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CL has teamed up with Blake and Joe from the ATLiens Podcast to present all things Atlanta United - insights, game recaps, rumors, tailgating and places where Atlanta United fans hang out. Look for the ATLiens podcast on this page on the CL site, or check out Blake and Joe's site here every Thursday during the season along with occasional podcast during the off season. These episodes are available on SoundCloud, YouTube and anywhere you get your podcasts.

!!All Episodes

     Courtesy ATLiens United PC Blake (left) and Joe (right)    ATLiens: O...F...Y...O...Again, ATLiens: Winner Winner Chicken Dinner, Atliens: Life without Villa, ATLiens: FdB's House, ATLiens: West Coast Edition, ATLiens: Taking Down the Capital, ATLiens: How the West Was Won, ATLiens: Almost a Happy 4th, ATLiens: What a Pity, ATLiens: All the Soccer, ATLiens: Charleston Bound, ATLiens: Time to Party  ATliens                       ATLiens: The Atlanta United Podcast "
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“It was a time when there were a lot of touring bands coming through town, and we had this one-two-three punch of Mangled, Sadistic Ritual, and Disfigurement opening pretty much every show, and everyone else got blown off of the stage,” says Charlie Southern, Sadistic Ritual’s guitar player, singer, and founding member. “I’m sorry, but it’s true. Basically, anybody who came through town back then didn’t stand a chance. And they definitely couldn’t hang as hard.”

Seven years later, the world is still here, reckoning with the very real threats of climate change, human overconsumption, poor governance, and species decimation paving the way for the sixth wave of mass extinction in the planet’s history. From that unholy trinity of Atlanta metal peers who, for a time, challenged any and all wayward metal bands, Sadistic Ritual is the only group still standing. Southern is the sole original member who’s stuck with the group since Sadistic Ritual’s first demo recording was released in 2010. “I've gone through a hellacious amount of band members since that time,” he says. “It’s purely by my will alone that this group still exists.”

Now, with a stable lineup settling into place, filled out by drummer Joe Sweat, and guitar player Alex Parra, Sadistic Ritual has entered a dark and more refined chapter, planting the group firmly in the modern era.

The June 14 arrival of Sadistic Ritual’s first proper full-length album, Visionaire of Death, is a vicious declaration of just how far Southern has pushed the band while grappling with forces beyond his control.



Visionaire of Death, a split release between Atlanta-based Boris Records and Athens’ Unspeakable Axe label, is an ode to death itself. From the title track to the mound of animal skulls on the album’s cover, the group tackles mortality on a grand scale with intimacy and urgency. “This is the first time the band has actually felt like a band,” says Southern, who also plays guitar with Birmingham, Alabama death metal trio Ectovoid. “We are all communicating well, writing songs together, and making decisions together.”

The level of musical skill and comprehension on display throughout songs such as “... In Cold Blood,” “Double Crossed,” and the epic, eight-minute album closer, “Cerebral Sacrifice” reaches a deeper plane of perception than any of Sadistic Ritual’s previous offerings. The ferocity and emotion channeled into each full-throttle melody, along with Southern’s scathing vocal assaults, culminate in a focused and antagonistic musical statement. The songs on Visionaire of Death feature former bass player Shawn Staszko, and have evolved far beyond the thrash metal tropes heard throughout releases such as 2013’s “Neurotoxin” b/w “Hellish Mercenary” 7-inch and 2015’s Edge of the Knife EP. The album pounces with aggressive fury, demanding the full attention of anyone within earshot.

“I don’t think Charlie even listens to thrash anymore,” says Chris Hood, who co-owns Boris Records. “I think he instead listens to recordings of artillery barrages, trauma operating rooms, and death rattles for inspiration.”

In the song titled “... In Cold Blood,” Southern screams, “Death / You get what you deserve / Despite the lessons you think you have learned / The wars you will start will finally meet their peace.”

Whether taken as a cautionary tale or as pure damnation, Southern’s songwriting has matured to an extreme degree. “With a lot of the previous material, I wasn’t writing about anything that I felt all that passionately about,” Southern says. “With this particular album, all of that has changed.”

Drummer Sweat adds: “[These songs] took a piece of Charlie’s soul. They’ll take a piece of your soul, too.”

It’s a heavy batch of songs to take in. Boris Records co-owner Scott DePlonty describes them as “genuine and honest. The band wasn’t trying to ape the landmark records of the genre, but incorporated that history and wrote these songs from a place of passion and personal expression.”

Eric Musall, who owns Unspeakable Axe, says, “I love that [the album] exists. Motherfuckers took their sweet time. But it was worth the wait.”

When asked about the album’s title track, which premiered May 1 via DecibelMagazine.com, he adds, “It sanded my face off from the first listen, and I was glad the band wanted to do it as the lead-off single.”
As a result, Sadistic Ritual has crafted an untouchable first album for the metal world, driven by punk awareness, and a worldview that’s burdened by the depravity of mankind. Constrictive guitar solos and searing leads in songs such as "Mutually Assured Destruction" and the tangled maze of “Cerebral Sacrifice” loom on the horizon like a mushroom cloud, laying waste to everything in sight.

“Death as the focus of this album is kind of a reminder that we’re only given one chance,” says Sweat, who joined Sadistic Ritual in 2017, after spending years playing in indie rock band Big Jesus and fellow Atlanta metal bands Mangled and Order of the Owl. “Why live a mundane life? We made our best effort to take this somewhere.”

It’s a sentiment that Southern pushes further, adding: “A lot of people — normal people — hear the name Sadistic Ritual, and immediately think ‘Satanic Ritual.’ But we're not a Satanic band. Sadistic Ritual is a ritual of death,” he says. “Like the mound of skulls that were photographed for the album’s cover, this album is a monument to death.”

The blazing pyramid of animal skulls, bones, and antlers was culled together on the outskirts of rural Memphis, Tennessee, by longtime cohort Seth Decay, who fronts the black metal group Ritual Decay. “We had an idea of what we wanted, so we called Seth, ’cause he's one of the most evil people I've ever met in my life,” Southern says, with a laugh. “We knew he could help.”



The image, backlit by the glow of two fiery torches, was captured by Atlanta photographer David Parham. It’s a striking and hallucinatory counterpart to Sadistic Ritual’s musical vision, with implications that reach far beyond the covers of early Sadistic Ritual singles and demos adorned with juvenile drawings of blood-splattered violence.

“I wanted to take everything that I learned from being in Big Jesus, which was a huge milestone for me, and channel it into this group,” Sweat says. “I knew we couldn’t have just any piece of artwork. I wanted something real, something that says, ‘This is not a joke. Do you want to talk about something real? We’re not out-to-lunch people. We take ourselves seriously, and we take our music seriously.’”

As such, the group has emerged as one of the most electrifying, challenging, and ultimately rewarding metal bands in Atlanta. But even using words such as “metal” and “thrash,” which have marked Sadistic Ritual from the beginning, feel misguided in light of just how far the group has come with its debut album. When talking about their influences, both Sweat and Southern drop the names Slayer, Megadeth, Iron Maiden, and Motörhead. They also offer no apologies for the group’s brutal vitality, nor for the intense and menacing bombast that defines Visionaire of Death.

“I don't want to hear a love song,” Sweat says. “I want to hear something about how insane the world has gone, how insane it is that anyone even exists. I can't relate to RPG metal, or over-the-top occultism — don’t get me wrong, I love the occult. But we’re Americans. We want to play something that’s actually fucking good, something that has some bite, something with fire, and the attitude to back it up.”

Sadistic Ritual plays the Visionaire of Death record release party at the Earl on Fri., June 14. With Gunpowder Gray and Detonate. $10-$12. 9 p.m. 488 Flat Shoals Ave. S.E. 404-522-3950. www.badearl.com."
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  string(9174) "In the summer of 2012, Atlanta was a breeding ground for a raging heavy metal scene. For years, malevolent black metal masters Hellgoat, and death metal slashers Lectures on the Apocalypse, Withered, Death of Kings, and Spewtilator had kept the fires of Atlanta metal burning brightly in the underground. But that year, according to the Mayan calendar, the end of the world was at hand. A new breed of young metal bands and promoters rose to supremacy like thieves in the night and raised the bar high for whiplash fury, blast beats, and searing riffs. The apocalypse never happened, but the psychic tension it created was a boon for headbangers.

“It was a time when there were a lot of touring bands coming through town, and we had this one-two-three punch of Mangled, Sadistic Ritual, and Disfigurement opening pretty much every show, and everyone else got blown off of the stage,” says Charlie Southern, Sadistic Ritual’s guitar player, singer, and founding member. “I’m sorry, but it’s true. Basically, anybody who came through town back then didn’t stand a chance. And they definitely couldn’t hang as hard.”

Seven years later, the world is still here, reckoning with the very real threats of climate change, human overconsumption, poor governance, and species decimation paving the way for the sixth wave of mass extinction in the planet’s history. From that unholy trinity of Atlanta metal peers who, for a time, challenged any and all wayward metal bands, Sadistic Ritual is the only group still standing. Southern is the sole original member who’s stuck with the group since Sadistic Ritual’s first demo recording was released in 2010. “I've gone through a hellacious amount of band members since that time,” he says. “It’s purely by my will alone that this group still exists.”

Now, with a stable lineup settling into place, filled out by drummer Joe Sweat, and guitar player Alex Parra, Sadistic Ritual has entered a dark and more refined chapter, planting the group firmly in the modern era.

The June 14 arrival of [https://www.facebook.com/SadRitATL/|Sadistic Ritual]’s first proper full-length album, ''[https://borisrecords.bandcamp.com/album/visionaire-of-death|Visionaire of Death]'', is a vicious declaration of just how far Southern has pushed the band while grappling with forces beyond his control.

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''Visionaire of Death'', a split release between Atlanta-based [https://borisrecords.bandcamp.com/|Boris Records] and Athens’ [http://www.unspeakableaxerecords.com/|Unspeakable Axe] label, is an ode to death itself. From the title track to the mound of animal skulls on the album’s cover, the group tackles mortality on a grand scale with intimacy and urgency. “This is the first time the band has actually felt like a band,” says Southern, who also plays guitar with Birmingham, Alabama death metal trio Ectovoid. “We are all communicating well, writing songs together, and making decisions together.”

The level of musical skill and comprehension on display throughout songs such as “... In Cold Blood,” “Double Crossed,” and the epic, eight-minute album closer, “Cerebral Sacrifice” reaches a deeper plane of perception than any of Sadistic Ritual’s previous offerings. The ferocity and emotion channeled into each full-throttle melody, along with Southern’s scathing vocal assaults, culminate in a focused and antagonistic musical statement. The songs on ''Visionaire of Death'' feature former bass player Shawn Staszko, and have evolved far beyond the thrash metal tropes heard throughout releases such as 2013’s “Neurotoxin” b/w “Hellish Mercenary” 7-inch and 2015’s ''Edge of the Knife'' EP. The album pounces with aggressive fury, demanding the full attention of anyone within earshot.

“I don’t think Charlie even listens to thrash anymore,” says Chris Hood, who co-owns Boris Records. “I think he instead listens to recordings of artillery barrages, trauma operating rooms, and death rattles for inspiration.”

In the song titled “... In Cold Blood,” Southern screams, “Death / You get what you deserve / Despite the lessons you think you have learned / The wars you will start will finally meet their peace.”

Whether taken as a cautionary tale or as pure damnation, Southern’s songwriting has matured to an extreme degree. “With a lot of the previous material, I wasn’t writing about anything that I felt all that passionately about,” Southern says. “With this particular album, all of that has changed.”

Drummer Sweat adds: “[[These songs] took a piece of Charlie’s soul. They’ll take a piece of your soul, too.”

It’s a heavy batch of songs to take in. Boris Records co-owner Scott DePlonty describes them as “genuine and honest. The band wasn’t trying to ape the landmark records of the genre, but incorporated that history and wrote these songs from a place of passion and personal expression.”

Eric Musall, who owns Unspeakable Axe, says, “I love that [[the album] exists. Motherfuckers took their sweet time. But it was worth the wait.”

When asked about the album’s title track, which premiered May 1 via DecibelMagazine.com, he adds, “It sanded my face off from the first listen, and I was glad the band wanted to do it as the lead-off single.”
As a result, Sadistic Ritual has crafted an untouchable first album for the metal world, driven by punk awareness, and a worldview that’s burdened by the depravity of mankind. Constrictive guitar solos and searing leads in songs such as "Mutually Assured Destruction" and the tangled maze of “Cerebral Sacrifice” loom on the horizon like a mushroom cloud, laying waste to everything in sight.

“Death as the focus of this album is kind of a reminder that we’re only given one chance,” says Sweat, who joined Sadistic Ritual in 2017, after spending years playing in indie rock band Big Jesus and fellow Atlanta metal bands Mangled and Order of the Owl. “Why live a mundane life? We made our best effort to take this somewhere.”

It’s a sentiment that Southern pushes further, adding: “A lot of people — normal people — hear the name Sadistic Ritual, and immediately think ‘Satanic Ritual.’ But we're not a Satanic band. Sadistic Ritual is a ritual of death,” he says. “Like the mound of skulls that were photographed for the album’s cover, this album is a monument to death.”

The blazing pyramid of animal skulls, bones, and antlers was culled together on the outskirts of rural Memphis, Tennessee, by longtime cohort Seth Decay, who fronts the black metal group Ritual Decay. “We had an idea of what we wanted, so we called Seth, ’cause he's one of the most evil people I've ever met in my life,” Southern says, with a laugh. “We knew he could help.”

{img fileId="18470" align="center" desc="desc" width="100%"}

The image, backlit by the glow of two fiery torches, was captured by Atlanta photographer David Parham. It’s a striking and hallucinatory counterpart to Sadistic Ritual’s musical vision, with implications that reach far beyond the covers of early Sadistic Ritual singles and demos adorned with juvenile drawings of blood-splattered violence.

“I wanted to take everything that I learned from being in Big Jesus, which was a huge milestone for me, and channel it into this group,” Sweat says. “I knew we couldn’t have just any piece of artwork. I wanted something real, something that says, ‘This is not a joke. Do you want to talk about something real? We’re not out-to-lunch people. We take ourselves seriously, and we take our music seriously.’”

As such, the group has emerged as one of the most electrifying, challenging, and ultimately rewarding metal bands in Atlanta. But even using words such as “metal” and “thrash,” which have marked Sadistic Ritual from the beginning, feel misguided in light of just how far the group has come with its debut album. When talking about their influences, both Sweat and Southern drop the names Slayer, Megadeth, Iron Maiden, and Motörhead. They also offer no apologies for the group’s brutal vitality, nor for the intense and menacing bombast that defines ''Visionaire of Death''.

“I don't want to hear a love song,” Sweat says. “I want to hear something about how insane the world has gone, how insane it is that anyone even exists. I can't relate to RPG metal, or over-the-top occultism — don’t get me wrong, I love the occult. But we’re Americans. We want to play something that’s actually fucking good, something that has some bite, something with fire, and the attitude to back it up.”

''[http://www.badearl.com/events/5126/Sadistic-Ritual|Sadistic Ritual plays the Visionaire of Death record release party at the Earl on Fri., June 14. With Gunpowder Gray and Detonate. $10-$12. 9 p.m. 488 Flat Shoals Ave. S.E. 404-522-3950. www.badearl.com.]''"
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  string(9353) " Music Sadistic1 1 11  2019-06-05T14:18:32+00:00 Music_Sadistic1-1_11.jpg    Proud mama here!! of southern boris records unspeakable axe charlie visionaire death sadistic ritual atlanta metal, The Atlanta metal staple is back with bite and the attitude to back it up Music Sadistic1 1 11   2019-06-05T13:57:37+00:00  Sadistic Ritual pays homage to death chad.radford Chad Radford Chad Radford  2019-06-05T13:57:37+00:00 In the summer of 2012, Atlanta was a breeding ground for a raging heavy metal scene. For years, malevolent black metal masters Hellgoat, and death metal slashers Lectures on the Apocalypse, Withered, Death of Kings, and Spewtilator had kept the fires of Atlanta metal burning brightly in the underground. But that year, according to the Mayan calendar, the end of the world was at hand. A new breed of young metal bands and promoters rose to supremacy like thieves in the night and raised the bar high for whiplash fury, blast beats, and searing riffs. The apocalypse never happened, but the psychic tension it created was a boon for headbangers.

“It was a time when there were a lot of touring bands coming through town, and we had this one-two-three punch of Mangled, Sadistic Ritual, and Disfigurement opening pretty much every show, and everyone else got blown off of the stage,” says Charlie Southern, Sadistic Ritual’s guitar player, singer, and founding member. “I’m sorry, but it’s true. Basically, anybody who came through town back then didn’t stand a chance. And they definitely couldn’t hang as hard.”

Seven years later, the world is still here, reckoning with the very real threats of climate change, human overconsumption, poor governance, and species decimation paving the way for the sixth wave of mass extinction in the planet’s history. From that unholy trinity of Atlanta metal peers who, for a time, challenged any and all wayward metal bands, Sadistic Ritual is the only group still standing. Southern is the sole original member who’s stuck with the group since Sadistic Ritual’s first demo recording was released in 2010. “I've gone through a hellacious amount of band members since that time,” he says. “It’s purely by my will alone that this group still exists.”

Now, with a stable lineup settling into place, filled out by drummer Joe Sweat, and guitar player Alex Parra, Sadistic Ritual has entered a dark and more refined chapter, planting the group firmly in the modern era.

The June 14 arrival of Sadistic Ritual’s first proper full-length album, Visionaire of Death, is a vicious declaration of just how far Southern has pushed the band while grappling with forces beyond his control.



Visionaire of Death, a split release between Atlanta-based Boris Records and Athens’ Unspeakable Axe label, is an ode to death itself. From the title track to the mound of animal skulls on the album’s cover, the group tackles mortality on a grand scale with intimacy and urgency. “This is the first time the band has actually felt like a band,” says Southern, who also plays guitar with Birmingham, Alabama death metal trio Ectovoid. “We are all communicating well, writing songs together, and making decisions together.”

The level of musical skill and comprehension on display throughout songs such as “... In Cold Blood,” “Double Crossed,” and the epic, eight-minute album closer, “Cerebral Sacrifice” reaches a deeper plane of perception than any of Sadistic Ritual’s previous offerings. The ferocity and emotion channeled into each full-throttle melody, along with Southern’s scathing vocal assaults, culminate in a focused and antagonistic musical statement. The songs on Visionaire of Death feature former bass player Shawn Staszko, and have evolved far beyond the thrash metal tropes heard throughout releases such as 2013’s “Neurotoxin” b/w “Hellish Mercenary” 7-inch and 2015’s Edge of the Knife EP. The album pounces with aggressive fury, demanding the full attention of anyone within earshot.

“I don’t think Charlie even listens to thrash anymore,” says Chris Hood, who co-owns Boris Records. “I think he instead listens to recordings of artillery barrages, trauma operating rooms, and death rattles for inspiration.”

In the song titled “... In Cold Blood,” Southern screams, “Death / You get what you deserve / Despite the lessons you think you have learned / The wars you will start will finally meet their peace.”

Whether taken as a cautionary tale or as pure damnation, Southern’s songwriting has matured to an extreme degree. “With a lot of the previous material, I wasn’t writing about anything that I felt all that passionately about,” Southern says. “With this particular album, all of that has changed.”

Drummer Sweat adds: “[These songs] took a piece of Charlie’s soul. They’ll take a piece of your soul, too.”

It’s a heavy batch of songs to take in. Boris Records co-owner Scott DePlonty describes them as “genuine and honest. The band wasn’t trying to ape the landmark records of the genre, but incorporated that history and wrote these songs from a place of passion and personal expression.”

Eric Musall, who owns Unspeakable Axe, says, “I love that [the album] exists. Motherfuckers took their sweet time. But it was worth the wait.”

When asked about the album’s title track, which premiered May 1 via DecibelMagazine.com, he adds, “It sanded my face off from the first listen, and I was glad the band wanted to do it as the lead-off single.”
As a result, Sadistic Ritual has crafted an untouchable first album for the metal world, driven by punk awareness, and a worldview that’s burdened by the depravity of mankind. Constrictive guitar solos and searing leads in songs such as "Mutually Assured Destruction" and the tangled maze of “Cerebral Sacrifice” loom on the horizon like a mushroom cloud, laying waste to everything in sight.

“Death as the focus of this album is kind of a reminder that we’re only given one chance,” says Sweat, who joined Sadistic Ritual in 2017, after spending years playing in indie rock band Big Jesus and fellow Atlanta metal bands Mangled and Order of the Owl. “Why live a mundane life? We made our best effort to take this somewhere.”

It’s a sentiment that Southern pushes further, adding: “A lot of people — normal people — hear the name Sadistic Ritual, and immediately think ‘Satanic Ritual.’ But we're not a Satanic band. Sadistic Ritual is a ritual of death,” he says. “Like the mound of skulls that were photographed for the album’s cover, this album is a monument to death.”

The blazing pyramid of animal skulls, bones, and antlers was culled together on the outskirts of rural Memphis, Tennessee, by longtime cohort Seth Decay, who fronts the black metal group Ritual Decay. “We had an idea of what we wanted, so we called Seth, ’cause he's one of the most evil people I've ever met in my life,” Southern says, with a laugh. “We knew he could help.”



The image, backlit by the glow of two fiery torches, was captured by Atlanta photographer David Parham. It’s a striking and hallucinatory counterpart to Sadistic Ritual’s musical vision, with implications that reach far beyond the covers of early Sadistic Ritual singles and demos adorned with juvenile drawings of blood-splattered violence.

“I wanted to take everything that I learned from being in Big Jesus, which was a huge milestone for me, and channel it into this group,” Sweat says. “I knew we couldn’t have just any piece of artwork. I wanted something real, something that says, ‘This is not a joke. Do you want to talk about something real? We’re not out-to-lunch people. We take ourselves seriously, and we take our music seriously.’”

As such, the group has emerged as one of the most electrifying, challenging, and ultimately rewarding metal bands in Atlanta. But even using words such as “metal” and “thrash,” which have marked Sadistic Ritual from the beginning, feel misguided in light of just how far the group has come with its debut album. When talking about their influences, both Sweat and Southern drop the names Slayer, Megadeth, Iron Maiden, and Motörhead. They also offer no apologies for the group’s brutal vitality, nor for the intense and menacing bombast that defines Visionaire of Death.

“I don't want to hear a love song,” Sweat says. “I want to hear something about how insane the world has gone, how insane it is that anyone even exists. I can't relate to RPG metal, or over-the-top occultism — don’t get me wrong, I love the occult. But we’re Americans. We want to play something that’s actually fucking good, something that has some bite, something with fire, and the attitude to back it up.”

Sadistic Ritual plays the Visionaire of Death record release party at the Earl on Fri., June 14. With Gunpowder Gray and Detonate. $10-$12. 9 p.m. 488 Flat Shoals Ave. S.E. 404-522-3950. www.badearl.com.    David Parham SKULLS AND FIRE: Sadistic Ritual’s debut album is an ode to death.  0,0,1    "Sadistic Ritual "Boris Records" "Unspeakable Axe Records" Atlanta metal, "Charlie Southern" "Visionaire of Death"                       Sadistic Ritual pays homage to death "
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!!!!— @realDonaldTrump
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Do you find yourself overwhelmed and upset by the everyday onslaught of troubling news from the nation’s capital — from Jared and Ivanka’s suspicious security clearances to Deutsche Bank compliance officers being fired for reporting financial transactions between the Trump Foundation and Russia? 

Are you tired of the rush of outrageous controversies — about whether the President of the United States can be held accountable under the law — coming out of Washington every day? Maybe you are not aware that the idea of an executive who is above the law has been under development right here in Georgia for at least a decade. Or that much of the fatiguing news that is coming straight from the states — like bills criminalizing abortion in Alabama and Georgia — is explicitly directed at a Washington audience? 

There are more compelling comparisons, and heretofore unseen connections, between the political struggles going on at the state and federal levels than you imagined before. Just take the headline developments of one day in your life, like May 20, 2019:

Subpoenas are only for some people.

Subpoenas were in the news May 20, with Donald Trump fighting calls for his tax returns and Deutsche Bank records, accompanied by news that Deutsche Bank compliance officers were fired after arguing suspicious transactions, including transfers from Jared Kushner to Russians, should be reported to FINCEN (the Financial Crimes Enforcement Network) as possible money laundering. Trump was also fighting a congressional subpoena to the Mazars accounting firm that did Trump’s tax returns, but a federal judge ruled on May 20 that Trump's legal position was ridiculous.

A federal judge also ruled that there was no legal basis for the White House to block the testimony of former White House counsel Don McGahn. Nonetheless, McGahn, was defying another congressional subpoena at the White House’s direction. By the time you read this column, there will doubtless be more examples of the Trump administration defying any oversight. 

But defying subpoenas, and also open records requests, is old hat to the state of Georgia. In 2018, when I wanted to question University System of Georgia (USG) officials under oath about their emails discussing millions of taxpayer dollars and federal funds “gone with no explanation” from Georgia Perimeter College (GPC), the Georgia senior assistant attorney general, Mac Sitton, tried to get subpoenaed witnesses informally excused by emailing the court. As if a subpoena did not constitute compulsory process, but rather some sort of social media ephemera, like SnapChat.

In the end, all that online bullying by the AG was unnecessary, because DeKalb County Superior Court Judge Daniel Coursey quashed the subpoenas for no reason — at least no reason recognized by the law. “I would rather not hear the evidence” does not count. And that is basically what this administration is saying in Washington: Subpoenas are optional for the people we are defending.

You do not have to have any reason at all. You can even make up a false reason. Then Georgia attorney general Chris Carr misrepresented to Judge Coursey that USG witnesses were not familiar with their own emails in which they discussed financial fraud at GPC.

You don’t even have to appear

Normally, privileges or other objections to providing evidence must be examined question by question. So, for example, McGahn would have to appear and make any specific objection he had to answering a particular question. Instead, he simply did not show up. 

But Fulton County Judge Susan Edlein beat McGahn to the punch in 2015 when she refused to answer any questions in mandamus proceedings about her ties to a defendant in the case over which she was presiding, former Attorney General Sam Olens. A succession of judges made the case go away by stating they could not discern what claim could possibly be raised when Edlein lied to the court in which the mandamus action was filed about protecting Olens by, for example, illegally barring amendments to the complaint against him.

Compliance with mandatory statutes is also voluntary

That brings us to another D.C./Georgia similarity, because Georgia law is clear that a complaint can be amended all the way up until the time of trial, and there is nothing a judge can do to stop it. Judge Edlein tried it anyway — twice, in fact.

And Steve Mnuchin and William Barr have used the same vein of statutory interpretation to say they do not have to follow the law requiring them to produce Trump’s tax returns. Just disregard what the statute says, and that’s the end of it. 

Georgia is way out ahead on that front, already on the record for ignoring, as an example, the statute that requires at least 30 days’ notice and a hearing before a judge can decide to toss out your case without allowing you to have a trial and present your evidence to a jury. That is exactly the law the Georgia courts ignored in 2016 to dismiss Anthony Tricoli’s case against state officials who falsified, concealed, and misrepresented state agency financial records to hide a $16 million shortage of funds at GPC.

The main reason for all this executive freedom is blanket immunity

Since executive privilege no longer applied after McGahn gave 30 hours of testimony to the Special Counsel, the White House went for a bolder stroke: Executive officials are immune. That is really an end-of-story proposition. It means “No response necessary,” no documents or appearances, nothing.

Immunity means that McGahn could not be called to testify before Congress even if there was evidence of a crime. Even if there was a conflict between McGahn’s testimony under oath and Trump’s tweets — which, in fact, there is.

Once again, Georgia is way ahead of the game. Georgia has been arguing since 2013 that Georgia state officials enjoy sovereign immunity to commit crimes with impunity. That includes perjury, bribery, evidence tampering, wire fraud, and extortion. It includes falsifying state agency financial records to conceal the theft of taxpayer money. It even includes fraud against the federal government!

Georgia has taken that position ever since I first filed civil RICO actions against state officials for committing felonies in office — lawsuits expressly authorized by the Georgia RICO Act. But we have already established that the Georgia government does not have to follow any statutes enacted by the Georgia legislature.

Look at all the other great things sovereign immunity can do in Georgia:

*Immunity prevents state agencies from being enjoined to follow the laws they are supposed to enforce (see, again, statutes optional).
*The RICO statute says you can enjoin a state agency, but the Georgia Court of Appeals said in Tricoli v. Watts that the statute does not mean what it said in OCGA 16-14-6(a & b).
*Most of all, immunity means never having to be subpoenaed. It also means that state officials cannot be put on trial, for example, for falsifying agency records to hide financial fraud involving millions of taxpayer dollars.
*Lastly, the courts have gone so far as to say that Georgia state officials, including judges, are also immune to the Due Process Clause of the 14th Amendment to the United States Constitution. That is why Georgia does not have to fool with its own silly statutes when it finds them inconvenient.
+ 
The Constitution does not apply at all

Another neat trick Georgia accomplished, aside from dispensing with due process of law, is to say that illegal statutes cannot be reviewed for compliance with the Constitution — unless it is the Confederate Constitution of 1861. 

Is the constitutionality of Georgia’s new six-week law criminalizing abortion debatable? Not to worry. Georgia has already covered that, because sovereign immunity, since 2017, prevents you from challenging a state statute as unconstitutional. The Georgia Supreme Court decided that the first time Georgia passed a law to put doctors in prison for therapeutic abortions. Just to do Alabama one better, since Alabama lawmakers gave a pass for rape and incest, Georgia relies on Confederate Law to make laws criminalizing abortion inviolable. Georgia relied on the aforementioned Confederate Constitution as the deciding factor in opining that such statutes cannot be challenged as unconstitutional. And do not doubt there was a national connection when the Georgia Supreme Court justices were auditioning to replace Scalia.

Government retaliation against political enemies is fine

All this is to say, it is quite a pain to government officials when government corruption is exposed. Trump wants to investigate those pesky investigators who found out he lied about the Trump Tower meeting and the negotiations during the election campaign — in which Putin was interfering — with Putin’s government to build Trump Tower Moscow. According to Trump, Mueller and his henchmen committed treason and deserve long jail sentences.

And Georgia Attorney General Chris Carr also argued that the First Amendment does not apply in Georgia — when it comes to retaliating against anyone who wants to point out any corruption in state government.

You get to review your own conduct!

One of the neat things about immunity is the absence of any independent oversight.

You read in the news on May 20 that the people at Deutsche Bank — who fired the compliance officers who wanted to report payments to Russians to FINCEN — reviewed their own decisions about the potential money laundering.

Not to be outdone, the USG got to review itself when GPC turned up $16 million short, and $10 million was never found, even after the USG’s chief audit officer performed a self-review, not a full audit, of himself. And that was fine with Attorney General Sam Olens who saw no reason to investigate further since he did not see any criminality.

You don’t have to follow your own rules.

Just as Deutsche bank ignored its own financial compliance rules, USG did not follow any of its rules when it blamed Tricoli for the missing $16 million and reviewed itself. The Southern Association of Colleges and Schools (SACS) did not follow its own requirements or procedures, either, when it accepted the USG’s self-review in place of the independent audit required for SACS compliance.

So what if the result is fraud against the federal government, which makes accreditation a condition of receiving financial assistance from the US government, right down the student loan money pouring into USG coffers. Seventy percent of GPC students received federal financial aid at the time the $16 million deficit was discovered.

Lying to the people is OK if you serve in the government

Trump called McGahn a liar about Trump’s efforts to fire Mueller and obstruct the Russia investigation. Then Trump told McGahn not to appear before the Judiciary Committee to sort out who was lying. Trump lied about Trump Tower Moscow, and told Don Jr. to lie and say the meeting with Veselnitskaya was about adoptions. 

Georgia actually has a better law than the feds. Under the Georgia statute, you don’t have to be under oath to commit a crime by falsifying state records or misrepresenting any issue under state jurisdiction. Well, not to worry, the AG is ignoring that. The AG said in 2012 if GPC’s then-CBO Ron Carruth was lying about GPC finances to the school’s president and the rest of the administration, that was their problem. In other words, the AG took the option to not recognize the statute making those lies a crime, OCGA 16-10-20.

In Georgia, the powers that be are breaking down the rule of law to save the hides of state government officials like Sheletha Champion and Steve Wrigley, who concealed and misrepresented the financial condition of GPC. Granted, so far, they have gotten a better deal than General Flynn, and certainly better than Michael Cohen.

But look at Jeff Sessions. He got away with misrepresenting his meetings with Russian ambassador Kislyak. Who in Georgia is going to be able to top that?"
  ["tracker_field_contentWikiPage_raw"]=>
  string(15357) "!!!!''....Now the new big story is that Trump made a lot of money and buys everything for cash, he doesn’t need banks. But where did he get all of that cash? Could it be Russia? No, I built a great business and don’t need banks, but if I did they would be there ...and DeutscheBank....''
!!!!— [https://twitter.com/realDonaldTrump/status/1130433208250769410|@realDonaldTrump]
!!!!8:20 a.m., 20 May 2019


Do you find yourself overwhelmed and upset by the everyday onslaught of troubling news from the nation’s capital — from Jared and Ivanka’s suspicious [http://nymag.com/intelligencer/2019/03/jared-and-ivankas-security-clearance-scandal-what-we-know.html|security clearances] to Deutsche Bank compliance officers being [https://www.businessinsider.com/jared-kushner-russia-2016-money-transfer-deutsche-bank-2019-5|fired for reporting financial transactions] between the Trump Foundation and Russia? 

Are you tired of the rush of outrageous controversies — about whether the President of the United States can be held accountable under the law — coming out of Washington every day? Maybe you are not aware that the idea of an executive who is above the law has been under development right here in Georgia for at least a decade. Or that much of the fatiguing news that is coming straight from the states — like [https://www.theatlantic.com/politics/archive/2019/05/alabama-georgia-abortion-bills/589504/|bills criminalizing abortion] in Alabama and Georgia — is explicitly directed at a Washington audience? 

There are more compelling comparisons, and heretofore unseen connections, between the political struggles going on at the state and federal levels than you imagined before. Just take the headline developments of one day in your life, like May 20, 2019:

Subpoenas are only for some people.

Subpoenas were in the news May 20, with Donald Trump [http://nymag.com/intelligencer/2019/05/mnuchin-refuses-to-comply-with-trump-tax-return-subpoena.html|fighting calls for his tax returns] and Deutsche Bank records, accompanied by news that Deutsche Bank compliance officers were fired after arguing suspicious transactions, including transfers from Jared Kushner to Russians, should be reported to [https://www.fincen.gov/about/mission|FINCEN] (the Financial Crimes Enforcement Network) as possible money laundering. Trump was also fighting a [https://www.npr.org/2019/05/20/725126001/white-house-says-its-blocking-don-mcgahn-from-testifying-in-congress|congressional subpoena] to the Mazars accounting firm that did Trump’s tax returns, but a [https://www.lawfareblog.com/court-will-not-block-oversight-committee-subpoena-mazars|federal judge ruled] on May 20 that Trump's legal position was ridiculous.

A federal judge also ruled that there was [https://www.npr.org/2019/05/20/725126001/white-house-says-its-blocking-don-mcgahn-from-testifying-in-congress|no legal basis] for the White House to block the testimony of former White House counsel Don McGahn. Nonetheless, McGahn, was defying another congressional subpoena at the [https://thehill.com/homenews/house/444624-white-house-denies-subpoena-for-mcgahn-to-testify|White House’s direction]. By the time you read this column, there will doubtless be [https://www.usatoday.com/story/news/politics/2019/05/15/white-house-says-house-judiciary-cant-investigate-trump-obstruction/3681538002/|more examples] of the Trump administration defying any oversight. 

But defying subpoenas, and also open records requests, is old hat to the state of Georgia. In 2018, when I wanted to question University System of Georgia (USG) officials [https://drive.google.com/file/d/1M5Tr39y64UY4nxhuUgN37J-mzeUnjm0m/view?usp=sharing|under oath about their emails] discussing millions of taxpayer dollars and federal funds “gone with no explanation” from Georgia Perimeter College (GPC), the Georgia senior assistant attorney general, Mac Sitton, tried to get subpoenaed witnesses [https://drive.google.com/file/d/141NT4j4QTXqdghCqXuuTw7R_f_RcuUCS/view?usp=sharing|informally excused] by emailing the court. As if a subpoena did not constitute compulsory process, but rather some sort of social media ephemera, like SnapChat.

In the end, all that online bullying by the AG was unnecessary, because DeKalb County Superior Court Judge Daniel Coursey quashed the subpoenas for no reason — at least no reason recognized by the law. “I would rather not hear the evidence” [https://drive.google.com/file/d/132p_IyYk0CYHCwgeF7Zgpx4mq584w73i/view?usp=sharing|does not count]. And that is basically what this administration is saying in Washington: Subpoenas are optional for the people we are defending.

You do not have to have any reason at all. You can even make up a false reason. Then Georgia attorney general Chris Carr misrepresented to Judge Coursey that USG witnesses were not familiar with their own emails in which they discussed financial fraud at GPC.

__You don’t even have to appear__

Normally, privileges or other objections to providing evidence must be examined question by question. So, for example, McGahn would have to appear and make any specific objection he had to answering a particular question. Instead, he simply [https://www.nytimes.com/2019/05/20/us/politics/mcgahn-trump-congress.html|did not show up]. 

But Fulton County Judge Susan Edlein beat McGahn to the punch in 2015 when she refused to answer any questions in mandamus proceedings about her ties to a defendant in the [https://creativeloafing.com/content-421389-OUTLANDISH-CONSPIRACY-THEORIES---When-First-We-Practice-to-Deceive|case] over which she was presiding, former Attorney General Sam Olens. A succession of judges made the case go away by stating they could not discern what claim could possibly be raised when Edlein lied to the court in which the mandamus action was filed about protecting Olens by, for example, illegally barring amendments to the complaint against him.

__Compliance with mandatory statutes is also voluntary__

That brings us to another D.C./Georgia similarity, because Georgia law is clear that a complaint can be amended all the way up until the time of trial, and there is [https://law.justia.com/codes/georgia/2010/title-9/chapter-11/article-3/9-11-15/|nothing] a judge can do to stop it. Judge Edlein tried it anyway — twice, in fact.

And Steve Mnuchin and William Barr have used the same vein of statutory interpretation to say they [https://www.thedailybeast.com/heres-the-law-that-requires-steven-mnuchin-to-turn-over-trumps-taxes-or-lose-his-office-and-go-to-prison|do not have to follow the law] requiring them to produce Trump’s tax returns. Just disregard what the statute says, and that’s the end of it. 

Georgia is way out ahead on that front, already on the record for ignoring, as an example, the [https://law.justia.com/codes/georgia/2010/title-9/chapter-11/article-7/9-11-56|statute] that requires at least 30 days’ notice and a hearing before a judge can decide to toss out your case without allowing you to have a trial and present your evidence to a jury. That is exactly the law the Georgia courts ignored in 2016 to dismiss Anthony Tricoli’s case against state officials who falsified, concealed, and misrepresented state agency financial records to hide a $16 million shortage of funds at GPC.

__The main reason for all this executive freedom is blanket immunity__

Since executive privilege no longer applied after McGahn gave 30 hours of testimony to the Special Counsel, the White House went for a bolder stroke: Executive officials are immune. That is really an end-of-story proposition. It means “No response necessary,” no documents or appearances, nothing.

Immunity means that McGahn could not be called to testify before Congress even if there was evidence of a crime. Even if there was a conflict between McGahn’s testimony under oath and Trump’s tweets — which, in fact, there is.

Once again, Georgia is way ahead of the game. Georgia has been arguing since 2013 that Georgia state officials enjoy sovereign immunity to commit crimes with impunity. That includes perjury, bribery, evidence tampering, wire fraud, and extortion. It includes falsifying state agency financial records to conceal the theft of taxpayer money. It even includes fraud against the federal government!

Georgia has taken that position ever since I first filed civil RICO actions against state officials for committing felonies in office — lawsuits expressly authorized by the Georgia RICO Act. But we have already established that the Georgia government does not have to follow any statutes enacted by the Georgia legislature.

Look at all the other great things sovereign immunity can do in Georgia:

*Immunity prevents state agencies [https://caselaw.findlaw.com/ga-supreme-court/1658382.html|from being enjoined] to follow the laws they are supposed to enforce (see, again, statutes optional).
*The RICO statute says you can enjoin a state agency, but the Georgia Court of Appeals said in Tricoli v. Watts that the statute does not mean what it said in [https://law.justia.com/codes/georgia/2010/title-16/chapter-14/16-14-6/|OCGA 16-14-6(a & b)].
*Most of all, immunity means never having to be subpoenaed. It also means that state officials cannot be put on trial, for example, for falsifying agency records to hide financial fraud involving millions of taxpayer dollars.
*Lastly, the courts have gone so far as to say that Georgia state officials, including judges, are also immune to the Due Process Clause of the 14th Amendment to the United States Constitution. That is why Georgia does not have to fool with its own silly statutes when it finds them [http://https://creativeloafing.com/content-426489-OUTLANDISH-CONSPIRACY-THEORIES-GEORGIA-S-FIFTY-YEAR-CYCLE|inconvenient].
+ 
__The Constitution does not apply at all__

Another neat trick Georgia accomplished, aside from dispensing with due process of law, is to say that illegal statutes cannot be reviewed for compliance with the Constitution — unless it is the [https://en.wikipedia.org/wiki/Georgia_Constitutional_Convention_of_1861|Confederate Constitution] of 1861. 

