All posts by Patrick Edmondson

“Acid king” Atlanta Schroder

magicbusFrom Atlanta and Environs: a chronicle of its people and events; years of change and challenge, 1940-1976:  “In December, though, a twenty-seven-year old Atlantan who police said was the king pin of the LSD traffic at pop festivals was arrested while attempting to deliver fifteen pounds of marijuana and 900 LSD tablets to Cocoa, Florida. A long-haired man, he was known in hippie circles as “Atlanta Schroder.” When his apartment, which he shared with several others, was searched, 5,000 LSD tablets were confiscated. Schroder, being absent, was not among the eighteen arrested in this raid.”

Shroder was on the scene and has some great tales.    Here are some adventures backstage at festivals and beyond for your edification.

  All recordings copyright the strip project

Morning Glory

Miami Pop Festival

Truckin’

The Phooey Party

Lightshows

Ted Nugent

Sculpture Park

Yoga in Prison

Atlanta Schroder

Tester

Shroder and Renee

Jeff Lee

Texas Pop Festival

Heroin

The Pianist

The River House

The Texas Pop Festival tent

The River House Bust

   All recordings copyright the strip project

 

 

Bongo Interview

bongoBongo, Peter Jenkins, was Atlanta’s digger who fed the masses in Piedmont Park, ran crash pads for transient kids, and mediated between bikers and hippies.

He has some interesting tales.

 

  All recordings copyright the strip project

Hello from Bongo!

An outside agipotato

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Coming to Georgia from Texas

Crashpads

Names

Feeding the people

Reverend Bongo

The Zoo 8th at Penn

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Photo courtesy Carter Tomassi

 

 

 

 

 

 

Bongo the biker

Bongo Busted!

Leary

Hard Drugs

Why?

The Strip rules

Tree Climbers International

The Allman Brothers

Bongo meets Gov. Maddox

Chit -chat

memories

Peter’s new life

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Peter and Patti at the Bird Bash 2008

 

 

Miller Francis interview

miller1Miller Francis grew up in Anniston, Alabama in a working class family. He was in high school when a Freedom Rider bus was attacked and burned just outside of town.

burning_bus

Inspired by the example of Harper Lee and “To Kill A Mockingbird”, he studied fiction writing at the University of Alabama. There he watched as then-Governor George Wallace took his stand for racial segregation in the schoolhouse door, and met Vivian Malone and James Hood after they were admitted as students.
He joined thousands at a rally in the former capitol of the Confederacy to welcome those who had marched for civil rights from Selma to Montgomery. In 1967 he refused induction into the Army in protest against the Vietnam War. He married Kathy McLaughlin, once in the Catholic student center with family members, and second in a large, public Wed-In on the campus quadrangle on the day “Sgt Pepper” was first released. They moved to Atlanta, where he was later arrested and where the ACLU took his legal case. (The Army ordered a second physical exam in which it discovered a pre-diabetic condition; charges were dropped only two weeks before trial was to begin.) For several years, Miller did legal secretarial work for Attorney Charles Morgan at the Southern Regional Office of the ACLU, and the Atlanta Legal Aid Society, as well as free lance work for Angela Davis’ attorney, Howard Moore.

Best Miller Francis Articles from The Great Speckled Bird

Miller Francis

  All recordings copyright the strip project

Alabama when the Freedom Riders came through

Miller Francis
Miller Francis

As forces for radical change gained momentum in the Sixties, Miller was drawn from fiction writing to another road. He became more active politically, writing only non-fiction, while continuing to demonstrate for civil rights and against the Vietnam War. At the height of the social upsurge, he lived for a time in an Atlanta commune called The Heathen Rage, and wrote music and film reviews for “The Great Speckled Bird”, a weekly underground newspaper. Some of his articles were reprinted by other underground newspapers, and he also contributed briefly to Rolling Stone and Cream (including a review of Music To Eat by The Hampton Grease Band). He covered national events such as the Woodstock Music Festival, the Memphis Blues Festival and the Ann Arbor Blues & Jazz Festival. His enthusiastic “discovery” article about The Allman Brothers Band’s first performance in Piedmont Park is still being quoted (Scott Freeman, “Midnight Riders: The Story of the Allman Brothers Band”). As early as 1969, Rolling Stone Magazine called Miller “one of the best rock and roll writers the underground has produced. . .unique in his ability to place rock in the perspective of the revolution”. In his book “The Paper Revolutionaries”, Laurence Leamer called Miller “the most articulate of the cultural radicals. [He] maneuvers the symbols of cultural radicalism with the subtlety and sureness of Marx working with the tools of economic determinism.” As different social movements began to develop, Miller also wrote articles dealing with the oppression of women and homosexuals.

