[{"_1":2,"_3":-5,"_4":-5},"loaderData",{"_5":6,"_7":8},"actionData","errors","root",{"_693":694,"_695":696},"routes/tour",{"_9":10,"_11":12,"_13":14,"_15":16,"_17":-7},"tenant","atlanta-music-maps","tour_set",{"_34":686,"_30":-5,"_687":-5,"_688":-5,"_689":71,"_690":-5,"_691":-5,"_692":10},"tour",{"_18":19,"_20":21,"_22":23,"_24":25,"_26":27,"_28":29,"_30":31,"_32":33,"_34":35,"_36":37,"_38":-5,"_39":-5,"_40":-5,"_41":-5,"_42":43,"_44":45,"_46":47,"_48":49,"_50":51,"_52":-5,"_53":37,"_54":55,"_56":57,"_58":25,"_59":25,"_60":47,"_61":62,"_63":16,"_64":65,"_66":67,"_68":69,"_9":10,"_70":71,"_72":73,"_74":75,"_76":77,"_78":13,"_79":80,"_81":37},"tourParam","an-atlanta-paradox-observing-racial-inequality-in-a-city-too-busy-to-hate","stopParam","_index","otb_atlanta-music-maps_tours_production_20260910134437740","_id","5","_score",1,"blank_map",false,"bounds",{"_674":675,"_676":677,"_678":679,"_680":681,"_682":683,"_684":685},"default_lng","en-US","description","In the late 19th century, Booker T. Washington advocated for a conciliation of the South, asking freed black citizens to withdraw from their political and civil activism so a focus could be placed on industry. This action, as W.E.B. Dubois puts it, came from Washington's understanding that at the heart of southern cities such as Atlanta was a deep desire for material prosperity and commercialism— this, above all else, was of utmost importance (Du Bois, 1903). Since then, Atlanta has continued to show a primary focus on its affluence and surface image. Moreover, the city’s choices have always come at the detriment of its own people— particularly its black, low-income communities. Evidence of this maltreatment can be seen in black music itself, where artists reveal and respond to the issues they are facing. By discussing the city’s most selfish decisions, as well as the music and events they inspired, this tour will expose Atlanta’s racial inequalities.
During the early twentieth century, Atlanta created a paradox upon which it continues to build. “Forward Atlanta,” a plan issued to bring in more businesses, caused a rapid urban growth that over-exhausted the city’s municipal services. As a result, segregated black communities were left with minimal resources: “water and sewer lines lagged behind population growth, roads remained unpaved, public schools were overcrowded and underfunded, and health care and social services were inadequate” (Ambrose, 2020). Suddenly, while some areas were thriving, others were in shambles; Atlanta was fostering two very different lifestyles. To voice their struggles, or their “Blues,” many of the destitute citizens turned to music. Poor communities hosted street performances, rent parties, and dance halls, which became great facilitators of self expression. Soon, however, businesses came to these places as well (Goodson, 2007). Through record deals that largely benefited white businessmen but not the artists creating it, The Blues was exploited for its monetary value. This is one of the first examples of Atlanta feeding on its low-income residents. This relationship continues in equally problematic variations during the late 20th century and into the 21st.
Within the last fifty years, Atlanta has created a complex web of paradoxes. This is because it wants to present itself as successful and hospitable, yet nonetheless maintains racial inadequacies. Three of the city’s choices show this: initiating an affirmative action plan, which created a strong black middle-class yet left other black citizens impoverished (Hobson, 2018); hosting the Olympics at a time where crime and violence in the city was at a peak (Goldberger, 1996; Hobson, 2018); and, lastly, changing test scores so that Atlanta Public Schools could look good on paper while continuing to neglect its students (Strauss, 2015; Kamanetz, 2014). The effects of these choices were additive. In the end, they all contributed to the creation of “the trap”— poor, dangerous environments from which black citizens could not escape (Carmichael, 2017). Trap artists consequently reveal how Atlanta sacrificed the security and nourishment of black lives to progress its economic agenda.
The city should not be allowed to make excuses for this. In her concession during the 2017 mayoral election, former Atlanta City Councilwoman Mary Norwood called Atlanta “A city too busy to hate,” a slogan many politicians have used since the 1960s to describe the city as inclusive and peaceful (Beeler, 2017). Essentially, this slogan states that Atlanta does not have time to cultivate hatred, as all of its cognitive capacity is put into growth and monetization. Therefore, the city could not possibly harbor racial inequality. However, what propagators of the slogan fail to realize is that hatred and neglect often have similar outcomes. Black communities struggle not because the city conducts explicit acts of racism, but because its plans never consider these groups’ interests. Moreover, attention is put solely on the benefits of these plans, and not their more drastic consequences. By being “too busy” to focus on anything else, Atlanta festers corruption along with prosperity— an Atlanta Paradox.

","flat_pages",[667],"id",5,"is_geo",true,"link_address","link_text","map_icon","map_overlay","map_type","hybrid","media",[647,648],"meta_description","In the late 19th century, Booker T. Washington advocated for a conciliation of the South, asking freed black citizens to withdraw from their political and civil activism so a focus could be placed on industry. This action, as W. E.B. Dubois puts it, came from Washington's understanding that at the heart of southern cities such as Atlanta was a deep desire for material prosperity and commercialism— this, above all else, was of utmost importance (Du Bois, 1903). Since then, Atlanta has continued to show a primary focus on its affluence and surface image. Moreover, the city’s choices have always come at the detriment of its own people— particularly its black, low-income communities. Evidence of this maltreatment can be seen in black music itself, where artists reveal and respond to the issues they are facing. By discussing the city’s most selfish decisions, as well as the music and events they inspired, this tour will expose Atlanta’s racial inequalities. During the early twentieth century, Atlanta created a paradox upon which it continues to build. “Forward Atlanta,” a plan issued to bring in more businesses, caused a rapid urban growth that over-exhausted the city’s municipal services. As a result, segregated black communities were left with minimal resources: “water and sewer lines lagged behind population growth, roads remained unpaved, public schools were overcrowded and underfunded, and health care and social services were inadequate” (Ambrose, 2020). Suddenly, while some areas were thriving, others were in shambles; Atlanta was fostering two very different lifestyles. To voice their struggles, or their “Blues,” many of the destitute citizens turned to music. Poor communities hosted street performances, rent parties, and dance halls, which became great facilitators of self expression. Soon, however, businesses came to these places as well (Goodson, 2007). Through record deals that largely benefited white businessmen but not the artists creating it, The Blues was exploited for its monetary value. This is one of the first examples of Atlanta feeding on its low-income residents. This relationship continues in equally problematic variations during the late 20th century and into the 21st. Within the last fifty years, Atlanta has created a complex web of paradoxes. This is because it wants to present itself as successful and hospitable, yet nonetheless maintains racial inadequacies. Three of the city’s choices show this: initiating an affirmative action plan, which created a strong black middle-class yet left other black citizens impoverished (Hobson, 2018); hosting the Olympics at a time where crime and violence in the city was at a peak (Goldberger, 1996; Hobson, 2018); and, lastly, changing test scores so that Atlanta Public Schools could look good on paper while continuing to neglect its students (Strauss, 2015; Kamanetz, 2014). The effects of these choices were additive. In the end, they all contributed to the creation of “the trap”— poor, dangerous environments from which black citizens could not escape (Carmichael, 2017). Trap artists consequently reveal how Atlanta sacrificed the security and nourishment of black lives to progress its economic agenda. The city should not be allowed to make excuses for this. In her concession during the 2017 mayoral election, former Atlanta City Councilwoman Mary Norwood called Atlanta “A city too busy to hate,” a slogan many politicians have used since the 1960s to describe the city as inclusive and peaceful (Beeler, 2017). Essentially, this slogan states that Atlanta does not have time to cultivate hatred, as all of its cognitive capacity is put into growth and monetization. Therefore, the city could not possibly harbor racial inequality. However, what propagators of the slogan fail to realize is that hatred and neglect often have similar outcomes. Black communities struggle not because the city conducts explicit acts of racism, but because its plans never consider these groups’ interests. Moreover, attention is put solely on the benefits of these plans, and not their more drastic consequences. By being “too busy” to focus on anything else, Atlanta festers corruption along with prosperity— an Atlanta Paradox. ","mode",{"_34":132,"_72":644},"modes",[637,638,639,640],"open_geographies_endpoint","published","published_on","2026-09-10","read_duration","13 minutes reading","restrict_bounds","restrict_bounds_to_overlay","sanitized_description","splash",{"_72":634,"_124":635,"_126":636},"slug","slugs",[16],"stop_count",9,"stops",[83,84,85,86,87,88,89,90,91],"tenant_title","Atlanta Music Maps","title","An Atlanta Paradox: Observing Racial Inequality in a City Too Busy to Hate","travel_duration","About 2 hours driving","theme",{"_34":23,"_72":82},"type","voice_overs",[],"use_directions","default",{"_92":585,"_93":23,"_94":-5,"_96":263,"_98":586,"_100":-5,"_30":587,"_102":-5,"_103":-5,"_104":105,"_34":263,"_106":588,"_108":589,"_40":-5,"_44":590,"_46":111,"_112":25,"_113":-5,"_114":-5,"_53":37,"_60":591,"_63":583,"_64":592,"_61":593,"_72":584,"_78":120,"_121":-5,"_122":-5,"_79":594},{"_92":529,"_93":132,"_94":530,"_96":67,"_98":531,"_100":-5,"_30":532,"_102":-5,"_103":-5,"_104":105,"_34":67,"_106":533,"_108":534,"_40":-5,"_44":535,"_46":111,"_112":25,"_113":-5,"_114":-5,"_53":37,"_60":536,"_63":527,"_64":537,"_61":538,"_72":528,"_78":120,"_121":-5,"_122":-5,"_79":539},{"_92":491,"_93":226,"_94":492,"_96":488,"_98":493,"_100":-5,"_30":494,"_102":-5,"_103":-5,"_104":105,"_34":488,"_106":495,"_108":496,"_40":-5,"_44":497,"_46":111,"_112":25,"_113":-5,"_114":-5,"_53":37,"_60":498,"_63":489,"_64":499,"_61":500,"_72":490,"_78":120,"_121":-5,"_122":-5,"_79":501},{"_92":438,"_93":212,"_94":439,"_96":435,"_98":440,"_100":-5,"_30":441,"_102":-5,"_103":-5,"_104":105,"_34":435,"_106":442,"_108":443,"_40":-5,"_44":444,"_46":111,"_112":25,"_113":-5,"_114":-5,"_53":37,"_60":445,"_63":436,"_64":446,"_61":447,"_72":437,"_78":120,"_121":-5,"_122":-5,"_79":448},{"_92":381,"_93":35,"_94":382,"_96":378,"_98":383,"_100":-5,"_30":384,"_102":-5,"_103":-5,"_104":105,"_34":378,"_106":385,"_108":386,"_40":-5,"_44":387,"_46":111,"_112":25,"_113":-5,"_114":-5,"_53":37,"_60":388,"_63":379,"_64":389,"_61":390,"_72":380,"_78":120,"_121":-5,"_122":-5,"_79":391},{"_92":315,"_93":316,"_94":317,"_96":312,"_98":318,"_100":-5,"_30":319,"_102":-5,"_103":-5,"_104":105,"_34":312,"_106":320,"_108":321,"_40":-5,"_44":322,"_46":111,"_112":25,"_113":-5,"_114":-5,"_53":37,"_60":323,"_63":313,"_64":324,"_61":325,"_72":314,"_78":120,"_121":-5,"_122":-5,"_79":326},{"_92":262,"_93":263,"_94":264,"_96":259,"_98":265,"_100":-5,"_30":266,"_102":-5,"_103":-5,"_104":105,"_34":259,"_106":267,"_108":268,"_40":-5,"_44":269,"_46":111,"_112":25,"_113":-5,"_114":-5,"_53":37,"_60":270,"_63":260,"_64":271,"_61":272,"_72":261,"_78":120,"_121":-5,"_122":-5,"_79":273},{"_92":179,"_93":180,"_94":181,"_96":176,"_98":182,"_100":-5,"_30":183,"_102":-5,"_103":-5,"_104":105,"_34":176,"_106":184,"_108":185,"_40":-5,"_44":186,"_46":111,"_112":25,"_113":-5,"_114":-5,"_53":37,"_60":187,"_63":177,"_64":188,"_61":189,"_72":178,"_78":120,"_121":-5,"_122":-5,"_79":190},{"_92":-5,"_93":67,"_94":95,"_96":97,"_98":99,"_100":-5,"_30":101,"_102":-5,"_103":-5,"_104":105,"_34":97,"_106":107,"_108":109,"_40":-5,"_44":110,"_46":111,"_112":25,"_113":-5,"_114":-5,"_53":37,"_60":115,"_63":116,"_64":117,"_61":118,"_72":119,"_78":120,"_121":-5,"_122":-5,"_79":123},"next","position","previous",{"_34":176,"_63":177,"_72":178},"relation_id",72,"address","1740 Defoor Pl NW, Atlanta, GA 30318","article_link","The last stop in this tour is Street Execs Studios, a recording studio in Underwood Hills, northeast Atlanta that has serviced big-time rappers such as 2 Chainz, Travis Porter, and CAP 1. Since its opening in 2015, the recording studio has been blamed for bringing crime to the neighborhood, \"including shootings, assaults and car break-ins in its surrounding area\" (Hudson, 2015). One of these crimes saw the fate of up-and-coming rapper Trentavious White, known as Bankroll Fresh, who was shot and killed in front of the recording studio in 2016 (Hill, 2016). In terms of his music, White was recognized by major artists such as Earl Sweatshirt, Drake, and Gucci Mane for his originality and distinctive flow. With these elements, White started to gain a following. Yet, having lived on the streets throughout his whole life, White knew that success could bring danger: \"[If] Your name will get too hot, they'll try to knock you off. Or, I'll get too piped up, [someone] might try to rob me\" (Russell, 2016; White, 2016). Ironically and tragically, this is exactly what caused his death. Like Jeffery Williams and Dominique Jones, Trentavious White was caught in the trap. His music discusses how he participated in the trap lifestyle due to his poor living situation: \"I used to have roaches in my cereal, I couldn't eat/ [...] I wouldn't be where I was if I didn't f**king trap\" (White, 2015). However, unlike Williams and Jones, White was not able to escape. Eventually succumbing to his wounds from the shootout, he died at the age of 28.

