[{"_1":2,"_3":-5,"_4":-5},"loaderData",{"_5":6,"_7":8},"actionData","errors","root",{"_537":538,"_539":540},"routes/tour",{"_9":10,"_11":12,"_13":14,"_15":16,"_17":18},"tenant","atlanta-music-maps","tour_set",{"_35":530,"_31":-5,"_531":-5,"_532":-5,"_533":73,"_534":-5,"_535":-5,"_536":10},"tour",{"_19":20,"_21":22,"_23":24,"_25":26,"_27":28,"_29":30,"_31":32,"_33":34,"_35":36,"_37":38,"_39":-5,"_40":-5,"_41":-5,"_42":-5,"_43":44,"_45":46,"_47":48,"_49":50,"_51":52,"_53":-5,"_54":38,"_55":56,"_57":58,"_59":26,"_60":26,"_61":62,"_63":64,"_65":16,"_66":67,"_68":69,"_70":71,"_9":10,"_72":73,"_74":75,"_76":77,"_78":79,"_80":13,"_81":82,"_83":38},"tourParam","blues-in-atlanta-tour","stopParam","darktown","_index","otb_atlanta-music-maps_tours_production_20260910134437740","_id","4","_score",1,"blank_map",false,"bounds",{"_518":519,"_520":521,"_522":523,"_524":525,"_526":527,"_528":529},"default_lng","en-US","description","

The Blues in Atlanta

The blues in Atlanta was a monumental time for music in the city, especially in locations like Decatur Street. This genre of music opened the door for many more individuals to experience and appreciate the blues in the city, both performers and listeners. For individuals that never really had a chance to participate in live music events or never had access to much music in general due to low economic status, Atlanta provided its working class residents with the opportunity to attend venues, bars, and live shows. The working class in Atlanta was mostly composed of African Americans that moved into the city from rural areas that surrounded the metropolis. “The urbanization of the Black population that followed the first wave of the ‘Great Migration’ of Blacks from the South, circa 1915–30, was viewed optimistically by many Blacks in the early 20th-century United States” (Boyd 845). Once these people arrived in the city, more job opportunities, locations for entertainment, and a better sense of community became readily available for these individuals.

In the mix of these migrants were musicians such as Blind Willie McTell (Fulmer) who left rural Georgia to make a musical name for themselves in the city. Escaping a difficult and tiresome lifestyle in the outskirts of Atlanta, many of these artists’ lyrics reflected the hardships of belonging to the working class, and sometimes they even sang about being a black man or woman in society. Bessie Smith, for example, created a popular fan base due to her relatable song lyrics in which “she tapped into her experiences of the hardships of poverty, racism, sexism and, above all, the ups and downs of love” (Mahon 2019). The content of blues music is a large component as to why the black working class was the most prevalent population to support the genre in Atlanta.

Alongside the message of the songs, the locations in the city in which the music was played was crucial to the flourishment and success of blues in Atlanta. The most prominent was Decatur Street, which was deemed a location for the poor African American population to experience blues by the elite Atlantans, “entertainment districts of the large Black communities of southern cities, for example, Decatur Street in Atlanta, were among the first urban entertainment districts in the nation to showcase the distinctive musical styles pioneered by southern Blacks, including jazz, ragtime and blues music, which were rooted in the socio-cultural heritage of Blacks in rural areas of the Deep South” (Boyd 848). The elite white and black residents of the city would attend higher-end venues and theaters and left bars, house parties, and much of Decatur Street for the working class. The development and flourishment of the blues in Atlanta began with the movement of many artists and residents from rural areas to the metropolis. From there, performing arts venues began opening, like the Atlanta Athenaeum, the first performing arts theatre in the city. The growth of the blues continued as the 81 Theatre or Columbia Records, for example, were built and attracted more artists and spectators to support its prevalence in Atlanta. The development of the blues in the city can be traced and tracked throughout the “Blues in Atlanta Tour” map and how this evolution of music was impacted by racial and social issues throughout the years in Atlanta.