Is the constitutionality of Georgia’s new six-week law criminalizing abortion debatable? Not to worry. Georgia has already covered that, because sovereign immunity, since 2017, prevents you from challenging a state statute as unconstitutional. The Georgia Supreme Court decided that the first time Georgia passed a law to [http://www.huffingtonpost.com/entry/596e5ddbe4b05561da5a5b3e|put doctors in prison] for therapeutic abortions. Just to do Alabama one better, since Alabama lawmakers gave a pass for rape and incest, Georgia relies on Confederate Law to make laws criminalizing abortion [http://insideradvantage.com/2017/07/10/the-ga-supreme-courts-monument-to-confederate-law/|inviolable]. Georgia relied on the aforementioned Confederate Constitution as the deciding factor in opining that such statutes cannot be challenged as unconstitutional. And do not doubt there was a national connection when the Georgia Supreme Court justices were [https://drive.google.com/file/d/1AljO4hInQPwzfLdVKVhaFq868Dy3z8Uu/view?usp=sharing|auditioning] to replace Scalia.

__Government retaliation against political enemies is fine__

All this is to say, it is quite a pain to government officials when government corruption is exposed. Trump wants to investigate those pesky investigators who found out he lied about the Trump Tower meeting and the negotiations during the election campaign — in which Putin was interfering — with Putin’s government to build Trump Tower Moscow. According to Trump, Mueller and his henchmen [https://www.foxnews.com/politics/trump-calls-2016-campaign-spying-treason-warns-of-long-jail-sentences|committed treason] and deserve long jail sentences.

And Georgia Attorney General Chris Carr also argued that the First Amendment does not apply in Georgia — when it comes to retaliating against anyone who wants to point out any corruption in state government.

__You get to review your own conduct!__

One of the neat things about immunity is the absence of any independent oversight.

You read in the news on May 20 that the people at Deutsche Bank — who fired the compliance officers who wanted to report payments to Russians to FINCEN — reviewed their own decisions about the potential money laundering.

Not to be outdone, the USG got to review itself when GPC turned up $16 million short, and $10 million was never found, even after the USG’s chief audit officer performed a self-review, not a full audit, of himself. And that was fine with Attorney General Sam Olens who saw no reason to investigate further since he did not see any criminality.

__You don’t have to follow your own rules.__

Just as Deutsche bank ignored its own financial compliance rules, USG did not follow any of its rules when it blamed Tricoli for the missing $16 million and reviewed itself. The Southern Association of Colleges and Schools (SACS) did not follow its own requirements or procedures, either, when it accepted the USG’s self-review in place of the independent audit required for SACS compliance.

So what if the result is fraud against the federal government, which makes accreditation a condition of receiving financial assistance from the US government, right down the student loan money pouring into USG coffers. Seventy percent of GPC students received federal financial aid at the time the $16 million deficit was discovered.

__Lying to the people is OK if you serve in the government__

Trump called McGahn a liar about Trump’s efforts to fire Mueller and obstruct the Russia investigation. Then Trump told McGahn not to appear before the Judiciary Committee to sort out who was lying. Trump lied about Trump Tower Moscow, and told Don Jr. [https://www.politifact.com/truth-o-meter/statements/2018/jun/07/president-trumps-lawyers/was-initial-trump-statement-ny-times-accurate-lawy/|to lie] and say the meeting with Veselnitskaya was about adoptions. 

Georgia actually has a better law than the feds. Under the Georgia statute, you [https://law.justia.com/codes/georgia/2010/title-16/chapter-10/article-2/16-10-20|don’t have to be under oath] to commit a crime by falsifying state records or misrepresenting any issue under state jurisdiction. Well, not to worry, the AG is ignoring that. The AG said in 2012 if GPC’s then-CBO Ron Carruth was lying about GPC finances to the school’s president and the rest of the administration, that was their problem. In other words, the AG took the option to [https://drive.google.com/file/d/1Q7q07YHq5F-JcpFVkUMxMXeIFewgllnJ/view?usp=sharing|not recognize the statute] making those lies a crime, OCGA 16-10-20.

In Georgia, the powers that be are breaking down the rule of law to save the hides of state government officials like Sheletha Champion and Steve Wrigley, who concealed and misrepresented the financial condition of GPC. Granted, so far, they have gotten a better deal than General Flynn, and certainly better than Michael Cohen.

But look at Jeff Sessions. He got away with misrepresenting his meetings with Russian ambassador Kislyak. Who in Georgia is going to be able to top that?"
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  string(13052) " ##OCT June Capitol  2019-06-05T18:43:02+00:00 ##OCT June capitol.jpg      The news you are tired of hearing from Washington is not even reported in Georgia ##OCT June Capitol   2019-06-05T17:40:18+00:00  OUTLANDISH CONSPIRACY THEORIES: What goes around comes from down south tony.paris Tony Paris Stephen Humphreys   2019-06-05T17:40:18+00:00 !!!!....Now the new big story is that Trump made a lot of money and buys everything for cash, he doesn’t need banks. But where did he get all of that cash? Could it be Russia? No, I built a great business and don’t need banks, but if I did they would be there ...and DeutscheBank....
!!!!— @realDonaldTrump
!!!!8:20 a.m., 20 May 2019


Do you find yourself overwhelmed and upset by the everyday onslaught of troubling news from the nation’s capital — from Jared and Ivanka’s suspicious security clearances to Deutsche Bank compliance officers being fired for reporting financial transactions between the Trump Foundation and Russia? 

Are you tired of the rush of outrageous controversies — about whether the President of the United States can be held accountable under the law — coming out of Washington every day? Maybe you are not aware that the idea of an executive who is above the law has been under development right here in Georgia for at least a decade. Or that much of the fatiguing news that is coming straight from the states — like bills criminalizing abortion in Alabama and Georgia — is explicitly directed at a Washington audience? 

There are more compelling comparisons, and heretofore unseen connections, between the political struggles going on at the state and federal levels than you imagined before. Just take the headline developments of one day in your life, like May 20, 2019:

Subpoenas are only for some people.

Subpoenas were in the news May 20, with Donald Trump fighting calls for his tax returns and Deutsche Bank records, accompanied by news that Deutsche Bank compliance officers were fired after arguing suspicious transactions, including transfers from Jared Kushner to Russians, should be reported to FINCEN (the Financial Crimes Enforcement Network) as possible money laundering. Trump was also fighting a congressional subpoena to the Mazars accounting firm that did Trump’s tax returns, but a federal judge ruled on May 20 that Trump's legal position was ridiculous.

A federal judge also ruled that there was no legal basis for the White House to block the testimony of former White House counsel Don McGahn. Nonetheless, McGahn, was defying another congressional subpoena at the White House’s direction. By the time you read this column, there will doubtless be more examples of the Trump administration defying any oversight. 

But defying subpoenas, and also open records requests, is old hat to the state of Georgia. In 2018, when I wanted to question University System of Georgia (USG) officials under oath about their emails discussing millions of taxpayer dollars and federal funds “gone with no explanation” from Georgia Perimeter College (GPC), the Georgia senior assistant attorney general, Mac Sitton, tried to get subpoenaed witnesses informally excused by emailing the court. As if a subpoena did not constitute compulsory process, but rather some sort of social media ephemera, like SnapChat.

In the end, all that online bullying by the AG was unnecessary, because DeKalb County Superior Court Judge Daniel Coursey quashed the subpoenas for no reason — at least no reason recognized by the law. “I would rather not hear the evidence” does not count. And that is basically what this administration is saying in Washington: Subpoenas are optional for the people we are defending.

You do not have to have any reason at all. You can even make up a false reason. Then Georgia attorney general Chris Carr misrepresented to Judge Coursey that USG witnesses were not familiar with their own emails in which they discussed financial fraud at GPC.

You don’t even have to appear

Normally, privileges or other objections to providing evidence must be examined question by question. So, for example, McGahn would have to appear and make any specific objection he had to answering a particular question. Instead, he simply did not show up. 

But Fulton County Judge Susan Edlein beat McGahn to the punch in 2015 when she refused to answer any questions in mandamus proceedings about her ties to a defendant in the case over which she was presiding, former Attorney General Sam Olens. A succession of judges made the case go away by stating they could not discern what claim could possibly be raised when Edlein lied to the court in which the mandamus action was filed about protecting Olens by, for example, illegally barring amendments to the complaint against him.

Compliance with mandatory statutes is also voluntary

That brings us to another D.C./Georgia similarity, because Georgia law is clear that a complaint can be amended all the way up until the time of trial, and there is nothing a judge can do to stop it. Judge Edlein tried it anyway — twice, in fact.

And Steve Mnuchin and William Barr have used the same vein of statutory interpretation to say they do not have to follow the law requiring them to produce Trump’s tax returns. Just disregard what the statute says, and that’s the end of it. 

Georgia is way out ahead on that front, already on the record for ignoring, as an example, the statute that requires at least 30 days’ notice and a hearing before a judge can decide to toss out your case without allowing you to have a trial and present your evidence to a jury. That is exactly the law the Georgia courts ignored in 2016 to dismiss Anthony Tricoli’s case against state officials who falsified, concealed, and misrepresented state agency financial records to hide a $16 million shortage of funds at GPC.

The main reason for all this executive freedom is blanket immunity

Since executive privilege no longer applied after McGahn gave 30 hours of testimony to the Special Counsel, the White House went for a bolder stroke: Executive officials are immune. That is really an end-of-story proposition. It means “No response necessary,” no documents or appearances, nothing.

Immunity means that McGahn could not be called to testify before Congress even if there was evidence of a crime. Even if there was a conflict between McGahn’s testimony under oath and Trump’s tweets — which, in fact, there is.

Once again, Georgia is way ahead of the game. Georgia has been arguing since 2013 that Georgia state officials enjoy sovereign immunity to commit crimes with impunity. That includes perjury, bribery, evidence tampering, wire fraud, and extortion. It includes falsifying state agency financial records to conceal the theft of taxpayer money. It even includes fraud against the federal government!

Georgia has taken that position ever since I first filed civil RICO actions against state officials for committing felonies in office — lawsuits expressly authorized by the Georgia RICO Act. But we have already established that the Georgia government does not have to follow any statutes enacted by the Georgia legislature.

Look at all the other great things sovereign immunity can do in Georgia:

*Immunity prevents state agencies from being enjoined to follow the laws they are supposed to enforce (see, again, statutes optional).
*The RICO statute says you can enjoin a state agency, but the Georgia Court of Appeals said in Tricoli v. Watts that the statute does not mean what it said in OCGA 16-14-6(a & b).
*Most of all, immunity means never having to be subpoenaed. It also means that state officials cannot be put on trial, for example, for falsifying agency records to hide financial fraud involving millions of taxpayer dollars.
*Lastly, the courts have gone so far as to say that Georgia state officials, including judges, are also immune to the Due Process Clause of the 14th Amendment to the United States Constitution. That is why Georgia does not have to fool with its own silly statutes when it finds them inconvenient.
+ 
The Constitution does not apply at all

Another neat trick Georgia accomplished, aside from dispensing with due process of law, is to say that illegal statutes cannot be reviewed for compliance with the Constitution — unless it is the Confederate Constitution of 1861. 

Is the constitutionality of Georgia’s new six-week law criminalizing abortion debatable? Not to worry. Georgia has already covered that, because sovereign immunity, since 2017, prevents you from challenging a state statute as unconstitutional. The Georgia Supreme Court decided that the first time Georgia passed a law to put doctors in prison for therapeutic abortions. Just to do Alabama one better, since Alabama lawmakers gave a pass for rape and incest, Georgia relies on Confederate Law to make laws criminalizing abortion inviolable. Georgia relied on the aforementioned Confederate Constitution as the deciding factor in opining that such statutes cannot be challenged as unconstitutional. And do not doubt there was a national connection when the Georgia Supreme Court justices were auditioning to replace Scalia.

Government retaliation against political enemies is fine

All this is to say, it is quite a pain to government officials when government corruption is exposed. Trump wants to investigate those pesky investigators who found out he lied about the Trump Tower meeting and the negotiations during the election campaign — in which Putin was interfering — with Putin’s government to build Trump Tower Moscow. According to Trump, Mueller and his henchmen committed treason and deserve long jail sentences.

And Georgia Attorney General Chris Carr also argued that the First Amendment does not apply in Georgia — when it comes to retaliating against anyone who wants to point out any corruption in state government.

You get to review your own conduct!

One of the neat things about immunity is the absence of any independent oversight.

You read in the news on May 20 that the people at Deutsche Bank — who fired the compliance officers who wanted to report payments to Russians to FINCEN — reviewed their own decisions about the potential money laundering.

Not to be outdone, the USG got to review itself when GPC turned up $16 million short, and $10 million was never found, even after the USG’s chief audit officer performed a self-review, not a full audit, of himself. And that was fine with Attorney General Sam Olens who saw no reason to investigate further since he did not see any criminality.

You don’t have to follow your own rules.

Just as Deutsche bank ignored its own financial compliance rules, USG did not follow any of its rules when it blamed Tricoli for the missing $16 million and reviewed itself. The Southern Association of Colleges and Schools (SACS) did not follow its own requirements or procedures, either, when it accepted the USG’s self-review in place of the independent audit required for SACS compliance.

So what if the result is fraud against the federal government, which makes accreditation a condition of receiving financial assistance from the US government, right down the student loan money pouring into USG coffers. Seventy percent of GPC students received federal financial aid at the time the $16 million deficit was discovered.

Lying to the people is OK if you serve in the government

Trump called McGahn a liar about Trump’s efforts to fire Mueller and obstruct the Russia investigation. Then Trump told McGahn not to appear before the Judiciary Committee to sort out who was lying. Trump lied about Trump Tower Moscow, and told Don Jr. to lie and say the meeting with Veselnitskaya was about adoptions. 

Georgia actually has a better law than the feds. Under the Georgia statute, you don’t have to be under oath to commit a crime by falsifying state records or misrepresenting any issue under state jurisdiction. Well, not to worry, the AG is ignoring that. The AG said in 2012 if GPC’s then-CBO Ron Carruth was lying about GPC finances to the school’s president and the rest of the administration, that was their problem. In other words, the AG took the option to not recognize the statute making those lies a crime, OCGA 16-10-20.

In Georgia, the powers that be are breaking down the rule of law to save the hides of state government officials like Sheletha Champion and Steve Wrigley, who concealed and misrepresented the financial condition of GPC. Granted, so far, they have gotten a better deal than General Flynn, and certainly better than Michael Cohen.

But look at Jeff Sessions. He got away with misrepresenting his meetings with Russian ambassador Kislyak. Who in Georgia is going to be able to top that?    Pixabay   0,0,2  Outlandish Conspiracy Theories                         OUTLANDISH CONSPIRACY THEORIES: What goes around comes from down south "
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  string(45) "BLUES & BEYOND: Rose blooms, Darwin’s wilts"
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  string(49) "Gypsy Rose brings roots music to historic Roswell"
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  string(8918) "Enter Gypsy Rose, the new OTP music club located in downtown Roswell, and it’s like stepping back in time to your best friend’s basement from the 1960s. Instead of shag carpeting or schlocky wall paneling, there’s a bar that runs the length of the room adorned with vibrant artwork featuring musical icons from the ’60s. Wall posters of Mick Jagger, Elton John, and David Bowie along with a wraparound couch and stuffed ottomans in one corner add to the cozy atmosphere, making this somewhat retro space warm and inviting. All that’s missing are the lava lamps, but they’re probably coming soon.

That is precisely the vibe owner Brittany Mullins aims to create for the sole, music-only (no food) venue just off the popular Canton Street strip of upscale restaurants, art galleries, and small businesses. Mullins, who was born in Sandy Springs, moved to Roswell about a year and a half ago after ping-ponging around the Atlanta area working at various jobs from interior designer to running an art gallery. “I just loved the community feel,” Mullins says when asked why she relocated. “I’ve always been attracted to little community areas like Decatur, Athens, Virginia-Highlands.”

Mullins soon realized there was no club dedicated exclusively to supporting live and mostly original music in Roswell. She found the perfect spot by chance when she passed by the building that housed the Classy Clutter antiques store, which was moving. “It was close to the historic district with a parking lot … That’s my venue!”

She rented the century-old space and found financial backing. “People came out of the woodwork asking to invest, which was crazy,” she says.

Before opening for business, Mullins used the funds she raised for a full remodel. After a few construction setbacks, many due to structural improvements stemming from the building’s age, Gypsy Rose — named after the famous stripper, Gypsy Rose Lee — officially opened on March 9. It’s an intimate, charming place that, with its outside deck, has the capacity to hold about 180 people. The boxy edifice has been enhanced by a sweeping, eye-catching mural, easily seen by traffic on the busy stretch of Alpharetta Highway it faces, and ai slogan below the club’s logo reads “Where Music Lives.”

Mullins’ has a defined vision for the acts she presents. “I want to support the local (Athens, Atlanta, OTP) scene on Wednesday and Thursday nights,” she says. “On Friday and Saturday nights I’m looking to book slightly larger, better-known original acts and some tribute bands.”

As for genres, Mullins prefers a diverse but unmistakably rootsy blend of Americana, Southern rock, bluegrass, singer/songwriter, reggae, funk, and New Orleans brass. Off the table are EDM and metal, although she’s open to hip-hop.

And blues is very much in the mix. The Atlanta Blues Society has already held their monthly May meeting there. Gypsy Rose can also fill the gap created by the demise of Darwin’s (see below). Mullins has augmented the club’s music programming by scheduling yoga sessions every Monday and Tuesday evening, partnering with From the Earth Brewing Company for “beer dinners,” and hosting meet-and-greets with musicians prior to shows. Gypsy Rose is also a major player in the recently revived Roswell Music Festival, coming up June 27-30.

Mullins is gamely navigating the knotty terrain new venues face such as staffing, parking, dealing with permits, etc. But her contagious enthusiasm, sure sense of style, and eclectic musical direction have already resulted in some sold-out shows. Gypsy Rose, which fills the need for a dedicated music stage in the booming Roswell area, already feels like home. (More details are available at www.gypsyrosemusic.squarespace.com.)

It has been a long, strange trip, but the OTP’s long-standing blues/roots hangout Darwin’s, active since 1995, has shuttered its doors, likely forever. The winner of the prestigious Keeping the Blues Alive award as recently as 2016, Darwin’s couldn’t regain its footing after relocating from Marietta to Sandy Springs in January 2017. It’s never a good day when any blues joint closes, but since Darwin’s was one of the only places outside the perimeter to find national blues acts, the sting hurts even worse. As the cliché goes, it’s the end of an era.

June’s simmering sun shines on hot blues. Check out these show highlights.

Thurs., Fri., Sat., June 6, 7, 8
— Helen Harpfest, Hofbrauhouse GI Pub and Restaurant (Helen, GA). Atlanta-based blues harp lovers, veterans, or aspiring players need to trek to Helen for three days of workshops, jams, and concerts featuring the lowly harmonica. Harp legend Phil Wiggins, best known for his work in Cephas & Wiggins, headlines.

Thurs., June 6
— Matt Anderson, Erin Costello, Eddie’s Attic. The Canadian blues singer-songwriter has been releasing solid if under-the-radar albums for over a decade. Better known in his home country than in the U.S., Anderson will feature music from his new Halfway Home by Morning release, arguably the most soulful set of his career.

Sat., June 8
— Lucette, Smith’s Olde Bar. Canadian Lucette, aka Lauren Gillis, mixes blues, jazz, and noir together with her smoky voice for a haunting, bittersweet sound that’s seductive and alluring. She will be playing material from her Sturgill Simpson-produced new release Deluxe Hotel Room.

Sun., June 9
— Caroline Spence, Eddie’s Attic. Spence has a beautifully mellifluous voice, writes lyrically complex songs, and her newly released third album, Mint Condition, is her best, so what’s not to love about this captivating singer-songwriter?

Sat., June 15
— Bluesberry & Beer Festival, Betty Muldin Park, Norcross. Join veteran local blues artists Beverly “Guitar” Watkins, the Cazanovas, Cody Matlock, and more as they play a rare outdoor gig. Music from 3-10 p.m.

— Urban Shakedancers Reunion, Vista Room. They call their dance floor-ready music “hopped-up rocked-out blues,” and although they used to play locally a few times a week back in the ’90s, they are now down to the occasional reunion show. Even with a few more gray hairs, they still live up to their shake-dancing moniker.

Sun., June 16
— Rod Melancon, Eddie’s Attic. Singer-songwriter Melancon titled his previous album Southern Gothic, which is as good a description of his moody, swamp-infested sound as any. Tough, tensile, and rugged blues-based Americana at its finest.

Tues., June 18
— Rickie Lee Jones, City Winery. The diverse and unpredictable veteran singer-songwriter has always added jazz, blues, and folk to her eclectic sound, and this intimate venue is the perfect place to experience it. Jones will feature music from her latest covers album Kicks, where she interprets material associated with Bad Company, Dean Martin, Benny Goodman, Skeeter Davis, and more.

Wed., June 19
— Jimmie Vaughan, City Winery. Texas blues veteran Vaughan is nearly as iconic as his more famous brother Stevie Ray, and has been playing professionally since his days in the legendary Fabulous Thunderbirds — nearly four decades ago. For this show Vaughan shows off songs from his new release, Baby, Please Come Home, his first studio set since 2011. Lone Star State blues don’t get more authentic than this.

Fri., June 21
— Junior Brown, City Winery. Brown’s baritone voice and custom double-necked lap-steel/Telecaster whips up the high-octane honky-tonk, and sounds like nothing else. It’s a shtick, but it’s a good one, and he’s always entertaining.

Sat., June 22
— The Robert Cray Band & Marc Cohn feat. the Blind Boys of Alabama and Shemekia Copeland, Frederick Brown Amphitheater (Peachtree City). What a lineup! Soul-blues veteran Cray is joined by gospel icons the Blind Boys, singer-songwriter Copeland, and Mr. “Walking in Memphis” himself, along for the ride. A diverse and enticing show, especially if they share the stage.

— Gregg Allman’s Laid Back Legacy, Buford Community Center, Town Park and Theater. Three members of Allman’s famed 1974 tour (Randall Bramblett, Bill Stewart, and Tommy Talton) lead an ensemble that recreates the original setlist of that show, plus other Allman hits. Better yet, it’s free.

Fri., June 28
— Drivin N Cryin, Center Stage. Think they’re old and tired because the redoubtable DNC have been grinding out their idiosyncratic Southern alternative rock songs for over 35 years? Think again. Recent concerts display a renewed, vigorous attack, and the band has a new album, Live the Love Beautiful — their first original material since 2009 — that’s a more than worthy addition to their legacy.

Please send upcoming blues events to consider for CL’s Blues & Beyond concert calendar to hal.horowitz at creativeloafing.com."
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  string(9007) "Enter Gypsy Rose, the new OTP music club located in downtown Roswell, and it’s like stepping back in time to your best friend’s basement from the 1960s. Instead of shag carpeting or schlocky wall paneling, there’s a bar that runs the length of the room adorned with vibrant artwork featuring musical icons from the ’60s. Wall posters of Mick Jagger, Elton John, and David Bowie along with a wraparound couch and stuffed ottomans in one corner add to the cozy atmosphere, making this somewhat retro space warm and inviting. All that’s missing are the lava lamps, but they’re probably coming soon.

That is precisely the vibe owner Brittany Mullins aims to create for the sole, music-only (no food) venue just off the popular Canton Street strip of upscale restaurants, art galleries, and small businesses. Mullins, who was born in Sandy Springs, moved to Roswell about a year and a half ago after ping-ponging around the Atlanta area working at various jobs from interior designer to running an art gallery. “I just loved the community feel,” Mullins says when asked why she relocated. “I’ve always been attracted to little community areas like Decatur, Athens, Virginia-Highlands.”

Mullins soon realized there was no club dedicated exclusively to supporting live and mostly original music in Roswell. She found the perfect spot by chance when she passed by the building that housed the Classy Clutter antiques store, which was moving. “It was close to the historic district with a parking lot … That’s my venue!”

She rented the century-old space and found financial backing. “People came out of the woodwork ''asking'' to invest, which was crazy,” she says.

Before opening for business, Mullins used the funds she raised for a full remodel. After a few construction setbacks, many due to structural improvements stemming from the building’s age, Gypsy Rose — named after the famous stripper, Gypsy Rose Lee — officially opened on March 9. It’s an intimate, charming place that, with its outside deck, has the capacity to hold about 180 people. The boxy edifice has been enhanced by a sweeping, eye-catching mural, easily seen by traffic on the busy stretch of Alpharetta Highway it faces, and ai slogan below the club’s logo reads “Where Music Lives.”

Mullins’ has a defined vision for the acts she presents. “I want to support the local (Athens, Atlanta, OTP) scene on Wednesday and Thursday nights,” she says. “On Friday and Saturday nights I’m looking to book slightly larger, better-known original acts and some tribute bands.”

As for genres, Mullins prefers a diverse but unmistakably rootsy blend of Americana, Southern rock, bluegrass, singer/songwriter, reggae, funk, and New Orleans brass. Off the table are EDM and metal, although she’s open to hip-hop.

And blues is very much in the mix. The ''Atlanta Blues Society'' has already held their monthly May meeting there. Gypsy Rose can also fill the gap created by the demise of Darwin’s (see below). Mullins has augmented the club’s music programming by scheduling yoga sessions every Monday and Tuesday evening, partnering with From the Earth Brewing Company for “beer dinners,” and hosting meet-and-greets with musicians prior to shows. Gypsy Rose is also a major player in the recently revived __Roswell Music Festival__, coming up June 27-30.

Mullins is gamely navigating the knotty terrain new venues face such as staffing, parking, dealing with permits, etc. But her contagious enthusiasm, sure sense of style, and eclectic musical direction have already resulted in some sold-out shows. Gypsy Rose, which fills the need for a dedicated music stage in the booming Roswell area, already feels like home. (More details are available at www.gypsyrosemusic.squarespace.com.)

It has been a long, strange trip, but the OTP’s long-standing blues/roots hangout Darwin’s, active since 1995, has shuttered its doors, likely forever. The winner of the prestigious __Keeping the Blues Alive__ award as recently as 2016, Darwin’s couldn’t regain its footing after relocating from Marietta to Sandy Springs in January 2017. It’s never a good day when any blues joint closes, but since Darwin’s was one of the only places outside the perimeter to find national blues acts, the sting hurts even worse. As the cliché goes, it’s the end of an era.

June’s simmering sun shines on hot blues. Check out these show highlights.

__Thurs., Fri., Sat., June 6, 7, 8__
— Helen Harpfest, Hofbrauhouse GI Pub and Restaurant (Helen, GA). Atlanta-based blues harp lovers, veterans, or aspiring players need to trek to Helen for three days of workshops, jams, and concerts featuring the lowly harmonica. Harp legend Phil Wiggins, best known for his work in Cephas & Wiggins, headlines.

__Thurs., June 6__
— Matt Anderson, Erin Costello, Eddie’s Attic. The Canadian blues singer-songwriter has been releasing solid if under-the-radar albums for over a decade. Better known in his home country than in the U.S., Anderson will feature music from his new ''Halfway Home by Morning'' release, arguably the most soulful set of his career.

__Sat., June 8__
— Lucette, Smith’s Olde Bar. Canadian Lucette, aka Lauren Gillis, mixes blues, jazz, and noir together with her smoky voice for a haunting, bittersweet sound that’s seductive and alluring. She will be playing material from her Sturgill Simpson-produced new release ''Deluxe Hotel Room''.

__Sun., June 9__
— Caroline Spence, Eddie’s Attic. Spence has a beautifully mellifluous voice, writes lyrically complex songs, and her newly released third album, ''Mint Condition'', is her best, so what’s not to love about this captivating singer-songwriter?

__Sat., June 15__
— Bluesberry & Beer Festival, Betty Muldin Park, Norcross. Join veteran local blues artists Beverly “Guitar” Watkins, the Cazanovas, Cody Matlock, and more as they play a rare outdoor gig. Music from 3-10 p.m.

— Urban Shakedancers Reunion, Vista Room. They call their dance floor-ready music “hopped-up rocked-out blues,” and although they used to play locally a few times a week back in the ’90s, they are now down to the occasional reunion show. Even with a few more gray hairs, they still live up to their shake-dancing moniker.

__Sun., June 16__
— Rod Melancon, Eddie’s Attic. Singer-songwriter Melancon titled his previous album ''Southern Gothic'', which is as good a description of his moody, swamp-infested sound as any. Tough, tensile, and rugged blues-based Americana at its finest.

__Tues., June 18__
— Rickie Lee Jones, City Winery. The diverse and unpredictable veteran singer-songwriter has always added jazz, blues, and folk to her eclectic sound, and this intimate venue is the perfect place to experience it. Jones will feature music from her latest covers album ''Kicks'', where she interprets material associated with Bad Company, Dean Martin, Benny Goodman, Skeeter Davis, and more.

__Wed., June 19__
— Jimmie Vaughan, City Winery. Texas blues veteran Vaughan is nearly as iconic as his more famous brother Stevie Ray, and has been playing professionally since his days in the legendary Fabulous Thunderbirds — nearly four decades ago. For this show Vaughan shows off songs from his new release, ''Baby, Please Come Home'', his first studio set since 2011. Lone Star State blues don’t get more authentic than this.

__Fri., June 21__
— Junior Brown, City Winery. Brown’s baritone voice and custom double-necked lap-steel/Telecaster whips up the high-octane honky-tonk, and sounds like nothing else. It’s a shtick, but it’s a good one, and he’s always entertaining.

__Sat., June 22__
— The Robert Cray Band & Marc Cohn feat. the Blind Boys of Alabama and Shemekia Copeland, Frederick Brown Amphitheater (Peachtree City). What a lineup! Soul-blues veteran Cray is joined by gospel icons the Blind Boys, singer-songwriter Copeland, and Mr. “Walking in Memphis” himself, along for the ride. A diverse and enticing show, especially if they share the stage.

— Gregg Allman’s Laid Back Legacy, Buford Community Center, Town Park and Theater. Three members of Allman’s famed 1974 tour (Randall Bramblett, Bill Stewart, and Tommy Talton) lead an ensemble that recreates the original setlist of that show, plus other Allman hits. Better yet, it’s free.

__Fri., June 28__
— Drivin N Cryin, Center Stage. Think they’re old and tired because the redoubtable DNC have been grinding out their idiosyncratic Southern alternative rock songs for over 35 years? Think again. Recent concerts display a renewed, vigorous attack, and the band has a new album, ''Live the Love Beautiful'' — their first original material since 2009 — that’s a more than worthy addition to their legacy.

''Please send upcoming blues events to consider for CL’s Blues & Beyond concert calendar to hal.horowitz@creativeloafing.com.''"
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  string(9429) " Music Blues1 1 11  2019-06-05T20:53:00+00:00 Music_Blues1-1_11.jpeg      Gypsy Rose brings roots music to historic Roswell Music Blues1 1 11   2019-06-05T20:31:57+00:00  BLUES & BEYOND: Rose blooms, Darwin’s wilts will.cardwell Will Cardwell Hal Horowitz hal2222 (Hal Horowitz) 2019-06-05T20:31:57+00:00 Enter Gypsy Rose, the new OTP music club located in downtown Roswell, and it’s like stepping back in time to your best friend’s basement from the 1960s. Instead of shag carpeting or schlocky wall paneling, there’s a bar that runs the length of the room adorned with vibrant artwork featuring musical icons from the ’60s. Wall posters of Mick Jagger, Elton John, and David Bowie along with a wraparound couch and stuffed ottomans in one corner add to the cozy atmosphere, making this somewhat retro space warm and inviting. All that’s missing are the lava lamps, but they’re probably coming soon.

That is precisely the vibe owner Brittany Mullins aims to create for the sole, music-only (no food) venue just off the popular Canton Street strip of upscale restaurants, art galleries, and small businesses. Mullins, who was born in Sandy Springs, moved to Roswell about a year and a half ago after ping-ponging around the Atlanta area working at various jobs from interior designer to running an art gallery. “I just loved the community feel,” Mullins says when asked why she relocated. “I’ve always been attracted to little community areas like Decatur, Athens, Virginia-Highlands.”

Mullins soon realized there was no club dedicated exclusively to supporting live and mostly original music in Roswell. She found the perfect spot by chance when she passed by the building that housed the Classy Clutter antiques store, which was moving. “It was close to the historic district with a parking lot … That’s my venue!”

She rented the century-old space and found financial backing. “People came out of the woodwork asking to invest, which was crazy,” she says.

Before opening for business, Mullins used the funds she raised for a full remodel. After a few construction setbacks, many due to structural improvements stemming from the building’s age, Gypsy Rose — named after the famous stripper, Gypsy Rose Lee — officially opened on March 9. It’s an intimate, charming place that, with its outside deck, has the capacity to hold about 180 people. The boxy edifice has been enhanced by a sweeping, eye-catching mural, easily seen by traffic on the busy stretch of Alpharetta Highway it faces, and ai slogan below the club’s logo reads “Where Music Lives.”

Mullins’ has a defined vision for the acts she presents. “I want to support the local (Athens, Atlanta, OTP) scene on Wednesday and Thursday nights,” she says. “On Friday and Saturday nights I’m looking to book slightly larger, better-known original acts and some tribute bands.”

As for genres, Mullins prefers a diverse but unmistakably rootsy blend of Americana, Southern rock, bluegrass, singer/songwriter, reggae, funk, and New Orleans brass. Off the table are EDM and metal, although she’s open to hip-hop.

And blues is very much in the mix. The Atlanta Blues Society has already held their monthly May meeting there. Gypsy Rose can also fill the gap created by the demise of Darwin’s (see below). Mullins has augmented the club’s music programming by scheduling yoga sessions every Monday and Tuesday evening, partnering with From the Earth Brewing Company for “beer dinners,” and hosting meet-and-greets with musicians prior to shows. Gypsy Rose is also a major player in the recently revived Roswell Music Festival, coming up June 27-30.

Mullins is gamely navigating the knotty terrain new venues face such as staffing, parking, dealing with permits, etc. But her contagious enthusiasm, sure sense of style, and eclectic musical direction have already resulted in some sold-out shows. Gypsy Rose, which fills the need for a dedicated music stage in the booming Roswell area, already feels like home. (More details are available at www.gypsyrosemusic.squarespace.com.)

It has been a long, strange trip, but the OTP’s long-standing blues/roots hangout Darwin’s, active since 1995, has shuttered its doors, likely forever. The winner of the prestigious Keeping the Blues Alive award as recently as 2016, Darwin’s couldn’t regain its footing after relocating from Marietta to Sandy Springs in January 2017. It’s never a good day when any blues joint closes, but since Darwin’s was one of the only places outside the perimeter to find national blues acts, the sting hurts even worse. As the cliché goes, it’s the end of an era.

June’s simmering sun shines on hot blues. Check out these show highlights.

Thurs., Fri., Sat., June 6, 7, 8
— Helen Harpfest, Hofbrauhouse GI Pub and Restaurant (Helen, GA). Atlanta-based blues harp lovers, veterans, or aspiring players need to trek to Helen for three days of workshops, jams, and concerts featuring the lowly harmonica. Harp legend Phil Wiggins, best known for his work in Cephas & Wiggins, headlines.

Thurs., June 6
— Matt Anderson, Erin Costello, Eddie’s Attic. The Canadian blues singer-songwriter has been releasing solid if under-the-radar albums for over a decade. Better known in his home country than in the U.S., Anderson will feature music from his new Halfway Home by Morning release, arguably the most soulful set of his career.

Sat., June 8
— Lucette, Smith’s Olde Bar. Canadian Lucette, aka Lauren Gillis, mixes blues, jazz, and noir together with her smoky voice for a haunting, bittersweet sound that’s seductive and alluring. She will be playing material from her Sturgill Simpson-produced new release Deluxe Hotel Room.

Sun., June 9
— Caroline Spence, Eddie’s Attic. Spence has a beautifully mellifluous voice, writes lyrically complex songs, and her newly released third album, Mint Condition, is her best, so what’s not to love about this captivating singer-songwriter?

Sat., June 15
— Bluesberry & Beer Festival, Betty Muldin Park, Norcross. Join veteran local blues artists Beverly “Guitar” Watkins, the Cazanovas, Cody Matlock, and more as they play a rare outdoor gig. Music from 3-10 p.m.

— Urban Shakedancers Reunion, Vista Room. They call their dance floor-ready music “hopped-up rocked-out blues,” and although they used to play locally a few times a week back in the ’90s, they are now down to the occasional reunion show. Even with a few more gray hairs, they still live up to their shake-dancing moniker.

Sun., June 16
— Rod Melancon, Eddie’s Attic. Singer-songwriter Melancon titled his previous album Southern Gothic, which is as good a description of his moody, swamp-infested sound as any. Tough, tensile, and rugged blues-based Americana at its finest.

Tues., June 18
— Rickie Lee Jones, City Winery. The diverse and unpredictable veteran singer-songwriter has always added jazz, blues, and folk to her eclectic sound, and this intimate venue is the perfect place to experience it. Jones will feature music from her latest covers album Kicks, where she interprets material associated with Bad Company, Dean Martin, Benny Goodman, Skeeter Davis, and more.

Wed., June 19
— Jimmie Vaughan, City Winery. Texas blues veteran Vaughan is nearly as iconic as his more famous brother Stevie Ray, and has been playing professionally since his days in the legendary Fabulous Thunderbirds — nearly four decades ago. For this show Vaughan shows off songs from his new release, Baby, Please Come Home, his first studio set since 2011. Lone Star State blues don’t get more authentic than this.

Fri., June 21
— Junior Brown, City Winery. Brown’s baritone voice and custom double-necked lap-steel/Telecaster whips up the high-octane honky-tonk, and sounds like nothing else. It’s a shtick, but it’s a good one, and he’s always entertaining.

Sat., June 22
— The Robert Cray Band & Marc Cohn feat. the Blind Boys of Alabama and Shemekia Copeland, Frederick Brown Amphitheater (Peachtree City). What a lineup! Soul-blues veteran Cray is joined by gospel icons the Blind Boys, singer-songwriter Copeland, and Mr. “Walking in Memphis” himself, along for the ride. A diverse and enticing show, especially if they share the stage.

— Gregg Allman’s Laid Back Legacy, Buford Community Center, Town Park and Theater. Three members of Allman’s famed 1974 tour (Randall Bramblett, Bill Stewart, and Tommy Talton) lead an ensemble that recreates the original setlist of that show, plus other Allman hits. Better yet, it’s free.

Fri., June 28
— Drivin N Cryin, Center Stage. Think they’re old and tired because the redoubtable DNC have been grinding out their idiosyncratic Southern alternative rock songs for over 35 years? Think again. Recent concerts display a renewed, vigorous attack, and the band has a new album, Live the Love Beautiful — their first original material since 2009 — that’s a more than worthy addition to their legacy.

Please send upcoming blues events to consider for CL’s Blues & Beyond concert calendar to hal.horowitz at creativeloafing.com.    Alison Gurevich GYPSY WOMAN: Gypsy Rose owner Brittany Mullins and son Levi Johnson in front of the club’s mural.  0,0,5                           BLUES & BEYOND: Rose blooms, Darwin’s wilts "
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  string(7669) "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. Bloated bank account from lack of overpriced ticket purchase. Consume at your own risk

Psst … Xtra! Xtra! Weed all about it! Shameless plug for CL’s latest podcast series, “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. 

TUESDAYS & THURSDAYS IN JUNE:

Lunchtime Fiber 2019 It’s time to take yarn to the next level, my DIY dreamers. On Tuesdays and Thursdays, the Southeast Fiber Arts Alliance wants you to drop in to their studio from 10-2 to work on a fiber/textile project during your lunch break. Pack your lunch and snack while working around like-minded crafters and fiber experts. Next stop, the High Museum*! 

*Disclaimer: May require more than two lunch breaks a week to get exhibit at High Museum of Art. This event is free to the public. 

SUNDAY JUNE 9:

Collect Atlanta Fundraiser Join artists FRKO, Y. Malik Jalal, Free Rent, and more as they come together in support of Collect Atlanta for an installation, and continue to shrink Atlanta-area food deserts. The fundraiser, held at the South Bend Commons on Lakewood Terrace, supports Collect Atlanta’s mission “to gather people who want access to resources or information about food sustainability in their communities.” 