White's story is very similar to that of Robert \"Barbecue Bob\" Hicks from nearly a century ago: both became well-known, unique artists whose music failed to award them a stable and safe living environment; both were only 28 when they died. These disturbing similarities are not due to bad luck, but instead to Atlanta's consistent neglect for the wellbeing of its people and artists. In the past fifty years, the city has made extremely selfish choices: ignoring the class-gap, hosting The Olympics, mistreating issues around drugs and education. All of these have contributed to the production of \"The Trap,\" where low-income citizens must do what they can to get by. While many have voiced these injustices in their music, Atlanta only sees these cries for their monetary value. Instead of continuing this cruel behavior, it is time for Atlanta to stop being \"too busy,\" take a step back, and finally listen.

","direction_intro","direction_notes","icon_color","#D32F2F","lat",33.8026009,"lng",-84.421539,[129,130],"","orphaned","parking_lat","parking_lng","The last stop in this tour is Street Execs Studios, a recording studio in Underwood Hills, northeast Atlanta that has serviced big-time rappers such as 2 Chainz, Travis Porter, and CAP 1. Since its opening in 2015, the recording studio has been blamed for bringing crime to the neighborhood, \"including shootings, assaults and car break-ins in its surrounding area\" (Hudson, 2015). One of these crimes saw the fate of up-and-coming rapper Trentavious White, known as Bankroll Fresh, who was shot and killed in front of the recording studio in 2016 (Hill, 2016). In terms of his music, White was recognized by major artists such as Earl Sweatshirt, Drake, and Gucci Mane for his originality and distinctive flow. With these elements, White started to gain a following. Yet, having lived on the streets throughout his whole life, White knew that success could bring danger: \"[If] Your name will get too hot, they'll try to knock you off. Or, I'll get too piped up, [someone] might try to rob me\" (Russell, 2016; White, 2016). Ironically and tragically, this is exactly what caused his death. Like Jeffery Williams and Dominique Jones, Trentavious White was caught in the trap. His music discusses how he participated in the trap lifestyle due to his poor living situation: \"I used to have roaches in my cereal, I couldn't eat/ [...] I wouldn't be where I was if I didn't f**king trap\" (White, 2015). However, unlike Williams and Jones, White was not able to escape. Eventually succumbing to his wounds from the shootout, he died at the age of 28.White's story is very similar to that of Robert \"Barbecue Bob\" Hicks from nearly a century ago: both became well-known, unique artists whose music failed to award them a stable and safe living environment; both were only 28 when they died. These disturbing similarities are not due to bad luck, but instead to Atlanta's consistent neglect for the wellbeing of its people and artists. In the past fifty years, the city has made extremely selfish choices: ignoring the class-gap, hosting The Olympics, mistreating issues around drugs and education. All of these have contributed to the production of \"The Trap,\" where low-income citizens must do what they can to get by. While many have voiced these injustices in their music, Atlanta only sees these cries for their monetary value. Instead of continuing this cruel behavior, it is time for Atlanta to stop being \"too busy,\" take a step back, and finally listen. ","street-execs-studios",[128,116],{"_72":119,"_124":125,"_126":127},"Street Execs Studios","stop","video_embed","video_poster",[],"caption","Cops outside the studio after the killing of Trentavious White","url","https://api.opentour.site/atlanta-music-maps/v4/public/media/0v7d9jp47m2c6nozbst3csq5sf87?variant=desktop","untitled",{"_96":165,"_93":23,"_124":125,"_134":166,"_136":-5,"_138":-5,"_140":167,"_142":168,"_34":169,"_145":-5,"_146":147,"_148":167,"_149":170,"_151":171,"_72":119,"_154":-5},{"_96":131,"_93":132,"_124":133,"_134":135,"_136":137,"_138":139,"_140":141,"_142":143,"_34":144,"_145":35,"_146":147,"_148":141,"_149":150,"_151":152,"_72":153,"_154":139},180,2,"The official WorldStarHipHop premiere of Bankroll Fresh’s \"Trap\" music video which is featured on Bankroll Fresh's 'Life of a Hot Boy' mixtape. \n\nDownload the tape here: http://livemixtap.es/lwe.\n\nFollow Bankroll Fresh:\nhttps://twitter.com/1yungfresh\nhttps://instagram.com/streetmoneybankroll\n\nStreet Money Worlwide / Street Execs\n\nSUBSCRIBE to the Official WorldStarHipHop Channel for more original WorldStar material, music video premieres, and more: http://goo.gl/jl4las\n\nMore WorldStarHipHop: \nhttp://worldstarhiphop.com \nhttps://twitter.com/worldstar (Follow)\nhttps://fb.com/worldstarhiphop (Like)\nhttp://instagram.com/realwshh (Photos)\nhttp://shop.worldstarhiphop.com (Shop)","desktop_width",480,"embed","//www.youtube.com/embed/lZ2jrla-UHM","embed_id","lZ2jrla-UHM","filename","lZ2jrla-UHM.jpg","files",{"_155":156,"_157":158,"_159":160,"_161":162,"_163":164},190,"lqip_width","mobile_width",300,"original_image","provider","youtube","tablet_width",400,"Bankroll Fresh \"Trap\" (WSHH Exclusive - Official Music Video)","video","original","https://api.opentour.site/atlanta-music-maps/v4/public/media/6eagcejn9xtw9gkgocie4mrp1c7n","mobile","https://api.opentour.site/atlanta-music-maps/v4/public/media/6eagcejn9xtw9gkgocie4mrp1c7n?variant=mobile","tablet","https://api.opentour.site/atlanta-music-maps/v4/public/media/6eagcejn9xtw9gkgocie4mrp1c7n?variant=tablet","desktop","https://api.opentour.site/atlanta-music-maps/v4/public/media/6eagcejn9xtw9gkgocie4mrp1c7n?variant=desktop","lqip","https://api.opentour.site/atlanta-music-maps/v4/public/media/6eagcejn9xtw9gkgocie4mrp1c7n?variant=lqip",179,1500,"16072808505.jpeg",{"_155":172,"_157":173,"_159":174,"_161":127,"_163":175},189,"keiner",750,"https://api.opentour.site/atlanta-music-maps/v4/public/media/0v7d9jp47m2c6nozbst3csq5sf87","https://api.opentour.site/atlanta-music-maps/v4/public/media/0v7d9jp47m2c6nozbst3csq5sf87?variant=mobile","https://api.opentour.site/atlanta-music-maps/v4/public/media/0v7d9jp47m2c6nozbst3csq5sf87?variant=tablet","https://api.opentour.site/atlanta-music-maps/v4/public/media/0v7d9jp47m2c6nozbst3csq5sf87?variant=lqip",71,"cleveland-avenue","Cleveland Avenue",{"_34":97,"_63":116,"_72":119},8,{"_34":259,"_63":260,"_72":261},"Cleveland Ave SWAtlanta, GA","

You are now on Cleveland Avenue, known for being one of the roughest areas in southeast Atlanta. This strip was often frequented by Jeffery Lamar Williams, better known as Young Thug, in his early years. Here, Williams often took and dealt drugs to fit in (Stephenson, 2013). In his song \"Jungle,\" off his debut album I Came From Nothing, Williams talks about the nature of Cleveland Avenue: \"Cleveland Ave is a concrete Jungle/ [People] from the ave don't fumble/ They can't fumble\" (Williams, 2013). Indeed, showing weakness on Cleveland Avenue was dangerous. However, it was one of the only places Williams could go. From a young age, the artist had a poor relationship with education. In sixth grade, frustrated by being forced to go to school, he was expelled for breaking one of his teachers' arms. After spending four years in juvenile prison, he put all his attention into making music (Vozick-Levinson, 2014). The music he creates discusses \"the trap\"— the tragedy of being forced into a dangerous lifestyle of drug-dealing and crime due to the limitations of one's community. Similarly to the blues in the 1920s, trap music gets its fuel from the outcomes of income inequality and racial demographics. And, similarly to the blues, Atlanta has profited off of artists' responses to living in the poor, trap-like environments the city has created; trap music has generated a large portion of the city's income (Carmichael, 2017). In \"Rip,\" from the same album, Williams discusses how he and others with whom he is close have fallen victim to the trap: \"My brother just got life and ten [...]/ And the funeral homes? It's my fun house/ Now I'm killing myself cause I didn't get help\" (Williams, 2013). It is unclear how Williams is \"killing himself,\" but it could be through coping methods— such as drug use—for the trap's longer-lasting impact on the psyche.

