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  string(65) "You can’t listen to them in print, but you can hear them online"
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  string(65) "You can’t listen to them in print, but you can hear them online"
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  string(1043) "Podcasts have become a part of our daily lives, whether we listen to them at the gym, while driving a long distance, or even as a means of a brief respite from the office. They’re a way to disconnect from the grind, or to charge-up your weekend, to learn what’s going on and where.

If you’ve visited our website — www.creativeloafing.com — you know we have been producing podcasts for a while now on a wide variety of subjects: music, film, photography, local restaurants, city festivals, the legalization of marijuana, pandas at the Atlanta Zoo, you name it. For those of you who still prefer the newsprint version of CL, we thought it was time to introduce you to the feature.

This month we’ve sorted through the transcripts of some of our more popular podcasts to offer readers a few samples of what people are saying during visits to our studio or at meetings on location. These select conversations, though edited for print, cover a broad range of topics and viewpoints. 


 


 


 


 


 


 "
  ["tracker_field_contentWikiPage_raw"]=>
  string(29691) "Podcasts have become a part of our daily lives, whether we listen to them at the gym, while driving a long distance, or even as a means of a brief respite from the office. They’re a way to disconnect from the grind, or to charge-up your weekend, to learn what’s going on and where.

If you’ve visited our website — www.creativeloafing.com — you know we have been producing podcasts for a while now on a wide variety of subjects: music, film, photography, local restaurants, city festivals, the legalization of marijuana, pandas at the Atlanta Zoo, you name it. For those of you who still prefer the newsprint version of CL, we thought it was time to introduce you to the feature.

This month we’ve sorted through the transcripts of some of our more popular podcasts to offer readers a few samples of what people are saying during visits to our studio or at meetings on location. These select conversations, though edited for print, cover a broad range of topics and viewpoints. 

{BOX( bg="#d5d7d8" title="Isabel González-Whitaker; senior advisor, corporate social responsibility ALSAC; St. Jude’s Children’s Research Hospital; by Ben Eason.")}{img fileId="20030" stylebox="float: right; margin-left: 25px;" desc="A LIFE WELL LIVED: Mayor Keisha Lance Bottoms and Isabel Gonzalez-Whitaker tie the ribbon at the dedication of the Sara J. Gonzáles Park. Photo courtesy of the City of Atlanta" styledesc="font-family: sans-serif;" max="600px"}~~#4d4d4f:__CL:__ We’re talking with Isabel Gonzáles-Whitaker, who is the steward, founder, and leader of the Friends of the Sara J. Gonzáles Park., here at Park Pride, an annual event. We’re discussing the Sarah J. González Park, recently created by the city in honor of González-Whitaker’s mother. Isabel, how did the city come to recognize your mother? 
__Isabel González-Whitaker:__ She passed in 2008. I wanted the city to acknowledge her legacy. What initially started as my dream of having a highway renamed after her — because I have lofty goals and ambitions — morphed into this idea of a park, which is even better because she loved parks, so it was a very appropriate tribute to her contributions to the city as a Hispanic rights, immigrant rights, and minority rights advocate and as a voice for a community in need.
__And where is the park?__
The park is at 2411 Coronet Way N.W., on the corner of Bolton Road near Marietta Boulevard.
There were two parks available for renaming in 2009 when we endeavored to do this project. One was by the airport, and one happened to be this little park. As it turns out, this is the very park that I played in as a child, in the neighborhood where we grew up. There’s a legacy Hispanic working-class community here and it’s also catty-corner to where my mother owned a small Cuban restaurant when she first came to this city.
It was as if the universe was saying, yes, we support this effort, and here is this park available for renaming that just happens to have all this sentimental value.
I spent most of my younger years here in Atlanta. At the time, there really wasn’t a huge Latino community. We’re talking in the 1980s. And I felt marginalized. I didn’t see a lot of representation of people who looked like me or had similar backgrounds or heritages, not that there was anything wrong with the diversity of community that I experienced at the public schools. But I definitely felt like an outsider. There were experiences of people not being able to pronounce my name, Isabel González. And of course, I definitely was called very offensive cultural stereotype names growing up. That’s an alienating and sad experience: to have to come back to your family after a day of middle school and ask what such-and-such slurs mean.
__Where did you attend school?__
I went to Margaret Mitchell Elementary and Sutton Middle School, and then North Fulton, which I think became North Atlanta High School.
What was your mom doing then?
She was finding her voice. She did not start out to be an advocate. She always said she had an accidental life, but it was an accidental life that was destined to be one that gave meaning and voice to the community.
She started out here in Atlanta with the small Cuban restaurant that failed after eight years of staying open at a time when people didn’t really know what black beans were. That was an achievement in and of itself. That sort of ultimate failure of the restaurant is what fueled her desire to help other immigrants find and succeed in the American dream — and to have resources available to them. I think she felt that if she had had business resources more available to her and she had known how to navigate entrepreneurial waters, that the restaurant probably would’ve done better.
She eventually went to the Latin American Association, a prominent social services organization, which, at the time was small. She was the receptionist, but she found her calling there and eventually became a very high level fundraiser and a corporate executive liaison. She did very well there, raising funds and awareness of the Hispanic community here. From there she was tapped to grow the Atlanta Hispanic Chamber of Commerce, which, under her purview, eventually became the Georgia Hispanic Chamber of Commerce. 
The park is absolutely a hundred percent the right fit. She loved children, she loved families, she loved nature. She loved greenery. And so, spiritually it was meant to be. Pretty quickly we also realized that it was going to be the first park in the state of Georgia named for a Latino, which sort of elevated its level of significance. All of a sudden, it became historic.
The first thing that we established via consensus with the steering committee was that we wanted a playground that was ADA compliant and all-abilities. So we immediately made sure that all the sidewalks could accommodate wheelchairs, not only from the sense of elevating the importance of the themes of inclusion and diversity, but also really providing an opportunity and filling a need in a community that doesn’t have parks that can accommodate such a diverse group of constituents. So we have the playground that is all-abilities, which I’m very proud of. That was phase one with the community plaza.
The second phase is the creation of a learning center. With a very generous grant from the Georgia Power Foundation, we are creating a beautiful custom fabricated learning nook, and it will become the first learning nook in the city of Atlanta that will feature electricity and Wi-Fi and a semicircle where students can sit with a desk for a focused experience. It will provide the sort of educational equity that I feel that this community really de-serves. Then we have a mini soccer field that’s going to be debuting, and a community garden that will be dedicated to DeKalb County fallen police officer Edgar Flores, who was shot and killed in the line of duty last year.~~
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{BOX( title="BA Albert and Ashley Silverman, BA.Agency, by Ben Eason.")}~~#4d4d4f:__CL: As a part of our look at creative professionals in Atlanta, the “Creative Class,” we’re with BA Albert and Ashley Silverman from BA Agency to discuss the recent advertising campaign the team created for the State Bar of Georgia.__
__BA and Ashley:__ This was the third year of a campaign to improve people’s attitudes about lawyers. Our client is the State Bar of Georgia. It was a really fun one to work on because our task revolved around people’s emotions, their feelings. That’s always a great playground for creativity. It’s no secret that lawyers get a bad rap, and there are a lot of bad lawyer jokes out there, but historically, being a lawyer was once a very noble calling. 
It was a little daunting to present ideas representing 45,000 lawyers in Georgia. We thought for a millisecond that they might be interested in doing something funny, like lawyer jokes. We chose the course of finding real stories of what lawyers do every day. 
__Did that include research into the animosity people have toward lawyers?__ 
We had done some research beforehand, and, not surprisingly, there are a lot of misperceptions and a lot of negative attitudes. Personal injury lawyers kind of take up most of the airspace and make the most noise on TV, so most people form an impression from this. 
__How did you approach the campaign? Did you wrestle with the creative ideas?__  
The path we took seemed to fall in place because these days, everybody really cares about things being truthful, real, and authentic. These are overused words, but no longer do we want to see people playacting or pretending on television. The message needs to be real people telling real stories. When we decided on this direction, we sent out inquiries to the entire 45,000 lawyers, our friends, and anybody we could talk to looking for compelling, really interesting stories that prove that lawyers go above and beyond for their clients. 
__What did you end up with?__  
We ended up with 10 total stories. The first year we used a young man who was a track star who had won the State of Georgia track championship when he was in high school, and was set to be a world class athlete. He had a very minor infection that turned into a really horrible situation that eventually required his leg to be amputated. His lawyer found the best doctors in the country to help his client regain his self-esteem and also helped him understand that he could still be a very good athlete. He is a world champion Para Olympic now. He’s from Athens, Georgia, and is a great guy. 
Another story concerned a woman whose child was taken away from her when she was in the hospital. She had just given birth, and someone misread an issue with her baby as her having hurt her child. The third story involved Murray, a homeless person who had lived five years in a homeless shelter in Atlanta because he couldn’t obtain an identity. He was a Vietnam vet who couldn’t prove who he was, who didn’t have a driver’s license and couldn’t prove that he actually existed. His lawyer did in a week what Murray had been trying to do for five years — he got him into a home and got him his veterans benefits. 
These stories are told in 30-second and one-minute videos. Were they picked because you could get in and out of the story effectively and quickly?  
Not necessarily. Some of the stories were really complicated. It’s more important to pick stories that are truly interesting and truly unique. But the people telling their stories do make a difference. These are first-person accounts, and they need a compelling presence in front of the camera. It’s hard to talk on camera. We usually shot three hours for each person.
__ How does the Georgia Bar work compare to your earlier work with Grady [[Hospital]? They seem similar.__ 
Everybody’s familiar with the Grady campaign; it’s been around for quite awhile, and it’s consistent. Grady is a brave client that understands the importance of consistency — keep reiterating the message, staying on brand, and staying in the personality of what the work is. The State Bar of Georgia is similar in that “Atlanta can’t live without Grady” and “Georgia needs lawyers.” So there’s a similar story.
__You are very closely identified with using Atlanta and Georgia for your inspiration. Why is that? __
We both feel strongly about where we are in this city and in this state and how fabulous it is that both have grown into such important parts of our nation. We both take huge personal pride in the state. The state is rich with storytelling possibilities and has a huge diversity of people. We have beautiful beaches, we have fabulous mountains. We have everything needed. It’s a great place to be.~~
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{BOX( title="Rafael Pereira; CEO, Buteco Coffee and Bar, by Chad Radford.")}~~#4d4d4f:__CL: What is your role at Buteco?__
__Rafael Pereira:__ I am the CEO. Will Joyner of the Rock*A*Teens is the CFO. He’s the accountant, the lawyer, and the business partner.
Back in the day, I lived across the street from Stone Soup Kitchen. I fell in love with Grant Park. It’s so quiet — and we’re not even a mile from Downtown. When Will Joyner and I became closer friends, I said I wanted to open a coffee shop, do something different than music. He came to me and said, “Let’s check out this building.” The rest is history.
__What is the concept?__
The Beacon wanted us to be open all day, not just for lunch or dinner. They wanted it to be a cultural place where everybody was welcome. There are restaurants, art galleries, wine shops, and a music school in there, as well as a dentist office, a martial arts studio. They did a good job with it. You don’t see any chains here, it’s all small business owners.
__Buteco means bodega in Portuguese, correct?__
Yeah, the corner store that’s open all day with everything available. You see there is blue and orange in the logo — the moon and sun represent an all-day place. We’re open from 7 a.m. to 11 p.m., and midnight on weekends. The music part of the business came later. It was never something we were thinking about. For the grand opening, I invited some friends to play. Everyone loved it! The next weekend people showed up, asking, “Where’s the music?”
__Buteco is also known for its cachaça.__
Yes, the Brazilian liquor. We didn’t see it here or anywhere else. If you go to a Brazilian steakhouse you may see a few cachaças, but we tasted some high-end stuff that was available in Georgia.
A cheap version of cachaça was originally introduced here. It’s used for cocktails, but separately, it’s not as approachable as a fine rum or something like that. There are other varieties of cachaça that are super fine and have well-defined flavors. We decided to introduce that option and see if people like it or think it’s weird. Grant Park is a great neighborhood for being creative with new things.
__The BeltLine is just a stone’s throw from here. How will things will change for Buteco once it’s complete?__
I have been renting Bird scooters, or biking from Ponce de Leon to here. I recently went all the way to Sweetwater 420 to see what’s gonna be the opening path to here, and to see what will happen to the business and the Beacon and the street. I think it’s going to be good.
One thing that I complain about is that there isn’t a lot of walking traffic here. I come from São Paulo, a city of 25 million people, and there’s a lot of foot traffic. There’s energy in the streets, and I’ve missed that. I’ve traveled around the U.S. and rarely do you see actual foot traffic: San Francisco, Chicago, New York, a little bit in Portland. I think the BeltLine being such a large concept and movement is going to be awesome. Ten years from now, traffic will be better, you’ll see more biking, more foot traffic, and people getting to places not just for leisure but going to work using the BeltLine.
__What’s next for you?__
I want to make this place successful. It’s working great, but it’s nine months in; one day at a time. I am super focused on this and my family right now. I want to have a story with the people who have worked with us, and with the customers. We have made so many friends here; the regulars that we know by name come back and bring people. This has become about the people, and not the selling of the product, whether it is a coffee, or a beer, or whatever.~~
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{BOX( title="Mitchell J. Silver, commissioner, New York City Department of Parks and Recreation, by Ben Eason.")}~~#4d4d4f:CL: Mitchell, welcome to Atlanta. Have you spent much time here? 
Mitchell Silver: I’ve been to Atlanta, I’m guessing at least a dozen times. My grandchildren are here, so I do get a chance to visit. 
What is the scope of your responsibilities in New York? How many parks are you responsible for?  
We have about 30,000 acres and about 2,000 parks.
How much time do you spend working on Central Park versus all the other parks? 
I work in Central Park, so I’m in it literally every day. And I do take lunch walks in Central Park, but it’s our flagship park and probably the most iconic park in the world — 42 million visitors every year. I make sure I get to all the other parks because it’s such a large park system. 
Do you have the coolest job in the city of New York? 
I do. I joke around and say I’m not just a commissioner of parks and recreation, but the commissioner of fun, health, and happiness. Running parks is somewhat unique. So I do have the coolest job in the city. Hopefully the Mayor isn’t listening but other than the Mayor, I have the coolest job in the city.
Can you elaborate on what “equity” means in the context of parks? 
Well, for me it’s one simple word: fairness. Are we being fair about how we care for our parks? Are we being fair about how invest in our parks? In New York City we looked at how much we invested in the past 20 years — $6 billion. Some parks were left out — they did not see any investment over those 20 years. It turned out over 200 parks had seen hardly any in-vestment. The Mayor and I didn’t think that was fair — that’s what equity is about. Everyone pays taxes, so how could 200 parks be neglected? So the Mayor put his money where his mouth is and set aside over $300 mil-lion to basically rebuild from the ground up. We’ve now completed over half of them. I can tell you that transformation and those neighborhoods will move your heart. 
The BeltLine is the big story in Atlanta for the last decade and is inspired by the High Line in New York. How do those two projects relate in your mind? 
Well, for the High Line, I go back to what happened at the turn of the century. New York City and other cities around the country had these industrial areas that now have been abandoned from the decline in the manufacturing sector. A lot of them were contaminated. In New York, it was the riverfront and waterfront that really need to be healed and returned back to the public. Along the West Side was this abandoned railroad and most people wanted to tear it down. These two young visionaries said, no, no, no, no. Let’s create this three-dimensional park. Everybody thought they were crazy. It has now transformed the entire West Side. An investment of a few hundred million dollars has translated to billions and billions of private development. 
 As an urban planner, did the success surprise you, or is this kind of textbook urban planning?
It didn’t. I’ll often say that people may eat and sleep in their apartments but people live in public space. So it doesn’t surprise me. People are coming to cities looking for experiences. Even visitors say they want an experience of New York. And very often they’ll go to our public spaces. 
So as Atlanta’s BeltLine sweeps over to the west side of our city, the concern is about gentrification. How do you think about gentrification and its impact?
Well, first, it’s a very delicate subject. Let me put to you this way — the High Line was really in the meatpacking district, so it created value that did not exist before, and all the new residential, for the most part, did not displace existing residential. There were businesses that were relocated, but I don’t think it was a classic gentrification. I personally believe that in New York I do not want to hold a park hostage for fear of gentrification. The alternative is you do nothing. 
You were a city planner in Raleigh before heading back to your hometown in NYC. What lessons did you pick up as [[planning] relates to race relations and parks? 
Well, for one, race issues come into play when people view how parks are used. Because there was fear of crime in New York, we put tall fences around all of our parks, which to me was totally unnecessary. Sometimes basketball became the issue — where do you put the basketball court? Basketball could be synonymous with crime, as it implies the park is attracting the wrong element. The other thing is the fear of who we’re bringing into the park — it sometimes leads to bringing in police to monitor parks when we could start bringing in community groups to try to break some of those barriers. In terms of racism per se, the bigger point is that certain parks in certain ethnic neighborhoods aren’t getting their fair share of investment. We’re now making sure that all parks get their fair share, and we kind of demystify what goes in those parks so that now they’ve become more parks for all. We want to make sure we design parks that are parks for all.
 How about issues with the homeless? 
Now this is a tough one. Parks are democratic public spaces for all. Yet some people don’t want the homeless in their parks, right? If parks are for everyone, shouldn’t the homeless be able to enjoy our park? I know it’s very difficult, but we don’t allow anyone to sleep on our benches. We don’t allow anyone to stay in our parks overnight. But we have to learn how to coexist with the homeless population. Here’s one story I’m going to share with you. We opened up and restored a park with a waterfall in partner-ship with the Women’s Club of New York. Beautiful restoration. We cut the ribbon, and when I got back to my car, one of the women from the conservancy knocked on my window and she was handing me about 33 cents. And I’m asking, “What is that?” She says, “The homeless individual that comes to this park every day says this is where he comes to feel alive. He was so thankful he wanted to donate all the money he had to say thank you.” Well, what do I do with that?~~
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{BOX( bg="#d5d7d8" title="Kyle Kessler, policy and research director at Center for Civic Innovation, by Chad Radford.")}{img fileId="19552" stylebox="float: right; margin-left: 25px;" desc="WASTED AWAY AGAIN: Kyle Kessler stands in front of 152 Nassau Street, where the first country music song was recorded. Now, Jimmy Buffett’s Margaritaville wants to tear down the historic old building rather than incorporate it in the renovation plans. Photo credit: BILL TORPY." styledesc="font-family: sans-serif;" max="600px"}~~#4d4d4f: __Kyle, how’s it going?__
__Kyle Kessler:__ Good, except for the fate of 152 Nassau Street. In yesterday’s meeting, the Margaritaville developer successfully deferred their appeal of the city’s decision, which was that when they applied for the zoning permit they were told they couldn’t do what they wanted to do. Basically, they needed to go back to square one. Since 2017, this has been stuck in the board of zoning adjustment, and Margaritaville develop-ers have kept kicking the can down the road, trying to make this project happen, in spite of the city’s efforts to preserve the building. … The latest date is August 8, when they have to go back to the board of zoning ap-peals. But as the attorney for the Margaritaville developers said yester-day, they fully anticipate that the buildings will be demolished well before then, then they could just withdraw the appeal. 
__Fiddlin’ John Carson recorded some material there, correct?__
He did. These recording sessions are best known because, on June 14, 1923,  Ralph Peer and OKeh Records, a New York-based company, came to Atlanta with their newly invented portable recording equipment. This was the first time a recording company had ever ventured outside of New York to record artists where they lived and worked. Previously, if you were a musician, you had to make a long, expensive trip to New York, and lots of folks couldn’t make that happen. So the selection of artists be-ing recorded was quite small. In order to compete with radio, phonograph companies wanted to record new genres, new material, and new artists. So the first stop they made was Atlanta.
At some point they learned about a fiddler that was also popular on WSB, the South’s first radio station. Fiddlin’ John Carson had won a bunch of competitions, and was well known locally. A local phonograph dealer con-vinced the folks that had come down from New York to record John Car-son and what, at the time, we didn’t have a term for, because it hadn’t been recorded yet — old-time music or hillbilly music or country music or whatever else it was. The legend is that the New York folks didn’t think it was going to sell, but the local dealer said, “I can sell it! Manufacture 500 copies and I’ll get them sold.” They sold out those first 500 super quick and then ordered 1,000 more — or 5,000, or 50,000 more. The numbers keep changing. It’s a little bit of a fish story, but it sold well and has since led to plenty of other hillbilly country albums, whatever else you want to call it. That was the break, if you will, in country music.
The A side was “The Little Old Log Cabin in the Lane.” The flipside was “The Old Hen Crackled & The Rooster’s Going to Crow.” The A-side was an old minstrel song that had been recorded quite a few times before, but it had been recorded in a minstrel style, or by classically trained artists try-ing to imitate a minstrel. So what was unique about this recording was that you had someone who was playing the fiddle and singing, which had never been done on a record before. You had separate musicians and vocalists, and the [recording] was done in an old, for lack of a better term, backwoods style, but this is genuine to the vernacular of folk culture of Appalachia.~~
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{BOX( title="Chris Yonker and Brian Egan, co-owners, Mammal Gallery, by Chad Radford.")}~~#4d4d4f:__CL: You have a business plan in place and you’re ready to move forward with a new Mammal Gallery.__ 
__Mammal Gallery:__ We signed a lease, on the giant turquoise water tower and the warehouse next to it at the Metropolitan. We’ve got 6,100 square feet to the warehouse, a large chunk of which will be the music venue, and then off to the side will be a recording studio that’s fully inte-grated with the music venue. We’ll have a bar that’s open all the time, that’s at the bottom of the water tower. So everybody’s who’s always wondered what the inside of the water tower is like can actually just go in there any time of day and get a drink or a coffee.
__You’re going to have a gallery and recording studio, a bar … __
The gallery won’t immediately be a part of the space at the Met, but it won’t be like Mammal Gallery, it won’t be the same programming within the art gallery. There’s that sculpture garden that’s there, we’ve got some ideas for, but I feel like they’re phase-two kind of things.
We really want to open the tower bar first, because it’s the lighthouse — you can see it from everywhere. And then have the venue open, because that is really what we felt Mammal Gallery really provided for the commu-nity is really just the feeling of having a space to gather, a platform space and a platform for people.
__So what’s next for you guys? What’s the first step?__ 
So our first step is basically we have signed the lease and we have four months to figure out whether it is reasonable or not to believe that we can actually raise the money to build this thing properly. So we’re not home free yet. We’re about to do some crowdsource funding at the end of this month.
Crowdsource funding kind of also works as a way to let people know what we’re trying to do, and also, depending upon how many people actually engage with it, helps us to find more money later. It just helps the whole momentum of the thing. So yeah, our next goal is trying to raise the funds to do the construction because we didn’t get as lucky as we did with the first Mammal in that we just walked into a space that already had a stage already in a bar. We’re literally getting an empty warehouse that we have to build into something.~~
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  string(1419) " CL Cover 0719 Article  2019-07-05T13:55:01+00:00 CL_cover_0719_article.jpg      You can’t listen to them in print, but you can hear them online CL Cover 0719 Article   2019-07-01T05:00:00+00:00  Podcasts! jim.harris Jim Harris CL Staff  2019-07-01T05:00:00+00:00 Podcasts have become a part of our daily lives, whether we listen to them at the gym, while driving a long distance, or even as a means of a brief respite from the office. They’re a way to disconnect from the grind, or to charge-up your weekend, to learn what’s going on and where.

If you’ve visited our website — www.creativeloafing.com — you know we have been producing podcasts for a while now on a wide variety of subjects: music, film, photography, local restaurants, city festivals, the legalization of marijuana, pandas at the Atlanta Zoo, you name it. For those of you who still prefer the newsprint version of CL, we thought it was time to introduce you to the feature.

This month we’ve sorted through the transcripts of some of our more popular podcasts to offer readers a few samples of what people are saying during visits to our studio or at meetings on location. These select conversations, though edited for print, cover a broad range of topics and viewpoints. 


 


 


 


 


 


     Blake Tannery RIDE THE AIRWAVES: The July 2019 Podcast Issue cover.                             Podcasts! "
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  string(7140) "Forty-six years ago, womankind celebrated a landmark victory. Thanks to Roe v. Wade, abortion was finally legal in the U.S. And with that victory, American women came one step closer to achieving bodily autonomy and therefore, equality. Yet, as the golden anniversary of that historic decision approaches, access to abortion is being threatened like never before. Just this year, 33 states introduced abortion bans, all with one express goal: overturn Roe v. Wade and outlaw safe, legal abortion. 

Here in Georgia, legislators passed a blatantly unconstitutional six-week abortion ban, House Bill 481, which would outlaw abortion before most women even know they’re pregnant. The bill criminalizes doctors, forcing them to make an impossible choice: treat their pregnant patient and risk jail time for endangering the pregnancy; or refuse to treat their patient to protect themselves, and risk their patient’s life instead. If allowed to take effect, this would deter doctors from practicing in our state, which already suffers from a severe physician shortage, and it would be a death sentence for thousands of Georgia women. Banning abortion doesn’t stop abortion. It just stops safe abortion. 

Thankfully, local reproductive rights advocates, Planned Parenthood Southeast, ACLU of Georgia, and the Center for Reproductive Rights have vowed to sue the state to block this bill from ever taking effect, and legal precedent is on their side. In fact, just a few weeks ago, a federal district judge struck down a nearly identical bill in Mississippi, stating, “this law prevents a woman’s free choice, which is central to personal dignity and autonomy.” So for now — and hopefully forever — abortion is still safe, legal, and available in Georgia. 

In the midst of these unprecedented attacks on reproductive health care, women’s health continues to decline in this country. Women are 50 percent more likely to die in childbirth than 30 years ago, with African American women three to four times more likely to die than white women. It’s even worse here in Georgia, where we suffer from the second highest maternal mortality rate in the country, and half of our counties do not have a single OB-GYN. And yet, instead of working to expand access to health care or improve health outcomes in our state, lawmakers are enacting legislation to force women to carry pregnancies. A subject which few, if any, of the legislators seem to understand.



If you were following along with the HB 481 fight, you may have heard several politicians expose their own ignorance when it comes to women’s bodies, pregnancies, and medicine writ large. The bill itself is full of false and misleading information. In fact, HB 481 referenced a medical institution that does not exist, the “American Academy of Obstetricians and Gynecologists,” to defend its medically inaccurate content. One might assume that the bill’s author intended to reference the American College of Obstetricians and Gynecologists (ACOG), the country’s leading authority on women’s health. The problem with that assumption, however, is that ACOG has been a vocal leader in opposition to abortion bans like HB 481, stating, “ACOG strongly opposes political efforts to limit a woman’s ability to get the care she needs, including bans on abortion care. ACOG recognizes that abortion is an essential component of health care for millions of women and opposes political interference in health care. Health care decisions should be made jointly only by patients and their trusted health care professionals, not by politicians.”

It’s not just ACOG that is vocally opposed to HB 481. During this legislative session, hundreds of Georgia citizens packed the halls of the state Capitol for weeks on end. More than 300 Georgia business leaders spoke out publicly against the ban. The medical community came out in united opposition to HB 481, with dozens of doctors lined up to testify against the ban. The $9 billion Georgia film and entertainment industry published letters, threatening to boycott work in Atlanta if the ban was enacted. And more than 6,000 Georgians signed a petition urging Governor Brian Kemp to veto the bill. The truth is, our lawmakers heard from us loud and clear — they just didn’t want to listen. Perhaps that’s because they thought we would go away eventually, exhausted by the months-long fight. 

After HB 481 was signed by Governor Kemp, the bill’s sponsor, Representative Ed Setzler, said that things would go back to normal “once the shrill attacks of the opponents sort of fade into the background.” 

Shrill: a word reserved exclusively for a woman’s dissent. 

In some ways it’s true. We were shrill. Shrill like the beeping of a smoke detector, warning of fire. We were screaming at the top of our lungs as we watched our constitutional rights go up in flames. And we did not go unheard. Just last weekend, I was in Columbia, South Carolina, for Planned Parenthood Action Fund’s We Decide Presidential Forum. For the first time in history, we heard 20 presidential candidates publicly and proudly outline their plans to expand access to safe, legal abortion. And just like that, we redefined the 2020 election and all elections to follow, centering women’s health and rights like never before. Proving that if you are loud enough — and shrill enough — you can shatter glass ceilings without ever bumping your head.

So why, in the 21st century, are we retracing our grandmothers’ steps, still fighting to control our own bodies and our futures? And why are (mostly white, mostly male) lawmakers hell-bent on rolling back our constitutional rights? Because while abortion is often at the center of the women’s rights movement, this is — and always has been — about more. This is about our most basic human rights.

Not so long ago, women’s use of contraception was just as stigmatized as abortion is today. Before that, it was the women’s right to vote. Before that, it was women’s right to own property. The battles have changed, but the fight remains the same. Women’s oppression is a tale as old as time.

We have been doing this dance with progress for generations. If there’s anything history has taught us, it’s that for every one step back, there are two steps forward — if we just keep moving. And while we will never stop fighting for access to safe, legal abortion, this movement does not begin or end with Roe. We will not be quiet and we will not back down, because we hold this truth to be self-evident: All men are created equal. And that means women, too. -CL- 

This month Creative Loafing is proud to welcome a new columnist, Barbara Ann Luttrell, to our pages and online. Luttrell serves as the director of communications and marketing at Planned Parenthood Southeast, where she’s on the frontlines in the fight for reproductive health rights in Alabama, Georgia, and Mississippi. The views in this column are her own, forged from the insight and knowledge she gains everyday, whether in the office or in the streets."
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Here in Georgia, legislators passed a blatantly unconstitutional six-week abortion ban, House Bill 481, which would outlaw abortion before most women even know they’re pregnant. The bill criminalizes doctors, forcing them to make an impossible choice: treat their pregnant patient and risk jail time for endangering the pregnancy; or refuse to treat their patient to protect themselves, and risk their patient’s life instead. If allowed to take effect, this would deter doctors from practicing in our state, which already suffers from a severe physician shortage, and it would be a death sentence for thousands of Georgia women. Banning abortion doesn’t stop abortion. It just stops safe abortion. 

Thankfully, local reproductive rights advocates, Planned Parenthood Southeast, ACLU of Georgia, and the Center for Reproductive Rights have vowed to sue the state to block this bill from ever taking effect, and legal precedent is on their side. In fact, just a few weeks ago, a federal district judge struck down a nearly identical bill in Mississippi, stating, “[this law] prevents a woman’s free choice, which is central to personal dignity and autonomy.” So for now — and hopefully forever — abortion is still safe, legal, and available in Georgia. 

In the midst of these unprecedented attacks on reproductive health care, women’s health continues to decline in this country. Women are 50 percent more likely to die in childbirth than 30 years ago, with African American women three to four times more likely to die than white women. It’s even worse here in Georgia, where we suffer from the second highest maternal mortality rate in the country, and half of our counties do not have a single OB-GYN. And yet, instead of working to expand access to health care or improve health outcomes in our state, lawmakers are enacting legislation to force women to carry pregnancies. A subject which few, if any, of the legislators seem to understand.

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It’s not just ACOG that is vocally opposed to HB 481. During this legislative session, hundreds of Georgia citizens packed the halls of the state Capitol for weeks on end. More than 300 Georgia business leaders spoke out publicly against the ban. The medical community came out in united opposition to HB 481, with dozens of doctors lined up to testify against the ban. The $9 billion Georgia film and entertainment industry published letters, threatening to boycott work in Atlanta if the ban was enacted. And more than 6,000 Georgians signed a petition urging Governor Brian Kemp to veto the bill. The truth is, our lawmakers heard from us loud and clear — they just didn’t want to listen. Perhaps that’s because they thought we would go away eventually, exhausted by the months-long fight. 

After HB 481 was signed by Governor Kemp, the bill’s sponsor, Representative Ed Setzler, said that things would go back to normal “once the shrill attacks of the opponents sort of fade into the background.” 

Shrill: a word reserved exclusively for a woman’s dissent. 

In some ways it’s true. We were shrill. Shrill like the beeping of a smoke detector, warning of fire. We were screaming at the top of our lungs as we watched our constitutional rights go up in flames. And we did not go unheard. Just last weekend, I was in Columbia, South Carolina, for Planned Parenthood Action Fund’s We Decide Presidential Forum. For the first time in history, we heard 20 presidential candidates publicly and proudly outline their plans to expand access to safe, legal abortion. And just like that, we redefined the 2020 election and all elections to follow, centering women’s health and rights like never before. Proving that if you are loud enough — and shrill enough — you can shatter glass ceilings without ever bumping your head.

So why, in the 21st century, are we retracing our grandmothers’ steps, still fighting to control our own bodies and our futures? And why are (mostly white, mostly male) lawmakers hell-bent on rolling back our constitutional rights? Because while abortion is often at the center of the women’s rights movement, this is — and always has been — about more. This is about our most basic human rights.

Not so long ago, women’s use of contraception was just as stigmatized as abortion is today. Before that, it was the women’s right to vote. Before that, it was women’s right to own property. The battles have changed, but the fight remains the same. Women’s oppression is a tale as old as time.

We have been doing this dance with progress for generations. If there’s anything history has taught us, it’s that for every one step back, there are two steps forward — if we just keep moving. And while we will never stop fighting for access to safe, legal abortion, this movement does not begin or end with Roe. We will not be quiet and we will not back down, because we hold this truth to be self-evident: All men are created equal. And that means women, too. __-CL-__ 

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  string(7755) " Barabara Ann Luttrell MAJORITY REPORTER: Barbara Ann Luttrell. 2019-07-01T19:35:45+00:00 Barabara_Ann_Luttrell.jpg    This. is. amazing. Beautifully articulated. abortion mybodymyvoice womensrights Women will not go unheard Barabara Ann Luttrell   2019-07-01T19:27:33+00:00  MY BODY, MY VOICE: This Was Never About Abortion jim.harris Jim Harris BARBARA ANN LUTTRELL jim.harris (Jim Harris) 2019-07-01T19:27:33+00:00 Forty-six years ago, womankind celebrated a landmark victory. Thanks to Roe v. Wade, abortion was finally legal in the U.S. And with that victory, American women came one step closer to achieving bodily autonomy and therefore, equality. Yet, as the golden anniversary of that historic decision approaches, access to abortion is being threatened like never before. Just this year, 33 states introduced abortion bans, all with one express goal: overturn Roe v. Wade and outlaw safe, legal abortion. 

Here in Georgia, legislators passed a blatantly unconstitutional six-week abortion ban, House Bill 481, which would outlaw abortion before most women even know they’re pregnant. The bill criminalizes doctors, forcing them to make an impossible choice: treat their pregnant patient and risk jail time for endangering the pregnancy; or refuse to treat their patient to protect themselves, and risk their patient’s life instead. If allowed to take effect, this would deter doctors from practicing in our state, which already suffers from a severe physician shortage, and it would be a death sentence for thousands of Georgia women. Banning abortion doesn’t stop abortion. It just stops safe abortion. 

Thankfully, local reproductive rights advocates, Planned Parenthood Southeast, ACLU of Georgia, and the Center for Reproductive Rights have vowed to sue the state to block this bill from ever taking effect, and legal precedent is on their side. In fact, just a few weeks ago, a federal district judge struck down a nearly identical bill in Mississippi, stating, “this law prevents a woman’s free choice, which is central to personal dignity and autonomy.” So for now — and hopefully forever — abortion is still safe, legal, and available in Georgia. 

In the midst of these unprecedented attacks on reproductive health care, women’s health continues to decline in this country. Women are 50 percent more likely to die in childbirth than 30 years ago, with African American women three to four times more likely to die than white women. It’s even worse here in Georgia, where we suffer from the second highest maternal mortality rate in the country, and half of our counties do not have a single OB-GYN. And yet, instead of working to expand access to health care or improve health outcomes in our state, lawmakers are enacting legislation to force women to carry pregnancies. A subject which few, if any, of the legislators seem to understand.



If you were following along with the HB 481 fight, you may have heard several politicians expose their own ignorance when it comes to women’s bodies, pregnancies, and medicine writ large. The bill itself is full of false and misleading information. In fact, HB 481 referenced a medical institution that does not exist, the “American Academy of Obstetricians and Gynecologists,” to defend its medically inaccurate content. One might assume that the bill’s author intended to reference the American College of Obstetricians and Gynecologists (ACOG), the country’s leading authority on women’s health. The problem with that assumption, however, is that ACOG has been a vocal leader in opposition to abortion bans like HB 481, stating, “ACOG strongly opposes political efforts to limit a woman’s ability to get the care she needs, including bans on abortion care. ACOG recognizes that abortion is an essential component of health care for millions of women and opposes political interference in health care. Health care decisions should be made jointly only by patients and their trusted health care professionals, not by politicians.”

It’s not just ACOG that is vocally opposed to HB 481. During this legislative session, hundreds of Georgia citizens packed the halls of the state Capitol for weeks on end. More than 300 Georgia business leaders spoke out publicly against the ban. The medical community came out in united opposition to HB 481, with dozens of doctors lined up to testify against the ban. The $9 billion Georgia film and entertainment industry published letters, threatening to boycott work in Atlanta if the ban was enacted. And more than 6,000 Georgians signed a petition urging Governor Brian Kemp to veto the bill. The truth is, our lawmakers heard from us loud and clear — they just didn’t want to listen. Perhaps that’s because they thought we would go away eventually, exhausted by the months-long fight. 