Changes come to The South

Atlanta calls!

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Miller awaits the GBI with “Boy”, Tracy Shepard, at Heathen Rage on 14th Street

1967 caught in the draft

 

 

 

 

 

 

 

 

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Miller and his first wife

 

 

 

 

 

 

 

 

Miller Meets The Bird

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Movie freak starts writing movie reviews

 

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Tracy Shephard, Lenden Sandler, Miller Francis, Dee McCargo on at Heathen Rage 14th

Draft resistors

Gay Declaration

About these photos

Heathen Rage – At the height of the social upsurge, Miller lived for a time in an Atlanta commune called The Heathen Rage, and wrote music and film reviews for “The Great Speckled Bird”, a weekly underground newspaper.

Heathen Rage at Piedmont Park concert
Heathen Rage at Piedmont Park concert

Awaiting arrest by the GBI

Piedmont Park and the Allman Brothers

Allman Brothers story

And all the other Freaks will share my cares…

writing for The Bird

Miller’s Woodstock experience

Miller Googles himself

Living on 14th Street

Liberation for all!

You may say I’m a dreamer …

 

 

Joe Shifalo (Pig Iron) and Toni Shifalo (La Banana)

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Pig Iron aka Joe Shifalo
Pig Iron aka Joe Shifalo

Joe Shifalo, aka Pig Iron, loved music and played guitar and harmonica. He was a lawyer and civil rights activist, and he retired as executive director of the Little Five Points Community Center. The unofficial ‘Mayor of Little Five Points’. (photo on right by Boyd Lewis)

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RIP Pig Iron March 2009
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Toni Shifalo (aka La Banana

Joe’s partner Toni Shifalo is a local celebrity in her own right as La Banana.

Among other accomplishments she founded the Groundhog Day Juggler’s Festival. She  was interviewed a year after Joe’s death and  gave an interesting counterpoint to Pig Iron’s story. Amazing how they parallel.

 

