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A predominant theme of artistic expression runs\nthroughout the evolution of music in Atlanta. Of course, it is a given - all\nmusic and art are associated with expression - yet, the kind of expression which\nexisted in this metropolitan area was uniquely unrestricted and unapologetic.\nMany governments would censor LGBTQ content or songs containing lyrics that\nhighlighted political faults. Throughout the local venues, i.e. 81 theater,\nhowever, artists in Atlanta were able to explore and develop their own musical\nstyle. Public spaces, like these, attracted a significant number of people\nwhere individuals or groups could freely perform and have their music be heard\nby others. Audience members were welcoming & receptive while police would rarely come by swinging\nbatons to sanction acts.

As such routes of expression thrived, music transgressed from\nstandard church melodies and hymns: songs produced went from being rooted in\nreligion or about something else, to being about the people themselves - their\nown thoughts & feelings. In particular, the blues which arose in the 1860’s\nwas a genre of music associated with a deeper level of expression. Artists sang\nof a wide range of aspects in life, such as love, anger, loss, fear, discrimination,\nsorrow, and more. Coupled with swinging rhythms and twelve bar chords, the\nverses artists poured forth were filled with unique emotion. Queen of the blues\nBessie Smith, namely, pours out her connection women’s lust, heartbreak, continued\nlonging, etc. Other famous blues singers include Willie McTell, Ma Rainey, and\nThomas Dorsey.

This theme of expression is of interest as songs, nowadays,\ncontain many lines that go “I’m gonna…”, “I wanna…”, “feeling like…” or “you better not.”\n Phrases like these did not exist from\nthe beginning; sacred music, for example, did not contain such verses or share\npersonal feelings, etc. First-person expression of love, hate, anger, and shame\nembodied within songs today has a starting point and this tour serves to\ndelve into its origins.

Six primary locations, Springer Opera House, 81 Theatre, Dixie Theater, Okeh Recording studio, Pig 'n' Whistle, and Mount Prospect Baptist Church, are highlighted throughout this tour. Pictures of the exterior and (sometimes interior) of major\nlocations are included at each stop. Audio clips of artist’s work and video documentaries\nare embedded throughout stops as well. It will be helpful to pay attention to how\nartists enunciate and draw out certain phrases as benchmark of expression used in the blues genre.

Databases including Jstor, Academic Search Compete,\nebscohost, and old newspaper articles were used to complete research for this\nproject. One noteworthy historian referenced is Lewis V. Baldwin, who graduated\nfrom Northwestern University and studied the origins of Southern music. Commentary\nfrom authors are included, (yet they may come with certain bias). Allow\nyourself to form your own thoughts and opinions of blues music throughout this tour\nand enjoy your travels.

","flat_pages",[452],"id",16,"is_geo",true,"link_address","link_text","map_icon","map_overlay","map_type","hybrid","media",[],"meta_description","A predominant theme of artistic expression runs\nthroughout the evolution of music in Atlanta. Of course, it is a given - all\nmusic and art are associated with expression - yet, the kind of expression which\nexisted in this metropolitan area was uniquely unrestricted and unapologetic.\nMany governments would censor LGBTQ content or songs containing lyrics that\nhighlighted political faults. Throughout the local venues, i. e. 81 theater,\nhowever, artists in Atlanta were able to explore and develop their own musical\nstyle. Public spaces, like these, attracted a significant number of people\nwhere individuals or groups could freely perform and have their music be heard\nby others. Audience members were welcoming & receptive while police would rarely come by swinging\nbatons to sanction acts. \nAs such routes of expression thrived, music transgressed from\nstandard church melodies and hymns: songs produced went from being rooted in\nreligion or about something else, to being about the people themselves - their\nown thoughts & feelings. In particular, the blues which arose in the 1860’s\nwas a genre of music associated with a deeper level of expression. Artists sang\nof a wide range of aspects in life, such as love, anger, loss, fear, discrimination,\nsorrow, and more. Coupled with swinging rhythms and twelve bar chords, the\nverses artists poured forth were filled with unique emotion. Queen of the blues\nBessie Smith, namely, pours out her connection women’s lust, heartbreak, continued\nlonging, etc. Other famous blues singers include Willie McTell, Ma Rainey, and\nThomas Dorsey.