After HB 481 was signed by Governor Kemp, the bill’s sponsor, Representative Ed Setzler, said that things would go back to normal “once the shrill attacks of the opponents sort of fade into the background.” 

Shrill: a word reserved exclusively for a woman’s dissent. 

In some ways it’s true. We were shrill. Shrill like the beeping of a smoke detector, warning of fire. We were screaming at the top of our lungs as we watched our constitutional rights go up in flames. And we did not go unheard. Just last weekend, I was in Columbia, South Carolina, for Planned Parenthood Action Fund’s We Decide Presidential Forum. For the first time in history, we heard 20 presidential candidates publicly and proudly outline their plans to expand access to safe, legal abortion. And just like that, we redefined the 2020 election and all elections to follow, centering women’s health and rights like never before. Proving that if you are loud enough — and shrill enough — you can shatter glass ceilings without ever bumping your head.

So why, in the 21st century, are we retracing our grandmothers’ steps, still fighting to control our own bodies and our futures? And why are (mostly white, mostly male) lawmakers hell-bent on rolling back our constitutional rights? Because while abortion is often at the center of the women’s rights movement, this is — and always has been — about more. This is about our most basic human rights.

Not so long ago, women’s use of contraception was just as stigmatized as abortion is today. Before that, it was the women’s right to vote. Before that, it was women’s right to own property. The battles have changed, but the fight remains the same. Women’s oppression is a tale as old as time.

We have been doing this dance with progress for generations. If there’s anything history has taught us, it’s that for every one step back, there are two steps forward — if we just keep moving. And while we will never stop fighting for access to safe, legal abortion, this movement does not begin or end with Roe. We will not be quiet and we will not back down, because we hold this truth to be self-evident: All men are created equal. And that means women, too. -CL- 

This month Creative Loafing is proud to welcome a new columnist, Barbara Ann Luttrell, to our pages and online. Luttrell serves as the director of communications and marketing at Planned Parenthood Southeast, where she’s on the frontlines in the fight for reproductive health rights in Alabama, Georgia, and Mississippi. The views in this column are her own, forged from the insight and knowledge she gains everyday, whether in the office or in the streets.    PHOTO COURTESY OF THE AUTHOR MAJORITY REPORTER: Barbara Ann Luttrell.  0,0,11    mybodymyvoice abortion womensrights                       MY BODY, MY VOICE: This Was Never About Abortion "
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  string(9508) "Word to the wise: When talking with music publicist Mark Pucci, don’t ask which roots, blues, and Southern rock artists he has promoted. It’s easier to ask which ones he hasn’t represented. The man is a walking encyclopedia of roots music, especially when it comes to bands from below the Mason-Dixon line.

Pucci has been the ultimate behind-the-scenes support guy for four decades. His staggering list of musical associations includes virtually every act on Capricorn Records’ roster. First, he worked as national publicity director during its Southern rock glory days of 1974–’79, with the Allman Brothers Band, Wet Willie, and the Marshall Tucker Band. Later, he served as VP of publicity from the label circa 1991–’95, taking on clients such as Widespread Panic, the Aquarium Rescue Unit (with Col. Bruce Hampton), Cake, and 311.

Pucci also formed two Atlanta-based independent promotion businesses. The first, Mark Pucci Associates, was launched between his Capricorn stints, starting in 1979. After Capricorn folded for the second time, in 1996 he formed Mark Pucci Media, a firm he still runs.

Pucci hails from New Jersey. In 1967 he headed south to attend Memphis State University, where he began his career as a music journalist. In Memphis, he wrote mostly about Elvis Presley and the Memphis Blues Festival for Rolling Stone magazine (1973–’74) and other publications. But Pucci was a music lover long before moving to Memphis.

“When I was growing up, I was a huge fan of ’50s music,” Pucci says. “Some of the first records I bought were blues, R&B, rockabilly, and rock ’n’ roll. A lot of them came from Memphis.”

He also promoted concerts in Memphis, and got the call from Capricorn in 1974 to work first as a tour publicist, then as national publicity director.



During his second stint at Capricorn, beginning in 1991, Pucci coordinated box sets of previously difficult-to-find music from Elmore James, Cobra Records (Otis Rush and others), and the Jewel, Paula and Fire, and Fury labels. In his early days, Pucci also worked on the careers of comedian Jim Varney and Billy Bob Thornton, as well as organized videos for some Capricorn artists. He was instrumental in signing Widespread Panic to Capricorn, the label’s first act in its second go-round, and was also involved with Col. Bruce Hampton’s Aquarium Rescue Unit. Only those who inspect liner notes diligently would know any of this.

In 1996, he moved back to Atlanta from Nashville and started Mark Pucci Media. That venture has been so successful that in 2008, he nabbed the prestigious “Keeping the Blues Alive Award” in the publicity category. Pucci joins Delta Moon, Blind Willie’s, the Atlanta History Center, Darwin’s, and this writer as Atlantans who also share that honor. Unlike most others in this business, Pucci only accepts clients in the roots field, turning down offers from other genres because they’re not his taste.

“If I can’t get excited about it personally, how am I going to get someone else excited about it?” Pucci says. “Still, ‘roots music’ covers a lot of territory.”

He has been connected to plenty of Georgia acts over the years, like the aforementioned Wet Willie and Bruce Hampton as well as Tinsley Ellis. Lately, he’s incorporated Canadian musicians and labels, which is another vibrant roots and Americana scene. In general, Pucci has “…tried to become the independent publicity company for small record labels that don’t have anyone to do publicity.”

The tagline for Mark Pucci Media, “Full service publicity with old school charm,” describes not only his business but the way he operates. “I’m an old school guy,” he says. “We’re a small company that concentrates on a limited number of artists, and we try to go over and above what we’re contracted to do.”

As the music landscape changes, Pucci sees his job as an independent publicist becoming even more essential. “Major labels are forgetting about this kind of music, which means it’s left to indie labels or artists to do.”

That’s where Pucci comes in, with his decades of experience and an understanding of how to get artists’ names and sounds exposed to the world. Although he remains an under-the-radar Atlanta music industry icon who at 72 years old still enjoys his work, Pucci doesn’t see himself retiring, and remains committed to his first and lifelong profession, promoting the music he loves.

Salute the flag and American roots music with these July show highlights.

Fri. and Sat. July 5-6
— Lil’ Ed & The Blues Imperials, Blind Willie’s. Lil’ Ed Williams has been bringing the good-time, frisky, funky boogie blues to Blind Willie’s for decades. The fez-wearing guitar slinger may not have broken much new musical ground in that time, but nobody leaves a Lil’ Ed show without vowing to return the next time he rolls through town.

Sun., July 7
— Southern Soul Breakout Music Fest, Lithonia Amphitheater. The key word is “breakout.” Organizers promise four hours of “the newest and hottest artists in Southern soul,” and although names such as OC Soul and the Soul Patrol, Black Zack, and Willie Hill aren’t well known, this will be an economical way to sample newcomers in the genre.

Wed., July 10
— The Wood Brothers, Atlanta Botanical Garden. Ex-King Johnson frontman Oliver Wood and bassist brother Chris have broken through to a larger audience with their idiosyncratic mix of blues, folk, gospel, jazz, and singer/songwriter styles through constant touring and great shows. Oliver may have moved away, but he remains something of an Atlanta roots icon, which makes every local show a sort of homecoming. Brent Cobb opens.

Fri. and Sat., July 12-13
— Built to Spill, Terminal West. These Idaho-based indie rockers won’t appear on many blues lists. But the Doug Martsch-fronted act has incorporated tough, twisted blues rock into its Neil Young and Crazy Horse palette intermittently since its 1993 inception. It’s lurking beneath the shards of guitar Martsch wields with Sonic Youth-styled fury.

Thurs., July 18
— Lauren Anderson, Smith’s Olde Bar. Dynamic Nashville blues belter Anderson brings tough, leathery soul with a dose of blues rocking, singing in a style best described as intense. She’ll be playing tunes from her new Won’t Stay Down EP with its positive themes of female empowerment.

Sun., July 21
— Sunset Sessions w/Aaron Lee Tasjan, Katy Kirby, and Billy Stonecipher, Park Tavern. In the course of the past three years, Tasjan has gone from up-and-coming Americana singer/songwriter to one of the genre’s most vibrant and exciting musicians. His mix of blues, rock, and even some pop is slathered with a dose of glam, and his live show will leave most newcomers raving about this snappy dresser who tears it up.


Sun. and Mon., July 21-22
— Jimbo Mathus, Sun. 21, Grocery on Home, and Mon. 22, Eddie’s Attic. On again/off again Squirrel Nut Zippers frontman Mathus has been valiantly slinging out his Southern-fried combination of boozy blues, country, soul, and swamp rock for over two decades without much popular attention. But he’s the real deal: a roots guy who carries the torch for a style of music that will likely never be crossover material. Expect tunes from his recent Incinerator release.

Tues., July 23
— Bettye LaVette, City Winery. Soul voices don’t get any more passionate than Bettye LaVette’s. F. Scott Fitzgerald’s famous quote that there are no second acts in American lives didn’t plan on LaVette, who has only been getting stronger since her 2003 revival. She’s an interpreter who finds new meanings of songs through raspy, raw versions. Her 2018 set of Dylan covers, Things Have Changed, is a case in point, but she’s as comfortable transforming music from The Who, Dolly Parton, and Lucinda Williams.

Thurs., July 25
— Jake La Botz, Smith’s Olde Bar (Atlanta Room). Many in Atlanta recognize La Botz as the coolly demonic frontman of the Stephen King play, Ghost Brothers of Darkland County, that played at the Alliance Theater a few years ago. But along with his acting abilities, he’s an authentic swamp bluesman with about a half dozen albums of dark American soul, blues, and rootsy Americana in his catalog.

Thurs., July 25
— Heart and Soul: A Classic Rhythm and Blues Revue with Amy Black, City Winery. Black is a Nashville-based singer/songwriter who has recently tapped into her soul and R&B roots with albums dedicated to the music of Muscle Shoals and Memphis. On this date, she dips into the sounds from those cities with a mix of originals and covers. Better still, it’s a benefit for Street Grace, an Atlanta charity that seeks to end human trafficking and to care for survivors.


Fri. and Sat., Aug. 2-3
— Tedeschi Trucks Band, Fox Theatre. With Blackberry Smoke and Shovels & Rope. Get ready for the TTB’s yearly stop at the Fox, this time for a two-night stand. Blues, soul, gospel, and jazz are all fair game for the ex-Allman Brothers Band guitarist, his singer/guitar slinging wife, and a sprawling band with three horns, three backing singers and two drummers. Local rockers Blackberry Smoke are a strong supporting act who can almost headline the venue on their own.

Send upcoming blues events to consider for CL’s Blues & Beyond concert calendar to hal.horowitz at creativeloafing.com."
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  string(9732) "Word to the wise: When talking with music publicist Mark Pucci, don’t ask which roots, blues, and Southern rock artists he has promoted. It’s easier to ask which ones he ''hasn’t'' represented. The man is a walking encyclopedia of roots music, especially when it comes to bands from below the Mason-Dixon line.

Pucci has been the ultimate behind-the-scenes support guy for four decades. His staggering list of musical associations includes virtually every act on Capricorn Records’ roster. First, he worked as national publicity director during its Southern rock glory days of 1974–’79, with the Allman Brothers Band, Wet Willie, and the Marshall Tucker Band. Later, he served as VP of publicity from the label circa 1991–’95, taking on clients such as Widespread Panic, the Aquarium Rescue Unit (with Col. Bruce Hampton), Cake, and 311.

Pucci also formed two Atlanta-based independent promotion businesses. The first, Mark Pucci Associates, was launched between his Capricorn stints, starting in 1979. After Capricorn folded for the second time, in 1996 he formed Mark Pucci Media, a firm he still runs.

Pucci hails from New Jersey. In 1967 he headed south to attend Memphis State University, where he began his career as a music journalist. In Memphis, he wrote mostly about Elvis Presley and the Memphis Blues Festival for ''Rolling Stone'' magazine (1973–’74) and other publications. But Pucci was a music lover long before moving to Memphis.

“When I was growing up, I was a huge fan of ’50s music,” Pucci says. “Some of the first records I bought were blues, R&B, rockabilly, and rock ’n’ roll. A lot of them came from Memphis.”

He also promoted concerts in Memphis, and got the call from Capricorn in 1974 to work first as a tour publicist, then as national publicity director.

{img fileId="19864" align="center" width="900" desc="BATMEN: Mark Pucci (left) and Col. Bruce Hampton at the Aquarium Rescue Unit signing (1991). Alan Mayor."}

During his second stint at Capricorn, beginning in 1991, Pucci coordinated box sets of previously difficult-to-find music from Elmore James, Cobra Records (Otis Rush and others), and the Jewel, Paula and Fire, and Fury labels. In his early days, Pucci also worked on the careers of comedian Jim Varney and Billy Bob Thornton, as well as organized videos for some Capricorn artists. He was instrumental in signing Widespread Panic to Capricorn, the label’s first act in its second go-round, and was also involved with Col. Bruce Hampton’s Aquarium Rescue Unit. Only those who inspect liner notes diligently would know any of this.

In 1996, he moved back to Atlanta from Nashville and started Mark Pucci Media. That venture has been so successful that in 2008, he nabbed the prestigious “Keeping the Blues Alive Award” in the publicity category. Pucci joins Delta Moon, Blind Willie’s, the Atlanta History Center, Darwin’s, and this writer as Atlantans who also share that honor. Unlike most others in this business, Pucci only accepts clients in the roots field, turning down offers from other genres because they’re not his taste.

“If I can’t get excited about it personally, how am I going to get someone else excited about it?” Pucci says. “Still, ‘roots music’ covers a lot of territory.”

He has been connected to plenty of Georgia acts over the years, like the aforementioned Wet Willie and Bruce Hampton as well as Tinsley Ellis. Lately, he’s incorporated Canadian musicians and labels, which is another vibrant roots and Americana scene. In general, Pucci has “…tried to become the independent publicity company for small record labels that don’t have anyone to do publicity.”

The tagline for Mark Pucci Media, “Full service publicity with old school charm,” describes not only his business but the way he operates. “I’m an old school guy,” he says. “We’re a small company that concentrates on a limited number of artists, and we try to go over and above what we’re contracted to do.”

As the music landscape changes, Pucci sees his job as an independent publicist becoming even more essential. “Major labels are forgetting about this kind of music, which means it’s left to indie labels or artists to do.”

That’s where Pucci comes in, with his decades of experience and an understanding of how to get artists’ names and sounds exposed to the world. Although he remains an under-the-radar Atlanta music industry icon who at 72 years old still enjoys his work, Pucci doesn’t see himself retiring, and remains committed to his first and lifelong profession, promoting the music he loves.

Salute the flag and American roots music with these July show highlights.

__Fri. and Sat. July 5-6__
— Lil’ Ed & The Blues Imperials, Blind Willie’s. Lil’ Ed Williams has been bringing the good-time, frisky, funky boogie blues to Blind Willie’s for decades. The fez-wearing guitar slinger may not have broken much new musical ground in that time, but nobody leaves a Lil’ Ed show without vowing to return the next time he rolls through town.

__Sun., July 7__
— Southern Soul Breakout Music Fest, Lithonia Amphitheater. The key word is “breakout.” Organizers promise four hours of “the newest and hottest artists in Southern soul,” and although names such as OC Soul and the Soul Patrol, Black Zack, and Willie Hill aren’t well known, this will be an economical way to sample newcomers in the genre.

__Wed., July 10__
— The Wood Brothers, Atlanta Botanical Garden. Ex-King Johnson frontman Oliver Wood and bassist brother Chris have broken through to a larger audience with their idiosyncratic mix of blues, folk, gospel, jazz, and singer/songwriter styles through constant touring and great shows. Oliver may have moved away, but he remains something of an Atlanta roots icon, which makes every local show a sort of homecoming. Brent Cobb opens.

__Fri. and Sat., July 12-13__
— Built to Spill, Terminal West. These Idaho-based indie rockers won’t appear on many blues lists. But the Doug Martsch-fronted act has incorporated tough, twisted blues rock into its Neil Young and Crazy Horse palette intermittently since its 1993 inception. It’s lurking beneath the shards of guitar Martsch wields with Sonic Youth-styled fury.

__Thurs., July 18__
— Lauren Anderson, Smith’s Olde Bar. Dynamic Nashville blues belter Anderson brings tough, leathery soul with a dose of blues rocking, singing in a style best described as intense. She’ll be playing tunes from her new ''Won’t Stay Down'' EP with its positive themes of female empowerment.

__Sun., July 21__
— Sunset Sessions w/Aaron Lee Tasjan, Katy Kirby, and Billy Stonecipher, Park Tavern. In the course of the past three years, Tasjan has gone from up-and-coming Americana singer/songwriter to one of the genre’s most vibrant and exciting musicians. His mix of blues, rock, and even some pop is slathered with a dose of glam, and his live show will leave most newcomers raving about this snappy dresser who tears it up.


__Sun. and Mon., July 21-22__
— Jimbo Mathus, Sun. 21, Grocery on Home, and Mon. 22, Eddie’s Attic. On again/off again Squirrel Nut Zippers frontman Mathus has been valiantly slinging out his Southern-fried combination of boozy blues, country, soul, and swamp rock for over two decades without much popular attention. But he’s the real deal: a roots guy who carries the torch for a style of music that will likely never be crossover material. Expect tunes from his recent ''Incinerator'' release.

__Tues., July 23__
— Bettye LaVette, City Winery. Soul voices don’t get any more passionate than Bettye LaVette’s. F. Scott Fitzgerald’s famous quote that there are no second acts in American lives didn’t plan on LaVette, who has only been getting stronger since her 2003 revival. She’s an interpreter who finds new meanings of songs through raspy, raw versions. Her 2018 set of Dylan covers, ''Things Have Changed'', is a case in point, but she’s as comfortable transforming music from The Who, Dolly Parton, and Lucinda Williams.

__Thurs., July 25__
— Jake La Botz, Smith’s Olde Bar (Atlanta Room). Many in Atlanta recognize La Botz as the coolly demonic frontman of the Stephen King play, ''Ghost Brothers of Darkland County'', that played at the Alliance Theater a few years ago. But along with his acting abilities, he’s an authentic swamp bluesman with about a half dozen albums of dark American soul, blues, and rootsy Americana in his catalog.

__Thurs., July 25__
— Heart and Soul: A Classic Rhythm and Blues Revue with Amy Black, City Winery. Black is a Nashville-based singer/songwriter who has recently tapped into her soul and R&B roots with albums dedicated to the music of Muscle Shoals and Memphis. On this date, she dips into the sounds from those cities with a mix of originals and covers. Better still, it’s a benefit for Street Grace, an Atlanta charity that seeks to end human trafficking and to care for survivors.


__Fri. and Sat., Aug. 2-3__
— Tedeschi Trucks Band, Fox Theatre. With Blackberry Smoke and Shovels & Rope. Get ready for the TTB’s yearly stop at the Fox, this time for a two-night stand. Blues, soul, gospel, and jazz are all fair game for the ex-Allman Brothers Band guitarist, his singer/guitar slinging wife, and a sprawling band with three horns, three backing singers and two drummers. Local rockers Blackberry Smoke are a strong supporting act who can almost headline the venue on their own.

''Send upcoming blues events to consider for ''CL''’s Blues & Beyond concert calendar to hal.horowitz@creativeloafing.com.''"
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  string(10200) " Music Blues2 1 12  2019-07-02T13:30:16+00:00 Music_Blues2-1_12.jpeg     mark pucci capricorn records allman brothers roots music tedeschi trucks band The veteran publicist promotes roots and blues music the old school way Music Blues2 1 12   2019-07-01T20:20:23+00:00  BLUES & BEYOND: Mark Pucci, the man behind the curtain chad.radford Chad Radford Hal Horowitz hal2222 (Hal Horowitz) 2019-07-01T20:20:23+00:00 Word to the wise: When talking with music publicist Mark Pucci, don’t ask which roots, blues, and Southern rock artists he has promoted. It’s easier to ask which ones he hasn’t represented. The man is a walking encyclopedia of roots music, especially when it comes to bands from below the Mason-Dixon line.

Pucci has been the ultimate behind-the-scenes support guy for four decades. His staggering list of musical associations includes virtually every act on Capricorn Records’ roster. First, he worked as national publicity director during its Southern rock glory days of 1974–’79, with the Allman Brothers Band, Wet Willie, and the Marshall Tucker Band. Later, he served as VP of publicity from the label circa 1991–’95, taking on clients such as Widespread Panic, the Aquarium Rescue Unit (with Col. Bruce Hampton), Cake, and 311.

Pucci also formed two Atlanta-based independent promotion businesses. The first, Mark Pucci Associates, was launched between his Capricorn stints, starting in 1979. After Capricorn folded for the second time, in 1996 he formed Mark Pucci Media, a firm he still runs.

Pucci hails from New Jersey. In 1967 he headed south to attend Memphis State University, where he began his career as a music journalist. In Memphis, he wrote mostly about Elvis Presley and the Memphis Blues Festival for Rolling Stone magazine (1973–’74) and other publications. But Pucci was a music lover long before moving to Memphis.

“When I was growing up, I was a huge fan of ’50s music,” Pucci says. “Some of the first records I bought were blues, R&B, rockabilly, and rock ’n’ roll. A lot of them came from Memphis.”

He also promoted concerts in Memphis, and got the call from Capricorn in 1974 to work first as a tour publicist, then as national publicity director.



During his second stint at Capricorn, beginning in 1991, Pucci coordinated box sets of previously difficult-to-find music from Elmore James, Cobra Records (Otis Rush and others), and the Jewel, Paula and Fire, and Fury labels. In his early days, Pucci also worked on the careers of comedian Jim Varney and Billy Bob Thornton, as well as organized videos for some Capricorn artists. He was instrumental in signing Widespread Panic to Capricorn, the label’s first act in its second go-round, and was also involved with Col. Bruce Hampton’s Aquarium Rescue Unit. Only those who inspect liner notes diligently would know any of this.

In 1996, he moved back to Atlanta from Nashville and started Mark Pucci Media. That venture has been so successful that in 2008, he nabbed the prestigious “Keeping the Blues Alive Award” in the publicity category. Pucci joins Delta Moon, Blind Willie’s, the Atlanta History Center, Darwin’s, and this writer as Atlantans who also share that honor. Unlike most others in this business, Pucci only accepts clients in the roots field, turning down offers from other genres because they’re not his taste.

“If I can’t get excited about it personally, how am I going to get someone else excited about it?” Pucci says. “Still, ‘roots music’ covers a lot of territory.”

He has been connected to plenty of Georgia acts over the years, like the aforementioned Wet Willie and Bruce Hampton as well as Tinsley Ellis. Lately, he’s incorporated Canadian musicians and labels, which is another vibrant roots and Americana scene. In general, Pucci has “…tried to become the independent publicity company for small record labels that don’t have anyone to do publicity.”

The tagline for Mark Pucci Media, “Full service publicity with old school charm,” describes not only his business but the way he operates. “I’m an old school guy,” he says. “We’re a small company that concentrates on a limited number of artists, and we try to go over and above what we’re contracted to do.”

As the music landscape changes, Pucci sees his job as an independent publicist becoming even more essential. “Major labels are forgetting about this kind of music, which means it’s left to indie labels or artists to do.”

That’s where Pucci comes in, with his decades of experience and an understanding of how to get artists’ names and sounds exposed to the world. Although he remains an under-the-radar Atlanta music industry icon who at 72 years old still enjoys his work, Pucci doesn’t see himself retiring, and remains committed to his first and lifelong profession, promoting the music he loves.

Salute the flag and American roots music with these July show highlights.

Fri. and Sat. July 5-6
— Lil’ Ed & The Blues Imperials, Blind Willie’s. Lil’ Ed Williams has been bringing the good-time, frisky, funky boogie blues to Blind Willie’s for decades. The fez-wearing guitar slinger may not have broken much new musical ground in that time, but nobody leaves a Lil’ Ed show without vowing to return the next time he rolls through town.

Sun., July 7
— Southern Soul Breakout Music Fest, Lithonia Amphitheater. The key word is “breakout.” Organizers promise four hours of “the newest and hottest artists in Southern soul,” and although names such as OC Soul and the Soul Patrol, Black Zack, and Willie Hill aren’t well known, this will be an economical way to sample newcomers in the genre.

Wed., July 10
— The Wood Brothers, Atlanta Botanical Garden. Ex-King Johnson frontman Oliver Wood and bassist brother Chris have broken through to a larger audience with their idiosyncratic mix of blues, folk, gospel, jazz, and singer/songwriter styles through constant touring and great shows. Oliver may have moved away, but he remains something of an Atlanta roots icon, which makes every local show a sort of homecoming. Brent Cobb opens.

Fri. and Sat., July 12-13
— Built to Spill, Terminal West. These Idaho-based indie rockers won’t appear on many blues lists. But the Doug Martsch-fronted act has incorporated tough, twisted blues rock into its Neil Young and Crazy Horse palette intermittently since its 1993 inception. It’s lurking beneath the shards of guitar Martsch wields with Sonic Youth-styled fury.

Thurs., July 18
— Lauren Anderson, Smith’s Olde Bar. Dynamic Nashville blues belter Anderson brings tough, leathery soul with a dose of blues rocking, singing in a style best described as intense. She’ll be playing tunes from her new Won’t Stay Down EP with its positive themes of female empowerment.

Sun., July 21
— Sunset Sessions w/Aaron Lee Tasjan, Katy Kirby, and Billy Stonecipher, Park Tavern. In the course of the past three years, Tasjan has gone from up-and-coming Americana singer/songwriter to one of the genre’s most vibrant and exciting musicians. His mix of blues, rock, and even some pop is slathered with a dose of glam, and his live show will leave most newcomers raving about this snappy dresser who tears it up.


Sun. and Mon., July 21-22
— Jimbo Mathus, Sun. 21, Grocery on Home, and Mon. 22, Eddie’s Attic. On again/off again Squirrel Nut Zippers frontman Mathus has been valiantly slinging out his Southern-fried combination of boozy blues, country, soul, and swamp rock for over two decades without much popular attention. But he’s the real deal: a roots guy who carries the torch for a style of music that will likely never be crossover material. Expect tunes from his recent Incinerator release.

Tues., July 23
— Bettye LaVette, City Winery. Soul voices don’t get any more passionate than Bettye LaVette’s. F. Scott Fitzgerald’s famous quote that there are no second acts in American lives didn’t plan on LaVette, who has only been getting stronger since her 2003 revival. She’s an interpreter who finds new meanings of songs through raspy, raw versions. Her 2018 set of Dylan covers, Things Have Changed, is a case in point, but she’s as comfortable transforming music from The Who, Dolly Parton, and Lucinda Williams.

Thurs., July 25
— Jake La Botz, Smith’s Olde Bar (Atlanta Room). Many in Atlanta recognize La Botz as the coolly demonic frontman of the Stephen King play, Ghost Brothers of Darkland County, that played at the Alliance Theater a few years ago. But along with his acting abilities, he’s an authentic swamp bluesman with about a half dozen albums of dark American soul, blues, and rootsy Americana in his catalog.

Thurs., July 25
— Heart and Soul: A Classic Rhythm and Blues Revue with Amy Black, City Winery. Black is a Nashville-based singer/songwriter who has recently tapped into her soul and R&B roots with albums dedicated to the music of Muscle Shoals and Memphis. On this date, she dips into the sounds from those cities with a mix of originals and covers. Better still, it’s a benefit for Street Grace, an Atlanta charity that seeks to end human trafficking and to care for survivors.


Fri. and Sat., Aug. 2-3
— Tedeschi Trucks Band, Fox Theatre. With Blackberry Smoke and Shovels & Rope. Get ready for the TTB’s yearly stop at the Fox, this time for a two-night stand. Blues, soul, gospel, and jazz are all fair game for the ex-Allman Brothers Band guitarist, his singer/guitar slinging wife, and a sprawling band with three horns, three backing singers and two drummers. Local rockers Blackberry Smoke are a strong supporting act who can almost headline the venue on their own.

Send upcoming blues events to consider for CL’s Blues & Beyond concert calendar to hal.horowitz at creativeloafing.com.    Vince Canipelli BROTHERS OF THE ROAD: Mark Pucci (right) and Gregg Allman backstage in 2013.  0,0,1    "Mark Pucci" "Capricorn Records" "Allman Brothers"  "roots music" "Tedeschi Trucks Band"                        BLUES & BEYOND: Mark Pucci, the man behind the curtain "
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Since 2017, Jennifer, aka Junior, and Alex Aton have owned and operated Junior’s Pizza. The business began as a pop-up pizza shop hosting events around town, and later used Instagram to connect with customers for single-day delivery campaigns. After two years of running their D.I.Y. operation from home, Junior’s Pizza is getting a brick-and-mortar location at 77 Georgia Avenue, Suit A. While shuffling between contractors and working out details to get the shop opened by August, they sat down with CL Music Editor Chad Radford to talk about their plans and their place in the rejuvenated Summerhill neighborhood. Press play!    Chad Radford PIZZA PARTY: Junior (left) and Alex Aton are opening Junior’s Pizza in Summerhill.  -84.3853189,33.7366376,15   content Pizza Summerhill "Junior's Pizza" Atlanta Alex Aton Fellini's                       Podcast: Junior's Pizza "
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  string(5369) "Zaia doesn’t remember which day he inked a deal with Arista Records. Arguably the most significant milestone of his career so far, he fumbles the exact date but is certain that it happened sometime in April. The genre-fluid local relishes his recent accomplishments, but the music has always been his primary focus.

Born Isaiah Eastman, Zaia burst onto the scene at the top of 2018 with the support of Atlanta-based creative agency Not Fit For Society, Inc. That April, he unleashed his debut EP Drive, a jazzy record which garnered significant blog coverage and a nod from The Source for its shrewd lyricism and soulful ambiance. However, the rising talent appeared somewhat detached amid his newfound success. Aside from his high-profile opener for Injury Reserve that March, he has rarely performed live since.

“When people come to see me, I want to make sure it’s not just someone on the stage spitting out the songs they’ve been listening to,” Zaia says. “I’ve been focusing on the music and the live aspect of it as well by rehearsing, so when I do have a show it’s not just some regular shit.”

For him, it’s not a matter of disinterest or opposition to attention. He simply opts for quality over quantity, committed to releasing only top-notch material and performing at the highest caliber possible.

His meticulous nature even trumps his unquenchable eagerness to share new music — a mark of discipline, albeit a reluctant decision. Now signed to Arista Records and Not Fit For Society through a joint venture under Sony Music, Zaia’s self-restraint has finally come to fruition with the arrival of Reset, a five-track EP and his first release in 14 months.



The pithy record features the previously heard singles “Waste My Time” and “Blue,” the latter of which has surpassed the million-stream threshold on Spotify in a matter of months. Written with tact and laced with rich production from Eric Ramey and Z. Will, the EP’s other cuts include the shrink-dismissing “Counseling,” the heartbreakingly pleading “On The Run,” and the closing track “Grace.”

Reset is also accompanied by a short film directed by Patrick Tohill. The 15-minute companion piece follows Zaia’s character throughout his journey to start over, even as he struggles to let go of his past. Divided into five distinct acts, the video skillfully conveys the sentiment of each song, making for an immersive and passionate translation of the record.

Unfortunately, the fervent tale of rediscovery is rooted in tragedy and inspired by destabilizing life events. Having lost his brother to suicide and experienced the dissolution of a long-term relationship, Zaia hints at the record’s deeper meaning.

“Dealing with death or a breakup, you go through a storm, trying to get to the other side of it,” Zaia says. “Though you long to be ‘normal’ again, there’s a reset or change of mindset you go through, and you’re someone else entirely.”

Roughly a decade after his brother’s passing, Zaia’s road to Reset has reached its end. The Atlanta prodigy is now a major-label recording artist and one step closer to his dreams with his latest release. He is reticent to reveal too much about the inner workings of this symbolic effort, urging listeners to engage with the music and discover Reset’smeaning on their own.

As with any personal journey, you have to figure it out for yourself.

During a wondrous month for hip-hop, veteran acts from the ’80s hit the city alongside 2019 upstarts.

Fri., July 5
— Eric B. & Rakim, Tabernacle. These OGs are responsible for gold-standard rap albums such as Paid in Full and Let the Rhythm Hit ’Em. Fun fact: Harlem rapper A$AP Rocky, born Rakim Meyers, and his late sister Erica B. were named after the influential duo.

Sun., July 7
— Dear Silas, Music Room. Last year, the trap-infused R&B crooner known to don a ninja headband found viral success with a meme of his single “Skrr Skrr” and subsequently signed a deal with RCA Records. Dear Silas released the Naruto-inspired album The Last Cherry Blossom in April, and he’s bringing it to Edgewood Avenue this month.

Tues., July 9
— Wiz Khalifa, French Montana, Playboi Carti, Cellairis Amphitheatre at Lakewood.

Thurs., July 11
— New Kids on the Block, Salt-N-Pepa, Naughty by Nature, State Farm Arena.

Mon., July 15
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Tues., July 16
— Mary J. Blige, Nas, Cadence Bank Amphitheatre at Chastain Park. Less than a month after receiving BET’s Lifetime Achievement Award, Mary J. Blige embarks on a 23-date co-headlining tour with Nas.

Thurs., July 18
— RoseBowlATL 3, Willie Hyn & Confettii Rose, J Alston, Aisle 5.

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— Nelly, TLC, Flo Rida, Cellairis Amphitheatre at Lakewood.

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Sun., July 27
— Mozzy, Loft."
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Born Isaiah Eastman, Zaia burst onto the scene at the top of 2018 with the support of Atlanta-based creative agency Not Fit For Society, Inc. That April, he unleashed his debut EP ''Drive'', a jazzy record which garnered significant blog coverage and a nod from ''The Source'' for its shrewd lyricism and soulful ambiance. However, the rising talent appeared somewhat detached amid his newfound success. Aside from his high-profile opener for Injury Reserve that March, he has rarely performed live since.

“When people come to see me, I want to make sure it’s not just someone on the stage spitting out the songs they’ve been listening to,” Zaia says. “I’ve been focusing on the music and the live aspect of it as well by rehearsing, so when I do have a show it’s not just some regular shit.”

For him, it’s not a matter of disinterest or opposition to attention. He simply opts for quality over quantity, committed to releasing only top-notch material and performing at the highest caliber possible.

His meticulous nature even trumps his unquenchable eagerness to share new music — a mark of discipline, albeit a reluctant decision. Now signed to Arista Records and Not Fit For Society through a joint venture under Sony Music, Zaia’s self-restraint has finally come to fruition with the arrival of ''Reset'', a five-track EP and his first release in 14 months.

{youtube movie="10foPAk3BZA" width="640" height="395" quality="high" allowFullScreen="y"}

The pithy record features the previously heard singles “Waste My Time” and “Blue,” the latter of which has surpassed the million-stream threshold on Spotify in a matter of months. Written with tact and laced with rich production from Eric Ramey and Z. Will, the EP’s other cuts include the shrink-dismissing “Counseling,” the heartbreakingly pleading “On The Run,” and the closing track “Grace.”

''Reset'' is also accompanied by a short film directed by Patrick Tohill. The 15-minute companion piece follows Zaia’s character throughout his journey to start over, even as he struggles to let go of his past. Divided into five distinct acts, the video skillfully conveys the sentiment of each song, making for an immersive and passionate translation of the record.

Unfortunately, the fervent tale of rediscovery is rooted in tragedy and inspired by destabilizing life events. Having lost his brother to suicide and experienced the dissolution of a long-term relationship, Zaia hints at the record’s deeper meaning.

“Dealing with death or a breakup, you go through a storm, trying to get to the other side of it,” Zaia says. “Though you long to be ‘normal’ again, there’s a reset or change of mindset you go through, and you’re someone else entirely.”

Roughly a decade after his brother’s passing, Zaia’s road to ''Reset'' has reached its end. The Atlanta prodigy is now a major-label recording artist and one step closer to his dreams with his latest release. He is reticent to reveal too much about the inner workings of this symbolic effort, urging listeners to engage with the music and discover ''Reset''’smeaning on their own.

As with any personal journey, you have to figure it out for yourself.

During a wondrous month for hip-hop, veteran acts from the ’80s hit the city alongside 2019 upstarts.

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__Mon., July 15__
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__Tues., July 16__
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— Nelly, TLC, Flo Rida, Cellairis Amphitheatre at Lakewood.

__Sat., July 27__
— blink-182, Lil Wayne, Cellairis Amphitheatre at Lakewood.

__Sun., July 27__
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  string(6157) " Music Untrapped1 1 12  2019-07-02T17:33:44+00:00 Music_Untrapped1-1_12.jpg     atlanta music hip-hop wiz khalifa playboi carti zaia reset atl untrapped arista records isaiah eastman drive “waste my time” “blue” montana After a long drive, Zaia returns with a brilliant visual EP Music Untrapped1 1 12   2019-07-02T17:25:07+00:00  ATL Untrapped: The road to ‘RESET’ chad.radford Chad Radford Joshua Robinson joshfrob17 (Joshua Robinson) 2019-07-02T17:25:07+00:00 Zaia doesn’t remember which day he inked a deal with Arista Records. Arguably the most significant milestone of his career so far, he fumbles the exact date but is certain that it happened sometime in April. The genre-fluid local relishes his recent accomplishments, but the music has always been his primary focus.

