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Beyond the AAB form and the 12 bar blues form, blues music was not only a platform for artists to pass on their narrative relating to racial discrimination, but also a platform for black female blues singers to rise above their male counterparts and mainstream narratives of black female autonomy as a vehicle for social reform and awareness.

At the beginning of the 20th century, life for African Americans in the Deep South was extremely difficult. Although slavery had long since been outlawed, conditions for African Americans barely improved. Tied to the white racial frame and white supremacy, issues such as sharecropping and state laws and legislation such as the “Jim Crow Laws” that enforced racial segregation ensured that many of them remained subservient to rich white landowners (Principia, 2017). In addition at this time, there was a presence of indigenous media that attempted to instruct Black women on acceptable behaviors and modeled idealized notions of sexual propriety (Joseph and Rhodes, 2017). However, they were able to resist the white patriarchy, empower other black women, and provide social commentary on their personal views on themes such as queerness, feminism, and race.

The 1920s was a milestone in the cultural history of the Afro-American community in the United States. It was the decade dubbed as the Harlem Renaissance, and there was an intellectual, social, and artistic explosion of literature, fashion, and music (Mcguire, 1986). But more importantly, it was the rise of the classic blues singers. During this time, the political and social scene of America was changing with women gaining the right to vote and challenging the domestic confinement of female musicians.

In the rural Deep South specifically in Georgia, blues music can be heard emanating from an open window or street corner. Blues music first became popular as a result of traveling minstrels and tent shows. Many of the early classic blues singers started out in Vaudeville including Ma Rainey, Bessie Smith, Clara Smith, Ethel Waters, and Sara Martin (Ze, 2020). One of the significant vaudeville circuits for African-American performers was the Theatre Owners Booking Association (T.O.B.A). The association commonly booked their performers in Georgia performing in venues such as the Douglass Theatre in Macon, Georgia, or the Morton theatre in Athens, Georgia (Ellerbee, 2004). Furthermore, Atlanta served as a blues “melting pot” as it was the South’s foremost blues recording center. It was home to the Okeh recording center, the first-ever recording studio to record traditional artists of either race in the South (Daley, 2019). This provided artists the opportunity to distribute their music across the country and spread their message more efficiently. In addition, Atlanta was home to Decatur street. Decatur street was filled with music from street musicians to black dance halls. It housed the famous 81 Theatre and featured the earliest and most-renowned female singers. Because Decatur street was also the center of black working-class culture, its dance halls were deemed to be “the nests where the worst forms of crime are born and breed” and were considered to be “no place for the refined and respectable,” (Goodson, 2007). But the music persisted and Atlanta continued to provide a community for others to practice and enjoy black vernacular music.

Despite the prejudices they faced, these female blues musicians were able to help blues emerge and develop in Georgia and help recognize Atlanta as a major music center in America. This tour aims to recognize these women and help identify important themes in their songs that fit and develop the blues tradition.

","flat_pages",[789],"id",10,"is_geo",true,"link_address","link_text","map_icon","map_overlay","map_type","hybrid","media",[781],"meta_description","Beyond the AAB form and the 12 bar blues form, blues music was not only a platform for artists to pass on their narrative relating to racial discrimination, but also a platform for black female blues singers to rise above their male counterparts and mainstream narratives of black female autonomy as a vehicle for social reform and awareness. At the beginning of the 20th century, life for African Americans in the Deep South was extremely difficult. Although slavery had long since been outlawed, conditions for African Americans barely improved. Tied to the white racial frame and white supremacy, issues such as sharecropping and state laws and legislation such as the “Jim Crow Laws” that enforced racial segregation ensured that many of them remained subservient to rich white landowners (Principia, 2017). In addition at this time, there was a presence of indigenous media that attempted to instruct Black women on acceptable behaviors and modeled idealized notions of sexual propriety (Joseph and Rhodes, 2017). However, they were able to resist the white patriarchy, empower other black women, and provide social commentary on their personal views on themes such as queerness, feminism, and race. The 1920s was a milestone in the cultural history of the Afro-American community in the United States. It was the decade dubbed as the Harlem Renaissance, and there was an intellectual, social, and artistic explosion of literature, fashion, and music (Mcguire, 1986). But more importantly, it was the rise of the classic blues singers. During this time, the political and social scene of America was changing with women gaining the right to vote and challenging the domestic confinement of female musicians. In the rural Deep South specifically in Georgia, blues music can be heard emanating from an open window or street corner. Blues music first became popular as a result of traveling minstrels and tent shows. Many of the early classic blues singers started out in Vaudeville including Ma Rainey, Bessie Smith, Clara Smith, Ethel Waters, and Sara Martin (Ze, 2020). One of the significant vaudeville circuits for African-American performers was the Theatre Owners Booking Association (T. O.B. A). The association commonly booked their performers in Georgia performing in venues such as the Douglass Theatre in Macon, Georgia, or the Morton theatre in Athens, Georgia (Ellerbee, 2004). Furthermore, Atlanta served as a blues “melting pot” as it was the South’s foremost blues recording center. It was home to the Okeh recording center, the first-ever recording studio to record traditional artists of either race in the South (Daley, 2019). This provided artists the opportunity to distribute their music across the country and spread their message more efficiently. In addition, Atlanta was home to Decatur street. Decatur street was filled with music from street musicians to black dance halls. It housed the famous 81 Theatre and featured the earliest and most-renowned female singers. Because Decatur street was also the center of black working-class culture, its dance halls were deemed to be “the nests where the worst forms of crime are born and breed” and were considered to be “no place for the refined and respectable,” (Goodson, 2007). But the music persisted and Atlanta continued to provide a community for others to practice and enjoy black vernacular music. Despite the prejudices they faced, these female blues musicians were able to help blues emerge and develop in Georgia and help recognize Atlanta as a major music center in America. This tour aims to recognize these women and help identify important themes in their songs that fit and develop the blues tradition.","mode",{"_35":137,"_73":779},"modes",[771,772,773,774],"open_geographies_endpoint","published","published_on","2026-09-10","read_duration","10 minutes reading","restrict_bounds","restrict_bounds_to_overlay","sanitized_description","splash",{"_73":769,"_130":-5,"_131":770},"slug","slugs",[16],"stop_count",12,"stops",[85,86,87,88,89,90,91,92,93,94,95,96],"tenant_title","Atlanta Music Maps","title","Classic Female Blues Singers","travel_duration","About 7 hours driving","theme",{"_35":83,"_73":84},"type","voice_overs",[],"use_directions",5,"dark-blue",{"_97":724,"_98":24,"_99":-5,"_101":721,"_103":725,"_105":-5,"_31":726,"_107":-5,"_108":-5,"_109":110,"_35":721,"_111":727,"_113":728,"_41":-5,"_45":729,"_47":116,"_117":26,"_118":-5,"_119":-5,"_54":38,"_61":730,"_64":722,"_65":731,"_62":732,"_73":723,"_79":125,"_126":-5,"_127":-5,"_80":733},{"_97":672,"_98":137,"_99":673,"_101":669,"_103":674,"_105":-5,"_31":675,"_107":-5,"_108":-5,"_109":110,"_35":669,"_111":676,"_113":677,"_41":-5,"_45":678,"_47":116,"_117":26,"_118":-5,"_119":-5,"_54":38,"_61":679,"_64":670,"_65":680,"_62":681,"_73":671,"_79":125,"_126":-5,"_127":-5,"_80":682},{"_97":615,"_98":226,"_99":616,"_101":612,"_103":617,"_105":-5,"_31":618,"_107":-5,"_108":-5,"_109":110,"_35":612,"_111":619,"_113":620,"_41":-5,"_45":621,"_47":116,"_117":26,"_118":-5,"_119":-5,"_54":38,"_61":622,"_64":613,"_65":623,"_62":624,"_73":614,"_79":125,"_126":-5,"_127":-5,"_80":625},{"_97":566,"_98":209,"_99":567,"_101":563,"_103":568,"_105":-5,"_31":569,"_107":-5,"_108":-5,"_109":110,"_35":563,"_111":570,"_113":571,"_41":-5,"_45":572,"_47":116,"_117":26,"_118":-5,"_119":-5,"_54":38,"_61":573,"_64":564,"_65":574,"_62":575,"_73":565,"_79":125,"_126":-5,"_127":-5,"_80":576},{"_97":527,"_98":83,"_99":528,"_101":524,"_103":529,"_105":-5,"_31":530,"_107":-5,"_108":-5,"_109":110,"_35":524,"_111":531,"_113":532,"_41":-5,"_45":533,"_47":116,"_117":26,"_118":-5,"_119":-5,"_54":38,"_61":534,"_64":525,"_65":535,"_62":536,"_73":526,"_79":125,"_126":-5,"_127":-5,"_80":537},{"_97":478,"_98":479,"_99":480,"_101":475,"_103":481,"_105":-5,"_31":482,"_107":-5,"_108":-5,"_109":110,"_35":475,"_111":483,"_113":484,"_41":-5,"_45":485,"_47":116,"_117":26,"_118":-5,"_119":-5,"_54":38,"_61":486,"_64":476,"_65":487,"_62":488,"_73":477,"_79":125,"_126":-5,"_127":-5,"_80":489},{"_97":427,"_98":428,"_99":429,"_101":424,"_103":430,"_105":-5,"_31":431,"_107":-5,"_108":-5,"_109":110,"_35":424,"_111":432,"_113":433,"_41":-5,"_45":434,"_47":116,"_117":26,"_118":-5,"_119":-5,"_54":38,"_61":435,"_64":425,"_65":436,"_62":437,"_73":426,"_79":125,"_126":-5,"_127":-5,"_80":438},{"_97":377,"_98":378,"_99":379,"_101":375,"_103":315,"_105":-5,"_31":380,"_107":-5,"_108":-5,"_109":110,"_35":375,"_111":317,"_113":318,"_41":-5,"_45":381,"_47":116,"_117":26,"_118":-5,"_119":-5,"_54":38,"_61":382,"_64":18,"_65":383,"_62":384,"_73":376,"_79":125,"_126":-5,"_127":-5,"_80":385},{"_97":312,"_98":313,"_99":314,"_101":309,"_103":315,"_105":-5,"_31":316,"_107":-5,"_108":-5,"_109":110,"_35":309,"_111":317,"_113":318,"_41":-5,"_45":319,"_47":116,"_117":26,"_118":-5,"_119":-5,"_54":38,"_61":320,"_64":310,"_65":321,"_62":322,"_73":311,"_79":125,"_126":-5,"_127":-5,"_80":323},{"_97":260,"_98":36,"_99":261,"_101":257,"_103":262,"_105":-5,"_31":263,"_107":-5,"_108":-5,"_109":110,"_35":257,"_111":264,"_113":265,"_41":-5,"_45":266,"_47":116,"_117":26,"_118":-5,"_119":-5,"_54":38,"_61":267,"_64":258,"_65":268,"_62":269,"_73":259,"_79":125,"_126":-5,"_127":-5,"_80":270},{"_97":178,"_98":179,"_99":180,"_101":175,"_103":181,"_105":-5,"_31":182,"_107":-5,"_108":-5,"_109":110,"_35":175,"_111":183,"_113":184,"_41":-5,"_45":185,"_47":116,"_117":26,"_118":-5,"_119":-5,"_54":38,"_61":186,"_64":176,"_65":187,"_62":188,"_73":177,"_79":125,"_126":-5,"_127":-5,"_80":189},{"_97":-5,"_98":68,"_99":100,"_101":102,"_103":104,"_105":-5,"_31":106,"_107":-5,"_108":-5,"_109":110,"_35":102,"_111":112,"_113":114,"_41":-5,"_45":115,"_47":116,"_117":26,"_118":-5,"_119":-5,"_54":38,"_61":120,"_64":121,"_65":122,"_62":123,"_73":124,"_79":125,"_126":-5,"_127":-5,"_80":128},"next","position","previous",{"_35":175,"_64":176,"_73":177},"relation_id",66,"address","2800 Cobb Galleria Pkwy, Atlanta, GA 30339","article_link","The final stop of the tour is at Cobb Energy Performing Arts Centre, which was one of the first major performing arts facilities built in metropolitan Atlanta (Camp, 2019). In addition, it is the venue that will host the upcoming Annual Atlanta Blues Festival. The Blues Festival will be held on April 9, 2021, and will feature a variety of artists including Clarence Carter, Shirley Brown, Bobby Rush, Latimore, Theodis Ealey, and Pokey Bear. Atlanta Blues Festival is an opportunity for people to experience and celebrate the beautiful and graceful aging of Blues. In addition, the greatest inspirational names of blues music are played at this event to commemorate their contributions. Not only a true representative of the city’s signature Blues, but the Atlanta Blues Festival has also become the city’s identity.","direction_intro","direction_notes","icon_color","#D32F2F","lat",33.8846554,"lng",-84.4591061,[134,135],"","orphaned","parking_lat","parking_lng","The final stop of the tour is at Cobb Energy Performing Arts Centre, which was one of the first major performing arts facilities built in metropolitan Atlanta (Camp, 2019). In addition, it is the venue that will host the upcoming Annual Atlanta Blues Festival. The Blues Festival will be held on April 9, 2021, and will feature a variety of artists including Clarence Carter, Shirley Brown, Bobby Rush, Latimore, Theodis Ealey, and Pokey Bear. Atlanta Blues Festival is an opportunity for people to experience and celebrate the beautiful and graceful aging of Blues. In addition, the greatest inspirational names of blues music are played at this event to commemorate their contributions. Not only a true representative of the city’s signature Blues, but the Atlanta Blues Festival has also become the city’s identity.","annual-atlanta-blues-festival",[133,121],{"_73":129,"_130":-5,"_131":132},"Annual Atlanta Blues Festival ","stop","video_embed","video_poster",[],"CEPAC-exterior-night-slide-898ac808d6.jpg","caption","url","https://api.opentour.site/atlanta-music-maps/v4/public/media/us4f8o205t8af7bybi8zbuo0xnor?variant=desktop","untitled",{"_101":167,"_98":24,"_130":-5,"_138":139,"_140":-5,"_141":-5,"_142":168,"_144":169,"_35":170,"_147":-5,"_148":149,"_150":168,"_151":152,"_153":154,"_73":129,"_156":-5},{"_101":136,"_98":137,"_130":-5,"_138":139,"_140":-5,"_141":-5,"_142":143,"_144":145,"_35":146,"_147":-5,"_148":149,"_150":143,"_151":152,"_153":154,"_73":155,"_156":-5},128,2,"desktop_width",1500,"embed","embed_id","filename","16069807690.jpeg","files",{"_157":158,"_159":160,"_161":162,"_163":164,"_165":166},138,"lqip_width","mobile_width",300,"original_image","provider","keiner","tablet_width",750,"280720_1583951819.jpg","video","original","https://api.opentour.site/atlanta-music-maps/v4/public/media/bag8yapxnm4uc6wot40nyc9dxcmf","mobile","https://api.opentour.site/atlanta-music-maps/v4/public/media/bag8yapxnm4uc6wot40nyc9dxcmf?variant=mobile","tablet","https://api.opentour.site/atlanta-music-maps/v4/public/media/bag8yapxnm4uc6wot40nyc9dxcmf?variant=tablet","desktop","https://api.opentour.site/atlanta-music-maps/v4/public/media/bag8yapxnm4uc6wot40nyc9dxcmf?variant=desktop","lqip","https://api.opentour.site/atlanta-music-maps/v4/public/media/bag8yapxnm4uc6wot40nyc9dxcmf?variant=lqip",127,"16069807366.jpeg",{"_157":171,"_159":172,"_161":173,"_163":132,"_165":174},137,"https://api.opentour.site/atlanta-music-maps/v4/public/media/us4f8o205t8af7bybi8zbuo0xnor","https://api.opentour.site/atlanta-music-maps/v4/public/media/us4f8o205t8af7bybi8zbuo0xnor?variant=mobile","https://api.opentour.site/atlanta-music-maps/v4/public/media/us4f8o205t8af7bybi8zbuo0xnor?variant=tablet","https://api.opentour.site/atlanta-music-maps/v4/public/media/us4f8o205t8af7bybi8zbuo0xnor?variant=lqip",52,"muhlenbrink-s-saloon-underground-atlanta","Muhlenbrink's Saloon Underground Atlanta ",{"_35":102,"_64":121,"_73":124},11,{"_35":257,"_64":258,"_73":259},"50 Upper Alabama St SW, Atlanta, GA 30303-3192","