\nThis theme of expression is of interest as songs, nowadays,\ncontain many lines that go “I’m gonna…”, “I wanna…”, “feeling like…” or “you better not.”\n Phrases like these did not exist from\nthe beginning; sacred music, for example, did not contain such verses or share\npersonal feelings, etc. First-person expression of love, hate, anger, and shame\nembodied within songs today has a starting point and this tour serves to\ndelve into its origins. \nSix primary locations, Springer Opera House, 81 Theatre, Dixie Theater, Okeh Recording studio, Pig 'n' Whistle, and Mount Prospect Baptist Church, are highlighted throughout this tour. Pictures of the exterior and (sometimes interior) of major\nlocations are included at each stop. Audio clips of artist’s work and video documentaries\nare embedded throughout stops as well. It will be helpful to pay attention to how\nartists enunciate and draw out certain phrases as benchmark of expression used in the blues genre. \nDatabases including Jstor, Academic Search Compete,\nebscohost, and old newspaper articles were used to complete research for this\nproject. One noteworthy historian referenced is Lewis V. Baldwin, who graduated\nfrom Northwestern University and studied the origins of Southern music. Commentary\nfrom authors are included, (yet they may come with certain bias). Allow\nyourself to form your own thoughts and opinions of blues music throughout this tour\nand enjoy your travels.","mode",{"_35":240,"_73":445},"modes",[440,441,442,443],"open_geographies_endpoint","published","published_on","2026-09-10","read_duration","4 minutes reading","restrict_bounds","restrict_bounds_to_overlay","sanitized_description","splash",{"_73":356,"_123":-5,"_124":357},"slug","slugs",[16],"stop_count",6,"stops",[84,85,86,87,88,89],"tenant_title","Atlanta Music Maps","title","The Growth of Expression","travel_duration","About 3 hours walking","theme",{"_35":68,"_73":83},"type","voice_overs",[],"use_directions","purple",{"_90":398,"_91":24,"_92":-5,"_94":395,"_96":399,"_98":-5,"_31":400,"_100":-5,"_101":-5,"_102":103,"_35":395,"_104":401,"_106":402,"_41":-5,"_45":403,"_47":109,"_110":26,"_111":-5,"_112":-5,"_54":38,"_61":404,"_64":396,"_65":405,"_62":406,"_73":397,"_79":118,"_119":-5,"_120":-5,"_80":407},{"_90":345,"_91":165,"_92":346,"_94":343,"_96":347,"_98":-5,"_31":348,"_100":-5,"_101":-5,"_102":103,"_35":343,"_104":349,"_106":350,"_41":-5,"_45":351,"_47":109,"_110":26,"_111":-5,"_112":-5,"_54":38,"_61":352,"_64":18,"_65":353,"_62":354,"_73":344,"_79":118,"_119":-5,"_120":-5,"_80":355},{"_90":293,"_91":131,"_92":294,"_94":290,"_96":295,"_98":-5,"_31":296,"_100":-5,"_101":-5,"_102":103,"_35":290,"_104":297,"_106":298,"_41":-5,"_45":299,"_47":109,"_110":26,"_111":-5,"_112":-5,"_54":38,"_61":300,"_64":291,"_65":301,"_62":302,"_73":292,"_79":118,"_119":-5,"_120":-5,"_80":303},{"_90":239,"_91":240,"_92":241,"_94":236,"_96":242,"_98":-5,"_31":243,"_100":-5,"_101":244,"_102":103,"_35":236,"_104":245,"_106":246,"_41":-5,"_45":247,"_47":109,"_110":26,"_111":-5,"_112":-5,"_54":38,"_61":248,"_64":237,"_65":249,"_62":250,"_73":238,"_79":118,"_119":-5,"_120":-5,"_80":251},{"_90":189,"_91":145,"_92":190,"_94":186,"_96":191,"_98":-5,"_31":192,"_100":-5,"_101":-5,"_102":103,"_35":186,"_104":193,"_106":194,"_41":-5,"_45":195,"_47":109,"_110":26,"_111":-5,"_112":-5,"_54":38,"_61":196,"_64":187,"_65":197,"_62":198,"_73":188,"_79":118,"_119":-5,"_120":-5,"_80":199},{"_90":-5,"_91":68,"_92":93,"_94":95,"_96":97,"_98":-5,"_31":99,"_100":-5,"_101":-5,"_102":103,"_35":95,"_104":105,"_106":107,"_41":-5,"_45":108,"_47":109,"_110":26,"_111":-5,"_112":-5,"_54":38,"_61":113,"_64":114,"_65":115,"_62":116,"_73":117,"_79":118,"_119":-5,"_120":-5,"_80":121},"next","position","previous",{"_35":186,"_64":187,"_73":188},"relation_id",108,"address","133 Thomas Dorsey Dr, Villa Rica, GA 30180","article_link","