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Coming to Atlanta – Joe

Coming to Atlanta – Toni

Living on 15th Street – Toni

Walking The Strip – Joe Shifalo

Toni on The Strip

A headstart trippin’ through the delta – Joe Shifalo

Shifalo Druid Wedding on 15th Street

Druid Wedding by the High Museum – Toni

Leaving The Strip area

Toni’s bad experience

The Allman Brothers in Piedmont Park

The Piedmont Police Riot – Joe Shifalo

Rebellion in the park and the streets – Joe Shufalo

Toni on Piedmont Park

Music in Piedmont Park – Joe Shifalo

Toni on Richards

Toni’s Woodstock Tale

The Woodstock album cover – Toni Shifalo

Little Five Points – Toni

Acid Sun – Toni

Joe on Toni

Robert ‘Joe’ Shifalo, musician, ‘mayor’ of Little Five Points
By HOLLY CRENSHAW The Atlanta Journal-Constitution Sunday, March 29, 2009
There were too many forces pulling at Joe Shifalo — too many battles to fight, too many songs to sing, too many passionate pursuits to take up — for him to settle into a predictable life.
The unofficial mayor of Little Five Points, Mr. Shifalo was a lawyer with a beat poet’s soul. He battled poverty, spun blues records and folksy Southern tales on the radio, and championed the underdog whenever he could.
“If he could have made a living from music, he probably would have done that,” said his wife, Christena Bledsoe of Atlanta. “But he often said that then he would have missed out, because he also was very much the social activist.”
Robert M. “Joe” Shifalo, 65, died of a heart attack March 22 at his Atlanta residence. The body was cremated. Memorial service plans will be announced. R.T. Patterson Funeral Home is in charge of arrangements.
The Florida native lived in New York City in the late 1960s, where he fell in with Dave Van Ronk and other Greenwich Village folk singers. He sang, played guitar and harmonica and performed jug band music and blues songs for the rest of his life.
Most Atlantans knew him under the stage moniker of Pig Iron, but after a bout with lung cancer, he jokingly referred to himself as the bluesy-sounding “Half-Lung.”
He recorded two albums and six CDs, appeared at festivals, coffeehouses and blues clubs, and often performed with his former wife and still-close friend, Toni Shifalo, holding down the beat on her washtub bass.
When the listener-supported radio station WRFG launched in 1973, Mr. Shifalo served as one of its original on-air personalities and launched its long-running “Good Morning Blues” program.
He persuaded the Atlanta Board of Education to rent an abandoned school building for $1 a year and transformed it into the Little Five Points Community Center. The building now houses WRFG and a handful of other arts and community nonprofit groups that help give the neighborhood its bohemian character.
He volunteered with the Atlanta Planning Board, spearheaded neighborhood groups and helped save the Candler Park golf course, on top of his career as an attorney and civil rights activist.
Armed with a degree from John Marshall Law School, he fought poverty through his work with Economic Opportunity Atlanta and battled discrimination as executive director of Metro Fair Housing Services.
“Joe was a child of the ’60s,” said Foster Corbin of East Point, the current executive director of Metro Fair Housing. “He thought all people should have equal access to housing and to the law and to all the things that white, straight males get in this country.”
Mr. Shifalo was free-thinking, unconventional and unconcerned with how people dressed or looked, his wife said. He created folk art paintings and loved to study the exotic birds near his second home in Cedar Keys, Fla. He gravitated to science-fiction novels, she said, because they made him think about the future.
“Joe really believed in social change,” his wife said. “He thought by now we’d be further ahead than where we are, but he loved to talk about how much things had changed since his childhood.”
When he retired in January as executive director of the Little Five Points Community Center, his send-off was a sprawling, sentimental shindig. When his death was announced on WRFG, admirers lit up the phone lines.
“Joe was a performer, but on a private level he was very tender,” his wife said. “After they told me he had died, I was touching him and could still feel all of this love coming out of him, because he had so much love for so many people.”
There are no other immediate survivors.

You survive in the folks of Little Five Points, Pig Iron.

 

Alex Cooley interview

alexcooleyAlex Cooley opened Atlanta to the music world, and vice versa. He also brought MidTown Music Festival to The Strip!
He has some very interesting things to say.

 

Thanks Alex for all the great music over the years.

Thanks especially for bringing The Grateful Dead to Piedmont Park.

 

 

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Patti Kakes and MysterE  with Alex Cooley

  All recordings copyright the strip project

Second Atlanta Pop Festival at Byron

 more on Byron

Miami Pop Festival Dec 1968

The Strip

 more on The Strip

 worst experience associated with The Strip

 Peace and Understanding

 cycles of History

Alex’s Allman Brother’s story

Chakra

 

 

 

Voices from The Freak Era

Hello, Welcome to our oral history freak parade. We want all the old freaks, as we so self identified ourselves in the daze, to get their story on record.
Have your own story to record? Contact us.

Interviews around town

[All recordings are under copyright of The Strip Project and remain their  property. Please Respect the rights of the owners and enjoy. All views expressed are those of the interviewee.]

Click a name to select an interview page.

Alex Cooley                     promoter of music
Bongo                              street activist
Bucky Wetherell         Lightshow
Charlie Brown              Chicago Boys
Debbie Eason              founded Creative Loafing
George Nikas                activist
Haynes McFadden     bankrolled the early scene
La Banana                      performer
Miller Francis                rock writer
Pig Iron                          musician, WRFG founder
Rupert Fike                  The Farm, poet
Shroder                          Acid king
Tom & Stephanie Coffin    The Bird
Wolfe                            Street vendor
Steve Wise                 The Bird

[All recordings are under copyright of The Strip Project and remain their  property. Please Respect the rights of the owners and enjoy. All views expressed are those of the interviewee.]

Terminus directed by Kelly Morris at the Seed & Feed Theater

The Great Speckled Bird Oct 31, 1974
Vol. 7 #44 pg. 8
Terminus
 
directed by Kelly Morris at the Seed & Feed Theater

To be truly great, a theater must bring forth great original works of art, goes the thinking of local director Kelly Morris. By thus promoting his Seed & Feed Theater’s first production of a new work specifically written for the company—Tom Cullen’s Terminus-Kelly, you might say, is asking to be shot down. Yet, miraculously, he has covered his bets. Terminus is not only a formidable dramatic achievement, it gives renewed vigor to the company from which it sprang. Terminus, in fact, is the first work to challenge the full capacities of the Seed & Feed players since the theater’s opening production of Tom Paine.