Underground Atlanta is one of the oldest streets in Atlanta and it used to serve as the city’s main source of entertainment since the early 20th century. During Prohibition, many Atlantans would visit Underground Atlanta for its speakeasies and juke joints (Kent and Chesnutt, 1991). In the opening lines of Bessie Smith's 1927 song \"Preachin' The Blues,” it documents its importance as an entertainment district. Then in 1969, Underground Atlanta would later reopen with new restaurants, bars, nightclubs, and music venues installed in the old individual storefronts.

Beverly \"Guitar\" Watkins, also known as “Queen of Blues Guitar,” played in a number of clubs throughout Atlanta including the clubs located in Underground Atlanta (Maddux, 2016). Her earliest influences included Rosetta Tharpe, Bessie Smith, Ma Rainey, and Memphis Minnie and she would play their recordings while developing her own style of rock and roll blues. In her junior year of high school, she joined the band, Piano Red and the Meter-tones and together they spent ten years as the house musician at Muhlenbrink’s Saloon in Underground Atlanta. When it opened again in 1989, Watkins installed herself as the unofficial house musician of the food court, playing for tips. Like her predecessors, she persisted through misogynistic messages such as “Women don’t need to be playing no guitar,” and revolutionized the blues tradition for future generations.

\"You got your mind out, oh you wanna roam, You settle down and leave the others alone\"- The Right String (But the Wrong Yo-Yo) by Piano Red

",33.7515593,-84.3898914,[193,194,195,196,197],"Underground Atlanta is one of the oldest streets in Atlanta and it used to serve as the city’s main source of entertainment since the early 20th century. During Prohibition, many Atlantans would visit Underground Atlanta for its speakeasies and juke joints (Kent and Chesnutt, 1991). In the opening lines of Bessie Smith's 1927 song \"Preachin' The Blues,” it documents its importance as an entertainment district. Then in 1969, Underground Atlanta would later reopen with new restaurants, bars, nightclubs, and music venues installed in the old individual storefronts. Beverly \"Guitar\" Watkins, also known as “Queen of Blues Guitar,” played in a number of clubs throughout Atlanta including the clubs located in Underground Atlanta (Maddux, 2016). Her earliest influences included Rosetta Tharpe, Bessie Smith, Ma Rainey, and Memphis Minnie and she would play their recordings while developing her own style of rock and roll blues. In her junior year of high school, she joined the band, Piano Red and the Meter-tones and together they spent ten years as the house musician at Muhlenbrink’s Saloon in Underground Atlanta. When it opened again in 1989, Watkins installed herself as the unofficial house musician of the food court, playing for tips. Like her predecessors, she persisted through misogynistic messages such as “Women don’t need to be playing no guitar,” and revolutionized the blues tradition for future generations. \"You got your mind out, oh you wanna roam, You settle down and leave the others alone\"- The Right String (But the Wrong Yo-Yo) by Piano Red",[133,192,176],{"_73":190,"_130":-5,"_131":191},[],"442103ffc8a171b8727990b782d43f52.jpg","https://api.opentour.site/atlanta-music-maps/v4/public/media/02durdp7we0ezjbhxe84pmghbef1?variant=desktop","underground-atlanta",{"_101":249,"_98":24,"_130":-5,"_138":139,"_140":-5,"_141":-5,"_142":250,"_144":251,"_35":252,"_147":-5,"_148":149,"_150":250,"_151":152,"_153":154,"_73":190,"_156":-5},{"_101":236,"_98":137,"_130":-5,"_138":237,"_140":-5,"_141":-5,"_142":238,"_144":239,"_35":240,"_147":-5,"_148":241,"_150":238,"_151":152,"_153":242,"_73":243,"_156":-5},{"_101":225,"_98":226,"_130":-5,"_138":139,"_140":-5,"_141":-5,"_142":227,"_144":228,"_35":229,"_147":-5,"_148":149,"_150":227,"_151":152,"_153":154,"_73":230,"_156":-5},{"_101":208,"_98":209,"_130":210,"_138":211,"_140":212,"_141":213,"_142":214,"_144":215,"_35":216,"_147":83,"_148":149,"_150":214,"_151":217,"_153":218,"_73":219,"_156":213},{"_101":198,"_98":83,"_130":-5,"_138":139,"_140":-5,"_141":-5,"_142":199,"_144":200,"_35":201,"_147":-5,"_148":149,"_150":199,"_151":152,"_153":154,"_73":202,"_156":-5},170,"16072112904.jpeg",{"_157":203,"_159":204,"_161":205,"_163":206,"_165":207},180,"A-1704503-1499851740-1276.jpeg.jpg","https://api.opentour.site/atlanta-music-maps/v4/public/media/xjdxkqf3ex858jv7xolkulo0ycmy","https://api.opentour.site/atlanta-music-maps/v4/public/media/xjdxkqf3ex858jv7xolkulo0ycmy?variant=mobile","https://api.opentour.site/atlanta-music-maps/v4/public/media/xjdxkqf3ex858jv7xolkulo0ycmy?variant=tablet","https://api.opentour.site/atlanta-music-maps/v4/public/media/xjdxkqf3ex858jv7xolkulo0ycmy?variant=desktop","https://api.opentour.site/atlanta-music-maps/v4/public/media/xjdxkqf3ex858jv7xolkulo0ycmy?variant=lqip",169,4,"I do not own the copyright to this recording. This video is for historical and educational purposes only. \n\nComposed by Willie Lee Perryman\n\nPiano Red (Willie Lee Perryman):Vocals & Piano\n\nW.J. Jones:Bass\n\nWillie \"Woodi\" Harper:Drums\n\nRecorded at the WGST Studios, Atlanta, GA. Wednesday, October 10, 1950\n\nOriginally issued on the 1950 singles (RCA Victor 22-0106) (78 RPM) & (RCA Victor 50-0106) (45 RPM)\n\nThis recording taken from the 2002 album \"When The Sun Goes Down Vol. 4:That's All Right\" (Bluebird 09026-63989-2) (CD)",480,"//www.youtube.com/embed/3Q5_3txJTfw","3Q5_3txJTfw","3Q5_3txJTfw.jpg",{"_157":220,"_159":221,"_161":222,"_163":223,"_165":224},179,"youtube",400,"Piano Red Right String, But The Wrong Yo-Yo (1950)","https://api.opentour.site/atlanta-music-maps/v4/public/media/splyjbj4451plhhpds1lxqltzvgl","https://api.opentour.site/atlanta-music-maps/v4/public/media/splyjbj4451plhhpds1lxqltzvgl?variant=mobile","https://api.opentour.site/atlanta-music-maps/v4/public/media/splyjbj4451plhhpds1lxqltzvgl?variant=tablet","https://api.opentour.site/atlanta-music-maps/v4/public/media/splyjbj4451plhhpds1lxqltzvgl?variant=desktop","https://api.opentour.site/atlanta-music-maps/v4/public/media/splyjbj4451plhhpds1lxqltzvgl?variant=lqip",126,3,"16069806869.jpeg",{"_157":231,"_159":232,"_161":233,"_163":234,"_165":235},136,"Underground_Atlanta_rendering_001_credit_S9.0.jpg","https://api.opentour.site/atlanta-music-maps/v4/public/media/kgsothvh46955oqm846p65fb1y1k","https://api.opentour.site/atlanta-music-maps/v4/public/media/kgsothvh46955oqm846p65fb1y1k?variant=mobile","https://api.opentour.site/atlanta-music-maps/v4/public/media/kgsothvh46955oqm846p65fb1y1k?variant=tablet","https://api.opentour.site/atlanta-music-maps/v4/public/media/kgsothvh46955oqm846p65fb1y1k?variant=desktop","https://api.opentour.site/atlanta-music-maps/v4/public/media/kgsothvh46955oqm846p65fb1y1k?variant=lqip",125,1028,"16069806594.jpeg",{"_157":244,"_159":245,"_161":246,"_163":247,"_165":248},135,206,514,"31ea2e300ef294ee2541ca42198fa5fd.jpg","https://api.opentour.site/atlanta-music-maps/v4/public/media/5nmuhm95vy17yb8crldf97ptx5um","https://api.opentour.site/atlanta-music-maps/v4/public/media/5nmuhm95vy17yb8crldf97ptx5um?variant=mobile","https://api.opentour.site/atlanta-music-maps/v4/public/media/5nmuhm95vy17yb8crldf97ptx5um?variant=tablet","https://api.opentour.site/atlanta-music-maps/v4/public/media/5nmuhm95vy17yb8crldf97ptx5um?variant=desktop","https://api.opentour.site/atlanta-music-maps/v4/public/media/5nmuhm95vy17yb8crldf97ptx5um?variant=lqip",124,"16069804898.jpeg",{"_157":253,"_159":254,"_161":255,"_163":191,"_165":256},134,"https://api.opentour.site/atlanta-music-maps/v4/public/media/02durdp7we0ezjbhxe84pmghbef1","https://api.opentour.site/atlanta-music-maps/v4/public/media/02durdp7we0ezjbhxe84pmghbef1?variant=mobile","https://api.opentour.site/atlanta-music-maps/v4/public/media/02durdp7we0ezjbhxe84pmghbef1?variant=tablet","https://api.opentour.site/atlanta-music-maps/v4/public/media/02durdp7we0ezjbhxe84pmghbef1?variant=lqip",48,"okeh-recording-studios","Okeh Recording Studios",{"_35":175,"_64":176,"_73":177},{"_35":309,"_64":310,"_73":311},"152 Nassau Street","