","flat_pages",[512],"id",4,"is_geo",true,"link_address","link_text","map_icon","map_overlay","map_type","hybrid","media",[504],"meta_description","Tour of important landmarks throughout Atlanta that have impacted the development of the blues in the city. Click here to learn more about the blues in Atlanta.","mode",{"_35":36,"_74":498},"modes",[493,494,495,496],"open_geographies_endpoint","published","published_on","2026-09-10","read_duration","10 minutes reading","restrict_bounds","restrict_bounds_to_overlay","sanitized_description","The Blues in AtlantaThe blues in Atlanta was a monumental time for music in the city, especially in locations like Decatur Street. This genre of music opened the door for many more individuals to experience and appreciate the blues in the city, both performers and listeners. For individuals that never really had a chance to participate in live music events or never had access to much music in general due to low economic status, Atlanta provided its working class residents with the opportunity to attend venues, bars, and live shows. The working class in Atlanta was mostly composed of African Americans that moved into the city from rural areas that surrounded the metropolis. “The urbanization of the Black population that followed the first wave of the ‘Great Migration’ of Blacks from the South, circa 1915–30, was viewed optimistically by many Blacks in the early 20th-century United States” (Boyd 845). Once these people arrived in the city, more job opportunities, locations for entertainment, and a better sense of community became readily available for these individuals. In the mix of these migrants were musicians such as Blind Willie McTell (Fulmer) who left rural Georgia to make a musical name for themselves in the city. Escaping a difficult and tiresome lifestyle in the outskirts of Atlanta, many of these artists’ lyrics reflected the hardships of belonging to the working class, and sometimes they even sang about being a black man or woman in society. Bessie Smith, for example, created a popular fan base due to her relatable song lyrics in which “she tapped into her experiences of the hardships of poverty, racism, sexism and, above all, the ups and downs of love” (Mahon 2019). The content of blues music is a large component as to why the black working class was the most prevalent population to support the genre in Atlanta. Alongside the message of the songs, the locations in the city in which the music was played was crucial to the flourishment and success of blues in Atlanta. The most prominent was Decatur Street, which was deemed a location for the poor African American population to experience blues by the elite Atlantans, “entertainment districts of the large Black communities of southern cities, for example, Decatur Street in Atlanta, were among the first urban entertainment districts in the nation to showcase the distinctive musical styles pioneered by southern Blacks, including jazz, ragtime and blues music, which were rooted in the socio-cultural heritage of Blacks in rural areas of the Deep South” (Boyd 848). The elite white and black residents of the city would attend higher-end venues and theaters and left bars, house parties, and much of Decatur Street for the working class. The development and flourishment of the blues in Atlanta began with the movement of many artists and residents from rural areas to the metropolis. From there, performing arts venues began opening, like the Atlanta Athenaeum, the first performing arts theatre in the city. The growth of the blues continued as the 81 Theatre or Columbia Records, for example, were built and attracted more artists and spectators to support its prevalence in Atlanta. The development of the blues in the city can be traced and tracked throughout the “Blues in Atlanta Tour” map and how this evolution of music was impacted by racial and social issues throughout the years in Atlanta.","splash",{"_74":490,"_128":491,"_130":492},"slug","slugs",[489,16],"stop_count",8,"stops",[86,87,88,89,90,91,92,93],"tenant_title","Atlanta Music Maps","title","Blues in Atlanta Tour","travel_duration","About 2 hours walking","theme",{"_35":84,"_74":85},"type","voice_overs",[],"use_directions",5,"dark-blue",{"_94":455,"_95":24,"_96":-5,"_98":452,"_100":456,"_102":-5,"_31":457,"_104":-5,"_105":458,"_107":108,"_35":452,"_109":459,"_111":460,"_41":-5,"_45":461,"_47":462,"_115":26,"_116":-5,"_117":-5,"_54":38,"_61":463,"_65":453,"_66":464,"_63":465,"_74":454,"_80":123,"_124":-5,"_125":-5,"_81":466},{"_94":412,"_95":186,"_96":413,"_98":410,"_100":414,"_102":-5,"_31":415,"_104":-5,"_105":416,"_107":108,"_35":410,"_109":417,"_111":418,"_41":-5,"_45":419,"_47":420,"_115":26,"_116":-5,"_117":-5,"_54":38,"_61":421,"_65":18,"_66":422,"_63":423,"_74":411,"_80":123,"_124":-5,"_125":-5,"_81":424},{"_94":370,"_95":169,"_96":371,"_98":256,"_100":372,"_102":-5,"_31":373,"_104":-5,"_105":374,"_107":108,"_35":256,"_109":375,"_111":376,"_41":-5,"_45":377,"_47":378,"_115":26,"_116":-5,"_117":-5,"_54":38,"_61":379,"_65":368,"_66":380,"_63":381,"_74":369,"_80":123,"_124":-5,"_125":-5,"_81":382},{"_94":333,"_95":36,"_96":334,"_98":84,"_100":335,"_102":-5,"_31":336,"_104":-5,"_105":337,"_107":108,"_35":84,"_109":338,"_111":339,"_41":-5,"_45":340,"_47":341,"_115":26,"_116":-5,"_117":-5,"_54":38,"_61":342,"_65":331,"_66":343,"_63":344,"_74":332,"_80":123,"_124":-5,"_125":-5,"_81":345},{"_94":298,"_95":84,"_96":299,"_98":295,"_100":300,"_102":-5,"_31":301,"_104":-5,"_105":302,"_107":108,"_35":295,"_109":303,"_111":304,"_41":-5,"_45":305,"_47":306,"_115":26,"_116":-5,"_117":-5,"_54":38,"_61":307,"_65":296,"_66":308,"_63":309,"_74":297,"_80":123,"_124":-5,"_125":-5,"_81":310},{"_94":255,"_95":256,"_96":257,"_98":252,"_100":258,"_102":-5,"_31":259,"_104":-5,"_105":260,"_107":108,"_35":252,"_109":261,"_111":262,"_41":-5,"_45":263,"_47":264,"_115":26,"_116":-5,"_117":-5,"_54":38,"_61":265,"_65":253,"_66":266,"_63":267,"_74":254,"_80":123,"_124":-5,"_125":-5,"_81":268},{"_94":212,"_95":213,"_96":214,"_98":209,"_100":215,"_102":-5,"_31":216,"_104":-5,"_105":217,"_107":108,"_35":209,"_109":218,"_111":219,"_41":-5,"_45":220,"_47":221,"_115":26,"_116":-5,"_117":-5,"_54":38,"_61":222,"_65":210,"_66":223,"_63":224,"_74":211,"_80":123,"_124":-5,"_125":-5,"_81":225},{"_94":-5,"_95":69,"_96":97,"_98":99,"_100":101,"_102":-5,"_31":103,"_104":-5,"_105":106,"_107":108,"_35":99,"_109":110,"_111":112,"_41":-5,"_45":113,"_47":114,"_115":26,"_116":-5,"_117":-5,"_54":38,"_61":118,"_65":119,"_66":120,"_63":121,"_74":122,"_80":123,"_124":-5,"_125":-5,"_81":126},"next","position","previous",{"_35":209,"_65":210,"_74":211},"relation_id",55,"address","1058 Howell Mill Rd NW, Atlanta, GA","article_link","The Northside Tavern was built in the 1940s in the city of Atlanta (The Northside). The roots of this bar was actually a grocery store and gas station hybrid but over the years it became a hotspot for blues fanatics to enjoy music. This location attracted Atlanta locals that did not and could not pay for higher venue prices, barely any elite and wealthy people would attend due to cheap $10 entry fee at the door (The Northside Tavern). The Tavern hosted individuals who paid a low fee and gathered for lively music at their local neighborhood bar. An important contributor to the Tavern's blues history is Curly Weaver's daughter (American). Curly Weaver was a very influential blues singer that would play on Decatur Street and along with Blind Willie McTell at the Pig n' Whistle, which is mentioned at another specific location. Weaver's daughter, Cora Mae Bryant, would host \"Give It Back Festivals\" at the Tavern in honor of her father's music. Even before Bryant would celebrate her father's work, Weaver's audience was mostly black middle class individuals and the demographic who continued to celebrate him after his death changed slightly over the years. Cora Mae Bryant was able to keep the blues spirit alive in Atlanta and at the Northside Tavern by hosting these events for the blue collar