was actually my favorite of the three. I loved the bold colors and interesting geometric shapes used in the set design. This piece is a world premiere for the Atlanta Ballet, choreographer Maxim Petrov uses the propulsive energy of Alexander Tcherepnin’s “Concerto for Harmonica and Orchestra, Op. 86” to conjure physical images of wide open spaces and vast territories yet to be discovered. “Concerto Armonico” is a ballet filled with optimism and a spirit of adventure.

If you haven’t gone to see Bach to Broadway yet, there is still one more show date for May 13, 2018. They are playing at the Cobb Energy Performing Arts Centre. You can find tickets and times at www.atlantaballet.com.

DEATH CAB FOR CUTIE Coca-Cola Roxy Friday, October 19

Death Cab For Cutie will be at the Coca-Cola Roxy on Friday, October 19th at 8:00pm.

Reserved Balcony Tickets are $47.00 and General Admission Standing Room Floor tickets are $39.50. All ages are welcome.

Tickets are on sale Friday, May 4th at 10am at Ticketmaster.com or charge by phone at 800-745-3000.

For more information, visit deathcabforcutie.com, or www.cocacolaroxy.com.

Kanye West released new song defending his praise For Trump ‘Ye vs. the People’

It’s been at least several hours since we’ve written about Kanye West in this 17th week of the Year of Our Lord 2018, which means there is another development in the Yeezus-turned-#MAGA hat-loving-Trump-supporter saga to dissect.

This time, the rapper-mogul-cultural provocateur dropped “Ye vs. the People,” his second song to be released since he began tweeting enthusiastically in support of President Trump last week, sending both his longtime fans and detractors into a frenzy.

The track was played for the first time Friday night on Power 106, a Los Angeles hip-hop radio station, and features Kanye and the rapper T.I. engaged in a back-and-forth political debate. Presumably, T.I. represents “the People” as he answers “Ye,” who puts to verse more or less what he had been tweeting about for the last several days. (It’s unclear what the Power 106 DJs, who periodically shout and blow air horns over the track, are supposed to represent.)

Kanye opens with a nod to his onetime support of President Barack Obama and a reference to his own rumored presidential ambitions:

I know Obama was Heaven-sent/ But ever since Trump won, it proved that I could be president

T.I. responds:

Yeah you can, at what cost, though? Don’t that go against the teachings that Ye taught for?

The two battle it out, couplet by couplet, touching on everything from police brutality to Kanye’s recent flaunting of his signature red “Make America Great Again” cap, autographed by Trump. Throughout, there are enough open-ended questions (“Is it better if I rap about crack? Huh? ‘Cause it’s cultural?”) to make Socrates proud.

“You just readin’ the headlines, you don’t see the fine print/ You on some choosin’-side s—, I’m on some unified s—,” Kanye raps.

T.I. responds: “It’s bigger than your selfish agenda/ If you election ain’t gon’ stop police from murderin’ n—-s.”

Kanye: “Bruh, I never ever stopped fightin’ for the people/ Actually wearin’ the hat’ll show people that we equal.”

The lyrics eventually move on from couplets to longer verses in which each rapper makes his case. Much as he had done in a text debate with John Legend, Kanye once again defended himself by saying he was simply engaging in “free thought” and encouraging “new ideas,” while T.I. encouraged him to reconsider, given his influence.


I feel an obligation to show people new ideas
And if you wanna hear ’em, there go two right here

Make America Great Again had a negative reception

I took it, wore it, rocked it, gave it a new direction

Added empathy, care and love and affection

And y’all simply questionin’ my methods


What you willin’ to lose for the point to be proved?

This shit is stubborn, selfish, bullheaded, even for you

You wore a dusty-a– hat to represent the same views

As white supremacy, man, we expect better from you

Not just to be let down when we depend on you, homie

That’s why it’s important to know what direction you’re goin’ now

To clear up any confusion, “Ye vs. the People” is not the same as “Lift Yourself,” a track Kanye had dropped hours earlier that was seen as a coded response to Hot 97 radio station DJ Ebro Darden, a longtime friend of West’s who said he had called the rapper and tried to intervene in the midst of his bizarre tweetstorms last week.