The Okeh Recording Studios in Atlanta marks the first commercial music recording studio in the South (Harris, 2019). It was first established in June 1923, when New York-based Okeh Records took their newly-invented portable recording equipment to Atlanta, Georgia in an empty downtown warehouse on Nassau Street. The studio recorded a variety of genres including jazz, gospel, and country music (Daley, 2019). In addition, the studio recorded many blues artists such as Memphis Minnie, Victoria Spivey, and Alberta Hunter.

One of the first artists to record at Okeh Recording Studios was Lucille Bogan, also known as Bessie Jackson. She was considered one of the “the big three of the blues” along with Ma Rainey and Bessie Smith (Maglot, 2019). But unlike most artists, she was considered to be a dirty blues musician as many of her songs were sexually explicit and commonly referenced drinking and sex. She included her experiences as a sex worker and used music as a platform to bring issues relevant to women's rights to the masses. She discussed issues such as discrimination, beatings, rape, and harassment that she faced, while also revealing the anxiety that she faced with the risk of abuse. In her song, \"Tricks Ain't Walking No More,\" Bogan discusses the struggle she faced during the Great Depression working as a prostitute; Since during the Great Depression, many Americans lost their jobs and the stock market crashed, leaving many sex workers unemployed since many of them could not find any clients.

“I got up this mornin', with the risin' sun, Bin walkin' all day an' I ain't caught a one” - Tricks Ain’t Walking No More by Lucille Bogan

",33.7585238,-84.3920748,[273,274,275],"The Okeh Recording Studios in Atlanta marks the first commercial music recording studio in the South (Harris, 2019). It was first established in June 1923, when New York-based Okeh Records took their newly-invented portable recording equipment to Atlanta, Georgia in an empty downtown warehouse on Nassau Street. The studio recorded a variety of genres including jazz, gospel, and country music (Daley, 2019). In addition, the studio recorded many blues artists such as Memphis Minnie, Victoria Spivey, and Alberta Hunter. One of the first artists to record at Okeh Recording Studios was Lucille Bogan, also known as Bessie Jackson. She was considered one of the “the big three of the blues” along with Ma Rainey and Bessie Smith (Maglot, 2019). But unlike most artists, she was considered to be a dirty blues musician as many of her songs were sexually explicit and commonly referenced drinking and sex. She included her experiences as a sex worker and used music as a platform to bring issues relevant to women's rights to the masses. She discussed issues such as discrimination, beatings, rape, and harassment that she faced, while also revealing the anxiety that she faced with the risk of abuse. In her song, \"Tricks Ain't Walking No More,\" Bogan discusses the struggle she faced during the Great Depression working as a prostitute; Since during the Great Depression, many Americans lost their jobs and the stock market crashed, leaving many sex workers unemployed since many of them could not find any clients. “I got up this mornin', with the risin' sun, Bin walkin' all day an' I ain't caught a one” - Tricks Ain’t Walking No More by Lucille Bogan",[133,258],{"_73":271,"_130":-5,"_131":272},[],"ap172007448248848937168791_t1070_h102557fda827083f70d95d8e7d707a23dd90bb4f.jpg","https://api.opentour.site/atlanta-music-maps/v4/public/media/7uo7vpu99te5qxs9lcz9xspzm4bz?variant=desktop",{"_101":302,"_98":24,"_130":-5,"_138":139,"_140":-5,"_141":-5,"_142":303,"_144":304,"_35":236,"_147":-5,"_148":149,"_150":303,"_151":152,"_153":154,"_73":271,"_156":-5},{"_101":289,"_98":137,"_130":290,"_138":211,"_140":291,"_141":292,"_142":293,"_144":294,"_35":295,"_147":83,"_148":149,"_150":293,"_151":217,"_153":218,"_73":296,"_156":292},{"_101":276,"_98":226,"_130":-5,"_138":277,"_140":-5,"_141":-5,"_142":278,"_144":279,"_35":280,"_147":-5,"_148":281,"_150":278,"_151":152,"_153":282,"_73":283,"_156":-5},168,1191,"16072112154.jpeg",{"_157":284,"_159":285,"_161":286,"_163":287,"_165":288},178,238,596,"Lucille_Bogan.jpg","https://api.opentour.site/atlanta-music-maps/v4/public/media/u2rmyf7x2hp3kz8uihc985yrrle5","https://api.opentour.site/atlanta-music-maps/v4/public/media/u2rmyf7x2hp3kz8uihc985yrrle5?variant=mobile","https://api.opentour.site/atlanta-music-maps/v4/public/media/u2rmyf7x2hp3kz8uihc985yrrle5?variant=tablet","https://api.opentour.site/atlanta-music-maps/v4/public/media/u2rmyf7x2hp3kz8uihc985yrrle5?variant=desktop","https://api.opentour.site/atlanta-music-maps/v4/public/media/u2rmyf7x2hp3kz8uihc985yrrle5?variant=lqip",167,"Provided to YouTube by The Orchard Enterprises\n\nTricks Ain't Walking No More · Lucille Bogan\n\nLucille Bogan (Bessie Jackson) Vol. 2 (1930-1933)\n\n℗ 1993 Document Records\n\nReleased on: 1993-06-01\n\nMusic Publisher: Peer International\n\nAuto-generated by YouTube.","//www.youtube.com/embed/-7esvukyc1s","-7esvukyc1s","-7esvukyc1s.jpg",{"_157":297,"_159":298,"_161":299,"_163":300,"_165":301},177,"Tricks Ain't Walking No More","https://api.opentour.site/atlanta-music-maps/v4/public/media/xmls9x82adwn1241m83edfos4t8o","https://api.opentour.site/atlanta-music-maps/v4/public/media/xmls9x82adwn1241m83edfos4t8o?variant=mobile","https://api.opentour.site/atlanta-music-maps/v4/public/media/xmls9x82adwn1241m83edfos4t8o?variant=tablet","https://api.opentour.site/atlanta-music-maps/v4/public/media/xmls9x82adwn1241m83edfos4t8o?variant=desktop","https://api.opentour.site/atlanta-music-maps/v4/public/media/xmls9x82adwn1241m83edfos4t8o?variant=lqip",115,"16069715181.jpeg",{"_157":305,"_159":306,"_161":307,"_163":272,"_165":308},"https://api.opentour.site/atlanta-music-maps/v4/public/media/7uo7vpu99te5qxs9lcz9xspzm4bz","https://api.opentour.site/atlanta-music-maps/v4/public/media/7uo7vpu99te5qxs9lcz9xspzm4bz?variant=mobile","https://api.opentour.site/atlanta-music-maps/v4/public/media/7uo7vpu99te5qxs9lcz9xspzm4bz?variant=tablet","https://api.opentour.site/atlanta-music-maps/v4/public/media/7uo7vpu99te5qxs9lcz9xspzm4bz?variant=lqip",84,"high-museum-of-art","High Museum of Art ",{"_35":257,"_64":258,"_73":259},9,{"_35":375,"_64":18,"_73":376},"1280 Peachtree St NE, Atlanta, GA 30309","

The High Museum of Art was originally founded in 1905 by the Atlanta Art Association (Bianchini, 2019). Located on Peachtree Street in Midtown, the museum features more than 17,000 artworks across seven collecting areas: African art, American art, decorative arts, and design, European art, folk and self-taught art, modern and contemporary art, and photography. Within the modern and contemporary art sector, it features an artwork called “Strange Fruit” by David Hammons (Hammons, 1989). The curling branches of the tree represent African American hair and the fruits consist of political buttons that portray prominent Black activists including Jesse Jackson and Angela Davis. The title of the art piece references Billie Holiday’s song and honors the essential activism of the Black community.

Billie Holiday, also known as “Lady Day” was an American jazz and swing music singer. In her lifetime, she was surrounded by racism; her father was turned away from a hospital because he was black, and this resulted in his death by fatal lung disorder. Aware of the lack of civil rights and ongoing discrimination, she wrote: “Strange Fruit” which many Black America embraced as their protest anthem. “Strange Fruit,\" depicts the lynching of African Americans in the South and serves as an expression of political protest (Pak, 2020). In her autobiography, Billie Holiday wrote, “I have to keep singing it, not only because people ask for it, but because 20 years after Pop died, the things that killed him are still happening in the South,” (Holiday and Dufty, 2006).