Can’t make the event? Look for the GoFundMe page floating around. Funds also support partners South Bend Commons, Industrial Workers of the World,  FTP Farms, The Housing Justice League, and Community Movement Builders Project.  https://www.facebook.com/events/317993468875527/

SUNDAY JUNE 9:

Blue Spirit Wheel Live Set at Ecstatic Dance Atlanta Y’all know I love me a day rave! This special addition of Ecstatic Dance Atlanta comes with a LIVE MUSIC set by Blue Spirit Wheel, self-described as “Achieving liberation from the cycle of life-death-rebirth and helping others to do the same!” 

Being a morning person, the only thing I dislike about dance music is the hours. My body wants to dance all day, and then go get hours of sleep please and thank you. Also, sober dance party = no hangovers! Only $20 at the door!

SUNDAY JUNE 9:

Hemp Out the Toxins $5 Hemp is the answer to most problems in my life, and you should totally jump on this bandwagon if you haven’t already. Sure, the devil’s lettuce can get you high, but the uses of hemp go way beyond getting your buzz on. 

Here’s a new one to me, hemp for toxic waste. Instead of costly remediation for toxic water and landfills, the Georgia Hemp Economic Revival Organization wants to use hemp to create a healthier eco system. “There is a better way.  We can plant hemp, sunflowers, poplar trees, mushroom barriers .... so many possibilities!” —The Georgia Hemp Economic Revival Organization. Proceeds from the fundraiser go towards The Sunflower Project (GA Phytoremediation Program) and to frame a proposal to Georgia Power to research hemp phytoremediation.

Come for the hemp-plastered earth house, stay for the live hemp-building demos, music, hemp hay rides, and an education on “hemping out the toxins.” 2 p.m.-8 p.m., Waller’s Coffee Shop, 240 DeKalb Industrial Way in Decatur.

THURSDAY JUNE 13:

ContrastATL (Free All Night) UUeird brings up another FREE night of music. Bassheads can rejoice in an intimate setting at Edgewood Speakeasy, above the Music Room on Edgewood Avenue. This month, Xenotype. Guest DJs are encouraged to play out of their usual genres, so it will be interesting to hear how Xenotype steps away from dubstep.

ContrastATL runs every second Thursday, housing fresh insight into Atlanta’s current DJ scene. Strictly 21 and up.

WEDNESDAY JUNE 12:

Tchaikovsky & More in Piedmont Park Enjoy the work of the Russian composer who wrote the soundtracks to our lives before there were soundtracks, when conductor Robert Spano and the ASO perform Tchaikovsky’s 5th Symphony for free in Piedmont Park. An early show featuring the Atlanta Symphony Youth Orchestra begins at 6:30 p.m. Also on the bill: Rossini and Christopher Theofanidis.

Go chill the box wine and call ahead on those Publix subs because I really can’t think of a better reason for a picnic in the park. Pro tip: Go early to catch a great view. Although there is plenty of space, the closer to the stage, the more likely you can drown out the Chatty Cathys. 

SATURDAY JUNE 15:

Summer Photo Walk Historic Oakland Cemetery is a photographer’s paradise. PERIOD. I love the reaction from visitors when I mention we’re going to an event in the cemetery, but it truly is one of the best stops on any tour of Atlanta.

Meet up with photogs of all levels during the golden hour to capture Victorian funerary sculptures and cultivated gardens with a stunning backdrop of the city of Atlanta. “This will be an excellent opportunity to practice macro and architecture photography.” — HOC. Well praise Jesus, bc I personally live for macro photo ops! The event is $15 for members of Historic Oakland Foundation and $20 for non-members.  

SATURDAY JUNE 15:

Deep South presents Ladies of LCD Soundsystem DJ Tour LCD Soundsystem is a top-five all-time band for me. This music gets my serotonin off the charts!! I’m a survivor of the two-night face-melter performance at the Roxy in 2017. Night one was the first time I ever cried tears of joy at a concert. Two years later, they’re sending the ladies, or the best of the band IMO. These women are nothing short of prolific in their solo careers, as well as time with LCD. 

“Ladies of LCD Soundsystem is a DJ tour with Nancy Whang and Gavin Rayna Russom. The tour is a celebration of their work as solo artists, and an exploration of their music beyond their work with LCD Soundsystem as keyboard player/vocalist and synthesist respectively.”

At the Music Room, 327 Edgewood Avenue. If you like dancing in a tiny, intimate club with legends, this is the party for you. 

WEDNESDAY JUNE 26–SUNDAY JUNE 30:

Southern Fried Queer Pride Atlanta 2019! Celebrating five years of fried pride! Southern Fried Queer Pride is a queer and trans, arts & advocacy that goes down at The Bakery Atlanta — the most adorable DIY space in ATL right now. Personally looking forward to a DIY Menstrual Pads (Upcycled) Workshop, a useful life skill I’d wish I’d learned instead of algebra. 

“This means 5 years of legendary dance parties, catalyzing community discussions, provocative art galleries, A BALL, and so much more. Now we bring you 5 DAYS of deep fried, queer seasoned events!” — SFQP

The festival has a suggested $7 to $20 sliding-scale door cover, however, no one will be turned away due to lack of funds. Sigh. If only the whole world operated like our friends at SFQP. 

http://www.southernfriedqueerpride.com/sfqpatl2019

SUNDAY JUNE 23:

2019 LGBTQ History Tour Ever wonder how Atlanta neighborhoods became gayborhoods? The Center for Civil and Human Rights’ LGBTQ Institute wants to ride around on a shuttle and educate you. From Ansley Mall to 10th and Piedmont and Cheshire Bridge, activists Dave Hayward and Maria Helena Dolan explain the history of these predominantly LGBTQ areas. Learn about Atlanta neighborhoods, and the human and civil rights saga that helped sew its fabric. Two hours for only $20. https://www.atlantapride.org/event/"
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Psst … Xtra! Xtra! Weed all about it! Shameless plug for ''CL''’s latest podcast series, “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. 

__TUESDAYS & THURSDAYS IN JUNE:__

__Lunchtime Fiber 2019__ It’s time to take yarn to the next level, my DIY dreamers. On Tuesdays and Thursdays, the Southeast Fiber Arts Alliance wants you to drop in to their studio from 10-2 to work on a fiber/textile project during your lunch break. Pack your lunch and snack while working around like-minded crafters and fiber experts. Next stop, the High Museum*! 

*Disclaimer: May require more than two lunch breaks a week to get exhibit at High Museum of Art. This event is free to the public. 

__SUNDAY JUNE 9:__

__Collect Atlanta Fundraiser__ Join artists FRKO, Y. Malik Jalal, Free Rent, and more as they come together in support of Collect Atlanta for an installation, and continue to shrink Atlanta-area food deserts. The fundraiser, held at the South Bend Commons on Lakewood Terrace, supports Collect Atlanta’s mission “to gather people who want access to resources or information about food sustainability in their communities.” 

Can’t make the event? Look for the GoFundMe page floating around. Funds also support partners South Bend Commons, Industrial Workers of the World,  FTP Farms, The Housing Justice League, and Community Movement Builders Project.  https://www.facebook.com/events/317993468875527/

__SUNDAY JUNE 9:__

__Blue Spirit Wheel Live Set at Ecstatic Dance Atlanta__ Y’all know I love me a day rave! This special addition of Ecstatic Dance Atlanta comes with a LIVE MUSIC set by Blue Spirit Wheel, self-described as “Achieving liberation from the cycle of life-death-rebirth and helping others to do the same!” 

Being a morning person, the only thing I dislike about dance music is the hours. My body wants to dance all day, and then go get hours of sleep please and thank you. Also, sober dance party = no hangovers! Only $20 at the door!

__SUNDAY JUNE 9:__

__Hemp Out the Toxins $5__ Hemp is the answer to most problems in my life, and you should totally jump on this bandwagon if you haven’t already. Sure, the devil’s lettuce can get you high, but the uses of hemp go way beyond getting your buzz on. 

Here’s a new one to me, hemp for toxic waste. Instead of costly remediation for toxic water and landfills, the Georgia Hemp Economic Revival Organization wants to use hemp to create a healthier eco system. “There is a better way.  We can plant hemp, sunflowers, poplar trees, mushroom barriers .... so many possibilities!” —The Georgia Hemp Economic Revival Organization. Proceeds from the fundraiser go towards The Sunflower Project (GA Phytoremediation Program) and to frame a proposal to Georgia Power to research hemp phytoremediation.

Come for the hemp-plastered earth house, stay for the live hemp-building demos, music, hemp hay rides, and an education on “hemping out the toxins.” 2 p.m.-8 p.m., Waller’s Coffee Shop, 240 DeKalb Industrial Way in Decatur.

__THURSDAY JUNE 13:__

__ContrastATL (Free All Night)__ UUeird brings up another FREE night of music. Bassheads can rejoice in an intimate setting at Edgewood Speakeasy, above the Music Room on Edgewood Avenue. This month, Xenotype. Guest DJs are encouraged to play out of their usual genres, so it will be interesting to hear how Xenotype steps away from dubstep.

ContrastATL runs every second Thursday, housing fresh insight into Atlanta’s current DJ scene. Strictly 21 and up.

__WEDNESDAY JUNE 12:__

Tchaikovsky & More in Piedmont Park Enjoy the work of the Russian composer who wrote the soundtracks to our lives before there were soundtracks, when conductor Robert Spano and the ASO perform Tchaikovsky’s 5th Symphony for free in Piedmont Park. An early show featuring the Atlanta Symphony Youth Orchestra begins at 6:30 p.m. Also on the bill: Rossini and Christopher Theofanidis.

Go chill the box wine and call ahead on those Publix subs because I really can’t think of a better reason for a picnic in the park. Pro tip: Go early to catch a great view. Although there is plenty of space, the closer to the stage, the more likely you can drown out the Chatty Cathys. 

__SATURDAY JUNE 15:__

Summer Photo Walk Historic Oakland Cemetery is a photographer’s paradise. PERIOD. I love the reaction from visitors when I mention we’re going to an event in the cemetery, but it truly is one of the best stops on any tour of Atlanta.

Meet up with photogs of all levels during the golden hour to capture Victorian funerary sculptures and cultivated gardens with a stunning backdrop of the city of Atlanta. “This will be an excellent opportunity to practice macro and architecture photography.” — HOC. Well praise Jesus, bc I personally live for macro photo ops! The event is $15 for members of Historic Oakland Foundation and $20 for non-members.  

__SATURDAY JUNE 15:__

__Deep South presents Ladies of LCD Soundsystem DJ Tour__ LCD Soundsystem is a top-five all-time band for me. This music gets my serotonin off the charts!! I’m a survivor of the two-night face-melter performance at the Roxy in 2017. Night one was the first time I ever cried tears of joy at a concert. Two years later, they’re sending the ladies, or the best of the band IMO. These women are nothing short of prolific in their solo careers, as well as time with LCD. 

“Ladies of LCD Soundsystem is a DJ tour with Nancy Whang and Gavin Rayna Russom. The tour is a celebration of their work as solo artists, and an exploration of their music beyond their work with LCD Soundsystem as keyboard player/vocalist and synthesist respectively.”

At the Music Room, 327 Edgewood Avenue. If you like dancing in a tiny, intimate club with legends, this is the party for you. 

__WEDNESDAY JUNE 26–SUNDAY JUNE 30:__

__Southern Fried Queer Pride Atlanta 2019!__ Celebrating five years of fried pride! Southern Fried Queer Pride is a queer and trans, arts & advocacy that goes down at The Bakery Atlanta — the most adorable DIY space in ATL right now. Personally looking forward to a DIY Menstrual Pads (Upcycled) Workshop, a useful life skill I’d wish I’d learned instead of algebra. 

“This means 5 years of legendary dance parties, catalyzing community discussions, provocative art galleries, A BALL, and so much more. Now we bring you 5 DAYS of deep fried, queer seasoned events!” — SFQP

The festival has a suggested $7 to $20 sliding-scale door cover, however, no one will be turned away due to lack of funds. Sigh. If only the whole world operated like our friends at SFQP. 

http://www.southernfriedqueerpride.com/sfqpatl2019

__SUNDAY JUNE 23:__

__2019 LGBTQ History Tour__ Ever wonder how Atlanta neighborhoods became gayborhoods? The Center for Civil and Human Rights’ LGBTQ Institute wants to ride around on a shuttle and educate you. From Ansley Mall to 10th and Piedmont and Cheshire Bridge, activists Dave Hayward and Maria Helena Dolan explain the history of these predominantly LGBTQ areas. Learn about Atlanta neighborhoods, and the human and civil rights saga that helped sew its fabric. Two hours for only $20. https://www.atlantapride.org/event/"
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  string(8199) " DSC 5438 Web  2020-04-13T20:19:56+00:00 DSC_5438_web.jpg     themove Hey y'all! What's the Move? DSC 5438 Web   2019-06-06T04:00:00+00:00  THE MOVE: Plan accordingly - June 2019 jim.harris Jim Harris Ema Carr ema.carr (Ema Carr) 2019-06-06T04:00:00+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. Bloated bank account from lack of overpriced ticket purchase. Consume at your own risk

Psst … Xtra! Xtra! Weed all about it! Shameless plug for CL’s latest podcast series, “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. 

TUESDAYS & THURSDAYS IN JUNE:

Lunchtime Fiber 2019 It’s time to take yarn to the next level, my DIY dreamers. On Tuesdays and Thursdays, the Southeast Fiber Arts Alliance wants you to drop in to their studio from 10-2 to work on a fiber/textile project during your lunch break. Pack your lunch and snack while working around like-minded crafters and fiber experts. Next stop, the High Museum*! 

*Disclaimer: May require more than two lunch breaks a week to get exhibit at High Museum of Art. This event is free to the public. 

SUNDAY JUNE 9:

Collect Atlanta Fundraiser Join artists FRKO, Y. Malik Jalal, Free Rent, and more as they come together in support of Collect Atlanta for an installation, and continue to shrink Atlanta-area food deserts. The fundraiser, held at the South Bend Commons on Lakewood Terrace, supports Collect Atlanta’s mission “to gather people who want access to resources or information about food sustainability in their communities.” 

Can’t make the event? Look for the GoFundMe page floating around. Funds also support partners South Bend Commons, Industrial Workers of the World,  FTP Farms, The Housing Justice League, and Community Movement Builders Project.  https://www.facebook.com/events/317993468875527/

SUNDAY JUNE 9:

Blue Spirit Wheel Live Set at Ecstatic Dance Atlanta Y’all know I love me a day rave! This special addition of Ecstatic Dance Atlanta comes with a LIVE MUSIC set by Blue Spirit Wheel, self-described as “Achieving liberation from the cycle of life-death-rebirth and helping others to do the same!” 

Being a morning person, the only thing I dislike about dance music is the hours. My body wants to dance all day, and then go get hours of sleep please and thank you. Also, sober dance party = no hangovers! Only $20 at the door!

SUNDAY JUNE 9:

Hemp Out the Toxins $5 Hemp is the answer to most problems in my life, and you should totally jump on this bandwagon if you haven’t already. Sure, the devil’s lettuce can get you high, but the uses of hemp go way beyond getting your buzz on. 

Here’s a new one to me, hemp for toxic waste. Instead of costly remediation for toxic water and landfills, the Georgia Hemp Economic Revival Organization wants to use hemp to create a healthier eco system. “There is a better way.  We can plant hemp, sunflowers, poplar trees, mushroom barriers .... so many possibilities!” —The Georgia Hemp Economic Revival Organization. Proceeds from the fundraiser go towards The Sunflower Project (GA Phytoremediation Program) and to frame a proposal to Georgia Power to research hemp phytoremediation.

Come for the hemp-plastered earth house, stay for the live hemp-building demos, music, hemp hay rides, and an education on “hemping out the toxins.” 2 p.m.-8 p.m., Waller’s Coffee Shop, 240 DeKalb Industrial Way in Decatur.

THURSDAY JUNE 13:

ContrastATL (Free All Night) UUeird brings up another FREE night of music. Bassheads can rejoice in an intimate setting at Edgewood Speakeasy, above the Music Room on Edgewood Avenue. This month, Xenotype. Guest DJs are encouraged to play out of their usual genres, so it will be interesting to hear how Xenotype steps away from dubstep.

ContrastATL runs every second Thursday, housing fresh insight into Atlanta’s current DJ scene. Strictly 21 and up.

WEDNESDAY JUNE 12:

Tchaikovsky & More in Piedmont Park Enjoy the work of the Russian composer who wrote the soundtracks to our lives before there were soundtracks, when conductor Robert Spano and the ASO perform Tchaikovsky’s 5th Symphony for free in Piedmont Park. An early show featuring the Atlanta Symphony Youth Orchestra begins at 6:30 p.m. Also on the bill: Rossini and Christopher Theofanidis.

Go chill the box wine and call ahead on those Publix subs because I really can’t think of a better reason for a picnic in the park. Pro tip: Go early to catch a great view. Although there is plenty of space, the closer to the stage, the more likely you can drown out the Chatty Cathys. 

SATURDAY JUNE 15:

Summer Photo Walk Historic Oakland Cemetery is a photographer’s paradise. PERIOD. I love the reaction from visitors when I mention we’re going to an event in the cemetery, but it truly is one of the best stops on any tour of Atlanta.

Meet up with photogs of all levels during the golden hour to capture Victorian funerary sculptures and cultivated gardens with a stunning backdrop of the city of Atlanta. “This will be an excellent opportunity to practice macro and architecture photography.” — HOC. Well praise Jesus, bc I personally live for macro photo ops! The event is $15 for members of Historic Oakland Foundation and $20 for non-members.  

SATURDAY JUNE 15:

Deep South presents Ladies of LCD Soundsystem DJ Tour LCD Soundsystem is a top-five all-time band for me. This music gets my serotonin off the charts!! I’m a survivor of the two-night face-melter performance at the Roxy in 2017. Night one was the first time I ever cried tears of joy at a concert. Two years later, they’re sending the ladies, or the best of the band IMO. These women are nothing short of prolific in their solo careers, as well as time with LCD. 

“Ladies of LCD Soundsystem is a DJ tour with Nancy Whang and Gavin Rayna Russom. The tour is a celebration of their work as solo artists, and an exploration of their music beyond their work with LCD Soundsystem as keyboard player/vocalist and synthesist respectively.”

At the Music Room, 327 Edgewood Avenue. If you like dancing in a tiny, intimate club with legends, this is the party for you. 

WEDNESDAY JUNE 26–SUNDAY JUNE 30:

Southern Fried Queer Pride Atlanta 2019! Celebrating five years of fried pride! Southern Fried Queer Pride is a queer and trans, arts & advocacy that goes down at The Bakery Atlanta — the most adorable DIY space in ATL right now. Personally looking forward to a DIY Menstrual Pads (Upcycled) Workshop, a useful life skill I’d wish I’d learned instead of algebra. 

“This means 5 years of legendary dance parties, catalyzing community discussions, provocative art galleries, A BALL, and so much more. Now we bring you 5 DAYS of deep fried, queer seasoned events!” — SFQP

The festival has a suggested $7 to $20 sliding-scale door cover, however, no one will be turned away due to lack of funds. Sigh. If only the whole world operated like our friends at SFQP. 

http://www.southernfriedqueerpride.com/sfqpatl2019

SUNDAY JUNE 23:

2019 LGBTQ History Tour Ever wonder how Atlanta neighborhoods became gayborhoods? The Center for Civil and Human Rights’ LGBTQ Institute wants to ride around on a shuttle and educate you. From Ansley Mall to 10th and Piedmont and Cheshire Bridge, activists Dave Hayward and Maria Helena Dolan explain the history of these predominantly LGBTQ areas. Learn about Atlanta neighborhoods, and the human and civil rights saga that helped sew its fabric. Two hours for only $20. https://www.atlantapride.org/event/    Ema Carr The main move right now: Women’s rights – in May, there were a total of four protests at the Georgia State Capitol, sending a loud message of disapproval to the governor.   0,0,10    themove                       THE MOVE: Plan accordingly - June 2019 "
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  string(66) "Kibi James, Chris Devoe, Warm Red, and more music to beat the heat"
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  string(624) "Mattiel | Satis Factory (ATO Records) Attitude? Mattiel has it to spare on her first major label release, Satis Factory. Her propulsive combination of rock ’n’ roll, glam, and blues songwriting comes to a fine point in powerful numbers such as “Rescue You,” “Millionaire,” and the album’s first single, “Keep the Change.” These idiosyncratic rockers are perfect for the stage and Mattiel’s extensive world summer tour gets them there.
— Hal Horowitz


 


 


 


 


 


 


 


 


 


 


 


 


 


 


 


 


 


 


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  string(14364) "__Mattiel |__ ''Satis Factory'' (ATO Records) Attitude? Mattiel has it to spare on her first major label release, ''Satis Factory''. Her propulsive combination of rock ’n’ roll, glam, and blues songwriting comes to a fine point in powerful numbers such as “Rescue You,” “Millionaire,” and the album’s first single, “Keep the Change.” These idiosyncratic rockers are perfect for the stage and Mattiel’s extensive world summer tour gets them there.
__— Hal Horowitz__

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__[http://www.thrilljockey.com/artists/sequoyah-murray|Sequoyah Murray]__ | ''Penalties Of Love'' | (Thrill Jockey Records) Sequoyah Murray’s label debut is the kind of music to get lost in. With his emotive baritone as a guiding light, Murray navigates heartbreak and uncertainty through deep house grooves, jazz, and soulful R&B. ''Penalties of Love'' is a compelling look at the soul of a young artist, offering a borderless approach to music that’s as inspiring as it is infectious.
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__[https://kibijames.bandcamp.com/ | Kibi James]__ | ''Hi, How Are You?'' (Self-released) Kibi James’ breezy garage pop is a document of aimless summer afternoons off the clock and on the town. The group’s music saunters effortlessly between psychedelia and tropical music — a welcome lo-fi sedative to the mania of city life. Though the band formed just last fall, they’ve already garnered a sizable following, leading the way towards a bolder and more inclusive local scene.
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__[https://warmred.bandcamp.com/releases | Warm Red]__ | ''The Way It Feels'' (State Laughter) New post-punk outfit Warm Red brings elements of ’90s experimental and indie rock out of the dead of night into the break of dawn. Vocalist Tony Gary makes simple pleas, like “I just want to touch something real,” over jerky riffs, crackling bass, and quickfire drums. The band forgoes the need to be overly analytical and are perfectly themselves: raucous, fun, and to-the-point.
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{BOX()}{img fileId="18392" stylebox="float: left; margin-right:15px;" max="200" desc="desc"}
__[http://statelaughter.storenvy.com/collections/1578050-tapes/products/26670630-night-cleaner-warrior-tape-state-laughter-release | Night Cleaner]__ | ''Warrior'' (State Laughter) Matt Lambert (All the Saints) returns as Night Cleaner with ''Warrior'', collaborating with other artists including Frankie Broyles (Omni, ex-Balkans) and Valentina Tapia (Celines, Big Ded). Where ''Even'' was dark and gritty with trip-hop and goth nuances, ''Warrior'' takes on a lighter load with more room to enjoy the trip. Lambert rides in and out of pop, dub, psych-rock, and Western, creating a perfect unknown-destination road trip soundtrack.
__—AA__{BOX}
 

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__[https://www.facebook.com/shouldies/ | Shouldies]__ | ~np~:) (NeverNotGoth) Electro-punk trio Shouldies come out of the woodwork with their debut album, :), bridging a gap between Krautrock, dance electronica, and post-punk. Standout tracks “U Die I Die” and “Useless,” with detached vocals hovering over dark synth-pop and angsty guitar, exemplify the group’s ability to embrace the brinks of melancholy reflection and upbeat movement. Shouldies' debut gives listeners a soundtrack to feel comfortable with themselves, and dance all through the summer.
— AA{BOX}

 





	

		
Chris Devoe
		
	

 Chris Devoe | With the Moon (Adult Swim) "Preliminary" opens Chris Devoe’s With the Moon in backlit minimalism — empty space as a blank canvas for something else. A thump in the distance kicks up dust, catching bits of audio samples in the light. The effect is a nearly perfect marriage of John Carpenter's propulsive dirges and the futuristic sounds of Actress, Dabrye, and Equiknoxx. "Return Home" is a fitting close to the vulnerable dynamism of the album, matching Devoe's dazzling production style with Pumashock's siren-like voice.

— Bobby Power
 





	

		
Jeff Crompton
		
	

Jeff Crompton | Duets (Southern Crescent) Duets features Atlanta-based reed specialist, composer and bandleader Jeff Crompton in tandem on two tracks each with three different collaborators: Stuart Gerber (percussion), Peter Sloan (trombone), and Chris Case (piano). A bonus “live” session with drummer Jaimie Shepard completes a baker’s dozen of sophisticated jazz performances dedicated to the late, great guitarist and professor of improvisation, Davey Williams.

— Doug DeLoach
 





	

		
BASrelief
		
	

 BASrelief | BASrelief (Past Now Tomorrow) An engaging mix of structured avant-jazz and free-wheeling improvisation, BASrelief is the eponymously titled debut album by Atlantans Ben Shirley (cello), Majid Araim (mandolin), and Julian Scott Bryan (percussion). Enveloped in an engaging acoustic ambience, the music exudes iconoclastic charm and imaginative playfulness even when it ventures into anarchic chaos.

— DD
 





	

		
W8ing4UFOs
		
	

 W8ing4UFOs | Starlight/W8ing4UFOs (Past Now Tomorrow) The two songs on this 7-inch from Ben Shirley’s recently launched label cast in sharp relief the darkly alluring, antidisestablishmentarian trajectory of W8ing4UFOs, Bill Taft’s urban gypsy troupe. “Starlight” was partly inspired by a book of poetry by Sun Ra, while “W8ing4UFOs” pays tribute to guitarist Coleman Lewis (Smoke, Cat Power) who passed in 2014.

— DD
 





	

		
Stephen Wood
		
	

 Stephen Wood | Untrammeled (Self-released) Atlanta-based composer Stephen Wood’s Untrammeled evokes the ineffable beauty and mystical wonder of natural wilderness in a series of works for small chamber ensemble. Inspired by residencies in remote backcountry locations including the Okefenokee Wildlife Refuge and Nantahala Wilderness Area, Wood transforms primordial contours and textures into pleasurably immersive sonorous excursions.

— DD
 





	

		
Flwr Chyld/James Tillman 
		
	

 Flwr Chyld/James Tilllman | Luv 2 U (Self-released) A collaboration between producer Flwr Chyld and multi-instrumentalist James Tillman, “Luv 2 U” is an ode to falling in love in the summertime. Flwr Chyld once again proves himself a production wizkid, imbuing the track with a warm airiness that matches Tillman’s idyllic and picturesque verses. ”Luv 2 U” encapsulates the quintessential summer romance experience, accentuated with flourishing keyboard melodies, breezy vocals, and laidback beats.

— Will Cardwell
 





	

		
Karaoke 
		
	

 Karaoke | How to Make You Boil (Irrelevant Music) Throughout this chronicle of dreams, Karaoke, the quintet that has quickly proved itself a master of the subconscious, guides listeners through a resonant and reverberating wonderland. Ranging from intergalactic eeriness and cinematic enchantment to mischievousness, this series layers each element of sound with such complexity that the result extends beyond reality. Whether it’s the whimsical tambourine, percussive whip, or ominous toms, the drums, vaguely analogous to the classic ’60s kick and snare pattern, almost vocalize undertones within each song, speaking what cannot be sung. Floating above it all are Grace Bellury’s dangerously enchanting vocals, which reveal to the listener that this is no ordinary karaoke.

— Sophia Rubin
 





	

		
Future
		
	

 Future | Beast Mode II (EPIC) When Beast Mode 2 arrived last July, trappers everywhere rejoiced. Already baited with nostalgia, the EP saw a return to form for Future. His shortest project since his unstoppable run in 2015, Future powers through Beast Mode 2 with characteristic swagger and raw performances. Regardless of whether the long-awaited sequel lives up to its predecessor, Future and executive producer Zaytoven's chemistry proves to be as fresh as it's ever been. An album to drop the top (or roll down the windows) to, Beast Mode 2, like Future's wifi, is lit.

— Joshua Robinson
 





	

		
Young Thug 
		
	

 Young Thug | On the Rvn (RCA) After spending a majority of 2018 on artist development with his YSL imprint and its underwhelming compilation album Slime Language, Young Thug finally shared what listeners had been clamoring for: a solo project. With September came On the Rvn, a six-track offering that featured guest appearances from Offset, 6lack, Jaden Smith, T-Shyne, and Elton John. His shortest project yet, Thug leverages its brevity with a mastery of his sound. A polished and cohesive record that doesn’t sacrifice his trademark quirkiness, On the Rvn still has legs eight months later.

— JR
 





	

		
Childish Gambino 
		
	

 Childish Gambino | Summer Pack (RCA) Overshadowed by the success of his Grammy Award-winning record “This is America,” Childish Gambino’s Summer Pack EP was seemingly lost in translation. Only featuring the two breezy cuts "Summertime Magic" and "Feels like Summer," it was an easy one to miss. Last year, "Feels Like Summer" was the talking point due to its viral animated music video. Now, thanks to Gambino's short film, Guava Island, Summer Pack has gained a second wind, with "Summertime Magic" holding the reins. Where "Feels like Summer" told you the vibes, "Summertime Magic" makes you feel them.

— JR
 





	

		
Tyler Key 
		
	

 Tyler Key | Local Support (Standard Electric Recorders) Spitting out songs on corn liquor and Xanax, via Indian Creek and Nashville, Tyler Key’s Local Support is the anti-country album you didn’t know you needed. Using beautifully crafted wordplay and imagery of the rural Southeast, Key navigates us through existential crisis and rebellion against Southern Baptist roots, all the while waning guitar chords cry out in the background. This folksy blues album running-from-country is reminiscent of Bob Dylan’s Highway 61 Revisited. It’s perfect for anyone who loves homey chords but is tired of hearing about girls and beer.

— Narah Landress
 





	

		
The Twotakes
		
	

 The Twotakes | With Your Love (Self-released) Local pop/alternative rock band The Twotakes (think The Killers, Fall Out Boy, Atlas Genius) has your catchy summer anthem ready with their new single “With Your Love.” The intro draws you in with dark and dreamy synths and classic electric guitar, before building to a fast-paced, jump-up-and-down beat. The lyrics are also simple and perfectly singable. Remember the words “With your love,” jump up and down, and you’re ready to go.

— NL
 





	

		
Peeko
		
	

 Peeko | I’m Always Moving Tiny Things (1206626 Records DK) Peeko, a local indie rock band with similarities to First Aid Kit and Lunar Vacation, recently released their first album I’m Always Moving Tiny Things, an ode to the coming of age and sting of heartbreak. Filled with varying instrumentals, song lengths, and moods, I’m Always Moving Tiny Things is one you can listen to over and over without feeling like you’ve merely listened to one long song. The album begins with the punchy, upbeat “For Kurt,” a candid take on a mediocre-at-best date — “I hope you don’t remember my address” — before making a stark transition into the disgust and infatuation of “Conversation #10,” contrasted with a soft pace and simple guitar chords. The album’s theme is set from then on out: an honest yet poetic analysis of the ups and downs of love and life.

— NL
 





	

		
Rose Hotel
		
	

 Rose Hotel | I Will Only Come When It’s A Yes | (Self-released) For all the joys summer can bring, its golden haze also provides a moment or two of bittersweet reflection. Such is the case with Jordan Reynolds’ “Running Behind,” from her recently released full-length debut, I Will Only Come When It’s A Yes. The track and its accompanying video elicit seasonally appropriate road trip imagery, with Reynolds’ memory of taking the wheel while her partner slept passenger-side, stirring up feelings of both longing and regret. Tyler Jundt’s trumpet adds a majestic quality to the highway-ready tune that’s perfect for those long drives with windows down and lots on the mind.

—Andy Barton
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  string(983) " Music SummerJams1 1 11  2019-06-06T20:37:37+00:00 Music_SummerJams1-1_11.jpg      Kibi James, Chris Devoe, Warm Red, and more music to beat the heat Music SummerJams1 1 11   2019-06-06T13:18:00+00:00  20 summer jams for 2019 chad.radford Chad Radford CL Staff  2019-06-06T13:18:00+00:00 Mattiel | Satis Factory (ATO Records) Attitude? Mattiel has it to spare on her first major label release, Satis Factory. Her propulsive combination of rock ’n’ roll, glam, and blues songwriting comes to a fine point in powerful numbers such as “Rescue You,” “Millionaire,” and the album’s first single, “Keep the Change.” These idiosyncratic rockers are perfect for the stage and Mattiel’s extensive world summer tour gets them there.

— Hal Horowitz




 




 




 




 




 




 




 




 




 




 




 




 




 




 




 




 




 




 




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  string(82) "The Drivin N Cryin frontman delves into the songs on ‘Live The Love Beautiful’"
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  string(10637) "In the song “I Used to Live Around Here,” Kevn Kinney sings, “I used to live around here / a long time ago/I used to play in this bar / before we had a stage.” It’s just one number from Drivin N Cryin’s ninth studio album, Live The Love Beautiful (out June 21 via Drivin N Cryin Records), a collection of inward ruminations and distant personal memories set to the tune of no-frills Southern rock ’n’ roll. It’s also the kind of thing Kinney might say during a lull in the conversation at pretty much any local music haunt. Therein lies the allure of Live The Love Beautiful’s sentimental journeys. Bass player Tim Nielsen, drummer Dave Johnson, and guitarist Laur Joamets have crafted a winding backdrop to Kinney’s personal narratives about everything from reconnecting with Drivin N Cryin’s first LP to looking within himself to find true happiness.

Drivin N Cryin celebrates the release of Live The Love Beautiful with a hometown show at Center Stage on Friday, June 28. Kinney recently checked in for a candid conversation about the band’s history and how he writes.

Where did you live when you started Drivin N Cryin?

I started off on Saint Charles Avenue in ’82-’83, when I was a construction worker. Then I moved into a bungalow on Bellevue Street. Then I moved into the North High Ridge apartments. I came down here with Die Kreuzen, and they would live with me for the week whenever they came through the South. We’d go to Kmart and buy a bunch of white T-shirts and screen them in the apartment. We even had a room for blow-drying.

That’s kind of the whole synthesis of Drivin N Cryin. I’d had a punk band in Milwaukee, called the Prosecutors. We used to all play together. When Die Kreuzen played the Metroplex they had a night off. So me and the bass player Keith Brammer, and the drummer Erik Tunison did a band called the Rose Cutters. We played at the Metroplex one night and Tim Nielsen saw us. He lived in the grey apartments by Buddy’s. I lived across from the Shady Rest [now the Highland Inn]. There were hearses and ambulances pulling up every two weeks to pick up someone. It was an old-age home, or a retirement home. I don’t know what it was, but they took a lot bodies out of there.

So Drivin N Cryin’s headquarters were in the North High Ridge apartments. Then Gibby and everybody from the Butthole Surfers moved across the hall from us. … I think they were just getting out of Austin. The thing about Atlanta is that you can tackle the Southeast from here. You’re like six hours from everywhere. You’re 10 hours from D.C.

Some of Drivin N Cryin’s songs and album titles, like Fly Me Courageous, and Live The Love Beautiful are kind of impenetrable. When Fly Me Courageous was on MTV, I remember wondering, What does that mean? Is it like a soldier being flown off to war? Is it a relationship thing? Maybe there’s no answer at all.

There is no answer to any of them, really. Sometimes I'll see something wrong and think, “That doesn't make any sense, I love it.”

“Fly Me Courageous” — I’d been reading Profiles In Courage. John Kennedy was a huge influence on our lives in the Midwest. We were Catholic so we had a lot of Catholic literature. We had the Four Days in Dallas Time-Life book on our bookshelf our whole lives, the Zapruder film, the funeral. … I recently went to see Dead Can Dance. They talk about [Lisa Gerrard] having this language that she came up with when she was 14. I do a lot of that when I'm writing. I write two different ways: I write acoustically, which is very linear, and I'm thinking about the words. Then when I do the rock ‘n’ roll thing I’m just channeling. I'm throwing up melodies, and I'm also throwing out what something might be. It's a sketchbook, but it's also a little bit of me and my own little weird language.

Wrapped in Sky was originally r-a-p-t. Then I changed it to “wrapped,” so there are two different versions of it. The original was more T-Rexy. Scarred But Smarter is pretty obvious, except everyone called it Scared But Smarter.

… With Live the Love Beautiful, I was writing a note to Lenny Kaye. Sometimes I’ll write “love on top of love,” but when I looked at what I’d written it said “live on top of live.” Then I changed it to “live the love beautiful.” He took a picture of it and put it on his wall. So I thought, Okay, I should make that a song title.

(What Ever Happened to) The Great American Bubble Factory?

That's a concept record. ... It has “Midwestern Blues” and a song called “I Stand Tall” by the Dictators. So this is kind of a ’70s, Midwestern thing. I had written a song called “In the Land (of Things That Used to Be)” that was all about how growing up in Milwaukee my dad would drive me through the city and would say “That used to be Master Lock, that used to be something else …” ... It was like everybody had moved and gone away to Mexico or somewhere else. So I did it to ignite a conversation, like I always try to do. Global warming: People in America don't understand global warming because all the factories and all the pollution moved to places like India, and now you don't see it. They’re like, We have clean air. There's no such thing as global warming. Show me a factory that's polluting. Pittsburgh is a beautiful place. Chattanooga is a beautiful place. Milwaukee is a beautiful place.

But you know what they don't have now that they have clean air? They don't have industry because it moved somewhere else. We can do as many emissions and global-warming things as we want, but it's really on the other side of the world. We've just dumped all of these toxins into the rivers over there instead of figuring out how to clean it up, which might not even have been possible. America is out of sight, out of mind for everything.

There was a great thing on the news yesterday about TVs. The guy on the news was at a TV shop in LA talking about Chinese tariffs and how much TVs are going to cost because of their overhead, and how the owner might have to close after six generations of being a TV shop. The reporter asks, “Where's the made in America TV section?” It’s like, Yeah, there isn’t one. That was 20 years ago. And there's no TV repairman ’cause they're not made to be repaired. Everything's disposable. So that was the kind of conversation I had around that record. We can’t even make bubbles here.

I was at the Dollar Tree looking at bubbles, and it was like, really? We have to ship bubbles from China? We can’t even make bubbles here?


 

Live The Love Beautiful is more of a straightforward rock ’n’ roll record.

I think so. It's a fan record, and it’s more autobiographical. It has a lot of local observances, like of me talking about myself. I have avoided it for so long. There's a song on there, “Over and Over,” where I sing about buying my own first record at the Goodwill in Winston-Salem: “I bought my own record from 1985, side one, song three …” It’s about forgetting what it was that made a song. Before this record there’s one called Too Late to Turn Back Now, which was actually recorded 20 years ago by Kosmo Vinyl. It finally came out on vinyl, and I had to learn songs for the tour. I had to listen, pick up the needle, and listen again!

“Free Ain't Free” was just something about a woman … My friend Chris Griffin lives down in, I don't even know what the name of that neighborhood is — East Atlanta-ish. But you see that there's one black family left in his neighborhood. I'm glad people have nice places to live, but I feel the resentment from the people who are being pushed out. It’s one thing to be pushed out culturally, but to be pushed out because the house next door is now a McMansion and you can't afford to live in the neighborhood ... Your husband worked at GM, and you guys bought this house and raised your kids, and here you are. His pension paid for your property, and then the property taxes quadruple. You can't fight city hall. You can, but you're going to have to quit your job. It’s going to be a full-time thing. You have to get the press involved. You need some sort of movement involved, ’cause you can't just go in and say, “It’s not fair!” They’re just going to say, “I know!” [laughs].

“What’s Wrong with Being Happy,” that’s kind of a fun song about a guy thinking about simpler times and watching “The Ed Sullivan Show” and go-go dancers. Sometimes you wonder what is wrong with being happy, why everything is so heavy. Just for a minute, let me just sit here and not worry about my life. It’s getting harder to do. It's why I don't do hard drugs anymore. I don't know if I can control how happy I am. And I have responsibilities. It used to be a lot easier to get high and do stupid things. But the older you get, the more you have to be prepared for your kids to call, or your work to call, or the grandkids. What needs to be answered, who’s collecting, what's in the mailbox? What did you forget?

… This one will probably be the last Drivin N Cryin album that I do for a while. I am interested in doing another Drivin N Cryin record, but I don't want to be the songwriter. I want to do four songs, and I want everyone else to contribute two songs. I tried to do that with this record when Tim said, “Let's make a record.” I was like, “Alright, what do you guys got?” Their contributions are in there, especially Laur. He’s an amazing guitar player, and he’s come up with some great parts, and Dave Johnson, and Tim — everybody contributed and they always do. But I don't want to be the primary songwriter anymore. I only want to do that on Kevn Kinney records. I don't want Drivin N Cryin to be synonymous with Kevn Kinney. I never really wanted that. I welcome everybody to bring two songs. Plus, I think the fans would like to see the drummer sing two songs, or the guitar player play an instrumental that he wrote. And it's a Drivin N Cryin song, and it’s not something from his solo record. Dave Johnson sings two songs, and it's two songs that he wrote or I’ll co-write them with him — something like that. I don't want it to be just me. I have other projects where I want it just to be me. -CL-

Questions and answers in this interview have been edited for space and clarity. Press play on the full conversation below.