population and singing blues tunes for them. The demographic, in general, at these Atlanta pub/bar locations is usually comprised of lower class individuals, however, like many bars and venues that functioned after the 1970s, the Northside Tavern had a slightly mixed racial demographic. Many of the African American blues musicians started getting \"overshadowed by white contemporaries, a trend that continues to this day\" (Blues). However, \"Georgia still produces blues by performers like Neal Pattman from Madison County and Robert \"Chick\" Willis of Cabiness, but blues tourism and the record industry continues to homogenize the genre, and the distinctive traditions of the early blues records and the Atlanta style no longer remain\" (Blues), which is reflected in the less prominent black audience of the blues genre today in Atlanta's performance locations.","direction_intro","direction_notes","More prominent blues bar later on, after the higher prevalence of Decatur Street located a couple of blocks west Columbia Records and west of Blind Willie's.","icon_color","#D32F2F","lat",33.7836075,"lng",-84.4121166,[133,134,135,136],"An example of a blues bar that still stands today and can be found for public use via media platforms.","orphaned","parking_lat","parking_lng","The Northside Tavern was built in the 1940s in the city of Atlanta (The Northside). The roots of this bar was actually a grocery store and gas station hybrid but over the years it became a hotspot for blues fanatics to enjoy music. This location attracted Atlanta locals that did not and could not pay for higher venue prices, barely any elite and wealthy people would attend due to cheap $10 entry fee at the door (The Northside Tavern). The Tavern hosted individuals who paid a low fee and gathered for lively music at their local neighborhood bar. An important contributor to the Tavern's blues history is Curly Weaver's daughter (American). Curly Weaver was a very influential blues singer that would play on Decatur Street and along with Blind Willie McTell at the Pig n' Whistle, which is mentioned at another specific location. Weaver's daughter, Cora Mae Bryant, would host \"Give It Back Festivals\" at the Tavern in honor of her father's music. Even before Bryant would celebrate her father's work, Weaver's audience was mostly black middle class individuals and the demographic who continued to celebrate him after his death changed slightly over the years. Cora Mae Bryant was able to keep the blues spirit alive in Atlanta and at the Northside Tavern by hosting these events for the blue collar population and singing blues tunes for them. The demographic, in general, at these Atlanta pub/bar locations is usually comprised of lower class individuals, however, like many bars and venues that functioned after the 1970s, the Northside Tavern had a slightly mixed racial demographic. Many of the African American blues musicians started getting \"overshadowed by white contemporaries, a trend that continues to this day\" (Blues). However, \"Georgia still produces blues by performers like Neal Pattman from Madison County and Robert \"Chick\" Willis of Cabiness, but blues tourism and the record industry continues to homogenize the genre, and the distinctive traditions of the early blues records and the Atlanta style no longer remain\" (Blues), which is reflected in the less prominent black audience of the blues genre today in Atlanta's performance locations.","northside-tavern",[132,119],{"_74":127,"_128":129,"_130":131},"Northside Tavern","stop","video_embed","video_poster",[],"Cora Mae Bryant & Mudcat : Birmingham Gambler","caption","Recorded at SGT Rock's by Jerome Radway in 1994 \n\nPhotos: Unknown, Tim Duffy, Paula Propst, Vincent Tseng, Mark Austin","url","https://api.opentour.site/atlanta-music-maps/v4/public/media/dry1bbdy352d53ba07ygmbm254ze?variant=desktop","untitled",{"_98":199,"_95":24,"_128":129,"_139":171,"_141":200,"_142":201,"_143":202,"_145":203,"_35":204,"_148":84,"_149":150,"_151":202,"_152":177,"_154":178,"_74":127,"_157":201},{"_98":185,"_95":186,"_128":187,"_139":171,"_141":188,"_142":189,"_143":190,"_145":191,"_35":192,"_148":84,"_149":150,"_151":190,"_152":177,"_154":178,"_74":193,"_157":189},{"_98":168,"_95":169,"_128":170,"_139":171,"_141":172,"_142":173,"_143":174,"_145":175,"_35":176,"_148":84,"_149":150,"_151":174,"_152":177,"_154":178,"_74":179,"_157":173},{"_98":137,"_95":36,"_128":138,"_139":140,"_141":-5,"_142":-5,"_143":144,"_145":146,"_35":147,"_148":-5,"_149":150,"_151":144,"_152":153,"_154":155,"_74":156,"_157":-5},86,"Image of the Northside Tavern in Atlanta where Cora Mae Bryant celebrates her father's blues accomplishments. ","desktop_width",1500,"embed","embed_id","filename","16057714313.jpeg","files",{"_158":159,"_160":161,"_162":163,"_164":165,"_166":167},94,"lqip_width","mobile_width",300,"original_image","provider","keiner","tablet_width",750,"Photo of the Northside Tavern","video","original","https://api.opentour.site/atlanta-music-maps/v4/public/media/4daxhaiyi0fi0jrgmy41pimiereo","mobile","https://api.opentour.site/atlanta-music-maps/v4/public/media/4daxhaiyi0fi0jrgmy41pimiereo?variant=mobile","tablet","https://api.opentour.site/atlanta-music-maps/v4/public/media/4daxhaiyi0fi0jrgmy41pimiereo?variant=tablet","desktop","https://api.opentour.site/atlanta-music-maps/v4/public/media/4daxhaiyi0fi0jrgmy41pimiereo?variant=desktop","lqip","https://api.opentour.site/atlanta-music-maps/v4/public/media/4daxhaiyi0fi0jrgmy41pimiereo?variant=lqip",85,3,"Visit my website at www.joshuajacobson.net\n\nCora Mae Bryant and Joshua Jacobson live at Northside Tavern on 03-20-2004 in Atlanta, GA. A nice shout out to the governor, Big Cam Franklin...aka Deuce LeGrande...aka...Deuce",480,"//www.youtube.com/embed/_DZ0DPaVtdc","_DZ0DPaVtdc","_DZ0DPaVtdc.jpg",{"_158":180,"_160":181,"_162":182,"_164":183,"_166":184},93,"youtube",400,"My Baby's Gone Cora Mae Bryant & Joshua Jacobson 2 of 16","https://api.opentour.site/atlanta-music-maps/v4/public/media/566xbaw5u1m1zks71bqs962a1hbg","https://api.opentour.site/atlanta-music-maps/v4/public/media/566xbaw5u1m1zks71bqs962a1hbg?variant=mobile","https://api.opentour.site/atlanta-music-maps/v4/public/media/566xbaw5u1m1zks71bqs962a1hbg?variant=tablet","https://api.opentour.site/atlanta-music-maps/v4/public/media/566xbaw5u1m1zks71bqs962a1hbg?variant=desktop","https://api.opentour.site/atlanta-music-maps/v4/public/media/566xbaw5u1m1zks71bqs962a1hbg?variant=lqip",84,2,"Visit my website at www.joshuajacobson.net\nCora Mae Bryant and Joshua Jacobson live at Northside Tavern on 03-20-2004 in Atlanta, GA.","//www.youtube.com/embed/3wnCQ__EOQA","3wnCQ__EOQA","3wnCQ__EOQA.jpg",{"_158":194,"_160":195,"_162":196,"_164":197,"_166":198},92,"Northside Tavern, Cora Mae Bryant & Joshua Jacobson 6 of 16","https://api.opentour.site/atlanta-music-maps/v4/public/media/178z53v4ux5nzr25ab20w0mu36g5","https://api.opentour.site/atlanta-music-maps/v4/public/media/178z53v4ux5nzr25ab20w0mu36g5?variant=mobile","https://api.opentour.site/atlanta-music-maps/v4/public/media/178z53v4ux5nzr25ab20w0mu36g5?variant=tablet","https://api.opentour.site/atlanta-music-maps/v4/public/media/178z53v4ux5nzr25ab20w0mu36g5?variant=desktop","https://api.opentour.site/atlanta-music-maps/v4/public/media/178z53v4ux5nzr25ab20w0mu36g5?variant=lqip",83,"//www.youtube.com/embed/IYlb11TEZU0","IYlb11TEZU0","IYlb11TEZU0.jpg",{"_158":205,"_160":206,"_162":207,"_164":131,"_166":208},91,"https://api.opentour.site/atlanta-music-maps/v4/public/media/dry1bbdy352d53ba07ygmbm254ze","https://api.opentour.site/atlanta-music-maps/v4/public/media/dry1bbdy352d53ba07ygmbm254ze?variant=mobile","https://api.opentour.site/atlanta-music-maps/v4/public/media/dry1bbdy352d53ba07ygmbm254ze?variant=tablet","https://api.opentour.site/atlanta-music-maps/v4/public/media/dry1bbdy352d53ba07ygmbm254ze?variant=lqip",57,"blind-willie-s","Blind Willie's",{"_35":99,"_65":119,"_74":122},7,{"_35":252,"_65":253,"_74":254},"N Highland Ave NE @ Briarcliff Pl, Atlanta, GA 30306, USA","

