Atlanta is seemingly everywhere these days—on big and small screens as the backdrop of major productions, on the hottest hip-hop playlists, in the Super Bowl, and in headlines about major corporate expansions.
So what’s in the water? What factors have made Atlanta a success on so many fronts? And what can other cities learn from it?
To find out, Adweek gathered together a roundtable of civic, industry and cultural leaders who represent a cross-section of Atlanta’s most thriving areas:
• Kwanza Hall: Atlanta City Councilman and mayoral candidate
• Frank Patterson: President of Pinewood Atlanta Studios, one of the largest film and TV production facilities in the U.S.
• Jen Hidinger: Co-founder of nonprofit The Giving Kitchen and its for-profit extension, Staplehouse Restaurant
• Miya Bailey: Painter, curator and tattoo artist
• Derek Fridman: Global executive experience director for agency Huge (which also hosted the roundtable and provided audio and video recording support)
Adweek: Let’s talk about how Atlanta has changed in the last five to 10 years. It seems everyone agrees that this city is going through a real cultural and business renaissance. In broad strokes, what’s changed?
Kwanza Hall, Atlanta City Councilman: We have been doubling down on the build environment in the core of the city and attracting innovation—making our city a place around innovation, culture, arts, creative energy and industries. And when you make it desirable, people come from all over the world to be in that environment where their creativity can flourish.
I think that’s been our focus in the last five to 10 years. But also add in the technology undergirding has really helped us, coupled with our universities at Georgia State, Georgia Tech and the Atlanta University Center.
Adweek: Technology is obviously a big part of it; infrastructure’s part of it. But how important is culture to helping this scene flourish?
Hall: Oh, it’s critical—mission critical. So, that’s really what’s driving everything. If we didn’t have the culture, Atlanta would be this truly boring place. But the culture of our nightclub scene, the music industry, the movie industry .. you know, creative energy tends to kind of need a rejuvenation at 2, 3 or 4 in the morning. So we have restaurants that are open, the chefs hang out. And there’s a lot of energy around food and wine and beverage in our city that I don’t think you’d find in as many cities of our size.
Frank Patterson, president, Pinewood Studios: With culture, as a person who looks for talent—in our industry, like all these other industries—talent is key. There’s a war on for talent. So, young people, bright minds that are making a difference in all these industries and spaces, why would they come here? The culture, right? I mean, they’ve got to dig it, they’ve got to feel it, they’ve got to love it.
Derek Fridman, global executive experience director, Huge: Before, Atlanta would create great creative talent, design talent, but it felt like you had to leave the city to go work on good stuff. And I think with a lot of the things we’re mentioning and the things that are happening, we’re finding that folks can design here, build here, create here and actually have a career here—and grow.
Adweek: How have you noticed Atlanta’s art scene evolving?
Miya Bailey, artist: I moved here in ’94, and I mostly moved here because of Outkast, the rap group. It was sparking something. I was going to the Art Institute at the time, So, they would come over and pick my friends to do the outpost for TLC, and all these rap groups getting designers for their album covers. We were so competitive with each other, it kind of started the art scene.
A lot of artists were struggling, so I stepped in. I was always good at business, and I try to mix the two together. It was like, how can I create jobs for artists in Atlanta? We started in ’94 and now we’ve got 60-something employees, giving artists jobs every day. They don’t have to leave the city to L.A. or New York. They can make a really good living right here in the city.
Fridman: Prior to the Outkast moment, I think Atlanta used to make things for other people. We wanted to copy music what was happening on the West Coast or up north. I think, stylistically, we were afraid to share our identity and our perception a little bit.
At that moment (after Outkast), it was like Atlanta needed to stop creating things for other people and we just needed to make stuff for ourselves. Atlanta has something to say, literally, and we now have an environment where we’re making things for ourselves versus trying to appease other people.