Both attending Booker T. Washington High School, Williams and Dominique Armani Jones— better known as Lil' Baby— became acquainted (Matt F., 2017; Moorwood, 2020). Like Williams, Jones also had trouble in school. In an interview with DJ Smallz, Jones states he would \"Get suspended for three days. [Then,] the first day back— suspended again.\" Apparently, teachers would tell him: \"If you don't ever come back to my class, I'll pass you\" (2017). Due again to poverty and neglect, Jones was forced into the trap. Eventually, he was charged with possessing marijuana with the intention to sell, spending two years in federal prison. After getting out, he began making music (Clark, 2018). His lyrics on the trap and its dangers are similar to Williams's: \"Sometimes I had nightmares 'bout the sh*t that we did/ I come from the jungle, you can't live where I lived (Jones, 2017). Overall, these rappers' lyrics on their experiences in their communities serve as evidence of the city's failures to its low-income citizens. The trap claimed them because Atlanta did not.

",33.68126,-84.4039623,[193,194,195,196,197],"You are now on Cleveland Avenue, known for being one of the roughest areas in southeast Atlanta. This strip was often frequented by Jeffery Lamar Williams, better known as Young Thug, in his early years. Here, Williams often took and dealt drugs to fit in (Stephenson, 2013). In his song \"Jungle,\" off his debut album I Came From Nothing, Williams talks about the nature of Cleveland Avenue: \"Cleveland Ave is a concrete Jungle/ [People] from the ave don't fumble/ They can't fumble\" (Williams, 2013). Indeed, showing weakness on Cleveland Avenue was dangerous. However, it was one of the only places Williams could go. From a young age, the artist had a poor relationship with education. In sixth grade, frustrated by being forced to go to school, he was expelled for breaking one of his teachers' arms. After spending four years in juvenile prison, he put all his attention into making music (Vozick-Levinson, 2014). The music he creates discusses \"the trap\"— the tragedy of being forced into a dangerous lifestyle of drug-dealing and crime due to the limitations of one's community. Similarly to the blues in the 1920s, trap music gets its fuel from the outcomes of income inequality and racial demographics. And, similarly to the blues, Atlanta has profited off of artists' responses to living in the poor, trap-like environments the city has created; trap music has generated a large portion of the city's income (Carmichael, 2017). In \"Rip,\" from the same album, Williams discusses how he and others with whom he is close have fallen victim to the trap: \"My brother just got life and ten [...]/ And the funeral homes? It's my fun house/ Now I'm killing myself cause I didn't get help\" (Williams, 2013). It is unclear how Williams is \"killing himself,\" but it could be through coping methods— such as drug use—for the trap's longer-lasting impact on the psyche. Both attending Booker T. Washington High School, Williams and Dominique Armani Jones— better known as Lil' Baby— became acquainted (Matt F., 2017; Moorwood, 2020). Like Williams, Jones also had trouble in school. In an interview with DJ Smallz, Jones states he would \"Get suspended for three days. [Then,] the first day back— suspended again.\" Apparently, teachers would tell him: \"If you don't ever come back to my class, I'll pass you\" (2017). Due again to poverty and neglect, Jones was forced into the trap. Eventually, he was charged with possessing marijuana with the intention to sell, spending two years in federal prison. After getting out, he began making music (Clark, 2018). His lyrics on the trap and its dangers are similar to Williams's: \"Sometimes I had nightmares 'bout the sh*t that we did/ I come from the jungle, you can't live where I lived (Jones, 2017). Overall, these rappers' lyrics on their experiences in their communities serve as evidence of the city's failures to its low-income citizens. The trap claimed them because Atlanta did not.",[128,177],{"_72":178,"_124":191,"_126":192},[],"A bird's-eye view of the avenue","https://api.opentour.site/atlanta-music-maps/v4/public/media/m9nxjb1ioo41kfg3ihpzg8i5bqw2?variant=desktop",{"_96":251,"_93":23,"_124":191,"_134":166,"_136":-5,"_138":-5,"_140":252,"_142":253,"_34":254,"_145":-5,"_146":147,"_148":252,"_149":170,"_151":171,"_72":178,"_154":-5},{"_96":239,"_93":132,"_124":227,"_134":135,"_136":240,"_138":241,"_140":242,"_142":243,"_34":244,"_145":35,"_146":147,"_148":242,"_149":150,"_151":152,"_72":245,"_154":241},{"_96":225,"_93":226,"_124":227,"_134":135,"_136":228,"_138":229,"_140":230,"_142":231,"_34":232,"_145":35,"_146":147,"_148":230,"_149":150,"_151":152,"_72":233,"_154":229},{"_96":211,"_93":212,"_124":213,"_134":135,"_136":214,"_138":215,"_140":216,"_142":217,"_34":218,"_145":35,"_146":147,"_148":216,"_149":150,"_151":152,"_72":219,"_154":215},{"_96":198,"_93":35,"_124":199,"_134":135,"_136":200,"_138":201,"_140":202,"_142":203,"_34":204,"_145":35,"_146":147,"_148":202,"_149":150,"_151":152,"_72":205,"_154":201},177,"Hype","//www.youtube.com/embed/t9BTcF0ct3Q","t9BTcF0ct3Q","t9BTcF0ct3Q.jpg",{"_155":206,"_157":207,"_159":208,"_161":209,"_163":210},187,"Lil Baby - Days Off (Perfect Timing)","https://api.opentour.site/atlanta-music-maps/v4/public/media/9w4tly7q7eeliuvoqra4vrn5y1um","https://api.opentour.site/atlanta-music-maps/v4/public/media/9w4tly7q7eeliuvoqra4vrn5y1um?variant=mobile","https://api.opentour.site/atlanta-music-maps/v4/public/media/9w4tly7q7eeliuvoqra4vrn5y1um?variant=tablet","https://api.opentour.site/atlanta-music-maps/v4/public/media/9w4tly7q7eeliuvoqra4vrn5y1um?variant=desktop","https://api.opentour.site/atlanta-music-maps/v4/public/media/9w4tly7q7eeliuvoqra4vrn5y1um?variant=lqip",176,4,"Atlanta rapper and 4PF leader, Lil Baby, sits down with DJ Smallz and reflects back on his childhood and upbringing including school, jobs, family, shares advice and more.\n\nHave you dropped out of high school? Share your story by posting a comment below.\n\nSUBSCRIBE to our channel now to see more: http://bit.ly/1S4Ndsx\n\nOTHER INTERVIEW CLIPS FROM LIL BABY:\nhttps://www.youtube.com/playlist?list=PLsZ4YonqiI3k4y_RiCJqSgfDandBWgJpw\n \nWATCH OUR PLAYLISTS:\nhttps://www.youtube.com/channel/UCxca_6zloKOyPJF_DnSqtKw/playlists\n\nABOUT US:\nExclusive Interviews Daily Through @DJsmallz Eyes\n\nFOLLOW US:\nsnapchat = djsmallzeyes\nhttps://twitter.com/djsmallzeyes\nhttps://instagram.com/djsmallzeyes\nhttps://facebook.com/djsmallzeyes\n\nCONTACT US:\nFor Business or Bookings: http://DJsmallz.com/contact","//www.youtube.com/embed/D96ltApN3SQ","D96ltApN3SQ","D96ltApN3SQ.jpg",{"_155":220,"_157":221,"_159":222,"_161":223,"_163":224},186,"Lil Baby Reflects On Dropping Out Of High School In The 10th Grade, Working At Zaxby's For 1 Day","https://api.opentour.site/atlanta-music-maps/v4/public/media/9bpk0688iz5067ju7jpan918kyc4","https://api.opentour.site/atlanta-music-maps/v4/public/media/9bpk0688iz5067ju7jpan918kyc4?variant=mobile","https://api.opentour.site/atlanta-music-maps/v4/public/media/9bpk0688iz5067ju7jpan918kyc4?variant=tablet","https://api.opentour.site/atlanta-music-maps/v4/public/media/9bpk0688iz5067ju7jpan918kyc4?variant=desktop","https://api.opentour.site/atlanta-music-maps/v4/public/media/9bpk0688iz5067ju7jpan918kyc4?variant=lqip",175,3,"Archive Entertainment LLC\nI Came From Nothing 3\nFor Booking Contact Bobby 404-804-5579 \n| archivebooking@gmail.com |\n\n[Mixtape] @YoungThugWorld - I Came From Nothing 3 :: Get It LIVE! http://livemixtap.es/d57 @LiveMixtapes @SwampIzzo \n\nSubscribe to our Channel: http://bit.ly/KAvMsU\n\n\nArchive Ent's Twitter http://ow.ly/9r4hO\n\nYoungThugWorld Twitter - http://bit.ly/J8kdfm\nReverbnation http://bit.ly/IPtYuL\nFacebook http://on.fb.me/IKyoII\nGoogle + http://bit.ly/Jy5NAL\nTumblr http://bit.ly/wskPxj","//www.youtube.com/embed/QA_WheobW9Q","QA_WheobW9Q","QA_WheobW9Q.jpg",{"_155":234,"_157":235,"_159":236,"_161":237,"_163":238},185,"Young Thug - R.I.P @youngthugworld","https://api.opentour.site/atlanta-music-maps/v4/public/media/uxn07akje74znl5yfpx8spmmi217","https://api.opentour.site/atlanta-music-maps/v4/public/media/uxn07akje74znl5yfpx8spmmi217?variant=mobile","https://api.opentour.site/atlanta-music-maps/v4/public/media/uxn07akje74znl5yfpx8spmmi217?variant=tablet","https://api.opentour.site/atlanta-music-maps/v4/public/media/uxn07akje74znl5yfpx8spmmi217?variant=desktop","https://api.opentour.site/atlanta-music-maps/v4/public/media/uxn07akje74znl5yfpx8spmmi217?variant=lqip",174,"//www.youtube.com/embed/qzOwHaDu_bs","qzOwHaDu_bs","qzOwHaDu_bs.jpg",{"_155":246,"_157":247,"_159":248,"_161":249,"_163":250},184,"Young Thug - Jungle @youngthugworld","https://api.opentour.site/atlanta-music-maps/v4/public/media/0u3if62oymmy2hyzk9rv8t5i6gbu","https://api.opentour.site/atlanta-music-maps/v4/public/media/0u3if62oymmy2hyzk9rv8t5i6gbu?variant=mobile","https://api.opentour.site/atlanta-music-maps/v4/public/media/0u3if62oymmy2hyzk9rv8t5i6gbu?variant=tablet","https://api.opentour.site/atlanta-music-maps/v4/public/media/0u3if62oymmy2hyzk9rv8t5i6gbu?variant=desktop","https://api.opentour.site/atlanta-music-maps/v4/public/media/0u3if62oymmy2hyzk9rv8t5i6gbu?variant=lqip",173,"16072217113.jpeg",{"_155":255,"_157":256,"_159":257,"_161":192,"_163":258},183,"https://api.opentour.site/atlanta-music-maps/v4/public/media/m9nxjb1ioo41kfg3ihpzg8i5bqw2","https://api.opentour.site/atlanta-music-maps/v4/public/media/m9nxjb1ioo41kfg3ihpzg8i5bqw2?variant=mobile","https://api.opentour.site/atlanta-music-maps/v4/public/media/m9nxjb1ioo41kfg3ihpzg8i5bqw2?variant=tablet","https://api.opentour.site/atlanta-music-maps/v4/public/media/m9nxjb1ioo41kfg3ihpzg8i5bqw2?variant=lqip",70,"booker-t-washington-high-school","Booker T. Washington High School",{"_34":176,"_63":177,"_72":178},7,{"_34":312,"_63":313,"_72":314},"45 Whitehouse Dr SW, Atlanta, GA 30314","