Blind Willie's is a blues venue that is named after the famous Blind Willie McTell, who would sing in Atlanta on Decatur Street. In the 1980s, a group of men came together to build this blues bar to commemorate and continue the history of blues in the city (Blind Willie's History). Since McTell was such a prominent figure in the music community in Atlanta, it was important and not shocking that a still-functioning bar was named after him. The founders of this venue noticed that the people that were attending craved and wanted more blues singers to perform, and the owners made sure to please their audience. As for this audience, the people that attended were more blue collar; unlike in the 1920s and 1930s, the racial aspect of the demographic was not really specific to white or black because racism and eliteness became less prevalent throughout the years. The people that attend today discriminate less on race but more on social economic status, which reflects why people that frequent Blind Willie's are of lower class (Contemporary). In addition to there being less racism, by the time the 1970s came around, \"white performers had overtaken their black peers in popularity, and increasing numbers of white musicians, like Tinsley Ellis of Atlanta, began playing the blues\" (Blues). With that, the high emphasis on the African American blues audience began to fade out in Atlanta's music venues as white artists started to become more prominent in the genre, creating more of a mix in the demographic of blues listeners in the metropolis.

","A venue named that is still open today which is located closer to Emory University territory; the most east of all locations, it is east of Athenaeum and and northeast of the Decatur Street locations. ",33.7771,-84.3526,[229,230],"A current blues bar that exists in Atlanta and is advertised by using famous Blind Willie McTell's name on media platforms. ","Blind Willie's is a blues venue that is named after the famous Blind Willie McTell, who would sing in Atlanta on Decatur Street. In the 1980s, a group of men came together to build this blues bar to commemorate and continue the history of blues in the city (Blind Willie's History). Since McTell was such a prominent figure in the music community in Atlanta, it was important and not shocking that a still-functioning bar was named after him. The founders of this venue noticed that the people that were attending craved and wanted more blues singers to perform, and the owners made sure to please their audience. As for this audience, the people that attended were more blue collar; unlike in the 1920s and 1930s, the racial aspect of the demographic was not really specific to white or black because racism and eliteness became less prevalent throughout the years. The people that attend today discriminate less on race but more on social economic status, which reflects why people that frequent Blind Willie's are of lower class (Contemporary). In addition to there being less racism, by the time the 1970s came around, \"white performers had overtaken their black peers in popularity, and increasing numbers of white musicians, like Tinsley Ellis of Atlanta, began playing the blues\" (Blues). With that, the high emphasis on the African American blues audience began to fade out in Atlanta's music venues as white artists started to become more prominent in the genre, creating more of a mix in the demographic of blues listeners in the metropolis.",[132,210],{"_74":226,"_128":227,"_130":228},[],"Blind Willie McTell Art","An advertisement and/or art of the blues singer Blind Willie McTell who is very well known in Atlanta, especially for performing on Decatur Street in the 20s. A blues venue was named after him and it still exists in Atlanta.","https://api.opentour.site/atlanta-music-maps/v4/public/media/d9plkdq5jsv0x1rpiuaz19th4ssg?variant=desktop",{"_98":244,"_95":24,"_128":227,"_139":140,"_141":-5,"_142":-5,"_143":245,"_145":246,"_35":247,"_148":-5,"_149":150,"_151":245,"_152":153,"_154":155,"_74":226,"_157":-5},{"_98":231,"_95":186,"_128":232,"_139":171,"_141":233,"_142":234,"_143":235,"_145":236,"_35":237,"_148":84,"_149":150,"_151":235,"_152":177,"_154":178,"_74":238,"_157":234},90,"Musician Dan Fishman takes us on a tour of the Virginia Highlands neighborhood in Atlanta, GA and visits Blind Willie’s Blues Club.","//www.youtube.com/embed/cNuaEHuzJxk","cNuaEHuzJxk","cNuaEHuzJxk.jpg",{"_158":239,"_160":240,"_162":241,"_164":242,"_166":243},98,"Atlanta Has Soul - Blind Willie's Blues Club in Virginia Highlands","https://api.opentour.site/atlanta-music-maps/v4/public/media/dudsk9thtnby883fi6gwde61o838","https://api.opentour.site/atlanta-music-maps/v4/public/media/dudsk9thtnby883fi6gwde61o838?variant=mobile","https://api.opentour.site/atlanta-music-maps/v4/public/media/dudsk9thtnby883fi6gwde61o838?variant=tablet","https://api.opentour.site/atlanta-music-maps/v4/public/media/dudsk9thtnby883fi6gwde61o838?variant=desktop","https://api.opentour.site/atlanta-music-maps/v4/public/media/dudsk9thtnby883fi6gwde61o838?variant=lqip",89,"16058326801.jpeg",{"_158":248,"_160":249,"_162":250,"_164":228,"_166":251},97,"https://api.opentour.site/atlanta-music-maps/v4/public/media/d9plkdq5jsv0x1rpiuaz19th4ssg","https://api.opentour.site/atlanta-music-maps/v4/public/media/d9plkdq5jsv0x1rpiuaz19th4ssg?variant=mobile","https://api.opentour.site/atlanta-music-maps/v4/public/media/d9plkdq5jsv0x1rpiuaz19th4ssg?variant=tablet","https://api.opentour.site/atlanta-music-maps/v4/public/media/d9plkdq5jsv0x1rpiuaz19th4ssg?variant=lqip",56,"columbia-records","Columbia Records",{"_35":209,"_65":210,"_74":211},6,{"_35":295,"_65":296,"_74":297},"699 11th St NW, Atlanta, GA 30318, USA","Columbia Records is the location that made many blues recordings from famous musicians widely accessible to the public, even until this day (Columbia Records). This specific location is now called the 11th Street Studios, which is linked with the main hub for the Columbia Records studio, which is based in New York City (Columbia Recording). Blues artists that recorded in the city of Atlanta did not record at this specific studio, however this is a studio that still stands and has the same purpose as the one used in the 1920s. Columbia harvested and appreciated blues performers such as Blind Willie McTell, Robert Hicks (Barbecue Bob), and Curly Weaver and allowed them to record the songs that people adored in the 1930s. The record label also recorded many songs from the band called Georgia Cotton Pickers, which consisted of famous artists Barbecue Bob, Buddy Moss, and Curly Weaver. Even though most of the people listening to these artists' songs were middle class African Americans, today a wider range of people listen to Atlanta's recorded blues music (Chadbourne). Because of studios like Columbia Records, the dispersal of music, including music from the blues genre, to individuals from different demographics, socially and economically, became more possible. Even in the 20s/30s, the white and black elite were able to listen to the songs being produced by this record label. Columbia Records still stands today and has signed hundreds of more artists and created a platform for all kinds of music in Atlanta. In terms of the blues in the city, Columbia was one of the reasons that made it possible for people to listen to music in a recorded style that didn't require civilians to go to a live performance (Georgia Cotton). Along with Columbia Records, other companies, such as Okeh, played a role in allowing the blues to reach a broader audience in Atlanta. Okeh purchased an important recording studio in Atlanta that was used in the 1920s in which blues singers recorded their songs. This specific studio on Nassau Street was demolished only last year but Okeh, like Columbia, influenced the dispersal of blues music in the city (American Music).","The location where many prominent blues artists went to record their music in Atlanta, located a couple of blocks east of the Northside Tavern and northwest of where the Athenaeum used to stand. ",33.7833,-84.410085,[272,273],"A prevalent recording studio in Atlanta that put various blues artists on the map in terms of recording and selling music; information about their still functioning record label can be found at columbiarecords.com. ","Columbia Records is the location that made many blues recordings from famous musicians widely accessible to the public, even until this day (Columbia Records). This specific location is now called the 11th Street Studios, which is linked with the main hub for the Columbia Records studio, which is based in New York City (Columbia Recording). Blues artists that recorded in the city of Atlanta did not record at this specific studio, however this is a studio that still stands and has the same purpose as the one used in the 1920s. Columbia harvested and appreciated blues performers such as Blind Willie McTell, Robert Hicks (Barbecue Bob), and Curly Weaver and allowed them to record the songs that people adored in the 1930s. The record label also recorded many songs from the band called Georgia Cotton Pickers, which consisted of famous artists Barbecue Bob, Buddy Moss, and Curly Weaver. Even though most of the people listening to these artists' songs were middle class African Americans, today a wider range of people listen to Atlanta's recorded blues music (Chadbourne). Because of studios like Columbia Records, the dispersal of music, including music from the blues genre, to individuals from different demographics, socially and economically, became more possible. Even in the 20s/30s, the white and black elite were able to listen to the songs being produced by this record label. Columbia Records still stands today and has signed hundreds of more artists and created a platform for all kinds of music in Atlanta. In terms of the blues in the city, Columbia was one of the reasons that made it possible for people to listen to music in a recorded style that didn't require civilians to go to a live performance (Georgia Cotton). Along with Columbia Records, other companies, such as Okeh, played a role in allowing the blues to reach a broader audience in Atlanta. Okeh purchased an important recording studio in Atlanta that was used in the 1920s in which blues singers recorded their songs. This specific studio on Nassau Street was demolished only last year but Okeh, like Columbia, influenced the dispersal of blues music in the city (American Music).",[132,253],{"_74":269,"_128":270,"_130":271},[],"Image of inside the recording studio","A picture of what it was and is like inside the Columbia Recording Studio in Atlanta, where many artists sing and record their music. ","https://api.opentour.site/atlanta-music-maps/v4/public/media/og3soaf872ai1nfjzfim9136yg0q?variant=desktop",{"_98":287,"_95":24,"_128":270,"_139":140,"_141":-5,"_142":-5,"_143":288,"_145":289,"_35":290,"_148":-5,"_149":150,"_151":288,"_152":153,"_154":155,"_74":269,"_157":-5},{"_98":274,"_95":186,"_128":275,"_139":171,"_141":276,"_142":277,"_143":278,"_145":279,"_35":280,"_148":84,"_149":150,"_151":278,"_152":177,"_154":178,"_74":281,"_157":277},88,"I do not own the copyright to this recording. This video is for historical and educational purposes.\n\nCurley Weaver:Vocals & Guitar\n\nProbably Robert Hicks (Barbecue Bob):Vocals & Guitar\n\nBuddy Moss:Harmonica & possible Vocals (Originally believed to have been Fred McMullen)\n\nRecorded in Atlanta, GA. Monday, December 8, 1930\n\nOriginally issued on the 1931 single (Columbia 14594-D) (78 RPM)\n\nThis recording taken from the 2000 CD \"The Great Race Records Volume Two:Columbia) (U.K.)","//www.youtube.com/embed/mkXJSctNtmU","mkXJSctNtmU","mkXJSctNtmU.jpg",{"_158":282,"_160":283,"_162":284,"_164":285,"_166":286},96,"Georgia Cotton Pickers She Looks So Good (1930)","https://api.opentour.site/atlanta-music-maps/v4/public/media/ff657o1txvmv2kjnekwniz6iozyq","https://api.opentour.site/atlanta-music-maps/v4/public/media/ff657o1txvmv2kjnekwniz6iozyq?variant=mobile","https://api.opentour.site/atlanta-music-maps/v4/public/media/ff657o1txvmv2kjnekwniz6iozyq?variant=tablet","https://api.opentour.site/atlanta-music-maps/v4/public/media/ff657o1txvmv2kjnekwniz6iozyq?variant=desktop","https://api.opentour.site/atlanta-music-maps/v4/public/media/ff657o1txvmv2kjnekwniz6iozyq?variant=lqip",87,"16058146042.jpeg",{"_158":291,"_160":292,"_162":293,"_164":271,"_166":294},95,"https://api.opentour.site/atlanta-music-maps/v4/public/media/og3soaf872ai1nfjzfim9136yg0q","https://api.opentour.site/atlanta-music-maps/v4/public/media/og3soaf872ai1nfjzfim9136yg0q?variant=mobile","https://api.opentour.site/atlanta-music-maps/v4/public/media/og3soaf872ai1nfjzfim9136yg0q?variant=tablet","https://api.opentour.site/atlanta-music-maps/v4/public/media/og3soaf872ai1nfjzfim9136yg0q?variant=lqip",61,"the-strand-theatre","The Strand Theatre",{"_35":252,"_65":253,"_74":254},{"_35":84,"_65":331,"_74":332},"51 Decatur ST SE, Atlanta, GA","