\"Southern trees bear a strange fruit, Blood on the leaves and blood at the root, Black body swinging in the Southern breeze”- Strange Fruit by Billie Holiday

",33.7895499,-84.3844148,[326,327,328,329],"The High Museum of Art was originally founded in 1905 by the Atlanta Art Association (Bianchini, 2019). Located on Peachtree Street in Midtown, the museum features more than 17,000 artworks across seven collecting areas: African art, American art, decorative arts, and design, European art, folk and self-taught art, modern and contemporary art, and photography. Within the modern and contemporary art sector, it features an artwork called “Strange Fruit” by David Hammons (Hammons, 1989). The curling branches of the tree represent African American hair and the fruits consist of political buttons that portray prominent Black activists including Jesse Jackson and Angela Davis. The title of the art piece references Billie Holiday’s song and honors the essential activism of the Black community. Billie Holiday, also known as “Lady Day” was an American jazz and swing music singer. In her lifetime, she was surrounded by racism; her father was turned away from a hospital because he was black, and this resulted in his death by fatal lung disorder. Aware of the lack of civil rights and ongoing discrimination, she wrote: “Strange Fruit” which many Black America embraced as their protest anthem. “Strange Fruit,\" depicts the lynching of African Americans in the South and serves as an expression of political protest (Pak, 2020). In her autobiography, Billie Holiday wrote, “I have to keep singing it, not only because people ask for it, but because 20 years after Pop died, the things that killed him are still happening in the South,” (Holiday and Dufty, 2006). \"Southern trees bear a strange fruit, Blood on the leaves and blood at the root, Black body swinging in the Southern breeze”- Strange Fruit by Billie Holiday",[133,310],{"_73":324,"_130":-5,"_131":325},[],"download (1).jpg","https://api.opentour.site/atlanta-music-maps/v4/public/media/t4efycgh66h33iyigdxuezjh22d9?variant=desktop",{"_101":170,"_98":24,"_130":-5,"_138":139,"_140":-5,"_141":-5,"_142":368,"_144":369,"_35":370,"_147":-5,"_148":149,"_150":368,"_151":152,"_153":154,"_73":324,"_156":-5},{"_101":146,"_98":137,"_130":-5,"_138":356,"_140":-5,"_141":-5,"_142":357,"_144":358,"_35":359,"_147":-5,"_148":360,"_150":357,"_151":152,"_153":361,"_73":362,"_156":-5},{"_101":343,"_98":226,"_130":-5,"_138":344,"_140":-5,"_141":-5,"_142":345,"_144":346,"_35":347,"_147":-5,"_148":348,"_150":345,"_151":152,"_153":349,"_73":350,"_156":-5},{"_101":330,"_98":209,"_130":331,"_138":211,"_140":332,"_141":333,"_142":334,"_144":335,"_35":336,"_147":83,"_148":149,"_150":334,"_151":217,"_153":218,"_73":337,"_156":333},166,"A magic song from a magic voice\n\nlyrics\nStrange Fruit \n\n\nSouthern trees bear strange fruit\nBlood on the leaves and blood at the root\nBlack bodies swinging in the southern breeze\nStrange fruit hanging from the poplar trees\n\nPastoral scene of the gallant south\nThe bulging eyes and the twisted mouth\nScent of magnolias, sweet and fresh\nThen the sudden smell of burning flesh\n\nHere is fruit for the crows to pluck\nFor the rain to gather, for the wind to suck\nFor the sun to rot, for the trees to drop\nHere is a strange and bitter crop","//www.youtube.com/embed/Web007rzSOI","Web007rzSOI","Web007rzSOI.jpg",{"_157":338,"_159":339,"_161":340,"_163":341,"_165":342},176,"Billie Holiday-Strange fruit- HD","https://api.opentour.site/atlanta-music-maps/v4/public/media/gx4lm2iscjc2tv5xt7onu232dvvo","https://api.opentour.site/atlanta-music-maps/v4/public/media/gx4lm2iscjc2tv5xt7onu232dvvo?variant=mobile","https://api.opentour.site/atlanta-music-maps/v4/public/media/gx4lm2iscjc2tv5xt7onu232dvvo?variant=tablet","https://api.opentour.site/atlanta-music-maps/v4/public/media/gx4lm2iscjc2tv5xt7onu232dvvo?variant=desktop","https://api.opentour.site/atlanta-music-maps/v4/public/media/gx4lm2iscjc2tv5xt7onu232dvvo?variant=lqip",139,1262,"16071330614.jpeg",{"_157":351,"_159":352,"_161":353,"_163":354,"_165":355},149,252,631,"1200px-Billie_Holiday_1947_(cropped).jpg","https://api.opentour.site/atlanta-music-maps/v4/public/media/2stc4u21lkga1ltf8i2ss6a4yhaf","https://api.opentour.site/atlanta-music-maps/v4/public/media/2stc4u21lkga1ltf8i2ss6a4yhaf?variant=mobile","https://api.opentour.site/atlanta-music-maps/v4/public/media/2stc4u21lkga1ltf8i2ss6a4yhaf?variant=tablet","https://api.opentour.site/atlanta-music-maps/v4/public/media/2stc4u21lkga1ltf8i2ss6a4yhaf?variant=desktop","https://api.opentour.site/atlanta-music-maps/v4/public/media/2stc4u21lkga1ltf8i2ss6a4yhaf?variant=lqip",941,"16071330423.jpeg",{"_157":363,"_159":364,"_161":365,"_163":366,"_165":367},148,188,470,"db_photod8460u789846041989.46Hammons_o2-1.jpg","https://api.opentour.site/atlanta-music-maps/v4/public/media/6zt76bvxvpf19u3mcgd8ozumiuxq","https://api.opentour.site/atlanta-music-maps/v4/public/media/6zt76bvxvpf19u3mcgd8ozumiuxq?variant=mobile","https://api.opentour.site/atlanta-music-maps/v4/public/media/6zt76bvxvpf19u3mcgd8ozumiuxq?variant=tablet","https://api.opentour.site/atlanta-music-maps/v4/public/media/6zt76bvxvpf19u3mcgd8ozumiuxq?variant=desktop","https://api.opentour.site/atlanta-music-maps/v4/public/media/6zt76bvxvpf19u3mcgd8ozumiuxq?variant=lqip","16071330049.jpeg",{"_157":371,"_159":372,"_161":373,"_163":325,"_165":374},147,"https://api.opentour.site/atlanta-music-maps/v4/public/media/t4efycgh66h33iyigdxuezjh22d9","https://api.opentour.site/atlanta-music-maps/v4/public/media/t4efycgh66h33iyigdxuezjh22d9?variant=mobile","https://api.opentour.site/atlanta-music-maps/v4/public/media/t4efycgh66h33iyigdxuezjh22d9?variant=tablet","https://api.opentour.site/atlanta-music-maps/v4/public/media/t4efycgh66h33iyigdxuezjh22d9?variant=lqip",47,"Alliance Theatre ",{"_35":309,"_64":310,"_73":311},8,{"_35":424,"_64":425,"_73":426},"

Founded in 1968, the Alliance Theatre is the leading producing theater in the Southeast, having premiered more than 100 original productions (Devaney, 2005). The Alliance has developed and premiered important American musicals with a strong track record of Broadway, touring, and subsequent productions, including the world premieres of Sister Act: The Musical, Twyla Tharp’s Come Fly Away, and Bring It On: The Musical. But more importantly, the Alliance supports locally-based artists and provides them the chance to retell the story of the past.

Atlanta Actress, Terry Burrell, was able to take this opportunity and bring the narrative of blues singer, Ethel Waters, back to life (Alexander, 2020). Ethel Waters was the first African-American cross-over artist in American show business participating in both blues and Broadway music. She faced many hardships dealing with discrimination, sexism, and abuse. As shown in the one-woman show, Burell narrates a racist incident in Macon that occurred when the star complained to a white club owner that his piano was out of tune. However, Ethel was able to transform her circumstances with her voice, and through her song, she reflects on the obstacles that Black women faced as a suggestion to society for social change.

“Why should I feel discouraged, why should the shadows come, Why should my heart be lonely, and long for heaven and home” - His Eye is on the Sparrow by Ethel Waters

",[388,389,390],"Founded in 1968, the Alliance Theatre is the leading producing theater in the Southeast, having premiered more than 100 original productions (Devaney, 2005). The Alliance has developed and premiered important American musicals with a strong track record of Broadway, touring, and subsequent productions, including the world premieres of Sister Act: The Musical, Twyla Tharp’s Come Fly Away, and Bring It On: The Musical. But more importantly, the Alliance supports locally-based artists and provides them the chance to retell the story of the past. Atlanta Actress, Terry Burrell, was able to take this opportunity and bring the narrative of blues singer, Ethel Waters, back to life (Alexander, 2020). Ethel Waters was the first African-American cross-over artist in American show business participating in both blues and Broadway music. She faced many hardships dealing with discrimination, sexism, and abuse. As shown in the one-woman show, Burell narrates a racist incident in Macon that occurred when the star complained to a white club owner that his piano was out of tune. However, Ethel was able to transform her circumstances with her voice, and through her song, she reflects on the obstacles that Black women faced as a suggestion to society for social change. “Why should I feel discouraged, why should the shadows come, Why should my heart be lonely, and long for heaven and home” - His Eye is on the Sparrow by Ethel Waters",[133,18],{"_73":386,"_130":-5,"_131":387},[],"alliance-theatre-at-the.jpg","https://api.opentour.site/atlanta-music-maps/v4/public/media/erdoqd7ucf6ok59v31txoy2u0y66?variant=desktop",{"_101":417,"_98":24,"_130":-5,"_138":139,"_140":-5,"_141":-5,"_142":418,"_144":419,"_35":249,"_147":-5,"_148":149,"_150":418,"_151":152,"_153":154,"_73":386,"_156":-5},{"_101":404,"_98":137,"_130":405,"_138":211,"_140":406,"_141":407,"_142":408,"_144":409,"_35":410,"_147":83,"_148":149,"_150":408,"_151":217,"_153":218,"_73":411,"_156":407},{"_101":391,"_98":226,"_130":-5,"_138":392,"_140":-5,"_141":-5,"_142":393,"_144":394,"_35":395,"_147":-5,"_148":396,"_150":393,"_151":152,"_153":397,"_73":398,"_156":-5},163,1131,"16072110685.jpeg",{"_157":399,"_159":400,"_161":401,"_163":402,"_165":403},173,226,565,"Ethel_Waters_-_1943.jpg","https://api.opentour.site/atlanta-music-maps/v4/public/media/7bdyxyhpccazvhtkao9fb0y1mz5i","https://api.opentour.site/atlanta-music-maps/v4/public/media/7bdyxyhpccazvhtkao9fb0y1mz5i?variant=mobile","https://api.opentour.site/atlanta-music-maps/v4/public/media/7bdyxyhpccazvhtkao9fb0y1mz5i?variant=tablet","https://api.opentour.site/atlanta-music-maps/v4/public/media/7bdyxyhpccazvhtkao9fb0y1mz5i?variant=desktop","https://api.opentour.site/atlanta-music-maps/v4/public/media/7bdyxyhpccazvhtkao9fb0y1mz5i?variant=lqip",161,"Ethel Waters (October 31, 1896 -- September 1, 1977) she was an American blues, jazz and gospel vocalist and actress. She frequently performed jazz, big band, and pop music, on the Broadway stage and in concerts Ethel Waters was born in Chester, Pennsylvania on October 31, 1896, as a result of her mother's rape at age 13 Ethel Waters was raised in a violent, impoverished home. She never lived in the same place for more than 15 months. She said of her difficult childhood, \"I never was a child. I never was cuddled, or liked, or understood by my family.\" Despite this unpromising start, Waters demonstrated early the love of language that so distinguishes her work. Moreover, according to women-in-jazz historian and archivist Rosetta Reitz, Waters' birth in the North and her peripatetic life exposed her to many cultures. For the rest of her life, this lent to her interpretation of southern blues a unique sensibility that pulled in eclectic influences from across American music","//www.youtube.com/embed/_QbeNSatFFo","_QbeNSatFFo","_QbeNSatFFo.jpg",{"_157":412,"_159":413,"_161":414,"_163":415,"_165":416},171,"His Eye Is On The Sparrow - Ethel Waters [Psalms 23]","https://api.opentour.site/atlanta-music-maps/v4/public/media/h5r8bp84kx6cym6huu5rdgwzyrjt","https://api.opentour.site/atlanta-music-maps/v4/public/media/h5r8bp84kx6cym6huu5rdgwzyrjt?variant=mobile","https://api.opentour.site/atlanta-music-maps/v4/public/media/h5r8bp84kx6cym6huu5rdgwzyrjt?variant=tablet","https://api.opentour.site/atlanta-music-maps/v4/public/media/h5r8bp84kx6cym6huu5rdgwzyrjt?variant=desktop","https://api.opentour.site/atlanta-music-maps/v4/public/media/h5r8bp84kx6cym6huu5rdgwzyrjt?variant=lqip",114,"16069714176.jpeg",{"_157":420,"_159":421,"_161":422,"_163":387,"_165":423},"https://api.opentour.site/atlanta-music-maps/v4/public/media/erdoqd7ucf6ok59v31txoy2u0y66","https://api.opentour.site/atlanta-music-maps/v4/public/media/erdoqd7ucf6ok59v31txoy2u0y66?variant=mobile","https://api.opentour.site/atlanta-music-maps/v4/public/media/erdoqd7ucf6ok59v31txoy2u0y66?variant=tablet","https://api.opentour.site/atlanta-music-maps/v4/public/media/erdoqd7ucf6ok59v31txoy2u0y66?variant=lqip",49,"ida-cox-music-series","Ida Cox Music Series",{"_35":375,"_64":18,"_73":376},7,{"_35":475,"_64":476,"_73":477},"Downtown Toccoa on Doyle Street","

Located in downtown Toccoa on Doyle Street, the Ida Cox Music Series takes place weekly every Saturday featuring a different musical genre each week. The concerts are free and it features an opening act and a headline act from 7 until 10 p.m (White, 2019). The series is named after Ida Cox, who was born in Toccoa before going off to make her mark in the music world in the first part of the 20th century.