Mount Prospect Baptist Church was established in the late 1800's outside of metropolitan Atlanta. Gospel blues singer, Thomas Dorsey, grew up within the walls of this church where his father preached and his mother played the organ. Here, he was exposed to various forms of expression, such as preaching, singing, and more. Mt. Prospect Baptist Church was characterized by a particularly vibrant atmosphere and mission to uphold positivity in line with godliness and care towards the community.

This open environment shaped Dorsey's musical/lyrical composition alongside his admiration for Bessie Smith and Ma Rainey. He was empowered to combine gospel with blues music to generate music that epitomized humanity and reflected deeper values. One of Dorsey's well known pieces, \"If You See My Savior, Tell Him That You Saw Me,\" carries his unique dream for God to make things right. The blues musician attains a new level of expression via combining the drawn-out elements of words in blues music with religious content that build upon each other. According to historian Lewis V. Baldwin, \"family and\nchurch\" were \"the two most important institutions in black life\" that overall \"catapulted Dorsey to\nprominence as both a blues artist and gospel pioneer\" (Baldwin 717).

Service continues to be held within Mt. Prospect Baptist Church. The building has been deemed a site commemorating the Dorsey family's legacy.

","direction_intro","direction_notes","icon_color","#D32F2F","lat",33.7282681,"lng",-84.914386,[127,128,129],"","orphaned","parking_lat","parking_lng","Mount Prospect Baptist Church was established in the late 1800's outside of metropolitan Atlanta. Gospel blues singer, Thomas Dorsey, grew up within the walls of this church where his father preached and his mother played the organ. Here, he was exposed to various forms of expression, such as preaching, singing, and more. Mt. Prospect Baptist Church was characterized by a particularly vibrant atmosphere and mission to uphold positivity in line with godliness and care towards the community. This open environment shaped Dorsey's musical/lyrical composition alongside his admiration for Bessie Smith and Ma Rainey. He was empowered to combine gospel with blues music to generate music that epitomized humanity and reflected deeper values. One of Dorsey's well known pieces, \"If You See My Savior, Tell Him That You Saw Me,\" carries his unique dream for God to make things right. The blues musician attains a new level of expression via combining the drawn-out elements of words in blues music with religious content that build upon each other. According to historian Lewis V. Baldwin, \"family and\nchurch\" were \"the two most important institutions in black life\" that overall \"catapulted Dorsey to\nprominence as both a blues artist and gospel pioneer\" (Baldwin 717).Service continues to be held within Mt. Prospect Baptist Church. The building has been deemed a site commemorating the Dorsey family's legacy.","mount-prospect-baptist-church",[126,114],{"_73":122,"_123":-5,"_124":125},"Mount Prospect Baptist Church","stop","video_embed","video_poster",[],"bpbp.png","caption","url","https://api.opentour.site/atlanta-music-maps/v4/public/media/rqaok6jq9m4ezzm0w44yatvhy50d?variant=desktop","untitled",{"_94":178,"_91":24,"_123":-5,"_133":166,"_135":-5,"_137":-5,"_139":179,"_141":180,"_35":181,"_144":-5,"_146":147,"_148":179,"_149":170,"_151":171,"_73":122,"_153":-5},{"_94":164,"_91":165,"_123":-5,"_133":166,"_135":-5,"_137":-5,"_139":167,"_141":168,"_35":169,"_144":-5,"_146":147,"_148":167,"_149":170,"_151":171,"_73":172,"_153":-5},{"_94":130,"_91":131,"_123":132,"_133":134,"_135":136,"_137":138,"_139":140,"_141":142,"_35":143,"_144":145,"_146":147,"_148":140,"_149":150,"_151":152,"_73":132,"_153":138},275,3,"Thomas Dorsey- If You See My Savior","desktop_width",480,"embed","//www.youtube.com/embed/-2-twJpqjFY","embed_id","-2-twJpqjFY","filename","-2-twJpqjFY.jpg","files",{"_154":155,"_156":157,"_158":159,"_160":161,"_162":163},293,"lqip_width",5,"mobile_width",300,"original_image","provider","youtube","tablet_width",400,"video","original","https://api.opentour.site/atlanta-music-maps/v4/public/media/ijbn3odggxsm351yz40p1wokg1ih","mobile","https://api.opentour.site/atlanta-music-maps/v4/public/media/ijbn3odggxsm351yz40p1wokg1ih?variant=mobile","tablet","https://api.opentour.site/atlanta-music-maps/v4/public/media/ijbn3odggxsm351yz40p1wokg1ih?variant=tablet","desktop","https://api.opentour.site/atlanta-music-maps/v4/public/media/ijbn3odggxsm351yz40p1wokg1ih?variant=desktop","lqip","https://api.opentour.site/atlanta-music-maps/v4/public/media/ijbn3odggxsm351yz40p1wokg1ih?variant=lqip",274,2,1500,"16073935082.png",{"_154":173,"_156":174,"_158":175,"_160":176,"_162":177},292,"keiner",750,"ppop.png","https://api.opentour.site/atlanta-music-maps/v4/public/media/5nfvv9bonky9jhaf1pqf1mizln3k","https://api.opentour.site/atlanta-music-maps/v4/public/media/5nfvv9bonky9jhaf1pqf1mizln3k?variant=mobile","https://api.opentour.site/atlanta-music-maps/v4/public/media/5nfvv9bonky9jhaf1pqf1mizln3k?variant=tablet","https://api.opentour.site/atlanta-music-maps/v4/public/media/5nfvv9bonky9jhaf1pqf1mizln3k?variant=desktop","https://api.opentour.site/atlanta-music-maps/v4/public/media/5nfvv9bonky9jhaf1pqf1mizln3k?variant=lqip",273,"16073934813.png",{"_154":182,"_156":183,"_158":184,"_160":125,"_162":185},291,"https://api.opentour.site/atlanta-music-maps/v4/public/media/rqaok6jq9m4ezzm0w44yatvhy50d","https://api.opentour.site/atlanta-music-maps/v4/public/media/rqaok6jq9m4ezzm0w44yatvhy50d?variant=mobile","https://api.opentour.site/atlanta-music-maps/v4/public/media/rqaok6jq9m4ezzm0w44yatvhy50d?variant=tablet","https://api.opentour.site/atlanta-music-maps/v4/public/media/rqaok6jq9m4ezzm0w44yatvhy50d?variant=lqip",86,"pig-n-whistle","Pig 'n' Whistle",{"_35":95,"_64":114,"_73":117},{"_35":236,"_64":237,"_73":238},"295 Ponce de Leon Avenue Atlanta, GA","

Founded in 1940, Pig 'n' Whistle was a drive-in barbecue restaurant surrounded by the metropolitan Atlanta music scene. Willie McTell frequented this restaurant and would serenade people in the parking lot with lively tunes of his own. The casual setting gave him the freedom to perform songs that projected his \"exuberant, upbeat personality and indomitable spirit\" - his true personality outside of the traditional veneer of blues' musicians (Obrecht 88). People would shout out song requests on love, hardship, or other, and McTell would respond.

One of the most popular songs apart of his Pig 'n' Whistle album was titled \"Don't Forget It.\" It contained heart-filled lines like \"done got tired of lingerin' all alone..../Shake me sugar mama till I don't wanna go.\" McTell was not afraid to express his lust/drive for a woman and his wish for her to reciprocate his feelings. His voice provokes an expectant lift yet a subtle softness as well (hear attached audio). Audience members, moreover, shared many of McTell's thoughts and feelings and were overall supportive of this expressive environment.

Pig 'n' Whistle has been replaced by a modern-day Krispy Kreme franchise.