Confused? No matter. All you need to know is that the upbeat ditty “Lift Yourself” included such head-scratching lyrics as:

Poopy-di scoop





Whoopity-scoop, whoop-poop

Poop-Diddy, whoop-scoop

Poop, poop



Whoop-diddy-scoop, poop

Janelle Monáe Announces Long Awaited Return To The Road With ‘Dirty Computer Tour’

Janelle Monáe Announces Long Awaited Return To The Road With ‘Dirty Computer Tour’ Featuring Special Guest St. Beauty

New Video For “I Like That” Released Today From Upcoming Album ‘Dirty Computer’ Available Everywhere This Friday, April 27th

Tickets On Sale To General Public Starting Wednesday, May 2 at LiveNation.com

LOS ANGELES, April 23, 2018 /PRNewswire/ — GRAMMY®-nominated singer-songwriter, producer, actress, and activist Janelle Monáe has announced her return to touring with her upcoming North American Dirty Computer Tour. Fellow Wondaland artists Alexe Belle and Isis Valentino, known together as the soulful duo St. Beauty, will join the tour as a special guest. Monáe made a big splash with the recent announcement of her upcoming Dirty Computer album, releasing buzzworthy visuals for hot singles Make Me Feel,” “Django Jane” and “PYNK,” giving fans an exciting peek in to the creative vision for her new music. The 27-city tour produced by Live Nation will kick off June 11 in Seattle, WA and make stops across famous amphitheaters and theaters in Los Angeles, Detroit, Nashville, New York, Atlanta, Miami and more before wrapping August 4 in Atlanta, GA. Tickets will go on sale to the general public beginning Wednesday, May 2at LiveNation.com.

As an extension of their two year partnership, Monáe and Belvedere Vodka will co-create signature experiences along the tour, including music-inspired cocktails and VIP activations at major tour stops.

Monáe also released a brand new music video today for her previously released single “I Like That.”

Her highly-anticipated third album Dirty Computer will be released this Friday, April 27th and is available for pre-ordernow. Every online U.S. ticket purchased for Janelle Monáe’s 2018 tour includes a standard digital copy of her new album, Dirty Computer. Instructions on how to redeem a copy will be sent to ticket purchasers via email on release day, April 27th 2018. Notable outlets such as NPR, Billboard, and W Magazine, among others, have praised Monáe’s cinematic range and vision on this album. The trailer is streaming now via YouTube and Monáe’s official website. Release date for the accompanying narrative film to be announced soon.

2016 saw Monáe embark on her film acting career with stellar performances in two milestone films, Hidden Figures and Moonlight; both films received Academy Award nominations for Best Picture, with the latter winning the award at the 89th Academy Awards.

FAMOUS DEX The Dex Meets Dexter Tour Buckhead Theatre Saturday, June 2

Famous Dex will be appearing at the Buckhead Theatre on Saturday, June 2nd at 8:00pm.

General Admission tickets are $26.50 in advance and $30.00 day of show. All ages are welcome.

Tickets are on sale Friday, April 27th at 10am at Ticketmaster.com or charge by phone at 800-745-3000.

For more information, visit dexterofficial.com, or www.thebuckheadtheatreatl.com.

The House of Fresh

Written By | Bianca Theodore & Hunter Gilmore

We’re here at House of Fresh founded by award winning music producer Drumma Boy. He’s worked with artists from Gucci, Young Jeezy, Rick Ross, and Migos. Drumma Boy has been responsible for albums like Jeezy’s recession and Rick Ross’ Trill and hit songs such as “No hands and money to blow,”

This venture is no different; since the stylish boutique opened its doors in 2017, it’s become a hit of its own. A popular destination for unique streetwear and exclusive sneaker finds the store caters to the city’s elite.

Let’s take a look around!


“Tu Tu & More” defies the norm

Written By | Bianca Theodore

In Atlanta Ballet 2’s recent show “Tu Tu & More,” the word “more” is a deceiving wink. Even the word ballet fails to encompass its rich artistry and wildly exhilarating nature.

However, the “more” is also fitting, as it is more of an experience than a simple recital.

Unlike most ballets, the two intermissions do not separate acts of the same show. Rather, all three acts (Tu Tu, blink, and Minus 16) are so diverse they may as well be entirely different performances. According to the program, each of these acts are designed to “display the range of human experience” from “strikingly different points of view.”