Like Paine, Terminus is American history reconstituted. For Tom Cullen, as for Joyce’s Stephen Dedalus, history is a nightmare from which he is trying to awake. So, to keep the visions of human “progress” from haunting and bedevilling his consciousness, he diverts himself by conjuring up a riotous assemblage of characters past, present, future and never-never (well, almost never). The scrambled sequences and dislocations that result make for an evening of theater that is joyous almost to delirium. Bring your cough drops; the throat gets mighty scratchy from uninterrupted laughing.

Cullen’s perspective—which he shares with a host of American writers is that every historical moment contains every historical possibility, that we in habit an eternal present instant whose boundaries are infinite. “God” is just convenient shorthand for the writer’s imagination, and “God” makes the universe over from scratch every time he or she draws a breath.

Looking at the world from an angle like that, Cullen thus finds it natural to turn figures from the Battle of Terminus (the original name of Atlanta) in to mythic, modern, primitive, yet-un born creatures all at once. The Rebel General Hood becomes Wagner’s Tristan, lusting for his own death; becomes Curtis LeMay, lusting to bomb the enemy back to the Stone Age; becomes Bear Bryant rebel-yelling for Auburn’s scalp. His counterpart and opposite number, William Tecumseh Sherman, is a business tycoon, a roaring capitalist, who equates demolition with progress Henry Ford, Attila, Adolf Hitler, Tamburlaine, Nero, Nelson Rockefeller, Don Shula, Faust.

In a brilliant stroke, Cullen pits these two Neanderthal types against one another in a contemporary wrestling ring. As a parody Cyclorama guide runs breathlessly through an incomprehensible narrative of the great battle, Sherman and Hood imitate the antics of contestants in the Municipal Auditorium, wrenching limbs and tearing out facial features with gleeful abandon. The great climactic Moment that shattered Scarlett’s dreams, reduced to play-acting, farce, burlesque.

Presiding over this shadow-boxing we solemnly call human history are three know-it-alls with delusions of divinity. First, there’s Dr. Croker, your Clockwork Orange mechanist with a rapier wit and bottomless contempt for the human race. Above him on the anti social ladder is Lorena, your seer, sibyl, oracle, earth mother, nature goddess, Norn, Fury, Fate—beautiful, passionless, indifferent. And finally, last and least, from whom Lorena draws what she passes off as wisdom, is Aborigine, the father, son and holy ghost of us all simian, impish, inquisitive, smartly dumb, his lips sealed by a Lucky Strike.

So much for the peripheral figures. Towering above and encompassing all of them is Ants Lumpkin the bump kin, Mr. Nobody, clown, redneck, rebel, fool. He surfaces first in hilarious Grease Sisters drag among a bevy of Southern Belles, an anti-Lorena if there ever was one. He outwits Dr. Croker’s assistants, who dress him up as an anti aborigine, his coveralls down around his ankles, a loincloth strapped over his union (!) suit, his consciousness flicking impatiently in and out of play-acting. He ascends to anti-godhood to challenge Croker on the wings of a glorious speech embracing lost causes and sits on the right hand of nobody to judge the quick and the slow in the wrestling ring.

Ants Lumpkin is the best Cullen has to offer us, “just a man” as he calls himself, “a moron” as his mother calls him, a born loser. In the person of Ants Lumpkin, Man (the play was written before Euripides stumbled on women’s lib) is truly the measure of all things. The rest of us stand or fall with him. Seeing ourselves in this hayseed, this racist, this dropout, this TVnik, this good old Georgia boy, is the measure of our ability to laugh at ourselves, to accept our own frailties.

The production stands or falls on the performance of Lumpkin. He is played to perfection by John Whittemore, a comic actor with the genius of Keaton and Chaplin. Kelly Greene puts on his usual brilliant virtuoso lunatic act as Sherman and Steve Johnson makes a delicious, rubicund, smirkishly prancing Hood. Cathy Simmons as Croker’s assistant Miss Comfort helps turn the anti-Aborigine scene into the  most achingly uproarious stage episode since Falstaff got dumped out with the laundry.