",33.7721668,-84.3780663,[202,203,204],"Founded in 1940, Pig 'n' Whistle was a drive-in barbecue restaurant surrounded by the metropolitan Atlanta music scene. Willie McTell frequented this restaurant and would serenade people in the parking lot with lively tunes of his own. The casual setting gave him the freedom to perform songs that projected his \"exuberant, upbeat personality and indomitable spirit\" - his true personality outside of the traditional veneer of blues' musicians (Obrecht 88). People would shout out song requests on love, hardship, or other, and McTell would respond. One of the most popular songs apart of his Pig 'n' Whistle album was titled \"Don't Forget It.\" It contained heart-filled lines like \"done got tired of lingerin' all alone..../Shake me sugar mama till I don't wanna go.\" McTell was not afraid to express his lust/drive for a woman and his wish for her to reciprocate his feelings. His voice provokes an expectant lift yet a subtle softness as well (hear attached audio). Audience members, moreover, shared many of McTell's thoughts and feelings and were overall supportive of this expressive environment. Pig 'n' Whistle has been replaced by a modern-day Krispy Kreme franchise. ",[126,187],{"_73":200,"_123":-5,"_124":201},[],"Pig'n Whistle Atlanta 4-1083x673.jpg","https://api.opentour.site/atlanta-music-maps/v4/public/media/lzj85ru4bd9rlhenr8cduxjfug8z?variant=desktop",{"_94":228,"_91":24,"_123":-5,"_133":166,"_135":-5,"_137":-5,"_139":229,"_141":230,"_35":231,"_144":-5,"_146":147,"_148":229,"_149":170,"_151":171,"_73":200,"_153":-5},{"_94":218,"_91":165,"_123":-5,"_133":166,"_135":-5,"_137":-5,"_139":219,"_141":220,"_35":221,"_144":-5,"_146":147,"_148":219,"_149":170,"_151":171,"_73":222,"_153":-5},{"_94":205,"_91":131,"_123":206,"_133":134,"_135":207,"_137":208,"_139":209,"_141":210,"_35":211,"_144":145,"_146":147,"_148":209,"_149":150,"_151":152,"_73":212,"_153":208},151,"I do not own the copyright to this recording. This video is for historical and educational purposes\n\n\"Blind\" Willie McTell:Vocals & 12-String Guitar\n\nRecorded in Atlanta, GA. September, 1956\n\nOriginally issued on the 1962 album \"Blind Willie McTell:Last Session\" (Prestige/Bluesville BV 1040) (LP)\n\nThis recording taken from the 1998 CD \"The Bluesville Years Vol. 9:Down The Country Way\"","//www.youtube.com/embed/s2NJA2qPnA4","s2NJA2qPnA4","s2NJA2qPnA4.jpg",{"_154":213,"_156":214,"_158":215,"_160":216,"_162":217},161,"Blind Willie McTell Don't Forget It (1956)","https://api.opentour.site/atlanta-music-maps/v4/public/media/e4d9kx43ai9breasfpamgcqgg2dm","https://api.opentour.site/atlanta-music-maps/v4/public/media/e4d9kx43ai9breasfpamgcqgg2dm?variant=mobile","https://api.opentour.site/atlanta-music-maps/v4/public/media/e4d9kx43ai9breasfpamgcqgg2dm?variant=tablet","https://api.opentour.site/atlanta-music-maps/v4/public/media/e4d9kx43ai9breasfpamgcqgg2dm?variant=desktop","https://api.opentour.site/atlanta-music-maps/v4/public/media/e4d9kx43ai9breasfpamgcqgg2dm?variant=lqip",150,"16071663273.jpeg",{"_154":223,"_156":224,"_158":225,"_160":226,"_162":227},160,"71o4g95OrbL._SL1500_.jpg","https://api.opentour.site/atlanta-music-maps/v4/public/media/oxfv7wnoxjmg5loojzyoksio1i13","https://api.opentour.site/atlanta-music-maps/v4/public/media/oxfv7wnoxjmg5loojzyoksio1i13?variant=mobile","https://api.opentour.site/atlanta-music-maps/v4/public/media/oxfv7wnoxjmg5loojzyoksio1i13?variant=tablet","https://api.opentour.site/atlanta-music-maps/v4/public/media/oxfv7wnoxjmg5loojzyoksio1i13?variant=desktop","https://api.opentour.site/atlanta-music-maps/v4/public/media/oxfv7wnoxjmg5loojzyoksio1i13?variant=lqip",149,"16071661158.jpeg",{"_154":232,"_156":233,"_158":234,"_160":201,"_162":235},159,"https://api.opentour.site/atlanta-music-maps/v4/public/media/lzj85ru4bd9rlhenr8cduxjfug8z","https://api.opentour.site/atlanta-music-maps/v4/public/media/lzj85ru4bd9rlhenr8cduxjfug8z?variant=mobile","https://api.opentour.site/atlanta-music-maps/v4/public/media/lzj85ru4bd9rlhenr8cduxjfug8z?variant=tablet","https://api.opentour.site/atlanta-music-maps/v4/public/media/lzj85ru4bd9rlhenr8cduxjfug8z?variant=lqip",85,"okeh-records","Okeh Records ",{"_35":186,"_64":187,"_73":188},4,{"_35":290,"_64":291,"_73":292},"152 Nassau St NW, Atlanta, GA 30303","

Okeh Records was the first record company to dabble in traditionally Southern genre(s) and host production of blues music. Branching out from New York, Okeh set up studio in a large warehouse on Nassau Street (downtown Atlanta) in 1923. A variety of equipment was transported to the space for use by various musicians as sound devices/gear had recently been made portable. Among the company's most influential artists was Blind Willie McTell, born on May 5, 1898 and active performance-wise throughout the 1920's to 1950's.

At this Nassau Street studio, McTell was able to develop his own musical style and explore different avenues of expression. He recorded the pieces \"Stomp down Rider\" and \"Scarey Day Blues\" there, lead by unique variations on the twelve-string guitar. It is noted that his works represented \"a lyrical journey... imitated a bass viol, cackling hen, crowing rooster, piano, slide guitar, even a man walking up the stairs\" (Jas Obrecht 94). Via manipulating and adding tunes, McTell gave birth to a deeper level of emotion within the blues genre that did not exist before. These tunes carried feelings of downheartedness, vigor, bafflement, and more.

Okeh was a place McTell and many other artists could exercise more adventurous expression within the music industry. The brick recording studio is now unoccupied yet more or less recognizable from the past; however, there have been many controversial plans to demolish/replace the building.

