Betsy Franck is a singer, songwriter, and musician who has been playing in Athens for the last decade or so. A dedicated road warrior, Betsy has toured all over with The Bareknuckle Band, as well as solo. I met with Betsy at Hendershot’s where she works as a barista. In addition to slinging coffee, touring, and playing shows on a regular basis, Betsy also helms the annual Breast Fest benefit at Terrapin Brewery, and runs a songwriting workshop at the Jittery Joe’s Roasters.
Art & Entertainment
Theatre is many things. It's playful, exciting, entertaining, magical, and a bunch of other adjectives. What many people don't realize is that, like anything worthwhile, it is hard work! It takes a lot of time, focus, and commitment.
Yes, theatre artists have tons of fun doing their job (why else would we do it?) but it takes a special kind of person to be able to handle what the theatrical world throws at you. If you're lucky, you have a partner to travel that winding road with you.
A few months ago, I was sitting outside of a local coffee shop with a close knit group of family and friends. Fueled by libations and hookah smoke, the discussions covered a wide range of topics. Since one of the persons at the round table was friend and film aficionado Blaine Whittle, the conversation was bound to land on the subject of movies. As it happened before, a mind-blowing coincidence landed in my lap when Blaine had asked if I had ever seen the 1973 film O' LUCKY MAN! directed by Lindsay Anderson and starring Malcolm McDowell.
The advent of photography has certainly changed and challenged the role of painting in the world of visual art. Do we need to paint exactly what we see when the camera can do it for us? The work of Lydia Hunt answers that question by mixing portrait photography with the expressive color and brush strokes of painting.
Lydia Hunt was born in New Orleans. From there, she moved to Lagos, Nigeria, and then to Athens in 1999. Lydia’s time spent in Africa ignited her interest in art and influenced her bold use of color.
In late 1967, a French theater owner enlisted the young, would-be filmmaker Jean Rollin to direct a low-budget short film that could be screened before an imported American B-movie as light, introductory entertainment. The result, a feature-length erotic vampire tragedy indebted equally to first-wave Surrealism and Hollywood horror, earned a brief theatrical run that was met mostly with outrage or indifference.