Born Isaiah Eastman, Zaia burst onto the scene at the top of 2018 with the support of Atlanta-based creative agency Not Fit For Society, Inc. That April, he unleashed his debut EP Drive, a jazzy record which garnered significant blog coverage and a nod from The Source for its shrewd lyricism and soulful ambiance. However, the rising talent appeared somewhat detached amid his newfound success. Aside from his high-profile opener for Injury Reserve that March, he has rarely performed live since.

“When people come to see me, I want to make sure it’s not just someone on the stage spitting out the songs they’ve been listening to,” Zaia says. “I’ve been focusing on the music and the live aspect of it as well by rehearsing, so when I do have a show it’s not just some regular shit.”

For him, it’s not a matter of disinterest or opposition to attention. He simply opts for quality over quantity, committed to releasing only top-notch material and performing at the highest caliber possible.

His meticulous nature even trumps his unquenchable eagerness to share new music — a mark of discipline, albeit a reluctant decision. Now signed to Arista Records and Not Fit For Society through a joint venture under Sony Music, Zaia’s self-restraint has finally come to fruition with the arrival of Reset, a five-track EP and his first release in 14 months.



The pithy record features the previously heard singles “Waste My Time” and “Blue,” the latter of which has surpassed the million-stream threshold on Spotify in a matter of months. Written with tact and laced with rich production from Eric Ramey and Z. Will, the EP’s other cuts include the shrink-dismissing “Counseling,” the heartbreakingly pleading “On The Run,” and the closing track “Grace.”

Reset is also accompanied by a short film directed by Patrick Tohill. The 15-minute companion piece follows Zaia’s character throughout his journey to start over, even as he struggles to let go of his past. Divided into five distinct acts, the video skillfully conveys the sentiment of each song, making for an immersive and passionate translation of the record.

Unfortunately, the fervent tale of rediscovery is rooted in tragedy and inspired by destabilizing life events. Having lost his brother to suicide and experienced the dissolution of a long-term relationship, Zaia hints at the record’s deeper meaning.

“Dealing with death or a breakup, you go through a storm, trying to get to the other side of it,” Zaia says. “Though you long to be ‘normal’ again, there’s a reset or change of mindset you go through, and you’re someone else entirely.”

Roughly a decade after his brother’s passing, Zaia’s road to Reset has reached its end. The Atlanta prodigy is now a major-label recording artist and one step closer to his dreams with his latest release. He is reticent to reveal too much about the inner workings of this symbolic effort, urging listeners to engage with the music and discover Reset’smeaning on their own.

As with any personal journey, you have to figure it out for yourself.

During a wondrous month for hip-hop, veteran acts from the ’80s hit the city alongside 2019 upstarts.

Fri., July 5
— Eric B. & Rakim, Tabernacle. These OGs are responsible for gold-standard rap albums such as Paid in Full and Let the Rhythm Hit ’Em. Fun fact: Harlem rapper A$AP Rocky, born Rakim Meyers, and his late sister Erica B. were named after the influential duo.

Sun., July 7
— Dear Silas, Music Room. Last year, the trap-infused R&B crooner known to don a ninja headband found viral success with a meme of his single “Skrr Skrr” and subsequently signed a deal with RCA Records. Dear Silas released the Naruto-inspired album The Last Cherry Blossom in April, and he’s bringing it to Edgewood Avenue this month.

Tues., July 9
— Wiz Khalifa, French Montana, Playboi Carti, Cellairis Amphitheatre at Lakewood.

Thurs., July 11
— New Kids on the Block, Salt-N-Pepa, Naughty by Nature, State Farm Arena.

Mon., July 15
— Chris Webby, Jarren Benton, BrownPaperBag, Masquerade. Local low-fi collective BrownPaperBag secures an opening slot for Decatur breakout and Roc Nation artist Jarren Benton.

Tues., July 16
— Mary J. Blige, Nas, Cadence Bank Amphitheatre at Chastain Park. Less than a month after receiving BET’s Lifetime Achievement Award, Mary J. Blige embarks on a 23-date co-headlining tour with Nas.

Thurs., July 18
— RoseBowlATL 3, Willie Hyn & Confettii Rose, J Alston, Aisle 5.

Fri., July 19
— Ria706, C-Blaq, Beallwood Blackk, C. Ali, Smith’s Olde Bar. Led by neo-soul vocalist Ria706, this show features hip-hop and R&B artists exclusively from Columbus, Georgia.

Wed., July 24
— Blueface, NLE Choppa, Asian Doll, Sada Baby, Tabernacle.
— Nelly, TLC, Flo Rida, Cellairis Amphitheatre at Lakewood.

Sat., July 27
— blink-182, Lil Wayne, Cellairis Amphitheatre at Lakewood.

Sun., July 27
— Mozzy, Loft.    Jarel Walker ONE STEP CLOSER: Zaia joins the legendary Arista Records.  0,0,11    "Wiz Khalifa" "Montana" "Playboi Carti" Zaia RESET hip-hop Atlanta music "ATL Untrapped" "Arista Records" "Isaiah Eastman" Drive “Waste My Time” “Blue”                        ATL Untrapped: The road to ‘RESET’ "
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  string(103) "Kevin Scott talks Stuff, Oye Fest celebrates Latinx culture, and Irrelevant gives a stage to indie rock"
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  string(6103) "On June 10, bass player extraordinaire Kevin Scott hosted the final installment of his weekly open improv jam nights at 529. The announcement marked the end of a 14-year musical incubator that corralled generations of the city’s rising and most respected jazz, blues, and outsider rock musicians on stages at the Five Spot (now Aisle 5), Smith’s Olde Bar, the Elliott Street Deli & Pub, and 529. Scott led the house band through a last stand punctuated by jams on classic horror film scores such as Suspiria, The Shining, The Return of the Living Dead, and Zombi. And of course, it all came to a celebratory conclusion with Scott performing a schmaltzy rendition of Frank Sinatra’s “My Way.”
“That was the ultimate,” Scott laughs. “It was the best — the only way we could have possibly ended it.”

Humor aside, it was a fitting end for the lauded bass player who has logged countless hours performing on stages alongside Col. Bruce Hampton, Widespread Panic guitarist Jimmy Herring, 2013 Modern Drummer Hall of Fame inductee Bernard Purdie, and more.

Rather than abandon his legacy of hosting weekly assemblages of powerhouse players, Scott re envisioned his jam nights as themed pop-ups booked at various locations, whenever he finds time between stints on the road, touring with acts such as Wayne Krantz Trio, Forq, and Jimmy Herring & The Invisible Whip.

The first of these pop-up nights is on the calendar for July 18 at Buteco, when Scott hosts a tribute to the legendary New York City session outfit Stuff. An ensemble featuring acclaimed contemporary players such as Turkuaz drummer Mike Carubba, guitarist Dave Yoke, who performed in Dr. John’s band, guitarist Nick Johnson of Randall Bramblett’s band, keyboardist Rhett Huffman of American Aquarium, and more fill out the lineup.

Stuff was essentially New York City’s 1970s answer to Los Angeles’ Wrecking Crew. Each week, bass player and guitarist Gordon Edwards, keyboardist Richard Tee, drummers Purdie, Chris Parker, and Steve Gadd, and guitarists Eric Gale and Cornell Dupree would all meet at a jazz club called Mikell's and play smooth jazz instrumental covers of songs by Joe Cocker, Aretha Franklin, and other numbers they appeared on as session musicians.

For these theme nights, Scott splits up the music between songs that Stuff played, and more contemporary numbers played in their style. “I'm gonna try to work in one or two modern songs done in the style of Stuff, too,” Scott says. “A lot of these ’70s session players were playing more jazz, gospel, and blues gigs. There’s a lot more fusion going on now. We may do a Tool song; maybe “Mother” by Danzig — done the way Stuff would play it.”

Beyond these theme nights, Scott also plans to expand into playing some original material as well, combining local talent with traveling players. “I’ll try to have two or three bands on the bill,” he adds. “The jam part will feature everybody in each group either playing together, improvising or playing something that we wrote. But the first one is a tribute.”

Summer in the city offers more large gatherings. The Sad Summer Festival brings a touring caravan of top-tier and up-and-coming pop-punk and emo bands for a two-night celebration of complex emotions and cathartic music to Heaven at the Masquerade July 8–9. Think Warped Tour: The Next Generation. While most cities across the country get the Sad Summer soiree as one day-long gathering, Atlanta loves emo and pop-punk so much the bands are staying for a two-day blowout. The first night features performances by Mayday Parade, State Champs, and Stand Atlantic. Night two brings performances by the Maine, the Wonder Years, Mom Jeans, and Just Friends. Food vendors will be on hand, and there will be an after-party hosted by the inimitable Emo Night L.A.

The Irrelevant Music Festival takes over the Earl and 529 July 17-20, showcasing Atlanta’s indie rock talent. Irrelevant Music promoter Kyle Swick has modeled the festival after similar gatherings such as Cropped Out in Louisville, and Nameless Fest in Nashville, which offer platforms for local and regional musicians that are easily overlooked by the masses. Over the past three years, Irrelevant Fest has grown from a grass-roots event into a beacon for touring acts, with a lineup that places nationally and internationally touring artists on the same playing field as young Atlanta-based acts. This growing dynamic anchors the Atlanta music scene’s place in both a regional and national context. This year’s lineup features performances by Lyonnais, Lord Narf, Breathers, Upchuck, Harmacy, Fantasy Guys, Dot.s, and more.

Oye Fest returns July 27, this time bringing a block party celebrating Latinx music and culture at the Masquerade from 5 p.m. till 2 a.m. The day’s festivities boast food and a free artists market with more than 40 vendors on hand. The main stage features performances by Tomasa Del Real, Nina Sky, Kibi James, La Goony Chonga, Karina Es Mia, Felicita, Anonima, Hourglass, and more.

On the new releases front, street punk outfit Antagonizers ATL have a song titled “Marching On” featured on a four-way split 7-inch with CRIM, Noi!se, and Rude Pride out this month via Pirates Press Records.

Electronic pop outfit Dot.s, one of the featured acts performing at this year’s Irrelevant Music Fest, has a new full-length out titled Long For This World. CD pre-orders ship out on July 1 and the digital release is out July 11.

Psych rock trio A Drug Called Tradition celebrates the arrival of its first new material since 2017’s Medicine Music. The group plays an album release show at 529 on Friday, July 26.

Rapper Michael Myerz and cabaret punks Material Girls’ collaboration, Myerz and Meatgrinder Too 3D, arrived June 27, while Myerz’s 26th album, Dümpster Pasta, is out July 27.

And last but not least, Gringo Star’s latest album, Controlled Burn (Live In Atlanta), is out July 12 via Baby Robot Records.

Send Atlanta music news to chad.radford@creativeloafing.com."
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  string(6697) "On June 10, bass player extraordinaire [http://kevinscottmusic.com/|Kevin Scott] hosted the final installment of his weekly open improv jam nights at 529. The announcement marked the end of a 14-year musical incubator that corralled generations of the city’s rising and most respected jazz, blues, and outsider rock musicians on stages at the Five Spot (now Aisle 5), Smith’s Olde Bar, the Elliott Street Deli & Pub, and 529. Scott led the house band through a last stand punctuated by jams on classic horror film scores such as ''Suspiria'', ''The Shining'', ''The Return of the Living Dead'', and ''Zombi''. And of course, it all came to a celebratory conclusion with Scott performing a schmaltzy rendition of Frank Sinatra’s “My Way.”
“That was the ultimate,” Scott laughs. “It was the best — the only way we could have possibly ended it.”

Humor aside, it was a fitting end for the lauded bass player who has logged countless hours performing on stages alongside Col. Bruce Hampton, Widespread Panic guitarist Jimmy Herring, 2013 Modern Drummer Hall of Fame inductee Bernard Purdie, and more.

Rather than abandon his legacy of hosting weekly assemblages of powerhouse players, Scott re envisioned his jam nights as themed pop-ups booked at various locations, whenever he finds time between stints on the road, touring with acts such as Wayne Krantz Trio, Forq, and Jimmy Herring & The Invisible Whip.

The first of these pop-up nights is on the calendar for __July 18__ at Buteco, when Scott hosts a tribute to the legendary New York City session outfit Stuff. An ensemble featuring acclaimed contemporary players such as Turkuaz drummer Mike Carubba, guitarist Dave Yoke, who performed in Dr. John’s band, guitarist Nick Johnson of Randall Bramblett’s band, keyboardist Rhett Huffman of American Aquarium, and more fill out the lineup.

Stuff was essentially New York City’s 1970s answer to Los Angeles’ Wrecking Crew. Each week, bass player and guitarist Gordon Edwards, keyboardist Richard Tee, drummers Purdie, Chris Parker, and Steve Gadd, and guitarists Eric Gale and Cornell Dupree would all meet at a jazz club called Mikell's and play smooth jazz instrumental covers of songs by Joe Cocker, Aretha Franklin, and other numbers they appeared on as session musicians.

For these theme nights, Scott splits up the music between songs that Stuff played, and more contemporary numbers played in their style. “I'm gonna try to work in one or two modern songs done in the style of Stuff, too,” Scott says. “A lot of these ’70s session players were playing more jazz, gospel, and blues gigs. There’s a lot more fusion going on now. We may do a Tool song; maybe “Mother” by Danzig — done the way Stuff would play it.”

Beyond these theme nights, Scott also plans to expand into playing some original material as well, combining local talent with traveling players. “I’ll try to have two or three bands on the bill,” he adds. “The jam part will feature everybody in each group either playing together, improvising or playing something that we wrote. But the first one is a tribute.”

Summer in the city offers more large gatherings. The __Sad Summer Festival__ brings a touring caravan of top-tier and up-and-coming pop-punk and emo bands for a two-night celebration of complex emotions and cathartic music to Heaven at the Masquerade __July 8–9__. Think Warped Tour: The Next Generation. While most cities across the country get the Sad Summer soiree as one day-long gathering, Atlanta loves emo and pop-punk so much the bands are staying for a two-day blowout. The first night features performances by Mayday Parade, State Champs, and Stand Atlantic. Night two brings performances by the Maine, the Wonder Years, Mom Jeans, and Just Friends. Food vendors will be on hand, and there will be an after-party hosted by the inimitable Emo Night L.A.

The __[https://www.irrelevantmusic.net/|Irrelevant Music Festival]__ takes over the Earl and 529 ~~#000000:__July 17-20__~~, showcasing Atlanta’s indie rock talent. Irrelevant Music promoter Kyle Swick has modeled the festival after similar gatherings such as Cropped Out in Louisville, and Nameless Fest in Nashville, which offer platforms for local and regional musicians that are easily overlooked by the masses. Over the past three years, Irrelevant Fest has grown from a grass-roots event into a beacon for touring acts, with a lineup that places nationally and internationally touring artists on the same playing field as young Atlanta-based acts. This growing dynamic anchors the Atlanta music scene’s place in both a regional and national context. This year’s lineup features performances by Lyonnais, Lord Narf, Breathers, Upchuck, Harmacy, Fantasy Guys, Dot.s, and more.

__[https://www.oyefest.com/|Oye Fest]__ returns ~~#000000:July 27~~, this time bringing a block party celebrating Latinx music and culture at the Masquerade from 5 p.m. till 2 a.m. The day’s festivities boast food and a free artists market with more than 40 vendors on hand. The main stage features performances by Tomasa Del Real, Nina Sky, Kibi James, La Goony Chonga, Karina Es Mia, Felicita, Anonima, Hourglass, and more.

On the new releases front, street punk outfit __[http://www.antagonizersatl.com/|Antagonizers ATL]__ have a song titled “Marching On” featured on a four-way split 7-inch with CRIM, Noi!se, and Rude Pride out this month via Pirates Press Records.

Electronic pop outfit __[https://www.facebook.com/dotsmusic/|Dot.s]__, one of the featured acts performing at this year’s Irrelevant Music Fest, has a new full-length out titled ''Long For This World''. CD pre-orders ship out on July 1 and the digital release is out ~~#000000:July 11~~.

Psych rock trio __[https://adrugcalledtradition.bandcamp.com/|A Drug Called Tradition]__ celebrates the arrival of its first new material since 2017’s ''Medicine Music''. The group plays an album release show at 529 on Friday, ~~#000000:__July 26__~~.

Rapper __[https://creativeloafing.com/content-422398-Michael-Myerz-returns|Michael Myerz]__ and cabaret punks __Material Girls__’ collaboration, ''[https://michaelmyerz.bandcamp.com/album/myerz-and-meatgrinder-too-3d|Myerz and Meatgrinder Too 3D]'', arrived ~~#000000:June 27~~, while Myerz’s 26th album, ''Dümpster Pasta'', is out ~~#000000:July 27~~.

And last but not least, __[http://www.gringostar.net/|Gringo Star]__’s latest album, ''Controlled Burn (Live In Atlanta)'', is out ~~#000000:July 12~~ via Baby Robot Records.

''Send Atlanta music news to [mailto:chad.radford@creativeloafing.com|chad.radford@creativeloafing.com].''"
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  string(6795) " Music Chad1 1 12  2019-07-02T18:13:01+00:00 Music_Chad1-1_12.jpeg     atlanta music oye fest kevin scott a drug called tradition dot.s amn antagonizers atl Kevin Scott talks Stuff, Oye Fest celebrates Latinx culture, and Irrelevant gives a stage to indie rock Music Chad1 1 12   2019-07-02T18:00:34+00:00  Atlanta Music News: July heats up chad.radford Chad Radford Chad Radford chad.radford (Chad Radford) 2019-07-02T18:00:34+00:00 On June 10, bass player extraordinaire Kevin Scott hosted the final installment of his weekly open improv jam nights at 529. The announcement marked the end of a 14-year musical incubator that corralled generations of the city’s rising and most respected jazz, blues, and outsider rock musicians on stages at the Five Spot (now Aisle 5), Smith’s Olde Bar, the Elliott Street Deli & Pub, and 529. Scott led the house band through a last stand punctuated by jams on classic horror film scores such as Suspiria, The Shining, The Return of the Living Dead, and Zombi. And of course, it all came to a celebratory conclusion with Scott performing a schmaltzy rendition of Frank Sinatra’s “My Way.”
“That was the ultimate,” Scott laughs. “It was the best — the only way we could have possibly ended it.”

Humor aside, it was a fitting end for the lauded bass player who has logged countless hours performing on stages alongside Col. Bruce Hampton, Widespread Panic guitarist Jimmy Herring, 2013 Modern Drummer Hall of Fame inductee Bernard Purdie, and more.

Rather than abandon his legacy of hosting weekly assemblages of powerhouse players, Scott re envisioned his jam nights as themed pop-ups booked at various locations, whenever he finds time between stints on the road, touring with acts such as Wayne Krantz Trio, Forq, and Jimmy Herring & The Invisible Whip.

The first of these pop-up nights is on the calendar for July 18 at Buteco, when Scott hosts a tribute to the legendary New York City session outfit Stuff. An ensemble featuring acclaimed contemporary players such as Turkuaz drummer Mike Carubba, guitarist Dave Yoke, who performed in Dr. John’s band, guitarist Nick Johnson of Randall Bramblett’s band, keyboardist Rhett Huffman of American Aquarium, and more fill out the lineup.

Stuff was essentially New York City’s 1970s answer to Los Angeles’ Wrecking Crew. Each week, bass player and guitarist Gordon Edwards, keyboardist Richard Tee, drummers Purdie, Chris Parker, and Steve Gadd, and guitarists Eric Gale and Cornell Dupree would all meet at a jazz club called Mikell's and play smooth jazz instrumental covers of songs by Joe Cocker, Aretha Franklin, and other numbers they appeared on as session musicians.

For these theme nights, Scott splits up the music between songs that Stuff played, and more contemporary numbers played in their style. “I'm gonna try to work in one or two modern songs done in the style of Stuff, too,” Scott says. “A lot of these ’70s session players were playing more jazz, gospel, and blues gigs. There’s a lot more fusion going on now. We may do a Tool song; maybe “Mother” by Danzig — done the way Stuff would play it.”

Beyond these theme nights, Scott also plans to expand into playing some original material as well, combining local talent with traveling players. “I’ll try to have two or three bands on the bill,” he adds. “The jam part will feature everybody in each group either playing together, improvising or playing something that we wrote. But the first one is a tribute.”

Summer in the city offers more large gatherings. The Sad Summer Festival brings a touring caravan of top-tier and up-and-coming pop-punk and emo bands for a two-night celebration of complex emotions and cathartic music to Heaven at the Masquerade July 8–9. Think Warped Tour: The Next Generation. While most cities across the country get the Sad Summer soiree as one day-long gathering, Atlanta loves emo and pop-punk so much the bands are staying for a two-day blowout. The first night features performances by Mayday Parade, State Champs, and Stand Atlantic. Night two brings performances by the Maine, the Wonder Years, Mom Jeans, and Just Friends. Food vendors will be on hand, and there will be an after-party hosted by the inimitable Emo Night L.A.

The Irrelevant Music Festival takes over the Earl and 529 July 17-20, showcasing Atlanta’s indie rock talent. Irrelevant Music promoter Kyle Swick has modeled the festival after similar gatherings such as Cropped Out in Louisville, and Nameless Fest in Nashville, which offer platforms for local and regional musicians that are easily overlooked by the masses. Over the past three years, Irrelevant Fest has grown from a grass-roots event into a beacon for touring acts, with a lineup that places nationally and internationally touring artists on the same playing field as young Atlanta-based acts. This growing dynamic anchors the Atlanta music scene’s place in both a regional and national context. This year’s lineup features performances by Lyonnais, Lord Narf, Breathers, Upchuck, Harmacy, Fantasy Guys, Dot.s, and more.

Oye Fest returns July 27, this time bringing a block party celebrating Latinx music and culture at the Masquerade from 5 p.m. till 2 a.m. The day’s festivities boast food and a free artists market with more than 40 vendors on hand. The main stage features performances by Tomasa Del Real, Nina Sky, Kibi James, La Goony Chonga, Karina Es Mia, Felicita, Anonima, Hourglass, and more.

On the new releases front, street punk outfit Antagonizers ATL have a song titled “Marching On” featured on a four-way split 7-inch with CRIM, Noi!se, and Rude Pride out this month via Pirates Press Records.

Electronic pop outfit Dot.s, one of the featured acts performing at this year’s Irrelevant Music Fest, has a new full-length out titled Long For This World. CD pre-orders ship out on July 1 and the digital release is out July 11.

Psych rock trio A Drug Called Tradition celebrates the arrival of its first new material since 2017’s Medicine Music. The group plays an album release show at 529 on Friday, July 26.

Rapper Michael Myerz and cabaret punks Material Girls’ collaboration, Myerz and Meatgrinder Too 3D, arrived June 27, while Myerz’s 26th album, Dümpster Pasta, is out July 27.

And last but not least, Gringo Star’s latest album, Controlled Burn (Live In Atlanta), is out July 12 via Baby Robot Records.

Send Atlanta music news to chad.radford@creativeloafing.com.    Drew Wiedemann THE REAL STUFF: Kevin Scott pays homage to the band Stuff on July 18.  0,0,11    AMN "Oye Fest" "Kevin Scott" "Atlanta Music" "A Drug Called Tradition" Dot.s " Antagonizers ATL"                       Atlanta Music News: July heats up "
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This month, on The Move, we are building thangz and gettin’ our hands dirty, catching a flick at the fabulous Fox and of course, lots of dancing. Read on for the tea, Sweet Peaches <3  

Psst… Xtra! Xtra! Weed all about it! Shameless plug for the latest episode of, “Friends in High Places.” Listen along as I interview the likes of those mapping out the cannabis industry for Georgians, bc it’s not coming, it’s here. For more updates:  @callmemissconception @creativeloafingatl 

FRIDAY JULY 5

DIY Backyard Compost Box Street Cat Media strikes again with yet another industrious, earth-friendly workshop! A few years ago, I bought a large plastic container and started throwing food waste in it. It’s still sitting there, but I’ve been too afraid to peek under the lid. Any volunteers? Assuming that’s a no, I’m going to jump on building a legit compost box. 

“Get your hands dirty at this basic woodworking workshop where you’ll learn how to assemble your own backyard composting box out of recycled wood pallets.” These workshops are nice and small, but you’ll want to snatch a spot sooner than later. Going down in the Bakie Makie space at The Bakery Atlanta.

SATURDAY JULY 6

GRIN: A Multimedia Gallery Installation: Opening Reception What’s the GRL PWR move on The Move this month, you ask? It’s GRIN. “GRIN takes a turn toward the physical attributes that play a part in a woman’s historical path of navigating ‘a man’s world,’ while asking questions about choice, survival, and rebellion.”

The opening and closing receptions will include live performance art. Attendees are encouraged to film these performances — no security hassle here! The film submitted by audience members will “be edited into a community dance film, giving filmmaker credits to everyone who participates. The final film will be shared with the community.” Become part of this exhibit for the long haul with your video contributions. As someone with 25k+ photos and videos on my iPhone, I’m pumped to take more footage. Another one at The Bakery Atlanta. Have I mentioned, I’m a fan?

THURSDAY JULY 11

DIY Wearables: Sewing LEDs Thus far, each time I’ve dressed in my drag lewk at Miss Conception (yes, cis women can do drag!), I’ve included some type of wearable string lighting. Another Street Cat Media workshop will be taking my drag game to the next level! At this basic electronics workshop, you’ll learn how to code a string of LEDs, some soldering, some sewing — and all in good company. In June, I attended a DIY LED Cloud class and walked out with a lot more than a psychedelic LED cloud of my very own. Now, I’m headed to the DIY Wearables to learn how to be lit on the go! Another one at The Bakery Atlanta. Have I mentioned, I’m a fan? Typically, I prefer to offer from a wide-range of venues, but The Bakery Atlanta is packed in July and I can’t resist. 

FRIDAY JULY 19

Nonsense: Glow Party at The Basement Nonsense parties make The Move for many reasons. Here are a few. When a flyer says, “Kimber is the DJ,” know they’re talking about the winner of CL’s Best of Atlanta 2018’s BEST DJ. But she doesn’t just bring the tunes, she provides all the flare you need —  in case you forget to dress up or bring your own nonsense. 

“Nonsense is bringing back its most popular theme party with industrial black lights, free neon face and body painting, free glow wear, confetti cannons, and your favorite pop, indie dance, house, and sing-along surprises. Kimber is the DJ.” 

SATURDAY JULY 20

Shiba San at Ravine Dirty Bird fam! My favorite Frenchie, Shiba San, is coming back to ATL! Have you been to Ravine yet? This venue is perfect for large acts, but still feels intimate and vibey with its wood walls, dope sound system, and plenty of space to move. 

“After a 15-year career in the French hip-hop scene, Shiba San became fascinated with the sounds of Chicago house, inspiring him to create his own productions, infusing his hip-hop influence with the soul of house music.”  Peux-tu danser?! (Can you dance?!)

Reproductive Bits: A Comedy Fundraiser It can be tough to laugh off stress, especially in 2019’s highly-charged climate. That’s why I’m taking my stress straight to the comedy professionals. Each laugh will cure one evangelist — I wish. In reality, all proceeds go to the ACLU of Alabama, currently fighting the most restrictive abortion law in the United States. 

Performances take place at The Beacon, Grant Park’s newest development on the south interim BeltLine trail, by Windy Peach Comedy, Medium Arts ATL and All Together Now Atl. For cereal though, in today’s sensitive times, it’s important to remember the healing effects of laughter. 

SATURDAY JULY 27

The Princess Bride at the Fox Theatre My first experience at the Fabulous Fox Theatre was to see the film The Goonies — and where is “Goonies: The Musical” now that I think about it? — and it was magical. Although I typically only catch concerts at the Fox now, I love the simplicity of lower security and a casual classic film on the big screen. Most have probably seen the films being screened, so expect a lot of reciting of classic one-liners. If you like to watch your movies in silence, try Netflix. 

The Coca-Cola summer film series is a great time to check out the shiny, new Fox Marquee Club. The bumped-up ticket includes priority access to the club 90 minutes prior to showtime, expedited security checks, and a buffet heavy on the pre-show hors d’oeuvres. You may also skip lines and use late-seating holds with access to the club’s private bars and restrooms; unlimited non-alcoholic beverages, and rooftop access after the show. Stick around for a nightcap and enjoy a historic view from the Marquee Club on the Fox rooftop.

SATURDAY JULY 27

OYE Fest OYE Fest is a relatively new Latinx festival in ATL, with a mission of togetherness and safety in the Latinx community. OYE Fest celebrates the Latinx scene, creating a platform enabling it to rise and shine, while gaining much-deserved exposure. Lucky for the rest of us

The event typically tops out with a crowd of around a thousand. OYE Fest goes down at the Masquerade in Underground Atlanta. This is a FREE block party, featuring food, an artists market, and performances. Come support Atlanta’s lovely Latinx community. [[[Note: The concert, taking place inside the Masquerade, is a tickets event.]

SUNDAY JULY 28

New York Stripped “The Candybox Revue is proud to present the fourth annual installment of their hit Broadway Revue! Come catch the glitz, glamour, and spectacle of classic Broadway hits that include your favorites with a twist, or, learn to fall in love with shows that are hot off the press! It’s Broadway like only Burlesque can do it, made even better by The Candybox Revue!” "
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This month, on The Move, we are building thangz and gettin’ our hands dirty, catching a flick at the fabulous Fox and of course, lots of dancing. Read on for the tea, Sweet Peaches <3  

Psst… Xtra! Xtra! Weed all about it! Shameless plug for the latest episode of, “Friends in High Places.” Listen along as I interview the likes of those mapping out the cannabis industry for Georgians, bc it’s not coming, it’s here. For more updates:  @callmemissconception @creativeloafingatl 

__FRIDAY JULY 5__

__DIY Backyard Compost Box__ Street Cat Media strikes again with yet another industrious, earth-friendly workshop! A few years ago, I bought a large plastic container and started throwing food waste in it. It’s still sitting there, but I’ve been too afraid to peek under the lid. Any volunteers? Assuming that’s a no, I’m going to jump on building a legit compost box. 

“Get your hands dirty at this basic woodworking workshop where you’ll learn how to assemble your own backyard composting box out of recycled wood pallets.” These workshops are nice and small, but you’ll want to snatch a spot sooner than later. Going down in the Bakie Makie space at The Bakery Atlanta.

__SATURDAY JULY 6__

__GRIN: A Multimedia Gallery Installation: Opening Reception__ What’s the GRL PWR move on The Move this month, you ask? It’s GRIN. “GRIN takes a turn toward the physical attributes that play a part in a woman’s historical path of navigating ‘a man’s world,’ while asking questions about choice, survival, and rebellion.”

The opening and closing receptions will include live performance art. Attendees are encouraged to film these performances — no security hassle here! The film submitted by audience members will “be edited into a community dance film, giving filmmaker credits to everyone who participates. The final film will be shared with the community.” Become part of this exhibit for the long haul with your video contributions. As someone with 25k+ photos and videos on my iPhone, I’m pumped to take more footage. Another one at The Bakery Atlanta. Have I mentioned, I’m a fan?

__THURSDAY JULY 11__

__DIY Wearables: Sewing LEDs__ Thus far, each time I’ve dressed in my drag lewk at Miss Conception (yes, cis women can do drag!), I’ve included some type of wearable string lighting. Another Street Cat Media workshop will be taking my drag game to the next level! At this basic electronics workshop, you’ll learn how to code a string of LEDs, some soldering, some sewing — and all in good company. In June, I attended a DIY LED Cloud class and walked out with a lot more than a psychedelic LED cloud of my very own. Now, I’m headed to the DIY Wearables to learn how to be lit on the go! Another one at The Bakery Atlanta. Have I mentioned, I’m a fan? Typically, I prefer to offer from a wide-range of venues, but The Bakery Atlanta is packed in July and I can’t resist. 

__FRIDAY JULY 19__

__Nonsense: Glow Party at The Basement__ Nonsense parties make The Move for many reasons. Here are a few. When a flyer says, “Kimber is the DJ,” know they’re talking about the winner of ''CL''’s Best of Atlanta 2018’s BEST DJ. But she doesn’t just bring the tunes, she provides all the flare you need —  in case you forget to dress up or bring your own nonsense. 

“Nonsense is bringing back its most popular theme party with industrial black lights, free neon face and body painting, free glow wear, confetti cannons, and your favorite pop, indie dance, house, and sing-along surprises. Kimber is the DJ.” 

__SATURDAY JULY 20__

__Shiba San at Ravine__ Dirty Bird fam! My favorite Frenchie, Shiba San, is coming back to ATL! Have you been to Ravine yet? This venue is perfect for large acts, but still feels intimate and vibey with its wood walls, dope sound system, and plenty of space to move. 

“After a 15-year career in the French hip-hop scene, Shiba San became fascinated with the sounds of Chicago house, inspiring him to create his own productions, infusing his hip-hop influence with the soul of house music.”  Peux-tu danser?! (Can you dance?!)

__Reproductive Bits: A Comedy Fundraiser__ It can be tough to laugh off stress, especially in 2019’s highly-charged climate. That’s why I’m taking my stress straight to the comedy professionals. Each laugh will cure one evangelist — I wish. In reality, all proceeds go to the ACLU of Alabama, currently fighting the most restrictive abortion law in the United States. 

Performances take place at The Beacon, Grant Park’s newest development on the south interim BeltLine trail, by Windy Peach Comedy, Medium Arts ATL and All Together Now Atl. For cereal though, in today’s sensitive times, it’s important to remember the healing effects of laughter. 

__SATURDAY JULY 27__

__''The Princess Bride'' at the Fox Theatre__ My first experience at the Fabulous Fox Theatre was to see the film T''he Goonies'' — and where is “Goonies: The Musical” now that I think about it? — and it was magical. Although I typically only catch concerts at the Fox now, I love the simplicity of lower security and a casual classic film on the big screen. Most have probably seen the films being screened, so expect a lot of reciting of classic one-liners. If you like to watch your movies in silence, try Netflix. 

The Coca-Cola summer film series is a great time to check out the shiny, new Fox Marquee Club. The bumped-up ticket includes priority access to the club 90 minutes prior to showtime, expedited security checks, and a buffet heavy on the pre-show hors d’oeuvres. You may also skip lines and use late-seating holds with access to the club’s private bars and restrooms; unlimited non-alcoholic beverages, and rooftop access after the show. Stick around for a nightcap and enjoy a historic view from the Marquee Club on the Fox rooftop.

__SATURDAY JULY 27__

__OYE Fest__ OYE Fest is a relatively new Latinx festival in ATL, with a mission of togetherness and safety in the Latinx community. OYE Fest celebrates the Latinx scene, creating a platform enabling it to rise and shine, while gaining much-deserved exposure. Lucky for the rest of us

The event typically tops out with a crowd of around a thousand. OYE Fest goes down at the Masquerade in Underground Atlanta. This is a FREE block party, featuring food, an artists market, and performances. Come support Atlanta’s lovely Latinx community. [[[[Note: The concert, taking place inside the Masquerade, is a tickets event.]

__SUNDAY JULY 28__

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  string(7897) " Glow Nonsense @oh Snap Kid Web  2020-04-13T19:55:41+00:00 Glow_Nonsense_@oh_snap_kid_web.jpg     themove Hey, y’all! What’s the move? Glow Nonsense @oh Snap Kid Web   2019-07-04T04:00:00+00:00  THE MOVE: Plan Accordingly - July 2019 jim.harris Jim Harris Ema Carr ema.carr (Ema Carr) 2019-07-04T04:00:00+00:00 The Move is a column intended to help you beat the fight against basic, one move at a time. Look here for all the best underground, and some above ground, events in ATL. Bc you CAN have a balanced diet of disco and yoga. Warning of side effects: Overdose of culture and queerdom. Bloated bank account from lack of overpriced ticket purchase. Confusion meeting clarity via mind, body and soul. Consume at your own risk.

This month, on The Move, we are building thangz and gettin’ our hands dirty, catching a flick at the fabulous Fox and of course, lots of dancing. Read on for the tea, Sweet Peaches <3  

Psst… Xtra! Xtra! Weed all about it! Shameless plug for the latest episode of, “Friends in High Places.” Listen along as I interview the likes of those mapping out the cannabis industry for Georgians, bc it’s not coming, it’s here. For more updates:  @callmemissconception @creativeloafingatl 

FRIDAY JULY 5

DIY Backyard Compost Box Street Cat Media strikes again with yet another industrious, earth-friendly workshop! A few years ago, I bought a large plastic container and started throwing food waste in it. It’s still sitting there, but I’ve been too afraid to peek under the lid. Any volunteers? Assuming that’s a no, I’m going to jump on building a legit compost box. 

“Get your hands dirty at this basic woodworking workshop where you’ll learn how to assemble your own backyard composting box out of recycled wood pallets.” These workshops are nice and small, but you’ll want to snatch a spot sooner than later. Going down in the Bakie Makie space at The Bakery Atlanta.

SATURDAY JULY 6

GRIN: A Multimedia Gallery Installation: Opening Reception What’s the GRL PWR move on The Move this month, you ask? It’s GRIN. “GRIN takes a turn toward the physical attributes that play a part in a woman’s historical path of navigating ‘a man’s world,’ while asking questions about choice, survival, and rebellion.”

The opening and closing receptions will include live performance art. Attendees are encouraged to film these performances — no security hassle here! The film submitted by audience members will “be edited into a community dance film, giving filmmaker credits to everyone who participates. The final film will be shared with the community.” Become part of this exhibit for the long haul with your video contributions. As someone with 25k+ photos and videos on my iPhone, I’m pumped to take more footage. Another one at The Bakery Atlanta. Have I mentioned, I’m a fan?