","Across from Centennial Olympic Park",33.75844,-84.3921793,[254,255,256],"Okeh Records was the first record company to dabble in traditionally Southern genre(s) and host production of blues music. Branching out from New York, Okeh set up studio in a large warehouse on Nassau Street (downtown Atlanta) in 1923. A variety of equipment was transported to the space for use by various musicians as sound devices/gear had recently been made portable. Among the company's most influential artists was Blind Willie McTell, born on May 5, 1898 and active performance-wise throughout the 1920's to 1950's. At this Nassau Street studio, McTell was able to develop his own musical style and explore different avenues of expression. He recorded the pieces \"Stomp down Rider\" and \"Scarey Day Blues\" there, lead by unique variations on the twelve-string guitar. It is noted that his works represented \"a lyrical journey... imitated a bass viol, cackling hen, crowing rooster, piano, slide guitar, even a man walking up the stairs\" (Jas Obrecht 94). Via manipulating and adding tunes, McTell gave birth to a deeper level of emotion within the blues genre that did not exist before. These tunes carried feelings of downheartedness, vigor, bafflement, and more. Okeh was a place McTell and many other artists could exercise more adventurous expression within the music industry. The brick recording studio is now unoccupied yet more or less recognizable from the past; however, there have been many controversial plans to demolish/replace the building.",[126,237],{"_73":252,"_123":-5,"_124":253},[],"Oke.jpg","https://api.opentour.site/atlanta-music-maps/v4/public/media/wpt04goy39pbhheuhc1r5h59dnre?variant=desktop",{"_94":283,"_91":24,"_123":-5,"_133":166,"_135":-5,"_137":-5,"_139":284,"_141":285,"_35":218,"_144":-5,"_146":147,"_148":284,"_149":170,"_151":171,"_73":252,"_153":-5},{"_94":270,"_91":165,"_123":271,"_133":134,"_135":272,"_137":273,"_139":274,"_141":275,"_35":276,"_144":145,"_146":147,"_148":274,"_149":150,"_151":152,"_73":277,"_153":273},{"_94":257,"_91":131,"_123":-5,"_133":258,"_135":-5,"_137":-5,"_139":259,"_141":260,"_35":261,"_144":-5,"_146":262,"_148":259,"_149":170,"_151":263,"_73":264,"_153":-5},148,1494,"16071558064.jpeg",{"_154":265,"_156":266,"_158":267,"_160":268,"_162":269},158,299,747,"800px-Okeh4423.jpg","https://api.opentour.site/atlanta-music-maps/v4/public/media/rpthsq2dxtftjgtib3dvjt9xpp1r","https://api.opentour.site/atlanta-music-maps/v4/public/media/rpthsq2dxtftjgtib3dvjt9xpp1r?variant=mobile","https://api.opentour.site/atlanta-music-maps/v4/public/media/rpthsq2dxtftjgtib3dvjt9xpp1r?variant=tablet","https://api.opentour.site/atlanta-music-maps/v4/public/media/rpthsq2dxtftjgtib3dvjt9xpp1r?variant=desktop","https://api.opentour.site/atlanta-music-maps/v4/public/media/rpthsq2dxtftjgtib3dvjt9xpp1r?variant=lqip",147,"Recorded in Atlanta, Georgia, October 23, 1931.","//www.youtube.com/embed/pymxXfwUPZ8","pymxXfwUPZ8","pymxXfwUPZ8.jpg",{"_154":278,"_156":279,"_158":280,"_160":281,"_162":282},157,"BLIND WILLIE MCTELL - Scarey Day Blues [1931]","https://api.opentour.site/atlanta-music-maps/v4/public/media/ek7ap12gefdm6hlaau5afetgvsfe","https://api.opentour.site/atlanta-music-maps/v4/public/media/ek7ap12gefdm6hlaau5afetgvsfe?variant=mobile","https://api.opentour.site/atlanta-music-maps/v4/public/media/ek7ap12gefdm6hlaau5afetgvsfe?variant=tablet","https://api.opentour.site/atlanta-music-maps/v4/public/media/ek7ap12gefdm6hlaau5afetgvsfe?variant=desktop","https://api.opentour.site/atlanta-music-maps/v4/public/media/ek7ap12gefdm6hlaau5afetgvsfe?variant=lqip",140,"16071551431.jpeg",{"_154":286,"_156":287,"_158":288,"_160":253,"_162":289},"https://api.opentour.site/atlanta-music-maps/v4/public/media/wpt04goy39pbhheuhc1r5h59dnre","https://api.opentour.site/atlanta-music-maps/v4/public/media/wpt04goy39pbhheuhc1r5h59dnre?variant=mobile","https://api.opentour.site/atlanta-music-maps/v4/public/media/wpt04goy39pbhheuhc1r5h59dnre?variant=tablet","https://api.opentour.site/atlanta-music-maps/v4/public/media/wpt04goy39pbhheuhc1r5h59dnre?variant=lqip",99,"dixie-theater","Dixie Theater",{"_35":236,"_64":237,"_73":238},{"_35":343,"_64":18,"_73":344},"127 Decatur Street SE, Atlanta, GA 30303","

Located along Decatur Street, Dixie Theater was a venue that welcomed performances by colored folks during the blues era. In 1914, Bessie Smith launched her own show here after moving from 81 Theatre. At Dixie Theater, not only did singing take place but a variety of other talents, including dancing and acting. CP Bailey, who managed both 81 Theatre and Dixie, had remodeled the interior of the latter to offer scenery for and convenience to actors.

Smith performed various shows with dancer/comedian Wayne \"Buzzin Burton,\" that captured the hearts of audience members at Dixie Theater. The artist's acting background is what gave her knack or aptitude, perhaps, to add another level of expression to singing. Emotions of love, pain, sorrow within the realm of racism, physical fulfilment, and social movement bled through the majority of her lyrics. Many said it could be felt that she indeed had lived the life of what she was singing, rather than coming from a less expressive, objective standpoint (Mohan 4).

Unfortunately, Dixie Theater has been demolished since the days Bessie Smith performed there. Georgia State facilities now occupy its previous grounds.