Ida Cox started as a vaudeville performer and was one of the pioneers of the blues genre of music. Ida Cox was known as the “Uncrowned Queen of the Blues” and one of her trademarks was her unwavering views on certain issues that impacted African American women; her songs addressed topics of female independence, sexual liberation, and the social and political struggles of black women (Harrison, 1988). One of Cox's most famous and enduring songs, \"Wild Women Don't Have the Blues\", discusses how women can thrive without men and that women should not tie themselves to the patriarchy. The song is now remembered as one of the earliest feminist anthems.

“When my man starts to kicking I let him find a new home, I get full of good liquor, walk the street all night”- Wild Women Don’t Have the Blues by Ida Cox

",34.5798333,-83.3167809,[441,442,443],"Located in downtown Toccoa on Doyle Street, the Ida Cox Music Series takes place weekly every Saturday featuring a different musical genre each week. The concerts are free and it features an opening act and a headline act from 7 until 10 p. m (White, 2019). The series is named after Ida Cox, who was born in Toccoa before going off to make her mark in the music world in the first part of the 20th century. Ida Cox started as a vaudeville performer and was one of the pioneers of the blues genre of music. Ida Cox was known as the “Uncrowned Queen of the Blues” and one of her trademarks was her unwavering views on certain issues that impacted African American women; her songs addressed topics of female independence, sexual liberation, and the social and political struggles of black women (Harrison, 1988). One of Cox's most famous and enduring songs, \"Wild Women Don't Have the Blues\", discusses how women can thrive without men and that women should not tie themselves to the patriarchy. The song is now remembered as one of the earliest feminist anthems. “When my man starts to kicking I let him find a new home, I get full of good liquor, walk the street all night”- Wild Women Don’t Have the Blues by Ida Cox",[133,425],{"_73":439,"_130":-5,"_131":440},[],"Page-23-Events-4.jpg","https://api.opentour.site/atlanta-music-maps/v4/public/media/e6tim7l2rl3f0cagxss9jwgkfb3c?variant=desktop",{"_101":468,"_98":24,"_130":-5,"_138":139,"_140":-5,"_141":-5,"_142":469,"_144":470,"_35":136,"_147":-5,"_148":149,"_150":469,"_151":152,"_153":154,"_73":439,"_156":-5},{"_101":456,"_98":137,"_130":-5,"_138":457,"_140":-5,"_141":-5,"_142":458,"_144":459,"_35":167,"_147":-5,"_148":460,"_150":458,"_151":152,"_153":461,"_73":462,"_156":-5},{"_101":444,"_98":226,"_130":445,"_138":211,"_140":446,"_141":447,"_142":448,"_144":449,"_35":198,"_147":83,"_148":149,"_150":448,"_151":217,"_153":218,"_73":450,"_156":447},160,"recorded in 1925\n\nI do not own this song","//www.youtube.com/embed/4vVjpoKEwjU","4vVjpoKEwjU","4vVjpoKEwjU.jpg",{"_157":451,"_159":452,"_161":453,"_163":454,"_165":455},"Ida Cox-WIld Women Don't Have the Blues","https://api.opentour.site/atlanta-music-maps/v4/public/media/dhpvr68cmev5se19pit5zruo7meg","https://api.opentour.site/atlanta-music-maps/v4/public/media/dhpvr68cmev5se19pit5zruo7meg?variant=mobile","https://api.opentour.site/atlanta-music-maps/v4/public/media/dhpvr68cmev5se19pit5zruo7meg?variant=tablet","https://api.opentour.site/atlanta-music-maps/v4/public/media/dhpvr68cmev5se19pit5zruo7meg?variant=desktop","https://api.opentour.site/atlanta-music-maps/v4/public/media/dhpvr68cmev5se19pit5zruo7meg?variant=lqip",117,932,"16069716716.jpeg",{"_157":463,"_159":464,"_161":465,"_163":466,"_165":467},186,466,"unnamed.jpg","https://api.opentour.site/atlanta-music-maps/v4/public/media/vxi4ruh6t975m03reblzslyr4ysb","https://api.opentour.site/atlanta-music-maps/v4/public/media/vxi4ruh6t975m03reblzslyr4ysb?variant=mobile","https://api.opentour.site/atlanta-music-maps/v4/public/media/vxi4ruh6t975m03reblzslyr4ysb?variant=tablet","https://api.opentour.site/atlanta-music-maps/v4/public/media/vxi4ruh6t975m03reblzslyr4ysb?variant=desktop","https://api.opentour.site/atlanta-music-maps/v4/public/media/vxi4ruh6t975m03reblzslyr4ysb?variant=lqip",118,"16069717309.jpeg",{"_157":471,"_159":472,"_161":473,"_163":440,"_165":474},"https://api.opentour.site/atlanta-music-maps/v4/public/media/e6tim7l2rl3f0cagxss9jwgkfb3c","https://api.opentour.site/atlanta-music-maps/v4/public/media/e6tim7l2rl3f0cagxss9jwgkfb3c?variant=mobile","https://api.opentour.site/atlanta-music-maps/v4/public/media/e6tim7l2rl3f0cagxss9jwgkfb3c?variant=tablet","https://api.opentour.site/atlanta-music-maps/v4/public/media/e6tim7l2rl3f0cagxss9jwgkfb3c?variant=lqip",64,"morton-theatre","Morton Theatre",{"_35":424,"_64":425,"_73":426},6,{"_35":524,"_64":525,"_73":526},"195 W Washington St, Athens, GA 30601","

Located in Athens, the Morton Theatre, or known locally as “Hot Corner” was opened by a successful businessman, Monroe Bowers “Pink” Morton in 1910 (Ellerbee, 2004). It is one of the first, and the oldest surviving vaudeville theatres in the United States, uniquely built, owned and operated by an African-American. It hosted early acts such as Butterbeans and Susie, Blind Willie McTell, Curley Weaver, Cab Calloway, and Bessie Smith. In addition, many black professionals including doctors, pharmacists, dentists practiced there. Now, it is one of four remaining black vaudeville theaters in America, which still features performances by groups like the Athens Creative Theatre, the Black Theatrical Ensemble, and the Town and Gown Players(O'Donnel, 2020).

Bessie Smith was one of the most well-known performers at the Morton Theatre. Bessie Smith was nicknamed the \"Empress of the Blues\", and she was the most popular female blues singer of the 1920s and 1930 (Albertson, 2005). Smith's work challenged elitist norms by encouraging working-class women to embrace their right to drink, party, and satisfy their sexual needs as a means of coping with stress and dissatisfaction in their daily lives. Smith advocated for African-American womanhood beyond domesticity, piety, and conformity; she sought empowerment and happiness through independence and sexual freedom (Greenberg, 2019).

“Saint Louis woman with her diamond rings, Pulls that man around by her apron strings, Wasn't for powder and the store-bought hair, The man I love wouldn't go nowhere, nowhere” - St. Lewis Blues by Bessie Smith

",33.9584905,-83.3786468,[492,493,494],"Located in Athens, the Morton Theatre, or known locally as “Hot Corner” was opened by a successful businessman, Monroe Bowers “Pink” Morton in 1910 (Ellerbee, 2004). It is one of the first, and the oldest surviving vaudeville theatres in the United States, uniquely built, owned and operated by an African-American. It hosted early acts such as Butterbeans and Susie, Blind Willie McTell, Curley Weaver, Cab Calloway, and Bessie Smith. In addition, many black professionals including doctors, pharmacists, dentists practiced there. Now, it is one of four remaining black vaudeville theaters in America, which still features performances by groups like the Athens Creative Theatre, the Black Theatrical Ensemble, and the Town and Gown Players(O'Donnel, 2020). Bessie Smith was one of the most well-known performers at the Morton Theatre. Bessie Smith was nicknamed the \"Empress of the Blues\", and she was the most popular female blues singer of the 1920s and 1930 (Albertson, 2005). Smith's work challenged elitist norms by encouraging working-class women to embrace their right to drink, party, and satisfy their sexual needs as a means of coping with stress and dissatisfaction in their daily lives. Smith advocated for African-American womanhood beyond domesticity, piety, and conformity; she sought empowerment and happiness through independence and sexual freedom (Greenberg, 2019). “Saint Louis woman with her diamond rings, Pulls that man around by her apron strings, Wasn't for powder and the store-bought hair, The man I love wouldn't go nowhere, nowhere” - St. Lewis Blues by Bessie Smith ",[133,476],{"_73":490,"_130":-5,"_131":491},[],"Circa+1914.jpg","https://api.opentour.site/atlanta-music-maps/v4/public/media/fad5lr9bcj1ey7ao79dh3vnj3n3n?variant=desktop",{"_101":517,"_98":24,"_130":-5,"_138":139,"_140":-5,"_141":-5,"_142":518,"_144":519,"_35":468,"_147":-5,"_148":149,"_150":518,"_151":152,"_153":154,"_73":490,"_156":-5},{"_101":507,"_98":137,"_130":-5,"_138":139,"_140":-5,"_141":-5,"_142":508,"_144":509,"_35":510,"_147":-5,"_148":149,"_150":508,"_151":152,"_153":154,"_73":511,"_156":-5},{"_101":495,"_98":226,"_130":496,"_138":211,"_140":497,"_141":498,"_142":499,"_144":500,"_35":208,"_147":83,"_148":149,"_150":499,"_151":217,"_153":218,"_73":501,"_156":498},159,"Bessie Smith with Orchestra (Louis Armstrong -- cornet, Fred Longshaw, harmonium) -- St. Louis Blues, Parlophone ca 1935 (British re-edition of the US Columbia, MX 140241 from 1925)","//www.youtube.com/embed/3rd9IaA_uJI","3rd9IaA_uJI","3rd9IaA_uJI.jpg",{"_157":502,"_159":503,"_161":504,"_163":505,"_165":506},"Bessie Smith - St. Louis Blues, 1925","https://api.opentour.site/atlanta-music-maps/v4/public/media/jw979netzs8evgo6ycywjxttcbr2","https://api.opentour.site/atlanta-music-maps/v4/public/media/jw979netzs8evgo6ycywjxttcbr2?variant=mobile","https://api.opentour.site/atlanta-music-maps/v4/public/media/jw979netzs8evgo6ycywjxttcbr2?variant=tablet","https://api.opentour.site/atlanta-music-maps/v4/public/media/jw979netzs8evgo6ycywjxttcbr2?variant=desktop","https://api.opentour.site/atlanta-music-maps/v4/public/media/jw979netzs8evgo6ycywjxttcbr2?variant=lqip",109,"16069711056.jpeg",{"_157":512,"_159":513,"_161":514,"_163":515,"_165":516},119,"gettyimages-74296266_wide-afcc02a47199a49733c9e68a4a43a7e414c7f8e3.jpg","https://api.opentour.site/atlanta-music-maps/v4/public/media/28hnntcnj74eh9lijc2l8azgxsa6","https://api.opentour.site/atlanta-music-maps/v4/public/media/28hnntcnj74eh9lijc2l8azgxsa6?variant=mobile","https://api.opentour.site/atlanta-music-maps/v4/public/media/28hnntcnj74eh9lijc2l8azgxsa6?variant=tablet","https://api.opentour.site/atlanta-music-maps/v4/public/media/28hnntcnj74eh9lijc2l8azgxsa6?variant=desktop","https://api.opentour.site/atlanta-music-maps/v4/public/media/28hnntcnj74eh9lijc2l8azgxsa6?variant=lqip",108,"16069710810.jpeg",{"_157":520,"_159":521,"_161":522,"_163":491,"_165":523},"https://api.opentour.site/atlanta-music-maps/v4/public/media/fad5lr9bcj1ey7ao79dh3vnj3n3n","https://api.opentour.site/atlanta-music-maps/v4/public/media/fad5lr9bcj1ey7ao79dh3vnj3n3n?variant=mobile","https://api.opentour.site/atlanta-music-maps/v4/public/media/fad5lr9bcj1ey7ao79dh3vnj3n3n?variant=tablet","https://api.opentour.site/atlanta-music-maps/v4/public/media/fad5lr9bcj1ey7ao79dh3vnj3n3n?variant=lqip",46,"the-douglass-theatre","The Douglass Theatre",{"_35":475,"_64":476,"_73":477},{"_35":563,"_64":564,"_73":565},"355 Martin Luther King Jr Blvd, Macon, GA 31201","