THURSDAY JULY 11

DIY Wearables: Sewing LEDs Thus far, each time I’ve dressed in my drag lewk at Miss Conception (yes, cis women can do drag!), I’ve included some type of wearable string lighting. Another Street Cat Media workshop will be taking my drag game to the next level! At this basic electronics workshop, you’ll learn how to code a string of LEDs, some soldering, some sewing — and all in good company. In June, I attended a DIY LED Cloud class and walked out with a lot more than a psychedelic LED cloud of my very own. Now, I’m headed to the DIY Wearables to learn how to be lit on the go! Another one at The Bakery Atlanta. Have I mentioned, I’m a fan? Typically, I prefer to offer from a wide-range of venues, but The Bakery Atlanta is packed in July and I can’t resist. 

FRIDAY JULY 19

Nonsense: Glow Party at The Basement Nonsense parties make The Move for many reasons. Here are a few. When a flyer says, “Kimber is the DJ,” know they’re talking about the winner of CL’s Best of Atlanta 2018’s BEST DJ. But she doesn’t just bring the tunes, she provides all the flare you need —  in case you forget to dress up or bring your own nonsense. 

“Nonsense is bringing back its most popular theme party with industrial black lights, free neon face and body painting, free glow wear, confetti cannons, and your favorite pop, indie dance, house, and sing-along surprises. Kimber is the DJ.” 

SATURDAY JULY 20

Shiba San at Ravine Dirty Bird fam! My favorite Frenchie, Shiba San, is coming back to ATL! Have you been to Ravine yet? This venue is perfect for large acts, but still feels intimate and vibey with its wood walls, dope sound system, and plenty of space to move. 

“After a 15-year career in the French hip-hop scene, Shiba San became fascinated with the sounds of Chicago house, inspiring him to create his own productions, infusing his hip-hop influence with the soul of house music.”  Peux-tu danser?! (Can you dance?!)

Reproductive Bits: A Comedy Fundraiser It can be tough to laugh off stress, especially in 2019’s highly-charged climate. That’s why I’m taking my stress straight to the comedy professionals. Each laugh will cure one evangelist — I wish. In reality, all proceeds go to the ACLU of Alabama, currently fighting the most restrictive abortion law in the United States. 

Performances take place at The Beacon, Grant Park’s newest development on the south interim BeltLine trail, by Windy Peach Comedy, Medium Arts ATL and All Together Now Atl. For cereal though, in today’s sensitive times, it’s important to remember the healing effects of laughter. 

SATURDAY JULY 27

The Princess Bride at the Fox Theatre My first experience at the Fabulous Fox Theatre was to see the film The Goonies — and where is “Goonies: The Musical” now that I think about it? — and it was magical. Although I typically only catch concerts at the Fox now, I love the simplicity of lower security and a casual classic film on the big screen. Most have probably seen the films being screened, so expect a lot of reciting of classic one-liners. If you like to watch your movies in silence, try Netflix. 

The Coca-Cola summer film series is a great time to check out the shiny, new Fox Marquee Club. The bumped-up ticket includes priority access to the club 90 minutes prior to showtime, expedited security checks, and a buffet heavy on the pre-show hors d’oeuvres. You may also skip lines and use late-seating holds with access to the club’s private bars and restrooms; unlimited non-alcoholic beverages, and rooftop access after the show. Stick around for a nightcap and enjoy a historic view from the Marquee Club on the Fox rooftop.

SATURDAY JULY 27

OYE Fest OYE Fest is a relatively new Latinx festival in ATL, with a mission of togetherness and safety in the Latinx community. OYE Fest celebrates the Latinx scene, creating a platform enabling it to rise and shine, while gaining much-deserved exposure. Lucky for the rest of us

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SUNDAY JULY 28

New York Stripped “The Candybox Revue is proud to present the fourth annual installment of their hit Broadway Revue! Come catch the glitz, glamour, and spectacle of classic Broadway hits that include your favorites with a twist, or, learn to fall in love with shows that are hot off the press! It’s Broadway like only Burlesque can do it, made even better by The Candybox Revue!”     Oh Snap Kid IN HER ELEMENT: CL’s “Best of Atlanta” winner, DJ Kimber, during the Nonsense Glow Party at The Basement EAV.  0,0,10    themove                       THE MOVE: Plan Accordingly - July 2019 "
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!! ((Where to Watch Fireworks in Atlanta|ATL Fireworks))
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!!The Crab - June 21-July 22
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LEO (July 23-Aug. 22): Here are your fortune cookie-style horoscopes for the months ahead. JULY: Transform something that’s semi-ugly into something that’s useful and winsome. AUGUST: Go to the top of the world and seek a big vision of who you must become. SEPTEMBER: Your instinct for worthy and constructive adventures is impeccable. Trust it. OCTOBER: Be alert for a new teacher with a capacity to teach you precisely what you need to learn. NOVEMBER: Your mind might not guide you perfectly, but your body and soul will. DECEMBER: Fresh hungers and budding fascinations should alert you to the fact that deep in the genius part of your soul, your master plan is changing.

VIRGO (Aug. 23-Sept. 22): Here are your fortune cookie-style horoscopes for the months ahead. JULY: I’d love to see you phase out wishy-washy wishes that keep you distracted from your burning, churning desires. AUGUST: A story that began years ago begins again. Be proactive about changing the themes you’d rather not repeat. SEPTEMBER: Get seriously and daringly creative about living in a more expansive world. OCTOBER: Acquire a new tool or skill that will enable you to carry out your mission more effectively. NOVEMBER: Unanticipated plot twists can help heal old dilemmas about intimacy. DECEMBER: Come up with savvy plans to eliminate bad stress and welcome good stress.

LIBRA (Sept. 23-Oct. 22): Here are your fortune cookie-style horoscopes for the months ahead. JULY: Say this every morning: “The less I have to prove and the fewer people I have to impress, the smarter I’ll be.” AUGUST: Escape an unnecessary limitation. Break an obsolete rule. Override a faded tradition. SEPTEMBER: What kind of “badness” might give your goodness more power? OCTOBER: You’re stronger and freer than you thought you were. Call on your untapped power. NOVEMBER: Narrowing your focus and paring down your options will serve you beautifully. DECEMBER: Replace what’s fake with the Real Thing.

SCORPIO (Oct. 23-Nov. 21): Here are your fortune cookie-style horoscopes for the months ahead. JULY: Stretch yourself. Freelance, moonlight, diversify, and expand. AUGUST: Having power over other people is less important than having power over yourself. Manage your passions like a wizard! SEPTEMBER: Ask the big question. And be ready to act expeditiously when you get the big answer. OCTOBER: I think you can arrange for the surge to arrive in manageable installments. Seriously. NOVEMBER: Dare to break barren customs and habits that are obstructing small miracles and cathartic breakthroughs. DECEMBER: Don’t wait around hoping to be given what you need. Instead, go after it. Create it yourself, if necessary. 

SAGITTARIUS (Nov. 22-Dec. 21): Here are your fortune cookie-style horoscopes for the months ahead. JULY: Can you infuse dark places with your intense light without dimming your intense light? Yes! AUGUST: It’s time for an archetypal Sagittarian jaunt, quest, or pilgrimage. SEPTEMBER: The world around you needs your practical idealism. Be a role model who catalyzes good changes. OCTOBER: Seek out new allies and connections that can help you with your future goals. NOVEMBER: Be open to new and unexpected ideas so as to get the emotional healing you long for. DECEMBER: Shed old, worn-out self-images. Reinvent yourself. Get to know your depths better. 

CAPRICORN (Dec. 22-Jan. 19): Here are your fortune cookie-style horoscopes for the months ahead. JULY: You have an enhanced capacity to feel at peace with your body, to not wish it were different from what it naturally is. AUGUST: You can finally solve a riddle you’ve been trying to solve for a long time. SEPTEMBER: Make your imagination work and play twice as hard. Crack open seemingly closed possibilities. OCTOBER: Move up at least one rung on the ladder of success. NOVEMBER: Make yourself more receptive to blessings and help that you have overlooked or ignored. DECEMBER: You’ll learn most from what you leave behind—so leave behind as much as possible.

AQUARIUS (Jan. 20-Feb. 18): Here are your fortune cookie-style horoscopes for the months ahead. JULY: I’ll cry one tear for you, then I’ll cheer. AUGUST: Plant seeds in places that hadn’t previously been on your radar. SEPTEMBER: You may seem to take a wrong turn, but it’ll take you where you need to go. OCTOBER: Open your mind and heart as wide as you can. Be receptive to the unexpected. NOVEMBER: I bet you’ll gain a new power, higher rank, or greater privilege. DECEMBER: Send out feelers to new arrivals who may be potential helpers. 

PISCES (Feb. 19-March 20): Here are your fortune cookie-style horoscopes for the months ahead. JULY: Your creative powers are at a peak. Use them with flair. AUGUST: Wean yourself from pretend feelings and artificial motivations and inauthentic communications. SEPTEMBER: If you want to have greater impact and more influence, you can. Make it happen! OCTOBER: Love is weird but good. Trust the odd journey it takes you on. NOVEMBER: If you cultivate an appreciation for paradox, your paradoxical goals will succeed. DECEMBER: Set firm deadlines. Have fun disciplining yourself.

ARIES (March 21-April 19): Here are your fortune cookie-style horoscopes for the months ahead. JULY: Discipline your inner flame. Use your radiance constructively. Your theme is *controlled fire*. AUGUST: Release yourself from dwelling on what’s amiss or off-kilter. Find the inspiration to focus on what’s right and good. SEPTEMBER: Pay your dues with joy and gratitude. Work hard in service to your beautiful dreams. OCTOBER: You can undo your attractions to “gratifications” that aren’t really very gratifying. NOVEMBER: Your allies can become even better allies. Ask them for more. DECEMBER: Be alert for unrecognized value and hidden resources.

TAURUS (April 20-May 20): Here are your fortune cookie-style horoscopes for the months ahead. JULY: If you choose to play one of life’s trickier games, you must get trickier yourself. AUGUST: Shedding irrelevant theories and unlearning old approaches will pave the way for creative breakthroughs. SEPTEMBER: Begin working on a new product or project that will last a long time. OCTOBER: Maybe you don’t need that emotional crutch as much as you thought. NOVEMBER: Explore the intense, perplexing, interesting feelings until you’re cleansed and healed. DECEMBER: Join forces with a new ally and/or deepen an existing alliance."
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!!~~#c0392b:__The Crab - June 21-July 22__~~
!!!Here are your fortune cookie-style horoscopes for the months ahead. JULY: Acquire a new personal symbol that thrills your mind and mobilizes your soul. AUGUST: Reconfigure the way you deal with money. Get smarter about your finances. SEPTEMBER: It’s time to expedite your learning. But streetwise education is more useful than formal education. Study the Book of Life. OCTOBER: Ask for more help than you normally do. Aggressively build your support. NOVEMBER: Creativity is your superpower. Reinvent any part of your life that needs a bolt of imaginative ingenuity. DECEMBER: Love and care for what you imagine to be your flaws and liabilities.
__LEO (July 23-Aug. 22):__ Here are your fortune cookie-style horoscopes for the months ahead. JULY: Transform something that’s semi-ugly into something that’s useful and winsome. AUGUST: Go to the top of the world and seek a big vision of who you must become. SEPTEMBER: Your instinct for worthy and constructive adventures is impeccable. Trust it. OCTOBER: Be alert for a new teacher with a capacity to teach you precisely what you need to learn. NOVEMBER: Your mind might not guide you perfectly, but your body and soul will. DECEMBER: Fresh hungers and budding fascinations should alert you to the fact that deep in the genius part of your soul, your master plan is changing.

__VIRGO (Aug. 23-Sept. 22):__ Here are your fortune cookie-style horoscopes for the months ahead. JULY: I’d love to see you phase out wishy-washy wishes that keep you distracted from your burning, churning desires. AUGUST: A story that began years ago begins again. Be proactive about changing the themes you’d rather not repeat. SEPTEMBER: Get seriously and daringly creative about living in a more expansive world. OCTOBER: Acquire a new tool or skill that will enable you to carry out your mission more effectively. NOVEMBER: Unanticipated plot twists can help heal old dilemmas about intimacy. DECEMBER: Come up with savvy plans to eliminate bad stress and welcome good stress.

__LIBRA (Sept. 23-Oct. 22):__ Here are your fortune cookie-style horoscopes for the months ahead. JULY: Say this every morning: “The less I have to prove and the fewer people I have to impress, the smarter I’ll be.” AUGUST: Escape an unnecessary limitation. Break an obsolete rule. Override a faded tradition. SEPTEMBER: What kind of “badness” might give your goodness more power? OCTOBER: You’re stronger and freer than you thought you were. Call on your untapped power. NOVEMBER: Narrowing your focus and paring down your options will serve you beautifully. DECEMBER: Replace what’s fake with the Real Thing.

__SCORPIO (Oct. 23-Nov. 21):__ Here are your fortune cookie-style horoscopes for the months ahead. JULY: Stretch yourself. Freelance, moonlight, diversify, and expand. AUGUST: Having power over other people is less important than having power over yourself. Manage your passions like a wizard! SEPTEMBER: Ask the big question. And be ready to act expeditiously when you get the big answer. OCTOBER: I think you can arrange for the surge to arrive in manageable installments. Seriously. NOVEMBER: Dare to break barren customs and habits that are obstructing small miracles and cathartic breakthroughs. DECEMBER: Don’t wait around hoping to be given what you need. Instead, go after it. Create it yourself, if necessary. 

__SAGITTARIUS (Nov. 22-Dec. 21):__ Here are your fortune cookie-style horoscopes for the months ahead. JULY: Can you infuse dark places with your intense light without dimming your intense light? Yes! AUGUST: It’s time for an archetypal Sagittarian jaunt, quest, or pilgrimage. SEPTEMBER: The world around you needs your practical idealism. Be a role model who catalyzes good changes. OCTOBER: Seek out new allies and connections that can help you with your future goals. NOVEMBER: Be open to new and unexpected ideas so as to get the emotional healing you long for. DECEMBER: Shed old, worn-out self-images. Reinvent yourself. Get to know your depths better. 

__CAPRICORN (Dec. 22-Jan. 19):__ Here are your fortune cookie-style horoscopes for the months ahead. JULY: You have an enhanced capacity to feel at peace with your body, to not wish it were different from what it naturally is. AUGUST: You can finally solve a riddle you’ve been trying to solve for a long time. SEPTEMBER: Make your imagination work and play twice as hard. Crack open seemingly closed possibilities. OCTOBER: Move up at least one rung on the ladder of success. NOVEMBER: Make yourself more receptive to blessings and help that you have overlooked or ignored. DECEMBER: You’ll learn most from what you leave behind—so leave behind as much as possible.

__AQUARIUS (Jan. 20-Feb. 18):__ Here are your fortune cookie-style horoscopes for the months ahead. JULY: I’ll cry one tear for you, then I’ll cheer. AUGUST: Plant seeds in places that hadn’t previously been on your radar. SEPTEMBER: You may seem to take a wrong turn, but it’ll take you where you need to go. OCTOBER: Open your mind and heart as wide as you can. Be receptive to the unexpected. NOVEMBER: I bet you’ll gain a new power, higher rank, or greater privilege. DECEMBER: Send out feelers to new arrivals who may be potential helpers. 

__PISCES (Feb. 19-March 20):__ Here are your fortune cookie-style horoscopes for the months ahead. JULY: Your creative powers are at a peak. Use them with flair. AUGUST: Wean yourself from pretend feelings and artificial motivations and inauthentic communications. SEPTEMBER: If you want to have greater impact and more influence, you can. Make it happen! OCTOBER: Love is weird but good. Trust the odd journey it takes you on. NOVEMBER: If you cultivate an appreciation for paradox, your paradoxical goals will succeed. DECEMBER: Set firm deadlines. Have fun disciplining yourself.

__ARIES (March 21-April 19):__ Here are your fortune cookie-style horoscopes for the months ahead. JULY: Discipline your inner flame. Use your radiance constructively. Your theme is *controlled fire*. AUGUST: Release yourself from dwelling on what’s amiss or off-kilter. Find the inspiration to focus on what’s right and good. SEPTEMBER: Pay your dues with joy and gratitude. Work hard in service to your beautiful dreams. OCTOBER: You can undo your attractions to “gratifications” that aren’t really very gratifying. NOVEMBER: Your allies can become even better allies. Ask them for more. DECEMBER: Be alert for unrecognized value and hidden resources.

__TAURUS (April 20-May 20):__ Here are your fortune cookie-style horoscopes for the months ahead. JULY: If you choose to play one of life’s trickier games, you must get trickier yourself. AUGUST: Shedding irrelevant theories and unlearning old approaches will pave the way for creative breakthroughs. SEPTEMBER: Begin working on a new product or project that will last a long time. OCTOBER: Maybe you don’t need that emotional crutch as much as you thought. NOVEMBER: Explore the intense, perplexing, interesting feelings until you’re cleansed and healed. DECEMBER: Join forces with a new ally and/or deepen an existing alliance."
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  string(7441) "   horoscope astrology july the crab     2019-07-04T21:34:00+00:00  Free Will Astrology - July 2019 jim.harris Jim Harris Rob Breszny  2019-07-04T21:34:00+00:00 !CANCER
!!The Crab - June 21-July 22
!!!Here are your fortune cookie-style horoscopes for the months ahead. JULY: Acquire a new personal symbol that thrills your mind and mobilizes your soul. AUGUST: Reconfigure the way you deal with money. Get smarter about your finances. SEPTEMBER: It’s time to expedite your learning. But streetwise education is more useful than formal education. Study the Book of Life. OCTOBER: Ask for more help than you normally do. Aggressively build your support. NOVEMBER: Creativity is your superpower. Reinvent any part of your life that needs a bolt of imaginative ingenuity. DECEMBER: Love and care for what you imagine to be your flaws and liabilities.
LEO (July 23-Aug. 22): Here are your fortune cookie-style horoscopes for the months ahead. JULY: Transform something that’s semi-ugly into something that’s useful and winsome. AUGUST: Go to the top of the world and seek a big vision of who you must become. SEPTEMBER: Your instinct for worthy and constructive adventures is impeccable. Trust it. OCTOBER: Be alert for a new teacher with a capacity to teach you precisely what you need to learn. NOVEMBER: Your mind might not guide you perfectly, but your body and soul will. DECEMBER: Fresh hungers and budding fascinations should alert you to the fact that deep in the genius part of your soul, your master plan is changing.

VIRGO (Aug. 23-Sept. 22): Here are your fortune cookie-style horoscopes for the months ahead. JULY: I’d love to see you phase out wishy-washy wishes that keep you distracted from your burning, churning desires. AUGUST: A story that began years ago begins again. Be proactive about changing the themes you’d rather not repeat. SEPTEMBER: Get seriously and daringly creative about living in a more expansive world. OCTOBER: Acquire a new tool or skill that will enable you to carry out your mission more effectively. NOVEMBER: Unanticipated plot twists can help heal old dilemmas about intimacy. DECEMBER: Come up with savvy plans to eliminate bad stress and welcome good stress.

LIBRA (Sept. 23-Oct. 22): Here are your fortune cookie-style horoscopes for the months ahead. JULY: Say this every morning: “The less I have to prove and the fewer people I have to impress, the smarter I’ll be.” AUGUST: Escape an unnecessary limitation. Break an obsolete rule. Override a faded tradition. SEPTEMBER: What kind of “badness” might give your goodness more power? OCTOBER: You’re stronger and freer than you thought you were. Call on your untapped power. NOVEMBER: Narrowing your focus and paring down your options will serve you beautifully. DECEMBER: Replace what’s fake with the Real Thing.

SCORPIO (Oct. 23-Nov. 21): Here are your fortune cookie-style horoscopes for the months ahead. JULY: Stretch yourself. Freelance, moonlight, diversify, and expand. AUGUST: Having power over other people is less important than having power over yourself. Manage your passions like a wizard! SEPTEMBER: Ask the big question. And be ready to act expeditiously when you get the big answer. OCTOBER: I think you can arrange for the surge to arrive in manageable installments. Seriously. NOVEMBER: Dare to break barren customs and habits that are obstructing small miracles and cathartic breakthroughs. DECEMBER: Don’t wait around hoping to be given what you need. Instead, go after it. Create it yourself, if necessary. 

SAGITTARIUS (Nov. 22-Dec. 21): Here are your fortune cookie-style horoscopes for the months ahead. JULY: Can you infuse dark places with your intense light without dimming your intense light? Yes! AUGUST: It’s time for an archetypal Sagittarian jaunt, quest, or pilgrimage. SEPTEMBER: The world around you needs your practical idealism. Be a role model who catalyzes good changes. OCTOBER: Seek out new allies and connections that can help you with your future goals. NOVEMBER: Be open to new and unexpected ideas so as to get the emotional healing you long for. DECEMBER: Shed old, worn-out self-images. Reinvent yourself. Get to know your depths better. 

CAPRICORN (Dec. 22-Jan. 19): Here are your fortune cookie-style horoscopes for the months ahead. JULY: You have an enhanced capacity to feel at peace with your body, to not wish it were different from what it naturally is. AUGUST: You can finally solve a riddle you’ve been trying to solve for a long time. SEPTEMBER: Make your imagination work and play twice as hard. Crack open seemingly closed possibilities. OCTOBER: Move up at least one rung on the ladder of success. NOVEMBER: Make yourself more receptive to blessings and help that you have overlooked or ignored. DECEMBER: You’ll learn most from what you leave behind—so leave behind as much as possible.

AQUARIUS (Jan. 20-Feb. 18): Here are your fortune cookie-style horoscopes for the months ahead. JULY: I’ll cry one tear for you, then I’ll cheer. AUGUST: Plant seeds in places that hadn’t previously been on your radar. SEPTEMBER: You may seem to take a wrong turn, but it’ll take you where you need to go. OCTOBER: Open your mind and heart as wide as you can. Be receptive to the unexpected. NOVEMBER: I bet you’ll gain a new power, higher rank, or greater privilege. DECEMBER: Send out feelers to new arrivals who may be potential helpers. 

PISCES (Feb. 19-March 20): Here are your fortune cookie-style horoscopes for the months ahead. JULY: Your creative powers are at a peak. Use them with flair. AUGUST: Wean yourself from pretend feelings and artificial motivations and inauthentic communications. SEPTEMBER: If you want to have greater impact and more influence, you can. Make it happen! OCTOBER: Love is weird but good. Trust the odd journey it takes you on. NOVEMBER: If you cultivate an appreciation for paradox, your paradoxical goals will succeed. DECEMBER: Set firm deadlines. Have fun disciplining yourself.

ARIES (March 21-April 19): Here are your fortune cookie-style horoscopes for the months ahead. JULY: Discipline your inner flame. Use your radiance constructively. Your theme is *controlled fire*. AUGUST: Release yourself from dwelling on what’s amiss or off-kilter. Find the inspiration to focus on what’s right and good. SEPTEMBER: Pay your dues with joy and gratitude. Work hard in service to your beautiful dreams. OCTOBER: You can undo your attractions to “gratifications” that aren’t really very gratifying. NOVEMBER: Your allies can become even better allies. Ask them for more. DECEMBER: Be alert for unrecognized value and hidden resources.

TAURUS (April 20-May 20): Here are your fortune cookie-style horoscopes for the months ahead. JULY: If you choose to play one of life’s trickier games, you must get trickier yourself. AUGUST: Shedding irrelevant theories and unlearning old approaches will pave the way for creative breakthroughs. SEPTEMBER: Begin working on a new product or project that will last a long time. OCTOBER: Maybe you don’t need that emotional crutch as much as you thought. NOVEMBER: Explore the intense, perplexing, interesting feelings until you’re cleansed and healed. DECEMBER: Join forces with a new ally and/or deepen an existing alliance.       0,0,1    horoscope astrology july "The Crab"                       Free Will Astrology - July 2019 "
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  string(8087) "DANCING QUEEN: On Ponce de Leon Avenue around 4 a.m., a dispute broke out at Domino’s Pizza. 
A 25-year-old female employee was preparing to close the store for the night, when she noticed two young guys hanging out near the store’s front door. 
The employee said she “pointed to a sign with the store hours” but the two lingering guys didn’t budge. So she walked over and opened the front door to speak to the two guys. The moment the door opened, Suspect #1 (a guy wearing a denim jumpsuit and a colorful scarf) started yelling, “You don’t remember me, bitch!” while squirting pepper spray into the female employee’s face.
Suspect #2 (a chubby guy wearing black biker shorts and a brown Louis Vuitton scarf) started laughing about the employee’s face getting pepper-sprayed. He then “attempted to throw an electronic scooter” at another pizza employee. Moments later, Suspect #1 ran west on Ponce, while Suspect #2 ran east on Ponce.
The pepper-sprayed female employee chased Suspect #2 for a while, finally giving up on Monroe Drive. She started walking back to Domino’s, when she spotted Suspect #1 hanging out at the corner gas station with a lady wearing all black.
The employee said Suspect #1 started taunting her and baiting her into a fight, all while clutching the pepper-spray in his hand.
According to the police report, “She said Suspect #1 sprayed her again and she began to fight him in the street. She said she fell to the ground, and he kept spraying her until her shirt was drenched with the chemical.” Then, the Lady in Black jumped into the fray, hitting the Domino’s employee’s head, while screaming that Suspect #1 was just a teenager.
During the altercation, the female employee dropped and lost her IPhone 7, which was in a lime green case. 
When police arrived, the Domino’s employee explained the strange backstory involving Suspect #1. According to the officer’s notes, “About two or three months ago, Suspect #1 came into the Domino’s store and made a video of himself twerking (a dance to popular music in a sexually provocative manner involving thrusting hip movements and a low, squatting stance) on Facebook Live. So the female employee refused to serve him, Suspect #1. She said this is the only contact she’s ever had with Suspect #1 and she didn’t even recognize him when she opened the front door this evening. Also, she added, Suspect #1 and #2 appear to be gay men due to their feminine behaviors, and the Lady in Black may be a lesbian based on her “manliness behavior.”
The police officer noted, “The female employee said according to other nearby restaurant managers, Suspect #1 is known for coming into businesses and recording twerking videos of himself.”
CRAPPY BEHAVIOR: Just outside the Atlanta City Public Safety Headquarters on Peachtree Street: Yes, that’s where a man decided to loiter. “The man was lying down on the sidewalk with his feet in the street,” an officer wrote. “He was lying with his head on his book bag and his feet were crossed.” 
Pedestrians had to walk over the man to cross the street. An officer asked him to leave. “I asked the man if he spoke English because he turned his head sideways while I was speaking to him,” the officer noted. 
“I speak Arabic,” the man responded in perfect English. 
The officer detained him, and asked for his name. “I have two names,” the man responded. “My name is on a piece of paper in my bag.” 
Eventually, he revealed his name. “I asked him if I removed the handcuffs, would he leave the area in front of headquarters,” the officer wrote, “He shook his head no.” So the man was arrested and taken into custody. 
One surprise remained: “I inventoried the bags he had with him,” the officer recalled. “One of the bags had feces inside of it.”
STONED SHOPPER’S ETIQUETTE: At the Target store on Piedmont Road, a shopper’s unusual techniques required police intervention. The first sign of trouble: A pair of shoes went missing. Plus, a pair of well-worn shoes was found nearby. A female employee called her manager, and they both started looking for the shoe thief. According to the police report, “They found a man in a red-colored shirt and green pants lying on the floor with no shoes. The man appeared to be intoxicated or under the influence of something. He got up and said he was going to buy some stuff. He grabbed some clothing items and walked to the self-check out area, where he began taking his pants off. He dropped his pants and shoes next to him, as he attempted to check out. (An employee) said the man was at a cash register, attempting to pay with marijuana.” 
Police officers arrived and found the man “talking to himself and staring at the cash register. There was slobber coming from his mouth, as he stood unbalanced, “ an officer noted. “He did admit to taking Xanax.” 
The man’s green pants were still on the floor. Police searched the pants pockets, finding a pill bottle containing “seven hits of ecstasy pills shaped as ghosts.” The man, age 23, went to jail on multiple charges.
WHEN DOVES CRY: A woman said her red wallet was stolen, while her entire family was outside on Greenbriar Parkway releasing doves for a dead family member. The woman said she had to pee right before the dove-releasing portion of the funeral began. So she asked a female friend to hold her purse while she went to the restroom. The friend’s purse-holding skill evaporated entirely just moments later. She got distracted and followed everyone outside to release the doves, leaving the purse on a downstairs table. The woman said her missing red Louis Vuitton wallet contained $150 cash and credit cards.
MISSION BOOM BOOM: In the Custer-McDonough-Guice neighborhood, a cop was patrolling near an apartment complex. Suddenly, he heard a “loud thump” on his police car. “An empty firework shell filled with dirt had been thrown against my vehicle,” he noted. “After briefly looking for suspects, I was unable to find any.”
Five minutes later, BOOM. “Another thump under my patrol car, followed by an immediate large explosion,” the cop noted. “A firework had exploded near the gas tank.” In a bizarre twist, the cop inspected his car — and saw zero signs of physical damage. The only problem: a weird noise. The car was “idling with an unusual vibration.”
Again, the cop searched for fireworks culprits — nothing. So he called for backup. Four police officers, plus a security guard, arrived. Moments later, BOOM. “We heard another firework being shot” from the woods. “I then saw another firework spiraling horizontally toward us from a dirt path shortcut leading to the apartment complex,” the cop noted. “About two seconds later, it exploded between all of us at a very low height. We immediately went to the woodline to search for suspects but were unable to find any.” The cops regrouped for a moment after the search. Another firework zoomed in, leaving a small bruise on one officer’s head. The culprits remain on the loose.
WORST. WANNABE. BURGLARS. EVER: Just north of Centennial Park, a woman heard weird noises coming from her side window. She peered through the blinds, and saw a guy trying to pry open her window.
A 32-year-old man said he witnessed the whole thing — since he was standing outside the apartment entrance on McAfee Street. He saw a young group (definitely under age 21) lingering near the woman’s window. The group consisted of two shirtless young dudes, one female, and a tall guy wearing a neon-yellow traffic vest.
Only one group member was actually trying to pry open the side window: Neon-yellow vest guy, the loudest dresser of the bunch. The rest of them just stood around.
The witness said exactly one word to the group: “Really?”
Moments later, one guy whispered, “It’s just not worth it! ”
The whole group took off running.

The Blotter Diva compiles reports from Atlanta Police Department and puts them into her own words."
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  string(8115) "__DANCING QUEEN:__ On Ponce de Leon Avenue around 4 a.m., a dispute broke out at Domino’s Pizza. 
A 25-year-old female employee was preparing to close the store for the night, when she noticed two young guys hanging out near the store’s front door. 
The employee said she “pointed to a sign with the store hours” but the two lingering guys didn’t budge. So she walked over and opened the front door to speak to the two guys. The moment the door opened, Suspect #1 (a guy wearing a denim jumpsuit and a colorful scarf) started yelling, “You don’t remember me, bitch!” while squirting pepper spray into the female employee’s face.
Suspect #2 (a chubby guy wearing black biker shorts and a brown Louis Vuitton scarf) started laughing about the employee’s face getting pepper-sprayed. He then “attempted to throw an electronic scooter” at another pizza employee. Moments later, Suspect #1 ran west on Ponce, while Suspect #2 ran east on Ponce.
The pepper-sprayed female employee chased Suspect #2 for a while, finally giving up on Monroe Drive. She started walking back to Domino’s, when she spotted Suspect #1 hanging out at the corner gas station with a lady wearing all black.
The employee said Suspect #1 started taunting her and baiting her into a fight, all while clutching the pepper-spray in his hand.
According to the police report, “She said Suspect #1 sprayed her again and she began to fight him in the street. She said she fell to the ground, and he kept spraying her until her shirt was drenched with the chemical.” Then, the Lady in Black jumped into the fray, hitting the Domino’s employee’s head, while screaming that Suspect #1 was just a teenager.
During the altercation, the female employee dropped and lost her IPhone 7, which was in a lime green case. 
When police arrived, the Domino’s employee explained the strange backstory involving Suspect #1. According to the officer’s notes, “About two or three months ago, Suspect #1 came into the Domino’s store and made a video of himself twerking (a dance to popular music in a sexually provocative manner involving thrusting hip movements and a low, squatting stance) on Facebook Live. So the female employee refused to serve him, Suspect #1. She said this is the only contact she’s ever had with Suspect #1 and she didn’t even recognize him when she opened the front door this evening. Also, she added, Suspect #1 and #2 appear to be gay men due to their feminine behaviors, and the Lady in Black may be a lesbian based on her “manliness behavior.”
The police officer noted, “The female employee said according to other nearby restaurant managers, Suspect #1 is known for coming into businesses and recording twerking videos of himself.”
__CRAPPY BEHAVIOR:__ Just outside the Atlanta City Public Safety Headquarters on Peachtree Street: Yes, that’s where a man decided to loiter. “The man was lying down on the sidewalk with his feet in the street,” an officer wrote. “He was lying with his head on his book bag and his feet were crossed.” 
Pedestrians had to walk over the man to cross the street. An officer asked him to leave. “I asked the man if he spoke English because he turned his head sideways while I was speaking to him,” the officer noted. 
“I speak Arabic,” the man responded in perfect English. 
The officer detained him, and asked for his name. “I have two names,” the man responded. “My name is on a piece of paper in my bag.” 
Eventually, he revealed his name. “I asked him if I removed the handcuffs, would he leave the area in front of headquarters,” the officer wrote, “He shook his head no.” So the man was arrested and taken into custody. 
One surprise remained: “I inventoried the bags he had with him,” the officer recalled. “One of the bags had feces inside of it.”
__STONED SHOPPER’S ETIQUETTE:__ At the Target store on Piedmont Road, a shopper’s unusual techniques required police intervention. The first sign of trouble: A pair of shoes went missing. Plus, a pair of well-worn shoes was found nearby. A female employee called her manager, and they both started looking for the shoe thief. According to the police report, “They found a man in a red-colored shirt and green pants lying on the floor with no shoes. The man appeared to be intoxicated or under the influence of something. He got up and said he was going to buy some stuff. He grabbed some clothing items and walked to the self-check out area, where he began taking his pants off. He dropped his pants and shoes next to him, as he attempted to check out. (An employee) said the man was at a cash register, attempting to pay with marijuana.” 
Police officers arrived and found the man “talking to himself and staring at the cash register. There was slobber coming from his mouth, as he stood unbalanced, “ an officer noted. “He did admit to taking Xanax.” 
The man’s green pants were still on the floor. Police searched the pants pockets, finding a pill bottle containing “seven hits of ecstasy pills shaped as ghosts.” The man, age 23, went to jail on multiple charges.
__WHEN DOVES CRY:__ A woman said her red wallet was stolen, while her entire family was outside on Greenbriar Parkway releasing doves for a dead family member. The woman said she had to pee right before the dove-releasing portion of the funeral began. So she asked a female friend to hold her purse while she went to the restroom. The friend’s purse-holding skill evaporated entirely just moments later. She got distracted and followed everyone outside to release the doves, leaving the purse on a downstairs table. The woman said her missing red Louis Vuitton wallet contained $150 cash and credit cards.
__MISSION BOOM BOOM:__ In the Custer-McDonough-Guice neighborhood, a cop was patrolling near an apartment complex. Suddenly, he heard a “loud thump” on his police car. “An empty firework shell filled with dirt had been thrown against my vehicle,” he noted. “After briefly looking for suspects, I was unable to find any.”
Five minutes later, BOOM. “Another thump under my patrol car, followed by an immediate large explosion,” the cop noted. “A firework had exploded near the gas tank.” In a bizarre twist, the cop inspected his car — and saw zero signs of physical damage. The only problem: a weird noise. The car was “idling with an unusual vibration.”
Again, the cop searched for fireworks culprits — nothing. So he called for backup. Four police officers, plus a security guard, arrived. Moments later, BOOM. “We heard another firework being shot” from the woods. “I then saw another firework spiraling horizontally toward us from a dirt path shortcut leading to the apartment complex,” the cop noted. “About two seconds later, it exploded between all of us at a very low height. We immediately went to the woodline to search for suspects but were unable to find any.” The cops regrouped for a moment after the search. Another firework zoomed in, leaving a small bruise on one officer’s head. The culprits remain on the loose.
__WORST. WANNABE. BURGLARS. EVER:__ Just north of Centennial Park, a woman heard weird noises coming from her side window. She peered through the blinds, and saw a guy trying to pry open her window.
A 32-year-old man said he witnessed the whole thing — since he was standing outside the apartment entrance on McAfee Street. He saw a young group (definitely under age 21) lingering near the woman’s window. The group consisted of two shirtless young dudes, one female, and a tall guy wearing a neon-yellow traffic vest.
Only one group member was actually trying to pry open the side window: Neon-yellow vest guy, the loudest dresser of the bunch. The rest of them just stood around.
The witness said exactly one word to the group: “Really?”
Moments later, one guy whispered, “It’s just not worth it! ”
The whole group took off running.