",33.7514354,-84.386092,[306,307,308],"Located along Decatur Street, Dixie Theater was a venue that welcomed performances by colored folks during the blues era. In 1914, Bessie Smith launched her own show here after moving from 81 Theatre. At Dixie Theater, not only did singing take place but a variety of other talents, including dancing and acting. CP Bailey, who managed both 81 Theatre and Dixie, had remodeled the interior of the latter to offer scenery for and convenience to actors. Smith performed various shows with dancer/comedian Wayne \"Buzzin Burton,\" that captured the hearts of audience members at Dixie Theater. The artist's acting background is what gave her knack or aptitude, perhaps, to add another level of expression to singing. Emotions of love, pain, sorrow within the realm of racism, physical fulfilment, and social movement bled through the majority of her lyrics. Many said it could be felt that she indeed had lived the life of what she was singing, rather than coming from a less expressive, objective standpoint (Mohan 4). Unfortunately, Dixie Theater has been demolished since the days Bessie Smith performed there. Georgia State facilities now occupy its previous grounds. ",[126,291],{"_73":304,"_123":-5,"_124":305},[],"unnamed-4.jpg","https://api.opentour.site/atlanta-music-maps/v4/public/media/xahuvj0kx4v6dsw7meq2spr02t4c?variant=desktop",{"_94":335,"_91":24,"_123":-5,"_133":166,"_135":-5,"_137":-5,"_139":336,"_141":337,"_35":338,"_144":-5,"_146":147,"_148":336,"_149":170,"_151":171,"_73":304,"_153":-5},{"_94":322,"_91":165,"_123":-5,"_133":323,"_135":-5,"_137":-5,"_139":324,"_141":325,"_35":326,"_144":-5,"_146":327,"_148":324,"_149":170,"_151":328,"_73":329,"_153":-5},{"_94":309,"_91":131,"_123":310,"_133":134,"_135":311,"_137":312,"_139":313,"_141":314,"_35":315,"_144":145,"_146":147,"_148":313,"_149":150,"_151":152,"_73":316,"_153":312},195,"Subscribe to the HBO YouTube: http://itsh.bo/10qIqsj\n\nHBO Films presents Bessie, focusing on legendary blues singer Bessie Smith, Saturday, May 16 at 8PM.\n\nConnect with Bessie:\nhttp://BessieTheMovie.com\nhttp://Facebook.com/BessieTheMovie\n\nConnect with HBO Online\nFind HBO on Facebook: http://Facebook.com/HBO\nFollow @HBO on Twitter: http://Twitter.com/HBO\nFind HBO on Youtube: http://Youtube.com/HBO\nFind HBO Official Site: http://HBO.com\nFind HBO Connect: http://Connect.hbo.com\nFind HBO GO: http://HBOGO.com\nFind HBO on Instagram: http://Instagram.com/hbo\nFind HBO on Foursquare: http://Foursquare.com/hbo\n\nCheck out other HBO Channels\nHBO: http://www.youtube.com/hbo\nGame of Thrones: http://www.youtube.com/GameofThrones \nTrue Blood: http://www.youtube.com/trueblood \nHBO Sports: http://www.youtube.com/HBOsports \nReal Time with Bill Maher: http://www.youtube.com/RealTime \nHBO Documentary Films: http://www.youtube.com/HBODocs \nCinemax: http://www.youtube.com/Cinemax \nHBO Latino: http://www.youtube.com/HBOLatino","//www.youtube.com/embed/r_6mq0TehZk","r_6mq0TehZk","r_6mq0TehZk.jpg",{"_154":317,"_156":318,"_158":319,"_160":320,"_162":321},205,"Bessie: The Music of Bessie Smith (HBO Films)","https://api.opentour.site/atlanta-music-maps/v4/public/media/xpc9qkzvjhy8yg1gs28azr073xez","https://api.opentour.site/atlanta-music-maps/v4/public/media/xpc9qkzvjhy8yg1gs28azr073xez?variant=mobile","https://api.opentour.site/atlanta-music-maps/v4/public/media/xpc9qkzvjhy8yg1gs28azr073xez?variant=tablet","https://api.opentour.site/atlanta-music-maps/v4/public/media/xpc9qkzvjhy8yg1gs28azr073xez?variant=desktop","https://api.opentour.site/atlanta-music-maps/v4/public/media/xpc9qkzvjhy8yg1gs28azr073xez?variant=lqip",192,1112,"16073175735.png",{"_154":330,"_156":331,"_158":332,"_160":333,"_162":334},202,222,556,"article.png","https://api.opentour.site/atlanta-music-maps/v4/public/media/9evisoiuqmgqzrfz5sw6sama7o42","https://api.opentour.site/atlanta-music-maps/v4/public/media/9evisoiuqmgqzrfz5sw6sama7o42?variant=mobile","https://api.opentour.site/atlanta-music-maps/v4/public/media/9evisoiuqmgqzrfz5sw6sama7o42?variant=tablet","https://api.opentour.site/atlanta-music-maps/v4/public/media/9evisoiuqmgqzrfz5sw6sama7o42?variant=desktop","https://api.opentour.site/atlanta-music-maps/v4/public/media/9evisoiuqmgqzrfz5sw6sama7o42?variant=lqip",191,"16073175189.jpeg",{"_154":339,"_156":340,"_158":341,"_160":305,"_162":342},201,"https://api.opentour.site/atlanta-music-maps/v4/public/media/xahuvj0kx4v6dsw7meq2spr02t4c","https://api.opentour.site/atlanta-music-maps/v4/public/media/xahuvj0kx4v6dsw7meq2spr02t4c?variant=mobile","https://api.opentour.site/atlanta-music-maps/v4/public/media/xahuvj0kx4v6dsw7meq2spr02t4c?variant=tablet","https://api.opentour.site/atlanta-music-maps/v4/public/media/xahuvj0kx4v6dsw7meq2spr02t4c?variant=lqip",30,"81 Theatre",{"_35":290,"_64":291,"_73":292},{"_35":395,"_64":396,"_73":397},"81 Decatur Street SE, Atlanta, GA 30303","

81 Theatre opened in 1908 and housed a variety of performances by black\nartists and other creatives. It was the only theater in which African\nAmericans were not regulated to sit on the balcony Jim Crow seats (Randy Gue 210).\nPrimarily, there existed a more welcome and accepting environment towards black\nindividuals that allowed for greater expression. Bessie Smith, queen of the\nBlues, frequented 81 Theatre and its facilities: she could be\nfound rehearsing in the backyard of the venue alongside other\nmusicians. Unlike the majority of closed-off spaces surrounding other\nbuildings in Atlanta, the theater’s yard was open for black\nperformers to freely sound their instruments and compose different pieces.\n

\nSmith established pieces containing previously-unexpressed emotions of\nfrustration, oppression, amusement, and sexual lust and desire among\nfemales that captured the hearts of audience members. She developed a style of expression \"marked by a sustained slow\nrhythm” that even \"a hum or a moan\" could \"reveal even more\nemotion\" (Michelle R. Scott 122). It was once again, 81 Theatre where\nSmith met Ma Rainey and was inspired to sing of common hardships and joys\nfrom a first-person point of view (Scott 121,123). Blues singer Willie McTell, who poured out his heart in\nlyrics such as \"I went down to my praying ground and dropped on bended\nknees”, also performed at 81 Theatre from four to nine p.m. on Saturdays (Jas Obrecht 102). Altogether, the venue was home to various artists and granted a unique platform for\nexpression.