The Douglass Theatre first opened in Macon by Charles H. Douglass in 1921 (Ellerbee, 2004). The theater was one of the few places that catered to blacks and showed vaudeville revues and movies during the days of racial segregation. It closed its doors in 1973 and the city bought the theater in 1978. It was later restored in 1997 and the theater has an exhibition that highlights the history of the Douglass Theatre and the impact of African-Americans on musical, dramatic, and film heritage. In the early years, performers at the Douglass Theatre included The Two Sweets,165 “comedians Butterbeans and Susie and blues legends “Ma” Rainey and Bessie Smith.”

Clara Smith, also known as the \"Queen of Moaners\", was a star on the Vaudeville circuit by 1918 and she made appearances at the Douglass Theatre in Macon (Rimmer, 2019). Unlike many blues singers at the time, she was known for her lighter and sweeter voice and her more overt sexual blues (Oakley, 1997). Throughout history, women were expected to follow the patriarchal frame and remain conservative and morally good. However, Smith became a leading figure in the early feminist scenes and many of her songs strived to empower women through sexual freedom.

“I wear my skirt up to my knee, and whip that jelly with who I please”- Whip it to a jelly by Clara Smith

",32.8354411,-83.6258016,[540,541],"The Douglass Theatre first opened in Macon by Charles H. Douglass in 1921 (Ellerbee, 2004). The theater was one of the few places that catered to blacks and showed vaudeville revues and movies during the days of racial segregation. It closed its doors in 1973 and the city bought the theater in 1978. It was later restored in 1997 and the theater has an exhibition that highlights the history of the Douglass Theatre and the impact of African-Americans on musical, dramatic, and film heritage. In the early years, performers at the Douglass Theatre included The Two Sweets,165 “comedians Butterbeans and Susie and blues legends “Ma” Rainey and Bessie Smith.” Clara Smith, also known as the \"Queen of Moaners\", was a star on the Vaudeville circuit by 1918 and she made appearances at the Douglass Theatre in Macon (Rimmer, 2019). Unlike many blues singers at the time, she was known for her lighter and sweeter voice and her more overt sexual blues (Oakley, 1997). Throughout history, women were expected to follow the patriarchal frame and remain conservative and morally good. However, Smith became a leading figure in the early feminist scenes and many of her songs strived to empower women through sexual freedom. “I wear my skirt up to my knee, and whip that jelly with who I please”- Whip it to a jelly by Clara Smith",[133,525],{"_73":538,"_130":-5,"_131":539},[],"macon-visitors-information.jpg","https://api.opentour.site/atlanta-music-maps/v4/public/media/unodqvec1k7fom3hjdpqi28ugock?variant=desktop",{"_101":555,"_98":24,"_130":-5,"_138":139,"_140":-5,"_141":-5,"_142":556,"_144":557,"_35":558,"_147":-5,"_148":149,"_150":556,"_151":152,"_153":154,"_73":538,"_156":-5},{"_101":542,"_98":137,"_130":-5,"_138":543,"_140":-5,"_141":-5,"_142":544,"_144":545,"_35":546,"_147":-5,"_148":547,"_150":544,"_151":152,"_153":548,"_73":549,"_156":-5},113,1050,"16069713465.jpeg",{"_157":550,"_159":551,"_161":552,"_163":553,"_165":554},123,210,525,"preview.jpg","https://api.opentour.site/atlanta-music-maps/v4/public/media/04bbslps515d70nc7e3ptadqhd46","https://api.opentour.site/atlanta-music-maps/v4/public/media/04bbslps515d70nc7e3ptadqhd46?variant=mobile","https://api.opentour.site/atlanta-music-maps/v4/public/media/04bbslps515d70nc7e3ptadqhd46?variant=tablet","https://api.opentour.site/atlanta-music-maps/v4/public/media/04bbslps515d70nc7e3ptadqhd46?variant=desktop","https://api.opentour.site/atlanta-music-maps/v4/public/media/04bbslps515d70nc7e3ptadqhd46?variant=lqip",112,"16069713264.jpeg",{"_157":559,"_159":560,"_161":561,"_163":539,"_165":562},122,"https://api.opentour.site/atlanta-music-maps/v4/public/media/unodqvec1k7fom3hjdpqi28ugock","https://api.opentour.site/atlanta-music-maps/v4/public/media/unodqvec1k7fom3hjdpqi28ugock?variant=mobile","https://api.opentour.site/atlanta-music-maps/v4/public/media/unodqvec1k7fom3hjdpqi28ugock?variant=tablet","https://api.opentour.site/atlanta-music-maps/v4/public/media/unodqvec1k7fom3hjdpqi28ugock?variant=lqip",65,"liberty-theatre-cultural-center","Liberty Theatre Cultural Center",{"_35":524,"_64":525,"_73":526},{"_35":612,"_64":613,"_73":614},"813 8th Ave, Columbus, GA 31901","

The Liberty Theatre was the hub of African American entertainment in Columbus and was even known as “ the Carnegie Hall” of the South (Ellerbee, 2004). It was established in 1924 as a segregated theatre where it was used to show motion picture films, and host performances featuring early, famous musicians such as Ma Rainey and Cab Calloway. The theatre is important to Georgia’s history because it was the first black theater in the city and at the time, it was the largest movie house in the city. It supported local black artists and paved the way for future musicians such as Ella Fitzgerald to spread her voice (Renee, 2017).

Ella Jane Fitzgerald was an American jazz singer, sometimes referred to as the First Lady of Song, Queen of Jazz, and Lady Ella (Gleason, 2019). In 1958, Fitzgerald made history as the first African American woman to win a Grammy Award. In her songs, she drew from the blues tradition and introduced her own unique ability to mimic instrumental sounds, which later became her signature technique. In addition with her unique sound, her songs drew on her personal experiences of heartbreak and translated it into a message to empower other women.

“Men are not a new sensation, I've done pretty well I think”- Bewitched, Bothered, and Bewildered by Ella Fitzgerald

",32.461461,-84.9826071,[579,580,581],"The Liberty Theatre was the hub of African American entertainment in Columbus and was even known as “ the Carnegie Hall” of the South (Ellerbee, 2004). It was established in 1924 as a segregated theatre where it was used to show motion picture films, and host performances featuring early, famous musicians such as Ma Rainey and Cab Calloway. The theatre is important to Georgia’s history because it was the first black theater in the city and at the time, it was the largest movie house in the city. It supported local black artists and paved the way for future musicians such as Ella Fitzgerald to spread her voice (Renee, 2017). Ella Jane Fitzgerald was an American jazz singer, sometimes referred to as the First Lady of Song, Queen of Jazz, and Lady Ella (Gleason, 2019). In 1958, Fitzgerald made history as the first African American woman to win a Grammy Award. In her songs, she drew from the blues tradition and introduced her own unique ability to mimic instrumental sounds, which later became her signature technique. In addition with her unique sound, her songs drew on her personal experiences of heartbreak and translated it into a message to empower other women. “Men are not a new sensation, I've done pretty well I think”- Bewitched, Bothered, and Bewildered by Ella Fitzgerald",[133,564],{"_73":577,"_130":-5,"_131":578},[],"download.jpg","https://api.opentour.site/atlanta-music-maps/v4/public/media/987khtmq74iol6zo7w2nmu0kqlac?variant=desktop",{"_101":604,"_98":24,"_130":-5,"_138":139,"_140":-5,"_141":-5,"_142":605,"_144":606,"_35":607,"_147":-5,"_148":149,"_150":605,"_151":152,"_153":154,"_73":577,"_156":-5},{"_101":594,"_98":137,"_130":-5,"_138":139,"_140":-5,"_141":-5,"_142":595,"_144":596,"_35":597,"_147":-5,"_148":149,"_150":595,"_151":152,"_153":154,"_73":598,"_156":-5},{"_101":582,"_98":226,"_130":583,"_138":211,"_140":584,"_141":585,"_142":586,"_144":587,"_35":289,"_147":83,"_148":149,"_150":586,"_151":217,"_153":218,"_73":588,"_156":585},157,"Ella Fitzgerald, with a studio orchestra conducted and arranged by Buddy Bregman. From the album \"Ella Fitzgerald Sings the Rodgers & Hart Songbook\" Recorded: August 1956","//www.youtube.com/embed/1fzZ4l2H5-w","1fzZ4l2H5-w","1fzZ4l2H5-w.jpg",{"_157":589,"_159":590,"_161":591,"_163":592,"_165":593},"Ella Fitzgerald - Bewitched, Bothered, and Bewildered (Lyrics)","https://api.opentour.site/atlanta-music-maps/v4/public/media/2m1h2edgc6b8diexm93wbggvzig0","https://api.opentour.site/atlanta-music-maps/v4/public/media/2m1h2edgc6b8diexm93wbggvzig0?variant=mobile","https://api.opentour.site/atlanta-music-maps/v4/public/media/2m1h2edgc6b8diexm93wbggvzig0?variant=tablet","https://api.opentour.site/atlanta-music-maps/v4/public/media/2m1h2edgc6b8diexm93wbggvzig0?variant=desktop","https://api.opentour.site/atlanta-music-maps/v4/public/media/2m1h2edgc6b8diexm93wbggvzig0?variant=lqip",111,"16069712569.jpeg",{"_157":599,"_159":600,"_161":601,"_163":602,"_165":603},121,"gettyimages-74271347_wide-5af81fbadb1e6cf3ba5f4221ebc06a501e25d089-s800-c85.jpg","https://api.opentour.site/atlanta-music-maps/v4/public/media/teswci1mw6lidd1muea41adxcsth","https://api.opentour.site/atlanta-music-maps/v4/public/media/teswci1mw6lidd1muea41adxcsth?variant=mobile","https://api.opentour.site/atlanta-music-maps/v4/public/media/teswci1mw6lidd1muea41adxcsth?variant=tablet","https://api.opentour.site/atlanta-music-maps/v4/public/media/teswci1mw6lidd1muea41adxcsth?variant=desktop","https://api.opentour.site/atlanta-music-maps/v4/public/media/teswci1mw6lidd1muea41adxcsth?variant=lqip",110,"16069712275.jpeg",{"_157":608,"_159":609,"_161":610,"_163":578,"_165":611},120,"https://api.opentour.site/atlanta-music-maps/v4/public/media/987khtmq74iol6zo7w2nmu0kqlac","https://api.opentour.site/atlanta-music-maps/v4/public/media/987khtmq74iol6zo7w2nmu0kqlac?variant=mobile","https://api.opentour.site/atlanta-music-maps/v4/public/media/987khtmq74iol6zo7w2nmu0kqlac?variant=tablet","https://api.opentour.site/atlanta-music-maps/v4/public/media/987khtmq74iol6zo7w2nmu0kqlac?variant=lqip",50,"columbus-stockade","Columbus Stockade ",{"_35":563,"_64":564,"_73":565},{"_35":669,"_64":670,"_73":671},"622 10th Street Columbus, Georgia USA 31902","