This is Booker T. Washington High School. Opening in 1924, it was the first public high school for black students in Georgia. It is part of the Atlanta Public Schools (APS), a school district that hosted what is described as \"The largest cheating scandal in the nation's history\" (Blinder, 2015). From 2009 to 2011, a series of articles inquired and proved that around 180 employees across 44 of the district's schools were inflating test scores, causing the academic achievement of countless students to be misrepresented. When asked why they engaged in such a scandalous act, teachers explained that they were under great pressure from the schools' officials to meet rigorous, implausible expectations. Superintendent Beverly Hall set up a plan stating that, if a certain amount of students passed their classes and a standardized test issued throughout the district— the Criterion Referenced Competency Test— teachers would receive a monetary bonus. However, when teachers could not reach these targets, \"Their performance was criticized, their jobs were threatened and some were terminated\" (Strauss, 2015). Teachers began to change test scores out of fear of being fired. Soon, cheating became prevalent in all APS schools to meet expectations and maintain the lie.

For the students, the scandal drastically affected their relationship with education. When performance has no correlation to the reward, motivation is easily lost. This is what the students whose scores were randomly inflated were facing. However, while this was the case for some, a different injustice was given to others. It was reported that teachers \"gave less attention to a lower-scoring group that they were encouraged to label as \"hopeless cases\" (Kamanetz, 2014). In other words, students who could not help teachers achieve their unrealistic goals were neglected, for reasons out of these sudents' own control. This scandal is yet another demonstration of Atlanta choosing to give the mirage of cultivating perfection when, behind closed doors, it is doing the opposite. School officials of Atlanta's primary schooling system were solely worried about their reputation and not the proper education of their students. As a result, students who went through APS could not rely on schooling to determine their future; instead, they found other methods. Among these students were artists Young Thug and Lil' Baby.

",33.7536903,-84.4206879,[278,279,280],"This is Booker T. Washington High School. Opening in 1924, it was the first public high school for black students in Georgia. It is part of the Atlanta Public Schools (APS), a school district that hosted what is described as \"The largest cheating scandal in the nation's history\" (Blinder, 2015). From 2009 to 2011, a series of articles inquired and proved that around 180 employees across 44 of the district's schools were inflating test scores, causing the academic achievement of countless students to be misrepresented. When asked why they engaged in such a scandalous act, teachers explained that they were under great pressure from the schools' officials to meet rigorous, implausible expectations. Superintendent Beverly Hall set up a plan stating that, if a certain amount of students passed their classes and a standardized test issued throughout the district— the Criterion Referenced Competency Test— teachers would receive a monetary bonus. However, when teachers could not reach these targets, \"Their performance was criticized, their jobs were threatened and some were terminated\" (Strauss, 2015). Teachers began to change test scores out of fear of being fired. Soon, cheating became prevalent in all APS schools to meet expectations and maintain the lie. For the students, the scandal drastically affected their relationship with education. When performance has no correlation to the reward, motivation is easily lost. This is what the students whose scores were randomly inflated were facing. However, while this was the case for some, a different injustice was given to others. It was reported that teachers \"gave less attention to a lower-scoring group that they were encouraged to label as \"hopeless cases\" (Kamanetz, 2014). In other words, students who could not help teachers achieve their unrealistic goals were neglected, for reasons out of these sudents' own control. This scandal is yet another demonstration of Atlanta choosing to give the mirage of cultivating perfection when, behind closed doors, it is doing the opposite. School officials of Atlanta's primary schooling system were solely worried about their reputation and not the proper education of their students. As a result, students who went through APS could not rely on schooling to determine their future; instead, they found other methods. Among these students were artists Young Thug and Lil' Baby. ",[128,276,277,260],{"_72":261,"_124":274,"_126":275},[],"The school's entrance","https://api.opentour.site/atlanta-music-maps/v4/public/media/f040flocyllcks0n32bdnj17tz0m?variant=desktop","maynard-holbrook-jackson-high-school","frederick-douglass-high-school",{"_96":301,"_93":23,"_124":274,"_134":302,"_136":-5,"_138":-5,"_140":303,"_142":304,"_34":305,"_145":-5,"_146":306,"_148":303,"_149":170,"_151":307,"_72":261,"_154":-5},{"_96":291,"_93":132,"_124":292,"_134":166,"_136":-5,"_138":-5,"_140":293,"_142":294,"_34":239,"_145":-5,"_146":147,"_148":293,"_149":170,"_151":171,"_72":295,"_154":-5},{"_96":281,"_93":226,"_124":282,"_134":166,"_136":-5,"_138":-5,"_140":283,"_142":284,"_34":225,"_145":-5,"_146":147,"_148":283,"_149":170,"_151":171,"_72":285,"_154":-5},165,"The superintendent responsible for the scandal, Who died before she could be properly convicted","16072110945.jpeg",{"_155":286,"_157":287,"_159":288,"_161":289,"_163":290},"Beverly Hall","https://api.opentour.site/atlanta-music-maps/v4/public/media/z5d1mfj8i4z8ga0f4l2t35afvrbf","https://api.opentour.site/atlanta-music-maps/v4/public/media/z5d1mfj8i4z8ga0f4l2t35afvrbf?variant=mobile","https://api.opentour.site/atlanta-music-maps/v4/public/media/z5d1mfj8i4z8ga0f4l2t35afvrbf?variant=tablet","https://api.opentour.site/atlanta-music-maps/v4/public/media/z5d1mfj8i4z8ga0f4l2t35afvrbf?variant=desktop","https://api.opentour.site/atlanta-music-maps/v4/public/media/z5d1mfj8i4z8ga0f4l2t35afvrbf?variant=lqip",164,"A test coordinator for the Atlanta Public Schools during his conviction","16072110770.jpeg",{"_155":296,"_157":297,"_159":298,"_161":299,"_163":300},"The Atlanta Cheating Scandal","https://api.opentour.site/atlanta-music-maps/v4/public/media/3g2ss4n3zxwy1444tuj691g864i2","https://api.opentour.site/atlanta-music-maps/v4/public/media/3g2ss4n3zxwy1444tuj691g864i2?variant=mobile","https://api.opentour.site/atlanta-music-maps/v4/public/media/3g2ss4n3zxwy1444tuj691g864i2?variant=tablet","https://api.opentour.site/atlanta-music-maps/v4/public/media/3g2ss4n3zxwy1444tuj691g864i2?variant=desktop","https://api.opentour.site/atlanta-music-maps/v4/public/media/3g2ss4n3zxwy1444tuj691g864i2?variant=lqip",162,1125,"16072110458.jpeg",{"_155":308,"_157":309,"_159":310,"_161":275,"_163":311},172,225,562,"https://api.opentour.site/atlanta-music-maps/v4/public/media/f040flocyllcks0n32bdnj17tz0m","https://api.opentour.site/atlanta-music-maps/v4/public/media/f040flocyllcks0n32bdnj17tz0m?variant=mobile","https://api.opentour.site/atlanta-music-maps/v4/public/media/f040flocyllcks0n32bdnj17tz0m?variant=tablet","https://api.opentour.site/atlanta-music-maps/v4/public/media/f040flocyllcks0n32bdnj17tz0m?variant=lqip",63,"kathryn-johnston-memorial-park","Kathryn Johnston Memorial Park",{"_34":259,"_63":260,"_72":261},6,{"_34":378,"_63":379,"_72":380},"870 Proctor St NW, Atlanta, GA 30314","

In front of you is Kathryn Johnston Memorial Park. Built in 2018 and opening the following year, the original plan was to give it the name \"Boone West Park\" after the boulevard along which it is located (Bethea, 2019). However, this plan changed with the remembrance of a tragedy that happened on Neal Street only a couple blocks away. In 2006, three police officers forced entry into the home of an 88-year-old woman, Kathryn Johnston. Johnston, as a means of protection, had a revolver equipped and aimed at the unknown trespassers. In response, the three officers shot and killed her (Dewan & Goodman, 2006). After further investigation of the incident, it was found that the officers had fabricated many aspects of the case. The officers had in fact received a search warrant for Johnston's home— after interrogating a local drug dealer, they were told that her house was being used as a narcotics dispensary. However, they falsely claimed that the dealer had purchased drugs from the home and that the drug ring to whom the dispensary belonged was under surveillance. These were the details that justified a no-knock warrant. After killing Johnston and searching the house, the officers found no drugs at the scene. So, they planted three bags of marijuana, returned cocaine they claimed came from the house, and instructed their informant to tell reporters he had bought drugs at the house (Goldman, 2013). After the case's corruption surfaced, an article in the New York Times quoted a man saying: \"You say you're going to come in and clean up the neighborhood, but there's a difference between cleaning up and cleaning out\" (Dewan & Goodman, 2006).