The Strand Theatre, like the 81 Theatre, was popular during the 1920s and 1930s, and offered the African American working class an opportunity to experience and appreciate blues music in Atlanta. With similar concepts to 81, Strand was seen as a place for the lower class of the city to go to because they were not allowed to mix with the elite white and black individuals of the area (81). In general, the people that would listen to blues were mostly of the black working class because the song lyrics were relatable to this demographic. Many of the songs performed at these African American populated venues were about struggling in an elite society and living through hardships, which is appealing to the lower class society. With that, the blues artists that sang at the Strand Theatre attracted this type of audience. The Strand still stands today as a performing arts center, however it has left the Decatur Street location and is now in Marietta, GA (Strand). At the Decatur Street location today, one would find a Natural Science Center that is owned by Georgia State University. The location at Marietta continues to be a performing arts theater, even though the original location has been demolished and turned into a science center.

","Located near to the left of 81 Theatre, which is near what is now Georgia State University, Strand Theatre was located where Little Five Points is today. ",33.7536,-84.389,[313,314],"The Strand Theatre was built and is still standing today for use: people can watch performances and enjoy entertainment here, however the location has changed to Marietta, GA","The Strand Theatre, like the 81 Theatre, was popular during the 1920s and 1930s, and offered the African American working class an opportunity to experience and appreciate blues music in Atlanta. With similar concepts to 81, Strand was seen as a place for the lower class of the city to go to because they were not allowed to mix with the elite white and black individuals of the area (81). In general, the people that would listen to blues were mostly of the black working class because the song lyrics were relatable to this demographic. Many of the songs performed at these African American populated venues were about struggling in an elite society and living through hardships, which is appealing to the lower class society. With that, the blues artists that sang at the Strand Theatre attracted this type of audience. The Strand still stands today as a performing arts center, however it has left the Decatur Street location and is now in Marietta, GA (Strand). At the Decatur Street location today, one would find a Natural Science Center that is owned by Georgia State University. The location at Marietta continues to be a performing arts theater, even though the original location has been demolished and turned into a science center. ",[132,296],{"_74":297,"_128":311,"_130":312},[],"The Strand Theatre in Atlanta as seen today in Marietta, GA","https://api.opentour.site/atlanta-music-maps/v4/public/media/uo685nz9g671qsy4hvfgiuzlcr4g?variant=desktop",{"_98":176,"_95":24,"_128":311,"_139":140,"_141":-5,"_142":-5,"_143":324,"_145":325,"_35":326,"_148":-5,"_149":150,"_151":324,"_152":153,"_154":155,"_74":297,"_157":-5},{"_98":147,"_95":186,"_128":315,"_139":140,"_141":-5,"_142":-5,"_143":316,"_145":317,"_35":318,"_148":-5,"_149":150,"_151":316,"_152":153,"_154":155,"_74":297,"_157":-5},"A photo of the Strand Theatre after moving locations and renovation.","16059959001.jpeg",{"_158":319,"_160":320,"_162":321,"_164":322,"_166":323},102,"https://api.opentour.site/atlanta-music-maps/v4/public/media/mb5jqe8oorpw1fwj399b5suqozwz","https://api.opentour.site/atlanta-music-maps/v4/public/media/mb5jqe8oorpw1fwj399b5suqozwz?variant=mobile","https://api.opentour.site/atlanta-music-maps/v4/public/media/mb5jqe8oorpw1fwj399b5suqozwz?variant=tablet","https://api.opentour.site/atlanta-music-maps/v4/public/media/mb5jqe8oorpw1fwj399b5suqozwz?variant=desktop","https://api.opentour.site/atlanta-music-maps/v4/public/media/mb5jqe8oorpw1fwj399b5suqozwz?variant=lqip","16059936531.jpeg",{"_158":327,"_160":328,"_162":329,"_164":312,"_166":330},101,"https://api.opentour.site/atlanta-music-maps/v4/public/media/uo685nz9g671qsy4hvfgiuzlcr4g","https://api.opentour.site/atlanta-music-maps/v4/public/media/uo685nz9g671qsy4hvfgiuzlcr4g?variant=mobile","https://api.opentour.site/atlanta-music-maps/v4/public/media/uo685nz9g671qsy4hvfgiuzlcr4g?variant=tablet","https://api.opentour.site/atlanta-music-maps/v4/public/media/uo685nz9g671qsy4hvfgiuzlcr4g?variant=lqip","81-theatre","81 Theatre",{"_35":295,"_65":296,"_74":297},{"_35":256,"_65":368,"_74":369},"95 Decatur St SE, Atlanta, GA 30303, USA","The 81 Theatre was located in Decatur on Decatur Street, a very prominent location during the blues era in Atlanta. In 1913, Charles and Tom Bailey opened and operated it, as it showcased Vaudeville, blues, and comedy acts (Ellerbee 25). Decatur Street was known as the hub for the black working class and “respectability was not the province of the middle class alone. Decatur Street and its attractions were considered to be well beyond the pale not only by most better-off blacks, but by many working-class citizens as well” (Goodson 169). Places on Decatur Street were ostracized, including Theater 81, for the crowds that it attracted. Even though the theatre was seen as a place for individuals of lower class and income, Theatre 81 was a crucial venue for the explosion of female identity in music, especially in blues. An example of such progression was Bessie Smith’s ability to perform at this venue. Women in music was not something that was extremely prevalent during the 1920’s and the blues gave more females opportunities, especially on Decatur Street. 81 Theatre allowed Bessie Smith to develop her act and gave her a base to become the famous blues singer that she became. With the platform given to her by this famous Atlanta venue, Smith formed a fan-base that was composed of Southern working-class African Americans who connected with the content, feel and pace of her music. Especially since the crowd frequenting Decatur Street and 81 Theatre, were less elite black individuals, Smith’s audience thoroughly reflected that (81 Theatre). The history behind this location is crucial to the development of the blues in Atlanta because it was one of the most important venues in the city in terms of exposing artists to the public, such as Bessie Smith and another female artist named Gertrude Rainey (Blues). Both female singers were African American, which influenced a larger black audience in Atlanta, especially within the community of women in the city. With 81's popularity in the 20s and 30s, it was a beacon for attracting a larger audience because the blues was just beginning to flourish and become more popular in the city. If one were to visit this location today, they would find themselves on the campus of Georgia State University, which is near the vicinity of where Decatur Street was.
","81 Theatre used to be located near a couple blocks east of the Strand Theatre and is south of Darktown, now it is Georgia State University area.",33.7526428,-84.387447,[349,350],"81 Theatre impacts the development of blues in Atlanta but can no longer be visited near the Georgia State University area. ","The 81 Theatre was located in Decatur on Decatur Street, a very prominent location during the blues era in Atlanta. In 1913, Charles and Tom Bailey opened and operated it, as it showcased Vaudeville, blues, and comedy acts (Ellerbee 25). Decatur Street was known as the hub for the black working class and “respectability was not the province of the middle class alone. Decatur Street and its attractions were considered to be well beyond the pale not only by most better-off blacks, but by many working-class citizens as well” (Goodson 169). Places on Decatur Street were ostracized, including Theater 81, for the crowds that it attracted. Even though the theatre was seen as a place for individuals of lower class and income, Theatre 81 was a crucial venue for the explosion of female identity in music, especially in blues. An example of such progression was Bessie Smith’s ability to perform at this venue. Women in music was not something that was extremely prevalent during the 1920’s and the blues gave more females opportunities, especially on Decatur Street. 81 Theatre allowed Bessie Smith to develop her act and gave her a base to become the famous blues singer that she became. With the platform given to her by this famous Atlanta venue, Smith formed a fan-base that was composed of Southern working-class African Americans who connected with the content, feel and pace of her music. Especially since the crowd frequenting Decatur Street and 81 Theatre, were less elite black individuals, Smith’s audience thoroughly reflected that (81 Theatre). The history behind this location is crucial to the development of the blues in Atlanta because it was one of the most important venues in the city in terms of exposing artists to the public, such as Bessie Smith and another female artist named Gertrude Rainey (Blues). Both female singers were African American, which influenced a larger black audience in Atlanta, especially within the community of women in the city. With 81's popularity in the 20s and 30s, it was a beacon for attracting a larger audience because the blues was just beginning to flourish and become more popular in the city. If one were to visit this location today, they would find themselves on the campus of Georgia State University, which is near the vicinity of where Decatur Street was.",[132,331],{"_74":346,"_128":347,"_130":348},[],"View of 81 Theatre","Photo from when the 81 Theatre was still standing on Decatur Street in Atlanta.","https://api.opentour.site/atlanta-music-maps/v4/public/media/p26buhzpblt6zqfld2i3sm3su1tb?variant=desktop",{"_98":213,"_95":24,"_128":347,"_139":140,"_141":-5,"_142":-5,"_143":361,"_145":362,"_35":363,"_148":-5,"_149":150,"_151":361,"_152":153,"_154":155,"_74":346,"_157":-5},{"_98":290,"_95":186,"_128":351,"_139":140,"_141":-5,"_142":-5,"_143":352,"_145":353,"_35":354,"_148":-5,"_149":150,"_151":352,"_152":153,"_154":155,"_74":355,"_157":-5},"View of the famous Decatur Street in Atlanta when blues was more prominent in the city.","16059995077.jpeg",{"_158":356,"_160":357,"_162":358,"_164":359,"_166":360},103,"View of Decatur Street","https://api.opentour.site/atlanta-music-maps/v4/public/media/t4hvlv93jknl91x0am7sqhr9wh80","https://api.opentour.site/atlanta-music-maps/v4/public/media/t4hvlv93jknl91x0am7sqhr9wh80?variant=mobile","https://api.opentour.site/atlanta-music-maps/v4/public/media/t4hvlv93jknl91x0am7sqhr9wh80?variant=tablet","https://api.opentour.site/atlanta-music-maps/v4/public/media/t4hvlv93jknl91x0am7sqhr9wh80?variant=desktop","https://api.opentour.site/atlanta-music-maps/v4/public/media/t4hvlv93jknl91x0am7sqhr9wh80?variant=lqip","16040083481.jpeg",{"_158":364,"_160":365,"_162":366,"_164":348,"_166":367},10,"https://api.opentour.site/atlanta-music-maps/v4/public/media/p26buhzpblt6zqfld2i3sm3su1tb","https://api.opentour.site/atlanta-music-maps/v4/public/media/p26buhzpblt6zqfld2i3sm3su1tb?variant=mobile","https://api.opentour.site/atlanta-music-maps/v4/public/media/p26buhzpblt6zqfld2i3sm3su1tb?variant=tablet","https://api.opentour.site/atlanta-music-maps/v4/public/media/p26buhzpblt6zqfld2i3sm3su1tb?variant=lqip","blues-performance-on-street-outside-pig-‘n’-whistle","Blues Performance on Street Outside Pig ‘n’ Whistle",{"_35":84,"_65":331,"_74":332},{"_35":410,"_65":18,"_74":411},"3116 Roswell Rd, Atlanta, GA 30305, USA","

The area outside Pig ‘n’ Whistle in Decatur was a prominent location for the blues during the 1920’s. When Blind Willie McTell, a famous blues artist, first began performing, he started off by singing and playing on the streets of Atlanta, not inside venues (Goodson). The vicinity around Pig ‘n’ Whistle, a chain of barbecue restaurants that was located a little North of Decatur, was a place where McTell and Curley Weaver, another prominent blues singer in Atlanta at the time, would perform in the hopes to make some spare change. Since these artists would play outdoors, they favored the unusual twelve-string guitar, whose greater volume made it suitable for venues that were not indoors (Contemporary). In honor of Pig ‘n’ Whistle providing Blind Willie McTell with a place to launch his musical career, he named an album “Pig ‘n’ Whistle Red” in honor of the place where he used to perform. A famous song that comes from this album is called \"I Keep on Drinkin'\"; McTell sings about hard times and having to drink in order to wash his blues away. People of the working class related to songs like this because their lives were not as easy as those of the elite Atlantans; especially the black working class found common ground between their lives and McTell's lyrics. Since McTell started performing outdoors, they gave individuals of lower income a taste of the blues in Atlanta because they never had to pay for access or entry of any kind. Especially since many blues singers came from poor rural backgrounds, starting their careers on the streets instead of in venues was more prominent during this era. Pig ‘n’ Whistle served as more as a barbecue restaurant in Atlanta, it created a hub for blues singers to practice their musical interests and opened a gate for their success. In addition to that, as an African American musician, much of the black community in the city related to McTell since he is also a black man working in the city of Atlanta. Especially since what singers like McTell sung about was \"how African-American blues artists describe whites and even how they make distinctions within their own race\" (Blind Willie McTell: Presbyterian), which makes this specific blues audience more connected to the genre and the singers.

