You Can Always Go Downtown

According to the 2010 Census, for the first time in decades, metropolitan areas have grown all across the country. Between 2000 and 2010, there have been huge increases in residents in and around downtown areas. Cities with a  population of more than 5 million saw a 13 percent growth rate of areas within two miles of city hall (where, for all intents and purposes, is the central downtown area of a city). The total metropolitan area population was at 258 million in 2010, and 16.1 million of these residents lived within 2 miles of the city hall. And 21 percent of America’s total metro population—54 million people—live within 4 miles of city hall.

All this data does not mean to conclude that people aren’t still moving into suburbs and away from metro areas. Some cities like New Orleans and Baltimore saw a decrease of up to 30% in there metropolitan populations.

But for now, and for the first time in a while, it seems like we’re moving back to central city. Hello urban renewal.

—Jeffrey Preis


Atlanta Indie Fest 2012: Cousin Dan Interview

By E.J. Ogle

Cousin Dan, fresh from Destin, Florida where he’d played the previous night, was on his homemade stage belting out sleazy auto-tune funk for a group of roughly thirty early birds at Atlanta Indie Fest. By “early” I mean 5:30pm, when the sun wasn’t close to setting and beamed through the windows of Terminal West’s balcony onto the stage and floor. But it didn’t matter to audience, who latched onto Dan’s every move even without the copious smoke machines and lasers that define the Cousin Dan live experience. It’s the music and sheer stage presence that’s made a fan out of practically everyone that sees him. After his much-too-short set I pulled Daniel Scoggins aside for a quick chat about what’s next for the man and his must-see live show. Also, feel free to call his codpiece a God-piece.

You’ve performed with your current live set-up for a few years now. What about performing as a one-man-band with all the equipment on your outfit?

“Actually I think that’d take away from the show. When you have to control everything you’re so focused on that that you can’t really perform. I like to get into it for people. I mean I try to do as much as I can live. You see producers behind laptops just twisting knobs, but I want to do something that makes folks go ‘What the fuck is this?’…I want to blow minds.”

So the Cousin Dan project as a whole is still evolving, right?

“I think I’m at a pretty good spot…I’ve written a lot of new songs and left myself a lot of room to go anywhere with it. I know my stage show is ‘funny,’ but I’m not a joke band. I’m a better songwriter—more lyrical and a more mature version of what you see now. I’ve got ballads coming…power ballads, you know.”

Any plans for expanding the stage set-up, visually?

“I’m trying to build a Cousin Dan sign with neon lights that I can control behind me.”

Do you want to stay solo or bring on other folks?

“I’m planning on doing an all-live Cousin Dan Band at some point…four or five people, who knows, plus some back-up singers. But I’m not ready for it yet and what I’m doing works for me. At some point it’d be cool though—I’m curious to see how it would all work out.”

Would the band play in costume?

“They could all be dressed the same and I’d have my usual outfit or they could be individual characters, who knows? Cousin Dan’s Spandex Army?”

NY Fashion Week Recap: Rag & Bone

By Ming Han Chung / Boom Photoworks / Follow My Story Photography

Ming Han Chung is a photographer that shoots for the love of sharing the tales that represent us all. Based in Atlanta and specializing in Fashion and Runway stories, Chung has travel the world looking for the shows that help drive the fashions we see everyday.

The Suitable Man

Get the looks you’ve seen here at

NY Fashion Week Recap: Jason Wu

By Ming Han Chung / Boom Photoworks / Follow My Story Photography

Ming Han Chung is a photographer that shoots for the love of sharing the tales that represent us all. Based in Atlanta and specializing in Fashion and Runway stories, Chung has travel the world looking for the shows that help drive the fashions we see everyday.

2012 ONE MusicFest Recap

Last weekend, the Eidé Magazine crew spent the day at ONE MusicFest, now in its third year and at a new venue— the Masquerade Music Park. I’d heard about the single-day festival in years past, though I never seemed to meet folks that actually attended. Thus I was particularly interested in checking out how a festival touting its “innovative infusion of diversity” actually ran, and who the hell was going to it in the first place.

The line-up this year offered more than enough reasons for casual fans to brave the near-oppressive Atlanta humidity: local favorite Bosco, rising Mississippi rapper Big K.R.I.T., global genre-bender and indie darling Santigold — making her Atlanta debut, no less — and a round-robin finale featuring the Legends of Hip-Hop: Doug E. Fresh, MC Lyte, Big Daddy Kane, and Slick Rick. So yeah, ONE MusicFest gets high marks for diversity (some new school, some old school) but not eclecticism. Ultimately this works in the favor of a single-stage festival. The crowd was neither dominated by a particular crowd nor fractured between fundamentally opposed groups (rap kids vs. metal kids), so thankfully the festival avoided the lamentable “everybody catches one act then ignores the hell out of the next or heckles them mercilessly” phenomenon that too often plagues “diverse” line-ups.

The front lot of the Masquerade was turned into a food-truck court featuring a coma-inducing low-country boil that was totally worth $20 at the end of the night. Throughout the day, the court functioned as a nice respite from lounging in the grass of the Music Park, featuring local DJs including Speakerfoxxx and Dibiase spinning all the BBQ-appropriate hip-hop you could want. Unfortunately I just missed Marsha Ambrosius by lingering here, but from all accounts her set was excellent.

We made it into the Music Park to find an appreciative crowd vibing out to Bosco, who’s never appeared the slightest bit hesitant in commanding the stage every time I’ve seen her perform, and this afternoon was no different. She didn’t deserve her slot because she won a contest — she deserved to perform because she is one of the finest, pure, young talents Atlanta has produced in some time. She claimed Savannah as her base at the end of her set, but I think of her as ATL all the way.