The man in the article was talking directly to the Red Dogs, an Atlanta drug task-force assigned to take down the city's crack-cocaine dealers. Since its formation in 1988, the Red Dogs have been known to be extremely aggressive, scary, and crooked. With just under thirty members, it was reported that the team was making over 600 arrests every month in Atlanta's low-income neighborhoods, setting high standards for what does and does not justify arrest (Dillin, 1989). As the man in the Times article pointed out, the Red Dogs were not acting in favor of these communities, but were instead distilling fear as more and more innocents were made into victims. Atlanta artists who had their own fear of this unit have also exposed its malice. In discussing the dangers he faced living in both New York and Atlanta, Michael Santiago Render— better known as Killer Mike— talks about the hellish Red Dogs and references the Johnston case as evidence of their cruel nature: \"Home to me feels like hell [...]/ Black blood still gets spilled/ They raided a house, no drugs were ever found/ But a black grandmother laid killed\" (Render, 2012). When Render is driving around Atlanta, he is haunted by these tragic events. Moreover, he knows that similar acts of injustice could occur again, even to him. In Outkast's first album, Southernplayalisticadillacmuzik, \"Git Up, Git Out\" mentions the unit's impulsivity: \"They known for jumping out of black Chevy trucks and/ Through the fog/ Here come the Red Dogs, I'm busting out around every corner in my/ hog\" (Gipp, 1994). What scared the members of Outkast was that the Red Dogs could come at any moment, for good reason or for not.

The aggression with which Atlanta handled their drug problem shows that the city saw the communities it affected as a nuisance, not as a people in need of help. Clearly, the city was too focused on its presentation as a hospitable place and needed a quick, permanent solution to the epidemic. Again, Atlanta's winning of the Olympics showed that its mirage succeeded, but not without the cost of the lives and security of its own residents.

",33.764577,-84.416224,[330,331,332,333],"In front of you is Kathryn Johnston Memorial Park. Built in 2018 and opening the following year, the original plan was to give it the name \"Boone West Park\" after the boulevard along which it is located (Bethea, 2019). However, this plan changed with the remembrance of a tragedy that happened on Neal Street only a couple blocks away. In 2006, three police officers forced entry into the home of an 88-year-old woman, Kathryn Johnston. Johnston, as a means of protection, had a revolver equipped and aimed at the unknown trespassers. In response, the three officers shot and killed her (Dewan & Goodman, 2006). After further investigation of the incident, it was found that the officers had fabricated many aspects of the case. The officers had in fact received a search warrant for Johnston's home— after interrogating a local drug dealer, they were told that her house was being used as a narcotics dispensary. However, they falsely claimed that the dealer had purchased drugs from the home and that the drug ring to whom the dispensary belonged was under surveillance. These were the details that justified a no-knock warrant. After killing Johnston and searching the house, the officers found no drugs at the scene. So, they planted three bags of marijuana, returned cocaine they claimed came from the house, and instructed their informant to tell reporters he had bought drugs at the house (Goldman, 2013). After the case's corruption surfaced, an article in the New York Times quoted a man saying: \"You say you're going to come in and clean up the neighborhood, but there's a difference between cleaning up and cleaning out\" (Dewan & Goodman, 2006). The man in the article was talking directly to the Red Dogs, an Atlanta drug task-force assigned to take down the city's crack-cocaine dealers. Since its formation in 1988, the Red Dogs have been known to be extremely aggressive, scary, and crooked. With just under thirty members, it was reported that the team was making over 600 arrests every month in Atlanta's low-income neighborhoods, setting high standards for what does and does not justify arrest (Dillin, 1989). As the man in the Times article pointed out, the Red Dogs were not acting in favor of these communities, but were instead distilling fear as more and more innocents were made into victims. Atlanta artists who had their own fear of this unit have also exposed its malice. In discussing the dangers he faced living in both New York and Atlanta, Michael Santiago Render— better known as Killer Mike— talks about the hellish Red Dogs and references the Johnston case as evidence of their cruel nature: \"Home to me feels like hell [...]/ Black blood still gets spilled/ They raided a house, no drugs were ever found/ But a black grandmother laid killed\" (Render, 2012). When Render is driving around Atlanta, he is haunted by these tragic events. Moreover, he knows that similar acts of injustice could occur again, even to him. In Outkast's first album, Southernplayalisticadillacmuzik, \"Git Up, Git Out\" mentions the unit's impulsivity: \"They known for jumping out of black Chevy trucks and/ Through the fog/ Here come the Red Dogs, I'm busting out around every corner in my/ hog\" (Gipp, 1994). What scared the members of Outkast was that the Red Dogs could come at any moment, for good reason or for not. The aggression with which Atlanta handled their drug problem shows that the city saw the communities it affected as a nuisance, not as a people in need of help. Clearly, the city was too focused on its presentation as a hospitable place and needed a quick, permanent solution to the epidemic. Again, Atlanta's winning of the Olympics showed that its mirage succeeded, but not without the cost of the lives and security of its own residents. ",[128,329,313],{"_72":314,"_124":327,"_126":328},[],"A birds-eye view of the park","https://api.opentour.site/atlanta-music-maps/v4/public/media/616foa98f5in578z6owbmbfsm0lf?variant=desktop","centennial-olympic-park",{"_96":370,"_93":23,"_124":327,"_134":166,"_136":-5,"_138":-5,"_140":371,"_142":372,"_34":373,"_145":-5,"_146":147,"_148":371,"_149":170,"_151":171,"_72":314,"_154":-5},{"_96":357,"_93":132,"_124":358,"_134":359,"_136":-5,"_138":-5,"_140":360,"_142":361,"_34":301,"_145":-5,"_146":362,"_148":360,"_149":170,"_151":363,"_72":364,"_154":-5},{"_96":346,"_93":226,"_124":347,"_134":135,"_136":348,"_138":349,"_140":350,"_142":351,"_34":291,"_145":35,"_146":147,"_148":350,"_149":150,"_151":152,"_72":347,"_154":349},{"_96":334,"_93":212,"_124":335,"_134":135,"_136":336,"_138":337,"_140":338,"_142":339,"_34":281,"_145":35,"_146":147,"_148":338,"_149":150,"_151":152,"_72":340,"_154":337},155,"Git Up, Git Out from Outkast's debut album Southernplayalisticadillacmuzik (1994)","//www.youtube.com/embed/Ttk3IUKfn4U","Ttk3IUKfn4U","Ttk3IUKfn4U.jpg",{"_155":341,"_157":342,"_159":343,"_161":344,"_163":345},"Outkast - Git Up, Git Out","https://api.opentour.site/atlanta-music-maps/v4/public/media/d6zd9h4ya5hp4cy3tm7q6or7gzzb","https://api.opentour.site/atlanta-music-maps/v4/public/media/d6zd9h4ya5hp4cy3tm7q6or7gzzb?variant=mobile","https://api.opentour.site/atlanta-music-maps/v4/public/media/d6zd9h4ya5hp4cy3tm7q6or7gzzb?variant=tablet","https://api.opentour.site/atlanta-music-maps/v4/public/media/d6zd9h4ya5hp4cy3tm7q6or7gzzb?variant=desktop","https://api.opentour.site/atlanta-music-maps/v4/public/media/d6zd9h4ya5hp4cy3tm7q6or7gzzb?variant=lqip",154,"Killer Mike - Anywhere but here","//www.youtube.com/embed/J_nVBo8T6yE","J_nVBo8T6yE","J_nVBo8T6yE.jpg",{"_155":352,"_157":353,"_159":354,"_161":355,"_163":356},"https://api.opentour.site/atlanta-music-maps/v4/public/media/p79f9bfn05aryjumtp59tjxyaa64","https://api.opentour.site/atlanta-music-maps/v4/public/media/p79f9bfn05aryjumtp59tjxyaa64?variant=mobile","https://api.opentour.site/atlanta-music-maps/v4/public/media/p79f9bfn05aryjumtp59tjxyaa64?variant=tablet","https://api.opentour.site/atlanta-music-maps/v4/public/media/p79f9bfn05aryjumtp59tjxyaa64?variant=desktop","https://api.opentour.site/atlanta-music-maps/v4/public/media/p79f9bfn05aryjumtp59tjxyaa64?variant=lqip",152,"A picture of Kathryn Johnston from the early 2000s",1057,"16071941288.jpeg",{"_155":365,"_157":366,"_159":367,"_161":368,"_163":369},211,529,"Kathryn Johnston","https://api.opentour.site/atlanta-music-maps/v4/public/media/gtkfnvwqoblqv37di29okkpghkgb","https://api.opentour.site/atlanta-music-maps/v4/public/media/gtkfnvwqoblqv37di29okkpghkgb?variant=mobile","https://api.opentour.site/atlanta-music-maps/v4/public/media/gtkfnvwqoblqv37di29okkpghkgb?variant=tablet","https://api.opentour.site/atlanta-music-maps/v4/public/media/gtkfnvwqoblqv37di29okkpghkgb?variant=desktop","https://api.opentour.site/atlanta-music-maps/v4/public/media/gtkfnvwqoblqv37di29okkpghkgb?variant=lqip",153,"16071942175.jpeg",{"_155":374,"_157":375,"_159":376,"_161":328,"_163":377},163,"https://api.opentour.site/atlanta-music-maps/v4/public/media/616foa98f5in578z6owbmbfsm0lf","https://api.opentour.site/atlanta-music-maps/v4/public/media/616foa98f5in578z6owbmbfsm0lf?variant=mobile","https://api.opentour.site/atlanta-music-maps/v4/public/media/616foa98f5in578z6owbmbfsm0lf?variant=tablet","https://api.opentour.site/atlanta-music-maps/v4/public/media/616foa98f5in578z6owbmbfsm0lf?variant=lqip",62,"centennial-olympic-stadium","Centennial Olympic Stadium",{"_34":312,"_63":313,"_72":314},{"_34":435,"_63":436,"_72":437},"755 Hank Aaron Dr SE, Atlanta, GA 30315","

You are currently looking at the Center Parc Credit Union Stadium. Before it was a college football stadium, it was used for the 1996 Summer Olympics and given the name \"Centennial Olympic Stadium.\" Its original version held 85,000 seats, costed the city $209 million, and took three years to finish (Sandomir, 1996). Multiple factors contributed to Atlanta becoming the host for the Olympic games: the first was Atlanta's reputation as a hospitality city, primarily influenced by tourism and the success of the Hartsfield-Jackson International Airport; another was its recognition as the home of Martin Luther King, who grew up on Auburn Avenue. The city also had the support of Anita Defrantz, an International Olympic Committee member who advocated for Atlanta as a host (Young, 2016).