 

Drivin N Cryin play Center Stage on Fri., June 28. $25-$30. 7 p.m. Center Stage. 1374 West Peachtree St.404-885-1365. www.centerstage-atlanta.com."
  ["tracker_field_contentWikiPage_raw"]=>
  string(11256) "In the song “I Used to Live Around Here,” [https://www.drivinncryin.com/kevn-solo|Kevn Kinney] sings, “I used to live around here / a long time ago/I used to play in this bar / before we had a stage.” It’s just one number from [https://www.drivinncryin.com/|Drivin N Cryin]’s ninth studio album, ''Live The Love Beautiful'' (out June 21 via Drivin N Cryin Records), a collection of inward ruminations and distant personal memories set to the tune of no-frills Southern rock ’n’ roll. It’s also the kind of thing Kinney might say during a lull in the conversation at pretty much any local music haunt. Therein lies the allure of ''Live The Love Beautiful''’s sentimental journeys. Bass player Tim Nielsen, drummer Dave Johnson, and guitarist Laur Joamets have crafted a winding backdrop to Kinney’s personal narratives about everything from reconnecting with Drivin N Cryin’s first LP to looking within himself to find true happiness.

Drivin N Cryin celebrates the release of ''Live The Love Beautiful'' with a hometown show at Center Stage on Friday, ~~#000000:__June 28__~~. Kinney recently checked in for a candid conversation about the band’s history and how he writes.

~~#000000:__Where did you live when you started Drivin N Cryin?__~~

I started off on Saint Charles Avenue in ’82-’83, when I was a construction worker. Then I moved into a bungalow on Bellevue Street. Then I moved into the North High Ridge apartments. I came down here with Die Kreuzen, and they would live with me for the week whenever they came through the South. We’d go to Kmart and buy a bunch of white T-shirts and screen them in the apartment. We even had a room for blow-drying.

That’s kind of the whole synthesis of Drivin N Cryin. I’d had a punk band in Milwaukee, called the Prosecutors. We used to all play together. When Die Kreuzen played the Metroplex they had a night off. So me and the bass player Keith Brammer, and the drummer Erik Tunison did a band called the Rose Cutters. We played at the Metroplex one night and Tim Nielsen saw us. He lived in the grey apartments by Buddy’s. I lived across from the Shady Rest [[now the Highland Inn]. There were hearses and ambulances pulling up every two weeks to pick up someone. It was an old-age home, or a retirement home. I don’t know what it was, but they took a lot bodies out of there.

So Drivin N Cryin’s headquarters were in the North High Ridge apartments. Then Gibby and everybody from the Butthole Surfers moved across the hall from us. … I think they were just getting out of Austin. The thing about Atlanta is that you can tackle the Southeast from here. You’re like six hours from everywhere. You’re 10 hours from D.C.

~~#000000:__Some of Drivin N Cryin’s songs and album titles, like ''Fly Me Courageous'', and ''Live The Love Beautiful'' are kind of impenetrable. When ''Fly Me Courageous'' was on MTV, I remember wondering, What does that mean? Is it like a soldier being flown off to war? Is it a relationship thing? Maybe there’s no answer at all.__~~

There is no answer to any of them, really. Sometimes I'll see something wrong and think, “That doesn't make any sense, I love it.”

“Fly Me Courageous” — I’d been reading ''Profiles In Courage''. John Kennedy was a huge influence on our lives in the Midwest. We were Catholic so we had a lot of Catholic literature. We had the ''Four Days in Dallas'' Time-Life book on our bookshelf our whole lives, the Zapruder film, the funeral. … I recently went to see Dead Can Dance. They talk about [[Lisa Gerrard] having this language that she came up with when she was 14. I do a lot of that when I'm writing. I write two different ways: I write acoustically, which is very linear, and I'm thinking about the words. Then when I do the rock ‘n’ roll thing I’m just channeling. I'm throwing up melodies, and I'm also throwing out what something ''might'' be. It's a sketchbook, but it's also a little bit of me and my own little weird language.

''Wrapped in Sky'' was originally r-a-p-t. Then I changed it to “wrapped,” so there are two different versions of it. The original was more T-Rexy. ''Scarred But Smarter'' is pretty obvious, except everyone called it ''Scared But Smarter''.

… With ''Live the Love Beautiful'', I was writing a note to Lenny Kaye. Sometimes I’ll write “love on top of love,” but when I looked at what I’d written it said “live on top of live.” Then I changed it to “live the love beautiful.” He took a picture of it and put it on his wall. So I thought, Okay, I should make that a song title.

~~#000000:__''(What Ever Happened to) The Great American Bubble Factory''?__~~

That's a concept record. ... It has “Midwestern Blues” and a song called “I Stand Tall” by the Dictators. So this is kind of a ’70s, Midwestern thing. I had written a song called “In the Land (of Things That Used to Be)” that was all about how growing up in Milwaukee my dad would drive me through the city and would say “That used to be Master Lock, that used to be something else …” ... It was like everybody had moved and gone away to Mexico or somewhere else. So I did it to ignite a conversation, like I always try to do. Global warming: People in America don't understand global warming because all the factories and all the pollution moved to places like India, and now you don't see it. They’re like, We have clean air. There's no such thing as global warming. Show me a factory that's polluting. Pittsburgh is a beautiful place. Chattanooga is a beautiful place. Milwaukee is a beautiful place.

But you know what they don't have now that they have clean air? They don't have industry because it moved somewhere else. We can do as many emissions and global-warming things as we want, but it's really on the other side of the world. We've just dumped all of these toxins into the rivers over there instead of figuring out how to clean it up, which might not even have been possible. America is out of sight, out of mind for everything.

There was a great thing on the news yesterday about TVs. The guy on the news was at a TV shop in LA talking about Chinese tariffs and how much TVs are going to cost because of their overhead, and how the owner might have to close after six generations of being a TV shop. The reporter asks, “Where's the made in America TV section?” It’s like, Yeah, there isn’t one. That was 20 years ago. And there's no TV repairman ’cause they're not made to be repaired. Everything's disposable. So that was the kind of conversation I had around that record. We can’t even make bubbles here.

I was at the Dollar Tree looking at bubbles, and it was like, really? We have to ship bubbles from China? We can’t even make bubbles here?

{img fileId="18283" align="center" desc="desc" width="100%"}
 

~~#000000:''__Live The Love Beautiful __''__is more of a straightforward rock ’n’ roll record.__~~

I think so. It's a fan record, and it’s more autobiographical. It has a lot of local observances, like of me talking about myself. I have avoided it for so long. There's a song on there, “Over and Over,” where I sing about buying my own first record at the Goodwill in Winston-Salem: “I bought my own record from 1985, side one, song three …” It’s about forgetting what it was that made a song. Before this record there’s one called Too Late to Turn Back Now, which was actually recorded 20 years ago by Kosmo Vinyl. It finally came out on vinyl, and I had to learn songs for the tour. I had to listen, pick up the needle, and listen again!

“Free Ain't Free” was just something about a woman … My friend Chris Griffin lives down in, I don't even know what the name of that neighborhood is — East Atlanta-ish. But you see that there's one black family left in his neighborhood. I'm glad people have nice places to live, but I feel the resentment from the people who are being pushed out. It’s one thing to be pushed out culturally, but to be pushed out because the house next door is now a McMansion and you can't afford to live in the neighborhood ... Your husband worked at GM, and you guys bought this house and raised your kids, and here you are. His pension paid for your property, and then the property taxes quadruple. You can't fight city hall. You can, but you're going to have to quit your job. It’s going to be a full-time thing. You have to get the press involved. You need some sort of movement involved, ’cause you can't just go in and say, “It’s not fair!” They’re just going to say, “I know!” [[laughs].

“What’s Wrong with Being Happy,” that’s kind of a fun song about a guy thinking about simpler times and watching “The Ed Sullivan Show” and go-go dancers. Sometimes you wonder what is wrong with being happy, why everything is so heavy. Just for a minute, let me just sit here and not worry about my life. It’s getting harder to do. It's why I don't do hard drugs anymore. I don't know if I can control how happy I am. And I have responsibilities. It used to be a lot easier to get high and do stupid things. But the older you get, the more you have to be prepared for your kids to call, or your work to call, or the grandkids. What needs to be answered, who’s collecting, what's in the mailbox? What did you forget?

… This one will probably be the last Drivin N Cryin album that I do for a while. I am interested in doing another Drivin N Cryin record, but I don't want to be the songwriter. I want to do four songs, and I want everyone else to contribute two songs. I tried to do that with this record when Tim said, “Let's make a record.” I was like, “Alright, what do you guys got?” Their contributions are in there, especially Laur. He’s an amazing guitar player, and he’s come up with some great parts, and Dave Johnson, and Tim — everybody contributed and they always do. But I don't want to be the primary songwriter anymore. I only want to do that on Kevn Kinney records. I don't want Drivin N Cryin to be synonymous with Kevn Kinney. I never really wanted that. I welcome everybody to bring two songs. Plus, I think the fans would like to see the drummer sing two songs, or the guitar player play an instrumental that he wrote. And it's a Drivin N Cryin song, and it’s not something from his solo record. Dave Johnson sings two songs, and it's two songs that he wrote or I’ll co-write them with him — something like that. I don't want it to be just me. I have other projects where I want it just to be me. ~~#000000:__-CL-__~~

__~~#000000:Questions and answers in this interview have been edited for space and clarity. Press play on the full conversation below.~~__

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''[https://creativeloafing.com/event-426155|Drivin N Cryin play Center Stage on Fri., June 28. $25-$30. 7 p.m. Center Stage. 1374 West Peachtree St.404-885-1365. www.centerstage-atlanta.com.]''"
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  string(11065) " KK+Solo+'19 1  2019-06-02T15:32:44+00:00 KK+Solo+'19_1.jpg      The Drivin N Cryin frontman delves into the songs on ‘Live The Love Beautiful’ KK+Solo+'19 1   2019-06-06T13:59:00+00:00  Kevn Kinney still lives around here chad.radford Chad Radford Chad Radford  2019-06-06T13:59:00+00:00 In the song “I Used to Live Around Here,” Kevn Kinney sings, “I used to live around here / a long time ago/I used to play in this bar / before we had a stage.” It’s just one number from Drivin N Cryin’s ninth studio album, Live The Love Beautiful (out June 21 via Drivin N Cryin Records), a collection of inward ruminations and distant personal memories set to the tune of no-frills Southern rock ’n’ roll. It’s also the kind of thing Kinney might say during a lull in the conversation at pretty much any local music haunt. Therein lies the allure of Live The Love Beautiful’s sentimental journeys. Bass player Tim Nielsen, drummer Dave Johnson, and guitarist Laur Joamets have crafted a winding backdrop to Kinney’s personal narratives about everything from reconnecting with Drivin N Cryin’s first LP to looking within himself to find true happiness.

Drivin N Cryin celebrates the release of Live The Love Beautiful with a hometown show at Center Stage on Friday, June 28. Kinney recently checked in for a candid conversation about the band’s history and how he writes.

Where did you live when you started Drivin N Cryin?

I started off on Saint Charles Avenue in ’82-’83, when I was a construction worker. Then I moved into a bungalow on Bellevue Street. Then I moved into the North High Ridge apartments. I came down here with Die Kreuzen, and they would live with me for the week whenever they came through the South. We’d go to Kmart and buy a bunch of white T-shirts and screen them in the apartment. We even had a room for blow-drying.

That’s kind of the whole synthesis of Drivin N Cryin. I’d had a punk band in Milwaukee, called the Prosecutors. We used to all play together. When Die Kreuzen played the Metroplex they had a night off. So me and the bass player Keith Brammer, and the drummer Erik Tunison did a band called the Rose Cutters. We played at the Metroplex one night and Tim Nielsen saw us. He lived in the grey apartments by Buddy’s. I lived across from the Shady Rest [now the Highland Inn]. There were hearses and ambulances pulling up every two weeks to pick up someone. It was an old-age home, or a retirement home. I don’t know what it was, but they took a lot bodies out of there.

So Drivin N Cryin’s headquarters were in the North High Ridge apartments. Then Gibby and everybody from the Butthole Surfers moved across the hall from us. … I think they were just getting out of Austin. The thing about Atlanta is that you can tackle the Southeast from here. You’re like six hours from everywhere. You’re 10 hours from D.C.

Some of Drivin N Cryin’s songs and album titles, like Fly Me Courageous, and Live The Love Beautiful are kind of impenetrable. When Fly Me Courageous was on MTV, I remember wondering, What does that mean? Is it like a soldier being flown off to war? Is it a relationship thing? Maybe there’s no answer at all.

There is no answer to any of them, really. Sometimes I'll see something wrong and think, “That doesn't make any sense, I love it.”

“Fly Me Courageous” — I’d been reading Profiles In Courage. John Kennedy was a huge influence on our lives in the Midwest. We were Catholic so we had a lot of Catholic literature. We had the Four Days in Dallas Time-Life book on our bookshelf our whole lives, the Zapruder film, the funeral. … I recently went to see Dead Can Dance. They talk about [Lisa Gerrard] having this language that she came up with when she was 14. I do a lot of that when I'm writing. I write two different ways: I write acoustically, which is very linear, and I'm thinking about the words. Then when I do the rock ‘n’ roll thing I’m just channeling. I'm throwing up melodies, and I'm also throwing out what something might be. It's a sketchbook, but it's also a little bit of me and my own little weird language.

Wrapped in Sky was originally r-a-p-t. Then I changed it to “wrapped,” so there are two different versions of it. The original was more T-Rexy. Scarred But Smarter is pretty obvious, except everyone called it Scared But Smarter.

… With Live the Love Beautiful, I was writing a note to Lenny Kaye. Sometimes I’ll write “love on top of love,” but when I looked at what I’d written it said “live on top of live.” Then I changed it to “live the love beautiful.” He took a picture of it and put it on his wall. So I thought, Okay, I should make that a song title.

(What Ever Happened to) The Great American Bubble Factory?

That's a concept record. ... It has “Midwestern Blues” and a song called “I Stand Tall” by the Dictators. So this is kind of a ’70s, Midwestern thing. I had written a song called “In the Land (of Things That Used to Be)” that was all about how growing up in Milwaukee my dad would drive me through the city and would say “That used to be Master Lock, that used to be something else …” ... It was like everybody had moved and gone away to Mexico or somewhere else. So I did it to ignite a conversation, like I always try to do. Global warming: People in America don't understand global warming because all the factories and all the pollution moved to places like India, and now you don't see it. They’re like, We have clean air. There's no such thing as global warming. Show me a factory that's polluting. Pittsburgh is a beautiful place. Chattanooga is a beautiful place. Milwaukee is a beautiful place.

But you know what they don't have now that they have clean air? They don't have industry because it moved somewhere else. We can do as many emissions and global-warming things as we want, but it's really on the other side of the world. We've just dumped all of these toxins into the rivers over there instead of figuring out how to clean it up, which might not even have been possible. America is out of sight, out of mind for everything.

There was a great thing on the news yesterday about TVs. The guy on the news was at a TV shop in LA talking about Chinese tariffs and how much TVs are going to cost because of their overhead, and how the owner might have to close after six generations of being a TV shop. The reporter asks, “Where's the made in America TV section?” It’s like, Yeah, there isn’t one. That was 20 years ago. And there's no TV repairman ’cause they're not made to be repaired. Everything's disposable. So that was the kind of conversation I had around that record. We can’t even make bubbles here.

I was at the Dollar Tree looking at bubbles, and it was like, really? We have to ship bubbles from China? We can’t even make bubbles here?


 

Live The Love Beautiful is more of a straightforward rock ’n’ roll record.

I think so. It's a fan record, and it’s more autobiographical. It has a lot of local observances, like of me talking about myself. I have avoided it for so long. There's a song on there, “Over and Over,” where I sing about buying my own first record at the Goodwill in Winston-Salem: “I bought my own record from 1985, side one, song three …” It’s about forgetting what it was that made a song. Before this record there’s one called Too Late to Turn Back Now, which was actually recorded 20 years ago by Kosmo Vinyl. It finally came out on vinyl, and I had to learn songs for the tour. I had to listen, pick up the needle, and listen again!

“Free Ain't Free” was just something about a woman … My friend Chris Griffin lives down in, I don't even know what the name of that neighborhood is — East Atlanta-ish. But you see that there's one black family left in his neighborhood. I'm glad people have nice places to live, but I feel the resentment from the people who are being pushed out. It’s one thing to be pushed out culturally, but to be pushed out because the house next door is now a McMansion and you can't afford to live in the neighborhood ... Your husband worked at GM, and you guys bought this house and raised your kids, and here you are. His pension paid for your property, and then the property taxes quadruple. You can't fight city hall. You can, but you're going to have to quit your job. It’s going to be a full-time thing. You have to get the press involved. You need some sort of movement involved, ’cause you can't just go in and say, “It’s not fair!” They’re just going to say, “I know!” [laughs].

“What’s Wrong with Being Happy,” that’s kind of a fun song about a guy thinking about simpler times and watching “The Ed Sullivan Show” and go-go dancers. Sometimes you wonder what is wrong with being happy, why everything is so heavy. Just for a minute, let me just sit here and not worry about my life. It’s getting harder to do. It's why I don't do hard drugs anymore. I don't know if I can control how happy I am. And I have responsibilities. It used to be a lot easier to get high and do stupid things. But the older you get, the more you have to be prepared for your kids to call, or your work to call, or the grandkids. What needs to be answered, who’s collecting, what's in the mailbox? What did you forget?

… This one will probably be the last Drivin N Cryin album that I do for a while. I am interested in doing another Drivin N Cryin record, but I don't want to be the songwriter. I want to do four songs, and I want everyone else to contribute two songs. I tried to do that with this record when Tim said, “Let's make a record.” I was like, “Alright, what do you guys got?” Their contributions are in there, especially Laur. He’s an amazing guitar player, and he’s come up with some great parts, and Dave Johnson, and Tim — everybody contributed and they always do. But I don't want to be the primary songwriter anymore. I only want to do that on Kevn Kinney records. I don't want Drivin N Cryin to be synonymous with Kevn Kinney. I never really wanted that. I welcome everybody to bring two songs. Plus, I think the fans would like to see the drummer sing two songs, or the guitar player play an instrumental that he wrote. And it's a Drivin N Cryin song, and it’s not something from his solo record. Dave Johnson sings two songs, and it's two songs that he wrote or I’ll co-write them with him — something like that. I don't want it to be just me. I have other projects where I want it just to be me. -CL-

Questions and answers in this interview have been edited for space and clarity. Press play on the full conversation below.

 

Drivin N Cryin play Center Stage on Fri., June 28. $25-$30. 7 p.m. Center Stage. 1374 West Peachtree St.404-885-1365. www.centerstage-atlanta.com.    Lisa Mac DON’T TELL A SOUL: Kevn Kinney of Drivin N Cryin.  0,0,11                           Kevn Kinney still lives around here "
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  string(7076) "April and Lance Ledbetter have built an impressive legacy for themselves in music. It hasn’t always been easy, but they’ve lived an archivist’s dream running Dust-to-Digital Records, releasing dozens of LPs, CDs, box sets, and books documenting long-lost music from around the world. With a catalogue that boasts titles such as Don’t Think I’ve Forgotten: Cambodia’s Lost Rock and Roll, Qat, Coffee & Qambus: Raw 45s from Yemen, and Listen All Around: The Golden Age of Central and East African Music Dust-to-Digital scours the world to uncover a truly global sound.

But the label’s most celebrated victories — Grammy wins for Art and Margo Rosenbaum’s 2007 Art of Field Recording: Volume I and 2018’s Voices of Mississippi: Artists and Musicians Documented by William Ferris — underscore an unmistakably Southern identity.
Since the 2003 arrival of Dust-to-Digital’s inaugural Goodbye, Babylon box set of folk and gospel music and sermons recorded between 1902 and 1960, the label has remained firmly planted in Atlanta. Basing its operations in the South presented some obstacles in the early days, but for Lance and April, staying close to home keeps the label moving forward.

“You often encounter this idea in the visual arts world, and in the music world, that in order to be successful you have to move away,” April says. “Being here works well for us. There is a lot of freedom that comes along with being in a place where the cost of living is a lot lower than it would be somewhere else, and accessibility to people is just much greater here.”
Lance agrees and adds that, perhaps, being Southerners themselves gives them a certain amount of insight as to how music from the South should be produced and presented to a broader audience. After all, William Faulkner once said, “To understand the world, you must first understand a place like Mississippi.” And when it comes to the meticulous attention to detail that Dust-to-Digital gives to releases such as Ferris’ Voices of Mississippi, the word Southern is synonymous with authenticity.

Lance gained his first hands-on experience presenting music circa 1996 through 1998 when he interned with the formerly Atlanta-based label Table of the Elements. Working with co-owners Kristina Johnson and Jeff Hunt, he soaked up TotE’s lavish treatment of releases by artists such as minimalism luminary Tony Conrad, Lee Ranaldo and Thurston Moore of Sonic Youth, and early electronic music pioneers Eliane Radigue and Pauline Oliveros. The label was a cornerstone for music from outlier artists and composers who contributed to social, historical, and aesthetic contexts of more significant movements in music and art but remain outside the realms of mainstream attention.

While interning with TotE, Lance began formulating an idea to breathe new life into the long-forgotten gospel, blues, jazz, and antique music he’d researched for the "20th Century Archives" radio show on Georgia State's student-run radio station, WRAS. He also made the acquaintance of graphic artist Susan Archie, who worked closely on many of TotE’s releases. Archie was also actively working with the Austin, Texas-based record label Revenant Records, and landed a “Best Boxed or Special Limited Edition Package” Grammy win for her work on 2001’s Screamin' and Hollerin' the Blues: The Worlds of Charley Patton. It was an impressive win for Archie, one that’s also fundamentally tied to operating in Atlanta.

Archie was born in Florida, trained in graphic arts work in New York City in the ’70s and ’80s, and moved to Atlanta in the summer of 1989. Her musical interests lay in the then-thriving Cabbagetown music scene of the early ’90s that had developed around outsider and alternative rock bands such as Smoke, the Opal Foxx Quartet, and the Jody Grind. She was also at home in the city’s queer cultural scene that coalesced around the now defunct public access variety show The American Music Show . It was through these organically formed relationships that her career found its beginning.

“Living in Atlanta improved my professional standing because I wouldn't have gotten noticed in some place like New York or LA,” Archie says. In 1994, when TotE started putting out feelers for a graphic artist who could help execute the label’s vision, it was her friendship with former Atlanta Journal-Constitution writer Steve Dollar that the connection was made. “When Steve heard that Jeff was looking for someone to work with at the label, he said ‘Oh, I’ve got somebody for you,’” Archie says. “Maybe that could have happened in New York, but it didn't. It happened here in Atlanta.”

It was through her affiliation with ToTE that Archie went on to work for labels as varied as Drag City, Tompkins Square, and Dare2. Since winning her first Grammy in 2002, Archie’s work has received six nominations and three wins — in 2015 she took home another Grammy for her work on Third Man/Revenant’s The Rise & Fall of Paramount Records, Volume One (1917-27). The following year she won again for The Rise & Fall of Paramount Records, Volume Two (1928-32), both in the category of Best Boxed or Special Limited Edition Package.

Archie and Dust-To-Digital collaborated on the label’s first dozen or so releases, but have since moved on to their various respective endeavors. Archie has ongoing new projects with many different artists, from Paul Anka to U.S. Maple. Some of her more recent work as an art director includes Clay Harper’s Bleak Beauty, Delta Moon’s Babylon Is Falling, and Drivin N Cryin’s 2019 LP, Live The Love Beautiful.

In the meantime, Dust-to-Digital continues releasing archival material from around the world, leading up to last year’s Voices of Mississippi.

The label is still driven by Lance and April’s ongoing mission to continue uncovering and presenting music from the past that deserves as much attention now as it did when it was created. Be it from the American Southeast or Southeast Asia, they shine a light on forgotten music. “The best thing about winning Grammys is that it brings the message to people,” says April.

“People pause when they see a Grammy, they pay attention. So we spend all of our time making it clear why people should care, we show them where to look, and how to listen.”

This kind of real-world engagement injects the music into a much larger conversation.

“It puts it in the PR world and in the morning edition, into different magazines, and it makes people take notice,” Lance says. It’s one thing for Dust-To-Digital to deem an artist, a sound, or an era important. But it raises the stakes when there’s a Grammy involved. “Most people don't know what the word ‘folklorist’ means,” Lance says. “Most people don't know what the term ‘field recording’ means. But most people do know what ‘Grammy’ means. It gives the music a different sense of wonder — people want to know why it’s important, and they'll seek it out.” -CL-"
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But the label’s most celebrated victories — Grammy wins for Art and Margo Rosenbaum’s 2007 ''Art of Field Recording: Volume I'' and 2018’s ''Voices of Mississippi: Artists and Musicians Documented by William Ferris'' — underscore an unmistakably Southern identity.
Since the 2003 arrival of Dust-to-Digital’s inaugural ''Goodbye, Babylon'' box set of folk and gospel music and sermons recorded between 1902 and 1960, the label has remained firmly planted in Atlanta. Basing its operations in the South presented some obstacles in the early days, but for Lance and April, staying close to home keeps the label moving forward.

“You often encounter this idea in the visual arts world, and in the music world, that in order to be successful you have to move away,” April says. “Being here works well for us. There is a lot of freedom that comes along with being in a place where the cost of living is a lot lower than it would be somewhere else, and accessibility to people is just much greater here.”
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Lance gained his first hands-on experience presenting music circa 1996 through 1998 when he interned with the formerly Atlanta-based label Table of the Elements. Working with co-owners Kristina Johnson and Jeff Hunt, he soaked up TotE’s lavish treatment of releases by artists such as minimalism luminary Tony Conrad, Lee Ranaldo and Thurston Moore of Sonic Youth, and early electronic music pioneers Eliane Radigue and Pauline Oliveros. The label was a cornerstone for music from outlier artists and composers who contributed to social, historical, and aesthetic contexts of more significant movements in music and art but remain outside the realms of mainstream attention.

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Archie was born in Florida, trained in graphic arts work in New York City in the ’70s and ’80s, and moved to Atlanta in the summer of 1989. Her musical interests lay in the then-thriving Cabbagetown music scene of the early ’90s that had developed around outsider and alternative rock bands such as Smoke, the Opal Foxx Quartet, and the Jody Grind. She was also at home in the city’s queer cultural scene that coalesced around the now defunct public access variety show ''The American Music Show ''. It was through these organically formed relationships that her career found its beginning.

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It was through her affiliation with ToTE that Archie went on to work for labels as varied as Drag City, Tompkins Square, and Dare2. Since winning her first Grammy in 2002, Archie’s work has received six nominations and three wins — in 2015 she took home another Grammy for her work on Third Man/Revenant’s ''The Rise & Fall of Paramount Records, Volume One (1917-27)''. The following year she won again for ''The Rise & Fall of Paramount Records, Volume Two (1928-32)'', both in the category of Best Boxed or Special Limited Edition Package.

Archie and Dust-To-Digital collaborated on the label’s first dozen or so releases, but have since moved on to their various respective endeavors. Archie has ongoing new projects with many different artists, from Paul Anka to U.S. Maple. Some of her more recent work as an art director includes Clay Harper’s ''Bleak Beauty'', Delta Moon’s ''Babylon Is Falling'', and [https://creativeloafing.com/content-428092-Kevn-Kinney-still-lives-around-here|Drivin N Cryin]’s 2019 LP, ''Live The Love Beautiful''.

In the meantime, Dust-to-Digital continues releasing archival material from around the world, leading up to last year’s ''Voices of Mississippi''.

The label is still driven by Lance and April’s ongoing mission to continue uncovering and presenting music from the past that deserves as much attention now as it did when it was created. Be it from the American Southeast or Southeast Asia, they shine a light on forgotten music. “The best thing about winning Grammys is that it brings the message to people,” says April.

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This kind of real-world engagement injects the music into a much larger conversation.

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  string(7841) " Dust To Digital 721  2019-06-06T14:56:38+00:00 Dust-to-Digital-721.jpg     atlanta music art rosenbaum field recording dust-to-digital grammy gospel music blues jazz country music susan archie world of an archie Lance and April Ledbetter shine a light on forgotten music Dust To Digital 721   2019-06-06T13:59:00+00:00  Dust-to-Digital’s song of the South and beyond will.cardwell Will Cardwell Chad Radford chad.radford (Chad Radford) 2019-06-06T13:59:00+00:00 April and Lance Ledbetter have built an impressive legacy for themselves in music. It hasn’t always been easy, but they’ve lived an archivist’s dream running Dust-to-Digital Records, releasing dozens of LPs, CDs, box sets, and books documenting long-lost music from around the world. With a catalogue that boasts titles such as Don’t Think I’ve Forgotten: Cambodia’s Lost Rock and Roll, Qat, Coffee & Qambus: Raw 45s from Yemen, and Listen All Around: The Golden Age of Central and East African Music Dust-to-Digital scours the world to uncover a truly global sound.

But the label’s most celebrated victories — Grammy wins for Art and Margo Rosenbaum’s 2007 Art of Field Recording: Volume I and 2018’s Voices of Mississippi: Artists and Musicians Documented by William Ferris — underscore an unmistakably Southern identity.
Since the 2003 arrival of Dust-to-Digital’s inaugural Goodbye, Babylon box set of folk and gospel music and sermons recorded between 1902 and 1960, the label has remained firmly planted in Atlanta. Basing its operations in the South presented some obstacles in the early days, but for Lance and April, staying close to home keeps the label moving forward.

“You often encounter this idea in the visual arts world, and in the music world, that in order to be successful you have to move away,” April says. “Being here works well for us. There is a lot of freedom that comes along with being in a place where the cost of living is a lot lower than it would be somewhere else, and accessibility to people is just much greater here.”
Lance agrees and adds that, perhaps, being Southerners themselves gives them a certain amount of insight as to how music from the South should be produced and presented to a broader audience. After all, William Faulkner once said, “To understand the world, you must first understand a place like Mississippi.” And when it comes to the meticulous attention to detail that Dust-to-Digital gives to releases such as Ferris’ Voices of Mississippi, the word Southern is synonymous with authenticity.

Lance gained his first hands-on experience presenting music circa 1996 through 1998 when he interned with the formerly Atlanta-based label Table of the Elements. Working with co-owners Kristina Johnson and Jeff Hunt, he soaked up TotE’s lavish treatment of releases by artists such as minimalism luminary Tony Conrad, Lee Ranaldo and Thurston Moore of Sonic Youth, and early electronic music pioneers Eliane Radigue and Pauline Oliveros. The label was a cornerstone for music from outlier artists and composers who contributed to social, historical, and aesthetic contexts of more significant movements in music and art but remain outside the realms of mainstream attention.

While interning with TotE, Lance began formulating an idea to breathe new life into the long-forgotten gospel, blues, jazz, and antique music he’d researched for the "20th Century Archives" radio show on Georgia State's student-run radio station, WRAS. He also made the acquaintance of graphic artist Susan Archie, who worked closely on many of TotE’s releases. Archie was also actively working with the Austin, Texas-based record label Revenant Records, and landed a “Best Boxed or Special Limited Edition Package” Grammy win for her work on 2001’s Screamin' and Hollerin' the Blues: The Worlds of Charley Patton. It was an impressive win for Archie, one that’s also fundamentally tied to operating in Atlanta.

Archie was born in Florida, trained in graphic arts work in New York City in the ’70s and ’80s, and moved to Atlanta in the summer of 1989. Her musical interests lay in the then-thriving Cabbagetown music scene of the early ’90s that had developed around outsider and alternative rock bands such as Smoke, the Opal Foxx Quartet, and the Jody Grind. She was also at home in the city’s queer cultural scene that coalesced around the now defunct public access variety show The American Music Show . It was through these organically formed relationships that her career found its beginning.

“Living in Atlanta improved my professional standing because I wouldn't have gotten noticed in some place like New York or LA,” Archie says. In 1994, when TotE started putting out feelers for a graphic artist who could help execute the label’s vision, it was her friendship with former Atlanta Journal-Constitution writer Steve Dollar that the connection was made. “When Steve heard that Jeff was looking for someone to work with at the label, he said ‘Oh, I’ve got somebody for you,’” Archie says. “Maybe that could have happened in New York, but it didn't. It happened here in Atlanta.”

It was through her affiliation with ToTE that Archie went on to work for labels as varied as Drag City, Tompkins Square, and Dare2. Since winning her first Grammy in 2002, Archie’s work has received six nominations and three wins — in 2015 she took home another Grammy for her work on Third Man/Revenant’s The Rise & Fall of Paramount Records, Volume One (1917-27). The following year she won again for The Rise & Fall of Paramount Records, Volume Two (1928-32), both in the category of Best Boxed or Special Limited Edition Package.

Archie and Dust-To-Digital collaborated on the label’s first dozen or so releases, but have since moved on to their various respective endeavors. Archie has ongoing new projects with many different artists, from Paul Anka to U.S. Maple. Some of her more recent work as an art director includes Clay Harper’s Bleak Beauty, Delta Moon’s Babylon Is Falling, and Drivin N Cryin’s 2019 LP, Live The Love Beautiful.

In the meantime, Dust-to-Digital continues releasing archival material from around the world, leading up to last year’s Voices of Mississippi.

The label is still driven by Lance and April’s ongoing mission to continue uncovering and presenting music from the past that deserves as much attention now as it did when it was created. Be it from the American Southeast or Southeast Asia, they shine a light on forgotten music. “The best thing about winning Grammys is that it brings the message to people,” says April.

“People pause when they see a Grammy, they pay attention. So we spend all of our time making it clear why people should care, we show them where to look, and how to listen.”

This kind of real-world engagement injects the music into a much larger conversation.

“It puts it in the PR world and in the morning edition, into different magazines, and it makes people take notice,” Lance says. It’s one thing for Dust-To-Digital to deem an artist, a sound, or an era important. But it raises the stakes when there’s a Grammy involved. “Most people don't know what the word ‘folklorist’ means,” Lance says. “Most people don't know what the term ‘field recording’ means. But most people do know what ‘Grammy’ means. It gives the music a different sense of wonder — people want to know why it’s important, and they'll seek it out.” -CL-    Lizzy Johnston DUSTED: Lance (left) and April Ledbetter  0,0,1    "Art Rosenbaum" "Field Recording" Dust-to-Digital Atlanta grammy music "gospel music" "blues" "jazz" "country music" "Susan Archie" "World of An Archie"                        Dust-to-Digital’s song of the South and beyond "
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Music Briefs

Music Features

2019"
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  string(6236) "An abandoned bus-repair lot in East Point, Georgia, is becoming a hive of activity for musicians and producers. The once derelict property now serves as a repurposed studio complex called BNDWTH Atlanta, a grandiose project spearheaded by veteran producer and founder William Washington, better known as WLPWR.

Over the last two decades, Washington has worked extensively with Atlanta by way of Gadsden, Alabama, country rapper Yelawolf, and supplied production for other artists such as Eminem, Wiz Khalifa, Big K.R.I.T., and more. With BNDWTH, Washington brings his career full circle.

“I started working with Yelawolf in 2001 in a production house where there were nine or 10 studios, and each producer had their own room,” Washington says. “We would bring artists in and keep moving them around, and it’s funny because that’s exactly what I’m doing now.”

BNDWTH Atlanta is scheduled to open its doors to the public on July 15. Fully realized after two years of physical labor and DIY craftsmanship, the multifaceted and unconventional space boasts two state-of-the-art recording studios, a curriculum studio, a content studio, a songwriting studio, and a fitness space. Wood panels, mood lighting, and portraits of notable hip-hop legends such as J-Dilla, Tupac, and Organized Noize adorn the walls, contributing to the facility’s warm ambiance.

A haven for industry hopefuls even before its grand opening, the BNDWTH complex offers more than vibes and studio time. Here, artists exercise, cook, learn, and work together — all in the name of artist development and camaraderie. According to Misha Fair, BNDWTH's head of artist development, bettering oneself personally is crucial to improving oneself musically.

“As creatives, we don’t really take care of ourselves as much as we should,” Fair says. “Personal development is so much of the artist’s development. You don’t have one without the other.”

Fair and Washington work to provide as many resources as possible for those interested in putting in the work, be it embracing the full regimen or whatever else they need. Patrons can learn and improve their musical capabilities through vocal, instrumental, and a variety of other lessons in the curriculum studio, and also utilize the content studio for photo and video shoots.

Comparable industry services can be expensive and are rarely accessible to artists of all socioeconomic backgrounds. BNDWTH creates an environment that values growth over profit, providing memberships for artists with tight pockets.

“Most creatives are struggling and can’t afford to book studio time,” Washington says. “For those people we have memberships available. They can come in and have a set amount of studio time, access to everything that we offer here, and freely be creative.”

The concept still wows Fair, who has worked at multiple commercial studios and never seen anything like it. Its inclusive and nurturing nature has birthed a collective of tight-knit artists and inspired BNDWTH to expand its brand by launching an independent record label of the same name.

Josh Waters, an Atlanta-based R&B singer, is its first signee. The Hattiesburg, Mississippi, native and Washington met while working with Big K.R.I.T. on 4eva Is a Mighty Long Time. During a session, Washington discussed his lofty aspirations with K.R.I.T., and Waters overheard the conversation.

“He saw what I was saying, which was just an idea at the time,” Washington says. “From there, it’s been history.”

Currently working on Water’s debut project on BNDWTH, the studio has welcomed Grammy-winning and nominated acts such as Manuel Seal and Kevin Cossom. Other noteworthy artists who have come through include J. Holiday, Uno The Activist, Trinidad James, and Sy Ari Da Kid. Local up-and-comers such as Lamar Turner III, Taylor Nixon, and Molekey have also worked heavily with the collective’s revolving door of talent.

Just as Washington saw potential in the abandoned bus depot in 2017, he continues to see potential in the younger generation of artists. This determination to foster that potential is what he believes BNDWTH Atlanta is all about: giving creatives a chance to be great.

This month, the star power is at festivals, but rising and veteran acts keep things interesting.

Fri., June 7
— Anderson .Paak & The Free Nationals, the Cadence Bank Amphitheatre at Chastain Park
— Elle Capone, Niah Lyrical, Red Light Cafe
— JayDaYoungan, Yungeen Ace, Center Stage
— Yung Tory, Masquerade (Heaven)

Sat., June 8
— Tycoon Music Festival, Cellairis Amphitheatre at Lakewood

Sun., June 9
— Mir Fontane, Aisle 5. One of hip-hop’s best storytellers, Mir Fontane returns to Atlanta in support of his latest album Who’s Watching the Kids 2.
— Xavier Wulf, Masquerade (Heaven)

Tues., June 11
— Chris Travis, Masquerade (Hell)

Wed., June 12
— Maimouna Youssef aka Mumu Fresh, City Winery. While more of a soul vocalist, Mumu Fresh still gets hers when she’s in rap mode. Based on the way she showed out on NPR’s Tiny Desk, her City Winery show should be nothing less than powerful.

Thurs., June 13
— OMB Peezy, Masquerade (Purgatory)

Sat., June 15
— Hot 107.9’s Birthday Bash ATL, State Farm Arena
— Bone Thugs N Harmony, Variety Playhouse

Sun., June 16
— Little Simz, Center Stage (Vinyl)

Wed., June 19 and Thurs., June 20
— J.I.D., Saba, Mereba, Deante Hitchcock, Center Stage. Still hot off DiCaprio 2, the wordslinger returns home for a two-night stint at Center Stage, enlisting Deante Hitchcock, the local rapper behind “Side Nigga Anthem,” for support.

Sat., June 22
— Freaknik Festival, Cellairis Amphitheatre at Lakewood. If you weren’t involved in the debauchery of the OG Freaknik, this one’s probably not for you.
— Nav, Tabernacle

Mon., June 24
— Fredo Bang, Yoshi, Masquerade (Hell)
— Rich the Kid, Quando Rondo, Jay Critch, Buckhead Theatre.

Sat., June 29
— Common, Atlanta Symphony Orchestra, Cadence Bank Amphitheatre at Chastain Park. The Chicago legend joins forces with the ASO to close June out in an undoubtedly soulful fashion.

-CL-"
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Over the last two decades, Washington has worked extensively with Atlanta by way of Gadsden, Alabama, country rapper Yelawolf, and supplied production for other artists such as Eminem, Wiz Khalifa, Big K.R.I.T., and more. With BNDWTH, Washington brings his career full circle.

“I started working with Yelawolf in 2001 in a production house where there were nine or 10 studios, and each producer had their own room,” Washington says. “We would bring artists in and keep moving them around, and it’s funny because that’s exactly what I’m doing now.”

BNDWTH Atlanta is scheduled to open its doors to the public on July 15. Fully realized after two years of physical labor and DIY craftsmanship, the multifaceted and unconventional space boasts two state-of-the-art recording studios, a curriculum studio, a content studio, a songwriting studio, and a fitness space. Wood panels, mood lighting, and portraits of notable hip-hop legends such as J-Dilla, Tupac, and Organized Noize adorn the walls, contributing to the facility’s warm ambiance.