Not that all is joy in Marthasville. Terminus loses its momentum following a ten-minute intermission and flounders around trying to regain its stride. It is not clear that Cullen had thought through what it meant to have Lumpkin take over as presiding divinity from Dr. Croker, and so he threw in a perfectly horrible scene (staged in an appropriately idiotic manner with garish spotlights , and indecipherable keening) intended to show the dire consequences of Lump kin’s control. It may have been supposed to recall Dante’s Inferno, but it packs the full wallop of Hush, Hush Sweet Charlotte.

There’s a serious flaw in the dramatic thinking here, and that’s what makes the scene such a stinker. Surely the significance and the actual concrete result of victory by whatever Historical force is antithetical to Crokerism can be shown on stage. Supposing the South had won? Then what? It’s a fun hypothesis to play with. Let’s play.

My own hunch about what went wrong is that Cullen’s timing was thrown off by what he considered the necessity of an intermission. Intermissions in the middle of an organic work are almost always calamities, requiring awkward, forced climaxes and fresh crankings up of energy after the audience is settled down. The Greeks had the good sense not to mess up their dramas with coffee-breaks, as did Shakespeare (the act-and-scene divisions we are familiar with in his plays were in vented by the late 17th century Pythagorean nut who compiled the Third Folio and who believed that God or Nature intended all drama to be divided into five parts). Their plays shook, heaved and rattled along without interruptions, rising and falling by the necessary beat of their own internal pulse, not by the exigencies of a groundling’s bladder.

Indeed, serious playwrights and directors have no business worrying about the creature comforts of spectators. Let the suburban dinner theaters cater to jaded appetites. Kelly’s Seed & Feed has already said to Atlanta, “You needn’t accept pabulum.” Now Kelly’s audiences should demand, in turn, that they be given the best he has to offer, no compromises. Terminus should be a non-stop, round-trip, excursion fare— to Bedlam and part way back. Cutting out the intermission and cauterizing the wound created by the gap would strengthen the play considerably.

Now that I’ve ridden my hobby horse, let me descend to earth with this stern injunction: If you let the next three weekends go by without seeing Terminus, you are going to deprive ^c yourself of a really unique opportunity to watch your own history, your own culture, undergo refashioning. Not to mention robbing yourself of an evening’s first-rate entertainment.

I’m not sure I understand all that Tom Cullen intended to express in his piquantly ambiguous conclusion, but when the icy Lorena forces Lumpkin to say he liked “it” (unspecified) because it was necessary to do so, I feel she is also addressing the audience and coercing their acceptance of the play they have just witnessed. After all, we are all players and participants, however unwilling, in the drama of history, and much as we may sympathize and laugh with Lumpkin, we’d better not be lured into facile, sentimental endorsement of his values. It’s a conundrum worth puzzling over.

—bill cutler

Kelly Morris fired!

The Great Speckled Bird Nov. 29, 1971
Vol. 4 #37 pg. 10
 
EMORY Politics: KELLY MORRlS FIRED
Kelly Morris came to Emory two years ago as the first full-time director of the Emory Theatre since 1957. His experience with experimental theatre had been considerable, and he came with a list of credentials and contacts as long as your arm. One of his first projects was to organize a guerilla theatre troupe, “The Asa Candler Memorial Marching Atrocity Band,” which played highly visible roles in events such as the October and November Moratoriums of 1969, the ROTC-off-campus demonstrations in April, 1970, and the Cambodia-Kent State uprisings in May. {now incarnated as the Seed and Feed Marching Abominables after Kelly’s Seed and Feed Theater.]

With his wife, Le,slie Morris, who trains and choreographs the Dance Unit (see following story), Kelly began to build a remarkable theatre. He has produced modern playwrights whose names are well-known in theatrical parlance, but whose plays are rarely produced; has premiered several plays, and, in general, created a unit that would be (and is) considered formidable in any part of the country. He and Leslie have brought to Atlanta major theatrical events, such as the Bread-and-Puppet Theatre from New York, who time to play a significant role in the May demonstrations of 1970. Their unorthodox approach, and their capacity to involve, has drawn a broad spectrum of the Emory Community into the Theatre to make it now, undeniably, one of the major student activities on campus.