''The Blotter Diva compiles reports from Atlanta Police Department and puts them into her own words.''"
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  string(8531) " Blot0719pizza Final  2019-07-05T14:20:36+00:00 blot0719pizza-final.jpg      And other tales of life in the ATL Blot0719pizza Final   2019-07-05T14:14:36+00:00  THE BLOTTER: Twerking videos and pepper spray jim.harris Jim Harris LAUREN KEATING; ILLUSTRATION BY TRAY BUTLER lauren.keating (Lauren Keating) 2019-07-05T14:14:36+00:00 DANCING QUEEN: On Ponce de Leon Avenue around 4 a.m., a dispute broke out at Domino’s Pizza. 
A 25-year-old female employee was preparing to close the store for the night, when she noticed two young guys hanging out near the store’s front door. 
The employee said she “pointed to a sign with the store hours” but the two lingering guys didn’t budge. So she walked over and opened the front door to speak to the two guys. The moment the door opened, Suspect #1 (a guy wearing a denim jumpsuit and a colorful scarf) started yelling, “You don’t remember me, bitch!” while squirting pepper spray into the female employee’s face.
Suspect #2 (a chubby guy wearing black biker shorts and a brown Louis Vuitton scarf) started laughing about the employee’s face getting pepper-sprayed. He then “attempted to throw an electronic scooter” at another pizza employee. Moments later, Suspect #1 ran west on Ponce, while Suspect #2 ran east on Ponce.
The pepper-sprayed female employee chased Suspect #2 for a while, finally giving up on Monroe Drive. She started walking back to Domino’s, when she spotted Suspect #1 hanging out at the corner gas station with a lady wearing all black.
The employee said Suspect #1 started taunting her and baiting her into a fight, all while clutching the pepper-spray in his hand.
According to the police report, “She said Suspect #1 sprayed her again and she began to fight him in the street. She said she fell to the ground, and he kept spraying her until her shirt was drenched with the chemical.” Then, the Lady in Black jumped into the fray, hitting the Domino’s employee’s head, while screaming that Suspect #1 was just a teenager.
During the altercation, the female employee dropped and lost her IPhone 7, which was in a lime green case. 
When police arrived, the Domino’s employee explained the strange backstory involving Suspect #1. According to the officer’s notes, “About two or three months ago, Suspect #1 came into the Domino’s store and made a video of himself twerking (a dance to popular music in a sexually provocative manner involving thrusting hip movements and a low, squatting stance) on Facebook Live. So the female employee refused to serve him, Suspect #1. She said this is the only contact she’s ever had with Suspect #1 and she didn’t even recognize him when she opened the front door this evening. Also, she added, Suspect #1 and #2 appear to be gay men due to their feminine behaviors, and the Lady in Black may be a lesbian based on her “manliness behavior.”
The police officer noted, “The female employee said according to other nearby restaurant managers, Suspect #1 is known for coming into businesses and recording twerking videos of himself.”
CRAPPY BEHAVIOR: Just outside the Atlanta City Public Safety Headquarters on Peachtree Street: Yes, that’s where a man decided to loiter. “The man was lying down on the sidewalk with his feet in the street,” an officer wrote. “He was lying with his head on his book bag and his feet were crossed.” 
Pedestrians had to walk over the man to cross the street. An officer asked him to leave. “I asked the man if he spoke English because he turned his head sideways while I was speaking to him,” the officer noted. 
“I speak Arabic,” the man responded in perfect English. 
The officer detained him, and asked for his name. “I have two names,” the man responded. “My name is on a piece of paper in my bag.” 
Eventually, he revealed his name. “I asked him if I removed the handcuffs, would he leave the area in front of headquarters,” the officer wrote, “He shook his head no.” So the man was arrested and taken into custody. 
One surprise remained: “I inventoried the bags he had with him,” the officer recalled. “One of the bags had feces inside of it.”
STONED SHOPPER’S ETIQUETTE: At the Target store on Piedmont Road, a shopper’s unusual techniques required police intervention. The first sign of trouble: A pair of shoes went missing. Plus, a pair of well-worn shoes was found nearby. A female employee called her manager, and they both started looking for the shoe thief. According to the police report, “They found a man in a red-colored shirt and green pants lying on the floor with no shoes. The man appeared to be intoxicated or under the influence of something. He got up and said he was going to buy some stuff. He grabbed some clothing items and walked to the self-check out area, where he began taking his pants off. He dropped his pants and shoes next to him, as he attempted to check out. (An employee) said the man was at a cash register, attempting to pay with marijuana.” 
Police officers arrived and found the man “talking to himself and staring at the cash register. There was slobber coming from his mouth, as he stood unbalanced, “ an officer noted. “He did admit to taking Xanax.” 
The man’s green pants were still on the floor. Police searched the pants pockets, finding a pill bottle containing “seven hits of ecstasy pills shaped as ghosts.” The man, age 23, went to jail on multiple charges.
WHEN DOVES CRY: A woman said her red wallet was stolen, while her entire family was outside on Greenbriar Parkway releasing doves for a dead family member. The woman said she had to pee right before the dove-releasing portion of the funeral began. So she asked a female friend to hold her purse while she went to the restroom. The friend’s purse-holding skill evaporated entirely just moments later. She got distracted and followed everyone outside to release the doves, leaving the purse on a downstairs table. The woman said her missing red Louis Vuitton wallet contained $150 cash and credit cards.
MISSION BOOM BOOM: In the Custer-McDonough-Guice neighborhood, a cop was patrolling near an apartment complex. Suddenly, he heard a “loud thump” on his police car. “An empty firework shell filled with dirt had been thrown against my vehicle,” he noted. “After briefly looking for suspects, I was unable to find any.”
Five minutes later, BOOM. “Another thump under my patrol car, followed by an immediate large explosion,” the cop noted. “A firework had exploded near the gas tank.” In a bizarre twist, the cop inspected his car — and saw zero signs of physical damage. The only problem: a weird noise. The car was “idling with an unusual vibration.”
Again, the cop searched for fireworks culprits — nothing. So he called for backup. Four police officers, plus a security guard, arrived. Moments later, BOOM. “We heard another firework being shot” from the woods. “I then saw another firework spiraling horizontally toward us from a dirt path shortcut leading to the apartment complex,” the cop noted. “About two seconds later, it exploded between all of us at a very low height. We immediately went to the woodline to search for suspects but were unable to find any.” The cops regrouped for a moment after the search. Another firework zoomed in, leaving a small bruise on one officer’s head. The culprits remain on the loose.
WORST. WANNABE. BURGLARS. EVER: Just north of Centennial Park, a woman heard weird noises coming from her side window. She peered through the blinds, and saw a guy trying to pry open her window.
A 32-year-old man said he witnessed the whole thing — since he was standing outside the apartment entrance on McAfee Street. He saw a young group (definitely under age 21) lingering near the woman’s window. The group consisted of two shirtless young dudes, one female, and a tall guy wearing a neon-yellow traffic vest.
Only one group member was actually trying to pry open the side window: Neon-yellow vest guy, the loudest dresser of the bunch. The rest of them just stood around.
The witness said exactly one word to the group: “Really?”
Moments later, one guy whispered, “It’s just not worth it! ”
The whole group took off running.

The Blotter Diva compiles reports from Atlanta Police Department and puts them into her own words.    TRAY BUTLER   0,0,11  The Blotter                         THE BLOTTER: Twerking videos and pepper spray "
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  string(10392) "Immersive. Interactive. Experiential. Site specific. Whatever the term, the allure of art that invites your direct participation is very much alive all over Atlanta.
Sky Creature, LifeVisionVR, Fly on a Wall, gloATL, Flight of Swallows, Deer Bear Wolf, Out of Hand, PushPush Film &Theater, Seedworks, The Object Group, Hereafter Artist Collective, Liquid Sky, MakeShift Circus Collective, Serenbe Playhouse, and Brian Clowdus Immersive Experiences are among a growing array of ATL-based visual, media, and performing arts groups and companies creating sensory-heavy (and often phone-free) environments for exploring emotions, sharing stories, and building community.
Some of ATL’s most captivating storytellers and cultural connectors create all-enveloping environments:
• Sitting in the dark during The Black Box, you feel the cellist’s bow caress the strings. The lonely sounds massage your eardrum and open your heart.
• The night’s first sultry zephyr floats across your face, a slight kiss on your moist cheek. A sassy ingenue sails overhead from a trapeze in Ragtime: The Musical, her song of lust and passion floating through the air.
• You creep ever so gently through the Skin, the tactile environment in Sky Creature’s Sin Piel, that “holy place with a once divine presence, a place to confess, atone and heal, but that has now become a corrupted sanctuary…”  In order to pass through its gates, you must participate in a ritual that involves tasting the space you exist in.
These are just a few of the sensory experiences you may have encountered over the last few weeks, as a guest of these dreamweavers of the “stage.”
Immersive theater shows take place in abandoned warehouses or hidden basements or former mental institutions or public parks at midnight. They’re not just about stepping into an imagined world. They’re about exploring overlooked and mysterious corners of the city. Real estate-obsessed urbanites love nothing more than entrée to buildings that were formerly off-limits, and intrepid explorers love visiting neighborhoods that are off the beaten path. 
In the past year or so, several theatrical productions and creative events took place in unusual performance spaces around Atlanta. Fly On A Wall presented Byte indoors, but Dave and Public Arcana took place outside Colony Square and in a West End park. Small audiences gathering in private living rooms last fall to see the one-woman play Shaking the Wind (Out of Hand Theatre) and in the bathrooms of private residences this past spring to participate in another one-woman play, Broken Bone Bathtub.
Deer Bear Wolf produced their re-telling of the Peter Pan story, Second Star to the Right, in three parts in three outdoor locations, including a trio of large tree houses. Audiences were encouraged to dress in style to witness their version of “CLUE” inside the Swan House at The Atlanta History Center. The Sleepy Hollow Experience by Serenbe Playhouse took audiences in and around an actual horse stable, and Brian Clowdus’ The Edgar Allan Poe Experience invited everyone to enjoy a cocktail while following the tormented author in and out of four 19th-century rooms at the Wren’s Nest in West End. And back in February, gloATL held a screening of their documentary A Night of Alchemy and served food and drinks in the empty shell of the abandoned Rhodes Theater on Peachtree Street in Midtown.
Curious Holiday Encounters (7 Stages Theatre, The Object Group, Weird Sisters Theatre, etc.), The Golden Record, Dead Poets Lounge, and The Black Box (all by Hereafter Arts Collective in collaboration with other artists), and especially TRANSMIGRATION and Sin Piel by Sky Creature (formerly Saiah), also banished traditional theater’s Fourth Wall and pulled audiences out of comfort zones and deep into other lives, eras, psyches, dreams, and dimensions.
Beginning this month and into the fall, curious culture seekers and anyone seeking authentic human connection can dive head first into several immersive experiences. Mediums Collective’s first project Are We There Yet? will guide audiences through a labyrinth they’ve constructed at Windmill Arts Center in East Point where you encounter ritual and individual expressions of grief before being invited into spaces of healing. Other opportunities include gloATL’s month-long “activation” of the contemporary art in the Cousins Galleries, The Object Group’s multi-media exploration of anti-Arab racism in Camus’ “The Stranger” at 7 Stages, Liquid Sky’s steam punk celebration of the 20th anniversary of The B Complex artists studios in Oakland City, and the return of The Poe Experience with its Sleep No More-style of multi-room, interactive (and potentially confrontational) performances.
 




These days, the average age of audiences attending the often excellent productions at the more established subscription theaters tends to be 45 or older. Why are millennials and their 20-something siblings avoiding these more traditional theater and seeking out something — anything — immersive or interactive?
“Younger audiences are restless. They’re definitely less interested then their parents or grandparents in seeing a show on a stage,” says Object Group founder (and former 7 Stages associate artistic director) Michael Haverty. “They don’t want to sit in seats for two hours or more watching actors recite lines. Nowadays, everyone wants to talk to the ringmaster. This is all part of the evolution of the art of theatre.” Haverty adds, “Millennials want accessibility and flexibility. They want to be able to touch someone, be part of the performance; anything to feel part of the ‘family’ of performers around them.”  
Over the past decade, Haverty, an accomplished puppeteer and director, has created some of the most exciting and innovative work in the city. The Navigator (2013) at 7 Stages and The Breakers (2016), both presented at The Goat Farm, were popular with younger audiences who were fascinated by the surprising use of puppetry, video projections, sound effects, specially-designed props and, in the case of The Breakers, an entire house built inside a cavernous 19th century-era brick-walled factory.
Haverty left his position at 7 Stages last year to spend more time with his young son. “I’m still full of ideas for new theater works, but I’m really not that interested in directing actors on a stage anymore.”
Another multitalented Atlanta artist who’s worked in a wide range of settings is Nicolette Emanuelle, a classically trained cellist and experimental storyteller. In 2016, Emanuelle helped start Hereafter Artist Collective and began hosting the Dead Poets Lounge, a one-night event in various locations that combines literature, circus arts, acting, and live music to bring to life the poems of dead poets. Their promo blurb read as follows: “Imagine The Raven is a woman, watch Porphyria’s Lover dance in the air, and let your imagination go wild.”
Emanuelle thinks younger audiences are not so much bored with traditional theater, but desperate for something bolder. “So many people are unemployed or underemployed. They crave something that will snap them out of their funk!” She’s quick to add, “Don’t get me wrong. I really love millennials. Believe it or not, they actually have hope for the future.”
This looser, experience-based vs. plot-based approach to theater and storytelling happens in a real, physical space alongside fellow humans as opposed to virtual or smart-phone space so many people live in. Being in such close proximity to performers also heightens an awareness of the artist’s physical body. Voyeurism is part of any theatrical experience, but participatory performance often involves physical touch. In many instances, you can share an intimate one-on-one encounter with a performer. 
“As a female and a professional aerialist, I’m not comfortable with random people touching me,” declares Marilyn Chen, owner of the cirque-style entertainment company Liquid Sky. “But I understand how much everyone seems to crave authentic connection. As performers, we’re able to look into people’s eyes in a way that most nonperformers can’t. The people watching us are able to experience a kind of intimacy that they seldom have in their daily phone-focused lives.”
Few Atlanta storytellers have been as bold and adventurous with sensory performance as director/playwright Marium Khalid. Just a few years ago, Khalid was the toast of Atlanta theater with her company Saiah and their daringly immersive productions. City of Lions and Gods was ArtsATL’s choice for best production of 2011. The following year, the even more ambitious Rua | Wülf, an adult retelling of the Little Red Riding Hood story that took audiences in and out of every corner of the Goat Farm, was voted Best Play by the readers of this publication. But after Saiah’s critically acclaimed outdoor production Terminus in 2014, Khalid dropped out of sight. 
Khalid has returned with a new production company, Sky Creature, and a new show, Sin Piel, which was presented last May in The Circus School building in Grant Park. Khalid describes Sky Creature as “the next evolution of Saiah.” In her words, “We dive into truths from all perspectives and explore them through a new form, using scent, taste, touch, sight and sound — and a new form of virtual reality like you’ve never experienced before.”
Sin Piel is an enveloping sensory experience inspired by “the ‘Anatomical Venus,’ mental illness, and an exploration of spiritual darkness.” After suffering a serious, life-threatening illness over a period of two years, Khalid decided to create Sin Piel as “a journey that draws us into the innermost sacred parts of our spiritual and physical anatomy …(where) we explore the shadow and light of our internal being, as well as how we choose to engage with our individual pain …”
The scrupulously tactile and gloriously surreal Sin Piel, like all the best immersive theater works, seems to have the same goal as theater or art in any form. Namely, to move, to engage, to amuse, to enlighten, and to connect. To make us feel less alone and to build empathy and, ultimately, to make that authentic human connection all living beings long for."
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Sky Creature, LifeVisionVR, Fly on a Wall, gloATL, Flight of Swallows, Deer Bear Wolf, Out of Hand, PushPush Film &Theater, Seedworks, The Object Group, Hereafter Artist Collective, Liquid Sky, MakeShift Circus Collective, Serenbe Playhouse, and Brian Clowdus Immersive Experiences are among a growing array of ATL-based visual, media, and performing arts groups and companies creating sensory-heavy (and often phone-free) environments for exploring emotions, sharing stories, and building community.
Some of ATL’s most captivating storytellers and cultural connectors create all-enveloping environments:
• Sitting in the dark during ''The Black Box'', you feel the cellist’s bow caress the strings. The lonely sounds massage your eardrum and open your heart.
• The night’s first sultry zephyr floats across your face, a slight kiss on your moist cheek. A sassy ingenue sails overhead from a trapeze in ''Ragtime: The Musical'', her song of lust and passion floating through the air.
• You creep ever so gently through the Skin, the tactile environment in Sky Creature’s ''Sin Piel'', that “holy place with a once divine presence, a place to confess, atone and heal, but that has now become a corrupted sanctuary…”  In order to pass through its gates, you must participate in a ritual that involves tasting the space you exist in.
These are just a few of the sensory experiences you may have encountered over the last few weeks, as a guest of these dreamweavers of the “stage.”
Immersive theater shows take place in abandoned warehouses or hidden basements or former mental institutions or public parks at midnight. They’re not just about stepping into an imagined world. They’re about exploring overlooked and mysterious corners of the city. Real estate-obsessed urbanites love nothing more than entrée to buildings that were formerly off-limits, and intrepid explorers love visiting neighborhoods that are off the beaten path. 
In the past year or so, several theatrical productions and creative events took place in unusual performance spaces around Atlanta. Fly On A Wall presented ''Byte'' indoors, but ''Dave and Public Arcana'' took place outside Colony Square and in a West End park. Small audiences gathering in private living rooms last fall to see the one-woman play ''Shaking the Wind'' (Out of Hand Theatre) and in the bathrooms of private residences this past spring to participate in another one-woman play, ''Broken Bone Bathtub''.
Deer Bear Wolf produced their re-telling of the Peter Pan story, ''Second Star to the Right'', in three parts in three outdoor locations, including a trio of large tree houses. Audiences were encouraged to dress in style to witness their version of “CLUE” inside the Swan House at The Atlanta History Center. The Sleepy Hollow Experience by Serenbe Playhouse took audiences in and around an actual horse stable, and Brian Clowdus’ ''The Edgar Allan Poe Experience'' invited everyone to enjoy a cocktail while following the tormented author in and out of four 19th-century rooms at the Wren’s Nest in West End. And back in February, gloATL held a screening of their documentary ''A Night of Alchemy'' and served food and drinks in the empty shell of the abandoned Rhodes Theater on Peachtree Street in Midtown.
''Curious Holiday Encounters'' (7 Stages Theatre, The Object Group, Weird Sisters Theatre, etc.), ''The Golden Record'', ''Dead Poets Lounge'', and ''The Black Box'' (all by Hereafter Arts Collective in collaboration with other artists), and especially ''TRANSMIGRATION'' and ''Sin Piel'' by Sky Creature (formerly Saiah), also banished traditional theater’s Fourth Wall and pulled audiences out of comfort zones and deep into other lives, eras, psyches, dreams, and dimensions.
Beginning this month and into the fall, curious culture seekers and anyone seeking authentic human connection can dive head first into several immersive experiences. Mediums Collective’s first project ''Are We There Yet?'' will guide audiences through a labyrinth they’ve constructed at Windmill Arts Center in East Point where you encounter ritual and individual expressions of grief before being invited into spaces of healing. Other opportunities include gloATL’s month-long “activation” of the contemporary art in the Cousins Galleries, The Object Group’s multi-media exploration of anti-Arab racism in Camus’ “The Stranger” at 7 Stages, Liquid Sky’s steam punk celebration of the 20th anniversary of The B Complex artists studios in Oakland City, and the return of The Poe Experience with its ''Sleep No More''-style of multi-room, interactive (and potentially confrontational) performances.
 

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These days, the average age of audiences attending the often excellent productions at the more established subscription theaters tends to be 45 or older. Why are millennials and their 20-something siblings avoiding these more traditional theater and seeking out something — anything — immersive or interactive?
“Younger audiences are restless. They’re definitely less interested then their parents or grandparents in seeing a show on a stage,” says Object Group founder (and former 7 Stages associate artistic director) Michael Haverty. “They don’t want to sit in seats for two hours or more watching actors recite lines. Nowadays, everyone wants to talk to the ringmaster. This is all part of the evolution of the art of theatre.” Haverty adds, “Millennials want accessibility and flexibility. They want to be able to touch someone, be part of the performance; anything to feel part of the ‘family’ of performers around them.”  
Over the past decade, Haverty, an accomplished puppeteer and director, has created some of the most exciting and innovative work in the city. ''The Navigator'' (2013) at 7 Stages and ''The Breakers'' (2016), both presented at The Goat Farm, were popular with younger audiences who were fascinated by the surprising use of puppetry, video projections, sound effects, specially-designed props and, in the case of ''The Breakers'', an entire house built inside a cavernous 19th century-era brick-walled factory.
Haverty left his position at 7 Stages last year to spend more time with his young son. “I’m still full of ideas for new theater works, but I’m really not that interested in directing actors on a stage anymore.”
Another multitalented Atlanta artist who’s worked in a wide range of settings is Nicolette Emanuelle, a classically trained cellist and experimental storyteller. In 2016, Emanuelle helped start Hereafter Artist Collective and began hosting the ''Dead Poets Lounge'', a one-night event in various locations that combines literature, circus arts, acting, and live music to bring to life the poems of dead poets. Their promo blurb read as follows: “Imagine The Raven is a woman, watch Porphyria’s Lover dance in the air, and let your imagination go wild.”
Emanuelle thinks younger audiences are not so much bored with traditional theater, but desperate for something bolder. “So many people are unemployed or underemployed. They crave something that will snap them out of their funk!” She’s quick to add, “Don’t get me wrong. I really love millennials. Believe it or not, they actually have hope for the future.”
This looser, experience-based vs. plot-based approach to theater and storytelling happens in a real, physical space alongside fellow humans as opposed to virtual or smart-phone space so many people live in. Being in such close proximity to performers also heightens an awareness of the artist’s physical body. Voyeurism is part of any theatrical experience, but participatory performance often involves physical touch. In many instances, you can share an intimate one-on-one encounter with a performer. 
“As a female and a professional aerialist, I’m not comfortable with random people touching me,” declares Marilyn Chen, owner of the cirque-style entertainment company Liquid Sky. “But I understand how much everyone seems to crave authentic connection. As performers, we’re able to look into people’s eyes in a way that most nonperformers can’t. The people watching us are able to experience a kind of intimacy that they seldom have in their daily phone-focused lives.”
Few Atlanta storytellers have been as bold and adventurous with sensory performance as director/playwright Marium Khalid. Just a few years ago, Khalid was the toast of Atlanta theater with her company Saiah and their daringly immersive productions. ''City of Lions and Gods'' was ArtsATL’s choice for best production of 2011. The following year, the even more ambitious ''Rua | Wülf'', an adult retelling of the Little Red Riding Hood story that took audiences in and out of every corner of the Goat Farm, was voted Best Play by the readers of this publication. But after Saiah’s critically acclaimed outdoor production ''Terminus'' in 2014, Khalid dropped out of sight. 
Khalid has returned with a new production company, Sky Creature, and a new show, ''Sin Piel'', which was presented last May in The Circus School building in Grant Park. Khalid describes Sky Creature as “the next evolution of Saiah.” In her words, “We dive into truths from all perspectives and explore them through a new form, using scent, taste, touch, sight and sound — and a new form of virtual reality like you’ve never experienced before.”
''Sin Piel'' is an enveloping sensory experience inspired by “the ‘Anatomical Venus,’ mental illness, and an exploration of spiritual darkness.” After suffering a serious, life-threatening illness over a period of two years, Khalid decided to create Sin Piel as “a journey that draws us into the innermost sacred parts of our spiritual and physical anatomy …(where) we explore the shadow and light of our internal being, as well as how we choose to engage with our individual pain …”
The scrupulously tactile and gloriously surreal Sin Piel, like all the best immersive theater works, seems to have the same goal as theater or art in any form. Namely, to move, to engage, to amuse, to enlighten, and to connect. To make us feel less alone and to build empathy and, ultimately, to make that authentic human connection all living beings long for."
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  string(11016) " SM 60269687 2487885001438939 328309653748318208 O  2019-07-05T14:47:56+00:00 SM_60269687_2487885001438939_328309653748318208_o.jpg     scenes&motions How immersive performances in the ATL are redefining the theatre experience SM 60269687 2487885001438939 328309653748318208 O   2019-07-05T14:41:22+00:00  SCENES & MOTIONS: Breaking Through jim.harris Jim Harris Edward McNally edward.mcnally (Edward McNally) 2019-07-05T14:41:22+00:00 Immersive. Interactive. Experiential. Site specific. Whatever the term, the allure of art that invites your direct participation is very much alive all over Atlanta.
Sky Creature, LifeVisionVR, Fly on a Wall, gloATL, Flight of Swallows, Deer Bear Wolf, Out of Hand, PushPush Film &Theater, Seedworks, The Object Group, Hereafter Artist Collective, Liquid Sky, MakeShift Circus Collective, Serenbe Playhouse, and Brian Clowdus Immersive Experiences are among a growing array of ATL-based visual, media, and performing arts groups and companies creating sensory-heavy (and often phone-free) environments for exploring emotions, sharing stories, and building community.
Some of ATL’s most captivating storytellers and cultural connectors create all-enveloping environments:
• Sitting in the dark during The Black Box, you feel the cellist’s bow caress the strings. The lonely sounds massage your eardrum and open your heart.
• The night’s first sultry zephyr floats across your face, a slight kiss on your moist cheek. A sassy ingenue sails overhead from a trapeze in Ragtime: The Musical, her song of lust and passion floating through the air.
• You creep ever so gently through the Skin, the tactile environment in Sky Creature’s Sin Piel, that “holy place with a once divine presence, a place to confess, atone and heal, but that has now become a corrupted sanctuary…”  In order to pass through its gates, you must participate in a ritual that involves tasting the space you exist in.
These are just a few of the sensory experiences you may have encountered over the last few weeks, as a guest of these dreamweavers of the “stage.”
Immersive theater shows take place in abandoned warehouses or hidden basements or former mental institutions or public parks at midnight. They’re not just about stepping into an imagined world. They’re about exploring overlooked and mysterious corners of the city. Real estate-obsessed urbanites love nothing more than entrée to buildings that were formerly off-limits, and intrepid explorers love visiting neighborhoods that are off the beaten path. 
In the past year or so, several theatrical productions and creative events took place in unusual performance spaces around Atlanta. Fly On A Wall presented Byte indoors, but Dave and Public Arcana took place outside Colony Square and in a West End park. Small audiences gathering in private living rooms last fall to see the one-woman play Shaking the Wind (Out of Hand Theatre) and in the bathrooms of private residences this past spring to participate in another one-woman play, Broken Bone Bathtub.
Deer Bear Wolf produced their re-telling of the Peter Pan story, Second Star to the Right, in three parts in three outdoor locations, including a trio of large tree houses. Audiences were encouraged to dress in style to witness their version of “CLUE” inside the Swan House at The Atlanta History Center. The Sleepy Hollow Experience by Serenbe Playhouse took audiences in and around an actual horse stable, and Brian Clowdus’ The Edgar Allan Poe Experience invited everyone to enjoy a cocktail while following the tormented author in and out of four 19th-century rooms at the Wren’s Nest in West End. And back in February, gloATL held a screening of their documentary A Night of Alchemy and served food and drinks in the empty shell of the abandoned Rhodes Theater on Peachtree Street in Midtown.
Curious Holiday Encounters (7 Stages Theatre, The Object Group, Weird Sisters Theatre, etc.), The Golden Record, Dead Poets Lounge, and The Black Box (all by Hereafter Arts Collective in collaboration with other artists), and especially TRANSMIGRATION and Sin Piel by Sky Creature (formerly Saiah), also banished traditional theater’s Fourth Wall and pulled audiences out of comfort zones and deep into other lives, eras, psyches, dreams, and dimensions.
Beginning this month and into the fall, curious culture seekers and anyone seeking authentic human connection can dive head first into several immersive experiences. Mediums Collective’s first project Are We There Yet? will guide audiences through a labyrinth they’ve constructed at Windmill Arts Center in East Point where you encounter ritual and individual expressions of grief before being invited into spaces of healing. Other opportunities include gloATL’s month-long “activation” of the contemporary art in the Cousins Galleries, The Object Group’s multi-media exploration of anti-Arab racism in Camus’ “The Stranger” at 7 Stages, Liquid Sky’s steam punk celebration of the 20th anniversary of The B Complex artists studios in Oakland City, and the return of The Poe Experience with its Sleep No More-style of multi-room, interactive (and potentially confrontational) performances.
 