A haven for industry hopefuls even before its grand opening, the BNDWTH complex offers more than vibes and studio time. Here, artists exercise, cook, learn, and work together — all in the name of artist development and camaraderie. According to Misha Fair, BNDWTH's head of artist development, bettering oneself personally is crucial to improving oneself musically.

“As creatives, we don’t really take care of ourselves as much as we should,” Fair says. “Personal development is so much of the artist’s development. You don’t have one without the other.”

Fair and Washington work to provide as many resources as possible for those interested in putting in the work, be it embracing the full regimen or whatever else they need. Patrons can learn and improve their musical capabilities through vocal, instrumental, and a variety of other lessons in the curriculum studio, and also utilize the content studio for photo and video shoots.

Comparable industry services can be expensive and are rarely accessible to artists of all socioeconomic backgrounds. BNDWTH creates an environment that values growth over profit, providing memberships for artists with tight pockets.

“Most creatives are struggling and can’t afford to book studio time,” Washington says. “For those people we have memberships available. They can come in and have a set amount of studio time, access to everything that we offer here, and freely be creative.”

The concept still wows Fair, who has worked at multiple commercial studios and never seen anything like it. Its inclusive and nurturing nature has birthed a collective of tight-knit artists and inspired BNDWTH to expand its brand by launching an independent record label of the same name.

Josh Waters, an Atlanta-based R&B singer, is its first signee. The Hattiesburg, Mississippi, native and Washington met while working with Big K.R.I.T. on ''4eva Is a Mighty Long Time''. During a session, Washington discussed his lofty aspirations with K.R.I.T., and Waters overheard the conversation.

“He saw what I was saying, which was just an idea at the time,” Washington says. “From there, it’s been history.”

Currently working on Water’s debut project on BNDWTH, the studio has welcomed Grammy-winning and nominated acts such as Manuel Seal and Kevin Cossom. Other noteworthy artists who have come through include J. Holiday, Uno The Activist, Trinidad James, and Sy Ari Da Kid. Local up-and-comers such as Lamar Turner III, Taylor Nixon, and Molekey have also worked heavily with the collective’s revolving door of talent.

Just as Washington saw potential in the abandoned bus depot in 2017, he continues to see potential in the younger generation of artists. This determination to foster that potential is what he believes BNDWTH Atlanta is all about: giving creatives a chance to be great.

This month, the star power is at festivals, but rising and veteran acts keep things interesting.

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— Anderson .Paak & The Free Nationals, the Cadence Bank Amphitheatre at Chastain Park
— Elle Capone, Niah Lyrical, Red Light Cafe
— JayDaYoungan, Yungeen Ace, Center Stage
— Yung Tory, Masquerade (Heaven)

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~~#000000:__Thurs., June 13__~~
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~~#000000:__Sat., June 15__~~
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— Bone Thugs N Harmony, Variety Playhouse

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~~#000000:__Sat., June 22__~~
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— Nav, Tabernacle

~~#000000:__Mon., June 24__~~
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— Rich the Kid, Quando Rondo, Jay Critch, Buckhead Theatre.

~~#000000:__Sat., June 29__~~
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  string(7006) " Music Untrapped1 1 11  2019-06-05T16:25:35+00:00 Music_Untrapped1-1_11.jpeg     atlanta william washington hip-hop east point bndwth wlpwr eminem wiz khalifa big k.r.i.t. Artistic development reigns supreme at WLPWR’s East Point production facility Music Untrapped1 1 11   2019-06-06T14:00:00+00:00  ATL Untrapped: BNDWTH offers artists a chance to be great chad.radford Chad Radford Joshua Robinson joshfrob17 (Joshua Robinson) 2019-06-06T14:00:00+00:00 An abandoned bus-repair lot in East Point, Georgia, is becoming a hive of activity for musicians and producers. The once derelict property now serves as a repurposed studio complex called BNDWTH Atlanta, a grandiose project spearheaded by veteran producer and founder William Washington, better known as WLPWR.

Over the last two decades, Washington has worked extensively with Atlanta by way of Gadsden, Alabama, country rapper Yelawolf, and supplied production for other artists such as Eminem, Wiz Khalifa, Big K.R.I.T., and more. With BNDWTH, Washington brings his career full circle.

“I started working with Yelawolf in 2001 in a production house where there were nine or 10 studios, and each producer had their own room,” Washington says. “We would bring artists in and keep moving them around, and it’s funny because that’s exactly what I’m doing now.”

BNDWTH Atlanta is scheduled to open its doors to the public on July 15. Fully realized after two years of physical labor and DIY craftsmanship, the multifaceted and unconventional space boasts two state-of-the-art recording studios, a curriculum studio, a content studio, a songwriting studio, and a fitness space. Wood panels, mood lighting, and portraits of notable hip-hop legends such as J-Dilla, Tupac, and Organized Noize adorn the walls, contributing to the facility’s warm ambiance.

A haven for industry hopefuls even before its grand opening, the BNDWTH complex offers more than vibes and studio time. Here, artists exercise, cook, learn, and work together — all in the name of artist development and camaraderie. According to Misha Fair, BNDWTH's head of artist development, bettering oneself personally is crucial to improving oneself musically.

“As creatives, we don’t really take care of ourselves as much as we should,” Fair says. “Personal development is so much of the artist’s development. You don’t have one without the other.”

Fair and Washington work to provide as many resources as possible for those interested in putting in the work, be it embracing the full regimen or whatever else they need. Patrons can learn and improve their musical capabilities through vocal, instrumental, and a variety of other lessons in the curriculum studio, and also utilize the content studio for photo and video shoots.

Comparable industry services can be expensive and are rarely accessible to artists of all socioeconomic backgrounds. BNDWTH creates an environment that values growth over profit, providing memberships for artists with tight pockets.

“Most creatives are struggling and can’t afford to book studio time,” Washington says. “For those people we have memberships available. They can come in and have a set amount of studio time, access to everything that we offer here, and freely be creative.”

The concept still wows Fair, who has worked at multiple commercial studios and never seen anything like it. Its inclusive and nurturing nature has birthed a collective of tight-knit artists and inspired BNDWTH to expand its brand by launching an independent record label of the same name.

Josh Waters, an Atlanta-based R&B singer, is its first signee. The Hattiesburg, Mississippi, native and Washington met while working with Big K.R.I.T. on 4eva Is a Mighty Long Time. During a session, Washington discussed his lofty aspirations with K.R.I.T., and Waters overheard the conversation.

“He saw what I was saying, which was just an idea at the time,” Washington says. “From there, it’s been history.”

Currently working on Water’s debut project on BNDWTH, the studio has welcomed Grammy-winning and nominated acts such as Manuel Seal and Kevin Cossom. Other noteworthy artists who have come through include J. Holiday, Uno The Activist, Trinidad James, and Sy Ari Da Kid. Local up-and-comers such as Lamar Turner III, Taylor Nixon, and Molekey have also worked heavily with the collective’s revolving door of talent.

Just as Washington saw potential in the abandoned bus depot in 2017, he continues to see potential in the younger generation of artists. This determination to foster that potential is what he believes BNDWTH Atlanta is all about: giving creatives a chance to be great.

This month, the star power is at festivals, but rising and veteran acts keep things interesting.

Fri., June 7
— Anderson .Paak & The Free Nationals, the Cadence Bank Amphitheatre at Chastain Park
— Elle Capone, Niah Lyrical, Red Light Cafe
— JayDaYoungan, Yungeen Ace, Center Stage
— Yung Tory, Masquerade (Heaven)

Sat., June 8
— Tycoon Music Festival, Cellairis Amphitheatre at Lakewood

Sun., June 9
— Mir Fontane, Aisle 5. One of hip-hop’s best storytellers, Mir Fontane returns to Atlanta in support of his latest album Who’s Watching the Kids 2.
— Xavier Wulf, Masquerade (Heaven)

Tues., June 11
— Chris Travis, Masquerade (Hell)

Wed., June 12
— Maimouna Youssef aka Mumu Fresh, City Winery. While more of a soul vocalist, Mumu Fresh still gets hers when she’s in rap mode. Based on the way she showed out on NPR’s Tiny Desk, her City Winery show should be nothing less than powerful.

Thurs., June 13
— OMB Peezy, Masquerade (Purgatory)

Sat., June 15
— Hot 107.9’s Birthday Bash ATL, State Farm Arena
— Bone Thugs N Harmony, Variety Playhouse

Sun., June 16
— Little Simz, Center Stage (Vinyl)

Wed., June 19 and Thurs., June 20
— J.I.D., Saba, Mereba, Deante Hitchcock, Center Stage. Still hot off DiCaprio 2, the wordslinger returns home for a two-night stint at Center Stage, enlisting Deante Hitchcock, the local rapper behind “Side Nigga Anthem,” for support.

Sat., June 22
— Freaknik Festival, Cellairis Amphitheatre at Lakewood. If you weren’t involved in the debauchery of the OG Freaknik, this one’s probably not for you.
— Nav, Tabernacle

Mon., June 24
— Fredo Bang, Yoshi, Masquerade (Hell)
— Rich the Kid, Quando Rondo, Jay Critch, Buckhead Theatre.

Sat., June 29
— Common, Atlanta Symphony Orchestra, Cadence Bank Amphitheatre at Chastain Park. The Chicago legend joins forces with the ASO to close June out in an undoubtedly soulful fashion.

-CL-    Bougain “Biz” Littlejohn PWRFL FREQUENCY: William Washington's passion project offers more than studio time.  0,0,16    "William Washington" Atlanta hip-hop "East Point" BNDWTH WLPWR Eminem "Wiz Khalifa" "Big K.R.I.T."                       ATL Untrapped: BNDWTH offers artists a chance to be great "
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  string(11799) "Documenting a century’s worth of music-making in one of Atlanta’s most historically idiosyncratic neighborhoods is a daunting task. Rising to the challenge is James Kelly, a behavioral psychologist, songwriter, leader of Slim Chance & the Convicts, and longtime resident of Cabbagetown.

Cabbagetown Chronicles is a recording-project-in-process spearheaded by Kelly along with John Dirga, who books the annual “ Chomp & Stomp Chili Cook-off and Bluegrass Festival ,” and Steve Seachrist, sound engineer and co-founder with viola player Katie Butler of The Chumblers. Scheduled for release in the fall, Cabbagetown Chronicles features a unique track selection format to showcase original, cover, and never-before-released material by former inhabitants of Cabbagetown — the neighborhood squeezed into a small spiderweb of streets flanked by Oakland Cemetery to the west, the railroad yards to the north, Pearl Street to the east, and Memorial Boulevard to the south. Contributors to the project include Chan Marshall (Cat Power), Elise Witt (Small Family Orchestra), Kelly Hogan (The Jody Grind), Tommy Roe, Fiddlin’ John Carson, Joyce Brookshire, members of the Opal Foxx Quartet and Smoke, The Rock*A*Teens, and a specially formed gospel troupe from a local Pentecostal church.

“For a hundred years, Cabbagetown has been a powerful, nurturing environment for a wide array of music,” says Kelly, who periodically contributes to Creative Loafing. “It’s a phenomenon that needed to be documented in a tangible, lasting way.”

In 1992, Kelly purchased a single-story home with an front porch glider on Pearl Street. Today, he and his cohorts are plumbing the rich musical legacy of their neighborhood from multiple intersecting angles. Last year, the trio launched the Cabbagetown Concert Series (CCS). The next event in the series, on Thursday, June 20, is a double bill featuring the Parsons Rocket Project with K. Michelle DuBois and W8ing4UFOs. Both DuBois and W8ing4UFOs are featured on Cabbagetown Chronicles, covering songs by seminal Cabbagetown artists and contributing original work.

Two more CCS events are on the 2019 calendar, each on the third Thursday in September and October. All of the concerts are staged outdoors in Cabbagetown Park in the Joyce Brookshire Amphitheater, named for the late folk singer-songwriter, community activist, and descendent of the original Cabbagetown community who died in 2017. Brookshire’s music is celebrated on Cabbagetown Chronicles by close friend and singer-songwriter Elise Witt.

“The last time I saw Joyce, she was in the hospital, lying in her bed in a coma,” Witt says. “I started singing and she started singing with me — in harmony. We sang six or seven songs.”

Cabbagetown as a music mecca dates to the late 1800s and the construction of the Fulton Bag and Cotton Mill, now the site of Fulton Mill Loft Apartments and The Stacks Condominiums, on the southeast corner of downtown. Adjacent to the textile manufacturing facility, the original owners constructed the “Factory Lot,” a warren of small, one- and two-story cottages and shotgun shacks where mill workers were cheaply and conveniently housed. For reasons that remain in dispute, the “Factory Lot” eventually became known as Cabbagetown.

Lured by the promise of steady factory work, which was somewhat less arduous and dangerous than coal mining and not nearly as fickle as farming, many of the first Cabbagetown residents hailed from the Piedmont lowlands and other Appalachian locales. Others came from the back hollers and cotton fields surrounding post-Reconstruction era Atlanta, as well as the city’s sizable population of hardscrabble denizens and itinerant laborers. At the height of production, the Fulton Bag and Cotton Mill employed around 2,600 people.

One of those employees was John Carson, an experienced textile worker and prodigious fiddle player from north Georgia who in 1911 moved with his family into a four-room house on Carroll Street. When his 11-hour shift operating a weaving machine ended, Carson busked the streets of Cabbagetown and neighboring enclaves for pocket change. He also competed in contests, which he usually won, at state fairs and showcase venues, such as the Municipal Auditorium (now Georgia State University’s Dahlberg Hall). Regular appearances on broadcasts from the studio of newly established WSB, the South’s first major commercial radio station, elevated Carson’s stature as one of the state’s most popular entertainers.

In June 1923, engineers from New York-based Okeh Records set up a temporary recording studio in a vacant building on Nassau Street in downtown Atlanta. Using one of the first portable recording machines, the Okeh crew documented Carson performing “The Little Old Log Cabin in the Lane” and “The Old Hen Cackled and the Rooster’s Going to Crow.” Sales of the resulting 78 rpm record established Fiddlin’ John Carson as a bona fide national celebrity and, in hindsight, signaled the arrival of the genre now commonly known as “country music.”

Cabbagetown Chronicles is organized in a series of tripartite track groupings. Each grouping features an original song by a seminal Cabbagetown musician, a cover of one of the artist’s songs by a current or former Cabbagetown musician or band, plus an original song by the same musician/band.

The album kicks off with Fiddlin’ John Carson’s 1924 recording of “Boil Dem Cabbage Down,” a traditional folk song, which predates Cabbagetown. The Carroll Street Troubadours, a group of area residents who regularly perform at The Patch Works Art & History Center , are contributing a Fiddlin’ John cover, which the band has not yet chosen. The Troubadours original selection is titled "Hell No.”

Tommy Roe, one of the biggest names from the world of bubblegum pop in the 1960s, known for Top 40 radio hits including “Sheila” and, “Dizzy,” lived on Wylie Street in Cabbagetown for the first six years of his life. His memoir, From Cabbagetown to Tinseltown, was published in 2016. When Kelly contacted Roe about the Cabbagetown Chronicles, the mostly now-retired singer, who toured England with The Beatles in 1963, was eager to contribute to the project.

Roe authorized the use of “Cabbagetown,” a guitar-twanging, classic country fandango from a 2019 EP titled Tommy Roe Meets Barefoot Jerry. The four-track release, recorded in Nashville, features Roe with longtime session guitarist Wayne Moss who played on Bob Dylan’s Blonde on Blonde and Roy Orbison’s “Oh, Pretty Woman,” among other landmark recordings. On Cabbagetown Chronicles, Roe’s ode to his beloved home village is matched by K. Michelle DuBois covering his 1970 single “Pearl,” plus one of her originals, yet to be chosen.

“When I first heard Tommy’s song, I almost cried,” Kelly says. “It set the bar very high for everything else we’re doing.”

The Fulton Bag and Cotton Mill closed in 1977, leaving Cabbagetown a blighted community isolated by urban geography, economic prospects, and cultural proclivities. Many of the original residents and their offspring fled for greener pastures.

In the mid-1980s, John D. Thomas, then a CL staffer with an irascible sense of humor and a gift for bohemian rabble-rousing, pioneered the occupation of Cabbagetown’s empty, neglected abodes, spurred by the lure of the cheapest rent in the city and a youthful urge to become a global superstar.

Soon, a subculture of musicians emerged. Bound by a no-holds-barred, DIY aesthetic, they wrote songs while lounging on each other’s thrift-store couches. They practiced and partied like it was the 1980s in each other’s front porches, dilapidated kitchens, and bedrooms. The Chowder Shouters with Thomas, roommate Eric Kaiser, and Cleveland transplant Bill Taft; An Evening with the Garbageman, Taft’s band that spawned The Jody Grind; The Opal Foxx Quartet, another Taft project, which led to Smoke, both featuring the inimitable vocal styling of the late Robert Curtis “Benjamin” Dickerson; Slim Chance & the Convicts; Amy Pike and Greasetrap; Dirt; Seersucker; and countless others played in ramshackle honky tonks like the White Dot, the Austin Avenue Buffet, Sylvia’s Atomic Café, Dottie’s, and The Clermont Lounge, as well as in warehouse spaces including Pillowtex, the Mattress Factory, and 800 East.

Cabbagetown Chronicles documents this extraordinarily fertile period in the neighborhood’s history with several track groupings including a yet-to-be-revealed recording by Cat Power, Chan Marshall’s nom du art, combined with W8ing4UFOs’ cover of “Headlights.” The latter, a nightmarish first-person account of a fatal car wreck, received limited distribution as a single in 1993. A subsequent version, with different accompanists, was included on Cat Power’s 1995 debut album, Dear Sir.

Most analyses of “Headlight’s” fail to note the song’s significance as a darkly elegiac tribute to three of Marshall’s friends who lost their lives in an automobile accident in April 1992. Tim Ruttenber, better known as poet- performance-artist Deacon Lunchbox; Robert Hayes, bassist for The Jody Grind, with whom Marshall once shared a house in Cabbagetown; and the band’s drummer, Robert Clayton, were returning to Atlanta from a gig in Pensacola when their car was struck head-on by a drunk driver whose motor home crossed the grassy interstate divider.

“Yes, ‘Headlights’ is about the accident on Easter morning,” Marshall confirms in an email exchange. “The black crows were all gathered in a nearby tree,” she recalls, “all cawing and suddenly silent when I began weeping, when I went to sit with Robert Hayes at his grave the day I left to move to New York City.”

The torchy southern-fried brilliance of Jody Grind vocalist and former Cabbagetown resident Kelly Hogan is showcased on a still-to-be- determined recording from the period between the quartet’s first (One Man’s Trash is Another Man’s Treasure, 1990) and second (Lefty’s Deceiver, 1992) albums on DB Recs. The Chumblers will cover The Jody Grind’s “ Eight-Ball ”; their original contribution is called “Ghost Story.”

Many Cabbagetown Chronicles track groupings have blank spaces to be filled out. The Opal Foxx Quartet/Smoke entry features a TBA recording currently under consideration by Taft and W8ing4UFOs cellist and former Opal Foxx/Smoke bandmate Brian Halloran. That selection will be allied with a performance of “Somebody's House Always Burns at Christmas” by T. Thomas Mahoney, plus a Mahoney original. The Rock*A*Teens have yet to choose their showcase number, while their song, “Arm in Arm In the Golden Twilite, We Loitered On,” is covered by Anna Kramer and The Lost Cause. And the list goes on.

From the roots of country music to the heights of international pop stardom, Cabbagetown Chronicles traces an arc of artistic expression through the music of people who lived, loved, laughed, and struggled in a village wrought by Southern industrialization after the Civil War. The album’s producers hope to release a video document of the project. The plan is to schedule a CD-release show at the Milltown Arms Tavern and have CDs for sale at Cabbagetown’s Chomp & Stomp Festival in November. All proceeds will be donated to the Patch Works Art & History Center.

“This is something I can do to give back to the community,” says Kelly, who routinely holds yard sales of records, CDs, and DVDs that he’s collected, to benefit musicians with health problems and doctor bills.

It’s a gift that promises to benefit a much larger community of music lovers and historians."
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''Cabbagetown Chronicles'' is a recording-project-in-process spearheaded by Kelly along with John Dirga, who books the annual “ Chomp & Stomp Chili Cook-off and Bluegrass Festival ,” and Steve Seachrist, sound engineer and co-founder with viola player Katie Butler of The Chumblers. Scheduled for release in the fall, ''Cabbagetown Chronicles'' features a unique track selection format to showcase original, cover, and never-before-released material by former inhabitants of Cabbagetown — the neighborhood squeezed into a small spiderweb of streets flanked by Oakland Cemetery to the west, the railroad yards to the north, Pearl Street to the east, and Memorial Boulevard to the south. Contributors to the project include Chan Marshall (Cat Power), Elise Witt (Small Family Orchestra), Kelly Hogan (The Jody Grind), Tommy Roe, Fiddlin’ John Carson, Joyce Brookshire, members of the Opal Foxx Quartet and Smoke, The Rock*A*Teens, and a specially formed gospel troupe from a local Pentecostal church.

“For a hundred years, Cabbagetown has been a powerful, nurturing environment for a wide array of music,” says Kelly, who periodically contributes to ''Creative Loafing''. “It’s a phenomenon that needed to be documented in a tangible, lasting way.”

In 1992, Kelly purchased a single-story home with an front porch glider on Pearl Street. Today, he and his cohorts are plumbing the rich musical legacy of their neighborhood from multiple intersecting angles. Last year, the trio launched the Cabbagetown Concert Series (CCS). The next event in the series, on Thursday, June 20, is a double bill featuring the Parsons Rocket Project with K. Michelle DuBois and W8ing4UFOs. Both DuBois and W8ing4UFOs are featured on ''Cabbagetown Chronicles,'' covering songs by seminal Cabbagetown artists and contributing original work.

Two more CCS events are on the 2019 calendar, each on the third Thursday in September and October. All of the concerts are staged outdoors in Cabbagetown Park in the Joyce Brookshire Amphitheater, named for the late folk singer-songwriter, community activist, and descendent of the original Cabbagetown community who died in 2017. Brookshire’s music is celebrated on ''Cabbagetown Chronicles'' by close friend and singer-songwriter Elise Witt.

“The last time I saw Joyce, she was in the hospital, lying in her bed in a coma,” Witt says. “I started singing and she started singing with me — in harmony. We sang six or seven songs.”

Cabbagetown as a music mecca dates to the late 1800s and the construction of the Fulton Bag and Cotton Mill, now the site of Fulton Mill Loft Apartments and The Stacks Condominiums, on the southeast corner of downtown. Adjacent to the textile manufacturing facility, the original owners constructed the “Factory Lot,” a warren of small, one- and two-story cottages and shotgun shacks where mill workers were cheaply and conveniently housed. For reasons that remain in dispute, the “Factory Lot” eventually became known as Cabbagetown.

Lured by the promise of steady factory work, which was somewhat less arduous and dangerous than coal mining and not nearly as fickle as farming, many of the first Cabbagetown residents hailed from the Piedmont lowlands and other Appalachian locales. Others came from the back hollers and cotton fields surrounding post-Reconstruction era Atlanta, as well as the city’s sizable population of hardscrabble denizens and itinerant laborers. At the height of production, the Fulton Bag and Cotton Mill employed around 2,600 people.

One of those employees was John Carson, an experienced textile worker and prodigious fiddle player from north Georgia who in 1911 moved with his family into a four-room house on Carroll Street. When his 11-hour shift operating a weaving machine ended, Carson busked the streets of Cabbagetown and neighboring enclaves for pocket change. He also competed in contests, which he usually won, at state fairs and showcase venues, such as the Municipal Auditorium (now Georgia State University’s Dahlberg Hall). Regular appearances on broadcasts from the studio of newly established WSB, the South’s first major commercial radio station, elevated Carson’s stature as one of the state’s most popular entertainers.

In June 1923, engineers from New York-based Okeh Records set up a temporary recording studio in a vacant building on Nassau Street in downtown Atlanta. Using one of the first portable recording machines, the Okeh crew documented Carson performing “The Little Old Log Cabin in the Lane” and “The Old Hen Cackled and the Rooster’s Going to Crow.” Sales of the resulting 78 rpm record established Fiddlin’ John Carson as a bona fide national celebrity and, in hindsight, signaled the arrival of the genre now commonly known as “country music.”

''Cabbagetown Chronicles'' is organized in a series of tripartite track groupings. Each grouping features an original song by a seminal Cabbagetown musician, a cover of one of the artist’s songs by a current or former Cabbagetown musician or band, plus an original song by the same musician/band.

The album kicks off with Fiddlin’ John Carson’s 1924 recording of “Boil Dem Cabbage Down,” a traditional folk song, which predates Cabbagetown. The Carroll Street Troubadours, a group of area residents who regularly perform at The Patch Works Art & History Center , are contributing a Fiddlin’ John cover, which the band has not yet chosen. The Troubadours original selection is titled "Hell No.”

Tommy Roe, one of the biggest names from the world of bubblegum pop in the 1960s, known for Top 40 radio hits including “Sheila” and, “Dizzy,” lived on Wylie Street in Cabbagetown for the first six years of his life. His memoir, ''From Cabbagetown to Tinseltown,'' was published in 2016. When Kelly contacted Roe about the ''Cabbagetown Chronicles,'' the mostly now-retired singer, who toured England with The Beatles in 1963, was eager to contribute to the project.

Roe authorized the use of “Cabbagetown,” a guitar-twanging, classic country fandango from a 2019 EP titled ''Tommy Roe Meets Barefoot Jerry.'' The four-track release, recorded in Nashville, features Roe with longtime session guitarist Wayne Moss who played on Bob Dylan’s ''Blonde on Blonde'' and Roy Orbison’s “Oh, Pretty Woman,” among other landmark recordings. On ''Cabbagetown Chronicles,'' Roe’s ode to his beloved home village is matched by K. Michelle DuBois covering his 1970 single “Pearl,” plus one of her originals, yet to be chosen.

“When I first heard Tommy’s song, I almost cried,” Kelly says. “It set the bar very high for everything else we’re doing.”

The Fulton Bag and Cotton Mill closed in 1977, leaving Cabbagetown a blighted community isolated by urban geography, economic prospects, and cultural proclivities. Many of the original residents and their offspring fled for greener pastures.

In the mid-1980s, John D. Thomas, then a ''CL'' staffer with an irascible sense of humor and a gift for bohemian rabble-rousing, pioneered the occupation of Cabbagetown’s empty, neglected abodes, spurred by the lure of the cheapest rent in the city and a youthful urge to become a global superstar.

Soon, a subculture of musicians emerged. Bound by a no-holds-barred, DIY aesthetic, they wrote songs while lounging on each other’s thrift-store couches. They practiced and partied like it was the 1980s in each other’s front porches, dilapidated kitchens, and bedrooms. The Chowder Shouters with Thomas, roommate Eric Kaiser, and Cleveland transplant Bill Taft; An Evening with the Garbageman, Taft’s band that spawned The Jody Grind; The Opal Foxx Quartet, another Taft project, which led to Smoke, both featuring the inimitable vocal styling of the late Robert Curtis “Benjamin” Dickerson; Slim Chance & the Convicts; Amy Pike and Greasetrap; Dirt; Seersucker; and countless others played in ramshackle honky tonks like the White Dot, the Austin Avenue Buffet, Sylvia’s Atomic Café, Dottie’s, and The Clermont Lounge, as well as in warehouse spaces including Pillowtex, the Mattress Factory, and 800 East.

''Cabbagetown Chronicles'' documents this extraordinarily fertile period in the neighborhood’s history with several track groupings including a yet-to-be-revealed recording by Cat Power, Chan Marshall’s nom du art, combined with W8ing4UFOs’ cover of “Headlights.” The latter, a nightmarish first-person account of a fatal car wreck, received limited distribution as a single in 1993. A subsequent version, with different accompanists, was included on Cat Power’s 1995 debut album, ''Dear Sir.''

Most analyses of “Headlight’s” fail to note the song’s significance as a darkly elegiac tribute to three of Marshall’s friends who lost their lives in an automobile accident in April 1992. Tim Ruttenber, better known as poet- performance-artist Deacon Lunchbox; Robert Hayes, bassist for The Jody Grind, with whom Marshall once shared a house in Cabbagetown; and the band’s drummer, Robert Clayton, were returning to Atlanta from a gig in Pensacola when their car was struck head-on by a drunk driver whose motor home crossed the grassy interstate divider.

“Yes, ‘Headlights’ is about the accident on Easter morning,” Marshall confirms in an email exchange. “The black crows were all gathered in a nearby tree,” she recalls, “all cawing and suddenly silent when I began weeping, when I went to sit with Robert Hayes at his grave the day I left to move to New York City.”

The torchy southern-fried brilliance of Jody Grind vocalist and former Cabbagetown resident Kelly Hogan is showcased on a still-to-be- determined recording from the period between the quartet’s first (''One Man’s Trash is Another Man’s Treasure,'' 1990) and second (''Lefty’s Deceiver,'' 1992) albums on DB Recs. The Chumblers will cover The Jody Grind’s “ Eight-Ball ”; their original contribution is called “Ghost Story.”

Many ''Cabbagetown Chronicles'' track groupings have blank spaces to be filled out. The Opal Foxx Quartet/Smoke entry features a TBA recording currently under consideration by Taft and W8ing4UFOs cellist and former Opal Foxx/Smoke bandmate Brian Halloran. That selection will be allied with a performance of “Somebody's House Always Burns at Christmas” by T. Thomas Mahoney, plus a Mahoney original. The Rock*A*Teens have yet to choose their showcase number, while their song, “Arm in Arm In the Golden Twilite, We Loitered On,” is covered by Anna Kramer and The Lost Cause. And the list goes on.

From the roots of country music to the heights of international pop stardom, ''Cabbagetown Chronicles'' traces an arc of artistic expression through the music of people who lived, loved, laughed, and struggled in a village wrought by Southern industrialization after the Civil War. The album’s producers hope to release a video document of the project. The plan is to schedule a CD-release show at the Milltown Arms Tavern and have CDs for sale at Cabbagetown’s Chomp & Stomp Festival in November. All proceeds will be donated to the Patch Works Art & History Center.

“This is something I can do to give back to the community,” says Kelly, who routinely holds yard sales of records, CDs, and DVDs that he’s collected, to benefit musicians with health problems and doctor bills.

It’s a gift that promises to benefit a much larger community of music lovers and historians."
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  string(12366) " Photo #3 Slim & Convicts Session Bryan Brownlow  2019-06-06T17:09:32+00:00 Photo_#3_Slim_&_Convicts_session_Bryan_Brownlow.jpg      The onetime mill town has nurtured a diverse music scene Photo #3 Slim & Convicts Session Bryan Brownlow   2019-06-06T16:56:55+00:00  LISTENING POST: Chronicling the ‘Cabbagetown Chronicles’ will.cardwell Will Cardwell Doug DeLoach  2019-06-06T16:56:55+00:00 Documenting a century’s worth of music-making in one of Atlanta’s most historically idiosyncratic neighborhoods is a daunting task. Rising to the challenge is James Kelly, a behavioral psychologist, songwriter, leader of Slim Chance & the Convicts, and longtime resident of Cabbagetown.

Cabbagetown Chronicles is a recording-project-in-process spearheaded by Kelly along with John Dirga, who books the annual “ Chomp & Stomp Chili Cook-off and Bluegrass Festival ,” and Steve Seachrist, sound engineer and co-founder with viola player Katie Butler of The Chumblers. Scheduled for release in the fall, Cabbagetown Chronicles features a unique track selection format to showcase original, cover, and never-before-released material by former inhabitants of Cabbagetown — the neighborhood squeezed into a small spiderweb of streets flanked by Oakland Cemetery to the west, the railroad yards to the north, Pearl Street to the east, and Memorial Boulevard to the south. Contributors to the project include Chan Marshall (Cat Power), Elise Witt (Small Family Orchestra), Kelly Hogan (The Jody Grind), Tommy Roe, Fiddlin’ John Carson, Joyce Brookshire, members of the Opal Foxx Quartet and Smoke, The Rock*A*Teens, and a specially formed gospel troupe from a local Pentecostal church.

“For a hundred years, Cabbagetown has been a powerful, nurturing environment for a wide array of music,” says Kelly, who periodically contributes to Creative Loafing. “It’s a phenomenon that needed to be documented in a tangible, lasting way.”

In 1992, Kelly purchased a single-story home with an front porch glider on Pearl Street. Today, he and his cohorts are plumbing the rich musical legacy of their neighborhood from multiple intersecting angles. Last year, the trio launched the Cabbagetown Concert Series (CCS). The next event in the series, on Thursday, June 20, is a double bill featuring the Parsons Rocket Project with K. Michelle DuBois and W8ing4UFOs. Both DuBois and W8ing4UFOs are featured on Cabbagetown Chronicles, covering songs by seminal Cabbagetown artists and contributing original work.

Two more CCS events are on the 2019 calendar, each on the third Thursday in September and October. All of the concerts are staged outdoors in Cabbagetown Park in the Joyce Brookshire Amphitheater, named for the late folk singer-songwriter, community activist, and descendent of the original Cabbagetown community who died in 2017. Brookshire’s music is celebrated on Cabbagetown Chronicles by close friend and singer-songwriter Elise Witt.

“The last time I saw Joyce, she was in the hospital, lying in her bed in a coma,” Witt says. “I started singing and she started singing with me — in harmony. We sang six or seven songs.”

Cabbagetown as a music mecca dates to the late 1800s and the construction of the Fulton Bag and Cotton Mill, now the site of Fulton Mill Loft Apartments and The Stacks Condominiums, on the southeast corner of downtown. Adjacent to the textile manufacturing facility, the original owners constructed the “Factory Lot,” a warren of small, one- and two-story cottages and shotgun shacks where mill workers were cheaply and conveniently housed. For reasons that remain in dispute, the “Factory Lot” eventually became known as Cabbagetown.

Lured by the promise of steady factory work, which was somewhat less arduous and dangerous than coal mining and not nearly as fickle as farming, many of the first Cabbagetown residents hailed from the Piedmont lowlands and other Appalachian locales. Others came from the back hollers and cotton fields surrounding post-Reconstruction era Atlanta, as well as the city’s sizable population of hardscrabble denizens and itinerant laborers. At the height of production, the Fulton Bag and Cotton Mill employed around 2,600 people.

One of those employees was John Carson, an experienced textile worker and prodigious fiddle player from north Georgia who in 1911 moved with his family into a four-room house on Carroll Street. When his 11-hour shift operating a weaving machine ended, Carson busked the streets of Cabbagetown and neighboring enclaves for pocket change. He also competed in contests, which he usually won, at state fairs and showcase venues, such as the Municipal Auditorium (now Georgia State University’s Dahlberg Hall). Regular appearances on broadcasts from the studio of newly established WSB, the South’s first major commercial radio station, elevated Carson’s stature as one of the state’s most popular entertainers.

In June 1923, engineers from New York-based Okeh Records set up a temporary recording studio in a vacant building on Nassau Street in downtown Atlanta. Using one of the first portable recording machines, the Okeh crew documented Carson performing “The Little Old Log Cabin in the Lane” and “The Old Hen Cackled and the Rooster’s Going to Crow.” Sales of the resulting 78 rpm record established Fiddlin’ John Carson as a bona fide national celebrity and, in hindsight, signaled the arrival of the genre now commonly known as “country music.”

Cabbagetown Chronicles is organized in a series of tripartite track groupings. Each grouping features an original song by a seminal Cabbagetown musician, a cover of one of the artist’s songs by a current or former Cabbagetown musician or band, plus an original song by the same musician/band.

The album kicks off with Fiddlin’ John Carson’s 1924 recording of “Boil Dem Cabbage Down,” a traditional folk song, which predates Cabbagetown. The Carroll Street Troubadours, a group of area residents who regularly perform at The Patch Works Art & History Center , are contributing a Fiddlin’ John cover, which the band has not yet chosen. The Troubadours original selection is titled "Hell No.”

Tommy Roe, one of the biggest names from the world of bubblegum pop in the 1960s, known for Top 40 radio hits including “Sheila” and, “Dizzy,” lived on Wylie Street in Cabbagetown for the first six years of his life. His memoir, From Cabbagetown to Tinseltown, was published in 2016. When Kelly contacted Roe about the Cabbagetown Chronicles, the mostly now-retired singer, who toured England with The Beatles in 1963, was eager to contribute to the project.

Roe authorized the use of “Cabbagetown,” a guitar-twanging, classic country fandango from a 2019 EP titled Tommy Roe Meets Barefoot Jerry. The four-track release, recorded in Nashville, features Roe with longtime session guitarist Wayne Moss who played on Bob Dylan’s Blonde on Blonde and Roy Orbison’s “Oh, Pretty Woman,” among other landmark recordings. On Cabbagetown Chronicles, Roe’s ode to his beloved home village is matched by K. Michelle DuBois covering his 1970 single “Pearl,” plus one of her originals, yet to be chosen.

“When I first heard Tommy’s song, I almost cried,” Kelly says. “It set the bar very high for everything else we’re doing.”

The Fulton Bag and Cotton Mill closed in 1977, leaving Cabbagetown a blighted community isolated by urban geography, economic prospects, and cultural proclivities. Many of the original residents and their offspring fled for greener pastures.

In the mid-1980s, John D. Thomas, then a CL staffer with an irascible sense of humor and a gift for bohemian rabble-rousing, pioneered the occupation of Cabbagetown’s empty, neglected abodes, spurred by the lure of the cheapest rent in the city and a youthful urge to become a global superstar.

Soon, a subculture of musicians emerged. Bound by a no-holds-barred, DIY aesthetic, they wrote songs while lounging on each other’s thrift-store couches. They practiced and partied like it was the 1980s in each other’s front porches, dilapidated kitchens, and bedrooms. The Chowder Shouters with Thomas, roommate Eric Kaiser, and Cleveland transplant Bill Taft; An Evening with the Garbageman, Taft’s band that spawned The Jody Grind; The Opal Foxx Quartet, another Taft project, which led to Smoke, both featuring the inimitable vocal styling of the late Robert Curtis “Benjamin” Dickerson; Slim Chance & the Convicts; Amy Pike and Greasetrap; Dirt; Seersucker; and countless others played in ramshackle honky tonks like the White Dot, the Austin Avenue Buffet, Sylvia’s Atomic Café, Dottie’s, and The Clermont Lounge, as well as in warehouse spaces including Pillowtex, the Mattress Factory, and 800 East.

Cabbagetown Chronicles documents this extraordinarily fertile period in the neighborhood’s history with several track groupings including a yet-to-be-revealed recording by Cat Power, Chan Marshall’s nom du art, combined with W8ing4UFOs’ cover of “Headlights.” The latter, a nightmarish first-person account of a fatal car wreck, received limited distribution as a single in 1993. A subsequent version, with different accompanists, was included on Cat Power’s 1995 debut album, Dear Sir.

Most analyses of “Headlight’s” fail to note the song’s significance as a darkly elegiac tribute to three of Marshall’s friends who lost their lives in an automobile accident in April 1992. Tim Ruttenber, better known as poet- performance-artist Deacon Lunchbox; Robert Hayes, bassist for The Jody Grind, with whom Marshall once shared a house in Cabbagetown; and the band’s drummer, Robert Clayton, were returning to Atlanta from a gig in Pensacola when their car was struck head-on by a drunk driver whose motor home crossed the grassy interstate divider.

“Yes, ‘Headlights’ is about the accident on Easter morning,” Marshall confirms in an email exchange. “The black crows were all gathered in a nearby tree,” she recalls, “all cawing and suddenly silent when I began weeping, when I went to sit with Robert Hayes at his grave the day I left to move to New York City.”

The torchy southern-fried brilliance of Jody Grind vocalist and former Cabbagetown resident Kelly Hogan is showcased on a still-to-be- determined recording from the period between the quartet’s first (One Man’s Trash is Another Man’s Treasure, 1990) and second (Lefty’s Deceiver, 1992) albums on DB Recs. The Chumblers will cover The Jody Grind’s “ Eight-Ball ”; their original contribution is called “Ghost Story.”

Many Cabbagetown Chronicles track groupings have blank spaces to be filled out. The Opal Foxx Quartet/Smoke entry features a TBA recording currently under consideration by Taft and W8ing4UFOs cellist and former Opal Foxx/Smoke bandmate Brian Halloran. That selection will be allied with a performance of “Somebody's House Always Burns at Christmas” by T. Thomas Mahoney, plus a Mahoney original. The Rock*A*Teens have yet to choose their showcase number, while their song, “Arm in Arm In the Golden Twilite, We Loitered On,” is covered by Anna Kramer and The Lost Cause. And the list goes on.

From the roots of country music to the heights of international pop stardom, Cabbagetown Chronicles traces an arc of artistic expression through the music of people who lived, loved, laughed, and struggled in a village wrought by Southern industrialization after the Civil War. The album’s producers hope to release a video document of the project. The plan is to schedule a CD-release show at the Milltown Arms Tavern and have CDs for sale at Cabbagetown’s Chomp & Stomp Festival in November. All proceeds will be donated to the Patch Works Art & History Center.