Interestingly, the year Atlanta won the Olympic Games was the same year Atlanta was deemed the most violent city in the United States (Hobson, 2016). In New York Times articles preceding the Olympics, it was said that athletes were worried about the city's crime rates and the threat of terrorist attacks (Times, 1996). Another article, titled \"Atlanta is Burning,\" stated that, while politically and commercially Atlanta had presented itself as a world-class city, it was struggling socially: it noted how communities were still segregated, many residents were misplaced, and there was a large gap between the lower- and middle- class. The article concluded by saying the city was only \"driven by business\" (Goldberger, 1996). The 1996 Olympics revealed the Atlanta paradox to the public. While it presented itself as hospitable and was recognized as such by being given the Olympics, the city's high crime rates showed that there was an inconsistency in its narrative. In reality, the city was only focused on evoking the mirage of hospitality, servicing its visitors but not its residents. When it comes to issues involving the former, Atlanta relies on quick solutions that end up doing more harm than good. This can be seen in the city's response to its drug problem.

",33.7366194,-84.3881459,[397,398,399],"You are currently looking at the Center Parc Credit Union Stadium. Before it was a college football stadium, it was used for the 1996 Summer Olympics and given the name \"Centennial Olympic Stadium.\" Its original version held 85,000 seats, costed the city $209 million, and took three years to finish (Sandomir, 1996). Multiple factors contributed to Atlanta becoming the host for the Olympic games: the first was Atlanta's reputation as a hospitality city, primarily influenced by tourism and the success of the Hartsfield-Jackson International Airport; another was its recognition as the home of Martin Luther King, who grew up on Auburn Avenue. The city also had the support of Anita Defrantz, an International Olympic Committee member who advocated for Atlanta as a host (Young, 2016). Interestingly, the year Atlanta won the Olympic Games was the same year Atlanta was deemed the most violent city in the United States (Hobson, 2016). In New York Times articles preceding the Olympics, it was said that athletes were worried about the city's crime rates and the threat of terrorist attacks (Times, 1996). Another article, titled \"Atlanta is Burning,\" stated that, while politically and commercially Atlanta had presented itself as a world-class city, it was struggling socially: it noted how communities were still segregated, many residents were misplaced, and there was a large gap between the lower- and middle- class. The article concluded by saying the city was only \"driven by business\" (Goldberger, 1996). The 1996 Olympics revealed the Atlanta paradox to the public. While it presented itself as hospitable and was recognized as such by being given the Olympics, the city's high crime rates showed that there was an inconsistency in its narrative. In reality, the city was only focused on evoking the mirage of hospitality, servicing its visitors but not its residents. When it comes to issues involving the former, Atlanta relies on quick solutions that end up doing more harm than good. This can be seen in the city's response to its drug problem.",[128,395,396,379],{"_72":392,"_124":393,"_126":394},[]," Center Parc Stadium","A modern-day picture of the stadium. It is now used as Georgia State University's football stadium","https://api.opentour.site/atlanta-music-maps/v4/public/media/e2ye7oiwbxt11b0uabp8wi525a7t?variant=desktop","755-hank-aaron-dr-se-atlanta-ga-30315","olympic-stadium",{"_96":427,"_93":23,"_124":393,"_134":166,"_136":-5,"_138":-5,"_140":428,"_142":429,"_34":430,"_145":-5,"_146":147,"_148":428,"_149":170,"_151":171,"_72":392,"_154":-5},{"_96":414,"_93":132,"_124":415,"_134":416,"_136":-5,"_138":-5,"_140":417,"_142":418,"_34":419,"_145":-5,"_146":420,"_148":417,"_149":170,"_151":421,"_72":380,"_154":-5},{"_96":400,"_93":226,"_124":401,"_134":402,"_136":-5,"_138":-5,"_140":403,"_142":404,"_34":405,"_145":-5,"_146":406,"_148":403,"_149":170,"_151":407,"_72":408,"_154":-5},136,"First page of the 1996 New York Times article discussing the state of Atlanta",1427,"16071247203.png",{"_155":409,"_157":410,"_159":411,"_161":412,"_163":413},146,285,714,"\"Atlanta is Burning\"","https://api.opentour.site/atlanta-music-maps/v4/public/media/ldctv787k0airu2k9tg5m4bjmfx5","https://api.opentour.site/atlanta-music-maps/v4/public/media/ldctv787k0airu2k9tg5m4bjmfx5?variant=mobile","https://api.opentour.site/atlanta-music-maps/v4/public/media/ldctv787k0airu2k9tg5m4bjmfx5?variant=tablet","https://api.opentour.site/atlanta-music-maps/v4/public/media/ldctv787k0airu2k9tg5m4bjmfx5?variant=desktop","https://api.opentour.site/atlanta-music-maps/v4/public/media/ldctv787k0airu2k9tg5m4bjmfx5?variant=lqip",135,"Fireworks set off over the stadium at the start of the Olympic Games in 1996",1160,"16071246338.png",{"_155":422,"_157":423,"_159":424,"_161":425,"_163":426},145,232,580,"https://api.opentour.site/atlanta-music-maps/v4/public/media/x9e5y9v6aspcxogb3h3oxmrdhl9a","https://api.opentour.site/atlanta-music-maps/v4/public/media/x9e5y9v6aspcxogb3h3oxmrdhl9a?variant=mobile","https://api.opentour.site/atlanta-music-maps/v4/public/media/x9e5y9v6aspcxogb3h3oxmrdhl9a?variant=tablet","https://api.opentour.site/atlanta-music-maps/v4/public/media/x9e5y9v6aspcxogb3h3oxmrdhl9a?variant=desktop","https://api.opentour.site/atlanta-music-maps/v4/public/media/x9e5y9v6aspcxogb3h3oxmrdhl9a?variant=lqip",134,"16071245860.jpeg",{"_155":431,"_157":432,"_159":433,"_161":394,"_163":434},144,"https://api.opentour.site/atlanta-music-maps/v4/public/media/e2ye7oiwbxt11b0uabp8wi525a7t","https://api.opentour.site/atlanta-music-maps/v4/public/media/e2ye7oiwbxt11b0uabp8wi525a7t?variant=mobile","https://api.opentour.site/atlanta-music-maps/v4/public/media/e2ye7oiwbxt11b0uabp8wi525a7t?variant=tablet","https://api.opentour.site/atlanta-music-maps/v4/public/media/e2ye7oiwbxt11b0uabp8wi525a7t?variant=lqip",59,"mo-joe-s","Mo-Joe's",{"_34":378,"_63":379,"_72":380},{"_34":488,"_63":489,"_72":490},"2883 Lakewood Ave SW, Atlanta 30315","This address currently houses the restaurant Rahim Chicken Supreme. However, in the 1990s, this was the location of Mo-Joe's— a place that was notorious for its extremely hot buffalo wings. Among its many customers was the group Goodie Mob, who formed in 1991 (Cunningham, 2011). Growing up in Southwest Atlanta during the 80s and 90s, the group's members were part of the large portion of black Atlantans who did not benefit from Jackson's affirmative action plan. Because of this, they were tempted by the violent, yet practical, options for making money: selling drugs, committing crimes. Settling instead for the low-wage jobs they could find, the group began to simultaneously create music; they released their first album, Soul Food, in 1995 (Carmichael, 2015). Like the title suggests, the album discusses many of the restaurants the members frequented around their community— even Mo-Joe's: \"Hot wings from Mo-Joe's/ Got my forehead sweating\" (Gipp, 1995). This album, however, does not just discuss the food Goodie Mob ate, but also the implications and consequences of it. In a song that shares the same name as the Soul Food album, Khujo starts his verse by saying \"Southern Fry won't allow my body to lie still,\" (Knighton, 1995) suggesting that, at a certain point, the fast food begins to upset his stomach. While this food may taste good, it is not the healthiest; Khujo is recognizing that eating it frequently can be dangerous. But, while this is the case, fast food is also the most affordable option for getting a meal, making it one of the only options for these poor communities. Later in the song, CeeLo Green notes this: \"Fast food got me feeling sick/ them crackers think they slick/ By trying to make this bullshit affordable\" (Callaway, 1995). Two things are happening here: not only is Atlanta making a quick fix of their large class-gap by sanctioning many of these cheap food places in lower-income communities, but it is also making profit out of these communities' desperate need for a meal. As a result, the city is slowly poisoning its citizens, keeping them alive long enough for Atlanta to make a quick buck. This strategy is in accordance with Atlanta's reputation as a city focused entirely on business, and little on citizen wellbeing. ",33.697495,-84.410002,[453,454,455],"This address currently houses the restaurant Rahim Chicken Supreme. However, in the 1990s, this was the location of Mo-Joe's— a place that was notorious for its extremely hot buffalo wings. Among its many customers was the group Goodie Mob, who formed in 1991 (Cunningham, 2011). Growing up in Southwest Atlanta during the 80s and 90s, the group's members were part of the large portion of black Atlantans who did not benefit from Jackson's affirmative action plan. Because of this, they were tempted by the violent, yet practical, options for making money: selling drugs, committing crimes. Settling instead for the low-wage jobs they could find, the group began to simultaneously create music; they released their first album, Soul Food, in 1995 (Carmichael, 2015). Like the title suggests, the album discusses many of the restaurants the members frequented around their community— even Mo-Joe's: \"Hot wings from Mo-Joe's/ Got my forehead sweating\" (Gipp, 1995). This album, however, does not just discuss the food Goodie Mob ate, but also the implications and consequences of it. In a song that shares the same name as the Soul Food album, Khujo starts his verse by saying \"Southern Fry won't allow my body to lie still,\" (Knighton, 1995) suggesting that, at a certain point, the fast food begins to upset his stomach. While this food may taste good, it is not the healthiest; Khujo is recognizing that eating it frequently can be dangerous. But, while this is the case, fast food is also the most affordable option for getting a meal, making it one of the only options for these poor communities. Later in the song, CeeLo Green notes this: \"Fast food got me feeling sick/ them crackers think they slick/ By trying to make this bullshit affordable\" (Callaway, 1995). Two things are happening here: not only is Atlanta making a quick fix of their large class-gap by sanctioning many of these cheap food places in lower-income communities, but it is also making profit out of these communities' desperate need for a meal. As a result, the city is slowly poisoning its citizens, keeping them alive long enough for Atlanta to make a quick buck. This strategy is in accordance with Atlanta's reputation as a city focused entirely on business, and little on citizen wellbeing. ",[128,452,436],{"_72":449,"_124":450,"_126":451},[]," Mo-Joe's Restaurant (1)","Picture of the restaurant's location in southwest Atlanta","https://api.opentour.site/atlanta-music-maps/v4/public/media/602syyh9s1m9vf3ujclz69h73x57?variant=desktop","the-dungeon",{"_96":480,"_93":23,"_124":450,"_134":166,"_136":-5,"_138":-5,"_140":481,"_142":482,"_34":483,"_145":-5,"_146":147,"_148":481,"_149":170,"_151":171,"_72":449,"_154":-5},{"_96":469,"_93":132,"_124":470,"_134":166,"_136":-5,"_138":-5,"_140":471,"_142":472,"_34":473,"_145":-5,"_146":147,"_148":471,"_149":170,"_151":171,"_72":474,"_154":-5},{"_96":456,"_93":226,"_124":457,"_134":135,"_136":458,"_138":459,"_140":460,"_142":461,"_34":462,"_145":35,"_146":147,"_148":460,"_149":150,"_151":152,"_72":463,"_154":459},133,"Soul Food","//www.youtube.com/embed/GRo5z3r2C1c","GRo5z3r2C1c","GRo5z3r2C1c.jpg",{"_155":464,"_157":465,"_159":466,"_161":467,"_163":468},143,"Goodie Mob - Soul Food","https://api.opentour.site/atlanta-music-maps/v4/public/media/gzxipyy2zt75m3ffvxj2tuy7wogh","https://api.opentour.site/atlanta-music-maps/v4/public/media/gzxipyy2zt75m3ffvxj2tuy7wogh?variant=mobile","https://api.opentour.site/atlanta-music-maps/v4/public/media/gzxipyy2zt75m3ffvxj2tuy7wogh?variant=tablet","https://api.opentour.site/atlanta-music-maps/v4/public/media/gzxipyy2zt75m3ffvxj2tuy7wogh?variant=desktop","https://api.opentour.site/atlanta-music-maps/v4/public/media/gzxipyy2zt75m3ffvxj2tuy7wogh?variant=lqip",132,"A picture of the restaurant's label","16071132265.jpeg",{"_155":475,"_157":476,"_159":477,"_161":478,"_163":479},142,"The Mo-Joe's Restaurant (2)","https://api.opentour.site/atlanta-music-maps/v4/public/media/poi66me9x0e9a6d54xva9af1169k","https://api.opentour.site/atlanta-music-maps/v4/public/media/poi66me9x0e9a6d54xva9af1169k?variant=mobile","https://api.opentour.site/atlanta-music-maps/v4/public/media/poi66me9x0e9a6d54xva9af1169k?variant=tablet","https://api.opentour.site/atlanta-music-maps/v4/public/media/poi66me9x0e9a6d54xva9af1169k?variant=desktop","https://api.opentour.site/atlanta-music-maps/v4/public/media/poi66me9x0e9a6d54xva9af1169k?variant=lqip",131,"16071131726.jpeg",{"_155":484,"_157":485,"_159":486,"_161":451,"_163":487},141,"https://api.opentour.site/atlanta-music-maps/v4/public/media/602syyh9s1m9vf3ujclz69h73x57","https://api.opentour.site/atlanta-music-maps/v4/public/media/602syyh9s1m9vf3ujclz69h73x57?variant=mobile","https://api.opentour.site/atlanta-music-maps/v4/public/media/602syyh9s1m9vf3ujclz69h73x57?variant=tablet","https://api.opentour.site/atlanta-music-maps/v4/public/media/602syyh9s1m9vf3ujclz69h73x57?variant=lqip",58,"hartsfield-jackson-atlanta-international-airport","Hartsfield-Jackson Atlanta International Airport",{"_34":435,"_63":436,"_72":437},{"_34":67,"_63":527,"_72":528},"6000 N Terminal Pkwy Atlanta, GA 30320 ","

