Chuck Stewart’s photography provided by Fireball Entertainment Group, courtesy of Chuck Stewart Photographs of John Coltrane, Archives Center, National Museum of American History, Smithsonian Institution
MC Shy D brought hip-hop to Atlanta. Or anyway, he brought Atlanta to hip-hop—in the mid-eighties, he was the first rapper from the city to break out of it, to tour the country and make a name for himself. He became an object of adulation to the whole region.
The Rock*A*Teens came along in the early nineties, after a string of tragedies rocked the Cabbagetown community. As Atlanta-based journalist Doug Deloach told me: “To tell the story of the Rock*A*Teens is to also tell the story of Cabbagetown and all the bands that came before them.”
Twelve years ago, the historical reissue label Dust-to-Digital released a six-disc masterpiece of early spiritual recordings called Goodbye, Babylon. Lance Ledbetter, who runs the Atlanta record company with his wife, April, is working on another project that will match Goodbye, Babylon in size and scope. That is, if they can finish it.
At forty-three, Rico Wade’s still got something to prove. Most people with music industry aspirations find a way to build a business. Rico built a family instead. Then he discovered why family and business rarely mix. But when your past is OutKast and your present is a rapper named Future, it ain’t over till the last ATLien sings.
I don’t know if the term “Cosmic Southerner” is something I came up with or if I read it somewhere or heard someone say it, but it’s an idea I’ve carried with me for a long time. Pharoah Sanders, André 3000, and Benjamin from the band Smoke are true Cosmic Southerners. Atlanta’s Col. Bruce Hampton is another.
In 1913, the murder of Little Mary Phagan rocked the people of Atlanta, Georgia, setting in motion a series of events that involved a botched and terribly obfuscated trial; a tinder box of xenophobia, anti-Semitism, racism, and “white rights”; and another murder. “Fiddlin’ John” Carson set it all to music.