“This is something I can do to give back to the community,” says Kelly, who routinely holds yard sales of records, CDs, and DVDs that he’s collected, to benefit musicians with health problems and doctor bills.

It’s a gift that promises to benefit a much larger community of music lovers and historians.    Bryan Brownlow RECORDING IN CABBAGETOWN: Slim Chance and the Convicts.  0,0,11                           LISTENING POST: Chronicling the ‘Cabbagetown Chronicles’ "
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Music Briefs

Music Features

2019"
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  string(6968) "On a sunny and unseasonably chilly Tuesday afternoon in early May, I meet Sequoyah Murray, sitting on a stone wall next to a swingset in Howell Park, watching his 12-year-old brother August spinning around on a jungle gym. They’re waiting for their father, Kenito Murray, who arrives just a few minutes after me. The park is alive with activity on all sides — children are swinging and laughing, and, just a few feet away, a sand volleyball court is the scene for a particularly intense pair of matches. Stray hits send balls bounding our way at rocket speed, and shirtless men wearing short-shorts come trotting after them every few minutes. “It’s okay,” Sequoyah says. “I’ve been sitting here for a while and I haven’t been hit … Yet.”

Sequoyah possesses a truly disarming presence and an awareness of his surroundings informed by an otherworldly intuition that’s far beyond his 22 years. I first noticed it when we met for an interview in 2017 on an abandoned stoop near the Inman Park MARTA station to catch up before he played Irrelevant Music Festival in East Atlanta. At the time, his gently cluttered sound, steeped in heavy rhythms and abstract musical textures, made him an ever-present figure in the city’s young D.I.Y., jazz, indie rock, and experimental music scenes. Back then, he was wrapping up work on his second self-released offering, a cassette tape titled Dream Sequence. Two years later, Sequoyah is just getting back to the United States after completing the final session of the Red Bull Music Academy in Berlin. He plans to move there for the foreseeable future later this summer to complete work on a new album. He’s also quietly reeling from the release of a new EP, titled Penalties of Love, which arrived May 3 via Chicago’s Thrill Jockey Records in the U.S., and Other/other in Europe.

 

Sequoyah’s father plays drums on all four songs throughout the EP — “Penalties of Love,” “Haven,” “Second Born,” and “True Fun” — and his brother August’s voice can be heard in “Second Born” and “True Fun.” His mother, Treva McGowan, even sings backup vocals on the title track; her contributions are credited on the album’s sleeve to K. Auset. When I ask if she’s meeting us for the interview as well, Sequoyah says, “No, she’s in Dubai, teaching English.”

Throughout the Penalties of Love EP, Sequoyah’s vast and expressive baritone rises over heavy bass and abstract musical motifs to foster a staccato pop sound. Beneath the title cut’s billowing movements, a gentle, transcendental journey into electronic pop beats and would-be new music influences take shape. With earlier releases, Sequoyah’s creative focus was fixed on crafting music from the perspective of a vocal artist. The approach drew inevitable comparisons to the late Manhattan-based cellist and composer Arthur Russell's expressive excursions into proto-disco, minimalism, and the avant-garde. Sequoyah’s rich combinations of tones and layers of sound give rise to mysterious, non-linear, sometimes dissonant but always alluring musical structures. With each song comes a more complete portrait of the artist and his defining sound. Sequoyah pauses the conversation to ask if being called an avant-garde artist is a compliment. (It is.)

“So it doesn't mean weird on purpose, and trying to not be mainstream?” he asks. “That's what I have often associated that term with. I'm proud of what’s on the EP, and it's really complex,” he adds. “It’s maybe even a little more complex than some of the stuff I’m writing now, but that's because I want to unify all listeners while at the same time still going off and doing something that’s a little different.”

The idea to release an EP was hatched by Sequoyah’s manager, Dave Corney of the Bristol-based electronic music project Hyetal. Their relationship extends beyond business into a creative back-and-forth. Corney runs the label Other/other with the Berlin-based artist James Ginzburg of the duo Emptyset. Both Corney and Ginzberg also receive mixing credits on the EP and on the forthcoming album.

The songs on Penalties of Love were written between 2014 and 2017. As such, Sequoyah seems more interested today in talking about the new album he has in the works, titled Before You Begin, which is set to arrive September 13 via Thrill Jockey. He’s also content to let his younger brother and father talk at length during the interview, as his family connections have left an indelible mark on the music.

Kenito Murray’s interest in music began early in life when his family moved from Washington D.C. to Guantanamo, where he was exposed to jazz, Latin and Brazilian music, early ska, and bossanova. Later, after moving back to D.C. in the early ’80s, Kenito became an early participant in the Capital city’s famed punk and hardcore scenes forming around Dischord Records. He even played drums backing singer Brendan Canty (Rites of Spring, Fugazi, the Messthetics) in an early incarnation of a band that became Deadline, which appeared on Dischord’s Flex Your Head compilation.

Kenito was equally influenced by Washington, D.C’s thriving go-go music scene, blending elements of funk, jazz, and disco with fiery live performances from groups like Trouble Funk and E.U. In adulthood, he distills all of these influences into various projects, from performing at weekly Sunday-night jam sessions at Gallery 992, to playing percussion with the Wolfpack, Visitors, and the group Cinema Soloriens alongside founder James Harrar and alto saxophonist and Sun Ra Arkestra leader Marshall Allen.

It was through his record collection that Kenito introduced Sequoyah to music, starting with LPs by Stevie Wonder, Prince, and Jimi Hendrix, then moving on to Cindy Lauper, Depeche Mode, and then going deeper into other forms of music. “I always feel a little weird in record stores now,” Sequoyah says. “I never really had the experience of going to record stores when I was growing up, but I listened to records constantly, because he'd just keep putting them in my room for me.”

And as Sequoyah moves deeper into his own journey musical journey, the same records are being passed down to his brother, August.

When asked about the impending move to Berlin, Sequoyah looks around the park and says it reminds him of home. “It feels a lot like it does here, trees are changing in the autumn — different kinds of trees — the architecture is lower, and it's very spread out,” he goes on to say. “I like the idea of being somewhere that I can mold my reality in a different way. I have been here my whole life, and I need a new place where I'm not necessarily with my support system, and I don’t know what's around the corner.”

Sequoyah Murray plays Rialto Center For the Arts on Wed., June 19. Free. Noon-1 p.m. 80 Forsyth St. N.W.404-413-9849. www.rialto.gsu.edu.

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Sequoyah possesses a truly disarming presence and an awareness of his surroundings informed by an otherworldly intuition that’s far beyond his 22 years. I first noticed it when we met for an interview in 2017 on an abandoned stoop near the Inman Park MARTA station to catch up before he played Irrelevant Music Festival in East Atlanta. At the time, his gently cluttered sound, steeped in heavy rhythms and abstract musical textures, made him an ever-present figure in the city’s young D.I.Y., jazz, indie rock, and experimental music scenes. Back then, he was wrapping up work on his second self-released offering, a cassette tape titled ''Dream Sequence''. Two years later, Sequoyah is just getting back to the United States after completing the final session of the Red Bull Music Academy in Berlin. He plans to move there for the foreseeable future later this summer to complete work on a new album. He’s also quietly reeling from the release of a new EP, titled ''[https://sequoyahmurray.bandcamp.com/releases|Penalties of Love]'', which arrived May 3 via Chicago’s Thrill Jockey Records in the U.S., and Other/other in Europe.

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Sequoyah’s father plays drums on all four songs throughout the EP — “Penalties of Love,” “Haven,” “Second Born,” and “True Fun” — and his brother August’s voice can be heard in “Second Born” and “True Fun.” His mother, Treva McGowan, even sings backup vocals on the title track; her contributions are credited on the album’s sleeve to K. Auset. When I ask if she’s meeting us for the interview as well, Sequoyah says, “No, she’s in Dubai, teaching English.”

Throughout the ''Penalties of Love'' EP, Sequoyah’s vast and expressive baritone rises over heavy bass and abstract musical motifs to foster a staccato pop sound. Beneath the title cut’s billowing movements, a gentle, transcendental journey into electronic pop beats and would-be new music influences take shape. With earlier releases, Sequoyah’s creative focus was fixed on crafting music from the perspective of a vocal artist. The approach drew inevitable comparisons to the late Manhattan-based cellist and composer Arthur Russell's expressive excursions into proto-disco, minimalism, and the avant-garde. Sequoyah’s rich combinations of tones and layers of sound give rise to mysterious, non-linear, sometimes dissonant but always alluring musical structures. With each song comes a more complete portrait of the artist and his defining sound. Sequoyah pauses the conversation to ask if being called an avant-garde artist is a compliment. (It is.)

“So it doesn't mean weird on purpose, and trying to not be mainstream?” he asks. “That's what I have often associated that term with. I'm proud of what’s on the EP, and it's really complex,” he adds. “It’s maybe even a little more complex than some of the stuff I’m writing now, but that's because I want to unify all listeners while at the same time still going off and doing something that’s a little different.”

The idea to release an EP was hatched by Sequoyah’s manager, Dave Corney of the Bristol-based electronic music project [https://hyetalmusic.bandcamp.com/|Hyetal]. Their relationship extends beyond business into a creative back-and-forth. Corney runs the label Other/other with the Berlin-based artist James Ginzburg of the duo [http://www.thrilljockey.com/artists/emptyset|Emptyset]. Both Corney and Ginzberg also receive mixing credits on the EP and on the forthcoming album.

The songs on ''Penalties of Love'' were written between 2014 and 2017. As such, Sequoyah seems more interested today in talking about the new album he has in the works, titled ''[https://thrilljockey.com/products/before-you-begin|Before You Begin, which is set to arrive September 13 via Thrill Jockey]''. He’s also content to let his younger brother and father talk at length during the interview, as his family connections have left an indelible mark on the music.

Kenito Murray’s interest in music began early in life when his family moved from Washington D.C. to Guantanamo, where he was exposed to jazz, Latin and Brazilian music, early ska, and bossanova. Later, after moving back to D.C. in the early ’80s, Kenito became an early participant in the Capital city’s famed punk and hardcore scenes forming around Dischord Records. He even played drums backing singer Brendan Canty (Rites of Spring, Fugazi, the Messthetics) in an early incarnation of a band that became Deadline, which appeared on Dischord’s ''Flex Your Head'' compilation.

Kenito was equally influenced by Washington, D.C’s thriving go-go music scene, blending elements of funk, jazz, and disco with fiery live performances from groups like Trouble Funk and E.U. In adulthood, he distills all of these influences into various projects, from performing at weekly Sunday-night jam sessions at [https://creativeloafing.com/content-307825-Kebbi-Williams-anchors-higher-arts-in-the-West-End|Gallery 992], to playing percussion with [https://www.facebook.com/WOLFPACKATL14/|the Wolfpack], [https://earlyfuturerecords.bandcamp.com/album/nature-documentary|Visitors], and the group [http://www.cinemasoloriens.com/Cinema_Soloriens/Home.html|Cinema Soloriens] alongside founder James Harrar and alto saxophonist and Sun Ra Arkestra leader Marshall Allen.

It was through his record collection that Kenito introduced Sequoyah to music, starting with LPs by Stevie Wonder, Prince, and Jimi Hendrix, then moving on to Cindy Lauper, Depeche Mode, and then going deeper into other forms of music. “I always feel a little weird in record stores now,” Sequoyah says. “I never really had the experience of going to record stores when I was growing up, but I listened to records constantly, because he'd just keep putting them in my room for me.”

And as Sequoyah moves deeper into his own journey musical journey, the same records are being passed down to his brother, August.

When asked about the impending move to Berlin, Sequoyah looks around the park and says it reminds him of home. “It feels a lot like it does here, trees are changing in the autumn — different kinds of trees — the architecture is lower, and it's very spread out,” he goes on to say. “I like the idea of being somewhere that I can mold my reality in a different way. I have been here my whole life, and I need a new place where I'm not necessarily with my support system, and I don’t know what's around the corner.”

''[https://creativeloafing.com/event-426898-Sequoyah-Murray|Sequoyah Murray plays Rialto Center For the Arts on Wed., June 19. Free. Noon-1 p.m. 80 Forsyth St. N.W.404-413-9849. www.rialto.gsu.edu.]''

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  string(7490) " Music Sequoyah1 1 11  2019-06-05T18:44:29+00:00 Music_Sequoyah1-1_11.jpg      The rising songwriter wants to unite all listeners with ‘Penalties of Love’ Music Sequoyah1 1 11   2019-06-06T17:00:00+00:00  Sequoyah Murray’s family affair will.cardwell Will Cardwell Chad Radford  2019-06-06T17:00:00+00:00 On a sunny and unseasonably chilly Tuesday afternoon in early May, I meet Sequoyah Murray, sitting on a stone wall next to a swingset in Howell Park, watching his 12-year-old brother August spinning around on a jungle gym. They’re waiting for their father, Kenito Murray, who arrives just a few minutes after me. The park is alive with activity on all sides — children are swinging and laughing, and, just a few feet away, a sand volleyball court is the scene for a particularly intense pair of matches. Stray hits send balls bounding our way at rocket speed, and shirtless men wearing short-shorts come trotting after them every few minutes. “It’s okay,” Sequoyah says. “I’ve been sitting here for a while and I haven’t been hit … Yet.”

Sequoyah possesses a truly disarming presence and an awareness of his surroundings informed by an otherworldly intuition that’s far beyond his 22 years. I first noticed it when we met for an interview in 2017 on an abandoned stoop near the Inman Park MARTA station to catch up before he played Irrelevant Music Festival in East Atlanta. At the time, his gently cluttered sound, steeped in heavy rhythms and abstract musical textures, made him an ever-present figure in the city’s young D.I.Y., jazz, indie rock, and experimental music scenes. Back then, he was wrapping up work on his second self-released offering, a cassette tape titled Dream Sequence. Two years later, Sequoyah is just getting back to the United States after completing the final session of the Red Bull Music Academy in Berlin. He plans to move there for the foreseeable future later this summer to complete work on a new album. He’s also quietly reeling from the release of a new EP, titled Penalties of Love, which arrived May 3 via Chicago’s Thrill Jockey Records in the U.S., and Other/other in Europe.

 

Sequoyah’s father plays drums on all four songs throughout the EP — “Penalties of Love,” “Haven,” “Second Born,” and “True Fun” — and his brother August’s voice can be heard in “Second Born” and “True Fun.” His mother, Treva McGowan, even sings backup vocals on the title track; her contributions are credited on the album’s sleeve to K. Auset. When I ask if she’s meeting us for the interview as well, Sequoyah says, “No, she’s in Dubai, teaching English.”

Throughout the Penalties of Love EP, Sequoyah’s vast and expressive baritone rises over heavy bass and abstract musical motifs to foster a staccato pop sound. Beneath the title cut’s billowing movements, a gentle, transcendental journey into electronic pop beats and would-be new music influences take shape. With earlier releases, Sequoyah’s creative focus was fixed on crafting music from the perspective of a vocal artist. The approach drew inevitable comparisons to the late Manhattan-based cellist and composer Arthur Russell's expressive excursions into proto-disco, minimalism, and the avant-garde. Sequoyah’s rich combinations of tones and layers of sound give rise to mysterious, non-linear, sometimes dissonant but always alluring musical structures. With each song comes a more complete portrait of the artist and his defining sound. Sequoyah pauses the conversation to ask if being called an avant-garde artist is a compliment. (It is.)

“So it doesn't mean weird on purpose, and trying to not be mainstream?” he asks. “That's what I have often associated that term with. I'm proud of what’s on the EP, and it's really complex,” he adds. “It’s maybe even a little more complex than some of the stuff I’m writing now, but that's because I want to unify all listeners while at the same time still going off and doing something that’s a little different.”

The idea to release an EP was hatched by Sequoyah’s manager, Dave Corney of the Bristol-based electronic music project Hyetal. Their relationship extends beyond business into a creative back-and-forth. Corney runs the label Other/other with the Berlin-based artist James Ginzburg of the duo Emptyset. Both Corney and Ginzberg also receive mixing credits on the EP and on the forthcoming album.

The songs on Penalties of Love were written between 2014 and 2017. As such, Sequoyah seems more interested today in talking about the new album he has in the works, titled Before You Begin, which is set to arrive September 13 via Thrill Jockey. He’s also content to let his younger brother and father talk at length during the interview, as his family connections have left an indelible mark on the music.

Kenito Murray’s interest in music began early in life when his family moved from Washington D.C. to Guantanamo, where he was exposed to jazz, Latin and Brazilian music, early ska, and bossanova. Later, after moving back to D.C. in the early ’80s, Kenito became an early participant in the Capital city’s famed punk and hardcore scenes forming around Dischord Records. He even played drums backing singer Brendan Canty (Rites of Spring, Fugazi, the Messthetics) in an early incarnation of a band that became Deadline, which appeared on Dischord’s Flex Your Head compilation.

Kenito was equally influenced by Washington, D.C’s thriving go-go music scene, blending elements of funk, jazz, and disco with fiery live performances from groups like Trouble Funk and E.U. In adulthood, he distills all of these influences into various projects, from performing at weekly Sunday-night jam sessions at Gallery 992, to playing percussion with the Wolfpack, Visitors, and the group Cinema Soloriens alongside founder James Harrar and alto saxophonist and Sun Ra Arkestra leader Marshall Allen.

It was through his record collection that Kenito introduced Sequoyah to music, starting with LPs by Stevie Wonder, Prince, and Jimi Hendrix, then moving on to Cindy Lauper, Depeche Mode, and then going deeper into other forms of music. “I always feel a little weird in record stores now,” Sequoyah says. “I never really had the experience of going to record stores when I was growing up, but I listened to records constantly, because he'd just keep putting them in my room for me.”

And as Sequoyah moves deeper into his own journey musical journey, the same records are being passed down to his brother, August.

When asked about the impending move to Berlin, Sequoyah looks around the park and says it reminds him of home. “It feels a lot like it does here, trees are changing in the autumn — different kinds of trees — the architecture is lower, and it's very spread out,” he goes on to say. “I like the idea of being somewhere that I can mold my reality in a different way. I have been here my whole life, and I need a new place where I'm not necessarily with my support system, and I don’t know what's around the corner.”

Sequoyah Murray plays Rialto Center For the Arts on Wed., June 19. Free. Noon-1 p.m. 80 Forsyth St. N.W.404-413-9849. www.rialto.gsu.edu.

-CL-    Courtesy the Murray family BERLIN CALLING: On the heels of releasing his “Penalties of Love” EP, Sequoyah Murray is bound for Germany.  0,0,11                           Sequoyah Murray’s family affair "
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2019"
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PALADIN | The May 17 arrival of Paladin’s Prosthetic Records debut, Ascension, proved an impressive first move for the burgeoning thrash metal masters. Guitarist and songwriter Taylor Washington, guitarist Alex Parra, bass player Andy McGraw, and drummer Nathan McKinney have paid their dues slamming out brutal power chords at breakneck speeds for years. Washington occasionally plays at the 10 High’s Metalsome Monday karaoke nights. Parra spent time with Gunpowder Gray and still plays guitar with Sadistic Ritual. Paladin was born as a side project from their group Sybaritic, and pairing up with Prosthetic has opened the door for a much larger audience. “The whole label believes in us so it makes all the hard work we have put in and will continue to put in feel worthwhile,” says Parra. “If anything has changed, it’s our expectations of how well we would do. … [the album has] already reached way more people than we thought it would.” Songs from Ascension, such as “Awakening,” “Shoot for the Sun,” and “Genesis” bring a European flavor to Paladin’s headbanging riffs. Washington’s operatic voice and the screaming guitar leads evoke comparisons to Iron Maiden, Dio, and Saxon. But there’s more than cherry influences on display here. Ascension is a relentless machine clearing the path for a stylish new era for Atlanta power thrash, channeling ’80s metal abandon and a blackened metal fury into a dirge that communes with the coming end of days for mankind.

— Chad Radford


 



 


 


 


 


 "
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__[https://paladinatl.bandcamp.com/|PALADIN] |__ The May 17 arrival of Paladin’s Prosthetic Records debut, ''Ascension'', proved an impressive first move for the burgeoning thrash metal masters. Guitarist and songwriter Taylor Washington, guitarist Alex Parra, bass player Andy McGraw, and drummer Nathan McKinney have paid their dues slamming out brutal power chords at breakneck speeds for years. Washington occasionally plays at the 10 High’s Metalsome Monday karaoke nights. Parra spent time with Gunpowder Gray and still plays guitar with [https://creativeloafing.com/content-428289-Sadistic-Ritual-pays-homage-to-death|Sadistic Ritual]. Paladin was born as a side project from their group Sybaritic, and pairing up with Prosthetic has opened the door for a much larger audience. “The whole label believes in us so it makes all the hard work we have put in and will continue to put in feel worthwhile,” says Parra. “If anything has changed, it’s our expectations of how well we would do. … [[the album has] already reached way more people than we thought it would.” Songs from ''Ascension'', such as “Awakening,” “Shoot for the Sun,” and “Genesis” bring a European flavor to Paladin’s headbanging riffs. Washington’s operatic voice and the screaming guitar leads evoke comparisons to Iron Maiden, Dio, and Saxon. But there’s more than cherry influences on display here. ''Ascension'' is a relentless machine clearing the path for a stylish new era for Atlanta power thrash, channeling ’80s metal abandon and a blackened metal fury into a dirge that communes with the coming end of days for mankind.

— __Chad Radford__

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__UPCHUCK__ | Upchuck’s high-energy punk dirges spark chaos in the pit every time the group takes the stage. With no social media presence, the young five-piece’s early success relies on word-of-mouth — and word is spreading like wildfire. In most of their communications, each member of the group is identified only as KT (vocals), Mike (guitar), Hoff (guitar), Armando (bass), and Chris (drums). In less than a year, Upchuck has become one of the most talked about bands in the Atlanta punk scene, as tales of crowd surfing, sweat, and bloody noses follow in the wake of every show. KT, who also fronts the electronic pop outfit Sanguine, commands the room with an intriguing and otherworldly stage presence, her voice reverberating with hits of garage-punk, psychedelia, and doom, all pulsing with a punk energy that leaves their guitars in pieces. Upchuck has an East Coast tour leading up to an August 24 show at Afropunk Fest in Brooklyn. As of press time, only three demos exist on Upchuck’s Bandcamp page, but the group is currently writing and recording at Grey Cat Studios with Patrick Phillips. A new release is due out by the end of the year.
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__LUNAR VACATION__ | The lilt of Lunar Vacation’s lo-fi surf pop inspires daydreams of long car trips to Tybee Island with the windows down. Since 2016, the group’s self-described “pool rock” sound has culminated in two EPs, ''Swell'' and ''Artificial Flavors.'' Washing listeners in waves of nostalgia, lead singer Grace Repasky croons wistful stories of unrequited love and the struggle for self-guidance along the way to adulthood. The recent high school graduates have already signed to House Cat Records and are on the road this summer.
__—Skylar Little__{BOX}

 

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__OMNI__ | It seemed an impressive feat when, right out of the gate, indie rock outfit Omni signed a deal with Chicago’s Trouble in Mind Records to release the group’s first two LPs, 2016’s ‘’Deluxe’’ and 2017’s ‘’Multi-task’’. In April, however, word spread that principle members Philip Frobos (bass, vocals) and Frankie Broyles (guitar, vocals) had inked a deal with Seattle deity Sub Pop Records to unleash their upcoming third album unto the world, placing the group on a even higher level of the playing field. Backed by semi-permanent drummer Chris Yonker (Greenscreen, Karaoke, Hello Ocho), Omni’s driving instrumentals, punching vocals, and subtle delivery create a singular balance of inward melancholy and freewheeling dance pop, layered in a haze of new wave textures. As of press time, there are no additional details to report, but stay tuned for big news coming soon. In the meantime, check out Omni’s first Sub Pop single, “Delicacy.”
__—Narah Landress and Chad Radford__{BOX}
 

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__SEQUOYAH MURRA__ | On May 3, alt-funk songwriter, composer, and producer Sequoyah Murray released his most recent EP, ''Penalties Of Love'', via Chicago’s Thrill Jockey Records. Murray has been recording music since he was a teenager, traversing various enclaves of pop music and the avant-garde, fleshing out his voice. Now, at 22 years old, songs such as “Haven,” “Second Born,” and the EP’s title track find Murray channeling his experimental ways into more accessible musical forms. Each song embodies an impressive range of depth and dynamic style that makes a perfect backdrop for both introspection and intimacy. The songs on this latest release were completed between 2014 and 2016, and he’s come a long way since then. After attending last year's Red Bull Music Academy in Berlin, Murray plans on relocating there in June, where he will finish writing and producing his first proper full-length for Thrill Jockey, titled [https://thrilljockey.com/products/before-you-begin|''Before You Begin'' (out September 13)]. Until then, drop a needle on the ‘’Penalties Of Love’’ EP, and catch Sequoyah’s lunchtime performance at the Rialto on June 19.
__—Narah Landress and Chad Radford__

Read this month's feature story, ''[https://creativeloafing.com/content-428363-Sequoyah-Murray-s-family-affair|Sequoyah Murray’s family affair: The rising songwriter wants to unite all listeners with ‘Penalties of Love,’]''  by Chad Radford.{BOX}
 

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__BLIS |__ Emo-laced indie rock quartet Blis. sounds like they were plucked from the mid-aughts and updated for the modern era. Blis., consisting of Aaron Gossett (vox/guitar), Luke Jones (guitar), Nick Beaty (bass), and Jimi Ingman (drums), employs melancholy vocals, light frantic riffs, and earnest lyricism to create bangers that are both nostalgic and relatable. The same qualities are present in the group’s music videos, which juxtapose polished modern production with retro footage. Their debut record No One Loves You, released via Sargent House, is nothing short of a layered diary entry, undercut with a somber tone that can’t fail to elicit the listener’s empathy. “Sargent House has opened a lot of doors for us,” says Luke Jones, “They’re such a well-respected label, so it feels good to be a part of that roster. It almost doesn’t feel real that we’re deserving of that. So we’re thankful for [[the label] giving us that shot.”
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__MATTIEL |__ Mattiel Brown, aka Mattiel, has been a longtime fixture on Atlanta’s indie rock scene, wielding her own brand of bluesy garage and soulful songwriting accentuated by her powerful growls. Preferring a straightforward, catchy verse and chorus structure to overly complex rhythms and melodies, the modern rockstar’s style draws comparisons to old school rock ’n’ roll icons. The 2017 release of Mattiel’s self-titled debut (Burger Records) led to increased attention across the pond, ultimately culminating in UK label Heavenly Recordings distributing the album in Europe. Shortly afterward the band embarked on a largely sold-out European tour, catching the attention of Jack White and subsequently opening for him on a leg of his American tour. Now, Mattiel has returned home, signed to ATO Records, and completed work on her sophomore release, Satis Factory, out June 14. Though sculpted in the same studio as debut LP, Satis Factory features a broader blend of influences, and takes a lot more risks.
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  string(2564) " Paladin  2019-06-06T15:23:21+00:00 Paladin.jpg     mattiel blis no one loves you paladin prosthetic records ascension ato records omni sub pop upchuck afropunk sanguine grey cat studios patrick phillips lunar vacation house cat records sequoyah murray thrill jockey records penalties of love before you begin Paladin, Mattiel, Sequoyah Murray, and more raise the bar high for the local music scene Paladin   2019-06-06T18:45:00+00:00  2019 Atlanta Music MVPs chad.radford Chad Radford CL Staff  2019-06-06T18:45:00+00:00 

PALADIN | The May 17 arrival of Paladin’s Prosthetic Records debut, Ascension, proved an impressive first move for the burgeoning thrash metal masters. Guitarist and songwriter Taylor Washington, guitarist Alex Parra, bass player Andy McGraw, and drummer Nathan McKinney have paid their dues slamming out brutal power chords at breakneck speeds for years. Washington occasionally plays at the 10 High’s Metalsome Monday karaoke nights. Parra spent time with Gunpowder Gray and still plays guitar with Sadistic Ritual. Paladin was born as a side project from their group Sybaritic, and pairing up with Prosthetic has opened the door for a much larger audience. “The whole label believes in us so it makes all the hard work we have put in and will continue to put in feel worthwhile,” says Parra. “If anything has changed, it’s our expectations of how well we would do. … [the album has] already reached way more people than we thought it would.” Songs from Ascension, such as “Awakening,” “Shoot for the Sun,” and “Genesis” bring a European flavor to Paladin’s headbanging riffs. Washington’s operatic voice and the screaming guitar leads evoke comparisons to Iron Maiden, Dio, and Saxon. But there’s more than cherry influences on display here. Ascension is a relentless machine clearing the path for a stylish new era for Atlanta power thrash, channeling ’80s metal abandon and a blackened metal fury into a dirge that communes with the coming end of days for mankind.

— Chad Radford


 



 


 


 


 


     David Parham GET THRASHED: Paladin’s Prosthetic Records debut “Ascension” marks a power move for Atlanta metal.  0,0,18    Paladin "Prosthetic Records" Ascension "ATO Records" Mattiel OMNI "Sub Pop" "Upchuck" Afropunk Sanguine "Grey Cat Studios" "Patrick Phillips" "Lunar Vacation" "House Cat Records" "Sequoyah Murray" "Thrill Jockey Records" "Penalties Of Love" "Before You Begin" Blis "No One Loves You"                       2019 Atlanta Music MVPs "
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  string(7871) "!GEMINI
!!The Twins - May 21-June 20
!!!I prefer live theater over movies. The glossy flawlessness of films, accomplished by machines that assemble and polish, is less emotionally rich than the direct impact of live performers’ unmediated voices and bodies and emotions. Their evocative imperfections move me in ways that glossy flawlessness can’t. Even if you’re not like me, Gemini, I invite you to experiment with my approach for a while—not just in the entertainment you choose, but in all areas of your life. As much as possible, get your experience raw and unfiltered.
CANCER (June 21-July 22): I’ve got a message for you from Cancerian poet Tyler Knott Gregson. Please read it every day for the next 15 days, including when you first wake up and right before sleep. Here it is: “Promise me you will not spend so much time treading water and trying to keep your head above the waves that you forget, truly forget, how much you have always loved to swim.”

LEO (July 23-Aug. 22): In 2003, a group of thieves in Antwerp, Belgium pulled off the biggest jewelry heist in history. To steal the diamonds, gold, and other gems, together worth more than $100 million, they had to outsmart security guards, a seismic sensor, a protective magnetic field, Doppler radar, infrared detectors, and a lock. I mention this, Leo, because I suspect that in the coming weeks you will have a comparable ability to insinuate yourself into the presence of previously inaccessible treasures and secrets and codes. You’ll be able to penetrate barriers that have kept you shut off from valuable things. (P.S. But I hope that unlike the Antwerp thieves, you’ll use your superpowers in an ethical manner.)

VIRGO (Aug. 23-Sept. 22): In the northeast corner of Spain, bordering France, is an area known as Catalonia. With its own culture and language, it has a long history of seeking complete autonomy. On four occasions it has declared itself to be independent from Spain. The most recent time was in 2017, when 92 percent of the Catalans who voted expressed the desire to be free of Spain’s rule. Alas, none of the rebellions have succeeded. In the latest instance, no other nation on Earth recognized Catalonia’s claim to be an independent republic. In contrast to its frustrated attempts, your own personal quest to seek greater independence could make real progress in the coming months. For best results, formulate a clear intention and define the precise nature of the sovereignty you seek. Write it down!

LIBRA (Sept. 23-Oct. 22): A Libran blogger named OceanAlgorithms wrote, “I’m simultaneously wishing I were a naturalist whose specialty is finding undiscovered species in well-explored places; and a skateboarding mathematician meditating on an almost-impossible-to-solve equation as I practice my skateboard tricks; and a fierce forest witch who casts spells on nature-despoilers; and a gothic heroine with twelve suitors; and the sexiest cat that ever lived.” I love how freewheeling and wide-ranging OceanAlgorithms is with her imaginative fantasies. In light of current astrological omens, I encourage you to do the same. Give yourself permission to dream and scheme extravagantly.

SCORPIO (Oct. 23-Nov. 21): Geologists aren’t exactly sure why, but almost six million years ago, the Strait of Gibraltar closed up. As a result, the Mediterranean Sea was cut off from the Atlantic Ocean, and within a thousand years, it had mostly disappeared. Fast forward 600,000 years. Again, geologists don’t understand how it happened, but a flood broke through the barrier, allowing the ocean to flow back into the Mediterranean basin and restore it to its previous status as a sea. I propose that we invoke that replenishment as a holy symbol for the process you’re engaged in: a replenishment of your dried-out waters.

SAGITTARIUS (Nov. 22-Dec. 21): I invite you to meditate on this proposal from freelance writer Radha Marcum: “The spiritual definition of love is that when you look at the person you love, it makes you love yourself more.” I hope there’s a lot of that kind of action going on for you in the next four weeks. According to my assessment of life’s secret currents, all of creation will be conspiring to intensify and deepen your love for yourself by intensifying and deepening your love for other people. Cooperate with that conspiracy, please!

CAPRICORN (Dec. 22-Jan. 19): Is there a creature on earth that’s more annoying than the mosquito? I’ve never heard anyone gaze upon one of the pesky monsters sucking blood out of her arm and say, “Aw, what a cute little bug.” And yet every year there is a town in Russia that holds a jokey three-day celebration in honor of the mosquito. The people who live in Berezniki even stage a “most delicious” competition, in which people allow themselves to be pricked by mosquitoes for twenty minutes, with an award going to whomever accumulates the most bites. I highly approve of the spirit of this approach for your own use in the coming weeks, Capricorn. If you have fun with the things that bother you, I bet they won’t bother you as much.

AQUARIUS (Jan. 20-Feb. 18): It’s the Forever Season, Aquarius. You have a poetic license to act as if your body will live for a hundred years and your soul will live for all eternity. You are authorized to believe that in the coming decades you will grow steadily wiser, kinder, happier, and wilder. During the Forever Season, you may have dreams like flying over a waterfall at sunset, or finding the lost magic you were promised before you were born, or discovering the key to a healing you feared would always elude you. As you careen through this unpredictable grace period, your understanding of reality may expand dramatically. I bet you’ll get practical epiphanies about how to express yourself with greater effectiveness.

PISCES (Feb. 19-March 20): A musical historian from Cambridge University decided it would be amusing to perform forgotten songs that were written in the Rhineland a thousand years ago. His research wasn’t easy, because musical notation was different back then. But he ultimately reconstructed the tunes in ways that he felt were 80 percent faithful to the originals. He and other musicians subsequently performed and recorded them. I propose a somewhat comparable assignment for you in the coming weeks, Pisces. You will benefit, I believe, from trying to recover the truth about events that occurred a long time ago and/or by trying to revivify old beauty that has new relevance.

ARIES (March 21-April 19): In the coming weeks it will make good sense for you to travel down winding paths replete with interesting twists and provocative turns. The zigzags you’ll be inspired to pursue won’t be inconvenient or inefficient, but rather will be instrumental in obtaining the healing you need. To honor and celebrate this oddly lucky phase, I’ll quote parts of “Flying Crooked,” a poem by Robert Graves. “The butterfly will never master the art of flying straight, yet has a just sense of how not to fly: He lurches here and here by guess and God and hope and hopelessness. Even the acrobatic swift has not his flying-crooked gift.”

TAURUS (April 20-May 20): Has a part of you become too timid, docile, or prosaic? Is there an aspect of your beautiful soul that is partially muzzled, submissive, or housebroken? If so, now is a favorable time to seek an antidote. But listen closely: the cure isn’t to become chaotic, turbulent, and out of control. It would be counterproductive to resort to berserk mayhem. Here’s a better way: be primal, lush, and exciting. Be wildly playful and unpredictably humorous and alluringly intriguing. Try experiments that rouse your rowdy sweetness, your unkempt elegance, your brazen joy, and your sensual intelligence."
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!!~~#e74c3c:__The Twins - May 21-June 20__~~
!!!I prefer live theater over movies. The glossy flawlessness of films, accomplished by machines that assemble and polish, is less emotionally rich than the direct impact of live performers’ unmediated voices and bodies and emotions. Their evocative imperfections move me in ways that glossy flawlessness can’t. Even if you’re not like me, Gemini, I invite you to experiment with my approach for a while—not just in the entertainment you choose, but in all areas of your life. As much as possible, get your experience raw and unfiltered.
__CANCER (June 21-July 22):__ I’ve got a message for you from Cancerian poet Tyler Knott Gregson. Please read it every day for the next 15 days, including when you first wake up and right before sleep. Here it is: “Promise me you will not spend so much time treading water and trying to keep your head above the waves that you forget, truly forget, how much you have always loved to swim.”

__LEO (July 23-Aug. 22):__ In 2003, a group of thieves in Antwerp, Belgium pulled off the biggest jewelry heist in history. To steal the diamonds, gold, and other gems, together worth more than $100 million, they had to outsmart security guards, a seismic sensor, a protective magnetic field, Doppler radar, infrared detectors, and a lock. I mention this, Leo, because I suspect that in the coming weeks you will have a comparable ability to insinuate yourself into the presence of previously inaccessible treasures and secrets and codes. You’ll be able to penetrate barriers that have kept you shut off from valuable things. (P.S. But I hope that unlike the Antwerp thieves, you’ll use your superpowers in an ethical manner.)

__VIRGO (Aug. 23-Sept. 22):__ In the northeast corner of Spain, bordering France, is an area known as Catalonia. With its own culture and language, it has a long history of seeking complete autonomy. On four occasions it has declared itself to be independent from Spain. The most recent time was in 2017, when 92 percent of the Catalans who voted expressed the desire to be free of Spain’s rule. Alas, none of the rebellions have succeeded. In the latest instance, no other nation on Earth recognized Catalonia’s claim to be an independent republic. In contrast to its frustrated attempts, your own personal quest to seek greater independence could make real progress in the coming months. For best results, formulate a clear intention and define the precise nature of the sovereignty you seek. Write it down!

__LIBRA (Sept. 23-Oct. 22):__ A Libran blogger named OceanAlgorithms wrote, “I’m simultaneously wishing I were a naturalist whose specialty is finding undiscovered species in well-explored places; and a skateboarding mathematician meditating on an almost-impossible-to-solve equation as I practice my skateboard tricks; and a fierce forest witch who casts spells on nature-despoilers; and a gothic heroine with twelve suitors; and the sexiest cat that ever lived.” I love how freewheeling and wide-ranging OceanAlgorithms is with her imaginative fantasies. In light of current astrological omens, I encourage you to do the same. Give yourself permission to dream and scheme extravagantly.

__SCORPIO (Oct. 23-Nov. 21):__ Geologists aren’t exactly sure why, but almost six million years ago, the Strait of Gibraltar closed up. As a result, the Mediterranean Sea was cut off from the Atlantic Ocean, and within a thousand years, it had mostly disappeared. Fast forward 600,000 years. Again, geologists don’t understand how it happened, but a flood broke through the barrier, allowing the ocean to flow back into the Mediterranean basin and restore it to its previous status as a sea. I propose that we invoke that replenishment as a holy symbol for the process you’re engaged in: a replenishment of your dried-out waters.

__SAGITTARIUS (Nov. 22-Dec. 21):__ I invite you to meditate on this proposal from freelance writer Radha Marcum: “The spiritual definition of love is that when you look at the person you love, it makes you love yourself more.” I hope there’s a lot of that kind of action going on for you in the next four weeks. According to my assessment of life’s secret currents, all of creation will be conspiring to intensify and deepen your love for yourself by intensifying and deepening your love for other people. Cooperate with that conspiracy, please!

__CAPRICORN (Dec. 22-Jan. 19):__ Is there a creature on earth that’s more annoying than the mosquito? I’ve never heard anyone gaze upon one of the pesky monsters sucking blood out of her arm and say, “Aw, what a cute little bug.” And yet every year there is a town in Russia that holds a jokey three-day celebration in honor of the mosquito. The people who live in Berezniki even stage a “most delicious” competition, in which people allow themselves to be pricked by mosquitoes for twenty minutes, with an award going to whomever accumulates the most bites. I highly approve of the spirit of this approach for your own use in the coming weeks, Capricorn. If you have fun with the things that bother you, I bet they won’t bother you as much.

__AQUARIUS (Jan. 20-Feb. 18):__ It’s the Forever Season, Aquarius. You have a poetic license to act as if your body will live for a hundred years and your soul will live for all eternity. You are authorized to believe that in the coming decades you will grow steadily wiser, kinder, happier, and wilder. During the Forever Season, you may have dreams like flying over a waterfall at sunset, or finding the lost magic you were promised before you were born, or discovering the key to a healing you feared would always elude you. As you careen through this unpredictable grace period, your understanding of reality may expand dramatically. I bet you’ll get practical epiphanies about how to express yourself with greater effectiveness.