You are now looking at Atlanta's Hartsfield-Jackson International Airport— one of the busiest airports in the world (Britannica, 2020). Being a city connected to multiple highways and railroad lines, Atlanta has always relied on transportation to facilitate its growth. In 1961, this reliance increased with the opening of the air hub, then called Atlanta Municipal Airport. By 1980, the transit was holding 2,400 flights per day to 135 different cities, sequentially bringing tourism and convention business from which the city greatly profited (Ambrose, 2020). The airport's current name is dedicated to two of Atlanta's mayors: William B. Hartsfield and Maynard Jackson. Jackson, Atlanta's first black mayor, was given this recognition for the same reason he has been given recognition as the most influential politician for Atlanta's black population (Hobson, 2018). Elected in 1973, Jackson's first major proposal was a plan to transform the airport into an international hub. With this, he also issued an affirmative action plan stating that 25% of all contracts would go to minority firms when, before, less than 1 percent of city-financed construction would go to them (Smothers, 1989). By 1978, this percentage increased to 39% and, soon, Atlanta was fostering a strengthened black middle class and a generation of black millionaires (Dingle, 2009). With the effort put into expanding the airport and the tourism the city was bringing, Atlanta was making itself known as a city offering great hospitality. However, hospitality was only given to those who were giving something to Atlanta in return. While Jackson's plan did benefit many black Atlantans, it was selective in which ones it helped. A major portion of the black population— its lower class— were excluded from the benefits given to the black business owners. As a result, the gap between these two groups widened (Hobson, 2018). This plan was inspired by Atlanta's money-seeking nature, only giving priority to businesses from which the city as a whole could profit. It gifted success to the lucky few who the city thought had potential, leaving the masses maltreated. In these poorer black communities, groups like Goodie Mob turned to music to convey the social injustices they were still facing.

",33.6400159,-84.4195797,[506,507],"You are now looking at Atlanta's Hartsfield-Jackson International Airport— one of the busiest airports in the world (Britannica, 2020). Being a city connected to multiple highways and railroad lines, Atlanta has always relied on transportation to facilitate its growth. In 1961, this reliance increased with the opening of the air hub, then called Atlanta Municipal Airport. By 1980, the transit was holding 2,400 flights per day to 135 different cities, sequentially bringing tourism and convention business from which the city greatly profited (Ambrose, 2020). The airport's current name is dedicated to two of Atlanta's mayors: William B. Hartsfield and Maynard Jackson. Jackson, Atlanta's first black mayor, was given this recognition for the same reason he has been given recognition as the most influential politician for Atlanta's black population (Hobson, 2018). Elected in 1973, Jackson's first major proposal was a plan to transform the airport into an international hub. With this, he also issued an affirmative action plan stating that 25% of all contracts would go to minority firms when, before, less than 1 percent of city-financed construction would go to them (Smothers, 1989). By 1978, this percentage increased to 39% and, soon, Atlanta was fostering a strengthened black middle class and a generation of black millionaires (Dingle, 2009). With the effort put into expanding the airport and the tourism the city was bringing, Atlanta was making itself known as a city offering great hospitality. However, hospitality was only given to those who were giving something to Atlanta in return. While Jackson's plan did benefit many black Atlantans, it was selective in which ones it helped. A major portion of the black population— its lower class— were excluded from the benefits given to the black business owners. As a result, the gap between these two groups widened (Hobson, 2018). This plan was inspired by Atlanta's money-seeking nature, only giving priority to businesses from which the city as a whole could profit. It gifted success to the lucky few who the city thought had potential, leaving the masses maltreated. In these poorer black communities, groups like Goodie Mob turned to music to convey the social injustices they were still facing.",[128,505,489],{"_72":502,"_124":503,"_126":504},[],"Hartsfield-Jackson International Airport","A modern-day image of the airport's exterior","https://api.opentour.site/atlanta-music-maps/v4/public/media/egeah80rfs5imsr7lbpzg6x1afa4?variant=desktop","hartsfield-jackson-atlanta-internation-airport",{"_96":519,"_93":23,"_124":503,"_134":166,"_136":-5,"_138":-5,"_140":520,"_142":521,"_34":522,"_145":-5,"_146":147,"_148":520,"_149":170,"_151":171,"_72":502,"_154":-5},{"_96":508,"_93":132,"_124":509,"_134":166,"_136":-5,"_138":-5,"_140":510,"_142":511,"_34":512,"_145":-5,"_146":147,"_148":510,"_149":170,"_151":171,"_72":513,"_154":-5},130,"A picture of the mayor taken for Black Enterprise Magazine, 1974","16071048971.jpeg",{"_155":514,"_157":515,"_159":516,"_161":517,"_163":518},140,"Maynard Jackson","https://api.opentour.site/atlanta-music-maps/v4/public/media/pqdfli2hk28qtzzs88odonj6g6oi","https://api.opentour.site/atlanta-music-maps/v4/public/media/pqdfli2hk28qtzzs88odonj6g6oi?variant=mobile","https://api.opentour.site/atlanta-music-maps/v4/public/media/pqdfli2hk28qtzzs88odonj6g6oi?variant=tablet","https://api.opentour.site/atlanta-music-maps/v4/public/media/pqdfli2hk28qtzzs88odonj6g6oi?variant=desktop","https://api.opentour.site/atlanta-music-maps/v4/public/media/pqdfli2hk28qtzzs88odonj6g6oi?variant=lqip",129,"16071048366.jpeg",{"_155":523,"_157":524,"_159":525,"_161":504,"_163":526},139,"https://api.opentour.site/atlanta-music-maps/v4/public/media/egeah80rfs5imsr7lbpzg6x1afa4","https://api.opentour.site/atlanta-music-maps/v4/public/media/egeah80rfs5imsr7lbpzg6x1afa4?variant=mobile","https://api.opentour.site/atlanta-music-maps/v4/public/media/egeah80rfs5imsr7lbpzg6x1afa4?variant=tablet","https://api.opentour.site/atlanta-music-maps/v4/public/media/egeah80rfs5imsr7lbpzg6x1afa4?variant=lqip","tidwell-s-barbecue-place","Tidwell's Barbecue Place",{"_34":488,"_63":489,"_72":490},{"_34":263,"_63":583,"_72":584},"3161 Peachtree Road, Buckhead","

In the first half of the 20th century, the strip mall you are facing was home to Tidwell's Barbecue Place. Located in Atlanta's wealthy suburb Buckhead, Tidwell's was the employer of one of the most famous blues guitarists and singers on record— Robert Hicks. In 1926, Okeh Records was purchased by Columbia Records. The same year, Columbia Records scouted Hicks while he was working as a cook at Tidwell's, consequently giving him the stage name \"Barbecue Bob.\" Over the course of three years, Hicks participated in over 70 recordings; he achieved large recognition for his wide vocal range and distinct technique on the 12-string guitar (Oliver, 2013). Hicks's fame, however, had no positive impact on the poverty-stricken lifestyle he faced and discussed in his music. In \"Poor Boy, Long Way from Home\" (1927), Hicks blatantly tells his audience he is \"A poor boy / ain't got nowhere to go.\" In a cry for help, he even asks, \"Please tell me / what you going to do?\" Similar lyrics can be found in \"Mississippi Low-Levee Blues\" (1928), recorded the following year: \"And I'm crying 'how long for another pay day?'\" While Hicks continued to record with Columbia records and his presence in the music industry grew, his economic status remained low. His career shows these recording companies' poor recognition of the destitute lifestyle of their artists and insufficient compensation for their work. It was the white businessmen who got paid, not Hicks himself. In 1931, only five years after his debut, Hicks died from pneumonia at the age of 28.