",33.7526653,-84.3873661,[358,359,360],"81 Theatre opened in 1908 and housed a variety of performances by black\nartists and other creatives. It was the only theater in which African\nAmericans were not regulated to sit on the balcony Jim Crow seats (Randy Gue 210).\nPrimarily, there existed a more welcome and accepting environment towards black\nindividuals that allowed for greater expression. Bessie Smith, queen of the\nBlues, frequented 81 Theatre and its facilities: she could be\nfound rehearsing in the backyard of the venue alongside other\nmusicians. Unlike the majority of closed-off spaces surrounding other\nbuildings in Atlanta, the theater’s yard was open for black\nperformers to freely sound their instruments and compose different pieces.\n\nSmith established pieces containing previously-unexpressed emotions of\nfrustration, oppression, amusement, and sexual lust and desire among\nfemales that captured the hearts of audience members. She developed a style of expression \"marked by a sustained slow\nrhythm” that even \"a hum or a moan\" could \"reveal even more\nemotion\" (Michelle R. Scott 122). It was once again, 81 Theatre where\nSmith met Ma Rainey and was inspired to sing of common hardships and joys\nfrom a first-person point of view (Scott 121,123). Blues singer Willie McTell, who poured out his heart in\nlyrics such as \"I went down to my praying ground and dropped on bended\nknees”, also performed at 81 Theatre from four to nine p. m. on Saturdays (Jas Obrecht 102). Altogether, the venue was home to various artists and granted a unique platform for\nexpression.",[126,18],{"_73":356,"_123":-5,"_124":357},[],"Image result for 81 theatre address atlanta.jpg","https://api.opentour.site/atlanta-music-maps/v4/public/media/mes3in698xh8i2k5c6wmgp8dsx0j?variant=desktop",{"_94":387,"_91":24,"_123":-5,"_133":166,"_135":-5,"_137":-5,"_139":388,"_141":389,"_35":390,"_144":-5,"_146":147,"_148":388,"_149":170,"_151":171,"_73":356,"_153":-5},{"_94":374,"_91":165,"_123":-5,"_133":375,"_135":-5,"_137":-5,"_139":376,"_141":377,"_35":378,"_144":-5,"_146":379,"_148":376,"_149":170,"_151":380,"_73":381,"_153":-5},{"_94":361,"_91":131,"_123":362,"_133":134,"_135":363,"_137":364,"_139":365,"_141":366,"_35":367,"_144":145,"_146":147,"_148":365,"_149":150,"_151":152,"_73":368,"_153":364},351,"Bessie Smith performing St.Louis Blues (1929).\nNicknamed The Empress of the Blues she was the most popular female blues singer of the 1920s and 1930s.\n(Click the link for a updated extra footage here)\nhttps://www.youtube.com/watch?v=yIj8LlSljLk","//www.youtube.com/embed/5Bo3f_9hLkQ","5Bo3f_9hLkQ","5Bo3f_9hLkQ.jpg",{"_154":369,"_156":370,"_158":371,"_160":372,"_162":373},369,"Bessie Smith - St.Louis Blues (1929)","https://api.opentour.site/atlanta-music-maps/v4/public/media/cuuw2kk3qpd20ew80zc2k5d2donv","https://api.opentour.site/atlanta-music-maps/v4/public/media/cuuw2kk3qpd20ew80zc2k5d2donv?variant=mobile","https://api.opentour.site/atlanta-music-maps/v4/public/media/cuuw2kk3qpd20ew80zc2k5d2donv?variant=tablet","https://api.opentour.site/atlanta-music-maps/v4/public/media/cuuw2kk3qpd20ew80zc2k5d2donv?variant=desktop","https://api.opentour.site/atlanta-music-maps/v4/public/media/cuuw2kk3qpd20ew80zc2k5d2donv?variant=lqip",55,644,"16044401507.gif",{"_154":382,"_156":383,"_158":384,"_160":385,"_162":386},60,129,322,"AfroAmerican-1928.gif","https://api.opentour.site/atlanta-music-maps/v4/public/media/xrkzvotdm25q3c2nxo0r7edyavzh","https://api.opentour.site/atlanta-music-maps/v4/public/media/xrkzvotdm25q3c2nxo0r7edyavzh?variant=mobile","https://api.opentour.site/atlanta-music-maps/v4/public/media/xrkzvotdm25q3c2nxo0r7edyavzh?variant=tablet","https://api.opentour.site/atlanta-music-maps/v4/public/media/xrkzvotdm25q3c2nxo0r7edyavzh?variant=desktop","https://api.opentour.site/atlanta-music-maps/v4/public/media/xrkzvotdm25q3c2nxo0r7edyavzh?variant=lqip",54,"16044397272.jpeg",{"_154":391,"_156":392,"_158":393,"_160":357,"_162":394},59,"https://api.opentour.site/atlanta-music-maps/v4/public/media/mes3in698xh8i2k5c6wmgp8dsx0j","https://api.opentour.site/atlanta-music-maps/v4/public/media/mes3in698xh8i2k5c6wmgp8dsx0j?variant=mobile","https://api.opentour.site/atlanta-music-maps/v4/public/media/mes3in698xh8i2k5c6wmgp8dsx0j?variant=tablet","https://api.opentour.site/atlanta-music-maps/v4/public/media/mes3in698xh8i2k5c6wmgp8dsx0j?variant=lqip",101,"springer-opera-house","Springer Opera House",{"_35":343,"_64":18,"_73":344},"103 E 10th St, Columbus, GA 31901","

The Springer Opera House was built in 1871 and attracted various artists, namely Ma Rainey - one of the first female blues singers to be recorded. Born in Columbus, Ma Rainey debuted on Springer's stage at age 14 during the start of the 20th century. She performed as a singer in the main drama at that time, called a \"A Bunch of Blackberries\". This opera house setting shaped Ma Rainey's later works which openly dealt with binge-drinking, gang fights, promiscuity, racism, and more.

Ma made the move to sing from a first-person standpoint that furthered lyrical expression in ground-breaking manner. She advanced an outlet known as down-home blues, wherein the artist claimed \"you sing because that's a way of understanding life...\" (Shannon 138). The black community, in particular, could relate to her pain with regards to the uncertainty and oppression they faced everyday. The thoughts Ma Rainey shared were genuinely her own and allowed many to form a connection to her as an artist.

The Springer Opera House has been renovated many times, once in the 1900's, and then again in the 1960's and 1990's. A variety of modern-day performances with tickets for sale are currently held here.