Bosco was followed in what seemed like mere minutes by Big K.R.I.T., which underscored the attention One MusicFest payed to timeliness: the flow between acts was efficient and never felt like DJ Jaycee had to kill unnecessary amounts of time while the stage was set-up. The crowd up front had filled in a bit with obvious fans, if not diehards, and curious onlookers when K.R.I.T. burst onto the stage following a short set of Southern rap classics everybody bounced to appreciatively. His extensive back-catalogue of mixtapes favors syrupy, low-slung bounce made for riding slow to, but K.R.I.T.’s stage presence made the songs explode with a rowdiness that effectively quadrupled the energy of the crowd. The old-schoolers in attendance were truly blown away.

The energy was flipped again once Brooklyn’s Santigold came on. I was expecting the crowd to have been overrun with MJQ club kids and general indie pop fans, which of course there were a few, but the only noticeable change was females now outnumbering males 3 to 1 in the front. More high marks for ONE MusicFest. Hipsters, hip-hoppers and soul sisters, young and old, were practically writhing in anticipation. When her band, then her dancers, then finally the petite Santigold herself hit the stage, the awesomeness of her live show washed over the audience in waves. Everybody was processing what exactly was happening on stage with the outfits and choreography (and horse, at one point) that the applause for the opening was somewhat dampened. I won’t describe everything that happened during the hour-long set, but watch her performance at Jay-Z’s Made In America Festival from the next day for an idea of what went down in Atlanta. Even while dealing with repeated sound issues stemming from a faulty microphone, Santigold had us all in the palm of her hand.

The Legends of Hip-Hop set felt like a cleanser following the craziness of Santigold’s performance, or did so for the remaining younger audience members like myself, who consider the golden era of rap to be sometime starting in 1993 and ending around 1998. For the middle-age set, however, the quick interplay between the MCs was as hard as any Waka Flocka show. Don’t think I’m being slight to the night’s finale — Slick Rick and MC Lyte in particular seemed ready to battle any younger rappers and had more swagger to boot. Personally I was hoping for Rick to perform his verse off Outkast’s “Da Art of Storytellin’ (Pt. 1)”, but you can’t expect everything after a phenomenal day of music. Atlanta can only hope for ONE MusicFest to build on its strength of presenting diverse (but not completely random) line-ups in big spaces that feel intimate. It’s worth sweating all day for.

A Best Kept Secret: The Lumineers

The Lumineers

Wesley Schultz was 9 when he told the New York Times he wanted to be a drawing artist.

Growing up in a New York City suburb of Ramsey, New Jersey, Wesley replaced his pencil with a guitar and became the bandleader of a ‘heart-swelling’ folk-rock band.

It was a mix between the high cost of living in New York and the death of Wesley’s childhood friend from a drug overdose that motivated Wesley and The Lumineers to head west for Denver Colorado — what his website describes as an act of “stubborn hopefulness.”

With the addition of a cellist, The Lumineers brought together the PBR drinkers and suspender-wearers with heartfelt lyrics, a mandolin and cellist sound, and fearless love for raw acoustics.

Their first self-recorded EP in 2011 led to a self-booked tour to visit their new-found fans’ stomping grounds.

While The Lumineers have a Mumford & Sons feel mixed with an Avett Brothers vibe, they have a genuine sultry sound and are making their first visit to Atlanta’s Fox Theatre August 25.

The Lumineers may hail from the north, but their front-porch, clap-and-stomp sound might just be one of the best kept secrets in the South.

Get Ready for Indie Fest

By Edmon Ogle
The Fifth Annual Atlanta Indie Fest is this weekend, packing all the independent hip-hop (plus some soul and electro-pop) folks could possibly want into one insane line-up over two days. And no, it’s not all backpacking boom-bap. Seriously, the 2012 roster provides an excellent capsule of the various strands/sounds of the underground in the internet 2.0 era. From syrupy trap music to twerking club bangers aimed squarely at crossing over, it’s all here and its swag is weird. Make a point of catching these key artists:

Mach Five
Turn Up Juice (ft. Gangsta Boo)
Yes, we owe the existence of the Atlanta Indie Fest in the first place to this local duo, but this home-grown banger is undeniably hot. Minimalist Diplo-inspired production with a chorus made for the club and a guest verse from fellow Indie Fest performer Gangsta Boo.

Chippy Nonstop
Kicked Out Da Club
A Bay Area-based Kreayshawn acolyte spitting over your basic hyphy/Rack City beat. Resist the easy urge to hate, look past the image and admit this would be fun as hell to hear at the club. Catch her set so you can tell your people you saw her before she went viral.

Tuki Carter
Green Backs
The tattoo artist for Wiz Khalifa’s Taylor Gang crew makes quality smoker’s rap as his other job. With verses this strong no wonder he got the co-sign.

Dell Harris
A local MC who favors the bassy, electro-tinged beats foreign producers have been making and sending back to the states for years; party tracks by and for the MJQ set.

Osiris Of the East
The Miami rapper-producer is headlining Sunday for a reason: his style is harder, darker, and spacier than everybody else. Not wildly adolescent like Tyler the Creator or cultivating his fashionista cred like A$AP Rocky, SGP has carved an ominous, weird niche for himself drawing equally on Houston screwed music, lo-fi noise and afro-futurism, if you’ll believe it. No wonder he’s signed to the high-brow British label 4AD. Be ready for a real rowdy, sweaty crowd during his set.