These accomplishments have been made against staggering obstacles, primarily, the gross mishandling of the Theatre facilities by the administration. The makeshift , theatre (once a cafeteria) that has served since the 1950’s has been torn down for renovation. The Fine Arts Building, which Emory has been planning since the forties, has been discarded. Requests for the abandoned railroad station and for a storage shed, which students have volunteered to fix up themselves out of Theatre money, have been turned down by the Vice President of Student Affairs, Thomas Fernandez. The Theatre desperately needs space, because its operations and audiences are large. But it has, in effect, literally been driven underground.

Kelly Morris was fired in September this year by Fernandez. This action was protested strongly by both students and faculty, in resolutions passed by various bodies, in confrontations and consultations.

The rationale for his action is budget-cutting. The strange thing about this is that students last year anticipated budget-cuts and set up an Economics Priorities Committee, which was accepted enthusiastically by Fernandez.

Mayor Massell Interview

The Great Speckled Bird Feb 19, 1973
Vol. 6 #6 pg. 1
Interview with Sam Massell

The question most asked about the he Massell interview is why Massell agreed to an interview with the Bird. We have never been very kind in the past, so one would think that he would know we would use whatever he said against him. But this is an election year, and Massell would like to mend fences with the “liberal community.” Although we ‘re not a liberal newspaper, this is the impression he has of our readers and he has apparently mistaken the “New Bird” to be a liberal newspaper. At least this was Roz Thomas’ impression before she had seen the first issue.

In the course of the interview Massell continually corrected questions, asked that they be rephrased and restated. He even suggested some questions that he would like asked. He made constant references to his desire to reach our readers. He said things like, “I don’t want your readers to be misled,” and “I just want your readers to have the benefit of knowing where I stand on the issues.”

Because of the many lies, half-truths, and deceptive statements of the mayor, we have had to follow some quotes by an explanatory note. During the interview we simply asked the questions and let him speak., But we feel that we cannot just print this interview and not let our readers have the benefit of knowing the truth. .

The interview was very long and the part we have printed here represents only about a third of it. The interview started off with Massell making a few comments about the war, which to his credit lie has been against for about five years. The only subject that was talked about extensively in the interview but has been slighted here was annexation

In the beginning of the interview Massell very cautious and subdued. As the interview progressed, he warmed up and toward the end was his old feisty self. After the interview was over he seemed quite upset. But I suppose you’ve all been waiting for the interview. Here it is.

BIRD: What do you think of the Bird’s coverage of City Hall?

MASSELL: There’s been good times and bad times. 1 thought, when the Bird just started several years ago-and I was a charter subscriber and one of its few supporters in governmental circles-I thought it was doing a very important job and accurate job. Toward the end of my reading period, which I said goes back several months ago, it had got to a point where it was not being very accurate and this is the problem that I have had with some of the other press.

BIRD: When are you going to announce your candidacy?

MASSELL: I would hope that whoever is interested in getting into any race which doesn’t come about till October wouldn’t be announcing for several months…. When you once announce that you are a candidate, automatically almost everything you say and do is considered politically…. It’s amazing what an idea…. Every time I mention something now, somebody says I’m doing it for political reasons.

BIRD: Nixon has announced budget cuts for EOA (Economic Opportunity Atlanta), housing, and other social service programs. In light of this, why do you insist on giving the $4.5 million in revenue sharing funds to homeowners who comprise 40% of Atlanta’s population. Can’t this money be used for social service programs?

MASSELL: That’s not a very honest question. Let’s go back and take it apart. Give me the words, let’s start over with it…. Read it the way you did the first time, seriously. This is where we get into trouble.

BIRD: Question is repeated.

MASSELL: My insisting on giving that money back was long before Nixon’s budget cuts. You’re saying in light of that. That was not an honest question. This is intellectual dishonesty and I’m sorry, I don’t deal in it. … I’m not as concerned about you asking me something that’s dishonest as I am your readers not having the benefit of knowing where I stand on the issues. . . . Come on and be honest with me. Why don’t you ask me the question, “Mr. Mayor, why don’t you take this $4.5 million in revenue sharing and return it to the public?” Yes, I’m wholeheartedly in favor of that. What’s your next question?