These days, the average age of audiences attending the often excellent productions at the more established subscription theaters tends to be 45 or older. Why are millennials and their 20-something siblings avoiding these more traditional theater and seeking out something — anything — immersive or interactive?
“Younger audiences are restless. They’re definitely less interested then their parents or grandparents in seeing a show on a stage,” says Object Group founder (and former 7 Stages associate artistic director) Michael Haverty. “They don’t want to sit in seats for two hours or more watching actors recite lines. Nowadays, everyone wants to talk to the ringmaster. This is all part of the evolution of the art of theatre.” Haverty adds, “Millennials want accessibility and flexibility. They want to be able to touch someone, be part of the performance; anything to feel part of the ‘family’ of performers around them.”  
Over the past decade, Haverty, an accomplished puppeteer and director, has created some of the most exciting and innovative work in the city. The Navigator (2013) at 7 Stages and The Breakers (2016), both presented at The Goat Farm, were popular with younger audiences who were fascinated by the surprising use of puppetry, video projections, sound effects, specially-designed props and, in the case of The Breakers, an entire house built inside a cavernous 19th century-era brick-walled factory.
Haverty left his position at 7 Stages last year to spend more time with his young son. “I’m still full of ideas for new theater works, but I’m really not that interested in directing actors on a stage anymore.”
Another multitalented Atlanta artist who’s worked in a wide range of settings is Nicolette Emanuelle, a classically trained cellist and experimental storyteller. In 2016, Emanuelle helped start Hereafter Artist Collective and began hosting the Dead Poets Lounge, a one-night event in various locations that combines literature, circus arts, acting, and live music to bring to life the poems of dead poets. Their promo blurb read as follows: “Imagine The Raven is a woman, watch Porphyria’s Lover dance in the air, and let your imagination go wild.”
Emanuelle thinks younger audiences are not so much bored with traditional theater, but desperate for something bolder. “So many people are unemployed or underemployed. They crave something that will snap them out of their funk!” She’s quick to add, “Don’t get me wrong. I really love millennials. Believe it or not, they actually have hope for the future.”
This looser, experience-based vs. plot-based approach to theater and storytelling happens in a real, physical space alongside fellow humans as opposed to virtual or smart-phone space so many people live in. Being in such close proximity to performers also heightens an awareness of the artist’s physical body. Voyeurism is part of any theatrical experience, but participatory performance often involves physical touch. In many instances, you can share an intimate one-on-one encounter with a performer. 
“As a female and a professional aerialist, I’m not comfortable with random people touching me,” declares Marilyn Chen, owner of the cirque-style entertainment company Liquid Sky. “But I understand how much everyone seems to crave authentic connection. As performers, we’re able to look into people’s eyes in a way that most nonperformers can’t. The people watching us are able to experience a kind of intimacy that they seldom have in their daily phone-focused lives.”
Few Atlanta storytellers have been as bold and adventurous with sensory performance as director/playwright Marium Khalid. Just a few years ago, Khalid was the toast of Atlanta theater with her company Saiah and their daringly immersive productions. City of Lions and Gods was ArtsATL’s choice for best production of 2011. The following year, the even more ambitious Rua | Wülf, an adult retelling of the Little Red Riding Hood story that took audiences in and out of every corner of the Goat Farm, was voted Best Play by the readers of this publication. But after Saiah’s critically acclaimed outdoor production Terminus in 2014, Khalid dropped out of sight. 
Khalid has returned with a new production company, Sky Creature, and a new show, Sin Piel, which was presented last May in The Circus School building in Grant Park. Khalid describes Sky Creature as “the next evolution of Saiah.” In her words, “We dive into truths from all perspectives and explore them through a new form, using scent, taste, touch, sight and sound — and a new form of virtual reality like you’ve never experienced before.”
Sin Piel is an enveloping sensory experience inspired by “the ‘Anatomical Venus,’ mental illness, and an exploration of spiritual darkness.” After suffering a serious, life-threatening illness over a period of two years, Khalid decided to create Sin Piel as “a journey that draws us into the innermost sacred parts of our spiritual and physical anatomy …(where) we explore the shadow and light of our internal being, as well as how we choose to engage with our individual pain …”
The scrupulously tactile and gloriously surreal Sin Piel, like all the best immersive theater works, seems to have the same goal as theater or art in any form. Namely, to move, to engage, to amuse, to enlighten, and to connect. To make us feel less alone and to build empathy and, ultimately, to make that authentic human connection all living beings long for.    Courtesy of hereafter arTist collective The Black Box presented by Hereafter Artist Collective.  0,0,11    scenes&motions                       SCENES & MOTIONS: Breaking Through "
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  string(6230) "Something was missing when Toy Story 4 opened to wide acclaim on June 21. The latest witty adventure of Woody, Buzz Lightyear, and company marked Pixar Studios’ first release in more than two decades with no animated short preceding it.
Pixar’s shorts have been more than just a charming throwback to the era when cartoons, newsreels, and short features were part of the moviegoing experience. In the mid-1990s, they were probably the most prominent example of new short films as an art form. Two decades later, in a media landscape shaped by YouTube and viral videos, shorts see a lot more love.
Locally, the annual short film festival Atlanta Shortsfest showcases movies of under 45 minutes. “Atlanta Shortsfest typically screens right under 100 films per year, and this is our 10th season,” says founder Eric Panter. “Each year, around 20 percent of the films screened are Georgia-based filmmakers.”
For 2019, out of nearly 1000 entries, the festival will screen about 90 works, 15 from Georgia, from July 11-13. Part of the Atlanta Film Series, a four-month showcase of small film events that includes Atlanta DocuFest, Atlanta Underground Film Festival, and Atlanta Horror Film Festival, Shortsfest gives awards for documentary, animated, local, LGBTQ, and many more categories, including best director, actor, and actress.
The festival screens the shorts in blocks of about 90 minutes each, which frequently exhibit the work of established filmmakers exploring ideas that may not support a feature film, as well as fledgling artists trying to advance their careers and creative abilities. Shorts often serve as calling cards for new directors. “The Neighbors’ Window” is the first fiction from Marshall Curry, a multiple Oscar nominee for documentaries, and crafts a lovely story of an overwhelmed mom fascinated by the passionate young couple she can see in a neighboring apartment.
It’s a fun surprise whenever famous performers turn up: Tom Stern’s funny, feverish “Adams” adapts a short story by the great George Saunders, casting Patton Oswalt as a family man increasingly obsessed with his neighbor (“Portlandia”’s Fred Armisen) and willing to go to extremes to protect his family.
Milla Jovovich stars in “WithorWithout,” Benjamin Howdeshell’s extended music video for the Berlin-based band Parcels. Not just a vehicle for a pleasantly placid pop song, the film unfolds in the form of a home invasion horror story (some shots seem inspired by Jordan Peele’s Us) and manages to pull the rug out from under the viewer at least once in seven minutes. Chris Wood’s “The Stew” unfolds like a “Mr. Show” sketch in its depiction of a passive-aggressive married couple, played by Melissa Benoist and Carlos Valdes (both regulars of The CW superhero shows).
The title is fairly self-explanatory in the Atlanta-made “I Think My Dead Sister is Following Me Around,” from David Nobles. A young woman grapples with her strained relationship with her late sister in a tale that flirts with humor but is more of a bittersweet character study that has echoes of David Lowery’s “A Ghost Story.”
Outside of film festivals and compilations like the annual Oscar Nominated Short Films, it can be a challenge to find worthwhile shorts among the countless available in YouTube, Vimeo, and other online outlets. Sometimes fan films inspired by famous franchises can be surprisingly sophisticated. Earlier this year, 20th Century Fox celebrated the anniversary of Alien by releasing six fan films that explored tropes in the sci-fi series. Noah Miller’s “Alien: Alone” delivered the best by portraying the unlikely bond that forms between the survivor of a spaceship disaster and something inhuman.
Streaming services sometimes provide shorts, with Amazon Prime hosting Ray McKinnon’s Oscar-winning, Georgia-made dark comedy “The Accountant” from 2001, possibly the sharpest and least sentimental film ever made about the South. Donald Glover’s “Guava Island,” at nearly an hour, may push the definition of a short, but as a parable of art vs. capitalism in developing countries, connecting Childish Gambino songs, it’s an energetic work that can tide us over until the next season of “Atlanta.”
And even though Pixar released a short-less Toy Story 4, it’s not stinting on brief animations: Its YouTube channel releases the Pixar SparkShorts, developed by studio employees in a six-month time frame. The February release, “Kitbull,” offered an extremely sad but ultimately uplifting portrayal of a friendship between a stray kitten and a fighting dog.
With so many shorts being made and so many means for potential viewing, it feels like a golden age of short films is about to begin. It may even have already begun, but the audience hasn’t found them yet. Little movies could be the next big thing.
Atlanta ShortsFestShortsfest, July 11-13, Synchronicity Theater, 1545 Peachtree St., Suite 102. $12 per block online, $14 per block at box office, $25 day pass. $50 two-day pass. atlantashortsfest.com.
Coming Attractions: Of all the summertime releases shot in Atlanta, probably the big marquee name is “Stranger Things,” returning for a third season of 1980s nostalgia and kids hunting monsters. The next batch of episodes drop July 4 and will prominently feature “Starcourt Mall” (actually Gwinnett Place Mall given a retro makeover).
Summer movies shot in Atlanta include June 14’s blaxploitation reboot Shaft with Samuel L. Jackson and the July 12 action/comedy Stuber, which stars Kumail Nanjiani as an Uber driver hijacked by a police detective played by Dave Bautista.
My favorite summer shout-out in an Atlanta production appeared in Godzilla: King of the Monsters. In a sequence with monstrous “titans” emerging across the world, one of the locations was Stone Mountain, leaving viewers to wonder: Is there a Georgia-themed monster we don’t know about? Were the mountain’s Confederate carvings mistaken for kaiju? Maybe the Altamaha river’s legendary Atlamaha-ha took a wrong turn somewhere.
Screen Time is a monthly column about film and cinematic narratives, from the big screen to streaming services."
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Pixar’s shorts have been more than just a charming throwback to the era when cartoons, newsreels, and short features were part of the moviegoing experience. In the mid-1990s, they were probably the most prominent example of new short films as an art form. Two decades later, in a media landscape shaped by YouTube and viral videos, shorts see a lot more love.
Locally, the annual short film festival Atlanta Shortsfest showcases movies of under 45 minutes. “Atlanta Shortsfest typically screens right under 100 films per year, and this is our 10th season,” says founder Eric Panter. “Each year, around 20 percent of the films screened are Georgia-based filmmakers.”
For 2019, out of nearly 1000 entries, the festival will screen about 90 works, 15 from Georgia, from July 11-13. Part of the Atlanta Film Series, a four-month showcase of small film events that includes Atlanta DocuFest, Atlanta Underground Film Festival, and Atlanta Horror Film Festival, Shortsfest gives awards for documentary, animated, local, LGBTQ, and many more categories, including best director, actor, and actress.
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It’s a fun surprise whenever famous performers turn up: Tom Stern’s funny, feverish “Adams” adapts a short story by the great George Saunders, casting Patton Oswalt as a family man increasingly obsessed with his neighbor (“Portlandia”’s Fred Armisen) and willing to go to extremes to protect his family.
Milla Jovovich stars in “WithorWithout,” Benjamin Howdeshell’s extended music video for the Berlin-based band Parcels. Not just a vehicle for a pleasantly placid pop song, the film unfolds in the form of a home invasion horror story (some shots seem inspired by Jordan Peele’s Us) and manages to pull the rug out from under the viewer at least once in seven minutes. Chris Wood’s “The Stew” unfolds like a “Mr. Show” sketch in its depiction of a passive-aggressive married couple, played by Melissa Benoist and Carlos Valdes (both regulars of The CW superhero shows).
The title is fairly self-explanatory in the Atlanta-made “I Think My Dead Sister is Following Me Around,” from David Nobles. A young woman grapples with her strained relationship with her late sister in a tale that flirts with humor but is more of a bittersweet character study that has echoes of David Lowery’s “A Ghost Story.”
Outside of film festivals and compilations like the annual Oscar Nominated Short Films, it can be a challenge to find worthwhile shorts among the countless available in YouTube, Vimeo, and other online outlets. Sometimes fan films inspired by famous franchises can be surprisingly sophisticated. Earlier this year, 20th Century Fox celebrated the anniversary of Alien by releasing six fan films that explored tropes in the sci-fi series. Noah Miller’s “Alien: Alone” delivered the best by portraying the unlikely bond that forms between the survivor of a spaceship disaster and something inhuman.
Streaming services sometimes provide shorts, with Amazon Prime hosting Ray McKinnon’s Oscar-winning, Georgia-made dark comedy “The Accountant” from 2001, possibly the sharpest and least sentimental film ever made about the South. Donald Glover’s “Guava Island,” at nearly an hour, may push the definition of a short, but as a parable of art vs. capitalism in developing countries, connecting Childish Gambino songs, it’s an energetic work that can tide us over until the next season of “Atlanta.”
And even though Pixar released a short-less ''Toy Story 4'', it’s not stinting on brief animations: Its YouTube channel releases the Pixar SparkShorts, developed by studio employees in a six-month time frame. The February release, “Kitbull,” offered an extremely sad but ultimately uplifting portrayal of a friendship between a stray kitten and a fighting dog.
With so many shorts being made and so many means for potential viewing, it feels like a golden age of short films is about to begin. It may even have already begun, but the audience hasn’t found them yet. Little movies could be the next big thing.
''Atlanta ShortsFestShortsfest, July 11-13, Synchronicity Theater, 1545 Peachtree St., Suite 102. $12 per block online, $14 per block at box office, $25 day pass. $50 two-day pass. atlantashortsfest.com.''
__Coming Attractions:__ Of all the summertime releases shot in Atlanta, probably the big marquee name is “Stranger Things,” returning for a third season of 1980s nostalgia and kids hunting monsters. The next batch of episodes drop July 4 and will prominently feature “Starcourt Mall” (actually Gwinnett Place Mall given a retro makeover).
Summer movies shot in Atlanta include June 14’s blaxploitation reboot ''Shaft'' with Samuel L. Jackson and the July 12 action/comedy ''Stuber'', which stars Kumail Nanjiani as an Uber driver hijacked by a police detective played by Dave Bautista.
My favorite summer shout-out in an Atlanta production appeared in ''Godzilla: King of the Monsters''. In a sequence with monstrous “titans” emerging across the world, one of the locations was Stone Mountain, leaving viewers to wonder: Is there a Georgia-themed monster we don’t know about? Were the mountain’s Confederate carvings mistaken for kaiju? Maybe the Altamaha river’s legendary Atlamaha-ha took a wrong turn somewhere.
Screen Time is a monthly column about film and cinematic narratives, from the big screen to streaming services."
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  string(6698) " ST The Stew  2019-07-05T18:03:43+00:00 __ST_The_Stew.jpg      Are we seeing a golden age of short films? ST The Stew   2019-07-05T17:57:11+00:00  SCREEN TIME: Atlanta Shortsfest showcases new wave of movies in miniature jim.harris Jim Harris Curt Holman  2019-07-05T17:57:11+00:00 Something was missing when Toy Story 4 opened to wide acclaim on June 21. The latest witty adventure of Woody, Buzz Lightyear, and company marked Pixar Studios’ first release in more than two decades with no animated short preceding it.
Pixar’s shorts have been more than just a charming throwback to the era when cartoons, newsreels, and short features were part of the moviegoing experience. In the mid-1990s, they were probably the most prominent example of new short films as an art form. Two decades later, in a media landscape shaped by YouTube and viral videos, shorts see a lot more love.
Locally, the annual short film festival Atlanta Shortsfest showcases movies of under 45 minutes. “Atlanta Shortsfest typically screens right under 100 films per year, and this is our 10th season,” says founder Eric Panter. “Each year, around 20 percent of the films screened are Georgia-based filmmakers.”
For 2019, out of nearly 1000 entries, the festival will screen about 90 works, 15 from Georgia, from July 11-13. Part of the Atlanta Film Series, a four-month showcase of small film events that includes Atlanta DocuFest, Atlanta Underground Film Festival, and Atlanta Horror Film Festival, Shortsfest gives awards for documentary, animated, local, LGBTQ, and many more categories, including best director, actor, and actress.
The festival screens the shorts in blocks of about 90 minutes each, which frequently exhibit the work of established filmmakers exploring ideas that may not support a feature film, as well as fledgling artists trying to advance their careers and creative abilities. Shorts often serve as calling cards for new directors. “The Neighbors’ Window” is the first fiction from Marshall Curry, a multiple Oscar nominee for documentaries, and crafts a lovely story of an overwhelmed mom fascinated by the passionate young couple she can see in a neighboring apartment.
It’s a fun surprise whenever famous performers turn up: Tom Stern’s funny, feverish “Adams” adapts a short story by the great George Saunders, casting Patton Oswalt as a family man increasingly obsessed with his neighbor (“Portlandia”’s Fred Armisen) and willing to go to extremes to protect his family.
Milla Jovovich stars in “WithorWithout,” Benjamin Howdeshell’s extended music video for the Berlin-based band Parcels. Not just a vehicle for a pleasantly placid pop song, the film unfolds in the form of a home invasion horror story (some shots seem inspired by Jordan Peele’s Us) and manages to pull the rug out from under the viewer at least once in seven minutes. Chris Wood’s “The Stew” unfolds like a “Mr. Show” sketch in its depiction of a passive-aggressive married couple, played by Melissa Benoist and Carlos Valdes (both regulars of The CW superhero shows).
The title is fairly self-explanatory in the Atlanta-made “I Think My Dead Sister is Following Me Around,” from David Nobles. A young woman grapples with her strained relationship with her late sister in a tale that flirts with humor but is more of a bittersweet character study that has echoes of David Lowery’s “A Ghost Story.”
Outside of film festivals and compilations like the annual Oscar Nominated Short Films, it can be a challenge to find worthwhile shorts among the countless available in YouTube, Vimeo, and other online outlets. Sometimes fan films inspired by famous franchises can be surprisingly sophisticated. Earlier this year, 20th Century Fox celebrated the anniversary of Alien by releasing six fan films that explored tropes in the sci-fi series. Noah Miller’s “Alien: Alone” delivered the best by portraying the unlikely bond that forms between the survivor of a spaceship disaster and something inhuman.
Streaming services sometimes provide shorts, with Amazon Prime hosting Ray McKinnon’s Oscar-winning, Georgia-made dark comedy “The Accountant” from 2001, possibly the sharpest and least sentimental film ever made about the South. Donald Glover’s “Guava Island,” at nearly an hour, may push the definition of a short, but as a parable of art vs. capitalism in developing countries, connecting Childish Gambino songs, it’s an energetic work that can tide us over until the next season of “Atlanta.”
And even though Pixar released a short-less Toy Story 4, it’s not stinting on brief animations: Its YouTube channel releases the Pixar SparkShorts, developed by studio employees in a six-month time frame. The February release, “Kitbull,” offered an extremely sad but ultimately uplifting portrayal of a friendship between a stray kitten and a fighting dog.
With so many shorts being made and so many means for potential viewing, it feels like a golden age of short films is about to begin. It may even have already begun, but the audience hasn’t found them yet. Little movies could be the next big thing.
Atlanta ShortsFestShortsfest, July 11-13, Synchronicity Theater, 1545 Peachtree St., Suite 102. $12 per block online, $14 per block at box office, $25 day pass. $50 two-day pass. atlantashortsfest.com.
Coming Attractions: Of all the summertime releases shot in Atlanta, probably the big marquee name is “Stranger Things,” returning for a third season of 1980s nostalgia and kids hunting monsters. The next batch of episodes drop July 4 and will prominently feature “Starcourt Mall” (actually Gwinnett Place Mall given a retro makeover).
Summer movies shot in Atlanta include June 14’s blaxploitation reboot Shaft with Samuel L. Jackson and the July 12 action/comedy Stuber, which stars Kumail Nanjiani as an Uber driver hijacked by a police detective played by Dave Bautista.
My favorite summer shout-out in an Atlanta production appeared in Godzilla: King of the Monsters. In a sequence with monstrous “titans” emerging across the world, one of the locations was Stone Mountain, leaving viewers to wonder: Is there a Georgia-themed monster we don’t know about? Were the mountain’s Confederate carvings mistaken for kaiju? Maybe the Altamaha river’s legendary Atlamaha-ha took a wrong turn somewhere.
Screen Time is a monthly column about film and cinematic narratives, from the big screen to streaming services.    Chris Wood Carlos Valdes: digs into “The Stew” at Atlanta Shortsfest.  0,0,17                           SCREEN TIME: Atlanta Shortsfest showcases new wave of movies in miniature "
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  string(41) "Tex-Mex at Ford Fry’s latest restaurant"
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  string(8556) "I could name names, but I’m too nice to do that. I’m talking about the way some great chefs become overwhelmed by entrepreneurial zeal (aka “greed”). They open one new restaurant after another, claiming they need the creative challenge. Inevitably, though, they turn genius into a stale brand. They become human cartoons, plaguing food TV and runways of charity fundraisers with other formerly fashionable chefs … and food journalists. It’s a sad, sad thing to watch. Give me a moment to take a breath.
Now, I can identify one chef who has gone the expansionist route but seems to have so far remained immune to staleness. I’m talking about Ford Fry, who opened the Southern-style JCT Kitchen here in 2007, followed by about a dozen more restaurants, including duplicates in other cities. His big game-changer was the Optimist, which gained tons of national publicity for its brilliant seafood dishes. It and subsequent venues like St. Cecilia, King + Duke, and Marcel remind me of F. Scott Fitzgerald’s claim that “the rich are very different from you and me.” These restaurants are well out of the price range of average Americans, but any accusations of pricey snobbery are quickly sabotaged by Fry’s true, far more affordable passion: Tex-Mex cooking. He grew up in Houston and at this point has seven Tex-Mex restaurants. There are four locations of Superica, two of the El Felix, and one of the brand-new Little Rey. 
I have long confessed that I have no affection for Tex-Mex cooking. Growing up in the South, I never heard anyone even delineate a difference between Tex-Mex and Mexican cooking. It was all about Taco Bell and canned Old El Paso grub, both literally inedible to me because of my oh-so-delicate digestive system. When I moved to Houston in the ’80s to become editor of a large “society” magazine, I was subjected to lots of Tex-Mex fare, including Frito pie — a bag of Fritos torn open and ladled with extra-greasy chili and raw onions. I could see hurling bags of that shit at alt-right Nazis, but who knew people voluntarily ate it? While I was being schooled in such horrors, I did discover sublime Texas barbecue and, even better, actual Mexican cooking in Houston taquerias and a few gourmet restaurants in Dallas and Austin. There’s more to the story, but when I got back to Atlanta to edit Creative Loafing for a second time, I became a messianic advocate for the emerging taqueria scene on Buford Highway. 
It think it’s also fair to claim that I did end up learning to enjoy well prepared Tex-Mex food in places like Houston’s legendary Ninfa’s, whose mesquite-smoked and grilled chicken “al carbon” certainly influenced Fry. Still, for years, I regarded Tex-Mex as a bastardized cuisine, in the same way some people view Italian-America cooking. But I admit: It’s a real magic trick for people like me to brand what exists nonexistent because it doesn’t jibe with my notions of authentic existence. Crazy. I apologize. But I’ll always prefer carnitas over fajitas.

So, I have been anxiously waiting for Fry to open Little Rey with his business partner, Kevin Maxey, another expatriated Texan. Little Rey operates at the corner of Piedmont Avenue, Cheshire Bridge Road, and Piedmont Circle. Entering the parking lot, negotiating it, and then leaving is an automotive Rubik’s Cube. But you’ll manage. Little Rey requires you to wait in line to order and pay at a counter up front. Sometimes we are talking very long lines at the counter followed by lengthy waits for your food. Meanwhile you can swill margaritas. You have to fetch your own meal, plastic utensils, water, and napkins. There are no servers, just very charming clean-up people who will answer any question you have, such as “What’s this brown thang on my taco?” Some will argue that small, $4.50 tacos merit more personal attention.
I love the whimsical interior where a goofy chicken lectures a goofy Felix the Cat (an allusion to Fry’s the El Felix, I suppose). The building has been a bank, a real estate office, a tattoo parlor, and a very popular late-night bar with naked go-go dancers. It’s a huge windowed dining room with some but not all community tables. There’s a large patio offering a dramatic view of the pinkly fluorescent Tokyo Valentino. Really, the place is so large that it’s wrong to conclude that a full parking lot also means a full restaurant. The problem has not been space. It’s been slow ordering.
My first visit was kind of a disaster. I only ordered two tacos. First was one made with chopped chicken al carbon. Second was the Oaxaca, featuring a tortilla that was bathed in melted cheese and then turned kind of crispy before getting its filling of poblanos, mushrooms and salsa verde. I asked that there be no onions on the chicken al carbon taco. There were onions. I took the tray back to the counter and they cheerfully agreed to remake the taco. I went back to my seat and waited a good 10 minutes to hear my name called. Yes, the chicken taco’s onions had been removed, but my Oaxaca taco was replaced with a second chicken taco … with onions. I took the tray back and explained the new problem. They added another Oaxaca to the plate. Then I noticed there were no poblanos on the Oaxaca. I took it back again. They remedied it … I think. They put tiny little diced green things on the taco. I assumed I’d be eating rajas — strips of roasted poblano chiles, but whatever. The Oaxaca did have large chunks of mushrooms and in the end it was delicious. On a subsequent visit, another Oaxaca came to the table. This one had nothing but oily chopped mushrooms and green speckles. Took it back. Got a somewhat better one.
Some will argue such bumbling is to be expected in the first few weeks of a new restaurant, especially when throngs are stampeding the doors. But this reached the level of self-parody (and my meal was comped). Still, I forged on. At my next meal, I ordered the signature dish, the pollo al carbon. You can get a whole chicken, a half, or a quarter. I opted for the half. The chicken was unexpectedly juicy and deeply flavored by the oak and mesquite smoke. To me, though, the flavors were so strong and relentless that I wanted to mix them up. I plucked meat and rolled it into corn tortillas with ingredients served in shot-glasses: smoked onions and jalapenos, ranch beans, and cilantro rice. There was a mild green sauce and a piquant red on the table, but that was it. I think a salsa bar would provide needed distractions from the overwhelming taste of mesquite. I suggest you get a quarter of a chicken and order something with a different flavor profile to accompany it.
After all this meh, I was blown away on my last two visits. I ordered Little Rey’s red pozole. It’s not the giant bowls you find on Buford Highway. Instead, you get maybe two cups of an intensely flavored guajillo chile broth containing hominy and chopped chicken. On the side were the traditional garnishes — radishes, pickled onions, and cabbage. On my way out, I noticed an employee eating something like a Mexican version of poutine. I asked him what his menu favorite was. He quickly replied that it was the torta — a sandwich that encases a fried chicken breast. I winced. Everybody in the city is producing one of those now, thanks to the invasion of Nashville hot chicken. But so be it. I ordered it. It was by far the best thing I’ve eaten there. It’s a brioche bun filled with mile-high spicy slaw, a substantial smear of avocado, fresh jalapeño slices, and a perfect, crispy chicken breast, all held together by a extra-long toothpick. I should note that the chicken is neither smoked nor drenched in hot chili oil.

There are only two desserts — soft-serve ice cream and fried plantains. I ordered the latter. They are gooey, virtually caramelized, and heavily dusted with powdered sugar and salt. The salt makes sense if you like, say, salted caramel ice cream, but the kitchen goes overboard for my taste. Little Rey is also open daily for breakfast. The menu includes tacos and some more complicated dishes like huevos rancheros. Take-out is an option if you want to wait forever at home instead of with sighing customers.
Finally, I remind you that Fry has recently published a cookbook — Tex-Mex: Traditions, Innovations, and Comfort Foods from Both Sides of the Border. I don’t think he’s in danger yet of becoming a parody of himself!
Little Rey, 1878 Piedmont Ave., 770-796-0207, littlerey.com."
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Now, I can identify one chef who has gone the expansionist route but seems to have so far remained immune to staleness. I’m talking about Ford Fry, who opened the Southern-style JCT Kitchen here in 2007, followed by about a dozen more restaurants, including duplicates in other cities. His big game-changer was the Optimist, which gained tons of national publicity for its brilliant seafood dishes. It and subsequent venues like St. Cecilia, King + Duke, and Marcel remind me of F. Scott Fitzgerald’s claim that “the rich are very different from you and me.” These restaurants are well out of the price range of average Americans, but any accusations of pricey snobbery are quickly sabotaged by Fry’s true, far more affordable passion: Tex-Mex cooking. He grew up in Houston and at this point has seven Tex-Mex restaurants. There are four locations of Superica, two of the El Felix, and one of the brand-new Little Rey. 
I have long confessed that I have no affection for Tex-Mex cooking. Growing up in the South, I never heard anyone even delineate a difference between Tex-Mex and Mexican cooking. It was all about Taco Bell and canned Old El Paso grub, both literally inedible to me because of my oh-so-delicate digestive system. When I moved to Houston in the ’80s to become editor of a large “society” magazine, I was subjected to lots of Tex-Mex fare, including Frito pie — a bag of Fritos torn open and ladled with extra-greasy chili and raw onions. I could see hurling bags of that shit at alt-right Nazis, but who knew people voluntarily ate it? While I was being schooled in such horrors, I did discover sublime Texas barbecue and, even better, actual Mexican cooking in Houston taquerias and a few gourmet restaurants in Dallas and Austin. There’s more to the story, but when I got back to Atlanta to edit Creative Loafing for a second time, I became a messianic advocate for the emerging taqueria scene on Buford Highway. 
It think it’s also fair to claim that I did end up learning to enjoy well prepared Tex-Mex food in places like Houston’s legendary Ninfa’s, whose mesquite-smoked and grilled chicken “al carbon” certainly influenced Fry. Still, for years, I regarded Tex-Mex as a bastardized cuisine, in the same way some people view Italian-America cooking. But I admit: It’s a real magic trick for people like me to brand what exists nonexistent because it doesn’t jibe with my notions of authentic existence. Crazy. I apologize. But I’ll always prefer carnitas over fajitas.
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So, I have been anxiously waiting for Fry to open Little Rey with his business partner, Kevin Maxey, another expatriated Texan. Little Rey operates at the corner of Piedmont Avenue, Cheshire Bridge Road, and Piedmont Circle. Entering the parking lot, negotiating it, and then leaving is an automotive Rubik’s Cube. But you’ll manage. Little Rey requires you to wait in line to order and pay at a counter up front. Sometimes we are talking very long lines at the counter followed by lengthy waits for your food. Meanwhile you can swill margaritas. You have to fetch your own meal, plastic utensils, water, and napkins. There are no servers, just very charming clean-up people who will answer any question you have, such as “What’s this brown thang on my taco?” Some will argue that small, $4.50 tacos merit more personal attention.
I love the whimsical interior where a goofy chicken lectures a goofy Felix the Cat (an allusion to Fry’s the El Felix, I suppose). The building has been a bank, a real estate office, a tattoo parlor, and a very popular late-night bar with naked go-go dancers. It’s a huge windowed dining room with some but not all community tables. There’s a large patio offering a dramatic view of the pinkly fluorescent Tokyo Valentino. Really, the place is so large that it’s wrong to conclude that a full parking lot also means a full restaurant. The problem has not been space. It’s been slow ordering.
My first visit was kind of a disaster. I only ordered two tacos. First was one made with chopped chicken al carbon. Second was the Oaxaca, featuring a tortilla that was bathed in melted cheese and then turned kind of crispy before getting its filling of poblanos, mushrooms and salsa verde. I asked that there be no onions on the chicken al carbon taco. There were onions. I took the tray back to the counter and they cheerfully agreed to remake the taco. I went back to my seat and waited a good 10 minutes to hear my name called. Yes, the chicken taco’s onions had been removed, but my Oaxaca taco was replaced with a second chicken taco … with onions. I took the tray back and explained the new problem. They added another Oaxaca to the plate. Then I noticed there were no poblanos on the Oaxaca. I took it back again. They remedied it … I think. They put tiny little diced green things on the taco. I assumed I’d be eating rajas — strips of roasted poblano chiles, but whatever. The Oaxaca did have large chunks of mushrooms and in the end it was delicious. On a subsequent visit, another Oaxaca came to the table. This one had nothing but oily chopped mushrooms and green speckles. Took it back. Got a somewhat better one.
Some will argue such bumbling is to be expected in the first few weeks of a new restaurant, especially when throngs are stampeding the doors. But this reached the level of self-parody (and my meal was comped). Still, I forged on. At my next meal, I ordered the signature dish, the pollo al carbon. You can get a whole chicken, a half, or a quarter. I opted for the half. The chicken was unexpectedly juicy and deeply flavored by the oak and mesquite smoke. To me, though, the flavors were so strong and relentless that I wanted to mix them up. I plucked meat and rolled it into corn tortillas with ingredients served in shot-glasses: smoked onions and jalapenos, ranch beans, and cilantro rice. There was a mild green sauce and a piquant red on the table, but that was it. I think a salsa bar would provide needed distractions from the overwhelming taste of mesquite. I suggest you get a quarter of a chicken and order something with a different flavor profile to accompany it.
After all this meh, I was blown away on my last two visits. I ordered Little Rey’s red pozole. It’s not the giant bowls you find on Buford Highway. Instead, you get maybe two cups of an intensely flavored guajillo chile broth containing hominy and chopped chicken. On the side were the traditional garnishes — radishes, pickled onions, and cabbage. On my way out, I noticed an employee eating something like a Mexican version of poutine. I asked him what his menu favorite was. He quickly replied that it was the torta — a sandwich that encases a fried chicken breast. I winced. Everybody in the city is producing one of those now, thanks to the invasion of Nashville hot chicken. But so be it. I ordered it. It was by far the best thing I’ve eaten there. It’s a brioche bun filled with mile-high spicy slaw, a substantial smear of avocado, fresh jalapeño slices, and a perfect, crispy chicken breast, all held together by a extra-long toothpick. I should note that the chicken is neither smoked nor drenched in hot chili oil.
{img fileId="20109" stylebox="float:right; margin-left:25px;" desc="PLANTAINS AND POZOLE: Caramelized and dusted with powder or intensely flavored guajillo chile broth. Photo credit: Cliff Bostock." max="600px"}
There are only two desserts — soft-serve ice cream and fried plantains. I ordered the latter. They are gooey, virtually caramelized, and heavily dusted with powdered sugar and salt. The salt makes sense if you like, say, salted caramel ice cream, but the kitchen goes overboard for my taste. Little Rey is also open daily for breakfast. The menu includes tacos and some more complicated dishes like huevos rancheros. Take-out is an option if you want to wait forever at home instead of with sighing customers.
Finally, I remind you that Fry has recently published a cookbook — Tex-Mex: Traditions, Innovations, and Comfort Foods from Both Sides of the Border. I don’t think he’s in danger yet of becoming a parody of himself!
Little Rey, 1878 Piedmont Ave., 770-796-0207, littlerey.com."
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  string(8973) " GRZ REY 2104  2019-07-05T19:18:56+00:00 GRZ_REY_2104.jpeg      Tex-Mex at Ford Fry’s latest restaurant GRZ REY 2104   2019-07-05T19:13:43+00:00  GRAZING: Vive el Little Rey jim.harris Jim Harris CLIFF BOSTOCK cliffbostock (Cliff Bostock) 2019-07-05T19:13:43+00:00 I could name names, but I’m too nice to do that. I’m talking about the way some great chefs become overwhelmed by entrepreneurial zeal (aka “greed”). They open one new restaurant after another, claiming they need the creative challenge. Inevitably, though, they turn genius into a stale brand. They become human cartoons, plaguing food TV and runways of charity fundraisers with other formerly fashionable chefs … and food journalists. It’s a sad, sad thing to watch. Give me a moment to take a breath.
Now, I can identify one chef who has gone the expansionist route but seems to have so far remained immune to staleness. I’m talking about Ford Fry, who opened the Southern-style JCT Kitchen here in 2007, followed by about a dozen more restaurants, including duplicates in other cities. His big game-changer was the Optimist, which gained tons of national publicity for its brilliant seafood dishes. It and subsequent venues like St. Cecilia, King + Duke, and Marcel remind me of F. Scott Fitzgerald’s claim that “the rich are very different from you and me.” These restaurants are well out of the price range of average Americans, but any accusations of pricey snobbery are quickly sabotaged by Fry’s true, far more affordable passion: Tex-Mex cooking. He grew up in Houston and at this point has seven Tex-Mex restaurants. There are four locations of Superica, two of the El Felix, and one of the brand-new Little Rey. 
I have long confessed that I have no affection for Tex-Mex cooking. Growing up in the South, I never heard anyone even delineate a difference between Tex-Mex and Mexican cooking. It was all about Taco Bell and canned Old El Paso grub, both literally inedible to me because of my oh-so-delicate digestive system. When I moved to Houston in the ’80s to become editor of a large “society” magazine, I was subjected to lots of Tex-Mex fare, including Frito pie — a bag of Fritos torn open and ladled with extra-greasy chili and raw onions. I could see hurling bags of that shit at alt-right Nazis, but who knew people voluntarily ate it? While I was being schooled in such horrors, I did discover sublime Texas barbecue and, even better, actual Mexican cooking in Houston taquerias and a few gourmet restaurants in Dallas and Austin. There’s more to the story, but when I got back to Atlanta to edit Creative Loafing for a second time, I became a messianic advocate for the emerging taqueria scene on Buford Highway. 
It think it’s also fair to claim that I did end up learning to enjoy well prepared Tex-Mex food in places like Houston’s legendary Ninfa’s, whose mesquite-smoked and grilled chicken “al carbon” certainly influenced Fry. Still, for years, I regarded Tex-Mex as a bastardized cuisine, in the same way some people view Italian-America cooking. But I admit: It’s a real magic trick for people like me to brand what exists nonexistent because it doesn’t jibe with my notions of authentic existence. Crazy. I apologize. But I’ll always prefer carnitas over fajitas.

So, I have been anxiously waiting for Fry to open Little Rey with his business partner, Kevin Maxey, another expatriated Texan. Little Rey operates at the corner of Piedmont Avenue, Cheshire Bridge Road, and Piedmont Circle. Entering the parking lot, negotiating it, and then leaving is an automotive Rubik’s Cube. But you’ll manage. Little Rey requires you to wait in line to order and pay at a counter up front. Sometimes we are talking very long lines at the counter followed by lengthy waits for your food. Meanwhile you can swill margaritas. You have to fetch your own meal, plastic utensils, water, and napkins. There are no servers, just very charming clean-up people who will answer any question you have, such as “What’s this brown thang on my taco?” Some will argue that small, $4.50 tacos merit more personal attention.
I love the whimsical interior where a goofy chicken lectures a goofy Felix the Cat (an allusion to Fry’s the El Felix, I suppose). The building has been a bank, a real estate office, a tattoo parlor, and a very popular late-night bar with naked go-go dancers. It’s a huge windowed dining room with some but not all community tables. There’s a large patio offering a dramatic view of the pinkly fluorescent Tokyo Valentino. Really, the place is so large that it’s wrong to conclude that a full parking lot also means a full restaurant. The problem has not been space. It’s been slow ordering.
My first visit was kind of a disaster. I only ordered two tacos. First was one made with chopped chicken al carbon. Second was the Oaxaca, featuring a tortilla that was bathed in melted cheese and then turned kind of crispy before getting its filling of poblanos, mushrooms and salsa verde. I asked that there be no onions on the chicken al carbon taco. There were onions. I took the tray back to the counter and they cheerfully agreed to remake the taco. I went back to my seat and waited a good 10 minutes to hear my name called. Yes, the chicken taco’s onions had been removed, but my Oaxaca taco was replaced with a second chicken taco … with onions. I took the tray back and explained the new problem. They added another Oaxaca to the plate. Then I noticed there were no poblanos on the Oaxaca. I took it back again. They remedied it … I think. They put tiny little diced green things on the taco. I assumed I’d be eating rajas — strips of roasted poblano chiles, but whatever. The Oaxaca did have large chunks of mushrooms and in the end it was delicious. On a subsequent visit, another Oaxaca came to the table. This one had nothing but oily chopped mushrooms and green speckles. Took it back. Got a somewhat better one.
Some will argue such bumbling is to be expected in the first few weeks of a new restaurant, especially when throngs are stampeding the doors. But this reached the level of self-parody (and my meal was comped). Still, I forged on. At my next meal, I ordered the signature dish, the pollo al carbon. You can get a whole chicken, a half, or a quarter. I opted for the half. The chicken was unexpectedly juicy and deeply flavored by the oak and mesquite smoke. To me, though, the flavors were so strong and relentless that I wanted to mix them up. I plucked meat and rolled it into corn tortillas with ingredients served in shot-glasses: smoked onions and jalapenos, ranch beans, and cilantro rice. There was a mild green sauce and a piquant red on the table, but that was it. I think a salsa bar would provide needed distractions from the overwhelming taste of mesquite. I suggest you get a quarter of a chicken and order something with a different flavor profile to accompany it.
After all this meh, I was blown away on my last two visits. I ordered Little Rey’s red pozole. It’s not the giant bowls you find on Buford Highway. Instead, you get maybe two cups of an intensely flavored guajillo chile broth containing hominy and chopped chicken. On the side were the traditional garnishes — radishes, pickled onions, and cabbage. On my way out, I noticed an employee eating something like a Mexican version of poutine. I asked him what his menu favorite was. He quickly replied that it was the torta — a sandwich that encases a fried chicken breast. I winced. Everybody in the city is producing one of those now, thanks to the invasion of Nashville hot chicken. But so be it. I ordered it. It was by far the best thing I’ve eaten there. It’s a brioche bun filled with mile-high spicy slaw, a substantial smear of avocado, fresh jalapeño slices, and a perfect, crispy chicken breast, all held together by a extra-long toothpick. I should note that the chicken is neither smoked nor drenched in hot chili oil.

There are only two desserts — soft-serve ice cream and fried plantains. I ordered the latter. They are gooey, virtually caramelized, and heavily dusted with powdered sugar and salt. The salt makes sense if you like, say, salted caramel ice cream, but the kitchen goes overboard for my taste. Little Rey is also open daily for breakfast. The menu includes tacos and some more complicated dishes like huevos rancheros. Take-out is an option if you want to wait forever at home instead of with sighing customers.
Finally, I remind you that Fry has recently published a cookbook — Tex-Mex: Traditions, Innovations, and Comfort Foods from Both Sides of the Border. I don’t think he’s in danger yet of becoming a parody of himself!
Little Rey, 1878 Piedmont Ave., 770-796-0207, littlerey.com.    Cliff Bostock PASSIONATE TEX-MEX: Some of the many tacos served at Little Rey.  0,0,11                           GRAZING: Vive el Little Rey "
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  string(3136) "The path of a producer-rapper, best narrated by Kanye West’s classic song “Last Call,” is a test of endurance. A trying campaign to sell — what should arguably not be — conflicting products, producer-rappers face the challenge of establishing themselves as multidimensional creative entities. The frustrating, yet rewarding grind has chiseled illustrious artists such as Pharrell Williams, Travis Scott, and the aforementioned West, all gifted beatmakers with a knack for the vernacular.

Da Honorable C.N.O.T.E. now embarks on that same journey. On July 10, the platinum-selling artist behind hit singles such as Trippie Redd’s “Dark Knight Dummo” and A$AP Ferg’s “New Level” is set to release Signs, an eight-track EP and an exhibit of his lyrical prowess without the flair of any major-label features.

“I’m waking people up with this one,” C.N.O.T.E. says. “They’re gonna be like, ‘Damn. I didn’t know he could rap.’ I’m showcasing my thoughts and my feelings, being 100 percent authentic as an artist.”

The record’s intro is “The Pledge,” an aggressive one-verse cut that he released along with visuals earlier this year. The Atlanta transplant and Michigan native bellows an age-old promise on its anthemic hook, vowing to never sell his soul and refusing to “bow to these niggas” because he heard that “it stunts your growth.” Blunt and gloriously aphoristic, the message mirrors his artistic approach.



“I’m not scared to rap about sensitive subjects. I don’t want to say a lot of artists are scared, but they won’t touch those things because there’s no monetary gain from it,” C.N.O.T.E. says. “I’m doing what needs to be done, not what's gonna make the most money.”

Although listeners can expect to hear a new side of C.N.O.T.E. this Wednesday, Signs isn’t the first time that he grabbed the mic. 2016’s Bloody Freddy marked his debut as a rapper, and its conscious undertones showed C.N.O.T.E. wasn’t just trying to get his feet wet. On the record, he adopted the persona of Freddy Krueger and dissected Krueger’s psyche, emotions, and upbringing. Three months removed from the police shootings of Philando Castille and Alton Sterling, the EP was a harrowing metaphor about black men in America.

“There’s a message to the music. We think Freddy’s a monster, but we don’t know what he’s gone through. Freddy got feelings!” C.N.O.T.E. says. “His pops wasn’t there, and he’s feeling like he’s at war with himself and his own beliefs. I wanted to see if people would be willing to accept him.”

Three years later, C.N.O.T.E. attests that his work on Bloody Freddy made him comfortable with releasing Signs, a record stripped of his celebrity. It’s positioned to be judged on its merits rather than his industry connections, and that’s an integral part of the process for any well-known producer who also seeks to be respected as an MC.

Da Honorable C.N.O.T.E returns with Signs on Wednesday, July 10, and the music will determine whether he joins the ranks of hip-hop’s elite producer-rappers. "
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  string(3249) "The path of a producer-rapper, best narrated by Kanye West’s classic song “Last Call,” is a test of endurance. A trying campaign to sell — what should arguably not be — conflicting products, producer-rappers face the challenge of establishing themselves as multidimensional creative entities. The frustrating, yet rewarding grind has chiseled illustrious artists such as Pharrell Williams, Travis Scott, and the aforementioned West, all gifted beatmakers with a knack for the vernacular.

Da Honorable C.N.O.T.E. now embarks on that same journey. On July 10, the platinum-selling artist behind hit singles such as Trippie Redd’s “Dark Knight Dummo” and A$AP Ferg’s “New Level” is set to release ''Signs'', an eight-track EP and an exhibit of his lyrical prowess without the flair of any major-label features.

“I’m waking people up with this one,” C.N.O.T.E. says. “They’re gonna be like, ‘Damn. I didn’t know he could rap.’ I’m showcasing my thoughts and my feelings, being 100 percent authentic as an artist.”

The record’s intro is “The Pledge,” an aggressive one-verse cut that he released along with visuals earlier this year. The Atlanta transplant and Michigan native bellows an age-old promise on its anthemic hook, vowing to never sell his soul and refusing to “bow to these niggas” because he heard that “it stunts your growth.” Blunt and gloriously aphoristic, the message mirrors his artistic approach.