In the 1850s to 1960s, the Columbus Stockade served as a jail and police headquarters. It consists of two brick buildings and is designed according to the Renaissance Revival style (Causey, 2019). The Columbus Stockade was able to gain national recognition when the building served as inspiration for the famous song “Columbus Stockade Blues” written by Thomas Darby and Jimmie Tarlton (Barnes, 2020). Near the building, there is a sign that pays tribute to the piece.

In addition, another artist, Sara Martin, also features the Columbus Stockade in her song, \"The Georgia Stockade.\" Sara Martin, also known as \"The Famous Moanin' Mama\" and \"The Colored Sophie Tucker\", was one of the most popular of the classic blues singers (Harrison, 2000). On stage, she was noted for a dramatic performing style and for her lavish costumes. But off stage, Martin was known to be very vocal about her opinions. Her song, “Georgia Stockade Blues” is a response to oppression and police brutality. She illustrates the brutality of southern women’s imprisonment in addition to highlighting the overwhelming population of African Americans in poverty (Carter et al, 2020).

“They found me guilty without one dime”- Georgia Stockade Blues by Sara Martin

",32.4639875,-84.9835152,[628,629,630,631],"In the 1850s to 1960s, the Columbus Stockade served as a jail and police headquarters. It consists of two brick buildings and is designed according to the Renaissance Revival style (Causey, 2019). The Columbus Stockade was able to gain national recognition when the building served as inspiration for the famous song “Columbus Stockade Blues” written by Thomas Darby and Jimmie Tarlton (Barnes, 2020). Near the building, there is a sign that pays tribute to the piece. In addition, another artist, Sara Martin, also features the Columbus Stockade in her song, \"The Georgia Stockade.\" Sara Martin, also known as \"The Famous Moanin' Mama\" and \"The Colored Sophie Tucker\", was one of the most popular of the classic blues singers (Harrison, 2000). On stage, she was noted for a dramatic performing style and for her lavish costumes. But off stage, Martin was known to be very vocal about her opinions. Her song, “Georgia Stockade Blues” is a response to oppression and police brutality. She illustrates the brutality of southern women’s imprisonment in addition to highlighting the overwhelming population of African Americans in poverty (Carter et al, 2020). “They found me guilty without one dime”- Georgia Stockade Blues by Sara Martin",[133,613],{"_73":626,"_130":-5,"_131":627},[],"3593a114-a884-4542-9cf6-006d5fc338a6_d.jpg","https://api.opentour.site/atlanta-music-maps/v4/public/media/4se2rjmoo4tvzipufv4ymawayaz9?variant=desktop",{"_101":510,"_98":24,"_130":-5,"_138":139,"_140":-5,"_141":-5,"_142":662,"_144":663,"_35":664,"_147":-5,"_148":149,"_150":662,"_151":152,"_153":154,"_73":626,"_156":-5},{"_101":607,"_98":137,"_130":-5,"_138":139,"_140":-5,"_141":-5,"_142":653,"_144":654,"_35":655,"_147":-5,"_148":149,"_150":653,"_151":152,"_153":154,"_73":656,"_156":-5},{"_101":597,"_98":226,"_130":-5,"_138":139,"_140":-5,"_141":-5,"_142":644,"_144":645,"_35":646,"_147":-5,"_148":149,"_150":644,"_151":152,"_153":154,"_73":647,"_156":-5},{"_101":632,"_98":209,"_130":633,"_138":211,"_140":634,"_141":635,"_142":636,"_144":637,"_35":330,"_147":83,"_148":149,"_150":636,"_151":217,"_153":218,"_73":638,"_156":635},156,"Provided to YouTube by The Orchard Enterprises\n\nGeorgia Stockade Blues · Sara Martin\n\nSara Martin Vol. 3 (1924-1925)\n\n℗ 1995 Document Records\n\nReleased on: 2005-07-05\n\nAuto-generated by YouTube.","//www.youtube.com/embed/gC_YTgp4s5g","gC_YTgp4s5g","gC_YTgp4s5g.jpg",{"_157":639,"_159":640,"_161":641,"_163":642,"_165":643},"Georgia Stockade Blues","https://api.opentour.site/atlanta-music-maps/v4/public/media/3ygswoozopj3htdutgsst09gz9eu","https://api.opentour.site/atlanta-music-maps/v4/public/media/3ygswoozopj3htdutgsst09gz9eu?variant=mobile","https://api.opentour.site/atlanta-music-maps/v4/public/media/3ygswoozopj3htdutgsst09gz9eu?variant=tablet","https://api.opentour.site/atlanta-music-maps/v4/public/media/3ygswoozopj3htdutgsst09gz9eu?variant=desktop","https://api.opentour.site/atlanta-music-maps/v4/public/media/3ygswoozopj3htdutgsst09gz9eu?variant=lqip","16069799294.jpeg",{"_157":648,"_159":649,"_161":650,"_163":651,"_165":652},131,"Sara-Martin-2.jpg","https://api.opentour.site/atlanta-music-maps/v4/public/media/w5sj5k3ucilp456sxp5jf5ikf91f","https://api.opentour.site/atlanta-music-maps/v4/public/media/w5sj5k3ucilp456sxp5jf5ikf91f?variant=mobile","https://api.opentour.site/atlanta-music-maps/v4/public/media/w5sj5k3ucilp456sxp5jf5ikf91f?variant=tablet","https://api.opentour.site/atlanta-music-maps/v4/public/media/w5sj5k3ucilp456sxp5jf5ikf91f?variant=desktop","https://api.opentour.site/atlanta-music-maps/v4/public/media/w5sj5k3ucilp456sxp5jf5ikf91f?variant=lqip","16069798990.jpeg",{"_157":657,"_159":658,"_161":659,"_163":660,"_165":661},130,"61EvLgwgBwL._SS500_.jpg","https://api.opentour.site/atlanta-music-maps/v4/public/media/5bw72cxcgj5o3qzwhziuumbygb6m","https://api.opentour.site/atlanta-music-maps/v4/public/media/5bw72cxcgj5o3qzwhziuumbygb6m?variant=mobile","https://api.opentour.site/atlanta-music-maps/v4/public/media/5bw72cxcgj5o3qzwhziuumbygb6m?variant=tablet","https://api.opentour.site/atlanta-music-maps/v4/public/media/5bw72cxcgj5o3qzwhziuumbygb6m?variant=desktop","https://api.opentour.site/atlanta-music-maps/v4/public/media/5bw72cxcgj5o3qzwhziuumbygb6m?variant=lqip","16069798750.jpeg",{"_157":665,"_159":666,"_161":667,"_163":627,"_165":668},129,"https://api.opentour.site/atlanta-music-maps/v4/public/media/4se2rjmoo4tvzipufv4ymawayaz9","https://api.opentour.site/atlanta-music-maps/v4/public/media/4se2rjmoo4tvzipufv4ymawayaz9?variant=mobile","https://api.opentour.site/atlanta-music-maps/v4/public/media/4se2rjmoo4tvzipufv4ymawayaz9?variant=tablet","https://api.opentour.site/atlanta-music-maps/v4/public/media/4se2rjmoo4tvzipufv4ymawayaz9?variant=lqip",19,"the-springer-opera-house","The Springer Opera House ",{"_35":612,"_64":613,"_73":614},{"_35":721,"_64":722,"_73":723},"103 10th St. Columbus GA 31901","

The Springer first opened in 1871 after the Civil War to help support the arts and attract people to the city of Columbus (Watts, 2010). While the theatre still remains active, many patrons visit the opera house since it also marks one of the beginnings of blues music. Gertrude Pridgett made her first public appearance at the Springer Opera House in a local talent show called “Bunch of Blackberries” (Russonello, 2019). She was only 13 when she began performing in minstrel tent shows in her hometown of Columbus, Georgia. Then in 1904, she married William Rainey, a vaudeville performer called “Pa Rainey” and the two toured the South, singing and dancing in black minstrel troupes on the Southern vaudeville circuit. Later she traveled with the Rabbit’s Foot Company, but by 1916, she had gone out on her own as a singer, when she separated from her husband (Chirhart et al, 2014). From these experiences, she was not only able to translate her emotions of heartache and longing in her songs, but also suggest the positives to the situation. She often sang unapologetically about taboo topics of the time, such as lesbian relationships and cross-dressing. Furthermore, she encourages women to take advantage of their newfound sexual freedom and experiment with what makes them happy.

\"Hey, hey, bo weavil, don't sing them blues no more, Bo weavil's here, bo weavil's everywhere you'll go\"- Bo Weavil Blues by Ma Rainey