BIRD: OK. Why do you still insist on returning this money to 40% of the population?

MASSELL: Well, that’s wrong, too…. I haven’t designed any plan for its return. I said return it to the public, period.

(Ed: The plan recently passed by the Aldermen to return the money by rebates on water and sewer bills was the mayor’s. He proposed it to the finance committee. On Jan 24 he told newsmen that he had presented the idea to the Finance Committee. When the city attorney questioned the legality of it, he defended it by saying he saw “no real problem” in giving taxpayers a rebate on their water and sewer bills. The ACLU is now suing over the legality of this measure. The city attorney said that while 40%s0fthe city’s population own homes, about 60% pay water and sewer bills.

BIRD: Don’t you think this money should be used for social services?

MASSELL: … I think very definitely the county and the state should use their money for social services because they are charged with the responsibility of handling social services. This is a long-standing policy of governments in this area. It’s not true in New York, it’s not true in some places where the cities do handle welfare. This city has never been in the welfare business, but it has been relegated to the county, just as the county has never been in the police business….

BIRD: Couldn’t this money be used for housing7

MASSELL: In what way?

BIRD: For Model Cities.

MASSELL: [Surprised] Oh! [pause] Model Cities [longer pause] We’re using that money for social services….. uh … I forgot the figure and I hate to give you one now. But if you’ll check, I’ll bet it’s several hundred thousand dollars.

[Ed: Model Cities programs include housing, day care, health care and other social services. Out of a $7 million Model City budget the city’s share is about $200 thousand. Model Cities is scheduled to be phased out in 1974 due to recent Nixon cutbacks. It has been recommended that cities take over the funding.]

BIRD: You said the World Congress Center was the city’s number one priority. Why?

MASSELL: Of the legislation pending in this session of the General Assembly, considering the possibility of passage, the priority I placed on the top few were: 1) the funding of the congress center, 2) expansion of the city, 3) the adoption of the charter commission, and 4) the city income tax. … It [the building of the center] will mean something like $200 million a year . . . in business to the area … $6 million in taxes to the state … all of this helping the economy. You can’t do any of the things you want to do for the people if you don’t have a sound economy. [Ed: At least he made it clear what his priorities are. He had just said minutes before that the city didn’t handle social services. Now he’s saying the city can do things for the people if it has a sound economy. Atlanta has one of the soundest economies of any city in the nation, yet none of this has particularly helped the people.]

BIRD: Last year the Chamber of Commerce supported your annexation plan. This year they are lobbying for [ Fulton County Commissioner Milton ] Farris plan. Is this an indication the downtown business community no longer supports you?

MASSELL: I don’t think they’ve taken an official position. I [pause] well [pause] I told them very clearly I would support any plan.

BIRD: In light of some other things that have happened, like your involvement with organized crime, do you still think the downtown business community supports you?

MASSELL: I have found in my political travels, which include three years as mayor, eight years as vice-mayor, eight years as secretary of the city executive committee and two years as city councilman of Mountain Park, that there are hills and valleys and areas of support … that people remember what you did yesterday, well, they remember what you did today. I’m not sure they remember what you did yesterday. And I explained this to some of my close friends when I became mayor when we had a big strike-because of that support from the people you keep calling the business community, but I explained it wouldn’t be but a short time .. . that in fact I would lose that support and gain some other and then it wouldn’t be long till I would do something that would lose that support. … If they like what you’re doing at the time, they’re for you. If they don’t like what you’re doing at the time, they’re upset with you. We’ll have to wait and see, you know, when the final count is taken, whenever that might be.

BIRD: Is there a source of friction between you and vice-mayor Maynard Jackson?

MASSELL: What do you mean ‘source’?

BIRD: Well, for one it’s been rumored since he became vice-mayor that he was going to run for mayor.

MASSELL: That’s been rumored since he first became elected. So right away if he didn’t, you know, denounce that, if he didn’t disclaim that, then it would look like that we would be at odds. And if he’s an announced opponent, if all of a sudden you tell me you’re my opponent or somebody else tells me they’re my opponent and they say it publicly and they don’t disclaim it, then I sort of figure you as an opponent. An opponent is sort of an adversary … [Ed: What Massell just said is that Maynard Jackson is his opponent in the upcoming election.]