__PISCES (Feb. 19-March 20):__ A musical historian from Cambridge University decided it would be amusing to perform forgotten songs that were written in the Rhineland a thousand years ago. His research wasn’t easy, because musical notation was different back then. But he ultimately reconstructed the tunes in ways that he felt were 80 percent faithful to the originals. He and other musicians subsequently performed and recorded them. I propose a somewhat comparable assignment for you in the coming weeks, Pisces. You will benefit, I believe, from trying to recover the truth about events that occurred a long time ago and/or by trying to revivify old beauty that has new relevance.

__ARIES (March 21-April 19):__ In the coming weeks it will make good sense for you to travel down winding paths replete with interesting twists and provocative turns. The zigzags you’ll be inspired to pursue won’t be inconvenient or inefficient, but rather will be instrumental in obtaining the healing you need. To honor and celebrate this oddly lucky phase, I’ll quote parts of “Flying Crooked,” a poem by Robert Graves. “The butterfly will never master the art of flying straight, yet has a just sense of how not to fly: He lurches here and here by guess and God and hope and hopelessness. Even the acrobatic swift has not his flying-crooked gift.”

__TAURUS (April 20-May 20):__ Has a part of you become too timid, docile, or prosaic? Is there an aspect of your beautiful soul that is partially muzzled, submissive, or housebroken? If so, now is a favorable time to seek an antidote. But listen closely: the cure isn’t to become chaotic, turbulent, and out of control. It would be counterproductive to resort to berserk mayhem. Here’s a better way: be primal, lush, and exciting. Be wildly playful and unpredictably humorous and alluringly intriguing. Try experiments that rouse your rowdy sweetness, your unkempt elegance, your brazen joy, and your sensual intelligence."
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  string(8179) " GeminiIcon  2019-07-02T19:18:34+00:00 GeminiIcon.jpg       GeminiIcon   2019-06-06T19:14:00+00:00  Free Will Astrology • June 2019 jim.harris Jim Harris Rob Breszny  2019-06-06T19:14:00+00:00 !GEMINI
!!The Twins - May 21-June 20
!!!I prefer live theater over movies. The glossy flawlessness of films, accomplished by machines that assemble and polish, is less emotionally rich than the direct impact of live performers’ unmediated voices and bodies and emotions. Their evocative imperfections move me in ways that glossy flawlessness can’t. Even if you’re not like me, Gemini, I invite you to experiment with my approach for a while—not just in the entertainment you choose, but in all areas of your life. As much as possible, get your experience raw and unfiltered.
CANCER (June 21-July 22): I’ve got a message for you from Cancerian poet Tyler Knott Gregson. Please read it every day for the next 15 days, including when you first wake up and right before sleep. Here it is: “Promise me you will not spend so much time treading water and trying to keep your head above the waves that you forget, truly forget, how much you have always loved to swim.”

LEO (July 23-Aug. 22): In 2003, a group of thieves in Antwerp, Belgium pulled off the biggest jewelry heist in history. To steal the diamonds, gold, and other gems, together worth more than $100 million, they had to outsmart security guards, a seismic sensor, a protective magnetic field, Doppler radar, infrared detectors, and a lock. I mention this, Leo, because I suspect that in the coming weeks you will have a comparable ability to insinuate yourself into the presence of previously inaccessible treasures and secrets and codes. You’ll be able to penetrate barriers that have kept you shut off from valuable things. (P.S. But I hope that unlike the Antwerp thieves, you’ll use your superpowers in an ethical manner.)

VIRGO (Aug. 23-Sept. 22): In the northeast corner of Spain, bordering France, is an area known as Catalonia. With its own culture and language, it has a long history of seeking complete autonomy. On four occasions it has declared itself to be independent from Spain. The most recent time was in 2017, when 92 percent of the Catalans who voted expressed the desire to be free of Spain’s rule. Alas, none of the rebellions have succeeded. In the latest instance, no other nation on Earth recognized Catalonia’s claim to be an independent republic. In contrast to its frustrated attempts, your own personal quest to seek greater independence could make real progress in the coming months. For best results, formulate a clear intention and define the precise nature of the sovereignty you seek. Write it down!

LIBRA (Sept. 23-Oct. 22): A Libran blogger named OceanAlgorithms wrote, “I’m simultaneously wishing I were a naturalist whose specialty is finding undiscovered species in well-explored places; and a skateboarding mathematician meditating on an almost-impossible-to-solve equation as I practice my skateboard tricks; and a fierce forest witch who casts spells on nature-despoilers; and a gothic heroine with twelve suitors; and the sexiest cat that ever lived.” I love how freewheeling and wide-ranging OceanAlgorithms is with her imaginative fantasies. In light of current astrological omens, I encourage you to do the same. Give yourself permission to dream and scheme extravagantly.

SCORPIO (Oct. 23-Nov. 21): Geologists aren’t exactly sure why, but almost six million years ago, the Strait of Gibraltar closed up. As a result, the Mediterranean Sea was cut off from the Atlantic Ocean, and within a thousand years, it had mostly disappeared. Fast forward 600,000 years. Again, geologists don’t understand how it happened, but a flood broke through the barrier, allowing the ocean to flow back into the Mediterranean basin and restore it to its previous status as a sea. I propose that we invoke that replenishment as a holy symbol for the process you’re engaged in: a replenishment of your dried-out waters.

SAGITTARIUS (Nov. 22-Dec. 21): I invite you to meditate on this proposal from freelance writer Radha Marcum: “The spiritual definition of love is that when you look at the person you love, it makes you love yourself more.” I hope there’s a lot of that kind of action going on for you in the next four weeks. According to my assessment of life’s secret currents, all of creation will be conspiring to intensify and deepen your love for yourself by intensifying and deepening your love for other people. Cooperate with that conspiracy, please!

CAPRICORN (Dec. 22-Jan. 19): Is there a creature on earth that’s more annoying than the mosquito? I’ve never heard anyone gaze upon one of the pesky monsters sucking blood out of her arm and say, “Aw, what a cute little bug.” And yet every year there is a town in Russia that holds a jokey three-day celebration in honor of the mosquito. The people who live in Berezniki even stage a “most delicious” competition, in which people allow themselves to be pricked by mosquitoes for twenty minutes, with an award going to whomever accumulates the most bites. I highly approve of the spirit of this approach for your own use in the coming weeks, Capricorn. If you have fun with the things that bother you, I bet they won’t bother you as much.

AQUARIUS (Jan. 20-Feb. 18): It’s the Forever Season, Aquarius. You have a poetic license to act as if your body will live for a hundred years and your soul will live for all eternity. You are authorized to believe that in the coming decades you will grow steadily wiser, kinder, happier, and wilder. During the Forever Season, you may have dreams like flying over a waterfall at sunset, or finding the lost magic you were promised before you were born, or discovering the key to a healing you feared would always elude you. As you careen through this unpredictable grace period, your understanding of reality may expand dramatically. I bet you’ll get practical epiphanies about how to express yourself with greater effectiveness.

PISCES (Feb. 19-March 20): A musical historian from Cambridge University decided it would be amusing to perform forgotten songs that were written in the Rhineland a thousand years ago. His research wasn’t easy, because musical notation was different back then. But he ultimately reconstructed the tunes in ways that he felt were 80 percent faithful to the originals. He and other musicians subsequently performed and recorded them. I propose a somewhat comparable assignment for you in the coming weeks, Pisces. You will benefit, I believe, from trying to recover the truth about events that occurred a long time ago and/or by trying to revivify old beauty that has new relevance.

ARIES (March 21-April 19): In the coming weeks it will make good sense for you to travel down winding paths replete with interesting twists and provocative turns. The zigzags you’ll be inspired to pursue won’t be inconvenient or inefficient, but rather will be instrumental in obtaining the healing you need. To honor and celebrate this oddly lucky phase, I’ll quote parts of “Flying Crooked,” a poem by Robert Graves. “The butterfly will never master the art of flying straight, yet has a just sense of how not to fly: He lurches here and here by guess and God and hope and hopelessness. Even the acrobatic swift has not his flying-crooked gift.”

TAURUS (April 20-May 20): Has a part of you become too timid, docile, or prosaic? Is there an aspect of your beautiful soul that is partially muzzled, submissive, or housebroken? If so, now is a favorable time to seek an antidote. But listen closely: the cure isn’t to become chaotic, turbulent, and out of control. It would be counterproductive to resort to berserk mayhem. Here’s a better way: be primal, lush, and exciting. Be wildly playful and unpredictably humorous and alluringly intriguing. Try experiments that rouse your rowdy sweetness, your unkempt elegance, your brazen joy, and your sensual intelligence.    publicdomainvectors.org Gemini the Twins  0,0,11                           Free Will Astrology • June 2019 "
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  string(4414) "While assembling CL’s 2019 Music Issue, I was only vaguely aware of a few loose threads that could tie the whole issue together. It was during my conversation with Drivin N Cryin frontman and principal songwriter Kevn Kinney that the answer revealed itself. Kinney and I talked about his early days in Atlanta, hanging out in his apartment with the members of Milwaukee punk band Die Kreuzen, who, left to their own devices, silk-screened their own T-shirts, making their own merch to sell at shows. Later, he offered insight into Drivin N Cryin’s 2009 LP (Whatever Happened to) The Great American Bubble Factory. We talked about the death of American industry, how even bubbles are imported from China, and how for this year’s album, Live The Love Beautiful, he looked deep within himself to break the mold and find a means to thrive, based solely on his own, existential devices. No concepts, no trends — just stories, personal observations, and rock ’n’ roll.

From cover to cover, this sense of self-reliance emerges. It’s behind Sadistic Ritual’s drive to reach deeper into metal’s darkest recesses. It’s in Dust-to-Digital and Susan Archie’s respective efforts to foster deeper connections with music. It’s what impels Sequoyah Murray, branching out to see the world, and why a whole community of Cabbagetown musicians comes together to pay homage to the neighborhood’s musical legacy.

When the buffoons in charge of everything have botched the system so badly that the only way to fix things is by deploying D.I.Y. muscle and elbow grease on the ground level, then so be it. There is a truly defining American industriousness running throughout this issue, whether it’s a survey of rising local music MVPs, this year’s long list of summer jams or a feature on WLPWR’s new East Point production facility, BNDWTH. Speaking of which, the latter of these stories finds former music intern-turned hip-hop writer Josh Robinson settling in behind the wheel for the monthly Atlanta Untrapped column.

Create your own scene, in spite of the modern world’s rising rents, debilitating technology, and poor governance twisting up everyone’s perception. Build your own culture. It is the human experience, told through these stories, that will persevere.

And what you see here is merely the tip of the iceberg. The city is teeming with music, from Bankhead to Buckhead. More stories are rolling out online with our weekly podcasts. The June issue also brings with it an online rebirth of CL’s Musician’s Exchange. It’s your one-stop for finding a new bass player, buying and selling gear, and scoping out bands with whom you’d like to share the stage.

The bottom line is, it’s all about the music, and in the words of Sadistic Ritual drummer Joe Sweat, “... we’re Americans. We want to play something that’s actually fucking good, something that has some bite, something with fire, and the attitude to back it up.”

It’s all here. Listen with adventurous ears.

— Sadistic Ritual pays homage to death: The Atlanta metal staple is back with bite and the attitude to back it up by Chad Radford

— 2019 Atlanta Music MVPs: Paladin, Mattiel, Sequoyah Murray, and more raise the bar high for the local music scene by CL Staff

— ATL Untrapped: BNDWTH offers artists a chance to be great. Artistic development reigns supreme at WLPWR’s East Point production facility by Joshua Robinson

— 20 summer jams to beat the heat in 2019 by CL staff

— Faye Webster returns on her own terms: ‘Atlanta Millionaires Club’ blends intimacy, Americana, and R&B by Jake Van Valkenburg

— Chronicling the ‘Cabbagetown Chronicles.’ The onetime mill town has nurtured a diverse music scene by Doug DeLoach

— BLUES & BEYOND: Rose blooms, Darwin’s wiltsGypsy Rose brings roots music to historic Roswell by Hal Horowitz

— Sequoyah Murray’s family affair: The rising songwriter wants to unite all listeners with ‘Penalties of Love’ by Chad Radford

— Kevn Kinney still lives around here: The Drivin N Cryin frontman delves into the songs on ‘Live the Love Beautiful' by Chad Radford

— Jeff Walls, 1956-2019: The late guitarist had ‘the right stuff’ by Tony Paris

— Dust-to-Digital’s song of the South and beyond: Lance and April Ledbetter shine a light on forgotten music by Chad Radford"
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From cover to cover, this sense of self-reliance emerges. It’s behind Sadistic Ritual’s drive to reach deeper into metal’s darkest recesses. It’s in Dust-to-Digital and Susan Archie’s respective efforts to foster deeper connections with music. It’s what impels Sequoyah Murray, branching out to see the world, and why a whole community of Cabbagetown musicians comes together to pay homage to the neighborhood’s musical legacy.

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Create your own scene, in spite of the modern world’s rising rents, debilitating technology, and poor governance twisting up everyone’s perception. Build your own culture. It is the human experience, told through these stories, that will persevere.

And what you see here is merely the tip of the iceberg. The city is teeming with music, from Bankhead to Buckhead. More stories are rolling out online with our weekly podcasts. The June issue also brings with it an online rebirth of ''CL''’s Musician’s Exchange. It’s your one-stop for finding a new bass player, buying and selling gear, and scoping out bands with whom you’d like to share the stage.

The bottom line is, it’s all about the music, and in the words of Sadistic Ritual drummer Joe Sweat, “... we’re Americans. We want to play something that’s actually fucking good, something that has some bite, something with fire, and the attitude to back it up.”

It’s all here. Listen with adventurous ears.

— [https://creativeloafing.com/content-428289-Sadistic-Ritual-pays-homage-to-death|Sadistic Ritual pays homage to death: The Atlanta metal staple is back with bite and the attitude to back it up] ~~#000000:by Chad Radford~~

— [https://creativeloafing.com/content-428466-2019-Atlanta-Music-MVPs|2019 Atlanta Music MVPs: Paladin, Mattiel, Sequoyah Murray, and more raise the bar high for the local music scene] by ''CL'' Staff

— [https://creativeloafing.com/content-428335-ATL-Untrapped-BNDWTH-offers-artists-a-chance-to-be-great|ATL Untrapped: BNDWTH offers artists a chance to be great. Artistic development reigns supreme at WLPWR’s East Point production facility] ~~#000000:by Joshua Robinson~~

— [https://creativeloafing.com/content-428366|20 summer jams to beat the heat in 2019] ~~#000000:by CL staff~~

— [https://creativeloafing.com/content-427601-Faye-Webster-returns-on-her-own-terms|Faye Webster returns on her own terms: ‘Atlanta Millionaires Club’ blends intimacy, Americana, and R&B] ~~#000000:by Jake Van Valkenburg~~

— [https://creativeloafing.com/content-428471-LISTENING-POST-Chronicling-the-Cabbagetown-Chronicl|Chronicling the ‘Cabbagetown Chronicles.’ The onetime mill town has nurtured a diverse music scene] ~~#000000:by Doug DeLoach~~

— [https://creativeloafing.com/content-428376-BLUES-BEYOND-Rose-blooms-Darwin-s-wilts|BLUES & BEYOND: Rose blooms, Darwin’s wiltsGypsy Rose brings roots music to historic Roswell] ~~#000000:by Hal Horowitz~~

— [https://creativeloafing.com/content-428363-Sequoyah-Murray-s-family-affair|Sequoyah Murray’s family affair: The rising songwriter wants to unite all listeners with ‘Penalties of Love’] ~~#000000:by Chad Radford~~

— [https://creativeloafing.com/content-428092-Kevn-Kinney-still-lives-around-here|Kevn Kinney still lives around here: The Drivin N Cryin frontman delves into the songs on ‘Live the Love Beautiful'] ~~#000000:by Chad Radford~~

— [https://creativeloafing.com/content-427973-Jeff-Walls-1956-2019-2|Jeff Walls, 1956-2019: The late guitarist had ‘the right stuff’] ~~#000000:by Tony Paris~~

— [https://creativeloafing.com/content-428465-Dust-to-Digital-s-song-of-the-South-and-beyond|Dust-to-Digital’s song of the South and beyond: Lance and April Ledbetter shine a light on forgotten music] ~~#000000:by Chad Radford~~"
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  string(4970) " CL June 2019 Cover Web Lrg  2019-06-06T16:55:37+00:00 CL_June_2019_cover_web_lrg.jpg       CL June 2019 Cover Web Lrg   2019-06-06T19:45:00+00:00  The 2019 Music Issue at a glance chad.radford Chad Radford Chad Radford  2019-06-06T19:45:00+00:00 While assembling CL’s 2019 Music Issue, I was only vaguely aware of a few loose threads that could tie the whole issue together. It was during my conversation with Drivin N Cryin frontman and principal songwriter Kevn Kinney that the answer revealed itself. Kinney and I talked about his early days in Atlanta, hanging out in his apartment with the members of Milwaukee punk band Die Kreuzen, who, left to their own devices, silk-screened their own T-shirts, making their own merch to sell at shows. Later, he offered insight into Drivin N Cryin’s 2009 LP (Whatever Happened to) The Great American Bubble Factory. We talked about the death of American industry, how even bubbles are imported from China, and how for this year’s album, Live The Love Beautiful, he looked deep within himself to break the mold and find a means to thrive, based solely on his own, existential devices. No concepts, no trends — just stories, personal observations, and rock ’n’ roll.

From cover to cover, this sense of self-reliance emerges. It’s behind Sadistic Ritual’s drive to reach deeper into metal’s darkest recesses. It’s in Dust-to-Digital and Susan Archie’s respective efforts to foster deeper connections with music. It’s what impels Sequoyah Murray, branching out to see the world, and why a whole community of Cabbagetown musicians comes together to pay homage to the neighborhood’s musical legacy.

When the buffoons in charge of everything have botched the system so badly that the only way to fix things is by deploying D.I.Y. muscle and elbow grease on the ground level, then so be it. There is a truly defining American industriousness running throughout this issue, whether it’s a survey of rising local music MVPs, this year’s long list of summer jams or a feature on WLPWR’s new East Point production facility, BNDWTH. Speaking of which, the latter of these stories finds former music intern-turned hip-hop writer Josh Robinson settling in behind the wheel for the monthly Atlanta Untrapped column.

Create your own scene, in spite of the modern world’s rising rents, debilitating technology, and poor governance twisting up everyone’s perception. Build your own culture. It is the human experience, told through these stories, that will persevere.

And what you see here is merely the tip of the iceberg. The city is teeming with music, from Bankhead to Buckhead. More stories are rolling out online with our weekly podcasts. The June issue also brings with it an online rebirth of CL’s Musician’s Exchange. It’s your one-stop for finding a new bass player, buying and selling gear, and scoping out bands with whom you’d like to share the stage.

The bottom line is, it’s all about the music, and in the words of Sadistic Ritual drummer Joe Sweat, “... we’re Americans. We want to play something that’s actually fucking good, something that has some bite, something with fire, and the attitude to back it up.”

It’s all here. Listen with adventurous ears.

— Sadistic Ritual pays homage to death: The Atlanta metal staple is back with bite and the attitude to back it up by Chad Radford

— 2019 Atlanta Music MVPs: Paladin, Mattiel, Sequoyah Murray, and more raise the bar high for the local music scene by CL Staff

— ATL Untrapped: BNDWTH offers artists a chance to be great. Artistic development reigns supreme at WLPWR’s East Point production facility by Joshua Robinson

— 20 summer jams to beat the heat in 2019 by CL staff

— Faye Webster returns on her own terms: ‘Atlanta Millionaires Club’ blends intimacy, Americana, and R&B by Jake Van Valkenburg

— Chronicling the ‘Cabbagetown Chronicles.’ The onetime mill town has nurtured a diverse music scene by Doug DeLoach

— BLUES & BEYOND: Rose blooms, Darwin’s wiltsGypsy Rose brings roots music to historic Roswell by Hal Horowitz

— Sequoyah Murray’s family affair: The rising songwriter wants to unite all listeners with ‘Penalties of Love’ by Chad Radford

— Kevn Kinney still lives around here: The Drivin N Cryin frontman delves into the songs on ‘Live the Love Beautiful' by Chad Radford

— Jeff Walls, 1956-2019: The late guitarist had ‘the right stuff’ by Tony Paris

— Dust-to-Digital’s song of the South and beyond: Lance and April Ledbetter shine a light on forgotten music by Chad Radford    Artwork by the Real Frank Tee. Design by Blake Tannery at TanneryYoung GIANT STEPS: This year's Music Issue cover was inspired by the Real Frank Tee, who created the cover art for Drivin N Cryin's latest album, 'Live the Love Beautiful.'  0,0,11                           The 2019 Music Issue at a glance "
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Welcome to Creative Loafing’s weekend roundup podcast for June 7- June 9! Will Cardwell, Jacob Chisenhall, Sophia Rubin, and Narah Landress join Music Editor Chad Radford to talk about their top picks for weekend music and more. Turn on, tune in, go out!

Fri., June 7 
— Jamilla Woods, Nitty Scott, Dri Jack at the Masquerade (Hell)
If you’ve been worrying about a sophomore slump from Jamila Woods, you can stop. The Chicago poet, singer, and songwriter’s 2016 debut album HEAVN was an immersive and spirited celebration of black girl magic set to a soundtrack of future-jazz, hip-hop, and soul, and her follow-up effort, Legacy! Legacy!, feels more substantial in every way. With tracks named after inspirational people of color like Nikki Giovanni, Jean-Michel Basquiat, Sun Ra, and Frida Kahlo, Woods’ second full-length is packed with sturdy beats, fuzzy synths, startling guitar solos, and a welcome dab of experimentation. As always, she uses her words to distill human existence down to its basics: “I’m trying to see eye to eye but you look right over me,” she sings in “Eartha,” named for Miss Kitt. “Your words stuck on repeat and I’m tired of your shit.” Without question, Legacy! Legacy! will go down as one of 2019's best albums. $15-$18. 8 p.m. — Ben Salmon

— Anderson .Paak & The Free Nationals, Noname, Thundercat at Cadence Bank Amphitheater at Chastain Park
Since dropping Malibu in 2016, Southern California rapper Anderson .Paak has become something of an enigma through his high-energy live performances and collaborations with the likes of Dr. Dre. With his latest album, Ventura, featuring Smokey Robinson and Andre 3000, he shows no signs of slowing down any time soon. On album highlight “King James,” .Paak delivers an airy jazz-pop ode to LeBron James that addresses using privilege to give back and shed light on injustice. Noname and Thundercat fill out the bill. $32-$135. 7:30 p.m. — Jake Van Valkenburg

— Beltline Sunset Hike
Enjoy time in nature while also watching the sunset over the skyline at the Beltline Sunset Hike hosted by REI & The Georgia Conservancy. In this event you’ll be introduced to natural spaces along the Beltline (before the Beltline itself mowes it over, that is) as well as fellow hikers and other Atlanta residents that love both the natural and urban world. Free. 7:30 p.m.

— Gabbie Rotts Album Release + Girls Rock Camp ATL Fundraiser at Star Bar
Gabbie Rotts, a grunge pop trio, plays at the Star Bar in support of Mystical Harmony, released May 24. All proceeds will be donated to Girls Rock Camp Atlanta. With Boygirlfriends, Haint, and Pansy. $10. 9 p.m.

— Seventh Annual Atlanta Moon Ride at Piedmont Park THIS EVENT HAS BEEN POSTPONED TO JUNE 21 DUE TO WEATHER
Come live out your inner child, as well as help other children with terminal illness, with a bike ride around Atlanta in the moonlight! Each ticket for the annual moon ride in Atlanta goes to Bert’s Big Adventure Foundation, as well as provides a night of unconventional fun. This ride is for all ages and skill levels and will kick off with a pre-party in Piedmont Park with food trucks, drinks and jams to get you revved up for the midnight madness. $35. 7 p.m.

— Chris Fleming at Plaza Theatre
Chris Fleming is a relatable, yet completely obscure and theatrical comedian known for his YouTube car rants and “Gayle” series. $25. 8 p.m.

— Summer Stunner II at 529 and the Earl
Summer Stunner is an annual gathering of garage punk rabble rousers who want to have a good time all the time. Groups like Dinos Boys, Gunpowder Gray, Candy Ci77arettes, Mongo, Fast Eddy, and Fixed Faces tear up the EARL, while Golden Pelicans, Metalleg, Alligator Alley, Adam Anzio, and others bring the heat at 529. $12-$35.

Sat., June 8 
— Monster Fish at Fernbank
A chance to learn about the very real monsters that dwell in America’s rivers. The exhibition includes five life sized sculptures and interactables. Free.

— Identikit, Clockwork Pioneer, Star Period Star, Help!Computer at Smith’s Olde Bar
Head on over to Smith’s Olde Bar to experience a set oozing with fusion, “many adjectived-prog,” Savannah prog rock, and “bleep blorp”. $8-$12. 9:30 p.m.

Sun., June 9 
— Atlanta Streets Alive: Cross-City Route
Experience the wonder of atlanta without all the blaring car horns and angry motorists. This weekend’s route of car-blocked streets goes from DeKalb Avenue and Decatur Street to Marietta Street and Howell Mill Road, combining the east and west routes from previous years. Walk or bike any or all of this year’s 10 mile stretch, enjoy booths and events hosted by community organizations, local businesses (did someone say breweries?!), and sponsors. Free. 2 p.m."
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Welcome to ''Creative Loafing''’s weekend roundup podcast for __June 7- June 9__! Will Cardwell, Jacob Chisenhall, Sophia Rubin, and Narah Landress join Music Editor Chad Radford to talk about their top picks for weekend music and more. Turn on, tune in, go out!

__===Fri., June 7 ===__
__— [http://www.masqueradeatlanta.com/events/jamila-woods/|Jamilla Woods, Nitty Scott, Dri Jack at the Masquerade (Hell)]__
If you’ve been worrying about a sophomore slump from Jamila Woods, you can stop. The Chicago poet, singer, and songwriter’s 2016 debut album ''HEAVN'' was an immersive and spirited celebration of black girl magic set to a soundtrack of future-jazz, hip-hop, and soul, and her follow-up effort, ''Legacy! Legacy!'', feels more substantial in every way. With tracks named after inspirational people of color like Nikki Giovanni, Jean-Michel Basquiat, Sun Ra, and Frida Kahlo, Woods’ second full-length is packed with sturdy beats, fuzzy synths, startling guitar solos, and a welcome dab of experimentation. As always, she uses her words to distill human existence down to its basics: “I’m trying to see eye to eye but you look right over me,” she sings in “Eartha,” named for Miss Kitt. “Your words stuck on repeat and I’m tired of your shit.” Without question, ''Legacy! Legacy!'' will go down as one of 2019's best albums. ''$15-$18. 8 p.m.'' — Ben Salmon

__— [https://concerts1.livenation.com/event/0E00565AB9D04511?c=LN_NAC_NAT_SEM_Google_AndersonPaakLeg22019&awtrc=true&gclsrc=aw.ds&|Anderson .Paak & The Free Nationals, Noname, Thundercat at Cadence Bank Amphitheater at Chastain Park]__
Since dropping ''Malibu'' in 2016, Southern California rapper Anderson .Paak has become something of an enigma through his high-energy live performances and collaborations with the likes of Dr. Dre. With his latest album, ''Ventura'', featuring Smokey Robinson and Andre 3000, he shows no signs of slowing down any time soon. On album highlight “King James,” .Paak delivers an airy jazz-pop ode to LeBron James that addresses using privilege to give back and shed light on injustice. Noname and Thundercat fill out the bill. ''$32-$135. 7:30 p.m.'' — Jake Van Valkenburg

__— [https://www.eventbrite.com/e/beltline-sunset-hike-tickets-57123871036|Beltline Sunset Hike]__
Enjoy time in nature while also watching the sunset over the skyline at the Beltline Sunset Hike hosted by REI & The Georgia Conservancy. In this event you’ll be introduced to natural spaces along the Beltline (before the Beltline itself mowes it over, that is) as well as fellow hikers and other Atlanta residents that love both the natural and urban world. ''Free. 7:30 p.m.''

__— [https://www.facebook.com/events/273404246938485/|Gabbie Rotts Album Release + Girls Rock Camp ATL Fundraiser] at Star Bar__
Gabbie Rotts, a grunge pop trio, plays at the Star Bar in support of ''Mystical Harmony'', released May 24. All proceeds will be donated to Girls Rock Camp Atlanta. With Boygirlfriends, Haint, and Pansy. ''$10. 9 p.m.''

__— [https://atlantamoonride.com/|Seventh Annual Atlanta Moon Ride] at Piedmont Park THIS EVENT HAS BEEN POSTPONED TO JUNE 21 DUE TO WEATHER__
Come live out your inner child, as well as help other children with terminal illness, with a bike ride around Atlanta in the moonlight! Each ticket for the annual moon ride in Atlanta goes to __[https://bertsbigadventure.org/|Bert’s Big Adventure Foundation]__, as well as provides a night of unconventional fun. This ride is for all ages and skill levels and will kick off with a pre-party in Piedmont Park with food trucks, drinks and jams to get you revved up for the midnight madness. ''$35. 7 p.m.''

__— [https://www.facebook.com/events/plaza-atlanta/chris-fleming-in-atlanta/336076157100128/|Chris Fleming] at Plaza Theatre__
Chris Fleming is a relatable, yet completely obscure and theatrical comedian known for his YouTube car rants and “Gayle” series. ''$25. 8 p.m.''

__— [https://www.facebook.com/events/831353860551569/|Summer Stunner II at 529 and the Earl]__
Summer Stunner is an annual gathering of garage punk rabble rousers who want to have a good time all the time. Groups like Dinos Boys, Gunpowder Gray, Candy Ci77arettes, Mongo, Fast Eddy, and Fixed Faces tear up the EARL, while Golden Pelicans, Metalleg, Alligator Alley, Adam Anzio, and others bring the heat at 529. ''$12-$35.''

__===Sat., June 8 ===__
__— [https://www.fernbankmuseum.org/explore/special-exhibitions/monster-fish/|Monster Fish at Fernbank]__
A chance to learn about the very real monsters that dwell in America’s rivers. The exhibition includes five life sized sculptures and interactables. ''Free.''

__— [https://www.facebook.com/events/311013199572829/|Identikit, Clockwork Pioneer, Star Period Star, Help!Computer at Smith’s Olde Bar]__
Head on over to Smith’s Olde Bar to experience a set oozing with fusion, “many adjectived-prog,” Savannah prog rock, and “bleep blorp”. ''$8-$12. 9:30 p.m.''

__===Sun., June 9 ===__
__— [https://www.atlantastreetsalive.com/cross-city|Atlanta Streets Alive: Cross-City Route]__
Experience the wonder of atlanta without all the blaring car horns and angry motorists. This weekend’s route of car-blocked streets goes from DeKalb Avenue and Decatur Street to Marietta Street and Howell Mill Road, combining the east and west routes from previous years. Walk or bike any or all of this year’s 10 mile stretch, enjoy booths and events hosted by community organizations, local businesses (did someone say breweries?!), and sponsors. ''Free. 2 p.m.''"
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  string(5334) " Jamila LL1  2019-06-07T15:11:37+00:00 jamila_LL1.jpg      Jamilla Woods, Anderson .Paak, Streets Alive, and more fun that’s not to be missed Jamila LL1   2019-06-07T14:56:02+00:00  Podcast: Weekend roundup June 7-9 chad.radford Chad Radford Will Cardwell, Jacob Chisenhall, Narah Landress, Chad Radford, and Sophia Rubin  2019-06-07T14:56:02+00:00 

Welcome to Creative Loafing’s weekend roundup podcast for June 7- June 9! Will Cardwell, Jacob Chisenhall, Sophia Rubin, and Narah Landress join Music Editor Chad Radford to talk about their top picks for weekend music and more. Turn on, tune in, go out!

Fri., June 7 
— Jamilla Woods, Nitty Scott, Dri Jack at the Masquerade (Hell)
If you’ve been worrying about a sophomore slump from Jamila Woods, you can stop. The Chicago poet, singer, and songwriter’s 2016 debut album HEAVN was an immersive and spirited celebration of black girl magic set to a soundtrack of future-jazz, hip-hop, and soul, and her follow-up effort, Legacy! Legacy!, feels more substantial in every way. With tracks named after inspirational people of color like Nikki Giovanni, Jean-Michel Basquiat, Sun Ra, and Frida Kahlo, Woods’ second full-length is packed with sturdy beats, fuzzy synths, startling guitar solos, and a welcome dab of experimentation. As always, she uses her words to distill human existence down to its basics: “I’m trying to see eye to eye but you look right over me,” she sings in “Eartha,” named for Miss Kitt. “Your words stuck on repeat and I’m tired of your shit.” Without question, Legacy! Legacy! will go down as one of 2019's best albums. $15-$18. 8 p.m. — Ben Salmon

— Anderson .Paak & The Free Nationals, Noname, Thundercat at Cadence Bank Amphitheater at Chastain Park
Since dropping Malibu in 2016, Southern California rapper Anderson .Paak has become something of an enigma through his high-energy live performances and collaborations with the likes of Dr. Dre. With his latest album, Ventura, featuring Smokey Robinson and Andre 3000, he shows no signs of slowing down any time soon. On album highlight “King James,” .Paak delivers an airy jazz-pop ode to LeBron James that addresses using privilege to give back and shed light on injustice. Noname and Thundercat fill out the bill. $32-$135. 7:30 p.m. — Jake Van Valkenburg

— Beltline Sunset Hike
Enjoy time in nature while also watching the sunset over the skyline at the Beltline Sunset Hike hosted by REI & The Georgia Conservancy. In this event you’ll be introduced to natural spaces along the Beltline (before the Beltline itself mowes it over, that is) as well as fellow hikers and other Atlanta residents that love both the natural and urban world. Free. 7:30 p.m.

— Gabbie Rotts Album Release + Girls Rock Camp ATL Fundraiser at Star Bar
Gabbie Rotts, a grunge pop trio, plays at the Star Bar in support of Mystical Harmony, released May 24. All proceeds will be donated to Girls Rock Camp Atlanta. With Boygirlfriends, Haint, and Pansy. $10. 9 p.m.

— Seventh Annual Atlanta Moon Ride at Piedmont Park THIS EVENT HAS BEEN POSTPONED TO JUNE 21 DUE TO WEATHER
Come live out your inner child, as well as help other children with terminal illness, with a bike ride around Atlanta in the moonlight! Each ticket for the annual moon ride in Atlanta goes to Bert’s Big Adventure Foundation, as well as provides a night of unconventional fun. This ride is for all ages and skill levels and will kick off with a pre-party in Piedmont Park with food trucks, drinks and jams to get you revved up for the midnight madness. $35. 7 p.m.

— Chris Fleming at Plaza Theatre
Chris Fleming is a relatable, yet completely obscure and theatrical comedian known for his YouTube car rants and “Gayle” series. $25. 8 p.m.

— Summer Stunner II at 529 and the Earl
Summer Stunner is an annual gathering of garage punk rabble rousers who want to have a good time all the time. Groups like Dinos Boys, Gunpowder Gray, Candy Ci77arettes, Mongo, Fast Eddy, and Fixed Faces tear up the EARL, while Golden Pelicans, Metalleg, Alligator Alley, Adam Anzio, and others bring the heat at 529. $12-$35.

Sat., June 8 
— Monster Fish at Fernbank
A chance to learn about the very real monsters that dwell in America’s rivers. The exhibition includes five life sized sculptures and interactables. Free.

— Identikit, Clockwork Pioneer, Star Period Star, Help!Computer at Smith’s Olde Bar
Head on over to Smith’s Olde Bar to experience a set oozing with fusion, “many adjectived-prog,” Savannah prog rock, and “bleep blorp”. $8-$12. 9:30 p.m.

Sun., June 9 
— Atlanta Streets Alive: Cross-City Route
Experience the wonder of atlanta without all the blaring car horns and angry motorists. This weekend’s route of car-blocked streets goes from DeKalb Avenue and Decatur Street to Marietta Street and Howell Mill Road, combining the east and west routes from previous years. Walk or bike any or all of this year’s 10 mile stretch, enjoy booths and events hosted by community organizations, local businesses (did someone say breweries?!), and sponsors. Free. 2 p.m.    Courtesy Melt! Booking LEGACY! LEGACY!: JAMILA WOODS PLAYS HELL AT THE MASQUERADE ON FRIDAY, JUNE 7.  0,0,4                           Podcast: Weekend roundup June 7-9 "
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!!About Sad Summer Festival
Stock up on eyeliner, safety pins, and Manic Panic, kids! 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. 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.

::::
 

!!Sad Summer Festival Events By Day
 

!!Events for Monday, July 8, 2019 - Day One



!!Events for Tuesday, July 9, 2019 - Day Two

 



Sad Summer Festival "
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!!About Sad Summer Festival
Stock up on eyeliner, safety pins, and Manic Panic, kids! 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. 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.

::{img fileId="18641"}::
 

!!Sad Summer Festival Events By Day
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    {FORMAT(name="eventVenue")}{display name="tracker_field_eventVenue" format="trackerrender" default=""}{FORMAT}
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    {FORMAT(name="eventCategory")}{display name="tracker_field_eventCategory" format="trackerrender" default=""}{FORMAT}
    {ALTERNATE()}^Nothing found, please try again^{ALTERNATE}
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!!Events for Monday, July 8, 2019 - Day One

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!!Events for Tuesday, July 9, 2019 - Day Two

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~tc~''Alias''
(alias(Sad-Summer-Festival|Sad Summer Festival))
(alias(Sad-Summer-Music-Fest|Sad Summer Music Fest))
(alias(Sad-Summer))
(alias(sadsummer))
(alias(sadsummermusicfestival))~/tc~
{HTML()}

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!!About Sad Summer Festival
Stock up on eyeliner, safety pins, and Manic Panic, kids! 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. 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.

::::
 

!!Sad Summer Festival Events By Day
 

!!Events for Monday, July 8, 2019 - Day One



!!Events for Tuesday, July 9, 2019 - Day Two

 



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!!About Irrelevant Music Festival
The bottom line for the Irrelevant Music Festival has always been about showcasing Atlanta’s indie rock talent. Since the fest first arrived in 2016, founder and Irrelevant Music promoter Kyle Swick has modeled the festival after likeminded musical gatherings such as Cropped Out in Louisville, and Nameless Fest in Nashville, as each one offers 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. As of press time, no information has been announced yet, so stay tuned for more.

::::
 

!!Irrelevant Music Festival Events By Day
 

!!Events for Wednesday, July 17, 2019 - Day One



!!Events for Thursday, July 18, 2019 - Day Two



!!Events for Friday, July 19, 2019 - Day Three



!!Events for Saturday, July 20, 2019 - Day Four (529)



!!Events for Friday, July 20, 2019 - Day Four (EARL)

 

!!Creative Loafing Stories About Irrelevant Music Festival
 "
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!!About Irrelevant Music Festival
The bottom line for the __Irrelevant Music Festival__ has always been about showcasing Atlanta’s indie rock talent. Since the fest first arrived in 2016, founder and Irrelevant Music promoter Kyle Swick has modeled the festival after likeminded musical gatherings such as Cropped Out in Louisville, and Nameless Fest in Nashville, as each one offers 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. As of press time, no information has been announced yet, so stay tuned for more.

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!!Events for Saturday, July 20, 2019 - Day Four (529)

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!!About Irrelevant Music Festival
The bottom line for the Irrelevant Music Festival has always been about showcasing Atlanta’s indie rock talent. Since the fest first arrived in 2016, founder and Irrelevant Music promoter Kyle Swick has modeled the festival after likeminded musical gatherings such as Cropped Out in Louisville, and Nameless Fest in Nashville, as each one offers 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. As of press time, no information has been announced yet, so stay tuned for more.

::::
 

!!Irrelevant Music Festival Events By Day
 

!!Events for Wednesday, July 17, 2019 - Day One



!!Events for Thursday, July 18, 2019 - Day Two



!!Events for Friday, July 19, 2019 - Day Three



!!Events for Saturday, July 20, 2019 - Day Four (529)



!!Events for Friday, July 20, 2019 - Day Four (EARL)

 

!!Creative Loafing Stories About Irrelevant Music Festival
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  ["title"]=>
  string(33) "Fly Guy DC’s 5 artists to watch"
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  string(113) "After breaking acts such as Lil Baby, the influential host and on-air personality reveals who he’s eyeing next"
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  string(6755) "While the hip-hop community patiently awaits the release of XXL’s annual freshman class, host and radio personality Fly Guy DC has a list of his own that solely spotlights Atlanta artists. The Streetz 94.5 mainstay has become an influential force in the city through regular community outreach and frequently breaking artists alongside co-host Ferrari Simmons.

Born Audley Feemster Jr., Fly Guy DC relates solidifying oneself as an artist to his progression into radio and event hosting. A college athlete studying criminal justice at Clark Atlanta University, he stumbled into his current career path after a last-minute hosting opportunity at a party. There he realized he had a voice, and now he searches for new artists who have found theirs as well.

“It’s nothing you can practice,” DC says. “It’s nothing you can perfect because you either have it or you don’t.”