",32.4652235,-84.9912611,[685,686,687],"The Springer first opened in 1871 after the Civil War to help support the arts and attract people to the city of Columbus (Watts, 2010). While the theatre still remains active, many patrons visit the opera house since it also marks one of the beginnings of blues music. Gertrude Pridgett made her first public appearance at the Springer Opera House in a local talent show called “Bunch of Blackberries” (Russonello, 2019). She was only 13 when she began performing in minstrel tent shows in her hometown of Columbus, Georgia. Then in 1904, she married William Rainey, a vaudeville performer called “Pa Rainey” and the two toured the South, singing and dancing in black minstrel troupes on the Southern vaudeville circuit. Later she traveled with the Rabbit’s Foot Company, but by 1916, she had gone out on her own as a singer, when she separated from her husband (Chirhart et al, 2014). From these experiences, she was not only able to translate her emotions of heartache and longing in her songs, but also suggest the positives to the situation. She often sang unapologetically about taboo topics of the time, such as lesbian relationships and cross-dressing. Furthermore, she encourages women to take advantage of their newfound sexual freedom and experiment with what makes them happy. \"Hey, hey, bo weavil, don't sing them blues no more, Bo weavil's here, bo weavil's everywhere you'll go\"- Bo Weavil Blues by Ma Rainey",[133,670],{"_73":683,"_130":-5,"_131":684},[],"springer-opera-house.jpg","https://api.opentour.site/atlanta-music-maps/v4/public/media/mb382z4vb67bx4h555gt635i9kdm?variant=desktop",{"_101":713,"_98":24,"_130":-5,"_138":139,"_140":-5,"_141":-5,"_142":714,"_144":715,"_35":716,"_147":-5,"_148":149,"_150":714,"_151":152,"_153":154,"_73":683,"_156":-5},{"_101":701,"_98":137,"_130":-5,"_138":702,"_140":-5,"_141":-5,"_142":703,"_144":704,"_35":302,"_147":-5,"_148":705,"_150":703,"_151":152,"_153":706,"_73":707,"_156":-5},{"_101":688,"_98":226,"_130":689,"_138":211,"_140":690,"_141":691,"_142":692,"_144":693,"_35":694,"_147":83,"_148":149,"_150":692,"_151":217,"_153":218,"_73":695,"_156":691},37,"Ma Rainey (April 26, 1886 - December 22, 1939) was one of the earliest known American professional blues singers and one of the first generation of such singers to record.She was billed as The Mother of the Blues.","//www.youtube.com/embed/JcwLf3gc2p0","JcwLf3gc2p0","JcwLf3gc2p0.jpg",{"_157":696,"_159":697,"_161":698,"_163":699,"_165":700},42,"Ma Rainey - Bo-Weavil Blues","https://api.opentour.site/atlanta-music-maps/v4/public/media/wwwph27aowxfpfj637e479bp7l9p","https://api.opentour.site/atlanta-music-maps/v4/public/media/wwwph27aowxfpfj637e479bp7l9p?variant=mobile","https://api.opentour.site/atlanta-music-maps/v4/public/media/wwwph27aowxfpfj637e479bp7l9p?variant=tablet","https://api.opentour.site/atlanta-music-maps/v4/public/media/wwwph27aowxfpfj637e479bp7l9p?variant=desktop","https://api.opentour.site/atlanta-music-maps/v4/public/media/wwwph27aowxfpfj637e479bp7l9p?variant=lqip",105,1244,"16069703651.jpeg",{"_157":708,"_159":709,"_161":710,"_163":711,"_165":712},249,622,"MaRainey.jpg","https://api.opentour.site/atlanta-music-maps/v4/public/media/2jb4a9zpm8vaowdnzl40cf7b1zf7","https://api.opentour.site/atlanta-music-maps/v4/public/media/2jb4a9zpm8vaowdnzl40cf7b1zf7?variant=mobile","https://api.opentour.site/atlanta-music-maps/v4/public/media/2jb4a9zpm8vaowdnzl40cf7b1zf7?variant=tablet","https://api.opentour.site/atlanta-music-maps/v4/public/media/2jb4a9zpm8vaowdnzl40cf7b1zf7?variant=desktop","https://api.opentour.site/atlanta-music-maps/v4/public/media/2jb4a9zpm8vaowdnzl40cf7b1zf7?variant=lqip",34,"16041853286.jpeg",{"_157":717,"_159":718,"_161":719,"_163":684,"_165":720},39,"https://api.opentour.site/atlanta-music-maps/v4/public/media/mb382z4vb67bx4h555gt635i9kdm","https://api.opentour.site/atlanta-music-maps/v4/public/media/mb382z4vb67bx4h555gt635i9kdm?variant=mobile","https://api.opentour.site/atlanta-music-maps/v4/public/media/mb382z4vb67bx4h555gt635i9kdm?variant=tablet","https://api.opentour.site/atlanta-music-maps/v4/public/media/mb382z4vb67bx4h555gt635i9kdm?variant=lqip",18,"ma-rainey-house-and-blues-museum","Ma Rainey House and Blues Museum ",{"_35":669,"_64":670,"_73":671},"805 Fifth Ave. Columbus GA 31901","

The Ma Rainey House and Blues Museum is the first stop on the tour. The Ma Rainey House and Blues Museum is the house in which Ma Rainey spent her last few years, and it features local blues history exhibits and artifacts. Ma Rainey was one of the earliest African-American professional blues singers and one of the first generation of recording blues singers (Chirhart et al, 2014). Ma Rainey's blues helped to mainstream narratives of black female autonomy, in addition, to shed light on themes such as queerness, feminism, and race. After ending her show business career in 1935, she moved back to her hometown of Columbus. Rainey lived in the house for less than five years before she died of heart failure on December 22, 1939 (Dewan, 2008). Ma Rainey left behind a legacy as the \"Mother of the Blues\" inspiring many classic blues musicians who came after her. \"Prove It on Me\" is a cultural precursor to the lesbian cultural movement of the 1970s, which began to crystallize around the performance and recording of lesbian-affirming songs (Davis, 1998).

\n“I went out last night with a crowd of my friends, It must've been women, 'cause I don't like no men. Wear my clothes just like a fan Talk to the gals just like any old man”- Prove it on me by Ma Rainey

",32.4612466,-84.9866098,[736,737,738],"The Ma Rainey House and Blues Museum is the first stop on the tour. The Ma Rainey House and Blues Museum is the house in which Ma Rainey spent her last few years, and it features local blues history exhibits and artifacts. Ma Rainey was one of the earliest African-American professional blues singers and one of the first generation of recording blues singers (Chirhart et al, 2014). Ma Rainey's blues helped to mainstream narratives of black female autonomy, in addition, to shed light on themes such as queerness, feminism, and race. After ending her show business career in 1935, she moved back to her hometown of Columbus. Rainey lived in the house for less than five years before she died of heart failure on December 22, 1939 (Dewan, 2008). Ma Rainey left behind a legacy as the \"Mother of the Blues\" inspiring many classic blues musicians who came after her. \"Prove It on Me\" is a cultural precursor to the lesbian cultural movement of the 1970s, which began to crystallize around the performance and recording of lesbian-affirming songs (Davis, 1998). \n“I went out last night with a crowd of my friends, It must've been women, 'cause I don't like no men. Wear my clothes just like a fan Talk to the gals just like any old man”- Prove it on me by Ma Rainey ",[133,722],{"_73":734,"_130":-5,"_131":735},[],"3974243824001_5763786659001_5763220782001-vs.jpg","https://api.opentour.site/atlanta-music-maps/v4/public/media/ejobkbkr3i8vml7ktq4pm19ap4ce?variant=desktop",{"_101":761,"_98":24,"_130":-5,"_138":139,"_140":-5,"_141":-5,"_142":762,"_144":763,"_35":764,"_147":-5,"_148":149,"_150":762,"_151":152,"_153":154,"_73":734,"_156":-5},{"_101":748,"_98":137,"_130":749,"_138":211,"_140":750,"_141":751,"_142":752,"_144":753,"_35":754,"_147":83,"_148":149,"_150":752,"_151":217,"_153":218,"_73":755,"_156":751},{"_101":739,"_98":226,"_130":-5,"_138":139,"_140":-5,"_141":-5,"_142":740,"_144":741,"_35":456,"_147":-5,"_148":149,"_150":740,"_151":152,"_153":154,"_73":742,"_156":-5},107,"16069706347.jpeg",{"_157":743,"_159":744,"_161":745,"_163":746,"_165":747},"ma-rainey-in-chicago-74292312-5be5eeaf46e0fb002631cc42.jpg","https://api.opentour.site/atlanta-music-maps/v4/public/media/dnn8uwzh70yn6vuvj2laex0p1ujd","https://api.opentour.site/atlanta-music-maps/v4/public/media/dnn8uwzh70yn6vuvj2laex0p1ujd?variant=mobile","https://api.opentour.site/atlanta-music-maps/v4/public/media/dnn8uwzh70yn6vuvj2laex0p1ujd?variant=tablet","https://api.opentour.site/atlanta-music-maps/v4/public/media/dnn8uwzh70yn6vuvj2laex0p1ujd?variant=desktop","https://api.opentour.site/atlanta-music-maps/v4/public/media/dnn8uwzh70yn6vuvj2laex0p1ujd?variant=lqip",106," ","//www.youtube.com/embed/yRyaUcVfhak","yRyaUcVfhak","yRyaUcVfhak.jpg",{"_157":756,"_159":757,"_161":758,"_163":759,"_165":760},116,"Gertrude 'Ma' Rainey - Prove It On Me Blues","https://api.opentour.site/atlanta-music-maps/v4/public/media/38qhsqxeq7duz5l0rpit09v65j03","https://api.opentour.site/atlanta-music-maps/v4/public/media/38qhsqxeq7duz5l0rpit09v65j03?variant=mobile","https://api.opentour.site/atlanta-music-maps/v4/public/media/38qhsqxeq7duz5l0rpit09v65j03?variant=tablet","https://api.opentour.site/atlanta-music-maps/v4/public/media/38qhsqxeq7duz5l0rpit09v65j03?variant=desktop","https://api.opentour.site/atlanta-music-maps/v4/public/media/38qhsqxeq7duz5l0rpit09v65j03?variant=lqip",25,"16041838608.jpeg",{"_157":765,"_159":766,"_161":767,"_163":735,"_165":768},30,"https://api.opentour.site/atlanta-music-maps/v4/public/media/ejobkbkr3i8vml7ktq4pm19ap4ce","https://api.opentour.site/atlanta-music-maps/v4/public/media/ejobkbkr3i8vml7ktq4pm19ap4ce?variant=mobile","https://api.opentour.site/atlanta-music-maps/v4/public/media/ejobkbkr3i8vml7ktq4pm19ap4ce?variant=tablet","https://api.opentour.site/atlanta-music-maps/v4/public/media/ejobkbkr3i8vml7ktq4pm19ap4ce?variant=lqip","Ladies-800x445.jpg","https://api.opentour.site/atlanta-music-maps/v4/public/media/fcpnn1uvhkt7hk6h4jw1attc64xg?variant=desktop",{"_101":688,"_35":24,"_73":780},{"_101":778,"_35":137,"_73":779},{"_101":716,"_35":226,"_73":777},{"_101":775,"_35":209,"_73":776},40,"WALKING","TRANSIT",38,"DRIVING","BICYCLING",{"_101":83,"_98":137,"_130":-5,"_138":139,"_140":-5,"_141":-5,"_142":782,"_144":783,"_35":784,"_147":-5,"_148":149,"_150":782,"_151":152,"_153":154,"_73":769,"_156":-5},"16041829276.jpeg",{"_157":785,"_159":786,"_161":787,"_163":770,"_165":788},29,"https://api.opentour.site/atlanta-music-maps/v4/public/media/fcpnn1uvhkt7hk6h4jw1attc64xg","https://api.opentour.site/atlanta-music-maps/v4/public/media/fcpnn1uvhkt7hk6h4jw1attc64xg?variant=mobile","https://api.opentour.site/atlanta-music-maps/v4/public/media/fcpnn1uvhkt7hk6h4jw1attc64xg?variant=tablet","https://api.opentour.site/atlanta-music-maps/v4/public/media/fcpnn1uvhkt7hk6h4jw1attc64xg?variant=lqip",{"_98":24,"_101":790,"_35":790,"_73":791,"_64":792,"_793":794,"_117":26,"_795":24},14,"Works Cited ","works-cited","body","Works Cited

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Alexander, Andrew. “Review: ‘Ethel’ Captures the Brilliance and Pain of Singer Ethel Waters.” ARTS ATL, 1 July 2020, www.artsatl.org/review-alliances-ethel-captures-brilliance-pain-legendary-singer-ethel-waters/.

Barnes, Brad. “Columbus Stockade Blues.” Behind The Bars | Columbus Stockade Blues | David Neale, 2020, davidneale.eu/elvis/csb/behind-the-bars.html.

Bianchini, Riccardo. “High Museum of Art: Atlanta, Georgia.” Inexhibit, 1 Nov. 2019, www.inexhibit.com/mymuseum/high-museum-art-atlanta-ga/.

Bogan , Lucille. Tricks Ain't Walking No More. 1930, youtu.be/-7esvukyc1s.

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Daley, Jason. “The Site of Country Music's First Recorded Hit Is Set to Be Demolished.” Smithsonian.com, Smithsonian Institution, 9 May 2019, www.smithsonianmag.com/smart-news/atlanta-prepares-demolish-site-country-musics-first-recorded-hit-180972115/.

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