BIRD: Why did you defy the Grand Jury and reappoint Jackson and Summers to the police committee?

MASSELL: How do you define defy?

BIRD: At the very least you went against their recommendation.

MASSELL: … They made a recommendation I didn’t agree with … They made eight recommendations; I disagreed with two of them … …

BIRD: If there was corruption in city hall, in the aldermanic committees, it would be in the zoning and police committees. Why, then, is the same controlling block on each of these committees-Jackson, Lambros and Summers?

MASSELL: … I think they’re both doing excellent jobs … I don’t get complaints on them, so I have to make that decision based on several factors…

BIRD: Is it coincidental that these same three are on both of these committees?

MASSELL: Oh, I see what you’re talking about. I didn’t even catch what you were talking about. I wasn’t even aware of it till you just mentioned it. I’d have to stop and look. [A discussion of who is on those committees takes place.] Yeah, that’s coincidental…Do you think there’s more [emphatically!] Let’s put it that way. Do you think there’s any dishonesty in any one of item? Do you think there’s any graft in any one of them? Do you think there’s any corruption? Does the Grand Jury think there’s any? Nobody’s suggested there’s any. So if you think there is, you must say so in your paper. [Ed: Well of course there is. For Massell to even suggest that he didn’t know who was on these committees is absurd. He just made the appointments himself a month ago and made sure his opponents, Wyche Fowler and Wade Mitchell were removed from the chairs of important committees. Massell privately calls these committees his “reelection committees.” He’s going to collect campaign contributions the same way he did last election. (See last week’s Bird)]

BIRD: This is where the pressures are, in the zoning and police committees. People want favors from both these committees and why are these same three people on each of them?

MASSELL: Maybe because they’re the three most honest men in public office. That would be a good reason wouldn’t it? You know if these are the most dangerous positions that you must put your most honest people in them, then maybe they’re the most honest…No I wasn’t even aware of the fact that they’re both on both…

BIRD: Why have you finally decided to setup a housing committee to which you appointed all the “liberals” when there is no money for housing?

MASSELL: I just don’t believe in rolling over and playing dead…It was recommended by the Citizens Advisory Council.

BIRD: Concerning what is to be done with the Stone Mountain Right of Way…are the people going to have any say so?

MASSELL: I supported the motion that the public be involved, like the BOND community and we named several others, in the planning and reuse of this property…

BIRD: In what way do you see this involvement, just advising?

MASSELL: Well until we have some new form of government…our present form is that the-government awakes the decisions…(angrily) The government makes the decisions! No way to get around it! No way to let you do it under the present system! No way for me to give you the power to decide what’s going to be done with that land.

BIRD: In your state of the city message you pointed out four areas that you thought the city could have done better in.

MASSELL: Let’s stop. You’re expressing that broadly..! didn’t say, thought we could have done better in. I thought we did as well as we could… These were areas I defined as current needs.

[Ed.: Quoting from his address, ” We can look back with pride at our successes, but we must not conveniently overlook our avenues of failure and conditions of concern. We can do better, and cannot accept as final the short- comings we suffered in (l)the efforts to expand our boundaries and broaden our tax base; (2)the growth of crime, both of the organized and the stranger-to-stranger variety; (3)the inadequate stock of low and moderate-income housing, and (4)the drastic federal cutbacks in funding of social service programs.”

BIRD: Do you have any particular programs in the areas you mentioned?

MASSELL: In the housing one I’ve already appointed a committee which you object to now, (laughter) interestingly enough.

BIRD: I didn’t say I objected.

MASSELL: But you questioned it with venom in your veins. You ought to be ashamed of yourself after being the one who fussed so much about housing with me before.

BIRD: You chose those people/and gave them no power, that would be sensitive because they can’t do anything.

MASSELL: You’re just as wrong as you could be… I’m not going to roll over and play dead, you can.

—mike raffauf

The Bird Reviews Cream at Chastain

After Jimi Hendrix we really felt excited about Cream coming to Chastain park. This was among the most memorable moments for many, and is still a touchstone for many memories today.  My understanding mother brought a carload of folks for my going away to college concert. Hope you were lucky enough to have been there.

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Apologies – have misplaced credits for the pictures of Cream in Atlanta. Contact if you know.

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