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“I’m not scared to rap about sensitive subjects. I don’t want to say a lot of artists are scared, but they won’t touch those things because there’s no monetary gain from it,” C.N.O.T.E. says. “I’m doing what needs to be done, not what's gonna make the most money.”

Although listeners can expect to hear a new side of C.N.O.T.E. this Wednesday, ''Signs'' isn’t the first time that he grabbed the mic. 2016’s ''Bloody Freddy'' marked his debut as a rapper, and its conscious undertones showed C.N.O.T.E. wasn’t just trying to get his feet wet. On the record, he adopted the persona of Freddy Krueger and dissected Krueger’s psyche, emotions, and upbringing. Three months removed from the police shootings of Philando Castille and Alton Sterling, the EP was a harrowing metaphor about black men in America.

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Three years later, C.N.O.T.E. attests that his work on ''Bloody Freddy'' made him comfortable with releasing ''Signs'', a record stripped of his celebrity. It’s positioned to be judged on its merits rather than his industry connections, and that’s an integral part of the process for any well-known producer who also seeks to be respected as an MC.

Da Honorable C.N.O.T.E returns with ''Signs'' on Wednesday, July 10, and the music will determine whether he joins the ranks of hip-hop’s elite producer-rappers. "
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  string(3824) " IMG 3360  2019-07-08T14:54:40+00:00 IMG_3360.JPG     atlanta music da honorable c.n.o.t.e. hip-hop, trap, signs the pledge southern hip-hop producer rapper The superproducer grabs the mic for his upcoming EP IMG 3360   2019-07-08T14:50:01+00:00  Da Honorable C.N.O.T.E.’s ‘Signs’ arrives July 10 joshfrob17 Joshua Robinson Joshua Robinson joshfrob17 (Joshua Robinson) 2019-07-08T14:50:01+00:00 The path of a producer-rapper, best narrated by Kanye West’s classic song “Last Call,” is a test of endurance. A trying campaign to sell — what should arguably not be — conflicting products, producer-rappers face the challenge of establishing themselves as multidimensional creative entities. The frustrating, yet rewarding grind has chiseled illustrious artists such as Pharrell Williams, Travis Scott, and the aforementioned West, all gifted beatmakers with a knack for the vernacular.

Da Honorable C.N.O.T.E. now embarks on that same journey. On July 10, the platinum-selling artist behind hit singles such as Trippie Redd’s “Dark Knight Dummo” and A$AP Ferg’s “New Level” is set to release Signs, an eight-track EP and an exhibit of his lyrical prowess without the flair of any major-label features.

“I’m waking people up with this one,” C.N.O.T.E. says. “They’re gonna be like, ‘Damn. I didn’t know he could rap.’ I’m showcasing my thoughts and my feelings, being 100 percent authentic as an artist.”

The record’s intro is “The Pledge,” an aggressive one-verse cut that he released along with visuals earlier this year. The Atlanta transplant and Michigan native bellows an age-old promise on its anthemic hook, vowing to never sell his soul and refusing to “bow to these niggas” because he heard that “it stunts your growth.” Blunt and gloriously aphoristic, the message mirrors his artistic approach.



“I’m not scared to rap about sensitive subjects. I don’t want to say a lot of artists are scared, but they won’t touch those things because there’s no monetary gain from it,” C.N.O.T.E. says. “I’m doing what needs to be done, not what's gonna make the most money.”

Although listeners can expect to hear a new side of C.N.O.T.E. this Wednesday, Signs isn’t the first time that he grabbed the mic. 2016’s Bloody Freddy marked his debut as a rapper, and its conscious undertones showed C.N.O.T.E. wasn’t just trying to get his feet wet. On the record, he adopted the persona of Freddy Krueger and dissected Krueger’s psyche, emotions, and upbringing. Three months removed from the police shootings of Philando Castille and Alton Sterling, the EP was a harrowing metaphor about black men in America.

“There’s a message to the music. We think Freddy’s a monster, but we don’t know what he’s gone through. Freddy got feelings!” C.N.O.T.E. says. “His pops wasn’t there, and he’s feeling like he’s at war with himself and his own beliefs. I wanted to see if people would be willing to accept him.”

Three years later, C.N.O.T.E. attests that his work on Bloody Freddy made him comfortable with releasing Signs, a record stripped of his celebrity. It’s positioned to be judged on its merits rather than his industry connections, and that’s an integral part of the process for any well-known producer who also seeks to be respected as an MC.

Da Honorable C.N.O.T.E returns with Signs on Wednesday, July 10, and the music will determine whether he joins the ranks of hip-hop’s elite producer-rappers.     Shaunevalice "808" Lee THE PLEDGE: C.N.O.T.E. values meaning over monetization.  0,0,11    "Da Honorable C.N.O.T.E." Atlanta hip-hop, trap, Signs "The Pledge" Music "Southern hip-hop" Producer rapper                       Da Honorable C.N.O.T.E.’s ‘Signs’ arrives July 10 "
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Virtually all Atlanta blues fans were familiar with Johnson who played hundreds of shows locally. Just a few days after his passing there are already dozens of entries on Blind Willie’s Facebook page attesting to his kindness and generosity, including some from local DJ’s and fellow veteran local bluesmen like Tinsley Ellis and Albey Scholl from the Shadows.

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Johnson, born in 1939 in Hogansville, GA., was closely associated with Blind Willie’s. The club was practically homebase from its 1986 opening. For years, he played there every weekend, fronting the longstanding house band the Shadows, tearing through crowd-pleasing sets of original tunes and blues covers. Johnson played raw, primal, and straight-ahead Chicago-style blues. In his prime, he whipped crowds into a frenzy with his high-energy performances, and sheer dedication to the music he loved.

Since he only released two albums — 1990’s Takin' A Bite Outta The Blues and 1991’s Houserockin' Daddy, plus a 2011 compilation, titled Retrospectives — Johnson’s bread and butter was playing live. When he wasn’t on Blind Willie’s’ stage wailing on his red, hollow body guitar, sometimes playing songs with his teeth, Johnson would often sit in the audience as well-known blues artists visited the venue.

Virtually all Atlanta blues fans were familiar with Johnson who played hundreds of shows locally. Just a few days after his passing there are already dozens of entries on Blind Willie’s Facebook page attesting to his kindness and generosity, including some from local DJ’s and fellow veteran local bluesmen like Tinsley Ellis and Albey Scholl from the Shadows.

More details, including funeral arrangements will be made available soon.    Ichiban Records TAKIN’ A BITE OUT OF THE BLUES: Luther “Houserocker” Johnson.  0,0,1    Atlanta music blues "Luther Johnson" "Houserocker Johnson" "Luther Houserocker Johnson" "Blind Willies" "Ichiban Records" "Houserockin' Daddy" "Takin' A Bite Outta The Blues"                       Houserocker Johnson, 1939-2019 "
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Sabsowitz's knowledge of cannabis flows directly into her creative life as a painter and current curator at Pulp Books, located in West Midtown, Atlanta. Listen as she describes the beautifully offensive mischief that is Pulp Books with an exotic book collection and its in-house blackbox theatre hand-built by herself and owner, Will Eiseman.
It's her work with cannabis and the upcoming contemporary cannabis photography exhibit DANK, that brings her on our show today. In this interview of "Friends in High Places," hear how cannabis photography is getting creatives paid by big industry and why you may want to take a look at this bird's eye to macro display of cannabis photography. From July 11 - August 18,  DANK will be on display and for sale at Pulp.www.pulpatlanta.com

     Jacob Chisenhall Cannabis trimmer and local curator, Sophia Sabsowitz shares her experiences of “Murder Mountain,” and new exhibit “DANK” at Pulp Books+Zines in West Midtown, Atlanta.   0,0,11  PODCAST: FRIENDS IN HIGH PLACES EP. 05 WITH CRIMINAL DEFENSE ATTNY ASHLEY MCMAHAN, Friends in High Places                         PODCAST: Friends in High Places Ep. 04 with Sophia Sabsowitz of Pulp Books "
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  string(14128) "!!!“Maybe these maps and legends have been misunderstood.”
!!!— Michael Stipe
 

Pretty much no sentient Georgian in recent years, with the possible exception of Howard Finster, could routinely recapture the vision from this former debtors’ colony — and see through the mind’s eye what transpired to make American history out of this state’s original sins: greed and corruption.

In fact, Georgia political corruption, deep-rooted since colonial days, provided the source material for some of the original landmark opinions of the United State Supreme Court, as the new jurists staked out the law of the land for the young republic in the late 1700s and early 1800s.

Take the 1810 decision in Fletcher v. Peck. It nominally stands for the bland proposition that contracts will be honored (if that sounds quaintly obvious today, try enforcing a one-sided letter of intent with the Kremlin).

But the roots of the decision are much more venal and complex — or, rather, corrupt, since the contracts in question were obtained by criminal means — and the court did not consider the issues of unconscionability, or contracts for an illegal purpose. But there I go again, letting the law get in the way of a good story.

The specific question before the court was whether contracts for resale to bona fide purchasers could be rescinded by an act of the legislature. Georgia did, however, provide the serious motive for trying to upend this cornerstone of commercial law.

The lawsuit arose from an Act of 1795, in which then-Governor George Matthews and certain members of the Georgia legislature took bribes to enact a sale of most of the Yazoo lands that now comprise Alabama and Mississippi, aptly christened “Bourbon County,” to a secret society of land speculators. The corrupt Georgia government officials sold thousands of square miles, 35 million acres — for $500,000, or less than two cents an acre — to the politically-connected companies that bribed the legislators.

In response to the public outcry at this open and obvious corruption, a whole new wave of representatives were elected in 1796. The would-be reformers passed another act rescinding the act of bribery and corruption, invalidating the ill-gotten title to those immense tracts of land.

But the new legislators did not stop at passing a new act to replace the old, tainted law.

As only UGA Law of Legislative Government Professor R. Perry Sentell, Jr. could recount, in one of my favorite law school classes: Outraged Georgians gathered at the statehouse grounds of the then-capital of Georgia, Louisville, and set up a giant magnifying glass, catching “Holy Fire from Heaven,” and concentrated it on the text of the now-disfavored statute to bring about the “Repeal by Incineration” of the “Bourbon County Act” by which the Yazoo land fraud was perpetrated.

Now that is what you would have to call a true expression of disgust. One wonders if Georgia can muster similar outrage for corruption by state officials in the Empire State of the South today.

By the time of the incineration, however, many parcels in present-day Alabama and Mississippi had already been resold — at immense profit to the land speculators — and the U.S. Supreme Court ruled in Fletcher v. Peck that the Georgia legislature could not rescind those contracts.

So the holding, that contracts are inviolable, was not as noble as it sounds, and the state of Georgia was literally born awash in corruption, and baptized our new nation in it.

The other important principle established by this decision, validating the sanctity of contract (while ignoring the criminal origins), was that the U.S. Supreme Court firmly established its authority to invalidate state laws. Hold that thought for when we fast forward back to 2019.

In another foreshadowing of greater foreboding, Fletcher v. Peck also hinted that Indians might not hold title to their own lands. Legal title magically resided, instead, in the government of the transplanted former European immigrants. And sure enough, Georgia was as bad as its word, reneging on a series of compacts and treaties — which were not as inviolable as the sale of lands contracted by way of bribery — to drive out the Creeks and Cherokees.

So, yet another early US Supreme Court decision — again arising out of Georgia, in Cherokee Nation v. Georgia — led directly to the Trail of Tears. In that case, the Cherokees tried to use the palefaces’ own court system to get an injunction against an enactment of the Georgia legislature stripping the Cherokees of their ancestral lands.

As we can tell from real estate development in North Georgia today, the Cherokees effectively lost, in 1831, because the Supreme Court declined to hear the case on jurisdictional grounds. As Chief Justice John Marshall said at the time, the dependent Indian “wards” were in no position to dispute their white male Georgia “guardians.”

The U.S. Supreme Court reversed direction on the question of Indian autonomy in Worcester v. Georgia. In that case, Georgia authorities sought to prosecute white settlers living in Indian territory — now Gwinnett County, which some still say remains uncivilized — in violation of a statute that barred non-Indians from living there to escape the authority of the state government. In the Worcester case, the Supreme Court held that Georgia could not intermeddle in the affairs between the United States and a sovereign Indian nation. This contradicted the dependent-ward outcome of Cherokee Nation v. Georgia, but President Andrew Jackson ignored the high court’s ruling and ordered the removal of the Cherokees, anyway.

Of course, this ultimate result, treating the Indians as dependents, constituted more sinister foreshadowing of the later road to Jim Crow white supremacy and the doctrine of separate but equal.

Most relevant to political battles raging today is the case of Chisolm v. Georgia, in which the new state in the newly-minted nation said it did not have to pay its debt from colonial bonds. Georgia relied on a doctrine near and dear to King George the Third’s heart: sovereign immunity.

Sovereign immunity is based on the old chestnut that the king can do no wrong (Rex non potest peccare), for which jurists calling themselves conservatives today search for authority all the way back to Lord Coke in 1608, in the time of divine right kings, and the writings of Sir William Blackstone in the 1760s, right before the American Revolution.

The king can do no wrong, translated into the shorthand of the modern vernacular, means no one can sue the state of Georgia for any reason. Because the state of Georgia says so.

Of course, that notion of divine right royalty was (until recently?) squarely rejected by the new American nation — and some argue the new U.S. Constitution also rejected the English common law doctrine of sovereign immunity along with the prohibition on royal titles.

Legal philosophy aside, the state of Georgia was addressing a more practical problem in 1792, at the inception of the American republic, only three years after the new U.S. Constitution went into effect, in 1789.

Not so ironically, the former debtors’ colony was trying to avoid its debts. Like other colonies, it had purchased goods on credit and issued bonds to pay for the war against the British.

An estate executor to one of the bondholders who lived in South Carolina was trying to collect on the IOU. Georgia maintained it did not have to pay, and it could not be sued on the debt (which, don’t forget, is essentially a contract to repay a loan, as in Fletcher v. Peck). Georgia, in fact, actually refused to appear before the court where the case was filed. (Do not doubt that you will find many of these past acts of our forefathers prophetic, as they are repeating themselves today, in ways that will have to wait for future installments of CL to explain, unless you, too, have the vision of a Howard Finster).

Some might say that this was not a principled position for the state of Georgia to take, that it could just not pay — without even having to show up in court or say the check is in the mail.

The U.S. Supreme Court said, however, in a 4-1 decision, at the time of the inception of the republic, that sovereign immunity was strictly for the birds. Georgia, in effect, had to pay its debts. Neither King George nor his laws from across the pond could protect Georgia’s founding fathers, rascals that they were, any longer.

State governments, including Georgia’s, were so offended at the notion they could be sued by any mere, paltry individual, even a landless one, that they pushed for the Eleventh Amendment to protect states from being sued in federal court. So Georgia’s lawlessness led to the first Constitutional amendment after the Bill of Rights. Arguably, the country headed back in the wrong direction — towards kinglike authority with no accountability.

And Georgia is still very busy today, trying to resurrect sovereign immunity from the common law of divine right kings. In recent years, Georgia courts have treated sovereign immunity as an immutable precept handed down in an unbroken line from the mists of prehistory. But that is a myth, as Georgia itself has treated sovereign immunity, the doctrine that prevents a citizen from seeking civil redress in the courts against the state, most wantonly.

As recently as 1990, for example, the Georgia Constitution said that whether a citizen could sue the state depended on whether Georgia had taken out liability insurance to cover the claim. In 1991, the Georgia legislature rescued the sacred relic, sovereign immunity, from this ignoble fate, at the hands of actuaries, by saying the state and state officials enjoy sovereign immunity protection unless a law passed by the legislature expressly waives the protection bound over from the 1700s.

That is where the law stands today, and what follows is what the Georgia courts have done in the last five years to expand sovereign immunity beyond anything ever envisioned even by King George and his ministers.

The Georgia Supreme Court ruled in 2014 that sovereign immunity prevents an injunction from being issued against state agencies to require them to follow the laws the agencies are supposed to enforce. In Citizens for a Sustainable Coast v. Ga. Dept. of Natural Resources, environmentalists complained that the state agency in question was handing out beachfront development permits in violation of the law governing that process.

But the Georgia Supreme Court said the agency did not have to answer to either the citizens or the law — based on the justices’ own distortion of the English common law. The ruling — widely recognized as absurd, though no one dares tell the imperial court — holds that the state agency cannot be sued, but that state officials (it would have read king’s ministers, on a 16th-century parchment) can be sued in their individual capacities, because that was the law in medieval England.

Needless to say, this is the one — and only — part of the recent sovereign immunity expansion that other elements of state government have resisted. Only because individual state employees do not want to be sued, in place of the state, in any action on assumpsit.

The Georgia Supreme Court went on from there, accepting arguments by Georgia Attorney General Chris Carr (who never actually practiced law) that bills passed by the legislature cannot be challenged as unconstitutional, in another opinion inviting ridicule in Lathrop v. Deal. For this novel proposition, Georgia’s Supreme Court justices roamed all the way back to Blackstone and Coke, but ultimately relied on Georgia’s Confederate Constitution of 1861 as the original inception of the idea that laws enacted by the state legislature cannot be challenged as unconstitutional.

Then you get to my cases, in which I have been trying to hold state government officials liable for abusing their powers — to commit criminal acts in office, harming both the State and individual victims. These victims include Daniel Papp, Denise Caldon, Dezso Benedek, Todd Brandenburg (who had the bad luck to report a state ethics violation by a member of the Board of Regents), and Anthony Tricoli — all of whom have been victims of documented criminal fraud by officials of the University System of Georgia.


In Tricoli v. Watts, the Georgia Court of Appeals, after denying Tricoli notice and an opportunity to even be heard and argue his case, held that state officials enjoy sovereign immunity to commit crimes, notwithstanding any law that says otherwise. That includes a pattern of related felonies prohibited by the Georgia RICO Act. In Tricoli’s case, that series of related felonies included knowing falsifications of state agency financial reports, concealment of theft of $10 million in taxpayer dollars, fraud in accreditation, fraud in state audits, and resulting fraud on the US government with respect to federal grants.

All these counterintuitive judicial opinions go to the roots of our democracy, and also to current events, in which it is very much an open question whether not only the State and its Ministers, but also the President and his Cabinet, may be held accountable to answer in a court of law for civil actions, subpoenas, and even criminal prosecution.

Unlike the law enacting the Yazoo land fraud, court opinions cannot be repealed. Rather, they are reversed and vacated by an appellate court, if not overruled legislatively. I hope to be there to help set up the giant lens and affix its beam on the text of the legal opinions — on the solemn occasion of the Reversal and Vacation by Incineration of the sovereign immunity screeds in Sustainable Coast, Lathrop v. Deal, and Tricoli v. Watts.

Then we can leave Georgia’s new, expanded, and invincible version of sovereign impunity where it belongs, in the drifting thoughts of Lord Coke in 1608, in the dreamland of myths."
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  string(17124) "!!!::''“Maybe these [https://www.youtube.com/watch?v=m3Zc8RAY7zo|__maps and legends__] have been misunderstood.”''::
!!!::— Michael Stipe::
 

Pretty much no sentient Georgian in recent years, with the possible exception of [https://americanart.si.edu/artist/howard-finster-1543|Howard Finster], could routinely recapture the vision from this former debtors’ colony — and see through the mind’s eye what transpired to make American history out of this state’s original sins: greed and corruption.

In fact, Georgia political corruption, deep-rooted since colonial days, provided the source material for some of the original landmark opinions of the United State Supreme Court, as the new jurists staked out the law of the land for the young republic in the late 1700s and early 1800s.

Take the 1810 decision in ''[https://www.oyez.org/cases/1789-1850/10us87|Fletcher v. Peck]''. It nominally stands for the bland proposition that contracts will be honored (if that sounds quaintly obvious today, try enforcing a one-sided letter of intent with the Kremlin).

But the roots of the decision are much more venal and complex — or, rather, corrupt, since the contracts in question were obtained by criminal means — and the court did not consider the issues of unconscionability, or contracts for an illegal purpose. But there I go again, letting the law get in the way of a good story.

The specific question before the court was whether contracts for resale to bona fide purchasers [https://www.thirteen.org/wnet/supremecourt/capitalism/landmark_fletcher.html|could be rescinded] by an act of the legislature. Georgia did, however, provide the serious motive for trying to upend this cornerstone of commercial law.

The lawsuit arose from an Act of 1795, in which then-Governor George Matthews and certain members of the Georgia legislature [https://georgiainfo.galileo.usg.edu/topics/history/article/revolution-early-republic-1776-1800/yazoo-land-fraud|took bribes to enact a sale] of most of the Yazoo lands that now comprise Alabama and Mississippi, aptly christened “Bourbon County,” to a secret society of land speculators. The corrupt Georgia government officials sold thousands of square miles, 35 million acres — for $500,000, or less than two cents an acre — to the politically-connected companies that bribed the legislators.

In response to the public outcry at this open and obvious corruption, a whole new wave of representatives were elected in 1796. The would-be reformers passed another act rescinding the act of bribery and corruption, invalidating the ill-gotten title to those immense tracts of land.

But the new legislators did not stop at passing a new act to replace the old, tainted law.

As only UGA Law of Legislative Government Professor R. Perry Sentell, Jr. could recount, in one of my favorite law school classes: Outraged Georgians gathered at the statehouse grounds of the then-capital of Georgia, Louisville, and set up a giant magnifying glass, catching “Holy Fire from Heaven,” and concentrated it on the text of the now-disfavored statute to bring about the “[http://www.aboutnorthgeorgia.com/ang/The_Pine_Barrens_Speculation_and_Yazoo_Land_Fraud|Repeal by Incineration]” of the “Bourbon County Act” by which the Yazoo land fraud was perpetrated.

Now that is what you would have to call a true expression of disgust. One wonders if Georgia can muster similar outrage for corruption by state officials in the [https://www.quora.com/Why-is-Georgia-called-the-Empire-State-of-the-South|Empire State of the South] today.

By the time of the incineration, however, many parcels in present-day Alabama and Mississippi had already been resold — at immense profit to the land speculators — and the U.S. Supreme Court ruled in ''Fletcher v. Peck'''' ''that the Georgia legislature could not rescind those contracts.

So the holding, that contracts are inviolable, was not as noble as it sounds, and the state of Georgia was literally born awash in corruption, and baptized our new nation in it.

The other important principle established by this decision, validating the sanctity of contract (while ignoring the criminal origins), was that the U.S. Supreme Court firmly established its authority to invalidate state laws. Hold that thought for when we fast forward back to 2019.

In another foreshadowing of greater foreboding, Fletcher v. Peck also hinted that Indians might not hold title to their own lands. Legal title magically resided, instead, in the government of the transplanted former European immigrants. And sure enough, Georgia was as bad as its word, reneging on a series of compacts and treaties — which were not as inviolable as the sale of lands contracted by way of bribery — to drive out the Creeks and Cherokees.

So, yet another early US Supreme Court decision — again arising out of Georgia, in ''[https://www.fjc.gov/history/timeline/cherokee-nation-v.-georgia|Cherokee Nation v. Georgia]'' — led directly to the [https://cherokee.org/About-The-Nation/History/Trail-of-Tears/A-Brief-History-of-the-Trail-of-Tears|Trail of Tears]. In that case, the Cherokees tried to use the palefaces’ own court system to get an injunction against an enactment of the Georgia legislature stripping the Cherokees of their ancestral lands.

As we can tell from real estate development in North Georgia today, the Cherokees effectively lost, in 1831, because the Supreme Court declined to hear the case on jurisdictional grounds. As [https://en.wikipedia.org/wiki/Cherokee_Nation_v._Georgia|Chief Justice John Marshall said at the time], the dependent Indian “wards” were in no position to dispute their white male Georgia “guardians.”

The U.S. Supreme Court reversed direction on the question of Indian autonomy in ''[https://www.oyez.org/cases/1789-1850/31us515|Worcester v. Georgia]''. In that case, Georgia authorities sought to prosecute white settlers living in Indian territory — now Gwinnett County, which some still say remains uncivilized — in violation of a statute that barred non-Indians from living there to escape the authority of the state government. In the ''Worcester'' case, the Supreme Court held that Georgia could not intermeddle in the affairs between the United States and a sovereign Indian nation. This contradicted the dependent-ward outcome of ''Cherokee Nation v. Georgia'', but President Andrew Jackson ignored the high court’s ruling and ordered the removal of the Cherokees, anyway.

Of course, this ultimate result, treating the Indians as dependents, constituted more sinister foreshadowing of the later road to [http://newsreel.org/video/the-rise-and-fall-of-jim-crow|Jim Crow] white supremacy and the doctrine of [https://en.wikipedia.org/wiki/Plessy_v._Ferguson|separate but equal].

Most relevant to political battles raging today is the case of ''[https://www.oyez.org/cases/1789-1850/2us419|Chisolm v. Georgia]'', in which the new state in the newly-minted nation said it did not have to pay its debt from colonial bonds. Georgia relied on a doctrine near and dear to King George the Third’s heart: [https://www.law.cornell.edu/wex/sovereign_immunity|sovereign immunity].

Sovereign immunity is based on the old chestnut that the king can do no wrong (''Rex non potest peccare''), for which jurists calling themselves conservatives today [https://digitalcommons.law.lsu.edu/cgi/viewcontent.cgi?article=2013&context=lalrev|search for authority] all the way back to Lord Coke in 1608, in the time of divine right kings, and the writings of [https://www.brainyquote.com/quotes/william_blackstone_381938|Sir William Blackstone] in the 1760s, right before the American Revolution.

The king can do no wrong, translated into the shorthand of the modern vernacular, means no one can sue the state of Georgia for any reason. Because the state of Georgia says so.

Of course, that notion of divine right royalty was ([https://www.politico.com/story/2019/04/30/donald-trump-evangelicals-god-1294578|until recently]?) squarely rejected by the new American nation — and some argue the new U.S. Constitution also [https://scholarship.law.duke.edu/cgi/viewcontent.cgi?referer=https://www.google.com/&httpsredir=1&article=1685&context=faculty_scholarship|rejected] the English common law doctrine of sovereign immunity along with the prohibition on [https://www.heraldica.org/topics/usa/usnob.htm|royal titles].

Legal philosophy aside, the state of Georgia was addressing a more practical problem in 1792, at the inception of the American republic, only three years after the new U.S. Constitution went into effect, in 1789.

Not so ironically, the former debtors’ colony was trying to avoid its debts. Like other colonies, it had purchased goods on credit and issued bonds to pay for the war against the British.

An estate executor to one of the bondholders who lived in South Carolina was trying to collect on the IOU. Georgia maintained it did not have to pay, and it could not be sued on the debt (which, don’t forget, is essentially a contract to repay a loan, as in ''Fletcher v. Peck''). Georgia, in fact, actually [https://www.britannica.com/event/Chisholm-v-Georgia|refused to appear] before the court where the case was filed. (Do not doubt that you will find many of these past acts of our forefathers prophetic, as they are repeating themselves today, in ways that will have to wait for future installments of ''[https://creativeloafing.com/HomePage|CL]'' to explain, unless you, too, have the vision of a Howard Finster).

Some might say that this was not a principled position for the state of Georgia to take, that it could just not pay — without even having to show up in court or say the check is in the mail.

The U.S. Supreme Court said, however, in a [https://www.britannica.com/event/Chisholm-v-Georgia|4-1 decision], at the time of the inception of the republic, that sovereign immunity was strictly for the birds. Georgia, in effect, had to pay its debts. Neither King George nor his laws from across the pond could protect Georgia’s founding fathers, rascals that they were, any longer.

State governments, including Georgia’s, were so offended at the notion they could be sued by any mere, paltry individual, even a landless one, that they pushed for the [https://constitutioncenter.org/interactive-constitution/amendments/amendment-xi|Eleventh Amendment] to protect states from being sued in federal court. So Georgia’s lawlessness led to the first Constitutional amendment after the Bill of Rights. Arguably, the country headed back in the wrong direction — towards kinglike authority with no accountability.

And Georgia is still very busy today, trying to resurrect sovereign immunity from the common law of divine right kings. In recent years, Georgia courts have treated sovereign immunity as an immutable precept handed down in an unbroken line from the mists of prehistory. But that is a myth, as Georgia itself has treated sovereign immunity, the doctrine that prevents a citizen from seeking civil redress in the courts against the state, most wantonly.

As recently as 1990, for example, the Georgia Constitution said that whether a citizen could sue the state depended on whether Georgia had taken out liability insurance to cover the claim. In 1991, the Georgia legislature rescued the sacred relic, sovereign immunity, from this ignoble fate, at the hands of actuaries, by saying the state and state officials enjoy sovereign immunity protection unless a law passed by the legislature expressly waives the protection bound over from the 1700s.

That is where the law stands today, and what follows is what the Georgia courts have done in the last five years to expand sovereign immunity beyond anything ever envisioned even by King George and his ministers.

The Georgia Supreme Court ruled in 2014 that sovereign immunity prevents an injunction from being issued against state agencies to require them to follow the laws the agencies are supposed to enforce. In ''[https://caselaw.findlaw.com/ga-supreme-court/1658382.html|Citizens for a Sustainable Coast v. Ga. Dept. of Natural Resources]'', environmentalists complained that the state agency in question was handing out beachfront development permits in violation of the law governing that process.

But the Georgia Supreme Court said the agency did not have to answer to either the citizens or the law — based on the justices’ own distortion of the English common law. The ruling — widely recognized as absurd, though no one dares tell the imperial court — holds that the state agency cannot be sued, but that state officials (it would have read king’s ministers, on a 16th-century parchment) ''can'' be sued in their individual capacities, because that was the law in medieval England.

Needless to say, this is the one — and only — part of the recent sovereign immunity expansion that other elements of state government have [https://www.law.com/dailyreportonline/2019/05/15/legislation-waiving-sovereign-immunity-again-nixed-by-governors-veto-pen/|resisted]. Only because individual state employees do not want to be sued, in place of the state, in any action on assumpsit.

The Georgia Supreme Court went on from there, accepting [https://www.ajc.com/news/local/state-contends-its-laws-are-immune-court-challenges/awczOs3lh7m11AJcGIpE2H/|arguments by Georgia Attorney General] Chris Carr (who never actually practiced law) that bills passed by the legislature [https://www.gmanet.com/Advice-Knowledge/Legal-Database/2015-2017/Lathrop-v-Deal.aspx?feed=f4e1d80f-0459-41e1-baff-4694c4945b84|cannot be challenged] as unconstitutional, in another opinion inviting ridicule in ''[https://caselaw.findlaw.com/ga-supreme-court/1864799.html|Lathrop v. Deal]''. For this novel proposition, Georgia’s Supreme Court justices roamed all the way back to Blackstone and Coke, but ultimately relied on Georgia’s [http://insideradvantage.com/2017/07/10/the-ga-supreme-courts-monument-to-confederate-law/|Confederate Constitution of 1861] as the original inception of the idea that laws enacted by the state legislature cannot be challenged as unconstitutional.

Then you get to my cases, in which I have been trying to hold state government officials liable for abusing their powers — to commit criminal acts in office, harming both the State and individual victims. These victims include Daniel Papp, [https://creativeloafing.com/content-423650-OUTLANDISH-CONSPIRACY-THEORIES-Another-open-letter-to-the-Governor-2|Denise Caldon], [https://creativeloafing.com/content-421389-OUTLANDISH-CONSPIRACY-THEORIES---When-First-We-Practice-to-Deceive|Dezso Benedek], Todd Brandenburg (who had the bad luck to report a state ethics violation by a member of the Board of Regents), and [https://creativeloafing.com/content-425364-OUTLANDISH-CONSPIRACY-THEORIES-The-adventure-of-the-disappearing-budget-surplus|Anthony Tricoli] — all of whom have been victims of documented criminal fraud by officials of the University System of Georgia.


In ''[https://caselaw.findlaw.com/ga-court-of-appeals/1730669.html|Tricoli v. Watts],'' the Georgia Court of Appeals, after denying Tricoli notice and an opportunity to even be heard and argue his case, held that state officials enjoy sovereign immunity to commit crimes, notwithstanding any law that [https://drive.google.com/file/d/1zQnyo2R-xortZympMjnyrPsHfnSZuYJa/view?usp=sharing|says otherwise]. That includes a pattern of related felonies prohibited by the Georgia RICO Act. In Tricoli’s case, that series of related felonies included knowing falsifications of state agency financial reports, concealment of theft of $10 million in taxpayer dollars, fraud in accreditation, fraud in state audits, and resulting [https://drive.google.com/file/d/13KflAmaxl-tGv2lTvFnE-n9o4Lsrh8hu/view?usp=sharing|fraud on the US government] with respect to federal grants.

All these counterintuitive judicial opinions go to the roots of our democracy, and also to current events, in which it is very much an open question whether not only the State and its Ministers, but also the [https://creativeloafing.com/content-428359-OUTLANDISH-CONSPIRACY-THEORIES-What-goes-around-comes-from-down-south-2|President] and his Cabinet, may be held accountable to answer in a court of law for civil actions, subpoenas, and even criminal prosecution.

Unlike the law enacting the Yazoo land fraud, court opinions cannot be repealed. Rather, they are reversed and vacated by an appellate court, if not overruled legislatively. I hope to be there to help set up the giant lens and affix its beam on the text of the legal opinions — on the solemn occasion of the Reversal and Vacation by Incineration of the sovereign immunity screeds in ''Sustainable Coast, Lathrop v. Deal'', and ''Tricoli v. Watts.''

Then we can leave Georgia’s new, expanded, and invincible version of sovereign impunity where it belongs, in the drifting thoughts of Lord Coke in 1608, in the dreamland of myths."
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  string(14775) " EDIT Yazoo Georgia Controversy Copy 3  2019-07-08T20:45:57+00:00 EDIT Yazoo-Georgia_Controversy copy 3.jpg      Historical myths and urban legends get new lease in Georgia 2019 EDIT Yazoo Georgia Controversy Copy 3   2019-07-08T20:43:57+00:00  OUTLANDISH CONSPIRACY THEORIES: Reconstruction of the fables tony.paris Tony Paris STEPHEN HUMPHREYS athenslaw (Stephen Humphreys) 2019-07-08T20:43:57+00:00 !!!“Maybe these maps and legends have been misunderstood.”
!!!— Michael Stipe
 

Pretty much no sentient Georgian in recent years, with the possible exception of Howard Finster, could routinely recapture the vision from this former debtors’ colony — and see through the mind’s eye what transpired to make American history out of this state’s original sins: greed and corruption.

In fact, Georgia political corruption, deep-rooted since colonial days, provided the source material for some of the original landmark opinions of the United State Supreme Court, as the new jurists staked out the law of the land for the young republic in the late 1700s and early 1800s.

Take the 1810 decision in Fletcher v. Peck. It nominally stands for the bland proposition that contracts will be honored (if that sounds quaintly obvious today, try enforcing a one-sided letter of intent with the Kremlin).

But the roots of the decision are much more venal and complex — or, rather, corrupt, since the contracts in question were obtained by criminal means — and the court did not consider the issues of unconscionability, or contracts for an illegal purpose. But there I go again, letting the law get in the way of a good story.

The specific question before the court was whether contracts for resale to bona fide purchasers could be rescinded by an act of the legislature. Georgia did, however, provide the serious motive for trying to upend this cornerstone of commercial law.

The lawsuit arose from an Act of 1795, in which then-Governor George Matthews and certain members of the Georgia legislature took bribes to enact a sale of most of the Yazoo lands that now comprise Alabama and Mississippi, aptly christened “Bourbon County,” to a secret society of land speculators. The corrupt Georgia government officials sold thousands of square miles, 35 million acres — for $500,000, or less than two cents an acre — to the politically-connected companies that bribed the legislators.

In response to the public outcry at this open and obvious corruption, a whole new wave of representatives were elected in 1796. The would-be reformers passed another act rescinding the act of bribery and corruption, invalidating the ill-gotten title to those immense tracts of land.

But the new legislators did not stop at passing a new act to replace the old, tainted law.

As only UGA Law of Legislative Government Professor R. Perry Sentell, Jr. could recount, in one of my favorite law school classes: Outraged Georgians gathered at the statehouse grounds of the then-capital of Georgia, Louisville, and set up a giant magnifying glass, catching “Holy Fire from Heaven,” and concentrated it on the text of the now-disfavored statute to bring about the “Repeal by Incineration” of the “Bourbon County Act” by which the Yazoo land fraud was perpetrated.

Now that is what you would have to call a true expression of disgust. One wonders if Georgia can muster similar outrage for corruption by state officials in the Empire State of the South today.

By the time of the incineration, however, many parcels in present-day Alabama and Mississippi had already been resold — at immense profit to the land speculators — and the U.S. Supreme Court ruled in Fletcher v. Peck that the Georgia legislature could not rescind those contracts.

So the holding, that contracts are inviolable, was not as noble as it sounds, and the state of Georgia was literally born awash in corruption, and baptized our new nation in it.

The other important principle established by this decision, validating the sanctity of contract (while ignoring the criminal origins), was that the U.S. Supreme Court firmly established its authority to invalidate state laws. Hold that thought for when we fast forward back to 2019.

In another foreshadowing of greater foreboding, Fletcher v. Peck also hinted that Indians might not hold title to their own lands. Legal title magically resided, instead, in the government of the transplanted former European immigrants. And sure enough, Georgia was as bad as its word, reneging on a series of compacts and treaties — which were not as inviolable as the sale of lands contracted by way of bribery — to drive out the Creeks and Cherokees.