","In Buckhead area, this restaurant no longer stands, however it used to be located north of Decatur Street and Darktown. This is the northmost point in all of the locations. ",33.8409,-84.3795,[387,388],"Pig 'n' Whistle contributed to the creation of blues singer's careers by allowing them to perform outside and make spare change.","The area outside Pig ‘n’ Whistle in Decatur was a prominent location for the blues during the 1920’s. When Blind Willie McTell, a famous blues artist, first began performing, he started off by singing and playing on the streets of Atlanta, not inside venues (Goodson). The vicinity around Pig ‘n’ Whistle, a chain of barbecue restaurants that was located a little North of Decatur, was a place where McTell and Curley Weaver, another prominent blues singer in Atlanta at the time, would perform in the hopes to make some spare change. Since these artists would play outdoors, they favored the unusual twelve-string guitar, whose greater volume made it suitable for venues that were not indoors (Contemporary). In honor of Pig ‘n’ Whistle providing Blind Willie McTell with a place to launch his musical career, he named an album “Pig ‘n’ Whistle Red” in honor of the place where he used to perform. A famous song that comes from this album is called \"I Keep on Drinkin'\"; McTell sings about hard times and having to drink in order to wash his blues away. People of the working class related to songs like this because their lives were not as easy as those of the elite Atlantans; especially the black working class found common ground between their lives and McTell's lyrics. Since McTell started performing outdoors, they gave individuals of lower income a taste of the blues in Atlanta because they never had to pay for access or entry of any kind. Especially since many blues singers came from poor rural backgrounds, starting their careers on the streets instead of in venues was more prominent during this era. Pig ‘n’ Whistle served as more as a barbecue restaurant in Atlanta, it created a hub for blues singers to practice their musical interests and opened a gate for their success. In addition to that, as an African American musician, much of the black community in the city related to McTell since he is also a black man working in the city of Atlanta. Especially since what singers like McTell sung about was \"how African-American blues artists describe whites and even how they make distinctions within their own race\" (Blind Willie McTell: Presbyterian), which makes this specific blues audience more connected to the genre and the singers. ",[132,386],{"_74":383,"_128":384,"_130":385},[],"I Keep On Drinkin'","Provided to YouTube by Universal Music Group\n\nI Keep On Drinkin' · Blind Willie McTell\n\nPig 'n Whistle Red\n\n℗ 2003 Shout!\n\nReleased on: 2003-01-01\n\nAuto-generated by YouTube.","https://api.opentour.site/atlanta-music-maps/v4/public/media/vjqgughh65czw4suhnk7hd1ui619?variant=desktop","blues-performance-on-street-outside-pig-n-whistle",{"_98":363,"_95":186,"_128":384,"_139":171,"_141":401,"_142":402,"_143":403,"_145":404,"_35":405,"_148":84,"_149":150,"_151":403,"_152":177,"_154":178,"_74":383,"_157":402},{"_98":389,"_95":186,"_128":390,"_139":171,"_141":391,"_142":392,"_143":393,"_145":394,"_35":137,"_148":84,"_149":150,"_151":393,"_152":177,"_154":178,"_74":395,"_157":392},78,"Provided to YouTube by Universal Music Group\n\nHoney It Must Be Love · Blind Willie McTell\n\nPig 'n Whistle Red\n\n℗ 2003 Shout!\n\nReleased on: 2003-01-01\n\nAuto-generated by YouTube.","//www.youtube.com/embed/P1hPZCq3nuc","P1hPZCq3nuc","P1hPZCq3nuc.jpg",{"_158":396,"_160":397,"_162":398,"_164":399,"_166":400},"Honey It Must Be Love","https://api.opentour.site/atlanta-music-maps/v4/public/media/wgy7lbymwg65cf6dzj07k22fo2x1","https://api.opentour.site/atlanta-music-maps/v4/public/media/wgy7lbymwg65cf6dzj07k22fo2x1?variant=mobile","https://api.opentour.site/atlanta-music-maps/v4/public/media/wgy7lbymwg65cf6dzj07k22fo2x1?variant=tablet","https://api.opentour.site/atlanta-music-maps/v4/public/media/wgy7lbymwg65cf6dzj07k22fo2x1?variant=desktop","https://api.opentour.site/atlanta-music-maps/v4/public/media/wgy7lbymwg65cf6dzj07k22fo2x1?variant=lqip","//www.youtube.com/embed/-4Wh1AnC3SU","-4Wh1AnC3SU","-4Wh1AnC3SU.jpg",{"_158":406,"_160":407,"_162":408,"_164":385,"_166":409},13,"https://api.opentour.site/atlanta-music-maps/v4/public/media/vjqgughh65czw4suhnk7hd1ui619","https://api.opentour.site/atlanta-music-maps/v4/public/media/vjqgughh65czw4suhnk7hd1ui619?variant=mobile","https://api.opentour.site/atlanta-music-maps/v4/public/media/vjqgughh65czw4suhnk7hd1ui619?variant=tablet","https://api.opentour.site/atlanta-music-maps/v4/public/media/vjqgughh65czw4suhnk7hd1ui619?variant=lqip",54,"Darktown",{"_35":256,"_65":368,"_74":369},{"_35":452,"_65":453,"_74":454},"Courtland Street, Atlanta, GA","Darktown was an African-American populated neighborhood in Atlanta in which people of different social classes and statuses resided in in the late 1800s and early 1900s (Darktown). This location covers a larger and expansive area, however, it supported the blues and allowed it to prosper in the city. The individuals that resided in Darktown were supporters of the music being played on Decatur Street and would attend venues, halls, and bars that supported local blues artists. In terms of social economic status and entry to these music centers, the people from Darktown that were considered \"elite\" had priority and special access to these music and dance halls that required a higher level of etiquette in comparison to the 81 Theatre, for example. Most of the blues supporters from Darktown were from the black community and they played an important role in keeping the spirit of this particular genre of music alive in Atlanta. By the year 1870, almost 46% of the city's population was African American and it continued to increase slightly until the 1920s (African). With that, many of the individuals experiencing live music in the city were part of the black community because they dominated much of the metropolis at the time. Even though there was a racial and financial restriction on certain venues in relation to Darktown, it was still a place that inspired some blues artists, like Charles Hale. This song writer was inspired by the impact that Darktown had in Atlanta and wrote a song called \"At a Darktown Cakewalk\", which utilizes the name of the location in its title. This song is an example of a transition to the heart of blues that was prevalent during the 1920s in Atlanta; \"At a Darktown Cakewalk\" is a passage piece from ragtime into the blues, this type of sound is what allowed for the transition from Hale's type of music to Blind Willie McTell's, for example (The Darktown Cakewalk). Unfortunately, if one were to visit this location today, they would not encounter Darktown but they would actually be in Hotel District, which is a little north of Little Five Points. Courtland St NE passes right through hotels in Downtown Atlanta.

","On the edge of where Decatur Street is; directly south of the Athenaeum.",33.7629265,-84.3841216,[428,429],"One of the earlier locations in relation to Blues in Atlanta, and more specifically, near Decatur Street.\n","Darktown was an African-American populated neighborhood in Atlanta in which people of different social classes and statuses resided in in the late 1800s and early 1900s (Darktown). This location covers a larger and expansive area, however, it supported the blues and allowed it to prosper in the city. The individuals that resided in Darktown were supporters of the music being played on Decatur Street and would attend venues, halls, and bars that supported local blues artists. In terms of social economic status and entry to these music centers, the people from Darktown that were considered \"elite\" had priority and special access to these music and dance halls that required a higher level of etiquette in comparison to the 81 Theatre, for example. Most of the blues supporters from Darktown were from the black community and they played an important role in keeping the spirit of this particular genre of music alive in Atlanta. By the year 1870, almost 46% of the city's population was African American and it continued to increase slightly until the 1920s (African). With that, many of the individuals experiencing live music in the city were part of the black community because they dominated much of the metropolis at the time. Even though there was a racial and financial restriction on certain venues in relation to Darktown, it was still a place that inspired some blues artists, like Charles Hale. This song writer was inspired by the impact that Darktown had in Atlanta and wrote a song called \"At a Darktown Cakewalk\", which utilizes the name of the location in its title. This song is an example of a transition to the heart of blues that was prevalent during the 1920s in Atlanta; \"At a Darktown Cakewalk\" is a passage piece from ragtime into the blues, this type of sound is what allowed for the transition from Hale's type of music to Blind Willie McTell's, for example (The Darktown Cakewalk). Unfortunately, if one were to visit this location today, they would not encounter Darktown but they would actually be in Hotel District, which is a little north of Little Five Points. Courtland St NE passes right through hotels in Downtown Atlanta. ",[132,18],{"_74":425,"_128":426,"_130":427},[],"Atlanta Constitution Newspaper Article","Page from the Atlanta Constitution that talks about dance halls, pubs, and venues on Decatur Street.","https://api.opentour.site/atlanta-music-maps/v4/public/media/542d38ih5bj6cs6mxmzx4q3z4393?variant=desktop",{"_98":442,"_95":24,"_128":426,"_139":443,"_141":-5,"_142":-5,"_143":444,"_145":445,"_35":244,"_148":-5,"_149":446,"_151":444,"_152":153,"_154":447,"_74":425,"_157":-5},{"_98":430,"_95":186,"_128":431,"_139":171,"_141":432,"_142":433,"_143":434,"_145":435,"_35":231,"_148":84,"_149":150,"_151":434,"_152":177,"_154":178,"_74":436,"_157":433},82,"PDF score : https://ragtimedorianhenry.com/downloads/at-a-darktown-cake-walk-piano-solo-pdf-midi/\nAt a Darktown Cakewalk by Charles Hale, 1899","//www.youtube.com/embed/LHhZbkEMmUM","LHhZbkEMmUM","LHhZbkEMmUM.jpg",{"_158":437,"_160":438,"_162":439,"_164":440,"_166":441},"At a Darktown Cakewalk by Charles Hale, 1899","https://api.opentour.site/atlanta-music-maps/v4/public/media/3ut6rjtsux642m2iq50a866jkiy6","https://api.opentour.site/atlanta-music-maps/v4/public/media/3ut6rjtsux642m2iq50a866jkiy6?variant=mobile","https://api.opentour.site/atlanta-music-maps/v4/public/media/3ut6rjtsux642m2iq50a866jkiy6?variant=tablet","https://api.opentour.site/atlanta-music-maps/v4/public/media/3ut6rjtsux642m2iq50a866jkiy6?variant=desktop","https://api.opentour.site/atlanta-music-maps/v4/public/media/3ut6rjtsux642m2iq50a866jkiy6?variant=lqip",81,1429,"16056810616.jpeg",{"_158":448,"_160":449,"_162":450,"_164":427,"_166":451},286,714,"https://api.opentour.site/atlanta-music-maps/v4/public/media/542d38ih5bj6cs6mxmzx4q3z4393","https://api.opentour.site/atlanta-music-maps/v4/public/media/542d38ih5bj6cs6mxmzx4q3z4393?variant=mobile","https://api.opentour.site/atlanta-music-maps/v4/public/media/542d38ih5bj6cs6mxmzx4q3z4393?variant=tablet","https://api.opentour.site/atlanta-music-maps/v4/public/media/542d38ih5bj6cs6mxmzx4q3z4393?variant=lqip",53,"atlanta-athenaeum","Atlanta Athenaeum",{"_35":410,"_65":18,"_74":411},"615 Peachtree Street 1150, Atlanta, GA, 30308","The Athenaeum was the first performing arts theater in the city of Atlanta (Fife) and is an example of what the city's music landscape before it had a black music infrastructure. Built in the year 1854, Atlanta was hardly a village yet and was just starting to grow and become the metropolis that it is today (Georgia Historic). The Athenaeum was not considered a blues venue or theater of any kind, however, it was a gateway for the creation and development of the music genre in the city. This theatre was a location for plays at the time, which created a place for the arts to become prominent in the city; music was not the strong suit for this theater but it introduced the art of entertainment to Atlanta. Since theaters were not very prominent in Atlanta before the Athenaeum, the erection of this venue on Decatur Street was a huge step in the direction of the development of the music in the metropolis, especially near Peachtree Street where this theater was built. The Atlanta Athenaeum created an outlet for the arts and music to bloom and flourish in the city, especially later on when the the music, like the blues, became so prominent in the early 1920s. However, since this was the first and only theater at the time, the people who attended were not of lower class. Mostly the elite and wealthy of the city were in attendance at the Athenaeum because it was an exclusive and only venue in Atlanta. With that, it was difficult financially and socially for the people of lower income who would then attend venues on Decatur Street in years to come. The presence of the Athenaeum was crucial for the development and the creation of a place that could allow the lower class population to enjoy the performing arts. The theater was the venue that started it all in Atlanta in terms of performing arts but no longer stands (Georgia Historic). If one were to visit this location today, they would be in a commercial center on Ponce de Leon Ave surrounded by restaurants, markets, and apartments. ","