",32.4652235,-84.9912611,[410,411,412],"The Springer Opera House was built in 1871 and attracted various artists, namely Ma Rainey - one of the first female blues singers to be recorded. Born in Columbus, Ma Rainey debuted on Springer's stage at age 14 during the start of the 20th century. She performed as a singer in the main drama at that time, called a \"A Bunch of Blackberries\". This opera house setting shaped Ma Rainey's later works which openly dealt with binge-drinking, gang fights, promiscuity, racism, and more. Ma made the move to sing from a first-person standpoint that furthered lyrical expression in ground-breaking manner. She advanced an outlet known as down-home blues, wherein the artist claimed \"you sing because that's a way of understanding life...\" (Shannon 138). The black community, in particular, could relate to her pain with regards to the uncertainty and oppression they faced everyday. The thoughts Ma Rainey shared were genuinely her own and allowed many to form a connection to her as an artist. The Springer Opera House has been renovated many times, once in the 1900's, and then again in the 1960's and 1990's. A variety of modern-day performances with tickets for sale are currently held here. ",[126,396],{"_73":408,"_123":-5,"_124":409},[],"Springer+Opera+House.jpg","https://api.opentour.site/atlanta-music-maps/v4/public/media/yy05a50onb2rgwcphdgjj55ncao6?variant=desktop",{"_94":432,"_91":24,"_123":-5,"_133":166,"_135":-5,"_137":-5,"_139":433,"_141":434,"_35":435,"_144":-5,"_146":147,"_148":433,"_149":170,"_151":171,"_73":408,"_153":-5},{"_94":422,"_91":165,"_123":-5,"_133":166,"_135":-5,"_137":-5,"_139":423,"_141":424,"_35":425,"_144":-5,"_146":147,"_148":423,"_149":170,"_151":171,"_73":426,"_153":-5},{"_94":413,"_91":131,"_123":-5,"_133":166,"_135":-5,"_137":-5,"_139":414,"_141":415,"_35":327,"_144":-5,"_146":147,"_148":414,"_149":170,"_151":171,"_73":416,"_153":-5},212,"16073256218.jpeg",{"_154":417,"_156":418,"_158":419,"_160":420,"_162":421},"RaineyDavis-2019.jpg","https://api.opentour.site/atlanta-music-maps/v4/public/media/dyvyew6h92n1ncc6a86f00ym8nto","https://api.opentour.site/atlanta-music-maps/v4/public/media/dyvyew6h92n1ncc6a86f00ym8nto?variant=mobile","https://api.opentour.site/atlanta-music-maps/v4/public/media/dyvyew6h92n1ncc6a86f00ym8nto?variant=tablet","https://api.opentour.site/atlanta-music-maps/v4/public/media/dyvyew6h92n1ncc6a86f00ym8nto?variant=desktop","https://api.opentour.site/atlanta-music-maps/v4/public/media/dyvyew6h92n1ncc6a86f00ym8nto?variant=lqip",211,"16073256158.jpeg",{"_154":427,"_156":428,"_158":429,"_160":430,"_162":431},221,"SpringerOperaHouseGeorgiaTheater.jpg","https://api.opentour.site/atlanta-music-maps/v4/public/media/f4z7qnfcoxsarloc11wyylokf609","https://api.opentour.site/atlanta-music-maps/v4/public/media/f4z7qnfcoxsarloc11wyylokf609?variant=mobile","https://api.opentour.site/atlanta-music-maps/v4/public/media/f4z7qnfcoxsarloc11wyylokf609?variant=tablet","https://api.opentour.site/atlanta-music-maps/v4/public/media/f4z7qnfcoxsarloc11wyylokf609?variant=desktop","https://api.opentour.site/atlanta-music-maps/v4/public/media/f4z7qnfcoxsarloc11wyylokf609?variant=lqip",210,"16073255995.jpeg",{"_154":436,"_156":437,"_158":438,"_160":409,"_162":439},220,"https://api.opentour.site/atlanta-music-maps/v4/public/media/yy05a50onb2rgwcphdgjj55ncao6","https://api.opentour.site/atlanta-music-maps/v4/public/media/yy05a50onb2rgwcphdgjj55ncao6?variant=mobile","https://api.opentour.site/atlanta-music-maps/v4/public/media/yy05a50onb2rgwcphdgjj55ncao6?variant=tablet","https://api.opentour.site/atlanta-music-maps/v4/public/media/yy05a50onb2rgwcphdgjj55ncao6?variant=lqip",{"_94":450,"_35":24,"_73":451},{"_94":448,"_35":165,"_73":449},{"_94":446,"_35":131,"_73":447},{"_94":444,"_35":240,"_73":445},64,"WALKING",63,"TRANSIT",62,"DRIVING",61,"BICYCLING",{"_91":24,"_94":453,"_35":453,"_73":454,"_64":455,"_456":457,"_110":26,"_458":24},21,"Works Cited","works-cited","body","

Beşe, Ahmet. “The\nSignificance of the Blues as a Cultural Expression in Ma Rainey’s Black\nBottom.” Journal of Graduate School of Social Sciences, vol. 15,\nno. 1, June 2011, pp. 227–234. EBSCOhost,\nsearch.ebscohost.com/login.aspx?direct=true&db=a9h&AN=60102355&site=ehost-live&scope=site.\nAccessed 5 Dec. 2020.

Gue, Randy. “'It Seems That Everything Looks Good Nowadays,\nas Long as It Is in the Flesh & Brownskin': The Assertion of Cultural\nDifference at Atlanta's 81 Theatre, 1934-1937.” Film History, 1996, vol.\n8, no. 2, pp. 209–218. JSTOR, www.jstor.org/stable/3815335. Accessed 2\nDec. 2020.

Mohan, Maureen. “How Bessie Smith Influenced A Century\nOf Popular Music.” NPR, 5 Aug. 2019,\nhttps://www.npr.org/2019/08/05/747738120/how-bessie-smith-influenced-a-century-of-popular-music.\nAccessed 2 Dec. 2020.

Obrecht, Jas. “Atlanta’s Twelve-String\nKing.” Early Blues: The First Stars of Blues Guitar.” University of\nMinnesota Press, 2015, pp. 87–109. JSTOR, www.jstor.org/stable/10.5749/j.ctt17xx5pz.9.\nAccessed 25 Nov. 2020.

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