So, yet another early US Supreme Court decision — again arising out of Georgia, in Cherokee Nation v. Georgia — led directly to the Trail of Tears. In that case, the Cherokees tried to use the palefaces’ own court system to get an injunction against an enactment of the Georgia legislature stripping the Cherokees of their ancestral lands.

As we can tell from real estate development in North Georgia today, the Cherokees effectively lost, in 1831, because the Supreme Court declined to hear the case on jurisdictional grounds. As Chief Justice John Marshall said at the time, the dependent Indian “wards” were in no position to dispute their white male Georgia “guardians.”

The U.S. Supreme Court reversed direction on the question of Indian autonomy in Worcester v. Georgia. In that case, Georgia authorities sought to prosecute white settlers living in Indian territory — now Gwinnett County, which some still say remains uncivilized — in violation of a statute that barred non-Indians from living there to escape the authority of the state government. In the Worcester case, the Supreme Court held that Georgia could not intermeddle in the affairs between the United States and a sovereign Indian nation. This contradicted the dependent-ward outcome of Cherokee Nation v. Georgia, but President Andrew Jackson ignored the high court’s ruling and ordered the removal of the Cherokees, anyway.

Of course, this ultimate result, treating the Indians as dependents, constituted more sinister foreshadowing of the later road to Jim Crow white supremacy and the doctrine of separate but equal.

Most relevant to political battles raging today is the case of Chisolm v. Georgia, in which the new state in the newly-minted nation said it did not have to pay its debt from colonial bonds. Georgia relied on a doctrine near and dear to King George the Third’s heart: sovereign immunity.

Sovereign immunity is based on the old chestnut that the king can do no wrong (Rex non potest peccare), for which jurists calling themselves conservatives today search for authority all the way back to Lord Coke in 1608, in the time of divine right kings, and the writings of Sir William Blackstone in the 1760s, right before the American Revolution.

The king can do no wrong, translated into the shorthand of the modern vernacular, means no one can sue the state of Georgia for any reason. Because the state of Georgia says so.

Of course, that notion of divine right royalty was (until recently?) squarely rejected by the new American nation — and some argue the new U.S. Constitution also rejected the English common law doctrine of sovereign immunity along with the prohibition on royal titles.

Legal philosophy aside, the state of Georgia was addressing a more practical problem in 1792, at the inception of the American republic, only three years after the new U.S. Constitution went into effect, in 1789.

Not so ironically, the former debtors’ colony was trying to avoid its debts. Like other colonies, it had purchased goods on credit and issued bonds to pay for the war against the British.

An estate executor to one of the bondholders who lived in South Carolina was trying to collect on the IOU. Georgia maintained it did not have to pay, and it could not be sued on the debt (which, don’t forget, is essentially a contract to repay a loan, as in Fletcher v. Peck). Georgia, in fact, actually refused to appear before the court where the case was filed. (Do not doubt that you will find many of these past acts of our forefathers prophetic, as they are repeating themselves today, in ways that will have to wait for future installments of CL to explain, unless you, too, have the vision of a Howard Finster).

Some might say that this was not a principled position for the state of Georgia to take, that it could just not pay — without even having to show up in court or say the check is in the mail.

The U.S. Supreme Court said, however, in a 4-1 decision, at the time of the inception of the republic, that sovereign immunity was strictly for the birds. Georgia, in effect, had to pay its debts. Neither King George nor his laws from across the pond could protect Georgia’s founding fathers, rascals that they were, any longer.

State governments, including Georgia’s, were so offended at the notion they could be sued by any mere, paltry individual, even a landless one, that they pushed for the Eleventh Amendment to protect states from being sued in federal court. So Georgia’s lawlessness led to the first Constitutional amendment after the Bill of Rights. Arguably, the country headed back in the wrong direction — towards kinglike authority with no accountability.

And Georgia is still very busy today, trying to resurrect sovereign immunity from the common law of divine right kings. In recent years, Georgia courts have treated sovereign immunity as an immutable precept handed down in an unbroken line from the mists of prehistory. But that is a myth, as Georgia itself has treated sovereign immunity, the doctrine that prevents a citizen from seeking civil redress in the courts against the state, most wantonly.

As recently as 1990, for example, the Georgia Constitution said that whether a citizen could sue the state depended on whether Georgia had taken out liability insurance to cover the claim. In 1991, the Georgia legislature rescued the sacred relic, sovereign immunity, from this ignoble fate, at the hands of actuaries, by saying the state and state officials enjoy sovereign immunity protection unless a law passed by the legislature expressly waives the protection bound over from the 1700s.

That is where the law stands today, and what follows is what the Georgia courts have done in the last five years to expand sovereign immunity beyond anything ever envisioned even by King George and his ministers.

The Georgia Supreme Court ruled in 2014 that sovereign immunity prevents an injunction from being issued against state agencies to require them to follow the laws the agencies are supposed to enforce. In Citizens for a Sustainable Coast v. Ga. Dept. of Natural Resources, environmentalists complained that the state agency in question was handing out beachfront development permits in violation of the law governing that process.

But the Georgia Supreme Court said the agency did not have to answer to either the citizens or the law — based on the justices’ own distortion of the English common law. The ruling — widely recognized as absurd, though no one dares tell the imperial court — holds that the state agency cannot be sued, but that state officials (it would have read king’s ministers, on a 16th-century parchment) can be sued in their individual capacities, because that was the law in medieval England.

Needless to say, this is the one — and only — part of the recent sovereign immunity expansion that other elements of state government have resisted. Only because individual state employees do not want to be sued, in place of the state, in any action on assumpsit.

The Georgia Supreme Court went on from there, accepting arguments by Georgia Attorney General Chris Carr (who never actually practiced law) that bills passed by the legislature cannot be challenged as unconstitutional, in another opinion inviting ridicule in Lathrop v. Deal. For this novel proposition, Georgia’s Supreme Court justices roamed all the way back to Blackstone and Coke, but ultimately relied on Georgia’s Confederate Constitution of 1861 as the original inception of the idea that laws enacted by the state legislature cannot be challenged as unconstitutional.

Then you get to my cases, in which I have been trying to hold state government officials liable for abusing their powers — to commit criminal acts in office, harming both the State and individual victims. These victims include Daniel Papp, Denise Caldon, Dezso Benedek, Todd Brandenburg (who had the bad luck to report a state ethics violation by a member of the Board of Regents), and Anthony Tricoli — all of whom have been victims of documented criminal fraud by officials of the University System of Georgia.


In Tricoli v. Watts, the Georgia Court of Appeals, after denying Tricoli notice and an opportunity to even be heard and argue his case, held that state officials enjoy sovereign immunity to commit crimes, notwithstanding any law that says otherwise. That includes a pattern of related felonies prohibited by the Georgia RICO Act. In Tricoli’s case, that series of related felonies included knowing falsifications of state agency financial reports, concealment of theft of $10 million in taxpayer dollars, fraud in accreditation, fraud in state audits, and resulting fraud on the US government with respect to federal grants.

All these counterintuitive judicial opinions go to the roots of our democracy, and also to current events, in which it is very much an open question whether not only the State and its Ministers, but also the President and his Cabinet, may be held accountable to answer in a court of law for civil actions, subpoenas, and even criminal prosecution.

Unlike the law enacting the Yazoo land fraud, court opinions cannot be repealed. Rather, they are reversed and vacated by an appellate court, if not overruled legislatively. I hope to be there to help set up the giant lens and affix its beam on the text of the legal opinions — on the solemn occasion of the Reversal and Vacation by Incineration of the sovereign immunity screeds in Sustainable Coast, Lathrop v. Deal, and Tricoli v. Watts.

Then we can leave Georgia’s new, expanded, and invincible version of sovereign impunity where it belongs, in the drifting thoughts of Lord Coke in 1608, in the dreamland of myths.    Allen Johnson, (1915). Union and Democracy. Cambridge, Massachusetts: Houghton Mifflin Company., Public Domain   0,0,2  Outlandish Conspiracy Theories                         OUTLANDISH CONSPIRACY THEORIES: Reconstruction of the fables "
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  string(105) "Juried exhibit of one man’s trash as another man’s treasure comes to 378 to celebrate Deacon Lunchbox"
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  string(8763) "Think “waste not, want not,” as my mother used to say, or “one man’s trash is another man’s treasure,” as Kelly Hogan sings on The Jody Grind’s 1991 album of the same name. Those are shorthand themes for Repurposed, a special two-day-only (July 26-27), juried art exhibition at 378, the newly launched gallery and performance space on Clifton Road in Candler Park. Friday’s opening includes a celebration of the life and times of Deacon Lunchbox hosted by Bill Taft, featuring live music, film/video, and poetry by guest performers.

The Repurposed call for submissions specifically solicits two- and three-dimensional works including ready-mades, assemblages, found objects, aesthetically repurposed items, artistically reused interactives, curbside manipulatives, and over-painted prints and paintings. From such a wide casting call, a rogue’s gallery of offbeat, second-hand wonders will be on display in a fitting (repurposed building) showcase.

“The idea is to get people to view repurposed items as valuable in some way,” says chief juror Clare Butler. “It’s a commentary on our throw-away culture and the notion that, when you think something only has one purpose, you discard it after using it, even though it may have meaning for someone else.”

Speaking of repurposing, as Lady Clare, Butler was an original member of Now Explosion, a pioneering DIY-pop band which embodied the kitschy glam-drag-dance scene that flourished in Atlanta in the 1980s. Lady Clare also made regular appearances on the American Music Show, a queer public-access TV program produced in Atlanta between 1981 and 2005, which featured local celebs including RuPaul, Larry Tee, DeAundra Peek, Duffy Odum, Tom Zarrilli, Lady Bunny, and Jayne County.

Zarrilli, an actor, journalist, former club impresario, and retired school librarian, was recruited to manage 378 by singer-songwriter Clay Harper, who, with his business partner Mike Nelson, co-own the building, along with being the co-founders of Atlanta’s Fellini’s Pizza. At the opening in May, Harper performed selections from his most recent album, Bleak Beauty, in the performance space downstairs from the main gallery, followed by a set from Kevn Kinney & Friends.

For the opening of Repurposed, Zarrilli is delving into the archives to pay tribute to Deacon Lunchbox, the stage name of poet-performance artist Tim Ruttenber. A gifted language wrangler and fearless performer, Ruttenber possessed a sharply honed sense of the absurd and a keen eye for the devil’s details. Rarely deviating from a bellowing rant, Deacon Lunchbox recited poetic ruminations, which he called “redneck psychobabble,” on subjects ranging from lumberjacking, bikers, sex, and terrorism to suburban blight and cheese-and-pickle sandwiches. Usually, he accompanied himself by smacking the side of a surplus naval torpedo with a carpenter’s hammer and hollering into a sheetrock bucket to achieve special reverb effects. In 1992, on the way back to Atlanta from a gig in Pensacola, Florida, Ruttenber perished in an automobile accident along with two members of The Jody Grind, Robert Hayes and Rob Clayton.

“I look back on Deacon Lunchbox as a living found object, a stranger in a strange band,” Zarrilli says.

The same socio-cultural impetus that spawned Now Explosion and Deacon Lunchbox begat the Opal Foxx Quartet, which included Ruttenber, Taft, and lead vocalist Benjamin (Robert Dickerson, who died in 1999). The latter was the subject of Jem Cohen and Peter Sillen’s award-winning documentary film Benjamin Smoke (2000). Back in the day, Zarrilli successively managed the Nitery and Celebrity Club, two venues located blocks apart on Ponce De Leon, where these and many similarly inclined artists frequently performed.

“Bill (Taft) and others in his circle are the last remaining connections to that milieu,” Zarrilli says.

Among the scheduled tributeers is Rupert Fike, whose most recent book, Hello the House: Poems (Snake Nation Press), was named one of 2018’s “Books All Georgians Should Read” by the Georgia Center for the Book. James Kelly, frontman for Slim Chance & the Convicts, will perform two songs: "Loweena (the Urban Redneck Queen)” — which Deacon Lunchbox regularly sang with the band at the Austin Avenue Buffet and other “redneck underground” haunts, most of which are long gone — and “I Miss You Most on Sundays,” a poignant remembrance of Ruttenber by way of his passion for NASCAR racing.

Vintage footage of Deacon Lunchbox will be screened, including Neil Fried’s short feature film, Lawrence of Lawrenceville Highway, and “home video” shot by Judy Rushin (now an art professor at Florida State University) of an outing to Road Atlanta in which Deacon, using a can of insect repellent as a microphone, interviews “the greatest American race car driver from France” (Taft). A concert clip of Deacon performing with the Opal Foxx Quartet on the Georgia state capitol steps may also be included.

“Deacon’s style was assemblage,” says Taft. “On stage, he was a kinetic sculpture, waving a chainsaw, shooting a blank gun, banging a hammer on an oil drum, flashing plastic breasts. His life was dedicated to repurpose. In the mid-’80s, he exiled himself from the hippie era, left the mountains of North Carolina, moved to the heart of midtown, and refurbished his life. He was born again as a poet and performer.”

In Western art history, the tradition of repurposing objects for artistic purposes stretches back through millennia. Butler recalls being dazzled as a youngster by an unusual painting she ran across in an art book. Vertumnus, a portrait by Giuseppe Arcimboldo, a Mannerist artist, was painted in Milan around  1590–1591. It depicts Holy Roman Emperor Rudolf II with a face and torso fashioned from flowers, fruits, and vegetables, symbolizing the Roman god of seasonal metamorphosis and natural bounty.

“I was fascinated by that painting and the idea of combining random things to create a recognizable image,” Butler says.

In the 20th and 21st centuries, the technique of altering and recombining pre-fab and found objects to serve the artistic muse is manifest across categories ranging from surrealism and pop to minimalism and “visionary” (contemporary folk) art. A few decades ago, Atlanta-based artist and musician Lonnie Holley initially garnered international attention with his deeply evocative assemblages constructed from discarded objects (farm implements, bicycle parts, furniture, bric-a-brac) and repurposed materials (wood, cloth, glass, wire, metal), which were found on the side of the road, along railroad tracks, in fields, drainage ditches, construction sites, and everywhere else his keen curiosity led him.

“When people use material like that, in what’s considered an ‘untrained’ manner, some people say it’s because they can’t afford art supplies, but that’s beside the point,” Butler observes. “They’re using what’s available as an artistic medium, which is relevant to the artist’s life and experiences. As a result, the art is more meaningful than if they went to an art supply store and bought a nice set of acrylic paints.”

Repurposed includes works by local Atlanta and out-of-town artists. Among the submissions are pieces by Lanny Brewster, Susan Cipcic, Melissia Fernander, Benjamin Harubin, Karen Hennessee, Tim Hunter, Rob Lombardo, William Makepeace, Patty Nelson Merrifield, Rob Nixon, Leisa Rich, Blake Wilkerson, John Woodson, and Cindy Zarrilli. [Full disclosure: your Listening Post correspondent has a small piece in the show.]

“My personal taste tends toward found objects, which have been repurposed into an artistic vision by combining or manipulating them, rather than something picked up by somebody that coincidentally looks like something else,” Butler says.

Regardless of genre, technique, or motivation, elevating the status of discarded things and encouraging their accumulation runs against popular cultural trends focused on decluttering, “death cleaning,” and filtering out possessions that fail to “spark joy.” Butler views the situation through her own lens.

“I don’t think you should hang onto things you don’t want,” she says. “On the other hand, re-envisioning or reimagining things is a way to entertain yourself and create the feeling that value in the objects around you arises from their artistic, rather than utilitarian, nature.”

“If something doesn’t spark joy,” Butler adds, “reuse or repurpose it so it does.”

Or, as Deacon Lunchbox used to say: “Life is an illusion, so you might as well make it a good one.”"
  ["tracker_field_contentWikiPage_raw"]=>
  string(9414) "Think “waste not, want not,” as my mother used to say, or “one man’s trash is another man’s treasure,” as Kelly Hogan sings on The Jody Grind’s 1991 album of the same name. Those are shorthand themes for Repurposed, a special two-day-only (July 26-27), juried art exhibition at 378, the newly launched gallery and performance space on Clifton Road in Candler Park. Friday’s opening includes a celebration of the life and times of Deacon Lunchbox hosted by Bill Taft, featuring live music, film/video, and poetry by guest performers.

The Repurposed call for submissions specifically solicits two- and three-dimensional works including ready-mades, assemblages, found objects, aesthetically repurposed items, artistically reused interactives, curbside manipulatives, and over-painted prints and paintings. From such a wide casting call, a rogue’s gallery of offbeat, second-hand wonders will be on display in a fitting (repurposed building) showcase.

“The idea is to get people to view repurposed items as valuable in some way,” says chief juror Clare Butler. “It’s a commentary on our throw-away culture and the notion that, when you think something only has one purpose, you discard it after using it, even though it may have meaning for someone else.”

Speaking of repurposing, as Lady Clare, Butler was an original member of [https://www.youtube.com/watch?v=y_TbP0g1EYQ|Now Explosion], a pioneering DIY-pop band which embodied the kitschy glam-drag-dance scene that flourished in Atlanta in the 1980s. Lady Clare also made regular appearances on the [https://www.youtube.com/watch?v=iqAMHzXGQck|American Music Show], a queer public-access TV program produced in Atlanta between 1981 and 2005, which featured local celebs including RuPaul, Larry Tee, DeAundra Peek, Duffy Odum, Tom Zarrilli, Lady Bunny, and Jayne County.

Zarrilli, an actor, journalist, former club impresario, and retired school librarian, was recruited to manage 378 by singer-songwriter Clay Harper, who, with his business partner Mike Nelson, co-own the building, along with being the co-founders of Atlanta’s Fellini’s Pizza. At the opening in May, Harper performed selections from his most recent album, [https://www.youtube.com/watch?v=I1WMBK0hIO8&list=PLI_C5jMT4w2phHabKaIq3dbGRTcnGuOdK|Bleak Beauty], in the performance space downstairs from the main gallery, followed by a set from Kevn Kinney & Friends.

For the opening of Repurposed, Zarrilli is delving into the archives to pay tribute to [https://www.youtube.com/watch?v=ffo0e99HL7c|Deacon Lunchbox], the stage name of poet-performance artist Tim Ruttenber. A gifted language wrangler and fearless performer, Ruttenber possessed a sharply honed sense of the absurd and a keen eye for the devil’s details. Rarely deviating from a bellowing rant, Deacon Lunchbox recited poetic ruminations, which he called “redneck psychobabble,” on subjects ranging from lumberjacking, bikers, sex, and terrorism to suburban blight and cheese-and-pickle sandwiches. Usually, he accompanied himself by smacking the side of a surplus naval torpedo with a carpenter’s hammer and hollering into a sheetrock bucket to achieve special reverb effects. In 1992, on the way back to Atlanta from a gig in Pensacola, Florida, Ruttenber perished in an automobile accident along with two members of The Jody Grind, Robert Hayes and Rob Clayton.

“I look back on Deacon Lunchbox as a living found object, a stranger in a strange band,” Zarrilli says.

The same socio-cultural impetus that spawned Now Explosion and Deacon Lunchbox begat the [https://www.youtube.com/watch?v=4B26mB1hFxs|Opal Foxx Quartet], which included Ruttenber, Taft, and lead vocalist Benjamin (Robert Dickerson, who died in 1999). The latter was the subject of Jem Cohen and Peter Sillen’s award-winning documentary film [https://www.youtube.com/watch?v=iaSLSCXOZLQ|Benjamin Smoke] (2000). Back in the day, Zarrilli successively managed the Nitery and Celebrity Club, two venues located blocks apart on Ponce De Leon, where these and many similarly inclined artists frequently performed.

“Bill (Taft) and others in his circle are the last remaining connections to that milieu,” Zarrilli says.

Among the scheduled tributeers is Rupert Fike, whose most recent book, [http://snakenation.press/fikecvrhouse-indd|Hello the House: Poems] (Snake Nation Press), was named one of 2018’s “Books All Georgians Should Read” by the [http://snakenation.press/fikecvrhouse-indd|Georgia Center for the Book]. James Kelly, frontman for Slim Chance & the Convicts, will perform two songs: "Loweena (the Urban Redneck Queen)” — which Deacon Lunchbox regularly sang with the band at the Austin Avenue Buffet and other “redneck underground” haunts, most of which are long gone — and “I Miss You Most on Sundays,” a poignant remembrance of Ruttenber by way of his passion for NASCAR racing.

Vintage footage of Deacon Lunchbox will be screened, including Neil Fried’s short feature film, ''Lawrence of Lawrenceville Highway'', and “home video” shot by Judy Rushin (now an art professor at Florida State University) of an outing to Road Atlanta in which Deacon, using a can of insect repellent as a microphone, interviews “the greatest American race car driver from France” (Taft). A concert clip of Deacon performing with the Opal Foxx Quartet on the Georgia state capitol steps may also be included.

“Deacon’s style was assemblage,” says Taft. “On stage, he was a kinetic sculpture, waving a chainsaw, shooting a blank gun, banging a hammer on an oil drum, flashing plastic breasts. His life was dedicated to repurpose. In the mid-’80s, he exiled himself from the hippie era, left the mountains of North Carolina, moved to the heart of midtown, and refurbished his life. He was born again as a poet and performer.”

In Western art history, the tradition of repurposing objects for artistic purposes stretches back through millennia. Butler recalls being dazzled as a youngster by an unusual painting she ran across in an art book. ''[https://artsandculture.google.com/asset/rudolf-ii-of-habsburg-as-vertumnus/TAGn3nhWHkbIBA?hl=en&ms={"x":0.5,"y":0.5,"z":8.51798384779611,"size":{"width":2.6837831785647626,"height":1.2375226574274376}}|Vertumnus],'' a portrait by Giuseppe Arcimboldo, a Mannerist artist, was painted in Milan around  1590–1591. It depicts Holy Roman Emperor Rudolf II with a face and torso fashioned from flowers, fruits, and vegetables, symbolizing the Roman god of seasonal metamorphosis and natural bounty.

“I was fascinated by that painting and the idea of combining random things to create a recognizable image,” Butler says.

In the 20th and 21st centuries, the technique of altering and recombining pre-fab and found objects to serve the artistic muse is manifest across categories ranging from surrealism and pop to minimalism and “visionary” (contemporary folk) art. A few decades ago, Atlanta-based artist and musician [https://www.lonnieholley.com/|Lonnie Holley] initially garnered international attention with his deeply evocative assemblages constructed from discarded objects (farm implements, bicycle parts, furniture, bric-a-brac) and repurposed materials (wood, cloth, glass, wire, metal), which were found on the side of the road, along railroad tracks, in fields, drainage ditches, construction sites, and everywhere else his keen curiosity led him.

“When people use material like that, in what’s considered an ‘untrained’ manner, some people say it’s because they can’t afford art supplies, but that’s beside the point,” Butler observes. “They’re using what’s available as an artistic medium, which is relevant to the artist’s life and experiences. As a result, the art is more meaningful than if they went to an art supply store and bought a nice set of acrylic paints.”

Repurposed includes works by local Atlanta and out-of-town artists. Among the submissions are pieces by Lanny Brewster, Susan Cipcic, Melissia Fernander, Benjamin Harubin, Karen Hennessee, Tim Hunter, Rob Lombardo, William Makepeace, Patty Nelson Merrifield, Rob Nixon, Leisa Rich, Blake Wilkerson, John Woodson, and Cindy Zarrilli. [[Full disclosure: your Listening Post correspondent has a small piece in the show.]

“My personal taste tends toward found objects, which have been repurposed into an artistic vision by combining or manipulating them, rather than something picked up by somebody that coincidentally looks like something else,” Butler says.

Regardless of genre, technique, or motivation, elevating the status of discarded things and encouraging their accumulation runs against popular cultural trends focused on decluttering, “death cleaning,” and filtering out possessions that fail to “spark joy.” Butler views the situation through her own lens.

“I don’t think you should hang onto things you don’t want,” she says. “On the other hand, re-envisioning or reimagining things is a way to entertain yourself and create the feeling that value in the objects around you arises from their artistic, rather than utilitarian, nature.”

“If something doesn’t spark joy,” Butler adds, “reuse or repurpose it so it does.”

Or, as Deacon Lunchbox used to say: “Life is an illusion, so you might as well make it a good one.”"
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  string(9359) " 2 Harubin Repurposed Crap  2019-07-08T21:36:33+00:00 2 Harubin Repurposed Crap.jpg    Well, and then she said ......  Juried exhibit of one man’s trash as another man’s treasure comes to 378 to celebrate Deacon Lunchbox 2 Harubin Repurposed Crap   2019-07-08T21:23:32+00:00  LISTENING POST: Repurposed — but is it art? tony.paris Tony Paris DOUG DELOACH douglassdeloach (Doug DeLoach) 2019-07-08T21:23:32+00:00 Think “waste not, want not,” as my mother used to say, or “one man’s trash is another man’s treasure,” as Kelly Hogan sings on The Jody Grind’s 1991 album of the same name. Those are shorthand themes for Repurposed, a special two-day-only (July 26-27), juried art exhibition at 378, the newly launched gallery and performance space on Clifton Road in Candler Park. Friday’s opening includes a celebration of the life and times of Deacon Lunchbox hosted by Bill Taft, featuring live music, film/video, and poetry by guest performers.

The Repurposed call for submissions specifically solicits two- and three-dimensional works including ready-mades, assemblages, found objects, aesthetically repurposed items, artistically reused interactives, curbside manipulatives, and over-painted prints and paintings. From such a wide casting call, a rogue’s gallery of offbeat, second-hand wonders will be on display in a fitting (repurposed building) showcase.

“The idea is to get people to view repurposed items as valuable in some way,” says chief juror Clare Butler. “It’s a commentary on our throw-away culture and the notion that, when you think something only has one purpose, you discard it after using it, even though it may have meaning for someone else.”

Speaking of repurposing, as Lady Clare, Butler was an original member of Now Explosion, a pioneering DIY-pop band which embodied the kitschy glam-drag-dance scene that flourished in Atlanta in the 1980s. Lady Clare also made regular appearances on the American Music Show, a queer public-access TV program produced in Atlanta between 1981 and 2005, which featured local celebs including RuPaul, Larry Tee, DeAundra Peek, Duffy Odum, Tom Zarrilli, Lady Bunny, and Jayne County.

Zarrilli, an actor, journalist, former club impresario, and retired school librarian, was recruited to manage 378 by singer-songwriter Clay Harper, who, with his business partner Mike Nelson, co-own the building, along with being the co-founders of Atlanta’s Fellini’s Pizza. At the opening in May, Harper performed selections from his most recent album, Bleak Beauty, in the performance space downstairs from the main gallery, followed by a set from Kevn Kinney & Friends.

For the opening of Repurposed, Zarrilli is delving into the archives to pay tribute to Deacon Lunchbox, the stage name of poet-performance artist Tim Ruttenber. A gifted language wrangler and fearless performer, Ruttenber possessed a sharply honed sense of the absurd and a keen eye for the devil’s details. Rarely deviating from a bellowing rant, Deacon Lunchbox recited poetic ruminations, which he called “redneck psychobabble,” on subjects ranging from lumberjacking, bikers, sex, and terrorism to suburban blight and cheese-and-pickle sandwiches. Usually, he accompanied himself by smacking the side of a surplus naval torpedo with a carpenter’s hammer and hollering into a sheetrock bucket to achieve special reverb effects. In 1992, on the way back to Atlanta from a gig in Pensacola, Florida, Ruttenber perished in an automobile accident along with two members of The Jody Grind, Robert Hayes and Rob Clayton.

“I look back on Deacon Lunchbox as a living found object, a stranger in a strange band,” Zarrilli says.

The same socio-cultural impetus that spawned Now Explosion and Deacon Lunchbox begat the Opal Foxx Quartet, which included Ruttenber, Taft, and lead vocalist Benjamin (Robert Dickerson, who died in 1999). The latter was the subject of Jem Cohen and Peter Sillen’s award-winning documentary film Benjamin Smoke (2000). Back in the day, Zarrilli successively managed the Nitery and Celebrity Club, two venues located blocks apart on Ponce De Leon, where these and many similarly inclined artists frequently performed.

“Bill (Taft) and others in his circle are the last remaining connections to that milieu,” Zarrilli says.

Among the scheduled tributeers is Rupert Fike, whose most recent book, Hello the House: Poems (Snake Nation Press), was named one of 2018’s “Books All Georgians Should Read” by the Georgia Center for the Book. James Kelly, frontman for Slim Chance & the Convicts, will perform two songs: "Loweena (the Urban Redneck Queen)” — which Deacon Lunchbox regularly sang with the band at the Austin Avenue Buffet and other “redneck underground” haunts, most of which are long gone — and “I Miss You Most on Sundays,” a poignant remembrance of Ruttenber by way of his passion for NASCAR racing.

Vintage footage of Deacon Lunchbox will be screened, including Neil Fried’s short feature film, Lawrence of Lawrenceville Highway, and “home video” shot by Judy Rushin (now an art professor at Florida State University) of an outing to Road Atlanta in which Deacon, using a can of insect repellent as a microphone, interviews “the greatest American race car driver from France” (Taft). A concert clip of Deacon performing with the Opal Foxx Quartet on the Georgia state capitol steps may also be included.

“Deacon’s style was assemblage,” says Taft. “On stage, he was a kinetic sculpture, waving a chainsaw, shooting a blank gun, banging a hammer on an oil drum, flashing plastic breasts. His life was dedicated to repurpose. In the mid-’80s, he exiled himself from the hippie era, left the mountains of North Carolina, moved to the heart of midtown, and refurbished his life. He was born again as a poet and performer.”

In Western art history, the tradition of repurposing objects for artistic purposes stretches back through millennia. Butler recalls being dazzled as a youngster by an unusual painting she ran across in an art book. Vertumnus, a portrait by Giuseppe Arcimboldo, a Mannerist artist, was painted in Milan around  1590–1591. It depicts Holy Roman Emperor Rudolf II with a face and torso fashioned from flowers, fruits, and vegetables, symbolizing the Roman god of seasonal metamorphosis and natural bounty.

“I was fascinated by that painting and the idea of combining random things to create a recognizable image,” Butler says.

In the 20th and 21st centuries, the technique of altering and recombining pre-fab and found objects to serve the artistic muse is manifest across categories ranging from surrealism and pop to minimalism and “visionary” (contemporary folk) art. A few decades ago, Atlanta-based artist and musician Lonnie Holley initially garnered international attention with his deeply evocative assemblages constructed from discarded objects (farm implements, bicycle parts, furniture, bric-a-brac) and repurposed materials (wood, cloth, glass, wire, metal), which were found on the side of the road, along railroad tracks, in fields, drainage ditches, construction sites, and everywhere else his keen curiosity led him.

“When people use material like that, in what’s considered an ‘untrained’ manner, some people say it’s because they can’t afford art supplies, but that’s beside the point,” Butler observes. “They’re using what’s available as an artistic medium, which is relevant to the artist’s life and experiences. As a result, the art is more meaningful than if they went to an art supply store and bought a nice set of acrylic paints.”

Repurposed includes works by local Atlanta and out-of-town artists. Among the submissions are pieces by Lanny Brewster, Susan Cipcic, Melissia Fernander, Benjamin Harubin, Karen Hennessee, Tim Hunter, Rob Lombardo, William Makepeace, Patty Nelson Merrifield, Rob Nixon, Leisa Rich, Blake Wilkerson, John Woodson, and Cindy Zarrilli. [Full disclosure: your Listening Post correspondent has a small piece in the show.]

“My personal taste tends toward found objects, which have been repurposed into an artistic vision by combining or manipulating them, rather than something picked up by somebody that coincidentally looks like something else,” Butler says.

Regardless of genre, technique, or motivation, elevating the status of discarded things and encouraging their accumulation runs against popular cultural trends focused on decluttering, “death cleaning,” and filtering out possessions that fail to “spark joy.” Butler views the situation through her own lens.

“I don’t think you should hang onto things you don’t want,” she says. “On the other hand, re-envisioning or reimagining things is a way to entertain yourself and create the feeling that value in the objects around you arises from their artistic, rather than utilitarian, nature.”

“If something doesn’t spark joy,” Butler adds, “reuse or repurpose it so it does.”

Or, as Deacon Lunchbox used to say: “Life is an illusion, so you might as well make it a good one.”    Benjamin Harubin "REPURPOSED CRAP:" Artist: Benjamin Harubin, metal, plastic, paper wood.  0,0,2                           LISTENING POST: Repurposed — but is it art? "
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 Did someone say Terry Gross? Moloq does, several times, in its new music video homage to the one and only host of NPR’s Fresh Air. Moloq is a two piece band from Atlanta, Georgia, with an impressive setup for their size. Jake Aron is a vocalist and guitarist, while Paul Stevens is a vocalist and drummer— each one swaps out for keyboard and synths responsibilities. While the band typically plays experimental and psychedelic pop music, “Terry!” showcases its propensity for indie rock — and playfulness.

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Or not.

For the band, it’s as simple as a deep affection for Gross.

“Why does anyone write a song of adoration? I love her,” Stevens says.

It’s the authenticity of the song, not the satire, that makes it stand out for Aron as well.

“Paul’s message is so pure and unadulterated,” Aron says. “It’s refreshing to have that in an ecosystem of music largely ironic or aloof. There’s something to be said for just going for it.”

But why Gross? At first, the choice of such a collected character for such a dramatic medium seems curious, but with moderation being the new extreme in American society, it is actually insightful. Moloq seems to be reaching for a source of calm and sanity as much as any of us, and who could fit the role better than this even-keeled NPR host.

For such calm subject matter, though, the antics and style of the video are high energy, creating a complementary contrast that allows the video to be sincere yet lighthearted.

“In the spirit of the song, it felt natural to combine all of these elements into the madness you see in the video,” says Aron.

Aron goes on to talk about the video’s masterpiece, the Gross puppet. “My father-in-law, Terry Rooney, is a sculptor, and studied puppetry and mask-making around the world,” he says. “We actually spent a lot of time on the design, and largely based the look on Bunraku, a tradition of Japanese puppet theatre.”

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 Did someone say Terry Gross? Moloq does, several times, in its new music video homage to the one and only host of NPR’s Fresh Air. Moloq is a two piece band from Atlanta, Georgia, with an impressive setup for their size. Jake Aron is a vocalist and guitarist, while Paul Stevens is a vocalist and drummer— each one swaps out for keyboard and synths responsibilities. While the band typically plays experimental and psychedelic pop music, “Terry!” showcases its propensity for indie rock — and playfulness.

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 Did someone say Terry Gross? Moloq does, several times, in its new music video homage to the one and only host of NPR’s Fresh Air. Moloq is a two piece band from Atlanta, Georgia, with an impressive setup for their size. Jake Aron is a vocalist and guitarist, while Paul Stevens is a vocalist and drummer— each one swaps out for keyboard and synths responsibilities. While the band typically plays experimental and psychedelic pop music, “Terry!” showcases its propensity for indie rock — and playfulness.

The video is the brainchild of director Andrew Schwab and director of photography Joey Kopanski, who use tools and tropes from the modern era of social media and Gen Z culture to piece together frames of creative ridiculousness. This includes photoshopping a Terry Gross head across the country, meme-style, and relying on randomness to make sense of what unfolds.

“The song is like a seance and summoning of Terry from the radio,” Aron says.

“Terry” comes from the group’s most recent, self-titled album. It’s a sunny, tongue-in-cheek intermission from the gloomy, psychedelic experimentation of the rest of the album, mirroring a similar need in today’s world at large for a break from the gravity of everyday life.

Or not.

For the band, it’s as simple as a deep affection for Gross.

“Why does anyone write a song of adoration? I love her,” Stevens says.

It’s the authenticity of the song, not the satire, that makes it stand out for Aron as well.

“Paul’s message is so pure and unadulterated,” Aron says. “It’s refreshing to have that in an ecosystem of music largely ironic or aloof. There’s something to be said for just going for it.”

But why Gross? At first, the choice of such a collected character for such a dramatic medium seems curious, but with moderation being the new extreme in American society, it is actually insightful. Moloq seems to be reaching for a source of calm and sanity as much as any of us, and who could fit the role better than this even-keeled NPR host.

For such calm subject matter, though, the antics and style of the video are high energy, creating a complementary contrast that allows the video to be sincere yet lighthearted.

“In the spirit of the song, it felt natural to combine all of these elements into the madness you see in the video,” says Aron.

Aron goes on to talk about the video’s masterpiece, the Gross puppet. “My father-in-law, Terry Rooney, is a sculptor, and studied puppetry and mask-making around the world,” he says. “We actually spent a lot of time on the design, and largely based the look on Bunraku, a tradition of Japanese puppet theatre.”

Moloq brings a sense of freeing playfulness in the “Terry!” video, which, from the melancholy and mystery that can devour psychedelia, serves as a breath of fresh air.    Courtesy Moloq FRESH AIR: Moloq brings playfulness to psychedelia.  0,0,12    Moloq "Terry Gross" NPR Atlanta Music Video                       First Watch: Moloq "
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Crib Notes

Chad Rad's Top Picks"
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We're overjoyed to announce that the ATLiens United Podcast has joined the Creative Loafing podcast network. Be sure to follow all their goings-on at www.atliensunited.com/ to keep up with all things Atlanta United. ⚽    Courtesy of ATLiens United    0,0,6                           PODCAST: ATLiens United "Charleston Bound" "
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