Starting off the tour here, this is the location of the first theater in Atlanta near Virginia Highland and directly above Darktown, the next stop in the tour.

",33.7718745,-84.3839099,[470,471],"The first venue of performing arts in Atlanta that inspired music, such as the blues, to flourish in the city.","The Athenaeum was the first performing arts theater in the city of Atlanta (Fife) and is an example of what the city's music landscape before it had a black music infrastructure. Built in the year 1854, Atlanta was hardly a village yet and was just starting to grow and become the metropolis that it is today (Georgia Historic). The Athenaeum was not considered a blues venue or theater of any kind, however, it was a gateway for the creation and development of the music genre in the city. This theatre was a location for plays at the time, which created a place for the arts to become prominent in the city; music was not the strong suit for this theater but it introduced the art of entertainment to Atlanta. Since theaters were not very prominent in Atlanta before the Athenaeum, the erection of this venue on Decatur Street was a huge step in the direction of the development of the music in the metropolis, especially near Peachtree Street where this theater was built. The Atlanta Athenaeum created an outlet for the arts and music to bloom and flourish in the city, especially later on when the the music, like the blues, became so prominent in the early 1920s. However, since this was the first and only theater at the time, the people who attended were not of lower class. Mostly the elite and wealthy of the city were in attendance at the Athenaeum because it was an exclusive and only venue in Atlanta. With that, it was difficult financially and socially for the people of lower income who would then attend venues on Decatur Street in years to come. The presence of the Athenaeum was crucial for the development and the creation of a place that could allow the lower class population to enjoy the performing arts. The theater was the venue that started it all in Atlanta in terms of performing arts but no longer stands (Georgia Historic). If one were to visit this location today, they would be in a commercial center on Ponce de Leon Ave surrounded by restaurants, markets, and apartments. ",[132,453],{"_74":467,"_128":468,"_130":469},[],"Street View of Athenaeum","A view of the street where the Athenaeum was located near the area that is Georgia State University today.","https://api.opentour.site/atlanta-music-maps/v4/public/media/nqw5gyi39u5cjn1b1lmgb9tn0kez?variant=desktop",{"_98":482,"_95":24,"_128":468,"_139":140,"_141":-5,"_142":-5,"_143":483,"_145":484,"_35":287,"_148":-5,"_149":150,"_151":483,"_152":153,"_154":155,"_74":467,"_157":-5},{"_98":472,"_95":186,"_128":473,"_139":140,"_141":-5,"_142":-5,"_143":474,"_145":475,"_35":274,"_148":-5,"_149":150,"_151":474,"_152":153,"_154":155,"_74":476,"_157":-5},80,"A written document that describes what is seen in the first image: view of Decatur Street.","16056465640.jpeg",{"_158":477,"_160":478,"_162":479,"_164":480,"_166":481},"Decatur Street Plaque","https://api.opentour.site/atlanta-music-maps/v4/public/media/1gfpfqbu1j9gomekcbmao6d2e45d","https://api.opentour.site/atlanta-music-maps/v4/public/media/1gfpfqbu1j9gomekcbmao6d2e45d?variant=mobile","https://api.opentour.site/atlanta-music-maps/v4/public/media/1gfpfqbu1j9gomekcbmao6d2e45d?variant=tablet","https://api.opentour.site/atlanta-music-maps/v4/public/media/1gfpfqbu1j9gomekcbmao6d2e45d?variant=desktop","https://api.opentour.site/atlanta-music-maps/v4/public/media/1gfpfqbu1j9gomekcbmao6d2e45d?variant=lqip",79,"16056465588.jpeg",{"_158":485,"_160":486,"_162":487,"_164":469,"_166":488},"https://api.opentour.site/atlanta-music-maps/v4/public/media/nqw5gyi39u5cjn1b1lmgb9tn0kez","https://api.opentour.site/atlanta-music-maps/v4/public/media/nqw5gyi39u5cjn1b1lmgb9tn0kez?variant=mobile","https://api.opentour.site/atlanta-music-maps/v4/public/media/nqw5gyi39u5cjn1b1lmgb9tn0kez?variant=tablet","https://api.opentour.site/atlanta-music-maps/v4/public/media/nqw5gyi39u5cjn1b1lmgb9tn0kez?variant=lqip","blues-tour","Drum Set","Blues artists utilized such instruments.","https://api.opentour.site/atlanta-music-maps/v4/public/media/oe4bler0qafiecbnyup8z4yb448z?variant=desktop",{"_98":405,"_35":24,"_74":503},{"_98":501,"_35":186,"_74":502},{"_98":499,"_35":169,"_74":500},{"_98":497,"_35":36,"_74":498},16,"WALKING",15,"TRANSIT",14,"DRIVING","BICYCLING",{"_98":363,"_95":186,"_128":491,"_139":140,"_141":-5,"_142":-5,"_143":505,"_145":506,"_35":507,"_148":-5,"_149":150,"_151":505,"_152":153,"_154":155,"_74":490,"_157":-5},"16067082723.jpeg",{"_158":508,"_160":509,"_162":510,"_164":492,"_166":511},114,"https://api.opentour.site/atlanta-music-maps/v4/public/media/oe4bler0qafiecbnyup8z4yb448z","https://api.opentour.site/atlanta-music-maps/v4/public/media/oe4bler0qafiecbnyup8z4yb448z?variant=mobile","https://api.opentour.site/atlanta-music-maps/v4/public/media/oe4bler0qafiecbnyup8z4yb448z?variant=tablet","https://api.opentour.site/atlanta-music-maps/v4/public/media/oe4bler0qafiecbnyup8z4yb448z?variant=lqip",{"_95":24,"_98":213,"_35":213,"_74":513,"_65":514,"_515":516,"_115":26,"_517":24},"Bibliography","bibliography","body","

“African-American Experience--Atlanta: A National Register of Historic Places Travel Itinerary.” National Parks Service, U.S. Department of the Interior, www.nps.gov/nr/travel/atlanta/africanamerican.htm.

American Blues-Music Maker Relief Foundation: Meet Cora Mae Bryant, www.ibiblio.org/musicmakers/mm4000b/mm4003.html.

“American Music History Was Made in Atlanta.” Nassau Street Sessions, 25 Dec. 2018, www.nassaustreetsessions.com/.

Atlanta Journal-Constitution Photographic Archives. Special Collections and Archives, Georgia State University Library.

Blind Willie's History, www.blindwilliesblues.com/history.htm.

“Blind Willie McTell.” Presbyterian Blues, presbyterianblues.wordpress.com/tag/blind-willie-mctell/.

\"Blind Willie McTell - The Classic Years, 1927-1940\" by Brett Jordan is licensed with CC BY 2.0. To view a copy of this license, visit https://creativecommons.org/licenses/by/2.0/

“Blues Music: Overview.” New Georgia Encyclopedia, www.georgiaencyclopedia.org/articles/arts-culture/blues-music-overview.

Boyd, Robert L. “The 'Black Metropolis' Revisited: A Comparative Analysis of Northern and Southern Cities in the United States in the Early 20th Century.” Urban Studies, vol. 49, no. 4, 2012, pp. 845–860. JSTOR, www.jstor.org/stable/26150882. Accessed 28 Nov. 2020

Cagle, Ryan D. “The Spirit of Atlanta: A Quest for Context of 1920's Atlanta.” Idea Tank, 19 Mar. 2015, sites.gsu.edu/rcagle2/2015/03/19/the-spirit-of-atlanta-a-quest-for-context-of-1920s-atlanta/.

Chadbourne, Eugene. “Georgia Cotton Pickers: Biography & History.” AllMusic, www.allmusic.com/artist/georgia-cotton-pickers-mn0000765263.