For the Atlanta transplant, determining which rising acts have the ‘it’ factor is equally important as helping them break through to the mainstream. When Fly Guy DC and Ferrari Simmons tapped Lil Baby for his first radio interview, he was pushing his single “Grindin.”

“We were like, ‘Yeah, it’s cool, but that ain’t the one,’” DC says. “We premiered ‘My Dawg,’ and from there it was history.”

With Streetz 94.5, he has done the same for artists such as Gunna, Derez Deshon and Ayo & Teo. His penchant for finding and guiding new talent continues to beam as he predicts which artists are next up from the city in 2019. From bubbling acts who have already signed record deals to social media sensations channeling their starpower to follow their dreams, here are Fly Guy DC’s five Atlanta artists to watch this summer:


I. Lil Keed
“He’s like the new generation Young Thug.”



Lil Keed has the city’s backing as he prepares for the release of his upcoming project Long Live Mexico. A Young Thug protégé and YSL Records signee, Keed crept onto the scene last year with singles like "Fetish” and "Blicky Blicky" before exploding with “Nameless.” The Cleveland Avenue upstart has quickly developed a cult following, adapting a shrill delivery reminiscent of his mentor's early output and distinct in tamber and clarity. Over the course of a year, he has made numerous surprise appearances at events such as A$AP Rocky’s Injured Generation Tour and V103’s Tycoon Music Festival, doing the legwork to earn Atlanta’s love and become an unstoppable force.

Essential Songs: “Nameless,” “Balenciaga” and “Fetish”

II. Lil Gotit
“He has his own sound, and his delivery is incredible”



Lil Gotit is another emerging artist from Cleveland Avenue and, by happenstance, Lil Keed’s younger brother. While both cite Young Thug as their mentor, Gotit has embraced the technical aspects of his work and crafted a raw, speaker-shattering sound of his own. Best exemplified on his popular Lil Baby-assisted cut “Da Real HoodBabies Remix,” Lil Gotit makes the perfect music to hit the Woah to: ratchet, but refined. The 19-year-old MC is signed to Alamo Records and already has major collaborations with Gunna, Lil Durk and Hoodrich Pablo Juan under his belt.

Essential Songs: “Da Real HoodBabies Remix,” “Now” and “Drip School”

III. Renni Rucci
“She’s one to watch- already super lit with major labels after her.”



Stripper-turned-rapper Renni Rucci is a Wolf Pack artist and Quality Control affiliate from South Carolina who caught the eyes of major industry players with her unofficial remixes to records such as Moneybagg Yo’s “Trending,” Kodak Black’s “Roll in Peace” and Lil Baby’s “Freestyle.” With her recent project Big Renni, the Atlanta transplant aims to join the ranks of rap heavyweights with original material. The 10-track offering is a sampler of her prowess as a performer and a songwriter, from the wit and petty vigor of “Act Funny” to her captivating storytelling on “For Ever Mine.” As visuals from Big Renni continue to roll out, Renni Rucci’s momentum continues to snowball.

Essential Songs: “Act Funny,” “Fuck Em Up Sis” and “Cold Hearted”

IV. Summerella
“She was lit from Instagram and Vine, but nobody respected her music-wise. From there, she grew and grew and grew, and the song she has now is going crazy.”



Social media darling Summerella gained traction for her hilarious six-second sketches on Vine, but even back then her vocal capabilities were on full display. Since finding internet fame, the multihyphenate has starred on MTV’s Wild ‘N Out and consistently pumped out quality R&B. Summerella eventually signed a record deal with producer Polow Da Don’s label Zone 4 Inc and unleashed her debut project First Day of Summer last fall. The project’s runaway single “Do You Miss It” is a triumphant cut with an infectious sample of Mary J. Blige’s “I Can Love You,” and it’s ironically making noise just in time for summer.

Essential Songs: “Do You Miss It,” “Pull Up” and “Pretty Bitches in the Trap,”

V. Famous Ocean
“I haven’t seen talent like hers in a long, long time, especially for her to be so young.”



Although Famous Ocean doesn’t yet have a robust catalogue, her internet following compensates for it. A bonafide social media star, she boasts a massive 1.1 million followers on Instagram alone and vlogs regularly. Alongside fellow rapper Kung Fu, Ocean formed the female rap duo Hollywood Dollz, garnering attention for their record “Big Ole Flex.” The 16-year-old artist has since been featured on BHM Honcho’s single “Hate On” and released singles such as “BYE BYE” and “Get Active,” the latter of which secured radio play on Streetz 94.5 merely a month after its release.

Essential Songs: “Get Active,” “BYE BYE” and “Big Ole Flex”

Honorable Mention: Rotimi
“Although he just moved here, his EP is incredible, so I have to include him as an honorable mention.”



Famous for his role as Andre Coleman on the Starz series Power, Rotimi has also made strides as a contemporary R&B singer-songwriter. The New Jersey native and Nigerian talent signed to 50 Cent’s G-Unit label in 2015 and has since released tracks such as “Lotto” and “Want More” in addition to a slew of mixtapes and EPs. In April, Rotimi announced his departure from G-Unit and his subsequent distribution deal with EMPIRE by dropping his latest single “Love Riddim.” The contagious record is the lead single from his recent Walk With Me EP, a slick blend of Afrobeat and R&B.

Essential Songs: “Love Riddim,” “Decisions” and “Kitchen Table”"
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  string(7333) "While the hip-hop community patiently awaits the release of ''XXL''’s annual freshman class, host and radio personality Fly Guy DC has a list of his own that solely spotlights Atlanta artists. The Streetz 94.5 mainstay has become an influential force in the city through regular community outreach and frequently breaking artists alongside co-host Ferrari Simmons.

Born Audley Feemster Jr., Fly Guy DC relates solidifying oneself as an artist to his progression into radio and event hosting. A college athlete studying criminal justice at Clark Atlanta University, he stumbled into his current career path after a last-minute hosting opportunity at a party. There he realized he had a voice, and now he searches for new artists who have found theirs as well.

“It’s nothing you can practice,” DC says. “It’s nothing you can perfect because you either have it or you don’t.”

For the Atlanta transplant, determining which rising acts have the ‘it’ factor is equally important as helping them break through to the mainstream. When Fly Guy DC and Ferrari Simmons tapped Lil Baby for his first radio interview, he was pushing his single “Grindin.”

“We were like, ‘Yeah, it’s cool, but that ain’t the one,’” DC says. “We premiered ‘My Dawg,’ and from there it was history.”

With Streetz 94.5, he has done the same for artists such as Gunna, Derez Deshon and Ayo & Teo. His penchant for finding and guiding new talent continues to beam as he predicts which artists are next up from the city in 2019. From bubbling acts who have already signed record deals to social media sensations channeling their starpower to follow their dreams, here are Fly Guy DC’s five Atlanta artists to watch this summer:


__I. Lil Keed__
“He’s like the new generation Young Thug.”

{youtube movie="XjhVuKIQZ5s" width="640" height="395" quality="high" allowFullScreen="y"}

Lil Keed has the city’s backing as he prepares for the release of his upcoming project ''Long Live Mexico''. A Young Thug protégé and YSL Records signee, Keed crept onto the scene last year with singles like "Fetish” and "Blicky Blicky" before exploding with “Nameless.” The Cleveland Avenue upstart has quickly developed a cult following, adapting a shrill delivery reminiscent of his mentor's early output and distinct in tamber and clarity. Over the course of a year, he has made numerous surprise appearances at events such as A$AP Rocky’s Injured Generation Tour and V103’s Tycoon Music Festival, doing the legwork to earn Atlanta’s love and become an unstoppable force.

Essential Songs: “Nameless,” “Balenciaga” and “Fetish”

__II. Lil Gotit__
“He has his own sound, and his delivery is incredible”

{youtube movie="PW7aXfU5X2A" width="640" height="395" quality="high" allowFullScreen="y"}

Lil Gotit is another emerging artist from Cleveland Avenue and, by happenstance, Lil Keed’s younger brother. While both cite Young Thug as their mentor, Gotit has embraced the technical aspects of his work and crafted a raw, speaker-shattering sound of his own. Best exemplified on his popular Lil Baby-assisted cut “Da Real HoodBabies Remix,” Lil Gotit makes the perfect music to hit the Woah to: ratchet, but refined. The 19-year-old MC is signed to Alamo Records and already has major collaborations with Gunna, Lil Durk and Hoodrich Pablo Juan under his belt.

Essential Songs: “Da Real HoodBabies Remix,” “Now” and “Drip School”

__III. Renni Rucci__
“She’s one to watch- already super lit with major labels after her.”

{youtube movie="zksoKqKK9Vg" width="640" height="395" quality="high" allowFullScreen="y"}

Stripper-turned-rapper Renni Rucci is a Wolf Pack artist and Quality Control affiliate from South Carolina who caught the eyes of major industry players with her unofficial remixes to records such as Moneybagg Yo’s “Trending,” Kodak Black’s “Roll in Peace” and Lil Baby’s “Freestyle.” With her recent project ''Big Renni'', the Atlanta transplant aims to join the ranks of rap heavyweights with original material. The 10-track offering is a sampler of her prowess as a performer and a songwriter, from the wit and petty vigor of “Act Funny” to her captivating storytelling on “For Ever Mine.” As visuals from ''Big Renni'' continue to roll out, Renni Rucci’s momentum continues to snowball.

Essential Songs: “Act Funny,” “Fuck Em Up Sis” and “Cold Hearted”

__IV. Summerella__
“She was lit from Instagram and Vine, but nobody respected her music-wise. From there, she grew and grew and grew, and the song she has now is going crazy.”

{youtube movie="nRP8f-e-W-c" width="640" height="395" quality="high" allowFullScreen="y"}

Social media darling Summerella gained traction for her hilarious six-second sketches on Vine, but even back then her vocal capabilities were on full display. Since finding internet fame, the multihyphenate has starred on MTV’s ''Wild ‘N Out'' and consistently pumped out quality R&B. Summerella eventually signed a record deal with producer Polow Da Don’s label Zone 4 Inc and unleashed her debut project ''First Day of Summer'' last fall. The project’s runaway single “Do You Miss It” is a triumphant cut with an infectious sample of Mary J. Blige’s “I Can Love You,” and it’s ironically making noise just in time for summer.

Essential Songs: “Do You Miss It,” “Pull Up” and “Pretty Bitches in the Trap,”

__V. Famous Ocean__
“I haven’t seen talent like hers in a long, long time, especially for her to be so young.”

{youtube movie="N5hBNLlS3WM" width="640" height="395" quality="high" allowFullScreen="y"}

Although Famous Ocean doesn’t yet have a robust catalogue, her internet following compensates for it. A bonafide social media star, she boasts a massive 1.1 million followers on Instagram alone and vlogs regularly. Alongside fellow rapper Kung Fu, Ocean formed the female rap duo Hollywood Dollz, garnering attention for their record “Big Ole Flex.” The 16-year-old artist has since been featured on BHM Honcho’s single “Hate On” and released singles such as “BYE BYE” and “Get Active,” the latter of which secured radio play on Streetz 94.5 merely a month after its release.

Essential Songs: “Get Active,” “BYE BYE” and “Big Ole Flex”

__Honorable Mention: Rotimi__
“Although he just moved here, his EP is incredible, so I have to include him as an honorable mention.”

{youtube movie="f7oo1QmZ1ec" width="640" height="395" quality="high" allowFullScreen="y"}

Famous for his role as Andre Coleman on the Starz series ''Power'', Rotimi has also made strides as a contemporary R&B singer-songwriter. The New Jersey native and Nigerian talent signed to 50 Cent’s G-Unit label in 2015 and has since released tracks such as “Lotto” and “Want More” in addition to a slew of mixtapes and EPs. In April, Rotimi announced his departure from G-Unit and his subsequent distribution deal with EMPIRE by dropping his latest single “Love Riddim.” The contagious record is the lead single from his recent ''Walk With Me'' EP, a slick blend of Afrobeat and R&B.

Essential Songs: “Love Riddim,” “Decisions” and “Kitchen Table”"
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  string(7593) " FlyGuyDCPhoto  2019-06-10T17:56:58+00:00 FlyGuyDCPhoto.jpg     atlanta hip-hop fly guy dc lil keed lil gotit renni rucci summerella famous ocean rotimi ysl records alamo records wolf pack globl music empire After breaking acts such as Lil Baby, the influential host and on-air personality reveals who he’s eyeing next FlyGuyDCPhoto   2019-06-10T17:53:03+00:00  Fly Guy DC’s 5 artists to watch joshfrob17 Joshua Robinson Joshua Robinson joshfrob17 (Joshua Robinson) 2019-06-10T17:53:03+00:00 While the hip-hop community patiently awaits the release of XXL’s annual freshman class, host and radio personality Fly Guy DC has a list of his own that solely spotlights Atlanta artists. The Streetz 94.5 mainstay has become an influential force in the city through regular community outreach and frequently breaking artists alongside co-host Ferrari Simmons.

Born Audley Feemster Jr., Fly Guy DC relates solidifying oneself as an artist to his progression into radio and event hosting. A college athlete studying criminal justice at Clark Atlanta University, he stumbled into his current career path after a last-minute hosting opportunity at a party. There he realized he had a voice, and now he searches for new artists who have found theirs as well.

“It’s nothing you can practice,” DC says. “It’s nothing you can perfect because you either have it or you don’t.”

For the Atlanta transplant, determining which rising acts have the ‘it’ factor is equally important as helping them break through to the mainstream. When Fly Guy DC and Ferrari Simmons tapped Lil Baby for his first radio interview, he was pushing his single “Grindin.”

“We were like, ‘Yeah, it’s cool, but that ain’t the one,’” DC says. “We premiered ‘My Dawg,’ and from there it was history.”

With Streetz 94.5, he has done the same for artists such as Gunna, Derez Deshon and Ayo & Teo. His penchant for finding and guiding new talent continues to beam as he predicts which artists are next up from the city in 2019. From bubbling acts who have already signed record deals to social media sensations channeling their starpower to follow their dreams, here are Fly Guy DC’s five Atlanta artists to watch this summer:


I. Lil Keed
“He’s like the new generation Young Thug.”



Lil Keed has the city’s backing as he prepares for the release of his upcoming project Long Live Mexico. A Young Thug protégé and YSL Records signee, Keed crept onto the scene last year with singles like "Fetish” and "Blicky Blicky" before exploding with “Nameless.” The Cleveland Avenue upstart has quickly developed a cult following, adapting a shrill delivery reminiscent of his mentor's early output and distinct in tamber and clarity. Over the course of a year, he has made numerous surprise appearances at events such as A$AP Rocky’s Injured Generation Tour and V103’s Tycoon Music Festival, doing the legwork to earn Atlanta’s love and become an unstoppable force.

Essential Songs: “Nameless,” “Balenciaga” and “Fetish”

II. Lil Gotit
“He has his own sound, and his delivery is incredible”



Lil Gotit is another emerging artist from Cleveland Avenue and, by happenstance, Lil Keed’s younger brother. While both cite Young Thug as their mentor, Gotit has embraced the technical aspects of his work and crafted a raw, speaker-shattering sound of his own. Best exemplified on his popular Lil Baby-assisted cut “Da Real HoodBabies Remix,” Lil Gotit makes the perfect music to hit the Woah to: ratchet, but refined. The 19-year-old MC is signed to Alamo Records and already has major collaborations with Gunna, Lil Durk and Hoodrich Pablo Juan under his belt.

Essential Songs: “Da Real HoodBabies Remix,” “Now” and “Drip School”

III. Renni Rucci
“She’s one to watch- already super lit with major labels after her.”



Stripper-turned-rapper Renni Rucci is a Wolf Pack artist and Quality Control affiliate from South Carolina who caught the eyes of major industry players with her unofficial remixes to records such as Moneybagg Yo’s “Trending,” Kodak Black’s “Roll in Peace” and Lil Baby’s “Freestyle.” With her recent project Big Renni, the Atlanta transplant aims to join the ranks of rap heavyweights with original material. The 10-track offering is a sampler of her prowess as a performer and a songwriter, from the wit and petty vigor of “Act Funny” to her captivating storytelling on “For Ever Mine.” As visuals from Big Renni continue to roll out, Renni Rucci’s momentum continues to snowball.

Essential Songs: “Act Funny,” “Fuck Em Up Sis” and “Cold Hearted”

IV. Summerella
“She was lit from Instagram and Vine, but nobody respected her music-wise. From there, she grew and grew and grew, and the song she has now is going crazy.”



Social media darling Summerella gained traction for her hilarious six-second sketches on Vine, but even back then her vocal capabilities were on full display. Since finding internet fame, the multihyphenate has starred on MTV’s Wild ‘N Out and consistently pumped out quality R&B. Summerella eventually signed a record deal with producer Polow Da Don’s label Zone 4 Inc and unleashed her debut project First Day of Summer last fall. The project’s runaway single “Do You Miss It” is a triumphant cut with an infectious sample of Mary J. Blige’s “I Can Love You,” and it’s ironically making noise just in time for summer.

Essential Songs: “Do You Miss It,” “Pull Up” and “Pretty Bitches in the Trap,”

V. Famous Ocean
“I haven’t seen talent like hers in a long, long time, especially for her to be so young.”



Although Famous Ocean doesn’t yet have a robust catalogue, her internet following compensates for it. A bonafide social media star, she boasts a massive 1.1 million followers on Instagram alone and vlogs regularly. Alongside fellow rapper Kung Fu, Ocean formed the female rap duo Hollywood Dollz, garnering attention for their record “Big Ole Flex.” The 16-year-old artist has since been featured on BHM Honcho’s single “Hate On” and released singles such as “BYE BYE” and “Get Active,” the latter of which secured radio play on Streetz 94.5 merely a month after its release.

Essential Songs: “Get Active,” “BYE BYE” and “Big Ole Flex”

Honorable Mention: Rotimi
“Although he just moved here, his EP is incredible, so I have to include him as an honorable mention.”



Famous for his role as Andre Coleman on the Starz series Power, Rotimi has also made strides as a contemporary R&B singer-songwriter. The New Jersey native and Nigerian talent signed to 50 Cent’s G-Unit label in 2015 and has since released tracks such as “Lotto” and “Want More” in addition to a slew of mixtapes and EPs. In April, Rotimi announced his departure from G-Unit and his subsequent distribution deal with EMPIRE by dropping his latest single “Love Riddim.” The contagious record is the lead single from his recent Walk With Me EP, a slick blend of Afrobeat and R&B.

Essential Songs: “Love Riddim,” “Decisions” and “Kitchen Table”    Courtesy Fly Guy DC FLAVA IN YA EAR: The Atlanta influencer has a knack for discovering new talent.  0,0,11    Atlanta Hip-Hop "Fly Guy DC" "Lil Keed" "Lil Gotit" "Renni Rucci" "Summerella" "Famous Ocean" "Rotimi" "YSL Records" "Alamo Records" "Wolf Pack GlobL Music" EMPIRE                        Fly Guy DC’s 5 artists to watch "
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Welcome to Creative Loafing’s weekend roundup podcast for June 14-16. Jacob Chisenhall and Sophia Rubin join Music Editor Chad Radford to talk about their top picks for weekend music. Turn on, tune in, go out!

Fri., June 14 
— SADISTIC RITUAL, GUNPOWDER GRAY, DETONATE — The Earl
Since 2010, Sadistic Ritual has existed — with one lineup or another — as a truly dark force of nature for Atlanta’s underground metal scene. After nearly a decade in the trenches, the group is unleashing its debut album, Visionaire of Death (Boris Records/Unspeakable Axe), a scathing indictment of humanity’s excesses and an ode to death itself. Founding member, singer and guitarist Charlie Southern, fronts drummer Joe Sweat, guitarist Alex Parra, and bass player Shawn Staszko for a grim, buzzsaw assault on the senses. Locals Gunpowder Gray and Detonate open the show. Read more in this month’s CL feature story, “Sadistic Ritual pays homage to death.” $10-$12. 9 p.m.
— Chad Radford

— Unknown Mortal Orchestra — Variety Playhouse
Unknown Mortal Orchestra is neither unknown, nor an orchestra. In fact, when it comes to the ironic phrase, “popular indie artist”, Unknown Mortal Orchestra, the project of Ruban Nielson, fits the bill. Best described as psychedelic indie rock with undertones of funk and electronica, UMO delivers tunes that cover a broad spectrum from the lo-fi groove of their earlier album “II” to more obscure and experimental sampling as their discography develops. $23. 8 p.m.

Sat., June 15 
— Roller Derby June Double Header (Pride Bouts) — Yaarab Shriners Temple
Come watch a colorful, tough sport on wheels this Saturday at Shriners Temple on Ponce.  $15-$30. 4:30 p.m. 

— TOPS, Fantasy Guys, and Breathers at the Masquerade (Purgatory)
Montreal-based foursome TOPS puts a soft-spoken, electropop spin on indie rock. Frontwoman Jane Penny’s vocals possess a mistlike airiness, sounding featherlight and distant while preserving a sense of power and gravity. The instrumentation has a pleasant and melodic feel, and when merged with the vocals evokes a certain nostalgia for ’70s AM Gold. TOPS’ most recent release, Sugar at the Gate (Arbutus Records), showcases the group’s intimacy and cohesiveness, while allowing Penny’s ethereal voice to shine. $13 (adv). 8 p.m.
— Will Cardwell

— Pain in the Neck fest feat. Paladin, Scorched Moon, Gnomonaut, Degradations, Metaphobic
Aaron Baumoel of Halcyon Way, Malefic, Crown of Sorrow, Obsolescence, and more is dealing with a debilitating nerve injury that prevents him from playing the drums. So his friends and metal cohorts have put together a head-banging metal fest to raise funds for his medical bills. $10 (suggested donation). 8 p.m. — CR

— DAVID MURRAY & Kahil El’Zabar — Gallery 992
Saxophonist and World Saxophone Quartet co-founder David Murray has long kept one foot planted in ’60s be-bop. The other foot is still kicking around in the realm of abstract expressionism. But as Murray’s musical voice has taken shape over hundreds of LPs he has carried his penchant for the avant-garde into the arena of more accessible rhythms and standards. Through it all, however, his deep vibrato has remained a signature of his fluid style, earning a place alongside such formidable musical innovators as Albert Ayler, Sonny Rollins, and Archie Shepp. Murray is on the road celebrating Black Music Month, performing alongside legendary percussionist Kahil El’Zabar. Expect an evening of two masters making one great big sound. $30. 8 p.m.
— CR

— SEBADOH, WAVELESS — The Earl
Sebadoh in the 21st century is an unlikely success story. It’s also a more experienced beast than the frazzled, lo-fi avatar of the ’90s — Sub Pop’s second-place winner in the time of Nirvana ascendency. Act Surprised (Dangerbird Records) is the group’s second post-reformation album. It rocks and wilts with all of singer and bass player Lou Barlow’s sentimental highs and lows. The writing in songs such as “Celebrate the Void,” “Stunned,” and “Raging River” holds up when placed alongside almost anything from classic albums Bubble & Scrape, Sebadoh III, and Bakesale — it’s tough to best the one-two punch of “Soul & Fire”/“Two Years, Two Days,” and the almighty “Rebound.” And not that anyone’s making a big deal about it, but this year marks the 30-year anniversary of Sebadoh’s first album, The Freed Man. Expect Lou, drummer Bob D'Amico, and guitarist Jason Loewenstein to kick out an epic set of happy-sad jams, new and old — just gimme indie rock! $20-$22. 8 p.m.
— CR

— BIRTHDAY BASH — State Farm Arena
Summer in Atlanta just wouldn’t feel right without Birthday Bash. An annual celebration of the beloved local hip hop station Hot 107.9, the concert is known to bring out rap royalty from the city and beyond. This year, that tradition persists as Migos, Lil Baby, Jacquees, Lil Keed, and Light Skin Keisha keep Birthday Bash a 404 thing while still making room for out-of-town heavyweights such as Megan Thee Stallion, City Girls, and DaBaby. Prior to the concert, there is also a free block party at Centennial Olympic Park from noon to 5 p.m. For the uninitiated, Birthday Bash always has a few surprises up its sleeve, so expect the unexpected. $69-$189+. 7 p.m.
— JR

— THE SPIRIT OF THE BEEHIVE, STRANGE RANGER — Drunken Unicorn
If there’s anyone who can soundtrack a daydream, it’s Philadelphia band the Spirit of the Beehive. The group’s latest record, Hypnic Jerks, is a cross-stitch of angular post-punk riffs and luscious dream-pop ambience. The record is named after the involuntary twitch that happens when someone drifts off to sleep — an appropriate title for a work marked by sudden jerks from wiry guitar rock to feedback-laden interludes scored by samples of old family recordings. The effect is hallucinatory and even disarming, dragging the mind along a fever dream between reality and the ethereal. With Hypnic Jerks, the Spirit of the Beehive proves it’s ready for stranger times ahead. $12-$15. 9 p.m.
— JVV

Sun., June 16 
— CULTURE ABUSE, TONY MOLINA, DARE, SLOW FIRE PISTOL — The Drunken Unicorn
California’s psych-garage-rock scene has gotten a lot of attention over the past few years, and a lot of that attention has (rightfully) landed on guys like Ty Segall and White Fence’s Tim Presley, who like their music gnarled, grimy, and avant-garde. But there’s another side to this scene, where you’ll find the likes of Culture Abuse, a band of Bay Area dudes whose music is cleaner, more melodic, and threaded with classic rock vibes. The band’s most recent album, 2018’s Bay Dream, is like a sun-dappled ocean of pop-punk, with hook after hook rolling in, seemingly in perpetuity. $15-$18. 8 p.m.
— BS"
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Welcome to ''Creative Loafing''’s weekend roundup podcast for __June 14-16.__ Jacob Chisenhall and Sophia Rubin join Music Editor Chad Radford to talk about their top picks for weekend music. Turn on, tune in, go out!

__===Fri., June 14 ===__
— __[https://creativeloafing.com/content-428289-Sadistic-Ritual-pays-homage-to-death|SADISTIC RITUAL, GUNPOWDER GRAY, DETONATE — The Earl]__
Since 2010, Sadistic Ritual has existed — with one lineup or another — as a truly dark force of nature for Atlanta’s underground metal scene. After nearly a decade in the trenches, the group is unleashing its debut album, ''Visionaire of Death'' (Boris Records/Unspeakable Axe), a scathing indictment of humanity’s excesses and an ode to death itself. Founding member, singer and guitarist Charlie Southern, fronts drummer Joe Sweat, guitarist Alex Parra, and bass player Shawn Staszko for a grim, buzzsaw assault on the senses. Locals Gunpowder Gray and Detonate open the show. Read more in this month’s ''CL'' feature story, “Sadistic Ritual pays homage to death.” ''$10-$12. 9 p.m.''
— Chad Radford

— __[http://www.variety-playhouse.com/event/unknown-mortal-orchestra-2/|Unknown Mortal Orchestra — Variety Playhouse]__
Unknown Mortal Orchestra is neither unknown, nor an orchestra. In fact, when it comes to the ironic phrase, “popular indie artist”, Unknown Mortal Orchestra, the project of Ruban Nielson, fits the bill. Best described as psychedelic indie rock with undertones of funk and electronica, UMO delivers tunes that cover a broad spectrum from the lo-fi groove of their earlier album “II” to more obscure and experimental sampling as their discography develops. ''$23. 8 p.m.''

__===Sat., June 15 ===__
— __[https://www.facebook.com/events/309545863049364/|Roller Derby June Double Header (Pride Bouts) — Yaarab Shriners Temple]__
Come watch a colorful, tough sport on wheels this Saturday at Shriners Temple on Ponce. '' $15-$30. 4:30 p.m. ''

— __[http://www.masqueradeatlanta.com/events/tops/|TOPS, Fantasy Guys, and Breathers at the Masquerade (Purgatory)]__
Montreal-based foursome TOPS puts a soft-spoken, electropop spin on indie rock. Frontwoman Jane Penny’s vocals possess a mistlike airiness, sounding featherlight and distant while preserving a sense of power and gravity. The instrumentation has a pleasant and melodic feel, and when merged with the vocals evokes a certain nostalgia for ’70s AM Gold. TOPS’ most recent release, ''Sugar at the Gate'' (Arbutus Records), showcases the group’s intimacy and cohesiveness, while allowing Penny’s ethereal voice to shine. ''$13 (adv). 8 p.m.''
— Will Cardwell

— __[http://529atlanta.com/calendar/pain-in-the-neck-fest-a-benefit-for-aaron-baumoel/|Pain in the Neck fest feat. Paladin, Scorched Moon, Gnomonaut, Degradations, Metaphobic]__
Aaron Baumoel of Halcyon Way, Malefic, Crown of Sorrow, Obsolescence, and more is dealing with a debilitating nerve injury that prevents him from playing the drums. So his friends and metal cohorts have put together a head-banging metal fest to raise funds for his medical bills. ''$10 (suggested donation). 8 p.m.'' — CR

— __[https://creativeloafing.com/event-427171|DAVID MURRAY & Kahil El’Zabar — Gallery 992]__
Saxophonist and World Saxophone Quartet co-founder David Murray has long kept one foot planted in ’60s be-bop. The other foot is still kicking around in the realm of abstract expressionism. But as Murray’s musical voice has taken shape over hundreds of LPs he has carried his penchant for the avant-garde into the arena of more accessible rhythms and standards. Through it all, however, his deep vibrato has remained a signature of his fluid style, earning a place alongside such formidable musical innovators as Albert Ayler, Sonny Rollins, and Archie Shepp. Murray is on the road celebrating Black Music Month, performing alongside legendary percussionist Kahil El’Zabar. Expect an evening of two masters making one great big sound. ''$30. 8 p.m.''
— CR

— __[http://www.badearl.com/events/5082/Sebadoh|SEBADOH, WAVELESS — The Earl]__
Sebadoh in the 21st century is an unlikely success story. It’s also a more experienced beast than the frazzled, lo-fi avatar of the ’90s — Sub Pop’s second-place winner in the time of Nirvana ascendency. ''Act Surprised'' (Dangerbird Records) is the group’s second post-reformation album. It rocks and wilts with all of singer and bass player Lou Barlow’s sentimental highs and lows. The writing in songs such as “Celebrate the Void,” “Stunned,” and “Raging River” holds up when placed alongside ''almost'' anything from classic albums ''Bubble & Scrape'', ''Sebadoh III'', and ''Bakesale'' — it’s tough to best the one-two punch of “Soul & Fire”/“Two Years, Two Days,” and the almighty “Rebound.” And not that anyone’s making a big deal about it, but this year marks the 30-year anniversary of Sebadoh’s first album, ''The Freed Man''. Expect Lou, drummer Bob D'Amico, and guitarist Jason Loewenstein to kick out an epic set of happy-sad jams, new and old — just gimme indie rock! ''$20-$22. 8 p.m.''
— CR

— __[https://www.statefarmarena.com/events/detail/19-hot-1079-birthday-bash|BIRTHDAY BASH — State Farm Arena]__
Summer in Atlanta just wouldn’t feel right without Birthday Bash. An annual celebration of the beloved local hip hop station Hot 107.9, the concert is known to bring out rap royalty from the city and beyond. This year, that tradition persists as Migos, Lil Baby, Jacquees, Lil Keed, and Light Skin Keisha keep Birthday Bash a 404 thing while still making room for out-of-town heavyweights such as Megan Thee Stallion, City Girls, and DaBaby. Prior to the concert, there is also a free block party at Centennial Olympic Park from noon to 5 p.m. For the uninitiated, Birthday Bash always has a few surprises up its sleeve, so expect the unexpected. ''$69-$189+. 7 p.m.''
— JR

— __[http://thedrunkenunicorn.net/event/the-spirit-of-the-beehive-strange-ranger|THE SPIRIT OF THE BEEHIVE, STRANGE RANGER — Drunken Unicorn]__
If there’s anyone who can soundtrack a daydream, it’s Philadelphia band the Spirit of the Beehive. The group’s latest record, ''Hypnic Jerks'', is a cross-stitch of angular post-punk riffs and luscious dream-pop ambience. The record is named after the involuntary twitch that happens when someone drifts off to sleep — an appropriate title for a work marked by sudden jerks from wiry guitar rock to feedback-laden interludes scored by samples of old family recordings. The effect is hallucinatory and even disarming, dragging the mind along a fever dream between reality and the ethereal. With ''Hypnic Jerks'', the Spirit of the Beehive proves it’s ready for stranger times ahead. ''$12-$15. 9 p.m.''
— JVV

__===Sun., June 16 ===__
— __[http://www.masqueradeatlanta.com/events/culture-abuse/|CULTURE ABUSE, TONY MOLINA, DARE, SLOW FIRE PISTOL — The Drunken Unicorn]__
California’s psych-garage-rock scene has gotten a lot of attention over the past few years, and a lot of that attention has (rightfully) landed on guys like Ty Segall and White Fence’s Tim Presley, who like their music gnarled, grimy, and avant-garde. But there’s another side to this scene, where you’ll find the likes of Culture Abuse, a band of Bay Area dudes whose music is cleaner, more melodic, and threaded with classic rock vibes. The band’s most recent album, 2018’s ''Bay Dream'', is like a sun-dappled ocean of pop-punk, with hook after hook rolling in, seemingly in perpetuity. ''$15-$18. 8 p.m.''
— BS"
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  string(7807) " TOP Web5 RichmondLam  2019-06-13T14:22:50+00:00 TOP_web5_RichmondLam.jpg     atlanta music state farm arena gallery 992 david murray kahil el’zabar the masquerade tops sebadoh waveless the spirit of the beehive unknown mortal orchestra roller derby TOPS at the Masquerade, David Murray and Kahil El’Zabar at Gallery 992, and more music that's not to be missed TOP Web5 RichmondLam   2019-06-11T16:35:00+00:00  Podcast: Weekend roundup for June 14-16 chad.radford Chad Radford Jacob Chisenhall, Chad Radford, and Sophia Rubin  2019-06-11T16:35:00+00:00 

Welcome to Creative Loafing’s weekend roundup podcast for June 14-16. Jacob Chisenhall and Sophia Rubin join Music Editor Chad Radford to talk about their top picks for weekend music. Turn on, tune in, go out!

Fri., June 14 
— SADISTIC RITUAL, GUNPOWDER GRAY, DETONATE — The Earl
Since 2010, Sadistic Ritual has existed — with one lineup or another — as a truly dark force of nature for Atlanta’s underground metal scene. After nearly a decade in the trenches, the group is unleashing its debut album, Visionaire of Death (Boris Records/Unspeakable Axe), a scathing indictment of humanity’s excesses and an ode to death itself. Founding member, singer and guitarist Charlie Southern, fronts drummer Joe Sweat, guitarist Alex Parra, and bass player Shawn Staszko for a grim, buzzsaw assault on the senses. Locals Gunpowder Gray and Detonate open the show. Read more in this month’s CL feature story, “Sadistic Ritual pays homage to death.” $10-$12. 9 p.m.
— Chad Radford

— Unknown Mortal Orchestra — Variety Playhouse
Unknown Mortal Orchestra is neither unknown, nor an orchestra. In fact, when it comes to the ironic phrase, “popular indie artist”, Unknown Mortal Orchestra, the project of Ruban Nielson, fits the bill. Best described as psychedelic indie rock with undertones of funk and electronica, UMO delivers tunes that cover a broad spectrum from the lo-fi groove of their earlier album “II” to more obscure and experimental sampling as their discography develops. $23. 8 p.m.

Sat., June 15 
— Roller Derby June Double Header (Pride Bouts) — Yaarab Shriners Temple
Come watch a colorful, tough sport on wheels this Saturday at Shriners Temple on Ponce.  $15-$30. 4:30 p.m. 

— TOPS, Fantasy Guys, and Breathers at the Masquerade (Purgatory)
Montreal-based foursome TOPS puts a soft-spoken, electropop spin on indie rock. Frontwoman Jane Penny’s vocals possess a mistlike airiness, sounding featherlight and distant while preserving a sense of power and gravity. The instrumentation has a pleasant and melodic feel, and when merged with the vocals evokes a certain nostalgia for ’70s AM Gold. TOPS’ most recent release, Sugar at the Gate (Arbutus Records), showcases the group’s intimacy and cohesiveness, while allowing Penny’s ethereal voice to shine. $13 (adv). 8 p.m.
— Will Cardwell

— Pain in the Neck fest feat. Paladin, Scorched Moon, Gnomonaut, Degradations, Metaphobic
Aaron Baumoel of Halcyon Way, Malefic, Crown of Sorrow, Obsolescence, and more is dealing with a debilitating nerve injury that prevents him from playing the drums. So his friends and metal cohorts have put together a head-banging metal fest to raise funds for his medical bills. $10 (suggested donation). 8 p.m. — CR

— DAVID MURRAY & Kahil El’Zabar — Gallery 992
Saxophonist and World Saxophone Quartet co-founder David Murray has long kept one foot planted in ’60s be-bop. The other foot is still kicking around in the realm of abstract expressionism. But as Murray’s musical voice has taken shape over hundreds of LPs he has carried his penchant for the avant-garde into the arena of more accessible rhythms and standards. Through it all, however, his deep vibrato has remained a signature of his fluid style, earning a place alongside such formidable musical innovators as Albert Ayler, Sonny Rollins, and Archie Shepp. Murray is on the road celebrating Black Music Month, performing alongside legendary percussionist Kahil El’Zabar. Expect an evening of two masters making one great big sound. $30. 8 p.m.
— CR

— SEBADOH, WAVELESS — The Earl
Sebadoh in the 21st century is an unlikely success story. It’s also a more experienced beast than the frazzled, lo-fi avatar of the ’90s — Sub Pop’s second-place winner in the time of Nirvana ascendency. Act Surprised (Dangerbird Records) is the group’s second post-reformation album. It rocks and wilts with all of singer and bass player Lou Barlow’s sentimental highs and lows. The writing in songs such as “Celebrate the Void,” “Stunned,” and “Raging River” holds up when placed alongside almost anything from classic albums Bubble & Scrape, Sebadoh III, and Bakesale — it’s tough to best the one-two punch of “Soul & Fire”/“Two Years, Two Days,” and the almighty “Rebound.” And not that anyone’s making a big deal about it, but this year marks the 30-year anniversary of Sebadoh’s first album, The Freed Man. Expect Lou, drummer Bob D'Amico, and guitarist Jason Loewenstein to kick out an epic set of happy-sad jams, new and old — just gimme indie rock! $20-$22. 8 p.m.
— CR

— BIRTHDAY BASH — State Farm Arena
Summer in Atlanta just wouldn’t feel right without Birthday Bash. An annual celebration of the beloved local hip hop station Hot 107.9, the concert is known to bring out rap royalty from the city and beyond. This year, that tradition persists as Migos, Lil Baby, Jacquees, Lil Keed, and Light Skin Keisha keep Birthday Bash a 404 thing while still making room for out-of-town heavyweights such as Megan Thee Stallion, City Girls, and DaBaby. Prior to the concert, there is also a free block party at Centennial Olympic Park from noon to 5 p.m. For the uninitiated, Birthday Bash always has a few surprises up its sleeve, so expect the unexpected. $69-$189+. 7 p.m.
— JR

— THE SPIRIT OF THE BEEHIVE, STRANGE RANGER — Drunken Unicorn
If there’s anyone who can soundtrack a daydream, it’s Philadelphia band the Spirit of the Beehive. The group’s latest record, Hypnic Jerks, is a cross-stitch of angular post-punk riffs and luscious dream-pop ambience. The record is named after the involuntary twitch that happens when someone drifts off to sleep — an appropriate title for a work marked by sudden jerks from wiry guitar rock to feedback-laden interludes scored by samples of old family recordings. The effect is hallucinatory and even disarming, dragging the mind along a fever dream between reality and the ethereal. With Hypnic Jerks, the Spirit of the Beehive proves it’s ready for stranger times ahead. $12-$15. 9 p.m.
— JVV

Sun., June 16 
— CULTURE ABUSE, TONY MOLINA, DARE, SLOW FIRE PISTOL — The Drunken Unicorn
California’s psych-garage-rock scene has gotten a lot of attention over the past few years, and a lot of that attention has (rightfully) landed on guys like Ty Segall and White Fence’s Tim Presley, who like their music gnarled, grimy, and avant-garde. But there’s another side to this scene, where you’ll find the likes of Culture Abuse, a band of Bay Area dudes whose music is cleaner, more melodic, and threaded with classic rock vibes. The band’s most recent album, 2018’s Bay Dream, is like a sun-dappled ocean of pop-punk, with hook after hook rolling in, seemingly in perpetuity. $15-$18. 8 p.m.
— BS    Richmond Lam PICTURE YOU STARING: TOPS plays Purgatory at the Masquerade on Saturday, June 15.  0,0,11    Atlanta Music "David Murray" "Kahil El’Zabar" "Gallery 992" "the Masquerade" TOPS SEBADOH WAVELESS "THE SPIRIT OF THE BEEHIVE" "Unknown Mortal Orchestra" "Roller Derby" "State Farm Arena"                       Podcast: Weekend roundup for June 14-16 "
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