Traveling now to a more modern version of Atlanta, we will see the city's leaders and businessmen behave in a similar way to how they did nearly a century ago in terms of where they are putting their focus. In turn, a selfish Atlanta forms, one that neglects its people's wellbeing.

",33.8407687,-84.3762326,[543,544,545],"In the first half of the 20th century, the strip mall you are facing was home to Tidwell's Barbecue Place. Located in Atlanta's wealthy suburb Buckhead, Tidwell's was the employer of one of the most famous blues guitarists and singers on record— Robert Hicks. In 1926, Okeh Records was purchased by Columbia Records. The same year, Columbia Records scouted Hicks while he was working as a cook at Tidwell's, consequently giving him the stage name \"Barbecue Bob.\" Over the course of three years, Hicks participated in over 70 recordings; he achieved large recognition for his wide vocal range and distinct technique on the 12-string guitar (Oliver, 2013). Hicks's fame, however, had no positive impact on the poverty-stricken lifestyle he faced and discussed in his music. In \"Poor Boy, Long Way from Home\" (1927), Hicks blatantly tells his audience he is \"A poor boy / ain't got nowhere to go.\" In a cry for help, he even asks, \"Please tell me / what you going to do?\" Similar lyrics can be found in \"Mississippi Low-Levee Blues\" (1928), recorded the following year: \"And I'm crying 'how long for another pay day?'\" While Hicks continued to record with Columbia records and his presence in the music industry grew, his economic status remained low. His career shows these recording companies' poor recognition of the destitute lifestyle of their artists and insufficient compensation for their work. It was the white businessmen who got paid, not Hicks himself. In 1931, only five years after his debut, Hicks died from pneumonia at the age of 28. Traveling now to a more modern version of Atlanta, we will see the city's leaders and businessmen behave in a similar way to how they did nearly a century ago in terms of where they are putting their focus. In turn, a selfish Atlanta forms, one that neglects its people's wellbeing. ",[128,527],{"_72":540,"_124":541,"_126":542},[],"Robert \"Barbecue Bob\" Hicks ","Barbecue Bob posing in his chef's attire outside Tidwell's","https://api.opentour.site/atlanta-music-maps/v4/public/media/aa2jorb0xi3kuijdc1i7y18dnj1k?variant=desktop",{"_96":572,"_93":23,"_124":541,"_134":573,"_136":-5,"_138":-5,"_140":574,"_142":575,"_34":576,"_145":-5,"_146":577,"_148":574,"_149":170,"_151":578,"_72":540,"_154":-5},{"_96":559,"_93":132,"_124":560,"_134":135,"_136":561,"_138":562,"_140":563,"_142":564,"_34":565,"_145":35,"_146":147,"_148":563,"_149":150,"_151":152,"_72":566,"_154":562},{"_96":546,"_93":226,"_124":547,"_134":135,"_136":548,"_138":549,"_140":550,"_142":551,"_34":552,"_145":35,"_146":147,"_148":550,"_149":150,"_151":152,"_72":553,"_154":549},24,"Recorded in Atlanta, GA, April 21, 1928.","//www.youtube.com/embed/ql4bBCmOhbc","ql4bBCmOhbc","ql4bBCmOhbc.jpg",{"_155":554,"_157":555,"_159":556,"_161":557,"_163":558},28,"BARBECUE BOB - Mississippi Low-Levee Blues [1928]","https://api.opentour.site/atlanta-music-maps/v4/public/media/o01qtdwqqerhm02w6lqnsr5f44mv","https://api.opentour.site/atlanta-music-maps/v4/public/media/o01qtdwqqerhm02w6lqnsr5f44mv?variant=mobile","https://api.opentour.site/atlanta-music-maps/v4/public/media/o01qtdwqqerhm02w6lqnsr5f44mv?variant=tablet","https://api.opentour.site/atlanta-music-maps/v4/public/media/o01qtdwqqerhm02w6lqnsr5f44mv?variant=desktop","https://api.opentour.site/atlanta-music-maps/v4/public/media/o01qtdwqqerhm02w6lqnsr5f44mv?variant=lqip",19,"https://ragtimedorianhenry.com/\nPoor Boy, Long Way From Home by Barbecue Bob","//www.youtube.com/embed/R3DwM9_Nays","R3DwM9_Nays","R3DwM9_Nays.jpg",{"_155":567,"_157":568,"_159":569,"_161":570,"_163":571},23,"Poor Boy, Long Way From Home by BARBECUE BOB (1927)","https://api.opentour.site/atlanta-music-maps/v4/public/media/oyifu0gj0swij3y3x4ms2ydkb8lm","https://api.opentour.site/atlanta-music-maps/v4/public/media/oyifu0gj0swij3y3x4ms2ydkb8lm?variant=mobile","https://api.opentour.site/atlanta-music-maps/v4/public/media/oyifu0gj0swij3y3x4ms2ydkb8lm?variant=tablet","https://api.opentour.site/atlanta-music-maps/v4/public/media/oyifu0gj0swij3y3x4ms2ydkb8lm?variant=desktop","https://api.opentour.site/atlanta-music-maps/v4/public/media/oyifu0gj0swij3y3x4ms2ydkb8lm?variant=lqip",18,1284,"16041772466.jpeg",{"_155":579,"_157":580,"_159":581,"_161":542,"_163":582},22,257,642,"https://api.opentour.site/atlanta-music-maps/v4/public/media/aa2jorb0xi3kuijdc1i7y18dnj1k","https://api.opentour.site/atlanta-music-maps/v4/public/media/aa2jorb0xi3kuijdc1i7y18dnj1k?variant=mobile","https://api.opentour.site/atlanta-music-maps/v4/public/media/aa2jorb0xi3kuijdc1i7y18dnj1k?variant=tablet","https://api.opentour.site/atlanta-music-maps/v4/public/media/aa2jorb0xi3kuijdc1i7y18dnj1k?variant=lqip","okeh-records-atlanta","Okeh Records- Atlanta",{"_34":67,"_63":527,"_72":528},"152 Nassau St NW, Atlanta, GA 30303","

The first stop in this tour brings you to the location of a recently-torn-down music studio. Demolition of this site has faced major controversy: numerous Atlanta leaders have sued former mayor Kasim Reed for initiating a deconstruction plan \"without any review by the public or even the city council\" (Keenan, 2019). Considering the history behind the studio, Atlantans have a right to be frustrated. However, some aspects of this history should be praised less so than others. The Okeh Records Company was the first to record and publicize blues performers in Atlanta. Founded first as a phonograph supplier by Otto K. E. Heinemann in 1916, the Heinemann Phonograph Corporation turned to phonograph records two years later (Rye, 2001). In 1920, the label began its journey as a distributor of race records with the recording of \"That Thing Called Love\" and \"You Can't Keep a Good Man Down.\" Originally, the label wanted to record the two songs using the white singer Sophie Tucker. However, they were eventually persuaded into hiring Mamie Smith by the songs' black composer Perry Bradford (Roy, 2004). After the booming success of these recordings, the label branched out from its headquarters in New York to an empty warehouse in downtown Atlanta in 1923 to find and record more blues singers. While recording opportunities in Atlanta allowed blues singers to reach a wider audience, most of the profit gained was going to the white businessmen by which the label was run (Goodson, 2002). Ironically, these businessmen, remaining ignorant to the impetuses of the blues, contributed to the hardship that the blues singers discussed in their songs. Cries of inequality, instead of being heard and satisfied, were monetized. This exploitation of black artistry becomes the foundation for Atlanta's nature as a city too focused on wealth and publicity to recognize the destitution of its black community. While commonplace in the ears of white and black audiences alike, blues performers such as \"Barbecue Bob\" Hicks lived short and impoverished lives nonetheless.

",33.75844,-84.3921793,[599,600,601],"The first stop in this tour brings you to the location of a recently-torn-down music studio. Demolition of this site has faced major controversy: numerous Atlanta leaders have sued former mayor Kasim Reed for initiating a deconstruction plan \"without any review by the public or even the city council\" (Keenan, 2019). Considering the history behind the studio, Atlantans have a right to be frustrated. However, some aspects of this history should be praised less so than others. The Okeh Records Company was the first to record and publicize blues performers in Atlanta. Founded first as a phonograph supplier by Otto K. E. Heinemann in 1916, the Heinemann Phonograph Corporation turned to phonograph records two years later (Rye, 2001). In 1920, the label began its journey as a distributor of race records with the recording of \"That Thing Called Love\" and \"You Can't Keep a Good Man Down.\" Originally, the label wanted to record the two songs using the white singer Sophie Tucker. However, they were eventually persuaded into hiring Mamie Smith by the songs' black composer Perry Bradford (Roy, 2004). After the booming success of these recordings, the label branched out from its headquarters in New York to an empty warehouse in downtown Atlanta in 1923 to find and record more blues singers. While recording opportunities in Atlanta allowed blues singers to reach a wider audience, most of the profit gained was going to the white businessmen by which the label was run (Goodson, 2002). Ironically, these businessmen, remaining ignorant to the impetuses of the blues, contributed to the hardship that the blues singers discussed in their songs. Cries of inequality, instead of being heard and satisfied, were monetized. This exploitation of black artistry becomes the foundation for Atlanta's nature as a city too focused on wealth and publicity to recognize the destitution of its black community. While commonplace in the ears of white and black audiences alike, blues performers such as \"Barbecue Bob\" Hicks lived short and impoverished lives nonetheless. 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Ambrose, Andy. \"Atlanta.\" New Georgia Encyclopedia. 16 September 2020. Web. 01 December 2020.&nbsp;https://www.georgiaencyclopedia.org/articles/counties-cities-neighborhoods/atlantaBankroll Fresh. 2015. <i>Trap</i>. Atlanta: Fishscale Inc.Bankroll Fresh. 2015. Trap. Atlanta: Fishscale Inc.

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———. 1928. Mississippi Low-Levee Blues. Atlanta: Columbia Records.

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Carmicael, Rodney. 2017. “Culture Wars: Trap Music Keeps Atlanta On Hip-Hop’s Cutting Edge. Why Can’t The City Embrace It?” NPR, March. https://www.npr.org/sections/therecord/2017/03/15/520133445/culture-wars-trap-innovation-atlanta-hip-hop.

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Keenan, Sean Richard. 2019. “Historic Downtown Recording Studio to Remain (Mostly) Standing—for Now.” Curbed Atlanta, September 13, 2019. https://atlanta.curbed.com/atlanta-development/2019/9/13/20863668/atlanta-downtown-recording-studio-margaritaville-demolition.

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Smith, Mamie. 1920a. That Thing Called Love. New York City: Okeh Records. https://www.youtube.com/watch?v=UB-7TFdHRkA.

———. 1920b. You Can’t Keep a Good Man Down. New York City: Okeh Records. https://www.youtube.com/watch?v=oNgXS8Gajto.

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———. 2011b. Rip. Atlanta: Self-Released. https://www.youtube.com/watch?v=QA_WheobW9Q.

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