And striking it certainly is, to say the least.

The first installment, Tu Tu, acts as the traditional leg of the show. Backed by Maurice Ravel’s Piano Concerto in G Major, the ballerinas are a physical embodiment of its lush melody, moving fluidly to the delicate piano riffs and runs. The dancers themselves were a study in classic technique, equally controlled and poised during various jumps, turns, and elaborate footwork. Largely a partner effort, the couples moved in near perfect synchronicity and harmony, acting as bodily extensions of one another.

Then came blink, choreographer Tara Lee’s brand new piece that would be premiered that opening night. In a short cameo, Lee graced the Cobb Energy screen to explain that the piece was inspired by stars, and the energy they exchange. The seven dancers were arranged to mimic constellations, but Lee’s true choreographic intent was to mimic the energy humans exchange everyday. Punctuated by “curving lines, free torsos, and punches of the extremities”, the choreography crackled with the electricity of brief encounters and fleeting moments.

Last, but surely not least, was Minus 16. The act had an unsuspecting beginning, a lone dancer freestyling on an empty stage to an audience still milling around during intermission. The lights were on and the curtain was drawn, but what began as a supposed sideshow quickly captured everyone’s attention. Eventually, the lone dancer was joined by dozens of others, all clad in a drab gray suit with a black top hat. The music was jarring, a peculiar score that featured haunting chants, cha-cha, techno, and mambo. The choreography could best be described as random on purpose; a seemingly discordant mixture of everything from tango to freestyle.

But the highlight of the three acts was Minus 16’s end, which found the dancers in the crowd, holding out an innocuous hand to shocked audience members. To their surprise and our delight, they were bought on stage with no preamble or instructions; just left to tango with the best of them.

At its crescendo, a woman from the crowd stood under a spotlight in the middle of the stage, hands up in victory to the sound of the audience’s standing ovation.

That moment is the more in “Tu Tu & More”; the element of surprise, of thrill, and the reminder that the more is what makes life worth living.

“Something Rotten” is Taking Over Atlanta!

Written By | Hunter Gilmore

Broadway’s Something Rotten! has officially made it’s way to Atlanta! It is playing at the Fabulous Fox Theatre. The play is set in the 1590’s and is about brothers Nick and Nigel Bottom who are desperate to write a hit play. Along the way they run into a local soothsayer who tells them that the next big thing in theatre are musicals. You know…singing, acting, and dancing all at the same time. They struggle to make this a reality and are constantly overshadowed by the Renaissance Rockstar, Shakespeare.

The play is very enjoyable. I wouldn’t suggest it for kids but for adults it would make the perfect night out with loved ones and/or friends.  This is definitely reflected in the audience dynamics. The set design is intricate and in my mind well appreciated. This is because it really helps with the movement of the storyline.  It’s safe to say that the costumes really take me back to the Renaissance era, kind of makes one feel as if they are  actually in the 1590’s.  I’ve seen many broadway plays before and the costumes in this play are some of the best. They were extravagant and some were even comedic as well. The funny antics and jokes that unfold in the play are well received by the audience. My favorite part of the play are the tap dancing numbers. There’s a few of them in the production and I enjoyed the next one even more than the last.

The timing of the play is just right. It goes for about 2 hours and 20 minutes with 1 intermission. I would definitely suggest going to see this hilarious play if you haven’t already. Something Rotten! has remaining show dates from April 18-21 so it isn’t too late. You can go to foxtheatre.org for more information and tickets!

Incase you missed The Martin Lawrence “Lit AF Tour” With Ricky Smiley, Michael Blackson, JB Smoove, Adele Givens and Benji Brown

Photos By | Kiki Archer

Martin Lawrence made his return to stand up with a sold out show in Atlanta.

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POUYA Buckhead Theatre Thursday, July 5

Pouya will be appearing at the Buckhead Theatre on Thursday, July 5 th at 8:00pm.

Reserved Seating Balcony tickets are $30.00 and General Admission Standing Room Floor tickets are $22.50 in advance and $25.00 day of show. All ages are welcome.

Tickets are on sale Friday, April 13 at 10am at Ticketmaster.com or charge by phone at 800-745-3000.
For more information, visit pouya305.com, or www.thebuckheadtheatreatl.com.