“COLUMBIA RECORDS.” <i>11th Street Studios</i>, 2 Jan. 2014, 11thstreetstudios.com/portfolio-item/columbia-records/. <div></div></p>

Columbia Records, www.columbiarecords.com/.

“Columbia Recording Studios.” Discogs, www.discogs.com/label/278369-Columbia-Recording-Studios.

Contemporary Musicians. . Encyclopedia.com. 18 Oct. 2020 .” Encyclopedia.com, Encyclopedia.com, 2 Dec. 2020, www.encyclopedia.com/education/news-wires-white-papers-and-books/mctell-blind-willie.

\"Earl Smith Strand Theatre 12152008 002\" by City of Marietta, GA is licensed with CC BY 2.0. To view a copy of this license, visit https://creativecommons.org/licenses/by/2.0/

\"Earl Smith Strand Theatre 04212010 005\" by City of Marietta, GA is licensed under CC BY 2.0. To view a copy of this license, visit https://creativecommons.org/licenses/by/2.0/

Ellerbee, Jason L. AFRICAN AMERICAN THEATERS IN GEORGIA: PRESERVING AN ENTERTAINMENT LEGACY . 2004.

Fife, Iline. “The Confederate Theater in Georgia.” The Georgia Review, vol. 9, no. 3, 1955, pp. 305–315. JSTOR, www.jstor.org/stable/41398073. Accessed 17 Nov. 2020.

Fulmer, D. (Director). (1997). Georgia Blues: Blind Willie McTell [Video file]. Retrieved September 21, 2020, from https://www.youtube.com/watch?v=MPn_DyDd-KY

Georgia Cotton Pickers - Discography of American Historical Recordings, adp.library.ucsb.edu/index.php/mastertalent/detail/108467/Georgia_Cotton_Pickers.

“Georgia Historic Newspapers.” The Athenaeum. (Atlanta, GA) 1898-1925 \" Georgia Historic Newspapers, gahistoricnewspapers.galileo.usg.edu/lccn/sn98240343/.

Goodson, S. (2002). Atlanta as a Regional Music Center. In Highbrows, hillbillies et hellfire: Public entertainment in Atlanta, 1880-1930 (pp. 167-177). Athens, GA: Univ. of Georgia Press.

Mahon, M. (2019, August 05). How Bessie Smith Influenced A Century Of Popular Music. Retrieved September 21, 2020, from https://www.npr.org/2019/08/05/747738120/how-bessie-smith-influenced-a-century-of-popular-music

\"Northside Tavern (03)\" by Thomas Cizauskas is licensed with CC BY-NC-ND 2.0. To view a copy of this license, visit https://creativecommons.org/licenses/by-nc-nd/2.0/

\"Piedmont Park\" by grantdaws is licensed with CC BY-NC-ND 2.0. To view a copy of this license, visit https://creativecommons.org/licenses/by-nc-nd/2.0/

“Strand Theatre History.” Strand Marietta, earlsmithstrand.org/about/strand-theatre-history/.

The Darktown Cakewalk: Celebrated from the House of FAME(4 Stars), 2016, coffeetablenotes.blogspot.com/2016/04/the-darktown-cakewalk-celebrated-from.html.

“THE NORTHSIDE TAVERN.” Northside History, www.northsidetavern.com/northside-history.html.

“THE NORTHSIDE TAVERN.” The Northside Tavern - Home to the Blues - Music 7 Nights, www.northsidetavern.com/.

“Wednesday Nov 25th Real Deal.” The Northside Tavern - Home to the Blues - Music 7 Nights, www.northsidetavern.com/.

Youtube, 2010, www.youtube.com/watch?v=mkXJSctNtmU&feature=youtu.be

Youtube, 2014, www.youtube.com/watch?v=_DZ0DPaVtdc&feature=emb_logo

Youtube, 2014, www.youtube.com/watch?v=3wnCQ__EOQA&feature=emb_logo

Youtube, 2014, www.youtube.com/watch?v=IYlb11TEZU0&feature=emb_logo

Youtube, 2017, www.youtube.com/watch?v=cNuaEHuzJxk&feature=youtu.be

Youtube, 2018, www.youtube.com/watch?v=LHhZbkEMmUM&feature=youtu.be

Youtube, 2019, www.youtube.com/watch?v=-4Wh1AnC3SU.

Youtube, 2019, www.youtube.com/watch?v=P1hPZCq3nuc&feature=youtu.be.

“81 Theatre.” Cinema Treasures, cinematreasures.org/theaters/17658.

","tour_count","south",33.74161065,"north",33.851932149999996,"east",-84.34516042499999,"west",-84.41955617500001,"centerLat",33.7967714,"centerLng",-84.38235829999999,29,"external_url","footer_logo","name","logo_url","notes","subdir","tourSet",{"_35":545,"_80":546,"_547":548,"_549":550},"request",{"_541":542,"_543":544},"protocol","http","host","atlanta-music-maps.opentour.site","29","tour_sets","attributes",{"_533":73,"_536":10,"_555":556,"_557":558,"_534":-5,"_559":560},"relationships",{"_551":552},"admins",{"_553":554},"data",[],"published_tours",[650,651,652,653,654,655,656,657,658,659,660,661,662,663],"mapable_tours",[569,570,571,572,573,574,575,576,577,578,579,580,581,582],"logo",{"_533":559,"_561":562},"record",{"_35":530,"_533":73,"_563":564,"_565":564,"_536":10,"_566":-5,"_531":-5,"_535":-5,"_532":-5,"_567":-5,"_568":-5,"_31":-5},"created_at","2020-08-31T16:17:23.404Z","updated_at","tour_id","base_sixty_four","logo_title",{"_74":645,"_65":646,"_585":647},{"_74":640,"_65":641,"_585":642},{"_74":635,"_65":636,"_585":637},{"_74":630,"_65":631,"_585":632},{"_74":75,"_65":16,"_585":629},{"_74":624,"_65":625,"_585":626},{"_74":619,"_65":620,"_585":621},{"_74":614,"_65":615,"_585":616},{"_74":609,"_65":610,"_585":611},{"_74":604,"_65":605,"_585":606},{"_74":599,"_65":600,"_585":601},{"_74":594,"_65":595,"_585":596},{"_74":589,"_65":590,"_585":591},{"_74":583,"_65":584,"_585":586},"The Relationship Between Intensity and Poverty: How Poor People Scream","the-relationship-between-intensity-and-poverty-how-poor-people-scream","center",{"_109":587,"_111":588},33.7370176,-84.34794265,"The Queer Voice in Popular Music","the-queer-voice-in-popular-music",{"_109":592,"_111":593},33.831477,-83.97066195,"The Growth of Expression","the-growth-of-expression",{"_109":597,"_111":598},33.11869515,-84.6846637,"Otis Redding: The King of Soul's Impact Throughout Atlanta","otis-redding-the-king-of-soul-s-impact-throughout-atlanta",{"_109":602,"_111":603},33.295618,-83.95802765,"Women in Mainstream Atlantan Hip Hop and R&B","women-in-mainstream-atlantan-hip-hop-and-r-b",{"_109":607,"_111":608},33.7942927,-84.46480704999999,"Gender in Genres of Atlanta's Music Industry","gender-in-genres-of-atlanta-s-music-industry",{"_109":612,"_111":613},33.2014666,-84.64507065000001,"An Atlanta Paradox: Observing Racial Inequality in a City Too Busy to Hate","an-atlanta-paradox-observing-racial-inequality-in-a-city-too-busy-to-hate",{"_109":617,"_111":618},33.740392299999996,-84.39888579999999,"A Journey of Black Female Artists in Atlanta","a-journey-of-black-female-artists-in-atlanta",{"_109":622,"_111":623},33.3419073,-84.09174825,"Classic Female Blues Singers","classic-female-blues-singers",{"_109":627,"_111":628},33.52053995,-84.154021,{"_109":527,"_111":529},"OutKast: The OG ATLiens ","outkast-the-og-atliens",{"_109":633,"_111":634},33.69115875,-84.4120887,"Atlanta's Indie Folk Scene","atlanta-s-indie-folk-scene",{"_109":638,"_111":639},33.784265649999995,-84.34551409,"Donald Glover's 'Atlanta'","donald-glover-s-atlanta",{"_109":643,"_111":644},33.1362372,-83.2113263,"\"The South Got Something to Say\": Origins of Hip Hop in the Dirty South","the-south-got-something-to-say-origins-of-hip-hop-in-the-dirty-south",{"_109":648,"_111":649},33.772528050000005,-84.3946905,{"_74":645,"_65":646,"_664":678},{"_74":640,"_65":641,"_664":677},{"_74":635,"_65":636,"_664":676},{"_74":630,"_65":631,"_664":675},{"_74":75,"_65":16,"_664":674},{"_74":624,"_65":625,"_664":673},{"_74":619,"_65":620,"_664":672},{"_74":614,"_65":615,"_664":671},{"_74":609,"_65":610,"_664":670},{"_74":604,"_65":605,"_664":669},{"_74":599,"_65":600,"_664":668},{"_74":594,"_65":595,"_664":667},{"_74":589,"_65":590,"_664":666},{"_74":583,"_65":584,"_664":665},"location",{"_109":587,"_111":588},{"_109":592,"_111":593},{"_109":597,"_111":598},{"_109":602,"_111":603},{"_109":607,"_111":608},{"_109":612,"_111":613},{"_109":617,"_111":618},{"_109":622,"_111":623},{"_109":627,"_111":628},{"_109":527,"_111":529},{"_109":633,"_111":634},{"_109":638,"_111":639},{"_109":643,"_111":644},{"_109":648,"_111":649}]